Description

A conniving father and daughter meet up with the heir to a brewery fortune-a wealthy but naïve snake enthusiast-and attempt to bamboozle him at a cruise ship card table. Their plan is quickly abandoned when the daughter falls in love with their prey. But when the heir gets wise to her gold-digging ways, she must plot to re-conquer his heart. One of Sturges' most clever and beloved romantic comedies, The Lady Eve balances broad slapstick and sophisticated sexiness with perfect grace. ... Read more

Reviews (41)

"Let us be crooked, but never common."
Preston Sturges' "The Lady Eve" is a romantic battle of the sexes done screwball style. Yet, to classify it solely as a romantic or screwball comedy would be a mistake. For "The Lady Eve" was a transition film set between the pure screwball comedies that preceded it and the more conventional romantic comedies that followed. It relied on pratfalls and misunderstandings like its predecessors but also added an additional level of wit and sophistication that downplayed the more juvenile aspects of the screwball genre.

"The Lady Eve" is about the complicated boy-meets-girl-boy-loses-girl-boy-meets-another-girl-who-turns-out-to-be-the-same-girl relationship between beer company heir Charles Pike (Henry Fonda) and crafty con artist Jean Harrington (Barbara Stanwyck). They first meet on a cruise ship where Jean pegs Charles as just another victim. However, she soon falls in love with him only to be tossed aside when Charles finds out about her true vocation. Jean bides her time, patiently waiting for an opportunity to exact revenge on the man who jilted her. The opportunity soon presents itself but Jean's romantic feelings get the best of her once more. After deciding to leave behind her fake Eve personage, she chooses true love over the con game and hooks up with Charles again.

Fonda is superb at playing the sincere but easily victimized Charles. Those familiar with him only through his dramatic roles will find that he can be just as home in a comedic part. Yet, it is Stanwyck who steals the show. At different points of the film, she is called upon to be vile, sweet, clever, or heartbroken, and she pulls off each new demand placed upon her effortlessly. Stanwyck remarkably manages to create a multi-dimensional character that you loathe and love at the same time. The supporting cast is also strong with Charles Coburn, Eugene Pallette, William Demarest all contributing winning performances. There's much to enjoy about "The Lady Eve" but perhaps the most important message to take away from it is that it is never good to have five aces in your hand.

_The_ Sturges Classic!!!
Wow. This film is a stunner. It is also one of the best romantic comedies of the 1940s, or of any era. As usual, Preston Sturges's dialogue and situations sparkle with humor and wit, while his direction keeps the action moving quickly. Both Barbara Stanwyck and Henry Fonda turn in perfect performances. There are also notable supporting turns by Charles Coburn, Eugene Pallette, and Eric Blore (all practiced character actors that shined in romantic comedy). Several Sturges regulars also appear, notably William Demarest.

Stanwyck plays a con artist, who, with her father (Coburn), tricks unwary passengers on cruise ships. She decides that Fonda, a rich man who is heir to Pike's Pale [ale] fortune, will be her next victim. They meet "cute," as is required in an old romantic comedy: Stanwyck purposefully trips Fonda and breaks her shoe, then forces Fonda to take her to her room to replace it. The following scene on the chaise loungue is a keeper. Soon Fonda is falling under Stanwyck's spell, while Coburn is stealing his money at cards. But Stanwyck also finds herself falling in love, as she is slowly won over by Fonda's innocence. She decides to reform and give Fonda back his money. But then Fonda finds out that Stanwyck is a known criminal, and breaks up with her. Determined to have her revenge on Fonda for dumping her, Stanwyck disguises herself as the wealthy English "Lady Eve" and goes to Fonda's house. There, she quickly seduces him, without Fonda ever recognizing her. Then things get even more complicated. Of course, certain events result with our hero and heroine finally understanding each other and finding happiness.

This film is a treat from beginning to end (I loved the opening credits with the animated snake--nice Adam and Eve reference). Well worth the money. Also recommended: Easy Living, Hail the Conquering Hero (both also Sturges), Ball of Fire (also with Stanwyck), anything by Lubitsch.

Never play cards with a card sharp

Director: Preston Sturges
Format: Black & White
Studio: Universal Studios
Video Release Date: August 4, 1998

Cast:

Barbara Stanwyck ... Jean Harrington/Lady Eve Sidwich
Henry Fonda ... Charles Pike ('Hopsie')
Charles Coburn ... 'Colonel' Harrington
Eugene Pallette ... Horace Pike
William Demarest ... Muggsy (Ambrose Murgatroyd)
Eric Blore ... Sir Alfred McGlennan Keith ('Pearlie')
Melville Cooper ... Gerald
Martha O'Driscoll ... Martha
Janet Beecher ... Janet Pike
Robert Greig ... Burrows
Dora Clement ... Gertrude
Luis Alberni ... Emile, Pike's chef
Harry Depp ... Man With Glasses on Boat
Robert Dudley ... Husband on Boat
Ray Flynn ... Lawyer
Kenneth Gibson ... Party Guest
Sam Ash ... Husband on Boat
Alfred Hall ... Party Guest
Eddie Hall ... Chauffeur
John Hartley ... Young Man on Boat
Arthur Hoyt ... Lawyer at Phone in Pike's Office
Arthur Stuart Hull ... Party Guest
Jack W. Johnston ... Lawyer
Harry A. Bailey ... Lawyer

Ambrose Barker ... Mac
Bertram Marburgh ... Party Guest
George Melford ... Party Guest
Torben Meyer ... Mr. Clink, Purser
Frank Moran ... Party Bartender
Joseph North ... Second Butler at Party
Wilson Benge ... First Butler at Party
Victor Potel ... Second Steward
Jack Richardson ... Father of Girl on Board
Cyril Ring ... Husband on Boat
Abdullah Abbas ... Man With Potted Palm
Harry Rosenthal ... Piano Tuner
Reginald Sheffield ... Professor Jones
Norman Ainsley ... Sir Alfred's Servant
Julius Tannen ... Lawyer
Walter Walker ... Sparky
Robert Warwick ... Passenger
Pat West ... Ship's Bartender
Gayne Whitman ... Party Guest
Al Bridge ... First Steward
Jimmy Conlin ... Third Steward
Wanda McKay ... Daughter on Boat
Esther Michelson ... Wife on Boat
Ella Neal ... Daughter on Boat
Barbara Pepper ... Lady Wrestler Type
Jean Phillips ... Sweetie
Wilda Bennett ... Party Guest
Evelyn Beresford ... Party Guest
Frances Raymond ... Old Lady on Boat
Marcelle Christopher ... Daughter on Boat
Georgie Cooper ... Party Guest
Nell Craig ... Boat Passenger at Railing
Eva Dennison ... Mother on Boat
Helen Dickson ... Mother on Boat
Pauline Drake ... Social Secretary
Betty Farrington ... Mother on Boat
Bess Flowers ... Party Guest
Almeda Fowler ... Mother on Boat

A trio of card sharps on a cruise ship tries to take a rich man's son, Charles Pike (Henry Fonda) at cards. Unfortunately for both of them, Pike falls for Jean Harrington (Barbara Stanwyck), and she him. Also unfortunately, her background as a card cheat comes out and puts the kibosh on the romance.

The story develops from there.

This is a good story, ccompetently acted and directed, and very entertaining.

Joseph (Joe) Pierre

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

Best American Laugher
I saw bits and pieces of The Lady Eve on Turner occasionally and never watched long enough to have an opinion one way or the other. I enjoyed Preston Sturges, Sullivan's Travels and realize he's one of the greats of American film comedy, so I rented The Lady Eve on a friend's recommendation. I enjoyed young handsome Henry Fonda and particularly Barbara Stanwyck. Barbara Stanwyck is not a favorite actress of mine. Maybe it's her brassy delivery and non-leading lady face, but I've changed my mind. Barbara is without a doubt the equal of Claudette Colbert or Carole Lombard in screwball comedy. She might be better. There is a burning intensity, a wistfulness in her delivery of: "Sometimes a good girl can be bad and a bad girl can be good." Fonda has been in the Amazon for a year and on a ship home he runs into a family of card sharks. Barbara traps him, he trips, falls, lands on his ass, and holds her stocking foot. Then they fall in love in some of the most romantic photography of a beautiful couple ever shot. The farce goes on to its final brilliance. There is one pratfall that made me laugh out loud for five minutes. Preston Sturgis is one of the best five directors in all of film.

a very nice film with nice extras
This review is for the Criterion Collection DVD edition of the film.

This movie starring Barbara Stanwyck and Henry Fonda remains a classic to this day.

In this film, a woman and her father meet the heir to a brewery company on a cruise ship and attempt to sucker him at a card table. The daughter soon falls in love with their would-be victim. He later learns of her plan and she tries to win his heart. The movie has much slapstick humor in it and is comparable to the kind seen in the Three Stooges shorts.

The film was also selected by the Library of Congress for the highly coveted National Film Registry and Preservation Board.

The Criterion DVD has many special features including a theatrical trailer, a large number of publicity photos and stills, costume design sketches and other ephemera generously shared by director Preston Sturges' family . There is also a video introduction by writer Peter Bogdanovich and audio commentary by scholar Marion Keane. As a bonus there is the unabridged Lux Radio Theater audio drama adaptation of the film presented by Cecil B. De Mille.

This is truly a classic of American cinema. ... Read more

Reviews (14)

Hilarious! Danny Kaye is the best at being anyone!
This movie is about twin brothers brought back together through the death of one. Danny Kaye portrayes both brothers and is at his best being two different people. The music and dancing are wonderful and the singing as well. But it's Danny Kaye making you laugh that's makes this movie one of his all time best. This movie helps show our children what good clean fun is all about.

Buster and Danny
BUSTER! This movie is one of the funniest I've ever seen. Danny Kaye is hilarious playing 2 roles: a whimpy librarian and his ghost twin brother- Buster! The scenes in Prospect Park (aka Potato salad),the deli, and some of the on-stage routines are classics.

DOES THIS THING REALLY COST $ 259.00
I am shocked to see that Amazon is offering this DVD at the ridiculous price of $259.00. Did any of the previous reviewers pay that amount for this. If you know of any where I can purchase this at a MUCH LOWER price. Please Email me at bkuszak@hotmail.com

really witty and fun
this Danny Kaye film of "Wonderman," is very funny and a great Kaye vehicle. I highly recommend it to any fan of his films It's a must see.

stewpot
There are always films you associate with your youth and this is one of mine.To this day it is the only film that i wet myself over.It is all that is great about old movies and Danny Kaye is a genius in this film.If you only watch one old comedy film make it this one. ... Read more

Description

They are some of the best-loved film comedies ever created.Now, four of the most popular "Road" pictures, starring the unbeatable screen duo of Bob Hope and Bing Crosby, are here together in this deluxe DVD collection.Join Bing and Bob as they travel the world and experience rollicking, fun-filled misadventures in the company of the alluring Dorothy Lamour in such screen gems as Road to Singapore, Road to Zanzibar, Road to Morocco and Road to Utopia.You'll laugh yourself silly with four of the titles that made Hope and Crosby one of the most successful comedy teams of the 1940s and which continue to charm and entertain audiences of all ages today. ... Read more

Reviews (4)

Great Collection, But Where Are the Other Three?
This collection of the first four Road pictures is well worth having. The picture quality is excellent and all four films are loaded on one double-sided disc. But where are the remaining three Road pictures? This would have made the ultimate Road collection. Disappointing.

bob and bing are hilarious
bob hope and bing crosby are great together. their antics in these movie are so funny i had to laugh. i have seen these four movies and one other of the "on the road to" movies. they are comical. any classic movie love should love these. it is definately worth the $20.00 i spent on the 4 pack of moives.

Patty-Cake, Patty-Cake, Baker's Man...
Wow! The first four Hope and Crosby road pics on one DVD! What can you say? The first two, ROAD TO SINGAPORE and ROAD TO ZANZIBAR (though still funny) are still trying to flesh out the chemistry of the duo and the two actors adhere to the scripts. Then, they hit their stride of hilarity and break out in ROAD TO MORROCCO and continues in ROAD TO UTOPIA. However, in ROAD TO ZANZIBAR evidence of what is to come in Hope and Crosby's future pairings comes near the end of the film. The two are captured by cannibals in Africa and are tested to see if they are gods (sort of a variation of THE MAN WHO WOULD BE KING). Hope's character is forced to wrestle a gorilla in a caged match. This is very funny as Hope shows his ability for physical comedy. Then, the climax is when they are about to be literally cooked for dinner. They use their patented "patty-cake" routine to escape from the cannibals. This is even more hilarious than the gorilla scene. Then, in ROAD TO MOROCCO, the famous ad-libbing and rapid fire delivery of dialogue is apparent and the film is zany from beginning to end as the duo are involved with a Moroccan Princess (Dorothy Lamour) and an angry Shiek (Anthony Quinn). Then, in ROAD TO UTOPIA the two go to Alaska for the gold rush and get involved in a case of mistaken identity. Overall, the four films showcase one of the great pairings in the history of entertainment and some of the funniest and successful film franchises. The DVD package has little extras except for a couple of sing-along features and liner notes, but having the four films on one disc at a price lower than some other collection discs is worth it.

Nothing like it before or since.
Reviewing Bing and Bob's "Road to" pictures is like saying of ice cream, "tastes good." We would no sooner think deeply about Rocky Road than "Road to Singapore." But I'm going to make a few observations anyway.

The spontaneity of Hope and Crosby in these films is legendary-- the way they turn to the camera from time to time and talk to the audience, and how they insert their own lines (each paying his own group of writers on the side to outdo the other in the laugh department).

Another aspect of these first four "Road" pictures (the best of the seven total) is their idealization of adolescent bachelorhood. These boys do their best to get away from their adult responsibilities-- wife, job, ashtrays for cigarettes.

With "patty cake, patty cake" and "pow!" they're off to far away places with strange sounding names, as much a male fantasy as the 007 pictures. Only they're not out to save the world, oh no. They're out to save themselves from a nasty, moustached Anthony Quinn, or a chanting pack of be-boned and painted cannibals.

The only fighting they do is over the beautiful Dorothy Lamour. Try to imagine any other actress in her role, and I'll lay you eight to five you won't find another. She's as essential to these pictures as Bing and Bob-- and she can sing!

Zany and chaotic these adventures may be, but there's a certain class to them too, including the costumes and the sets, and most notably the timeless songs, many by Van Heusen and Burke: the ballads "Too Romantic," "It's Always You," "Moonlight Becomes You" and fun numbers of the I-don't-care-if-I'm-poor variety such as "Ain't Got A Dime to My Name." Hopefully younger audiences won't go "ho hum" to these old-fashioned tunes and press fast forward.

Each successive picture is funnier than the one before, culminating in the hilarious "Utopia" (which could have been "Alaska"). Yet "Morocco" is the best all-around, having a certain magic and polish, and some of the best one-liners. "Singapore" has a unique freshness to it because they still didn't know what they were on to-- maybe not as funny but it captures the essence of the single man who wants to be nothing but a nobody.

To say that the treatment of non-whites is "un-P.C." isn't doing justice to how badly they are portrayed. It seems that anybody with slightly dark skin can pass for the inhabitant of one of these "uncivilized" countries. And the two white dudes feel they are entitled to anything they want among the "savages." Young kids might need to be told that these portrayals are sort of stupid and mean.

Still, let's not get carried away-- the whole thing is *supposed* to be ridiculous and that's one reason it's so funny. Think of Apu in "The Simpsons." The people who are making the movies are laughing at their own ignorance.

It would be impossible to recapture the chemistry of Bing, Bob and Dorothy, to make movies that are so funny yet so musical, with humor that is safe enough for young kids but edgy enough for adults. And here they are-- the top four on *one* DVD. ... Read more

Amazon.com

The Good Fairy is an amusing minor specimen of the sort of Continental whimsy Ernst Lubitsch raised to a fine art. William Wyler, though soon to acquire major-director status, displays little affinity for comedy, and, title notwithstanding, the often-magical Margaret Sullavan is notably less magical than in her other '30s efforts (she and Wyler had a great love-hate thing going during filming, and eloped on his motorcycle right afterward). The real stars are screenwriter Preston Sturges and the breed of exuberant character actors with whom he would make manically beautiful music upon turning director himself: Reginald Owen, Eric Blore, Torben Meyer, Luis Alberni, et al. Herbert Marshall sporadically brings a Lubitschean delicacy to his role as the struggling lawyer who doesn't know he's "married" to Sullavan's sweetly balmy movie usherette (it's a long story), and Frank Morgan, as a plutocrat who desperately wants to play the roué, is really the Wizard of Oz in training. --Richard T. Jameson ... Read more

Reviews (6)

Entrancing romantic comedy
Margaret Sullavan plays a naive orphan who gets a job as an usherette in a massively grand cinema of the sort that modern cinema-goers can only dream about. She is befriended by waiter Reginald Owen, who gets her aninvitation to a party at a posh hotel. Here she meets a would-be seducer, a wealthy meat-exporter, Frank Morgan. She pretends to be married in order to cool Morgan off, and he promises to make her husband rich. Anxious to perform good deeds, she selects a lawyer's name at random from the phone book, and Morgan offers him a contract. Sullavan can't resist visiting the lawyer, Herbert Marshall (suave and charming as always) and naturally falls for him. The film gets funnier and funnier as her life becomes more complicated and entangled with the three bemused men, Reginald Owen, determined to keep her virtuous, Frank Morgan, trying for exactly the opposite, and Herbert Marshall, who of course is falling in love with her. The climax, where all four of them are engaged in a hopeless conversation of crossed purposes, reduced me to tears of laughter. This is a sublimely funny film, with occasional moments of dramatic tension (like will Sullavan succeed in making Marshall shave off his beard? I could scarcely stand the suspence). The best line in the film is when Moregan tells Marshall "well, I could use one honest lawyer, but don't overdo it". This film is just sublime.

One of the funniest (and least known) Thirties comedies
Very few people know of this delightful gem from 1935, starring the sublime Margaret Sullavan in one of her very best parts. She plays Luisa, a completely unworldly orphan hired from her orphanage to work in a movie theatre as an usherette by Alan Hale. Hale is the first of a series of "good fairies" who come to Luisa and try to transform her life: the other is Herbert Marshall (as a grouchy waiter), Frank Morgan (as an amorous millionaire) and Reginald Owen (as a poor lawyer)--but all the while it's Luisa who thinks she's acting the role of Good Fairy to them. The script (Preston Sturges's re-write of a Molnar play) here is so superb (and constantly surprising) that you would have thought it was exactly tailored to the various actors' talents: none of them have ever been funnier. But even when none of them are onscreen (in the hilarious movie-within-amovie sequence) it's still funny. Sullavan took this role (she acted only infrequently onscreen, much preferring the stage) to improve her comedy skills, but she's absolutely peerless: her delight over her "genuine foxine" tippet near the movie's end, and her subsequent bickering over its beauty with Morgan, are indescribably charming.

Utterly charming little known gem
Marvelous comedy starring the great Margaret Sullavan, who is excellent as a naive girl who goes out of the orphanage where she has lived all of her life (in Budapest), to work as an usherette in a lavish cinema owned by Mr. Schlapkohl (Alan Hale), eventually becoming "the good fairy" to an arrogant and very moralistic lawyer, expertly played by Herbert Marshall, in an un-typical role.

Frank Morgan is excellent too as the millionaire who's after Sullavan and, unknowingly, gives her the chance to be a "good fairy". Also, there's an hilarious performance by the great character actor Reginald Owen, as the waiter of a luxurious hotel, who befriends Sullavan and tries to save her from Morgan's clutches.

This is the type of movie they do not make anymore, flawless, charming, enchanting, with lovable characters, thanks to Preston Sturges' wonderful script and William Wyler's deft direction..... Morgan and Sullavan "visited" together Budapest once more, but this time as a store owner and salesgirl in that other masterpiece from 1940, Lubitsch's "The Shop Around the Corner", which also featured Jimmy Stewart.

Don't miss buying this one, because it's scarcely shown on television and has long been unavailable. The DVD is of very good quality.

CAPTIVATING MARGARET SULLAVAN.
Alan Hale plays the owner of the largest movie theatre in Budapest. He persuades the head of the city's orphanage to allow one the her girls to become an usherette. Hale selects the naive, gregarious Luisa (Sullavan) - who has just crashed to the floor from a chandelier after acting out the story of THE GOOD FAIRY for the younger girls. Hale warns Luisa of the evils of men and the importance of good deeds.....A thoroughly charming excursion into a Hollywood long gone, this little movie still pleases and endears those who like whimsy. Helen Hayes starred in the Broadway version of the play. Sullavan and director William Wyler were in all actuality married when this was filmed: they bickered and clashed throughout production. Originally, the scene with Hale and Sullavan mentioned above was to imply Hale teaching Sullavan the "facts of life". Naturally, 1934 censors deemed this as gravely objectionable, so his advice to Luisa was concerned about her general unworldliness - rather than being sexually green.

What's a foxine between friends?
This is a rather wonderful movie. The phrase "very funny" recurs throughout in various contexts and it really describes the movie itself. I wake up in the middle of the night and start laughing as scenes from this movie play through my head.

I snap up anything having to do with Margaret Sullavan. According to Quirk's biography, she was advised to turn down this role. She'd made a reputation in Hollywood as a serious dramatic actress and the feeling among her handlers was that taking a frothy role like this would confuse the public as to what kind of personality she was. For her part, the most important thing was refining her skills as an actress and comedy was an area she felt needed work. Hence she insisted on taking the part, almost as an exercise. The results are gratifying in that Margaret Sullavan is really funny here, more so than in any other comedic performance by her that I've seen (the others are in "The Moon's Our Home" and "The Shop Around The Corner," the latter an excellent film).

As I acquaint myself with these old Margaret Sullavan movies I learn about other performers of the day who also possessed great talent. Here it's Herbert Marshall who is, indeed, very funny as he delivers lines like "new office equipment...to start with."

Addendum 10/4/03 - These remarks are for music fanatics only. I've realized that nearly every melody in the score of this film is derived from the same six-note descending scale that concludes the Wagner wedding march heard at the very end. To get an idea of what I mean, listen to the end of the march sung by the kids just as Margaret Sullavan in wedding garb fades out. This is followed immediately by a reprise of the opening theme of the film, and as you can hear, the first six notes of that theme are exactly the same as the final six notes of the wedding march.

Most if not all of the other melodies also begin with this same sequence of descending notes, sometimes transposed or otherwise varied. Just listen to each of them starting with the melodramatic melody heard during the mock movie ("Go!"), moving on to the ballroom music at the ritzy hotel where the same descending scale forms the backbone of the melody, then later the scene where Margaret Sullavan models the foxine and a playful melody is heard that begins with the descending sequence, but here beginning on the fifth degree of the scale.

Film composers have always been overtrained for their work, and I realize now that this must be the kind of game they indulge in to try to stay challenged. ... Read more

Reviews (8)

Look Into My Eyes...
At first glance, SVENGALI (John Barrymore) is just a slimy, heartless music instructor, taking advantage of the folly of his female students (victims). On closer inspection, he is a demonic presence, mesmerizing those he desires with those hideous eyes of his! Trilby (Marian Marsh) is a beautiful young model, who captivates SVENGALI and drives him to obsession. He simply must possess her and sets out to do so by hypnotizing her (in the guise of a headache cure). The various shots of SVENGALI's eyes are unforgettable. In them we see an evil that is otherwise hidden deep in SVENGALI's heart. While others think of him as a harmless buffoon, we know what he REALLY is, as well as what he's really capable of. Trilby is drawn into those eyes, becoming his slave. Though she becomes a singing sensation, we realize that she is only a puppet for her new master, a caged bird chirping for her captor. Her life is reduced to SVENGALI. This is a horror story about domination, submission, and death. Eerie and disturbing, SVENGALI is a must-see classic. Highly recommended...

Barrymore's best
John Barrymore gives a performance for the ages as the title character. His walk, body language, makeup and voice are outstanding and he makes the mesmerist a very tragic character.
The overlooked Archie Mayo does a great directing job for this early sound film and the very green Marion Marsh, helped by Barrymore, is the doomed Trilby. This is Barrymores's greatest hour.

Under John Barrymore's spell
Maestro Svengali (John Barrymore), professeur du chant, dwells in a shabby attic. His hair is greasy and his goatee split like a snake's tongue. But one indifferent "Ja, Liebchen, I know how you feel" is enough to bring women to throw themselves at his head. But heaven help those who fall for his flattery. He has no use for a burdensom appendage, and a gullible woman who throws herself in the Seine because of him grieves him not particularly: "Ah, that was a pity. She was very sweet - but a bad businesswoman. Tsk, tsk, tsk". The scene of action is Paris. The Paris of MOULIN ROUGE and LA BOHEME.

Svengali's morning toilet is not too careful - he spits in a cuspidor - and the sight of a young briton taking a bath gives him the idea to play "God save the Queen" to make him stand up. Most of the time he grapples with the problem of how to pay his rent, but when his purse if filled he spruces himself up and goes to town, unaffected by the mockery of the passers-by.

One day, Trilby (Marion Marsh), a young, coquettish painter's model bursts into this bachelor's topsy-tuvydom. Casually dressed in a gendarme's uniform and comfortable slippers she poses for all those Toulouse-Lautec-wannabes and falls in love with Billie (Bramwell Fletcher), the young briton who soon proposes to her. While Billie falls for her looks, her singing-voice attracts Svengali's attention. He recognizes her potential as primadonna and uses his hypnotic powers to clear her brain until she thinks nothing but: Svengali. He heals her headache but her pain goes directly in his heart.

The next shot is famous: Svengali calls Trilby via long-distance-hypnosis: His eyes light up like electric bulbs, the camera moves from his pupils along the block of houses in Trilby's bedroom. She sleep-walks in his apartment. His powers are strong enough to transform he in a somnabulist, but to win her love... He obstructs her wedding: She feels guilty after Billie surprises her posing as life-model ("He saw me there, before all those men!"). Svengali lists her former lovers and appeals to her conscience: "You are good like a little bird, like a lark that must sing in the sunlight - but are you good enough to face Billie's mother?" and his cunning is crowned by success.

Five years later, Trilby, now Madame Svengali is a famous primadonna who sends the audience into raptures. Svengali, bemedalled, and "La Svengali", loaden with jewels look very new-rich, but the glittering facade crumbles: Svengali's heart is failing, slowly he loses his grip on Trilby. In those moments she wakes up and greets her old friends as if nothing ever happened. Billie too is in the audience, Billie who still loves her...Svengali pulls himself together and Trilby is spellbound again. He showers her with presents, but she is unable to give him what he wants most - her love: "You are beautiful, my manufactured love, but it is only Svengali talking to himself".

Two components contribute to make SVENGALI a classic: The famous surrealistic sets and John Barrymore's performance. One aspect of his performance is problematic: The protagonist in Du Mauriers novel was a Polish jew, and Barrymore, with his tog, his make-up and his thick german accent may look like a wildly racistic caricature for those who don't know him. But nothing could be further from the truth! He was such a good, open-minded man. His eye-twinkling charm enchants the viewer, and near the end his performance becomes nearly soul-stirring. This was probably his sexiest performance. His biographer Margot Peters found him the personification of seductive guile - Lucifer as serpent, and was remembered of a tomcat watching a mousehole. Barrymore's fourth wife fell so completely in love with him after watching this film, that she chased him by train, plane and even radio-address until he finally said: "yes".

AN INTERESTING ANTIQUE.
For those who are interested to catch a glimpse of the legendary John Barrymore - before he basically became a parody - this film from 1931 is a good choice. In the title role, Barrymore is still quite mesmorising and the photography is interesting. Svengali, of course is that immortal teacher of female singers who can work wonders via his hypnotic glare: Trilby is his newest conquest: she becomes the toast of Europe as Madame Svengali, the singer - all because of his supernatural powers. Marian Marsh makes a visually perfect Trilby but her acting isn't nearly on a par with her benefactor - but then few actresses could really do much with such a mealy, whacko role. Barney McGill's inspired photography won him an AA nomination. Based upon the nearly immortal novel by George Du Maurier, this was - rather unbelievably - first filmed in 1896 (!) by Biograph as TRILBY AND LITTLE BILLEE. Later, in 1915 Equitable filmed the story with Clara Kimball Young and Wilton Lackaye (what a name!) : it was directed by Maurice Tourneur.

Visually Intriguing
John Barrymore stars as a composer and hypnotist who takes control of Marian Marsh through hypnosis and turns her into a great singer and his lover. Barrymore gives a striking performance as the sinister, yet humorous Svengali, sometimes a bit hammy but acting circles around the rest of the cast. The sets and photography are strange, yet stunning, creating an eerie, almost other world feel. There are a number of great camera shots, including a long shot that moves from Svengali's apartment to another building that must have been a real challenge technically back in 1931. It is a very talky film with little action, but the visual presentation of Barrymore and the sets helps to make up for it. It's not a great film, but it does leave an impression. ... Read more

Reviews (8)

Look Into My Eyes...
At first glance, SVENGALI (John Barrymore) is just a slimy, heartless music instructor, taking advantage of the folly of his female students (victims). On closer inspection, he is a demonic presence, mesmerizing those he desires with those hideous eyes of his! Trilby (Marian Marsh) is a beautiful young model, who captivates SVENGALI and drives him to obsession. He simply must possess her and sets out to do so by hypnotizing her (in the guise of a headache cure). The various shots of SVENGALI's eyes are unforgettable. In them we see an evil that is otherwise hidden deep in SVENGALI's heart. While others think of him as a harmless buffoon, we know what he REALLY is, as well as what he's really capable of. Trilby is drawn into those eyes, becoming his slave. Though she becomes a singing sensation, we realize that she is only a puppet for her new master, a caged bird chirping for her captor. Her life is reduced to SVENGALI. This is a horror story about domination, submission, and death. Eerie and disturbing, SVENGALI is a must-see classic. Highly recommended...

Barrymore's best
John Barrymore gives a performance for the ages as the title character. His walk, body language, makeup and voice are outstanding and he makes the mesmerist a very tragic character.
The overlooked Archie Mayo does a great directing job for this early sound film and the very green Marion Marsh, helped by Barrymore, is the doomed Trilby. This is Barrymores's greatest hour.

Under John Barrymore's spell
Maestro Svengali (John Barrymore), professeur du chant, dwells in a shabby attic. His hair is greasy and his goatee split like a snake's tongue. But one indifferent "Ja, Liebchen, I know how you feel" is enough to bring women to throw themselves at his head. But heaven help those who fall for his flattery. He has no use for a burdensom appendage, and a gullible woman who throws herself in the Seine because of him grieves him not particularly: "Ah, that was a pity. She was very sweet - but a bad businesswoman. Tsk, tsk, tsk". The scene of action is Paris. The Paris of MOULIN ROUGE and LA BOHEME.

Svengali's morning toilet is not too careful - he spits in a cuspidor - and the sight of a young briton taking a bath gives him the idea to play "God save the Queen" to make him stand up. Most of the time he grapples with the problem of how to pay his rent, but when his purse if filled he spruces himself up and goes to town, unaffected by the mockery of the passers-by.

One day, Trilby (Marion Marsh), a young, coquettish painter's model bursts into this bachelor's topsy-tuvydom. Casually dressed in a gendarme's uniform and comfortable slippers she poses for all those Toulouse-Lautec-wannabes and falls in love with Billie (Bramwell Fletcher), the young briton who soon proposes to her. While Billie falls for her looks, her singing-voice attracts Svengali's attention. He recognizes her potential as primadonna and uses his hypnotic powers to clear her brain until she thinks nothing but: Svengali. He heals her headache but her pain goes directly in his heart.

The next shot is famous: Svengali calls Trilby via long-distance-hypnosis: His eyes light up like electric bulbs, the camera moves from his pupils along the block of houses in Trilby's bedroom. She sleep-walks in his apartment. His powers are strong enough to transform he in a somnabulist, but to win her love... He obstructs her wedding: She feels guilty after Billie surprises her posing as life-model ("He saw me there, before all those men!"). Svengali lists her former lovers and appeals to her conscience: "You are good like a little bird, like a lark that must sing in the sunlight - but are you good enough to face Billie's mother?" and his cunning is crowned by success.

Five years later, Trilby, now Madame Svengali is a famous primadonna who sends the audience into raptures. Svengali, bemedalled, and "La Svengali", loaden with jewels look very new-rich, but the glittering facade crumbles: Svengali's heart is failing, slowly he loses his grip on Trilby. In those moments she wakes up and greets her old friends as if nothing ever happened. Billie too is in the audience, Billie who still loves her...Svengali pulls himself together and Trilby is spellbound again. He showers her with presents, but she is unable to give him what he wants most - her love: "You are beautiful, my manufactured love, but it is only Svengali talking to himself".

Two components contribute to make SVENGALI a classic: The famous surrealistic sets and John Barrymore's performance. One aspect of his performance is problematic: The protagonist in Du Mauriers novel was a Polish jew, and Barrymore, with his tog, his make-up and his thick german accent may look like a wildly racistic caricature for those who don't know him. But nothing could be further from the truth! He was such a good, open-minded man. His eye-twinkling charm enchants the viewer, and near the end his performance becomes nearly soul-stirring. This was probably his sexiest performance. His biographer Margot Peters found him the personification of seductive guile - Lucifer as serpent, and was remembered of a tomcat watching a mousehole. Barrymore's fourth wife fell so completely in love with him after watching this film, that she chased him by train, plane and even radio-address until he finally said: "yes".

AN INTERESTING ANTIQUE.
For those who are interested to catch a glimpse of the legendary John Barrymore - before he basically became a parody - this film from 1931 is a good choice. In the title role, Barrymore is still quite mesmorising and the photography is interesting. Svengali, of course is that immortal teacher of female singers who can work wonders via his hypnotic glare: Trilby is his newest conquest: she becomes the toast of Europe as Madame Svengali, the singer - all because of his supernatural powers. Marian Marsh makes a visually perfect Trilby but her acting isn't nearly on a par with her benefactor - but then few actresses could really do much with such a mealy, whacko role. Barney McGill's inspired photography won him an AA nomination. Based upon the nearly immortal novel by George Du Maurier, this was - rather unbelievably - first filmed in 1896 (!) by Biograph as TRILBY AND LITTLE BILLEE. Later, in 1915 Equitable filmed the story with Clara Kimball Young and Wilton Lackaye (what a name!) : it was directed by Maurice Tourneur.

Visually Intriguing
John Barrymore stars as a composer and hypnotist who takes control of Marian Marsh through hypnosis and turns her into a great singer and his lover. Barrymore gives a striking performance as the sinister, yet humorous Svengali, sometimes a bit hammy but acting circles around the rest of the cast. The sets and photography are strange, yet stunning, creating an eerie, almost other world feel. There are a number of great camera shots, including a long shot that moves from Svengali's apartment to another building that must have been a real challenge technically back in 1931. It is a very talky film with little action, but the visual presentation of Barrymore and the sets helps to make up for it. It's not a great film, but it does leave an impression. ... Read more

Reviews (5)

Classic Hollywood
No one dose it better then Bob Hope and Bing Crosby! I love this movie.If you like classic hollywood you will love this one.

WONDERFUL MOVIE, AWFUL BOX
ROAD TO ZANZIBAR has always been one of my two or three favorite Road movies, in part because it's more of a comedy and less of a musical than many entries as well as having the bonus of having that great comedienne Una Merkel along for the ride. And the great Dorothy Lamour is incredibly sexy here (wasn't she always!!)

Now for the "awful packaging" why on earth has MCA Universal Video failed to picture Ms. Lamour on the box as well as the boxes of nearly ALL of the other Road movies. She was an EQUAL star to Hope and Crosby - one of the biggest women stars of the era. She has a lot of fans even today who are probably passing on the prerecorded tapes to this series because of this slight. Wake up Universal and reissue this series picturing the third STAR of these movies on the boxes! (Ms. Lamour is pictured on the DVD box to this ROAD movie but not on several of the other films.)

Not quite a classic, but darn fun
This is not the best of the "Road" pictures, but it's still a lot of fun to watch the chemistry between Hope and Crosby. The plot is a bit preposterous, and just how dumb can Hope's character be to be anything but Fearless? However, the hijinks are first rate scams, and there are nice turns by Dorothy Lamour and Una Merkel. The tunes are not the best of the "Road" series, although Bing's voice always seems stronger in films than in comparably dated records. Get this one not because it's a classic (not quite), but just because it's fun.

Great "Road" Picture!
I personally think that this movie is better than "Road to Morocco", the movie some claim to be the best of the "Road" pictures. It managed to get an Oscar nomination for it's screenplay! Crosby plays Chuck Reardon and Hope is "Fearless" Frazier, that right there is funny. Hope? Fearless! You must be joking lol. They are a couple of con men who perform varies "stunts" at a circus. Hope has to wrestle snakes and bears, and finds himself as the "human bullet". He gets shot out of a cannon. And, that's when all their trouble starts. They burn down the circus lol. And are on the run from the police. I love old-fashion comedies like these. Then again, my opinion may be a bit bias, since I grew up watching these type of movies. I just wish Hollywood could make more films like them. Once Hope and Crosby are on the run, guess who they run into? Dorothy Lamour! Legend has it Lamour had to literally fight to say her lines. Hope and Crosby we're ad-libing so much, sometimes the director had no idea what was going to happen! This is such a great silly, amusing film. You can tell everyone had a good time making this. Hope and Crosby started to play "in jokes" on us. By making several references that THEY ARE IN A MOVIE! All the way through the "Road to Zanzibar" I had a hugh smile on my face. And, how could one not enjoy this film. We have Crosby here to sing a few songs. Hope is here for the laughs, and boy can he provide them! And Lamour is here to keep me up at nights lol. It's just a winning combination. There are a lot of funny moments in this film, but, I don't want to spoil them by giving them away. Buy or rent this film if you're ever a bit down. Or you just want a good laugh. Una Merkel co-stars and Eric Blore has a small bit part (as usual).

a great insight to foreign kings
I watched this when I was a kid and I loved it. My girlfriend is from a foreign country so she doesn't get the movie very well, but I love ... Read more

Reviews (3)

Classic Clair - Always makes me smile
In the Hollywood tradition of the 1940's feel good cinema comes a non-Hollywood production that is just as charming. I will never get bored of this film, from the comic interludes to the hokey ending that was required of all movies in that era. Why, oh why, can't someone produce movies like this anymore? At every turn I, a 21 year old boy, simply thought, "Cool". A must see for anyone who appreciates old fashioned, cheese-ball cinema.

A stinker
One wonders why UCLA spent time and money to refurbish this clunker. Young Linda Darnell, however gorgeous, can barely act. Jack Oakie plays...well, Jack Oakie. Edgar Buchanan is wasted as a cop. Dick Powell, now shedding his dumb tenor roles in those Busby Berkeley films, is competent and does his best to make this unfunny movie at least palatable.

If you're into amateur theatre, you might like this. Otherwise, save your money.

A Satyrical but Charming Fantasy-Comedy
The great french master Rene Clair directed this movie when he was in exile in Hollywood. Dick Powell (who is slightly aged at this point; his haydays as a baby face was in the thirties) plays a news paper editor to whom, by some miracle, somebody put's the next day's paper in his pocket. In stead of telling this story as a fairy tale, Clair choses to direct it as a screwball comedy. And his sense of mad-cap comedy is as zany as in his more famous French films such as in Le Million, Les Belles de Nuit, making it a quite an enjoyable comedy with certain philosophical (but never serious) undertone. The tape is made from a beautiful print restored and preserved by UCLA Film-TV Archives. The black and white cinematography and the sets depicting New York at the turn of the century is also a joy to watch. ... Read more

Reviews (3)

Count Your Blessings
The First sound version of " The Count of Monte Cristo" scores well because of its veteran cast.

Donat is fine in the title role in a Muni type performance. Imprisoned with the Abby( O.P. Heggie ) Dantes gets a big start in life and thus persues his revenge on Baron Danglers et all.

Louis Calhern , an under appreciated actor and Sidney Blackmer are fine in thier roles as antagonist and there is a certain 30,s sweep to the narrative that makes it a bit hokey but well done.

CP

Count of Monte Cristo VHS ~ Robert Donat
Accidentally left bad feedback. Would like to change it.
Please help.

Old Sometimes Better
Several years ago I owned a copy of the 1934 version of the Count of Monte Cristo. I appreciated the fact that the older movie stayed closer to the author's original story line, carefully woven in. Some of the acting is a little corny, overdone a bit (similar to silent films), but that is easily forgiven. Our copy was damaged and we no longer have it to watch again, but I was reminded of it when we rented the new version. The new version is OK, but I found myself enjoying the older version better. ... Read more