Reviews (34)

Pride of the Yankees: Lou Gehrig as True Hero
There are movies that involve the audience about the life of its star and there are others that use gimmicks to hide the fact that the audience never gets to look at the star from the inside. In PRIDE OF THE YANKEES director Sam Wood gave us a movie that has already stood the test of time as one of the best movies to come out of Hollywood. The high quality of this film is mostly because of Gary Cooper's startlingly realistic portrayal of a baseball icon whose playing career overlapped the cinematic career of the film icon who played him. The audience sees the man in a way that the fans in the stands could not. Cooper carries the movie in the same way that he carries SERGEANT YORK, by his straightforward radiating of emotion that is often at odds with the face that says one thing but the eyes that say another.
The young Lou Gehrig starts off as a youth loving baseball so much that he has to hide his love from a mother who wants Lou to surpass Uncle Otto as a symbol of success. Lou hears his mother praise Uncle Otto and assures her that he will follow in his footsteps, but his eyes tell another story. In fact, throughout this movie, it is his eyes that speak more eloquently than anything else he can say or do. Lou winds up in Columbia on a scholarship, and during a frat party hazing designed to test his ability to endure a razzing, Lou retreats within himself until he can retreat no more. For the first time in this film, and very nearly for his entire movie career as well, Cooper shows the anger that we all knew lay buried deep. Cooper made a career out of rechanneling emotion into productive ends, and as Lou Gehrig, he can redirect his inner chi into belting baseballs over walls well enough to earn a tryout with the New York Yankees. By this time, the audience is hooked by their caring for a man who combines the best of the American ideals of hard work and talent with the self-effacing that marks most film icons of that time.
Theresa Wright plays first his girlfriend, then later his wife. She is simply wonderful as the cultured girl who falls for the small town hero. They poke fun of each other but the audience knows that what they are really saying is the Real Thing. Theresa Wright knows exactly when to back off and let Cooper be at center stage and when to interact with him to produce some truly stirring moments. There are two scenes that stand out as unforgettable, one with Wright, the other without. The first occurs when Lou has been playing poorly. He has been striking out, dropping easy catches, and running awkwardly. His teammates are puzzled and mix anger with concern. After a loss caused by his poor play, Lou sits on a bench, trying to make sense of a body that had never before betrayed him. As he leans forward to untie his laces, he continues to fall, rolling over onto the floor. His mates pretend not to notice. Lou says nothing but his face tells the audience all that they need to know. The fear that often bubbles just beneath the skin in many of Cooper's movies surfaces, and that fear clicks in the hearts of all. Later, when he has seen a doctor and knows that his illness, Amyotrophic Lateral Sclerosis, is terminal, he decides to hide this knowledge from his wife who nevertheless has already guessed the truth, but tries to hide that from him. There is a heartbreaking scene in which she tries to raise his spirits by donning a barker's hat and mustache. As she stares at him, she laughs. As she hugs him, her eyes reveal her own torment. Each actor is absolutely convincing in their respective attempts to hide what they know, while pretending all is well.
PRIDE OF THE YANKEES tells a story well-known to anyone who reads the sports pages. It features Cooper in center stage, with a supporting cast including Walter Brennan and Dan Duryea, both of whom interact credibly with him and Ms. Wright. This is more than a baseball bio of a man who hits it big in his game. It is more the story of a giant who continued to hit it big even after the fans have left the stadium.

Nostalgic Eye for the Baseball Guy
I hate people that can't seem to enjoy an old fashioned good feeling movie and call it sacharine because it has a happy ending. Which is why I am a little embarassed to give Pride of the Yankees just three stars. But the truth is that I really had to fight hard to surpress a smile at the level of schmaltz in this film that I didn't recognize when I saw this as a boy.

Gary Cooper plays Lou Gehrig with a childlike naivete which I know was charming in its day but today it feels like you would have to lock someone up who was his age and still that childlike. And I really did want to play along with the most classic scene in the film but found it funnier than any campy parody I have seen over the years. The little boy in the hospital who is sitting by the radio because the Babe and Lou promised him they would each hit home runs form him. "Little Billy" sits in pajamas in the hospital by the radio. He listens earnestly with a expectant vapid open mouth expression waiting. Its as if his ability to ever walk again hung on the success of that hit. Bottom of the sixth Gehrig disappoints by striking out for his second time in a row still one short of the two promised home runs, you can tell the kid is thinking "Damn" but instead says "Golly"! I am glad I wasn't drinking anything at the time because it would shot through my nose trying to hold back the laugh. Pride of the Yankess does hearken back to simpler times but is perhaps so gentle and guileless it crosses the line into accidental comedy.

However I did very much enjoy the relationship between the two competing sportswriters who mock each others favorite players much like Statler and Waldorf the two old geezers in The Muppet Show. Walter Brennan plays writer Sam Blake who roots for Lou and does a wonderful job. He is so slender of build here he is almost unrecognizable in this role.

I am sure most people will have a fine time enjoying this film and Lou Gehrigs touching farewell speech.

From NY Immigrants' Child to American Legend
This was probably my introduction, and for millions of others, to the legend that is Lou Gehrig. And for so many years, I had Gehrig and Gary Cooper completely confused in my mind--they seemed inseparable. But there's good reason for it: the role of the Iron Horse seemed to be made for Cooper. Gehrig was a low-key, almost self-effacing athlete and person, which was just the type of character that Cooper built his career on. Their sizes were just about the same. Cooper nailed down Lou Gehrig's voice, especially for the famous "luckiest man" farewell speech. Hell, Gary Cooper LOOKS like Lou Gehrig! Maybe my confusion is justified, at least on this subject.

PRIDE OF THE YANKEES is the grand-daddy of all baseball movies. Cooper's performance, as I can't help but keep mentioning, is stellar. Teresa Wright as his wife helps keep the hankies moist but she is also very spunky and strong. Walter Brennan (who also played opposite Cooper in MEET JOHN DOE where John Doe is a semi-pro pitcher) is in a supporting role here but provides desperately needed comic relief.

And perhaps I'm wrong to categorize PRIDE OF THE YANKESS as merely a baseball film. It is about human potential, human frailty, and above all human strength during times of crisis. Lou Gehrig's tragedy occurred during a time of extreme crisis in America, and, I believe, his strong steady public appearances helped the nation through it. PRIDE OF THE YANKEES could easily have been named "Strength of America" in my mind. It's that important a film.

The story of Lou Gehrig and the classiest sports biopic
There are all sorts of little imperfections in the 1943 film "The Pride of the Yankees." The screenwriters rearranged Lou Gehrig's famous farewell speech at Yankee Stadium so that the best line, "Today, I consider myself the luckiest man on the face of the earth," becomes his exit line (it was the second line in his speech with his actual last line being, "So I close in saying that I may have had a tough break, but I have an awful lot to live for"). Gary Cooper had enough problems batting right-handed let alone left-handed like Gehrig, so the actor wore a uniform with "KROY WEN" on the front, ran to third base when he managed to hit the ball, and then they reversed the print. Gehrig is shown wearing his famous number 4 when the Yankees play the World Series, but that happened in 1926 and 1928 while the Bronx Bombers did not start wearing uniform numbers until 1929 (Gehrig batted cleanup and was 4, Babe Ruth batted in front of him and was therefore 3). The film talks about how Gehrig won the Triple Crown on the day he was married but Gehrig won the Triple Crown in the 1934 season, the year after Lou and Eleanor were married in 1933.

But none of that really matters because "The Pride of the Yankees" remains the standard by which all sports biopics, whether of baseball players or anyone else, are judged. Even those who were not weaned and raised on baseball know that the title character is going to die of Lou Gehrig's disease and the film takes full advantage of that foreshadowing: when Gehrig gets into his first game and refuses to come out after being hit in the head by a thrown ball, manager Miller Huggins asks, "What do we have to do to get you out of the game? Kill you?" Irving Berlin's song "Always" becomes a recurring musical theme throughout the film, another reminder of Gehrig's mortality.

In many ways "The Pride of the Yankees" is more of a love story than a baseball theme. It starts off as a rags-to-riches story, where Gehrig's mother (Elsa Janssen) insists her son will be an engineer and does want him wasting time playing baseball. Eventually the fame and money opens her eyes, but then Lou meets Eleanor Twitchell (Teresa Wright) and has a new "best girl." One of the most impressive aspects of this film is how it touches on the two darker sides of the Lou Gehrig story, the friction between his overbearing mother and his society wife along with the strained relationship that developed between Gehrig and Babe Ruth. The film really only touches on these aspects and Ruth, playing himself, is usually a smiling figure when he shows up on screen, except for when Gehrig is eating his new hat and he is listening to Gehrig's farewell speech.

Cooper was nominated for an Oscar for his performance and even though he is rather awkward and a bit old for the role, he captures the essential dignity and class of Gehrig. It makes sense that one American icon is being played by another. Having been nominated of a Best Actress in a Supporting Role Oscar for "The Little Foxes" in 1941 she received another nomination in that category in 1942 for "Mrs. Miniver" and also one for Best Actress that same year for "The Pride of the Yankees." Wright won for "Mrs. Miniver" and lost out to Greer Garson for Best Actress (because of the war the Oscars were made of plaster for the first time, but were replaced by "real" Oscars when the war ended). "The Pride of the Yankees" was nominated for 11 Oscars, including Best Picture, but only won for Daniel Mandell's Film Editing.

Walter Brennan as sportswriter Sam Blake and Ludwig Stössel as Pop Gehrig provide a lot of the comic relief in the film. Brennan's role is rather low-keyed for him while Stössel has several fine moments where he tries, usually without success, to stand up to his wife. Appearing as themselves are Yankee players Bill Dickey, Bob Meusel, and Mark Koenig, and the familiar voice of Bill Stern makes it on screen as well.

Gehrig's tragic death at the age of 38 makes all of his records even more astounding given that his career was cut short. Sportswriter Jim Murray once described the tall, strong Gehrig as a "Gibraltar in cleats," and "The Pride of the Yankees" provides a sense of that. For me the most poignant scene comes before Gehrig enters Yankee Stadium on July 4, 1939, when he encounter 17-year-old Billy (David Holt), the lame boy in the hospital (Gene Collins) for whom Gehrig hit two home runs in a World Series game in the film's most extended baseball sequence. The irony that Gehrig could inspire Billy to rise up and walk but Fate had conspired to strike down the Iron Horse who played in 2,130 is enough to reduce most of us to tears before Gehrig ever steps to the plate for the last time to talk about how lucky he is.

Courage and Heroism in Perfect Form
"The Pride of the Yankees" is without a doubt one of the best baseball films of all time. Why? Because it isn't just about baseball. It's about a real person seeking that seemingly impossible American dream and capturing it, only to lose it all too soon. Cooper plays Gehrig with so much heart in this film, that the movie almost seems unreal due to the fact that Gehrig was such a good person, both as a human and as a star athlete.

There are few professional athletes in the world who show so much character and so much love to others as Gehrig did. He faced death with honor and courage. He was and is a true hero. If you're looking for an athlete for your children to look up to, pick the "Iron Man of Baseball."

This film does exceptionally well in capturing the heart and soul of Gehrig. It is a great family film and I highly recommend it. Gehrig might have been in Ruth's(and later, DiMaggio's)shadow, but he was so much bigger than these guys. He was honest, hard-working, and approached people long after the cameras were gone.

Add this one to your collection. It's a keeper, even if you don't know the difference between a baseball and a ball of yarn. ... Read more

Reviews (10)

A Major disappointment
I'm a longstanding, die-hard PHANTOM fan and collector; so I was praying that this would be a lost gem. Turns out to be more of a lost zircon. Tom Tyler is pretty darn AWFUL as the Phantom--not a single aspect of this film identifies it as a Phantom story, except for the presence of Devil -- who's supposed to be a wolf, not a German shepherd (although I'll admit it's one gorgeous animal they have cast here) -- and the Phantom's father. The bad guys consistently and successfully get the drop on Tyler's Phantom, which is not at all typical of the comic strip character. I mean, the thing about the strip version of the character that's so remarkable is his consistency--he's always smarter, faster, stronger, and cagier than the bad guys. Not Tyler's Phantom. And Tyler's Phantom is a terrible shot to boot; the strip Phantom could hit the sweat off a dung beetle on the back of a rampaging bandicoot at 20 yards.

Could they have possibly found a better actor to play the Phantom? Easily. Tyler should have stuck with the 'oaters' and said thanks a heap but heck no to this serial.

One of Columbia's best, fun for serial fans, great print
Most Columbia cliffhangers were made by independent producers, but in 1938-39 and 1943-44 Columbia made its own serials, using the studio's many sets, facilities, and contract players. Columbia's home-grown serials are very efficient, and THE PHANTOM is no exception.

It's a jungle serial, so this writer expected a lot of pedestrian dialogue scenes embellished with old wild-animal footage. It's true that the first chapter falls into this pattern while the story is being set up, but from there it's a lot of fun, almost all of it staged for this production, with Tom Tyler an ideal Phantom. For some reason the supporting cast was not credited, but fans of Columbia will easily recognize Kenneth MacDonald (terrific as the suave villain), Dick Curtis (great to see him play a benign role, for once), Ernie Adams (in a bigger-than-usual role as the Phantom's pal), and some familiar faces in the goon squad (George Chesebro, Wade Crosby, Kermit Maynard, I. Stanford Jolley, Al Hill). Good stuntwork and brisk direction (by B. Reeves Eason) keep this one moving, with Tom Tyler in there punching through 15 chapters. Ace, the Phantom's handsome dog, later became "Rusty" the German shepherd in Columbia's family series.

THE PHANTOM has two pleasant surprises for the Columbia serial fan. The recap narration is exceptionally brief (even though the recap footage is lengthy). And each closing "teaser" of next week's episode does NOT spoil the suspense by showing the imperiled hero out of danger. Every cliffhanger in THE PHANTOM keeps the viewer guessing, for a welcome change.

The print is excellent, with fine picture and sound. Only Chapter 11 has soundtrack trouble for a few minutes, and the video producers have remedied it as best they could. The DVD release also includes commentary by Max Allan Collins of "Dick Tracy" fame. Definitely of interest to serial collectors, and fans of Columbia's "B" movies and short subjects will especially enjoy this.

Long lost Phantom 1940's serial found & restored now on DVD!
...These Saturday morning matinee serials are great fun (before television).

Well "The Phantom" 1943 serial was once one of these long lost films rediscovered, digitally remastered and thanks to VCI Entertainment is now on DVD. This 2 DVD set gives us 15 action packed chapters introduces us to this mysterious character. This is fun stuff.

Summary: Tom Tyler plays "The Phantom" and this serial introduces us to this mysterious family who for generations has played "The Phantom" the man who never dies. It seems that a descendent male member must perpetuate the "Phantoms" existence. Why, because the "Phantom" is the law of the African jungle & keeps the peace among more than 50 native tribes. In 15 chapters the Phantom is poisoned to death,(because he knows of the Lost city of Zolov). His son replaces him before he actually dies. (therefore keeping the legend of the man who never dies going.) Privateers want the hidden treasure of Zolov. Mysterious nation wants to build secret air field at Zolov. Phantom is in the middle. Everyone tries to kill the man who never dies. For 15 exciting chapters we see how the "Phantom" eludes death and escapes periless traps.

The extras include; a One Chapter commentary by famous comic strip writer Max Allan Collins, Biographies, and comic book art.

This is a great secret serial rediscovered for us to watch once again. Enjoy.

can't even watch the tape
My tape was so bad that I can't even watch it to decide if I like the movie or not. Constant scrolling of film that we just cannot adjust. Makes the film unwatchable. Probably too late to return for replacement or credit.

One of Columbia's Better Serials
Columbia Pictures never produced a movie serial comparable to the best Republic cliffhangers. However, "The Phantom" (1943) survives as one of the studio's better efforts, thanks to Tom Tyler's memorable presence in the title role and the assured direction of B. Reeves Eason. Unlike Republic, the Columbia serials were more faithful in terms of comic-strip adaptations. "The Phantom" is no exception. Unfortunately, Columbia lacked the solid production values and crisp pacing of the Republic serials -- further hindered by the studio's excessive 15-chapter length. Still, "The Phantom" makes the most of Columbia's low-budget shortcomings with its effective jungle setting and above-average cliffhanging exploits. As "The Ghost Who Walks," Tyler is a terrific action hero and does not rely on a stunt double during the fight scenes. Fans of Lee Falk's comic-strip creation will not be disappointed. ... Read more

Reviews (11)

Very good film noir from the forties.
This tightly constructed thriller marked a change of direction for crooner Dick Powell and he was surprisingly good as private eye Philip Marlowe.Thefilm was also successful in transferring much of Raymond Chandler's sardonic dialogue to the screen. Good performances from Mike Mazurki as the dim-witted giant, Moose Malloy and Otto Kruger as a nasty quack psychiatrist and Claire Trevor as the femme fatale.

HOW SWEET IT IS ON DVD!
Interesting choice of career change for Dick Powell. After establishing himself as the light hearted lothario of 1930s Busby Berkeley musicals at Warner Brothers, the crooner side stepped his squeaky clean, boy-next-door image entirely with a string of deep and powerful dramatic performances. In "Murder My Sweet" Powell carries off Raymond Chandler's hard-boiled detective, Philip Marlowe to perfection. Okay, he's no Bogart, whom film buffs will recall played Marlowe in "The Big Sleep." But Powell's performance is a close second, buffeted by his quick thinking, deeply cynical, smart-shooting dialect. In "Murder My Sweet" Marlowe is hired by an ex-con (Mike Mazurki) to hunt down his old flame. But the plot spins out of control when a murder leads to Marlowe's engagement by a manipulative woman (Claire Trevor), to recover her missing jewels. But a drug induced nightmare fraught in symbolism and expressionism turns Marlowe's world on end, devouring his soul beneath a seedy underbelly that permeates both high-society and the dangerous post war bars and flophouses of inner city Los Angeles. "Murder My Sweet" is one of the first great, though often overlooked, film noirs; an absolute must see.
Warner's transfer on "Murder My Sweet" is better than average. In fact it's remarkably clean. The gray scale is very well balanced with deep solid blacks and whites that are vibrant and sharp. There's some film grain but few age related artifacts for a visual presentation that is over all a considerable improvement over previously issued VHS tapes. The audio is mono but nicely balanced. The more intent listener will notice slight pops. Alain Silver delivers a very thorough audio commentary that will most surely enhance your appreciation for this film. A very good disc to add to your library of classic cinema.

HARD BOILED NOIR....
One of the better ventures on the darker side of film noir with Raymond Chandler's PI Philip Marlowe (Dick Powell) enmeshed in a complicated search for a jade necklace. He's hired by a thick brute named Moose Malloy (Mike Mazurki) to find former night club singer Velma Valenti. After numerous attempts to throw him off the scent, he tracks her down. She's now Mrs.Grayle (Claire Trevor), married to a much older man with a grown daughter (Anne Shirley) who despises her. The jade necklace comes into play and so does Mrs.Grayle. Marlowe enters a weird plot that eventually finds him drugged and held prisoner before he fights his way back with the help of Shirley. "Murder My Sweet" is good and salty film noir with hard bitten performances, brittle dialogue, thugs, mystery and a sexy femme fatale in Mrs. Grayle. When Marlowe first meets her, she's wearing a revealing white dress that allows her entire leg to be casually exposed when she sits down. Very sexy for the 40's. Excellent b&w photography with almost everything occuring at night drenches the film with heavy noir atmosphere. This is a classic film to be savored and the DVD print is great. A real collectors' treat.

Film Noir 101
This is the movie that hooked me on "Film Noir." I first saw this on the late show while suffereing a killer flu. Even through local TV editing and enough medicine to tranquilize a circus tent, it had me sitting at attention from start to finish. It wasn't until several years later that I got to see it uncut on cable that I got the full effect. Having grown up with Bogart's hard-boiled private eye archetype, Dick Powell was a complete revelation to me. If you double-bill this with Bogart's "Big Sleep," you see at once that Powell truly IS Phillip Marlowe (even Raymond Chandler thought so), and Bogart is much better suited to portray Hammet's colder, meaner Sam Spade. Powell gives Marlowe a vulnerable cynicism as well as a touch of the "everyman," that Bogart wouldn't be able to pull off until later in his career. Powell's background in romantic musicals gives him access to a far deeper emotional range, needed to play the complex and conflicted Marlowe; his cynicism, his humour, his loyalty to his code...it's all there. Powell manages to give extra resonance to some of Chandler's throw-away similes! No wonder he claimed this as his favorite role!

The direction by Edward Dmytryk and cinematography by Harry Wild are perfect, giving the film a tight, economical yet alluring vintage "feel". Working on a tight budget, they manage to infuse it with all the seedy, chaotic topography that would serve as the touchtones for every film of this type from "Night of the Hunter" to "Blade Runner." While this isn't the first Noir film, it may well be the best.

Seminal film noir--B&W perfection
January 1945: Murder, My Sweet is released starring former movie musical crooner Dick Powell as tough detective Philip Marlowe, Claire Trevor as femme fatale Mrs. Grayle (aka Velma Valentino) and Mike Mazurki (in his first major role) as big lug-thug goofball Moose Malloy. Based on Raymond Chandler's Farewell, My Lovely, this baby is the real deal when it comes to film noir. Yeah, there were others before this--The Maltese Falcon and especially, Double Indemnity with a phenomenal performance by Barbara Stanwyck.

But this is the one that put detective-based film noir on the map. The 1975 version (same title as the book) with Robert Mitchum, John Ireland, and some of the other classic film noir stalwarts is, in fact, a pretty good piece of work. But Murder, My Sweet is the ne plus ultra of film noir. The director, Edward Dmytryk, had a limited budget and so confined much of his shooting to low-lit interiors to save money. Not only that--he also has some ultra-cool sequences of poor Marlowe, having been force-fed a syringe or two of dope, hallucinating something awful. This shows the influence of German Expressionism to the max; the contrast of black and white has never been sharper, more vibrant, more startling in an American film. And dig those crazy images--multiple doors to go through trying to avoid a doc who walks through doors; larger than life images of two of the bad guys looming above, peering down at Marlowe with spooked up backlit faces; a giant syringe ready to plunge.

There's the good girl and the bad girl, sure. There's the supposedly innocent older husband of the femme fatale. There's the evil brains of the picture who loves blackmail, brutality, and backbiting. And of course there's the hard-bitten cops dogging Marlowe throughout his journey from cynical onlooker to active tough guy to sentimental joe. What's not to like?

So far the only DVD of this is being released in France. Hey, movie studios! Wake up! Time to get more film noir on DVD!

Yeah. A great piece of work; that's what I say. ... Read more

Description

The definitive screwball comedy, My Man Godfrey follows the madcap antics of a wealthy and eccentric family when they hire a down-and-out "forgotten man" as their butler. My Man Godfrey features brilliant performances by Carole Lombard and William Powell, and was the first film to receive Academy Award® nominations in all four acting categories. ... Read more

Reviews (79)

"My Man Godfrey" Still Sparkles after 60 Years
Gregory La Cava's 1936 masterpiece "My Man Godfrey" my well be the best comedy of the '30s. This screwball classic features a witty topnotch script, fast paced direction, fabulous art deco sets and wonderful performances from Carole Lombard and William Powell, as well as, supporting players, Gail Patrick, Mischa Auer, Eugene Pallette, Alan Mowbray and, the particularly dizzy, Alice Brady. This film has never looked better than it has on this Criterion edition. The picture is crisp and clear and way better than any public domain print. In fact, during a recent showing of a PD print on TCM I got out my laptop and ran the Criterion DVD simultaneously and wow, what a difference. The clarity and amount of detail is terrific. I wish the extras had been better and the commentary could have been from the actual stars and creators rather than a film historian but these are petty complaints. If you have been thinking of adding this classic to your collection then pay the extra money and get the best version out there.

Probably the best screwball comedy ever!
MY RATING- 8.4

Well I was never too keen of screwball comedies, specially the Katherine Hepburn's ones. Movs of that kind relied too much on her feminist style and I certainly didn't identify with that!
This one made me change my mind, it's one of the oldest (1936) and it's some of the best. It's all about a "forgotten man" of the Depression (wonderful William Powell, he was nominated for the oscar) who is caught by rich crazy girl Irene (Carol Lombard, also nominated) to be butler of her family. The rest of the cast is simply brilliant: Alice Brady (nominated), an often forgotten lady of the 30's, who is absolutely funny in the scenes with Mischa Auer (nominated), as Carlo, her "protégé". I was laughing a lot in his gorila scene! Also with the great Eugene Palette as the father and snobish Gail Patrick as the inteligent sister, Cornelia.
This is another gem by director Gregory La Cava, who marks his soft and inteligent flow of action here.

The Gold Standard for DVDs
My Man Godfrey, for me, represents all that's admirable about the DVD format. Visually, it sparkles, literally so in the opening credits. My 15-year-old VHS copy is good, but pales next to the DVD transfer. The inclusion of a vintage trailer from so old a movie was a welcome surprise. The newsreel footage gave historical context. The radio broadcast was icing, just lain fun. The commentary is urbane and inciteful. Yes, I listened to it all. A word of advice about commentaries: Self-described historians do the best. Their commentaries are like fine classroom lectures on your favorite subject. Directors seem to ad lib haltingly, as if they'd rather be somewhere else but can't pass up the dough. If picking a movie for it's commentary, make sure the director is dead. That goes for actors and crew also.

If you like old movies this is one of the best
I have a DVD copy from a Canadian company Cascadia and its excellent video and audio and is perfect except for one scene which is repeated twice in an editing loop- oh well- otherwise its perfect. Great supporting cast.

MISSING A SCENE!!
Do not buy this DVD! I am very familiar with this movie as I own a VHS copy, so I immediately noticed the missing scene. If you know the movie, it is the scene when Irene goes to Godfrey's room and he lectures her on certain "proprieties" and she becomes hysterical and tells him "You'll be sorry!"

This is a great screwball comedy, a must see for classic movie fans and it is a disgrace that this company released the movie so carelessly. ... Read more

Amazon.com essential video

Director Gregory La Cava deftly balances satire, romance, and social comment in this 1936 classic, which echoes Frank Capra in its Depression-era subtext. The Bullocks are a well-heeled, harebrained Manhattan family genetically engineered for screwball collisions: father Alexander (Eugene Pallette, of the foghorn voice and thick-knit eyebrows) is the breadwinner at wit's end, thanks to his spoiled daughters, the sultry Cornelia (Gail Patrick) and the sweet but scatterbrained Irene (a luminous Carole Lombard), his dizzy and doting wife, Angelica (Alice Brady), and her "protégé," Italian freeloader Carlo (Mischa Auer). When Irene wins a society scavenger hunt (and atypically trumps her scheming sister) by producing a "lost man," a seeming tramp named Godfrey (William Powell), all their lives are transformed. With the always suave, effortlessly funny Powell in the title role, this mystery man provides the film's conscience and its model of decency; the giddy, passionate Lombard holds out its model for triumphant love. In a movie riddled with memorable comic highlights, the real miracle is the unapologetic romanticism that prevails. --Sam Sutherland ... Read more

Reviews (85)

Timeless Comedy Classic
My Man Godfrey (1936) embodies why we like to watch old movies.We are reminded of a simpler, more innocent time when people dressed, acted, and spoke with a degree of class that you do not often see in movies today.In such old films, there is no bad language, nudity, violence, or graphic sex.Yet much more is conveyed with a glance or a phrase than a whole modern movie sex scene.

This movie is just hilarious.The film opens with a bunch of rich ne'er do wells in a scavenger hunt for all kinds of bizarre objects.The scene is pure chaos and pure delight.One of the objects is to find a "forgotten man."A young, pretty, somewhat airheaded socialite named Irene Bullock (Carole Lombard) encounters Godfrey (William Powell) in a hobo camp and persuades him to come with her.He soon becomes employed as the family butler, bringing some order to the chaotic Bullock household.

It soon becomes clear that there is more to this man than meets the eye.Godfrey has a mysterious past.The two sisters start vying for his affections.No one's life will ever be the same, as rich meet poor and some people learn some much-needed lessons.

One of the funniest characters in the film is a permanent "houseguest" who has no employ but somehow manages to mooch off them.He made me roar with laughter.

Magical Lombard Plus Dapper Powell Sparkle in Comedy Classic
During Hollywood's golden era, Carole Lombard was probably the most strikingly beautiful actress of her generation and arguably the most talented comedienne. She managed to be both hilariously free-wheeling and uninhibitedly down-to-earth, even as she plays the flightiest of madcap heiresses. One can only speculate what brilliant career lay ahead of her had she not died tragically early in a 1942 plane crash. Fortunately, we have this 1936 screwball classic, likely her most famous film, as a reminder of her beauty, charisma and sheer likeability. Her character Irene Bullock feels like a first cousin to Katharine Hepburn's Susan Vance in "Bringing Up Baby", a scatterbrained, motor-mouthed, persistent-beyond-reason socialite living with her equally eccentric family on Park Avenue. If not for Lombard, this character would try anyone's patience with her impetuous behavior and the childish competitiveness she displays with her sister.

What makes this movie different though is its social consciousness about the thoughtless rich and the put-upon downtrodden, the contrast of which made this particularly apt during the Great Depression. But the grand statements one would expect from a Capra never seem leaden in this comedy as directed by the underrated Gregory LaCava. Instead, they are fully integrated into a story that starts with a society "scavenger hunt" for a "forgotten man". In the city dump, the Bullock daughters find one in the form of Godfrey, portrayed with typically dapper élan by William Powell. Godfrey is an erudite hobo with whom Irene becomes quickly enamored, and she quickly convinces him to become the family butler. As it turns out, of course, he turns out to be the scion of a wealthy Boston family who decided to shuck it all once he was betrayed by love. He becomes the catalyst for improving the lives and characters of the Bullocks, all the while ensuring he takes care of his hobo friends on the riverfront. Only Powell could play a character that moves so fluidly between bum and butler, though he does falter slightly in his drunken scenes which seem really to come out of nowhere to move the plot along. Powell and Lombard were previously married and divorced prior to this film, and there is a subtle familiarity in their burgeoning relationship that makes their rapport sparkle (ironically, off-screen, he was in love with Jean Harlow at the time, she just beginning with Gable).

The supporting cast is impeccable in characteristic roles for the actors - Eugene Palette in typical comic, fog-horned bluster as the frustrated patriarch (though actually more restrained here than his other similar roles of the period); Alice Brady in full daffy flightiness as the arts-loving mother with her own live-in protégé in Mischa Auer, who plays Carlo as the high-maintenance leech he is (his chimpanzee impersonation scene is priceless thanks to his manic agility); Jean Dixon as the smart-mouthed maid Molly who develops her own crush on Godfrey (though the script gives her short shrift in this development); and best of all, Gail Patrick, who epitomizes the upper-crust bitch-princess as the talon-bearing sister Cornelia (of course, she and Lombard do not look remotely like sisters). It all wraps up nicely though rather fancifully, for instance, Cornelia does an about-face only a Hollywood producer would find credible. And one could argue that the portrayal of Godfrey's hobo brethren is on the sanctimonious side. But it doesn't matter, as the movie glides over the heavier implications of wealth, class distinctions and social injustice with a velvet glove. A true and deserved classic.

I am generally not a fan of colorization, though I have to admit the digital technology seems to be improving as the new discount-priced DVD provides a surprisingly nice transfer with soft, pastel colors except for some of the more elaborate evening gowns at the beginning.The package includes the original black-and-white version for purists and a colorized trailer as well. This is a good alternative to the Criterion Collection DVD priced at nearly four times the price (granted with additional features).

William Powell is at his best.
A dysfunctional but seemingly wealthy family takes in a new butler of dubious background.In return the butler saves the family in more ways than one.(This is a comedy)

I really appreciate this movie on many levels.You may recognize several people types just in the Bullock family.The interaction between Carole Lombard and William Powell is worth watching in its self.I particularly like when Tommy Gray (Alan Mowbray) has to explain his earlier relationship with Godfrey.

As good as this movie is I still like the remake with David Niven and June Allyson just as well."My Man" Godfrey (1957) but many of his movies are hard to find.Such as "The Statue" and "Prudence and the pill."

Colorized and Black&White
Good Black&White edition and surprisingly good 2005 Color edition. Although I'm no fan of colorized movies in general, this edition has some very pleasant and natural looking colors (we're living in the digital age after all and colorizing images has not been overdone like the tendency in the past). No subtitles are available, both movies are on the same side of the DVD. No special features other than scene selections and original Trailer. A bargain compared to the Criterion edition. Key Video is supposed to be a subsidiary of Fox.

Terrific Comedy With Powell and Lombard
This is one of the movies that beget the term "screwball comedy" to describe some of the wonderful, sophisticated, fast-paced and funny Hollywood films to come out of the Depression. In my view, it's one of the best. It would be hard to find two actors who were more skilled at portraying stylish insouciance, who were more attractive as people and who were more polished at delivering funny dialogue than William Powell and Carole Lombard. And although the movie is great fun, there's an underlying message about how people treat each other that is handled deftly.

Irene Bullock (Carole Lombard) and her sister, Cornelia (Gail Patrick), the spoiled, rich daughters of a New York businessman and his scatterbrained wife, are on a society party scavenger hunt. They're competing to find a forgotten man and bring him back to the party. In a dump by the East River they find a group of homeless men living in scrap huts, among them Godfrey Smith (William Powell). Godfrey rejects Cornelia's imperious command to come with her, but is intrigued by Irene's ditsy honesty.

"Do you mind telling me just what a scavenger hunt is?" Godfrey asks.
"Well," Irene says, "a scavenger hunt is exactly like a treasure hunt, except in a treasure hunt you try to find something you want, and in a scavenger hunt you try to find something that nobody wants."
"Hmm, like a forgotten man?"
"That's right, and the one who wins gets a prize, only there really isn't a prize. It's just the honor of winning, because all the money goes to charity, that is, if there is any money left over, but there never is."
"Well, that clears the whole matter up beautifully," Godfrey says. He goes with Irene, she wins the prize and is so intrigued by Godfrey that she offers him a job as butler in the Bullock mansion.

The movie is all about Godfrey the butler dealing with the Bullock family, from Irene's infatuation to her father's gruff frustrations and increasing financial failures. The mother is forever going off into self-indulgent flights of nonsense. Cornelia is beautiful and condescending, the maid is knowing and funny. And there seems to be a live-in gigolo for Mrs. Bullock, Mischa Auer, who at one point does a great impersonation of an arm-swinging ape. Through it all Godfrey maintains his composure. And little by little we learn that Godfrey is not who we think he is, or who the Bullocks think he is.

By the end of the movie Godfrey has by his example taught the Bullocks a thing or two about honesty and humility, his real identity has been discovered, and Irene Bullock has more or less coerced him into what will most likely be a very interesting marriage.

William Powell could deliver more meaning in a cocked eyebrow or a slightly questioning line delivery than, I think, any of his contemporaries. He wasn't a conventionally handsome lead actor, but he carried himself with such style and assurance that he was a dominant star. Carole Lombard was his match in this film. She was a gorgeous creature, but could be earthy or funny or glamorous when she chose, and all at once, too.

The Criterion DVD is in great shape. ... Read more

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3 Great Movies on 1 DVD.Star Power, Exciting Genre with Extras on each DVD. ... Read more

Reviews (2)

Worthwhile just to enjoy seeing the legendary Tom Mix
Tom Mix is probably the best known of the early western heroes. Besides his roles, he's also credited for being an early mentor for a hopeful young actor by the name of John Wayne.

This Mascot serial was made at the end of Tom Mix's career. He was one who suffered from the advent of sound.

One interesting facet of the serial is its foreshadowing of events in Europe. The bad guy is mining a powerful explosive for an unnamed European country which is preparing for war. I don't think I'm spoiling the ending by letting you know that Tom Mix, aided by his horse Tony, successfully thwarts the scheme by the final chapter.

Quite recommended for those who enjoy vintage western action.

TOM MIX'S ONLY SERIAL AND HIS LAST MOVIE
One reviewer must've gotten the wrong video, because this is definitely Tom Mix, and Rin Tin Tin is nowhere to be seen in it! Besides Tom Mix, you get Charles Middleton as the villian. He's not nearly as menacing as he is in the Flash Gordon serials, but he's still a notable villian.

This is truly a contemporary western, taking place in 1935 when the movie was made. The bad guy is bent on chasing the indian tribe off their reservation so he can mine it for a secret explosive that he plans to sell to an unnamed European country. In one scene, he mentions the added power this powerful explosive would give a dictator, so if you know enough history to know what was happening in Europe in 1935, you can guess what country was being suggested here.

Tom Mix and Middleton together make this one of the better western serials, and I quite recommend it. ... Read more

Description

Cyrano de Bergerac (1950, 107 min.) - The classic storyof Cyrano, the tragic wit renowned for his nose andunrequited love for the beautiful Roxanne. Jose Ferrer won an Academy Award for his protrayal of the title role. "The Son of Monte Cristo" (1940, 105 min.) - Under the cover of night, aristocratic dandy Edmond Dantes, Jr. (LouisHayward) transforms himself into 'The Torch.' ... Read more

Description

Hopalong Rides Again (1937) to lead 1,000 head of cattle through dangerous rustler country. To ingratiate himself with Hoppy and his friends, "Professor" Hepburn pretends he's an esteemed "bone hunter." Determined to stop Bar-20's plans for the upcoming cattle drive, the Professor dynamites a cliff, crushing the chuck wagon carrying Hoppy. "Heart of Arizona" (1938) - Two-faced cowpoke Twister steals a herd of cattle and pins the blame on Hoppy's unfortunate friend, Lucky. But Hoppy and Windy aren't buying Twister's tale and set out to clear their buddy's name. Guns are blazin' on Belle Starr's ranch in the Heart of Arizona for a final showdown between the good guys and the bad guys! ... Read more

Reviews (1)

A Fan
I have some of the other Hoppy dvd's and I enjoy them. If this is any like the others I'm sure you will enjoy them As Well........ ... Read more

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218 minute feature film DVD. ... Read more

Reviews (8)

A classic John Wayne
It is great to see John Wayne in the early years . It was both funny and action packed and comsidering it was 70 years ago it was of a great quality .

A collecter of John Wayne films on VHS ( PAL )
This 1932 12 chapter film is a very good for the year it was made.The thing that appeals to me is that these types of films never had to put up with sensorship.

private collector of all john wayne filme on VHS ( PAL )
This 1932 12 chapter film is very good for its time.The thing that appeals to to me is there was no sensorship in those days.That means (in my view ) they are more entertaining to watch.

Not the serial
If you are a true serial fanatic you won't like this DVD. It's the feature version. I was surprised because there is a full 12 chapter VHS version.

some second thoughts
After getting in touch with Marengo they explained to me that more viewers prefer the featurized-versions. That's why they've done it that way. But by mistake they forgot to mention it on the cover. A correct serial-version is in consideration for sometimes in the future. So my anger is calmed down - especially after checking my old tape of this serial - it has all the cliffhangers but picture and sound are far below that of the Marengo-DVD. So until a definitive versions turns up let's say: better than nothing. ... Read more

Description

Another great double feature from that hero of the wild, wild west, Bill "Hopalong" Cassidy! In "3 on the Trail" (67 min.), an Englishman named Ridley, now turned rancher, announces that his cattle are disappearing, and Hopalong Cassidy helps him track down the rustlers. The second feature, "Hopalong Cassidy Returns" (74 min.), finds Bill on his way to Mesa Grande, where he is the new Marshal. Along the way he stops a runaway horse and saves a woman's life. Upon arriving in town, he discovers his old friend, the town's newspaper editor, has been brutally murdered by the very same woman Hoppy just saved, a hardnosed businesswoman who runs the town. ... Read more

Reviews (4)

Great production quality
Hopalong Cassidy movies always had high production quality; for B movies, it is obvious that the producer spent a lot of money--and it shows. Shot on location rather than in a back-lots like most old westerns, the sets and expansive outdoors locations are well represented on film. You just have to like Hoppy in black and George (later called "Gabby") Hayes as "Windy." Plenty of good acting, action, a touch of comedy, and, of course, Hoppy's famous laugh. Old Westerns just don't get better than this. The quality of these DVDs is quite good. You may have to re-set the disk to mono sound to enhance quality, but once you do it is great. The picture quality looks like the movie was shot yesterday. What a great way to spend a Saturday morning watching Hoppy catch the crooks.

Hoppy Cleans Up the Town
He dresses all in black. He struts around with 2 pearl-handled Colt pistols. He doesn't drink. His horse can make breakfast. He's Hopalong Cassidy. 1935's hit "Hopalong Cassidy Enters" sparked the magic formula for veteran actor William Boyd and his long-running movie and television franchise. This double-feature DVD starts with 1936's "Three on the Trail", co-starring George "Gabby" Hayes and one-time Broadway star Onslow Stevens as the corrupt saloon owner Pecos Kane. Stevens had an interesting Hollywood career. In 1932, he started in films as a leading man. He slipped to character parts,and became famous as mad Dr. Edleman in 1945's "House of Dracula". In later years, his career was adversely affected by alcohol. It is reported that his death in a convalescent home in 1977 was attributed to murder. The second movie, "Hopalong Cassidy Returns" is an exciting shoot-em-up. Villian Blackie Felton drags a wheelchaired cripple through town to his violent death. Hoppy swears revenge. Blackie is played by Stephen Morris, who once worked for Orson Welles' Mercury Theatre. Later, he changed his name to Morris Ankrum, and appeared(often uncredited) in over 170 motion pictures. In the 1950's, Ankrum turned up consistently in low-budget monster movies. These 2 superior Cassidy episodes were filmed in the Alabama Hills, in Lone Pine, Cal., around Mt. Whitney, 400 miles north of Los Angeles. Other locations included Red Rock Canyon in the High Sierra Mountains. The DVD elements have been spruced up with digital audio and visual restoration. There's some sound drop-out, but the picture quality is amazing for 1936. William Boyd continued his very successful Hoppy films into the 1950's, ending with a TV series. He retired, but continued making live appearances for his legions of adoring young fans; almost up until his demise in 1972.

"round-up time at the Bar-20...you're dern tootin'"
Once again our silver-haired hero in black Hop-A-Long Cassidy, with the help of Johnny Nelson (Jimmy Ellison) and Windy Halliday (George "Gabby" Hayes), Hoppy's two trail wranglers try to feed hungry settlers during the great depression in Plainsville...Hoppy goes up against some tough polecats (Morris Ankrum) and it spells trouble...strong storyline with fast-paced action and a beautiful backdrop of Lone Pine, California...gives this film the wide open spaces with breathtaking moments.

William Boyd (Hoppy), ranked high on the list of "Western Roundup" heroes, riding his white steed Topper, with blazing pearl-handled six-guns, as the rustlers and outlaws reached for the sky.

Both features are top-notch film-making, outstanding directing from Nate Watt...Boyd gave his character life, his word was his bond...never quit on a friend in need and always give the other fellow an even break...this was the way of the early west...and this was the code he lived by, they'll never be another HOP-A-LONG CASSIDY!

Total Time: 65 Mins (3 on the Trail-1936)
Total Time: 74 Mins (Hopalong Cassidy Returns-1936)

Hoppy remastered on DVD
Both of these titles "Hopalong Cassidy Returns" and "3 on the Trail" have been beautifully remastered and restored digitally on this edition. The Boyd Cassidy movies were definitely a cut above the typical "B" westerns which were produced in Hollywood during the 30s, 40s, and 50s. As opposed to the typical "B" western, Boyd and the Hopalong Cassidy series brought first class acting and story telling to the screen, especially those from the "early years." These have been released through Image, a company which usually does a good job of remastering. The familiar characters of "Johnny" and "Windy" were also brought to life through the skills of "Gabby" Hayes and Jimmy Ellison, along with some superbly acted vilianous characters played by such staples as Morris Ankrum (appeared in at least 12 Hoppy films as the bad guy) and others. These films have beautiful scenery and location which also adds to their quality. Men and women are portrayed realistically, running the gamut from psychotic killer (Morris Ankrum in Hopalong Cassidy returns) to comedic sidekick (Gabby Hayes "Windy"), to younger romantic member (Johnny Nelson (Jimmy Ellison), to heroin and supporting cowboys, all portrayed with stark realism. This is the mettle of the old west, vividly brought to life through the excellent portrayels of the above mentioned players. These, as stated earlier, are beautiful transfers and deserve to be seen by all who love cowboy movies. They don't make them like this anymore and these surely deserve not to be missed!!! ... Read more

Reviews (8)

The best of Bela Lugoi's Poverty Row films for Monogram
Actually "The Invisible Ghost" does refer to a character in this 1941 film, but then the only thing that matters is Bela Lugosi's name on the title card. Lugosi plays Charles Kessler, who we meet having dinner with his wife on their wedding anniversary; the only problem is that according to daughter Virginia (Polly Ann Young), her mother was killed in a car accident several years earlier as she was about to run off with her husband's best friend. But Kessler still worships his wife and on their anniversary he convinces himself he is having dinner with his beloved. Sounds plausible enough, but the truth is that Mrs. Kessler (Betty Compson) survived the auto accident and is being kept in the gardener's shed by the caretaker, Jules (Ernie Adams), who keeps assuring the poor woman that she will be taken to her husband and daughter "soon." Meanwhile, there have been a series of strange murders in the neighborhood and when the maid is struck down the suspicion falls on Virginia's beau (John McGuire). But, of course, that is not close enough to home to really ruin the rest of Virginia's life and sooner or later the local cops will figure out the truth of what is going on here.

"The Invisible Ghost" is the best of the nine Poverty Row productions Lugosi made for Monogram after his fall from grace at Universal Studios. The problems in the script (you can usually find the body in a car crash for starters) are compensated for by the work of director Joe Lewis, who shows a lot of cinematic flair for a B-film director making a quickie (e.g., filming the fireplace during the exposition). This film is rather face paced and gets a lot in for only 64-minutes. The other advantage it has is that Lugosi's performance is better than the plot; I mean, come on, you know who the murderer is before the movie begins, and it is just a question of waiting for all the pieces to be forced into place by the time the film ends. This is not a suspense film, but more one about atmosphere and mood. The insane wife, befuddled daughter and falsely accused beau are all above average performances as well; if you were just listening to them you would not know this was a low-budget horror film. There are times when I think this is Lugosi's best performance, but I am probably more comfortable claiming it is one in which he plays his most sympathetic character. But if you do not have a strong stomach for stupid plots, then you would want to pass this one bye.

Bela Lugosi's best poverty row film for Monogram
Actually "The Invisible Ghost" does refer to a character in this 1941 film, but then the only thing that matters is Bela Lugosi's name on the title card. Lugosi plays Charles Kessler, who we meet having dinner with his wife on their wedding anniversary; the only problem is that according to daughter Virginia (Polly Ann Young), her mother was killed in a car accident several years earlier as she was about to run off with her husband's best friend. But Kessler still worships his wife and on their anniversary he convinces himself he is having dinner with his beloved. Sounds plausible enough, but the truth is that Mrs. Kessler (Betty Compson) survived the auto accident and is being kept in the gardener's shed by the caretaker, Jules (Ernie Adams), who keeps assuring the poor woman that she will be taken to her husband and daughter "soon." Meanwhile, there have been a series of strange murders in the neighborhood and when the maid is struck down the suspicion falls on Virginia's beau (John McGuire). But, of course, that is not close enough to home to really ruin the rest of Virginia's life and sooner or later the local cops will figure out the truth of what is going on here.

"The Invisible Ghost" is the best of the nine Poverty Row productions Lugosi made for Monogram after his fall from grace at Universal Studios. The problems in the script (you can usually find the body in a car crash for starters) are compensated for by the work of director Joe Lewis, who shows a lot of cinematic flair for a B-film director making a quickie (e.g., filming the fireplace during the exposition). This film is rather face paced and gets a lot in for only 64-minutes. The other advantage it has is that Lugosi's performance is better than the plot; I mean, come on, you know who the murderer is before the movie begins, and it is just a question of waiting for all the pieces to be forced into place by the time the film ends. This is not a suspense film, but more one about atmosphere and mood. The insane wife, befuddled daughter and falsely accused beau are all above average performances as well; if you were just listening to them you would not know this was a low-budget horror film. There are times when I think this is Lugosi's best performance, but I am probably more comfortable claiming it is one in which he plays his most sympathetic character. But if you do not have a strong stomach for stupid plots, then you would want to pass this one bye.

INVISIBLE GHOST
Although not technically or artistically superior, Invisible Ghost is a winner for Lugosi fans. He plays Charles Kessler, who employs a butler, a maid, a cook and a gardener. There is a series of murders which cannot be solved. Controlled by his estranged wife, who is in a lost world herself (hidden below a storage room by the gardener), Kessler commits the murders in a trance with no memory of them in his normal state. Lugosi is very pleasant and unknowing of what is happening to him/others. This film is very satisfying to Lugosi fans but may be boring to general classic horror fans. [Favorite scene: Lugosi's talk with his new cook]

A peculiarity from Poverty Row.
The oddities of this Monogram semi-horror film begin with the title! The "ghost" in question is NOT invisible, and is not really a ghost. Also, the shadow of an ape appears on the main title card. (Don't ask me, I'm only the reviewer.) The various plot twists contain no supernatural or science fiction elements, and yet are even less plausible than those of other Monogram horrors. The director, Joseph Lewis, displays almost none of the talent he showed in his later films. Only the presence of Bela Lugosi makes this one worthwhile. The role of "Dr. Kessler" is a Jekyll/Hyde character, so Lugosi is playing a normal, likeable guy during most of his screen time, which makes this one of his more unusual roles. Also, Clarence Muse is good as the butler.

Surreal, bizarre Monogram masterpiece...
The title almost gives it away. "The Invisible Ghost." What other kind of ghost IS there? While there are some genuinely creepy moments in this black and white thriller, the plot is so hare-brained you'll need multiple viewings just to absorb the details. Let's see; Bela Lugosi believes his wife died in a car accident, but his gardener (!) actually has her stowed in the back barn. When wifey staggers out in the rain and "haunts" Lugosi, he falls into a trance and murders whoever's handy, then "wakes up" remembering nothing. Throw in a cigar chomping (and utterly ineffectual) police detective, the poor fellow who's unjustly convicted of the murders and sent to the electric chair (!), the casual way Lugosi and friends react to multiple homicides, and a psycho-therapist who suggests Lugosi's murderous trance is, in fact, a fairly common psychiatric disorder, and you've got one of the more whacked movies in cinema history. I loved 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

Description

A boxing match at the Hollywood Stadium turns into a gripping murder mystery with over 2,000 suspects! As top contender Ace Cummings prepares to take on Madison, the reigning champ, Madison, the house lights dim. Suddenly, a scream echoes through the venue and a peculiar odor fills the air. When the lights come up, Ace is found dead. After witnessing the bizarre event, sassy and beautiful young writer Polly Ward decides to investigate, teaming up with dapper district attorney Bill Devons. Their long list of suspects includes a candy-seller, a gambler, a movie star, two of the victim's girlfriends and the boxer Madison. Clues are scarce, but the sleuths work every angle. As Polly and Bill draw closer to discovering the killer, their lives are threatened and the danger becomes frighteningly real. Rife with snappy dialogue, brisk pacing, and sharp performances, The Hollywood Stadium Mystery (a.k.a. The Stadium Murders) is a tightly-executed whodunit and a fine example of what smaller studios were capable of during Hollywood's golden era. The opening credit sequence is particularly inventive with its clever use of newspaper headlines to kick off the action. Director David Howard handles the mystery genre with panache, despite a career that centered mostly on adventures and western films like Six-Gun Gold, Painted Desert and Daniel Boone. Neil Hamilton later gained fame as white-haired Commissioner Gordon in the 1966 TV-series "Batman." The ringside radio commentator in The Hollywood Stadium Mystery was Jimmy Wallington, a real-life announcer whose voice was heard on such programs as "The Life Of Riley" and "Stranger Than Fiction." ... Read more

Reviews (2)

THREE TEXES
Somebody needs to say that all three of these star Tex Ritter and one is directed by serial expert John English.

GOOD OLD TEX
I met a man who told me he had a large collection of westerns I asked him if he had any of Tex Ritters. His reply was he did`nt rate him as a western star or Roy Rogers, Lash Larue or any of the old Saturday cinema hero`s . I found it difficult to control myself. These were my boyhood hero`s. He only had the major stars James Stewart, Audie Murphy, John Wayne ect. Not that there is anything wrong with these people as they also rate highly in my own collection. But imagine my delight to find this on DVD and to be the first to review it..Don`t expect it to be first class quality as it is not it has scratches, it jumps and in one of the three movies a large piece is missing. But this is how I remember it from those bygone years when I was the front row kid in our local theatre now sadly gone and it is wonderful to see my great hero once again.Any of you who are the right age to remember those days I urge you to buy this DVD and to the people who produced it how about some more. Johnny Mack Brown, Charles Starret, Rocky Lane,Buck Jones and Tim McCOY are names that come to mind. ... Read more