Amazon.com

Alex Gardner (Dennis Quaid) is a talented young psychic who's frittering his gifts away betting on the ponies. That is, until he's coerced by his old pal and mentor Dr. Paul Novotny (Max von Sydow) into taking part in a dream research project in which his psychic abilities make him indispensable. The project concerns "dreamlinking," whereby talented individuals like Alex hook up via electrodes and project themselves into some troubled subject's nightmares, in which they not only observe butparticipate in the dream, hopefully effecting some remedy. Alex is by nature a feckless guy, a charismatic scoundrel sporting a Cheshire cat's grin. But he warms easily to his new role as dream-dwelling psychotherapist, having a core of decency. Not so his nemesis, Tommy Ray Glatman (David Patrick Kelly), a dreamlink prodigy and pawn of Bob Blair (Christopher Plummer), who runs the research project for the government (he's described as the "head of covert intelligence"). Blair is worried about the President (Eddie Albert), whose nightmares of nuclear holocaust cause him to escalate disarmament talks with the Russians, much to Blair's dismay, being your basic evil, slick, smarmy covert kind of guy. Turns out Blair's real aim is to use the project to train dreamlink assassins, his star pupil being psycho Tommy Ray and his test case the President. Only Alex is there to stop them.

Dreamscape is all business, with a well-structured screenplay that lays the groundwork for the film's many admirable performances. Kate Capshaw in particular is very dreamy as a research scientist and Dennis Quaid's love interest. And David Patrick Kelly is likely to become your worst nightmare, especially when he's the Snakeman, giving an often fantastical performance. But what you're most likely to remember from this wonderful thriller is the many vivid dream sequences, aptly surreal images from the troubled psyche. --Jim Gay ... Read more

Reviews (19)

Eighties sci-fi/Thriller doesn't hold up...at all!
I saw this during the eighties when it originally came out and thought it was terrific and scary. However, this movie does not hold up at all. It's not just the technological advancements in special effects that makes this movie so dated, afterall movies like "The Thing" and "The Exorcist" came out before this. A scary movie is scary no matter when it came out. This movie is just silly. The president's fear of nuclear war is treated so brazenly that it doesn't hold up now that the Day After decade is over. The story is so brisk in the extreme nothing is giving time to develop. Only the ideas are presented and not explored. Quaid and Sydow are good but even they can't save this movie. The dialog is very stilted at parts. Christopher Plummer is just silly, not menacing. Tommy Ray isn't scary any more. The snake man looks so rubbery and stupid that I can't believe I was ever scared of it in the first place. They did a terrible job with it. The transformation effects are now laughable. They didn't have to be. Kate Capshaw is awful (she always was; maybe that's one of the reasons you don't see her in much anymore now that she is married to Spielberg). This is just not that strong a movie and time has not been kind to it. I thought it was great when I was 10 but it just isn't scary or fun. Awful music by Maurice Jarre. Not because it is an electronic eighties keyboard soundtrack like Jerry Goldsmith's Runaway. No this is just bad and it sounds bad on this DVD. No themes develop and even the chase music is boring. Very weak. Similar genre movies from the eighties that hold up and you might want to check out instead: Twilight Zone the Movie, Gremlins, Poltergeist, Brainstorm, Fright Night.

DVD-This dvd is also not very good either. The picture quality is very crisp most of the time. There is some wavering in some scenes. The special effects unfortuneately don't benefit from all that detail in picture quality. The worst part is the sound. It comes in DTS and Dolby Digital. It is hardly 5.1 like the box advertises. Occasionally you get some weak directional effects. But for I would say 80% of the movie everything is in the center speaker.

The best thing about this DVD is the menus. They were a pleasant surprise. The movie and this DVD were not.

What a fun movie!
This movie is kind of obscure to most but it's still an exceptional film. Dennis Quaid was pre-Inner Space, pre-Dragonheart and was sort of on the threshold of being one of the more fun and interesting actors of our time. This was also an overshadowed film by the mega horror spectacle "A Nightmare on Elm Street" but it's still great fun to enjoy. Very imaginative and different. The dream sequences were phenominal for the time when this film came out. Sort of an Indiana Jones meets Jacobs Ladder. With the exception of a weak ending and geeky special effects it's a great story and one that should be a addition to any collection. Enjoy!

I have a dream...for an unedited version...
Do you ever remember your dreams? I rarely do...unless they are of the really intense kind and I wake up during the dream, and even then the images tend to slip from my conscious like grains of sand through your hand. Why am I bothering telling you this? Well, I needed some kind of opener for my review of Dreamscape (1984), a film that deals with dreams and such, and this was the best I could come up with at the time, lame as it may be...directed by Joseph Ruben, who later did Sleeping with the Enemy (1991) and Money Train (1995), Dreamscape presents quite a cast with Dennis Quaid, Max Von Sydow, Christopher Plummer, Kate Capshaw, Eddie Albert, and even George Wendt (Norm!).

Dennis Quaid plays Alex Gardner, a young man of fantastic psychic abilities who has since dropped off the radar, preferring to use his 'gifts' to manipulate women and pick winners at the horse track, rather than continuing to subject himself to an endless series of tests meant to study and learn of his abilities, tests conducted by Doctor Paul Novotny (Von Sydow). Seemingly content to squander his skills, Alex's path once again leads him back to Dr. Novotny and his assistant, Jane DeVries (Capshaw) as they've developed a machine that would allow someone with Alex's talents to enter the dreams of others, and possibly help those plagued with reoccurring nightmares, specifically in the President (Albert) who is suffering from apocalyptic dreams that are beginning to affect his ability to do his job. Seemingly concerned with the President's well being, Bob Blair (Plummer), government head of Dr. Novotny's project and shadowy leader of an intelligence group even the CIA fears requests Dr. Novotny assist in relieving the President of these nightmares, but we soon learn he has other plans, plans of a sinister nature involving another, less stable psychic within the project by the name of Tommy Ray Glatman (David Patrick Kelly). Can Alex uncover the plot, help the President, and stay alive? Possibly, but the odds are certainly against him...

Given some of the films that came out in 1984 like Indiana Jones and the Temple of Doom, Ghostbusters, Amadeus, Footloose, Romancing the Stone, Starman, A Passage to India, and The Killing Fields, it's no surprise this 'sleeper' got lost in the shuffle. I've always enjoyed it, and thought it deserved a bit more credit than it's gotten. Dennis Quaid is really good and charming as hell as the smart alecky Alex Gardner, a character who seems to be able to handle himself, yet exhibits a smidgen of naiveté which possibly stems from a core belief of decency, despite his ventures into gray areas, specifically using his skills to determine winners of horse races, earning him money to live. Max Von Sydow is also very good, although I feel as if I've seen him in similar roles so many times before, as a doctor involved in ground-breaking research, not being able to see the forces which conspire to use his research for their own, sinister means until it's too late. As far as Kate Capshaw, I have to admit I've never cared for her all that much as I found her character in Temple of Doom to be highly annoying and distracting. She's not bad here, even though she does suffer from a common malady of the 80's here in big-hairitis syndrome. Plummer is good as the conniving powerful government agent with a secret agenda, although I've seen this whole 'evil government stealing research meant for the good of mankind for it's own corrupted means' theme about a thousand times before. Even so, he's perfectly suited for the part, oozing a smarmy, almost quiet charm that hides disturbing ulterior motives...I did like the aspect that his goals were driven mostly by his desire to protect what he thought needed protecting, even if he was misguided by his own sense of twisted patriotism.

The special effects, while seeming quite dated now, were actually very good for the time this film came out, especially the dream sequences of the President detailing post-apocalyptic visions of decimated cities and ruinous wastes. The stop motion work, while not really appreciated by many, is really pretty good and reminds me of those old Ray Harryhausen films I love so much. One thing that annoyed me the most about this release is what's missing due to a hack editing job on a few scenes, all within dream sequences, I suppose, to more aptly fit the movie's PG-13 rating. One scene involved Quaid and Capshaw and a romantic interlude on a train with some pretty steamy stuff, but here it's cut short, removing the nudity. A second edited scene had Quaid inside a mousy man's dream about his wife, which contained some nudity that was excised out of here, and finally another scene has to do with Quaid's character helping a little boy overcome a terrifying reoccurring nightmare about a monstrous snake man. The part removed had a bit of gore in it, but it certainly wasn't anything, in my opinion, that deserved to be removed.

It says the movie is available in full and widescreen anamorphic formats, but I only saw the widescreen available. The picture quality is pretty good, but the transfer print does suffer very minor age deterioration at some points, but it's hardly noticeable. The audio is much better, with Dolby Digital 2.0, new Dolby Digital 5.1 and DTS 5.1 Audio available. Special features include an audio commentary track by producer Bruce Cohn Curtis, writer David Loughery, and special effects artist Craig Reardon that's pretty good, although dry at more than a few points. Also included are a behind the scenes special effects makeup test reel and a slide show. I really wanted to give this four stars, but given that's it missing parts from a few scenes, I have to go with three...

Cookieman108

Dream A Little Dream
Dreamscape is a solid little sci-fi film, that thanks to good casting, rises above its problems.

Alex Gardner (Dennis Quaid) is a gifted young man, endowed with strong psychic powers, so far, he has only used his abilities to win money at the track. All that changes, when his former mentor, Dr. Novotny (Max von Sydow) and his lovely assistant (Kate Capshaw), recruit him to aid patients disturbed by their dreams. When a corrupt goverment official (Christopher Plummer)discovers what Alex can do, he has more sinister plans in mind--that involve the President Of The United States (Eddie Albert)

Director Joseph Ruben gets the most from a strong cast. Quaid is pitch perfect as Alex, and gives what I think is, one of his best perfomances of his lopsided career. Plummer is at his best when playing a heavy, von Sydow is also tops here as well. Capshaw, on the other hand, is only serviceable, but thankfully, not as annoying as she is in Indiana Jones And The Temple Of Doom. The script from David (Star Trek V) Loughery has a few hiccups in it, and even though some of the story seems like its right out Stephen King's The Dead Zone--the problems are minor and not that big of a deal. The special effects are a bit chessey at times, but I can overlook that as well. As I said, the performances make the film work, above all else.

The DVD has a fine audio commentary track with producer Bruce Cohn Curtis, Loughery, and special effects artist Craig Reardon, giving their perspectives on how the movie came together--I wish Quaid could have joined in as well though for an actor's take. A behind-the-scenes special effects makeup test reel and a still gallery top off the bonus material.

Dreamscape is worth a look and is better than the DVD cover art would have you believe. It's a step above, and then some, from a B grade flick.

original movie!
I saw the film now for the first time and were very surprised with the argument. A lot of parts are very similar to the "Elm Street" movies, which began one year later, even the knife-fingernails of the murderer, but especially that all victims were killed in their dreams.
I agree with the other reviews, the film has great performanes.
On the other hand there're a lot of mistakes and contradictions in the argument. For example, the last victim (the bad guy from the government) is killed although the protagonist is far away and can't influence his dream. But all in all I think you'll not loose your time seeing this movie, especially if you're a great science fiction/horror fan. ... Read more

Amazon.com

The Longest Day is Hollywood's definitive D-day movie.More modern accounts such as Saving Private Ryan are morevividly realistic, but producer Darryl F. Zanuck's epic 1962 account isthe only one to attempt the daunting task of covering that fateful dayfrom all perspectives. From the German high command and front-lineofficers to the French Resistance and all the key Allied participants,the screenplay by Cornelius Ryan, based on his own authoritative book, is as factuallyaccurate as possible. The endless parade of stars (John Wayne, HenryFonda, Robert Mitchum, Sean Connery, and Richard Burton, to name a few)makes for an uneasy mix of verisimilitude and Hollywood star-power,however, and the film falls a little flat for too much of its three-hour running time. But the set-piece battles are still spectacular, andif the landings on Omaha Beach lack the graphic gore of PrivateRyan they nonetheless show the sheer scale and audacity of theinvasion. --Mark Walker ... Read more

Reviews (131)

Comparisons are inevitable; they're also unhelpful
The comparisons are of course between THE LONGEST DAY and SAVING PRIVATE RYAN. The only similarities are: both movies depict the allied landings at Normandy on D-Day, they are tributes to the servicemen of WWII, and most importantly, both are good movies. That said, general comparisons are unhelpful because the realism that made Spielberg's movie so memorable is totally absent from THE LONGEST DAY; for two very good reasons: (1) technically, the capability was unavailable in 1962 and (2) morally, that level of graphic violence would have been unacceptable. Also, Mr Zanuck, as director, did not want to make bloody messes of his numerous stars.

Realism aside, on its own merits THE LONGEST DAY is a tribute that has stood the test of time. The huge collection of stars (over 40) and the near 3 hour length qualifies it as epic. On an emotional level, it is a patriotic salute to the soldiers who went ashore. With a scope larger than Omaha beach, the focus is not exclusively American; the movie depicts the role of the British, and other allied troops, as well as the work of the French resistance. German dialogue is subtitled to add some realism. Perhaps the best aspect of the movie is that as an adaptation of Cornelius Ryan's book of the same name, it is based on a historically accurate account of the battle.

For realism, patriotism, and a sentimental heroic story, only partially based on real events of D-Day, watch SAVING PRIVATE RYAN. For an old fashioned, "clean" war movie based on history with good acting (Henry Fonda, Robert Mitchum, John Wayne, Curt Jurgens) watch THE LONGEST DAY. Better yet, view both, just don't spoil the experience with a lot of comparisons.

The Longest View
Unlike Saving Private Ryan, The Longest Day was filmed to dramatize the true, unfolding story of the invasion of France beginning several days before the invasion, which was documented for all time by journalist Cornelius Ryan. Ryan did something few historians have successfully accomplished since the end of the war. He compiled thousands of interviews and wrote a realistic account of the invasion which reads like a suspense and action novel. The movie seeks to combine many characters taken from Ryan's book, and is therefore fiction as well as history, but it is masterfully done and is otherwise true to history. Stereotypes of incompetent German officers and troops, so common in film and television of the early 1960's was not a problem in this movie, nor is the graphic violence of Private Ryan observable. The true story is the focus of the movie, and it was made primarily for veterans who had seen the real violence and had fought tough, intellegent and brave Germans, and had no need to be reminded of those horrors. They did have a desire to see their sacrifices and trials acknowledged alongside the background of historical context. It is a gripping movie. A side note for those who might want to compare The Longest Day with Saving Private Ryan. These should compliment each other, not be compared with each other. The audience for The Longest Day was primarily the veterans, their peers and children. The audience or Saving Private Ryan is primarily the grandchildren of the veterans, young people who are in the main, quite ignorant of history. There is no doubt that Saving Private Ryan is more accurate a portayal of historical American and German weapons and villages, but this was not even attempted in the Longest Day. If you will read The Longest Day before watching Saving Private Ryan, you will see that the sites and sounds remembered by many of the interviewed veterans who were at Omaha and Utah beaches somehow happened at the same time and place in Saving Private Ryan. That makes Saving Private Ryan as inaccurate for what it shows, as is The Longest Day, for what it doesn't show. Both movies are excellent, and both are moving.

IT HAS NOT STOOD THE TEST OF TIME
Director Darryl F. Zanuck tried his best with the technical resources at his dispostition at the time and using the narrative standar for epic movies of that time. But watching this movie today is a really act of courage. It drags and drags, the three hours seem to never end. Also, even if they tried to give a view of the global situation, they failed miserably.

The movie is an endless sequence of shell and fire sounds, a really pain. I simply don't like the movie, although I understand what they tried to do.

Only a Partial View of D-Day and Operation Overlord
Although this film is certainly worth watching, the viewer who has little idea of what Operation Overlord was about won't learn very much about it. Of course, we see many examples of heroism, but so much was left out that one can easily get a distorted view of things.
(1) Contrary to the impression that the Hollywood movie industry gives, the Americans and British did not defeat Germany alone. Three-quarters of the strength of the German Wehrmacht was destroyed by the Soviet Union. I realize that this film was made a the height of the cold war, but still some mention should have been made of their contribution to victory.
(2) The most impressive part of Overlord were the meticulous preparations made. Some mention of it was made, but more of it should have been shown, such as the various special weapons and ships that were made to ease the assault on the fortified beaches. Archive film could have been easily procured to show the various devices used to clear mine fields and barbed wire.
Most crucial was the development of the "Mulberry" artificial ports.
(3) This film used several Germans as advisors such as Blumentritt who were in the Wehrmacht High Command. They use this film as a vehicle for pushing the now largely discredited line that "if only Hitler had let the Generals run the war, they would have won it for him", and the also the myth that they opposed Hitler and held nothing but contempt for him (von Rundstedt calls Hitler "that Bohemian Corporal" in the film). In reality they were all very loyal to him and they really strongly supported him and his criminal policies when they were winning the war.
(4) The importance of the deception campaign making the Germans think the assault will be at the Pas de Calais and not a Normandy was very important and continued even after the landing on D-Day to make the Germans think Normandy was just a diversion.
This was not mentioned. A whole "virtual army" was created with fake radio traffic opposite Calais. This could have been shown as well.
(5) Although I have nothing personal against the man, John Wayne is a very poor actor and I have no idea where he got his reputation as one of Hollywood's leading men!

The Longest Movie
I watched on June 6th 2004 "The Longest Day" to learn about D-Day June 6th in 1944. In general it was a painfully boring movie. I accomplished my goal of learning about D-Day, but it was at a cost of wasting about three hours of my life. It is my belief that this story could have been told in one and a half hours instead of three. ... Read more

Amazon.com

Director Robert Aldrich had a knack for depicting outsiders with originality and authenticity. Much like The Dirty Dozen, The Longest Yard is a popular fable about integrity and group unity. It possesses a requisite toughness along with the loneliness that accompanies the outsider status. Compromise is never easy in an Aldrich film. There's always a bitter price to pay.

Burt Reynolds, in peak form, plays a former pro quarterback ostracized for shaving points. After beating up his girlfriend and resisting arrest, Reynolds winds up in prison, where he's taunted by warden Eddie Albert to help his semiprofessional team of guardsmen win a championship. Naturally, the inmates despise Reynolds, and naturally he redeems himself in one of the great movie football matches of all time. --Bill Desowitz ... Read more

Reviews (24)

A CLASSIC FROM THE 1970'S
Well on the eve of the remake being released it's time to look back at one of the classic movies of the 1970's, The Longest Yard.Burt Reynolds was at his peak in the mid-1970's with a string of hits and reigned as Hollywood's box-office king.This movie had a stellar supporting cast which helped make it one of the great sports movies of all time.

Reynolds is Paul "wrecking" Crewe, a former pro quarterback who is sent to a Georgia prison after leading police on a drunken car chase.Crewe finds himself ostracized from his fellow inmates because of his "star" status but eventually befriends Caretaker (James Hampton of F-Troop) and an elderly inmate named Pop.Eddie Arnold (of Green Acres fame) is Warden Hazen, a typical evil prison warden who has a semi-pro football team made up of the prison guards that he is very proud of.

The Warden forces Crewe to put together a football team of inmates to play his guards in a scrimmage game.Crewe is reluctant and just wants to do his time but when the Warden threatens to make his time very tough, Crewe relents and he and Caretaker begin trying to find players.At first Crewe is stuck with a bunch of stiffs, partly because the black inmates refuse to play until one named Granville breaks the ice and decides to play.Crewe then enlists the services of several "specialists" including 7' 2" tall Richard Kiel playing a weightlifter named Samson, and the baddest guy in the joint, Connie Shokner, played by one of the great screen heavies of the 1970's, Robert Tessier.One note is that the Indian inmate was played by Sonny Sixkiller who was a well known QB at the University of Washington in the early 1970's and still holds several passing records.

With Caretaker's help they manage to steal the guard's personal medical records to find out which have had previous injuries to take advantage of and also steal game uniforms.The guard team is led by Guard Captain Knauer (Ed Lauter) and former NFL great Ray Nitschke playing a guard named Bodanski.This all culminates in the big game where Crewe is forced to make a VERY big decision about how well he wants to play in the game.

The remake of The Longest Yard is going to have some very big shoes to fill.They appear to have done a great job on the supporting cast which includes wrestlers Stone Cold Steve Austin, Bill Goldberg and kevin Nash along with 7' tall Indian power lifter Dalip Singh, and Bob Sapp to go along with actual actors Chris Rock, James Cromwell and David Patrick Kelly who people may remember as the crazy gang leader in the cult film "The Warriors".

This special edition DVD was a welcome additon with it's Burt Reynolds commentary as well as the making of featurettes.Great film.Hopefully the remake does it justice.

Great fun
One of my favourite movies of all time and I don't even like football. I just can't believe they pick Adam Sandler for the leading role of the remake. Big mistake. No comparison at all. He looks like a wimp, and acts like a wimp. I agree with the other review saying to pls enjoy this one before the remake comes out.

The Mean Machine is meaner than ever
Robert Aldrich's greatest gift as a film director was his ability to show bad boys and nonconformists in such a sympathetic light. "The Longest Yard" features Reynolds before he traded on his bad boyish charm in all his film roles. Paul Crewe (Burt Reynolds) is a former bad boy football player who ends up in prison for "stealing" his girlfriend's car. His life has fallen apart since he was banned from the game for shaving points.Crewe is pressured by the Warden (Eddie Albert)to coach the guards' semi-pro team to earn a national title. When he refuses (out of preservation for his own skin) Crewe must lead the team of prisoners (called "The Mean Machine") against the guards in an exhibition game where the prisoners are expected to lose. Crewe has a couple of surprises in store for the Warden. The good news about this remake is that it prompted the studio to re-release this classic film. I have no idea if the remake is any good as of yet but we do have the classic original in top form.

An exceptionally nice transfer from Paramount, "The Longest Yard" has some minor issues with grain (that's not a flaw in the transfer I might add but it can be minimized during the transfer or made much, much worse) but that's probably due to the type of film and its age. The image quality is exceptionally good with such robust colors you can almost feel the humidity. The mono sound is a bit flat but with clear dialogue.

Three featurettes are highlights of this re-release. "Doing Time" features Reynolds and Ruddy discussing the making of the movie. The fact that Reynolds played college ball was an advantage for him in the role. Sports Illustrated writer Michael Silver discusses how nasty Paul Crewe is yet we forgive him because he's so funny and charming. The sports writers interviewed for the disc point out that watching Reynolds on the field its clear that he played college ball. "Unleashing The Mean Machine" we hear from a variety of pro players and sports writers discussing what makes "The Longest Yard" the best football movie ever made. Ruddy points out how he managed to convince Jimmy Carter (governor at the time of Georgia). Reynolds comments on his first meeting with Carter. The soon-to-be President of the United States told Reynolds that if Reynolds was taken prisoner, "if they take you hostage I will take your place gladly." Aldrich turned to Reynolds after and told him, "this man will be President some day. He's lying through his teeth beautifully".

A new and fun commentary track with producer Albert S. Ruddy ("The Godfather") and star Burt Reynolds discussing the making of the movie is a highlight of this classic 1974 film. Shot on location Reynolds in the South, Reynolds comments frequently about the difficult working conditions shooting in the swamp. He never knew when and if they might have a cottonmouth show up. Reynolds and many of the actors actually stayed at the former prison where they shot the film. Reynolds points out the various former pro and college football players that appear in the film. They discuss the prep for shooting the big game and how they pulled the illusion together for this film.

A classic film gets a classy presentation on DVD. An excellent commentary track by Reynolds and Ruddy are a highlight of this terrific reissue on DVD. Two very good featurettes on the making of the movie and one where pros and writers comment on reality of what you see in the film.

Quick!Enjoy the original before the remake comes out!
I want to make the argument that "The Longest Yard" is an important film in the history of the movies because this 1974 comedy represents the point in cinematic history where a guy getting hit between the legs was funny for the last time. To be specific it was the moment in the film where it happened for the second time, which was even funnier than the first time it had happened, which was just a minute earlier in the movie. Ever since then I have not found these scenes to be anywhere near as funny because all such efforts are just pale imitations of what happens here.

"The Longest Yard" is solid B-movie material from start to finish. Burt Reynolds is Paul Crewe, a former pro quarterback who was banned from the sport for shaving points and ended up in prison for having some fun with the cops joy riding. In a nice example of casting against type Eddie Albert is the sadistic warden who is quite proud of the football team he has put together from the prison guards. So he decides that Crewe should put together a team from the prisoners for a friendly little game of football. Crewe is inclined not to be accommodating, but the warden, no doubt sensing a failure to communicate, persuades the ex-jock to get with the game plan.

We have to go through some rather trite and tired routines as Crewe puts together his team just so we can get to the fun part of the movie, which is the big football game. Obviously the cons are playing for self-respect and if the warden is stupid enough to give them the opportunity to pay back the guards for their brutal treatment under the guise of a football game, then we should just enjoy the fun. The set up might be stupid, but the game itself is one of the better staged pigskin competitions we have seen in a movie to date. Besides, the Mean Machine uses the drop kick, which I have always wanted to see ever since I read about it in "Gil Thorp" way back when. Certainly director Robert Aldrich takes the time to play the came and he makes excellent use of the split-screen to avoid having to constantly cut between the action on the field and the drama on the sidelines.

Reynolds is certainly the star of the film (he tells his team, "The most important thing to remember is: to protect your quarterback. ME!"), and the ex-Florida State football player certainly makes for a believable jock on the field (hey, the guy was drafted by the Baltimore Colts), while Albert clearly relishes the chance to forget all about Eva Gabor and have fun with the dark side. "Iron" Mike Conrad, before he became a cult figure as Sgt. Esterhaus on "Hill Street Blues," has a memorable turn as Nate Scarboro, one of the cons whose knees are not as strong as his heart so he has to settle for being the coach of the Mean Machine. Ed Lauter is Captain Knauer, the head of the guards, who manages not to be a total jerk about what is going on in the end as the film goes for one last over the top moment at the end.

Not to be mistaken for high art, "The Longest Yard" is a party film, perfect when you are in the mood for a little football. It was actually up for an Oscar for Best Film Editing (Michael Luciano), undoubtedly for that split screen work, and even won a Golden Globe for Best Motion Picture Musical/Comedy (beating out "The Front Page," "Harry and Tonto," "The Little Prince" and "The Three Musketeers"). Having already been made as a soccer (the other "football" movie, "Mean Machine"), "The Longest Yard" is about to be released with Adam Sandler and James Cromwell squaring off (Burt Reynolds is along for the ride as Coach Nate Scarboro). I wonder if Brian Bosworth played "Kill the Star" with Sandler the way Ray Nitschke did with Reynolds in the original. There could be some very interesting outtakes on that DVD down the road.

"Mean Machine! Mean Machine! Mean Machine!"
In the 1970's, there was a small genre of movies, that the studios released, that could best be termed, football comedies. These were a series of films that sort of aped the spirit of Jim Bouton's best selling baseball book, "Ball Four" about the rowdy and scatalogical antics of modern day pro-athletes. Most movie fans consider three films to be the best of this genre. They include "North Dallas Fourty", "Semi-Tough" and of course "The Longest Yard". When it comes to "North Dallas Fourty", I have to be truthful and admit that I've never seen it. I really can't make an informed opinion about it. But,"Semi-Tough really is a very funny film comedy. But let's face it...it's not really about football. It's more of a satire of the 'self-help/feel good' movements (such as E.S.T.) that were all the rage in the 1970's. That leaves, what I like to think of as the gold standard of football movie comedies, "The Longest Yard". This hilarious film is basically M*A*S*H* on steroids. A group of people trapped in a situation trying to relieve their boredom & frustrations through off-color jokes, rowdy antics and a love for football (for those who have never seen it, the film, M*A*S*H* ends in a humourously rowdy, football game). "The Longest Yard" is about Paul Crewe (Burt Reynolds) a former superstar, pro quarterback, who is living life as a disgraced, has-been. After a drunken fight with his wealthy girlfriend and a wild police chase in a stolen Mazardi, he finds himself looking at eighteen months of hard time in a Florida correctional facility. But this isn't just any prison. Apparently both the guards, the inmates and especially the nefarious Warden (Eddie Albert) take their football, waaaayyyy to seriously! The Warden hatches a plan for Crewe to put together and play with a team of felons in a tune-up game against his own semi-pro team made up of the brutally, sadistic guards. What starts out as a supposedly, friendly (and very funny) game soon devolves into a brutal, grudge match in which the Warden attempts to humiliate the Cons and send a message to the rest of the prison population. It's up to Crewe to keep this from happening. This is a great film with a plot (and hard hitting, realistic game), that gets the viewer really involved. I mean what film do you know, where the good guys are unrepented hard core felons (refered to by the hypocritical guards as "scum of the Earth") and we want to root for them? The film is helmed by an excellent cast playing interesting characters. Burt Reynolds plays a man, who when under presure finally learns, that there is more to life than just thinking about himself. This is probably Reynold's best acting job in any of his film comedies (he only breaks himself up once). His only better work has been in dramas such as "Deliverance" & "Boogie Nights". Eddie Albert is also great as the evil Warden, who on one hand, publicly spouts speeches about the "All-American" values and virtues of the game of football, but is privately more than willing to vindictively lie and cheat, all in the name of winning. Other standouts in the cast include Robert Tessier as Shockner, a silent, Karate chopping, psychopath and 7'2" Richard Kiel (in a pre James Bond role) as a giant, violent prisoner, who hilariously dosn't seem to know his own strength. Also look for Bernadette Peters in a brief, sexy cameo (and a huge B-52 hairdo) as the Warden's amorous secretary. If you like football movies or just plain gut-busting, funny movie comedies (or both) than get "The Longest Yard"! Great movie! Highly recommended! ... Read more

Reviews (104)

Classic Audrey Hepburn... with an Interesting "Backstory"
This is by far one of my favorite Audrey Hepburn movies. In "Roman Holiday," Audrey plays a reluctant princess who escapes from her repressive royal life to have a one-day adventure in Rome... with Gregory Peck. This is a classic 1950s fairy tale romantic comedy.

It's hard to believe that "Roman Holiday" was Audrey's first major film, because she's fabulous in it! She has a certain grace and charm that is unequaled. The Academy clearly agreed... Audrey won the Best Actress Oscar for her role as Princess Ann.

What most people don't know is that the script was an original creation by the famous screenwriter, Dalton Trumbo. Trumbo had already been blacklisted for refusing to answer HUAC's questions regarding his possible Communist affiliations. Trumbo was sentenced to a year in prison, and he spent his last few months of freedom working diligently on the "Roman Holiday" script. He was able to sell the script (for much lower than his usual price) by putting a friend's name on it. The money he earned from "Roman Holiday" took care of his family's needs while he was in jail.

"Roman Holiday" is a fun, family-friendly romantic comedy. I highly recommend it!

Simply wonderful
What a wonderful movie! What a great romantic fantasy!
It is one of my all-time favorites, one of the films I could watch several times, without getting bored.

I don't think that the plot is important here, but the way the actors performed and the place where the story is set.
In Rome, a European princess manages to escape the rigid and boring life and have and unforgettable experience, living for one day as a normal person. She does all the things that she was not allowed to do before, such as cutting her hair, eating ice-cream, strolling down the streets and why not, falling in love with an ordinary man.

This is the role that brought Audrey Hepburn an Oscar and made her a well-known star.
It is the natural and ingenuous performance that makes her such a charming and unforgettable character, a graceful presence on the screen.

Her companion is Gregory Peck who has also a great performance and makes the film even more delightful. He plays the part of a young and charming journalist, looking for news that might increase sales of his newspaper and bring some money in his pocket.

The DVD includes also a section with a kind of "making of": interviews of the people who participated at the shooting, memories, etc. This is even more interesting, as you will have the chance to listen to the people who were involved in this project, and the stories behind the scene. You will also see that time did not alter too many of Audrey Hepburn's features and even at an older age she still looks refined and elegant.

I have one complain about this movie: 118 minutes seemed to be not enough for such a romantic story. I believe that everyone of us would like to dream about what is like to be lost in the "eternal city" for one day and enjoy the simple things of life.

Light, feel-good romance in Rome
Since my family is going to Italy this summer, my father had us watch Roman holiday because of the setting and all of the landmarks shown in the movie. It was my first Audrey Hepburn film, and it definately will not be my last. In this ligh hearted tale, a princess of a European country becomes fed up with her duties and sneaks out to enjoy a day in Rome, where she soon meets, and falls in love with, an american reporter. This movie is incredibly charming and very romantic, with one of the saddest endings that doesn't seem all that sad. I would recommend it to everyone, regardless of age or movie preference.

It's always open season on princesses
ROMAN HOLIDAY should appeal to everyone who loves a good romance, and this one is a great one. The rest us of will be well content with the splendor of Rome and the chance to see the remarkable Audrey Hepburn in her debut movie. In other words, ROMAN HOLIDAY has something for every palate.
The plot? Princess Ann (we're never quite sure which country she's princess of) is enduring a grueling tour of European nations. Weary to death of the royal treatment, one night Ann escapes into the Roman night. Unfortunately for her she had a while earlier been given an injection to help her sleep. The drug takes effect while she's out and about, and reporter Joe Bradley (Gregory Peck) discovers her asleep on a street bench. Believing she's inebriated, and being a gentleman, he tries to deliver her safely to her home. That plan fails and, being a gentleman, Bradley arranges for the young stranger (he doesn't learn she's the missing princess until the next scene) to sleep on the sofa in his small, one-room apartment.
Cary Grant was originally offered the part of Joe Bradley and he turned it down. One of the dvd's specials tells us he refused the role because he didn't want to play second fiddle to an ingenue. Maybe so. It's tempting to decide, on the basis of this scene, that Peck was woefully miscast. Ann, nearly asleep on her feet, asks Bradley "Will you help me undress?" A natural enough request coming from royalty, I guess. Bradley fumbles around with her neck scarf, unties it, hands it to her and says "You can handle the rest."
Peck plays the scene for a smile. Grant would have made it one of the highlights of the movie. After savoring the opportunity for the audience's delight he would have removed the tie and given the camera a quick peek, as if to say "Listen here, I know this is a cliched, silly situation. But doesn't this look like fun. Don't we make a handsome couple?" Grant was a supple pagan god who drank more than once from the well of hedonism, and he was always careful to bring the audience along for the good times. Peck was an Old Testament prophet, a little too stern and stiff to give himself over to pleasure.
What Peck brings to the role is authority and a handsome arm for Hepburn to rest on. Grant would have distracted us, and ROMAN HOLIDAY is best when our attention is focused squarely on Audrey Hepburn. She delivers a tour de force performance, and you can understand the excitement she generated even after a half century.
The specials include the documentary "Remembering ROMAN HOLIDAY", which surprised me with all the people who were involved and dropped out of the production of the movie. "Edith Head: The Paramount Years" is a short biography of the famous and talented fashion designer. "Restoring ROMAN HOLIDAY" shows us a number of before and after shots - this is a VERY clean print. There is also a trio of theatrical trailers and a stills photo gallery.

Perhaps the most romantic movie ever made
This was Audrey Hepburn's debut in a starring role. She was 24-years-old and had appeared in two or three other movies but just in bit parts. Here she plays a reigning European princess visiting Rome who would like an escape from her daily regime of official duties, thus the title and theme of the movie, a Roman holiday.

Gregory Peck plays an American newspaper reporter living in the Eternal City. We first see him playing poker with his cronies, and losing. His relative "poverty" and Princess Ann's fabulous wealth and station present a formidable barrier to their ever finding true love and marital happiness. Part of the fun of the script is in seeing how this will play out and how their differences are resolved in the end. I will give you a small hint: very carefully!

The script comes from a story by Dalton Trumbo who is perhaps best known as the author of the anti-war novel, Johnny Got His Gun. Trumbo was one of the "Hollywood Ten" who were blacklisted from working in the industry during the excesses of the McCarthy era. He went to Mexico and continued working on film scripts but under assumed names or had his scripts presented by "fronts." In this case Ian McLellan Hunter fronted for Trumbo and won an Academy Award for the story. Later the Academy awarded Trumbo a posthumous Oscar for his work.

Long time Hollywood studio director William Wyler directed the film entirely on location in Rome. He has a formidable list of credits going well back into the silent film era including such outstanding films as Wuthering Heights (1939), The Letter (1940), The Little Foxes (1941), etc. His clear directorial style and his attention to detail work well here. The sets in Rome are charming, especially Peck's bachelor apartment. The bit players, especially Peck's landlord are excellent and the events are dreamy in just the way a romantic meeting in Rome ought to be. Wyler is especially effective in presenting Audrey Hepburn in the most flattering light and getting the audience to identify with her.

Gregory Peck's character should be a bit of an adventurous rake who finds that love is more important than money or fame, but it is impossible for Peck to play a morally compromised character, and so even as he appears to be using Princess Ann for his own ends, his behavior is always correct. I was somewhat amused to notice that at all times Peck appears wearing a tie! Eddie Albert plays Peck's friend, a photographer/artist. It is interesting to note how Hollywood's perception of the paparazzi has changed over the years. Here blood-sucking, intrusive greed does not exist. Instead we have noble self-sacrifice!

I have seen most of Miss Hepburn's movies and I can say that she was never more enchanting than she is here. She is gorgeous and cute at the same time, charming and impish, sweet, regal and very winning. In a sense she started at the top with this film, garnering her only Oscar as Best Actress in 1953; but as her fans know she never came down off that pedestal. Even playing poor Eliza Doolittle in My Fair Lady (1964), there was never any doubt about the quality of her style and character.

This is the most romantic film I have ever seen, perhaps partly because Miss Hepburn is so wonderful, but also because the script in a sense turns the usual woman's romantic fantasy upside down. Instead of the woman finding that the man she is in love with has fabulous wealth and position, it is the other way around!

The ending manages to be realistic yet romantic. There is a hint of something almost spiritual beyond what happens. So convincing are Hepburn and Peck that one can almost believe the story is true; and indeed I am sure that Trumbo lifted the essentials of the plot from some ancient tale.

I have a weakness for movies about unrequited love, or love that goes on forever, or love that is caught at some perfect moment and lives eternally in that moment. Roman Holiday is one of those near perfect movies that plays beautifully upon one of these themes. ... Read more

Amazon.com

The hit Broadway musical from the 1940s gets a lavish if not always exciting workout in this 1955 film version directed by old lion Fred Zinnemann (High Noon). Gordon MacRae brings his sterling voice to the role of cowboy Curly, and Shirley Jones plays Laurie, the object of his affection. The Rodgers and Hammerstein score includes "The Surrey with the Fringe on Top," "Oh, What a Beautiful Mornin'," and "People Will Say We're in Love," and Agnes DeMille provides the buoyant choreography. Among the supporting cast, Gloria Grahame is memorable as Ado Annie, the "girl who cain't say no," and Rod Steiger overdoes it as the villainous Jud. --Tom Keogh ... Read more

Reviews (66)

Vibrant, memorable film version of musical classic
"Oklahoma!" was a classic AMerican musical, groundbreaking in its seamless integration of story, score, and dance, and a highly entertaining show in its own right with a thin but delightful story and classic score, the first of many classic scores to come from Rodgers and Hammerstein. THankfully, most of that vitality, freshness, and joy, not to mention the story and score, translate accurately and brilliantly, and very entertainingly, into the splashy 1955 film version, which is perfectly cast, sung and orchestrated, and competently directed by Fred Zinneman, (of "High Noon" and "From Here To Eternity" fame) whose only movie musical this was.

The gorgeous shots of the Midwestern landscape can probably best be appreciated in the widescreen Todd-AO version. (The film was famously filmed twice, in the new process and in standard Cinemescope to accomadate theatres who did not have the new technology installed) Gordon McRae is a marvelous Curley, full of energy, sarcasm, and romantacism, and he sings those songs to perfection. He and the original Curley, Alfred Drake, are the best I've heard. The radiant Shirley Jones is perfect in her film debut as Laurey. The supporting cast is all first-rate; other reviewers have mentioned Gloria Grahame's Ado Annie, which is indeed a hilarious and unforgettable performance, but there is also Gene Nelson's wonderful Will Parker, Charlotte Greenwood's loveable and delightful Aunt Eller, and Rod Steiger's adaquately menacing Jud Fry. (That last character loses some dimension through the deletion of his solo "Lonely Room," but Steiger probably wouldn't have sung it all that well, and the rest of the film is so perfect, that this is really a minor quibble) It should be noted that, even though this cast contains quite a few actors not noted for their singing pipes, no one is dubbed, and everybody sings very well. (Though again, Steiger might not have been up to the demands of "Lonely Room," though he does a fine job on "Poer Jud Is Daid") It could be argued that these classic songs have never been better-sung then they are here, and the augmented original Robert Russell Bennett orchestrations are great. Agnes de Mille recreates her original choreogrpahy to great effect; "Kansas City" still is amazing in how casually it comes out of the situation, "The Farmer and the Cowman" and "Many a New Day" are delightful, and the famous "Laurey Makes Up Her Mind" dream ballet is still stunning. Not the best R&H musical, ("Carousel" and "The King and I" outclass it in story and score, and "The King and I" is probably a better film) but certainly one of the best film versions of one of their musicals with the makings of a highly entertaining evening for the whole family. A fine tribute to a classic of musical theatre.

This movie Rocks!!
"Oklahoma!" is one GREAT movie. I don't think I ever smile so much during a movie as I do when I watch this one, it just makes me so darn happy! Ok, so the plot isn't amazing... but it doesn't matter, because the plot isn't really what drives this film. This movie is all about the characters, and the positive mood it creates, and the wonderful music that you will be humming for days after you watch the film. I actually bought the soundtrack a few weeks ago, (that's how much I liked it) and I haven't been able to stop playing it. I've seen a lot of musicals, both movie and stage, and I believe that "Oklahoma!" ties with "West Side Story" for having the best music of any musical, ever. The famous Rogers and Hammerstein score is just awesome. All of the songs are great, there isn't a bad one in the movie, but "People Will Say We're In Love" is my personal favorite. The scene were Curly and Laurie are singing this to each other in the peach orchard is so amazingly cute. I guess I'm just a silly hopeless romantic, but I can't help it. Shirley Jones as Laurie is wonderful, she has a BEAUTIFUL voice, and does a fine acting job too, especially considering she was only 20 years old and this was her film debut. The sparks just fly between her and Gordon MacRae (Curly), and this chemistry between the two leads is really what makes the movie work as well as it does. I was also stunned by the visual beauty of the film. It's beautiful color and exceptional picture clarity is uncommon for an older movie, so when I first watched "Oklahoma!" I had to double check to make sure it was really made in 1955. The special Todd-AO filming process other reviewers have gone into detail about really made a difference here. Anyways, I seem to have rambled on a bit, but I'll try to make my point here. This is a fun, romantic movie, that's a bit hokey at times ( but endearingly so, I believe) and has a few weak moments. But these few weak elements are far outweighed by the great ones. I judge a movie mainly on these two factors: 1) by the way I feel immediately after I've finished watching it, and 2) if it has a lasting impression on me. After this one, I just feel happy, and giddy, and like I want to dance around my living room and break out into song. And as far as lasting impressions go, I liked it so much I felt compelled to write this review and reccomend it to the world. So if this sounds like the kind of movie you'd enjoy, go for it, and have fun watching this classic.

Oklahoma
Well I'm surprised to find that I seem to be in the minority but I think Oklahoma is the Greatest Screen Musical of All Time.
I'll go in to why I think that but first I want you to know that I'm a great fan of musicals and have seen most of the great ones many, many times on the tube and on the big screen. Films like Top Hat, Gay Divorcee, Gold Diggers of 33 and 35, 42nd Street, Footlight Parade, Swingtime, Follow the Fleet, Holiday Inn, How to Succeed in Business Without Really Trying, Pennies from Heaven('81) and of course My Fair Lady are as good as it gets and hold a cherished place in my heart.
They all have teriffic stars, good humor and above all wonderful music and wonderful songs. Oklahoma has more of that than any other movie. Every song
is a winner, a gem, a pearl. They eliminated the few "clinker" songs from the stage production (it ran for 26 years) leaving only the absolute winners for the movie. Shirley Jones was eighteen and wonderfully radiant. Her singing was even better than the original stage recording. Her singing was marvelous.
Howard Keel was originally slated to play Curly but opted out because he refused to shoot two movies, as they duplicated every scene for two different film processes. (The A-O Todd version is the one seen on the DVD and has much higher resolution than the
Cinemascope one seen for years on TV) What a stroke of luck, Howard Keel (much too old and stiff to play opposite Miss Jones) is out and Gordon MacRae (the perfect fit) is in. His voice, while not as dynamic as Alfred Drake's, is perfect for the screen
but best of all he brings a sensiblity and earthy quality to the role missing from all the others I've seen. Some bizarre casting
in the minor roles like Gloria Grahame as Ado Annie and Eddie Albert as Ali Hakim and Rod Stieger as the "bully colored" Judd Frey add a strange flavor to the mix. But it's not the only strange thing going on. The story itself is not particularly a pleasant one and one might find the treatment of Judd or Judd himself unpleasant. It themes aren't necessarily family fare. There's even a dream sequence featuring some dark moments in a bordello. These elements add to the complexity and depth of this best-of-all musicals. And now the real muscle, Oh What a Beautiful Morning, Surrey with the Fringe on Top, I'm Just a Girl Who Can't Say No, Everything's Up to Date in Kansas City,
Never Will Come a Day, People Will Say We're in Love, Poor Judd is Dead, The Farmer and the Cowhand Should Be Friends, With Me It's All or Nothin' and Of course Oklahoma. No musical, not The King and I, not Singin' in the Rain, not Carousel, not any other save My Fair Lady can boost so many landmark songs. Throw in three or four marvelous dance sequences and big dash of Americana and you have the best screen musical ever. Thanks for your tolerance and thank you Amazon for letting me get that off my chest. There is one other musical I gotta mention, because it puts so many others to shame but I'm afraid I'll lose any crediblity, if any, I've got. Well, here it goes, South Park, Bigger, Longer, Uncut is better than all of Andrew Llyod Webber's musicals wound-up into one. In fact I don't think he's got a single song that can outdo ANY song in S P, B, L, U.
There I've said it and now I'm done. Thank you.

Still one of the best
I just watched "Oklahoma" again for the first time in a few years. I can understand why some viewers disliked this musical. The plot concerns farmers and ranchers fighting for dominance over land in the midwest in the 1800's. It's difficult for some of us modern urban dwellers to relate to this dilemma. Also, the characters in "Oklahoma" all speak in a cutesy, rubish dialect which is sometimes hard to understand and can even be annoying.

And it must seem quaint to us that escorting a girl on a picnic could create the kind of conflict that it does in this story. Another disconcerting element in "Oklahoma" is the sight of supposedly rough, rugged cowboys performing in pristine, balletic sequences staged by Agnes De Mille. After our generation has grown up on the gritty realism and sensuality of choreography by the likes of Bob Fosse or even Baz Luhrmann, this type of choreography seems dated and out of place.

But despite these criticisms, "Oklahoma" is still a great musical because of the music itself, and the way the music is so seamlessly integrated into the plot and characterizations. Simply stated, the melodies composed by the prodigious Richard Rodgers and the lyrics written by the poetic Oscar Hammerstein II for "Oklahoma" are magnificent.

For instance, is there a grander or more exuberant description of a wondrous new day than in "Oh What a Beautiful Morning"? Or a more lilting expression of reluctant love than in "People Will Say We're in Love"? Or how about the lyrical beauty and grace of the waltz "Out of My Dreams"? Or the syncopated melody and lyrics of "Surrey with the Fringe on Top" which is a perfect accompaniment to the clippity-clop of a horse pulling a carriage? And what about the joyous, unbridled energy of the celebratory theme song "Oklahoma"?

They all add up to a superb, exceptional score. Other assets of the movie version of "Oklahoma": the vibrant color photography; the solid performances by a talented and versatile cast; and the rich, beautiful singing voices of Gordon MacRae and Shirley Jones.

"Oklahoma" is not a perfect musical, but it's still one of the best and well worth your time if you possess an open mind and a discerning ear.

I really hate this movie...(* 1/2)...
I have never seen anything more boring and tedious than this film. I was forced to watch this one summer Sunday night when nothing else was on T.V., and had finished the book I was reading. I wasn't particulary looking forward to seeing it, because I didn't like "The Sound of Music", "South Pacific", or "Carosuel", but I like old movies, and thought I'd give it a chance. Also it had gotten such great reviews and all and I believe it won Best Picture at the Academy Awards back in '56. After what felt like 48 hours of bordem, I came to the conclusion that this was offically the most over-rated film I have EVER seen! The promblem wasn't even that it was a musical. I like musicals, but this was just awful! The (lyrical) music and dancing was just STUPID. The story was over-used, and the charectors ANNOYING! The only reason I give this a star and 1/2 is because it was tecnically well made, even tho the music and dancing was atrocious! I can't really reccomend this movie or not, becuase I think it really depends on a persons taste. If you like "The Sound of Music", and "Carosuel", you'll probably like this... ... Read more

Amazon.com

The Catalog of Cool describes Green Acres this way:

To be truly cool, one must genuinely understand the uselessness of logic and reason in a world gone mad.... Eddie Albert (ostensibly sane) spent six seasons appealing to the whacked out citizens of Hooterville to behave in a rational and orderly manner. Naturally, he got just what he deserved--the gradual erosion of his own mental stability. Aficionados of this show like to call it surreal. I call it real life.

Among the season's other episodes, in "The Day of Decision," all of Hooterville wonders whether "she will" or "she won't" as Lisa chooses between life on the farm or returning to New York. In "Never Look a Gift Tractor in the Mouth," Hooterville is beginning to look like Peyton Place when Doris Ziffel (Barbara Pepper) becomes convinced that her husband Fred (Hank Patterson) and Lisa are having an affair. "Lisa Bakes a Cake," in which Lisa lists Oliver in the phone book as an attorney, is about as flat and heavy as one of Lisa's infamous creations. --Donald Liebenson ... Read more

Reviews (73)

Funny as Heck......
I didn't hesitate to buy this thanks to the VERY reasonable price. I loved this show as a kid in the 70s so when I started watching the episodes in order on this set I was at first a little concerned that the show wasn't as funny as I remembered it, then around episode 15 it starts to truly resemble the wacky show I remembered as a kid. So if you're new to the show just keep in mind it took the producers a while to get their footing.

It's been said that GREEN ACRES was critically unappreciated when it originally aired and I can't say for sure if that's true but I do know the show is overflowing with priceless character actors, including Sid Melton, Mary Grace Canton, Alvy Moore, the incomparable Pat Buttram, Hank Patterson and last but not least the incredibly funny Barbara Pepper as Doris Ziffel.

I've seen some websites complaining about the video quality but I can't complain. The shows are bright and clear and are vastly superior to the ones I see occasionally on tv land.

A great show
My wife and kids (ages 2, 4 and 7) have spent many evenings together enjoying this great comedy. The dialog could almost work as an old time radio show (which Green Acres actually was years prior). I really get a kick out of themes and jokes that get carried over into later episodes, sort of like inside jokes. You can really see how the series hit its stride mid-way through the season.

The film transfer is wonderful. I can really appricate the DVD picture quality when I compare it to the less-than-spectacular quality on DirectTV. My guess is this DVD looks better than the show did when origianlly broadcast. (Thank God these old shows were filmed rather than video taped!)

MGM, I know I'm going to have a very disappointed family if you don't release season two before summer. Rest assured we'll be repeat customers. (Thank you for the great entertainment at a such a terrific price!)

As good as I remembered
I remember watching this show in the 60's and loved it. I am happy to say that it is just as funny as it was back then. The writing for this show is superb. It seems everyone is in on the joke except Oliver which makes it all the funnier. Eddie Albert is the perfect straight man and Eva Gabor's fractured English is icing on the cake.

Green Acres The Complete First Season
This series is every bit as funny as I remembered!! It is too bad they don't make tv as good as they did back then. This is good clean fun!!

a great and funny classic show
So glad it's come out on dvd, it's nicely packaged. This is great the first season all the episodes uncut. I hope they also release the other seasons as well. I must for any fan of Green Acres or of comedy in general. ... Read more

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The effects are low-tech and no longer special, but Escape to Witch Mountain still has plenty of Disney live-action charm. It's rather quaint by later standards, coming just two years before Star Wars upped the ante on movie magic, but the story's got timeless appeal as a precursor to Harry Potter's more lavish brand of kid-wizardry. Here you've got Tony (Ike Eisenmann) and sister Tia (Kim Richards), orphans unaware of their mysterious past, who are taken in by a nefarious liar (Ray Milland) seeking to exploit their supernatural powers. Populated by '70s stalwarts like Donald Pleasance and Eddie Albert (the later playing the kids' grown-up accomplice, unwittingly rescuing them from Milland), this lightweight Disney fare is perfect for kids under 10, with such enticements as a clever cat mascot named Winky (because he winks a lot), Tony's magical harmonica... and a Winnebago that flies! With a sci-fi climax, this popular hocus-pocus spawned a 1978 sequel (Return from Witch Mountain) that has proven similarly popular with kids. --Jeff Shannon ... Read more

Reviews (15)

Escape to Your Childhood!
Growing up as a child in the 1970's I remember watching THE WONDERFUL WORLD OF DISNEY every Sunday evening at 7pm. I of course enjoyed the cartoons but also enjoyed the many live action Dinsey movies such as THE SHAGGY DOG, THE SHAGGY D.A., POLLYANNA, THE WHIZ KIDS movies and of course the WITCH MOUNTAIN movies. I remeber looking forward to ESCAPE TO WITCH MOUNTAIN and would make it a point to never miss this movie when it aired.

The story is about a brother and sister, Tony & Tia, who along with their alien family tried to migrate to Earth but crashed upon arriving. Tony and Tia then try to locate their family with the assistance of a widower whie trying to avoid a rich villan who wants to use the kids Extra Sensory Powers (ESP) to further his greedy goals. As a child I actually found this movie to be very scary. I actually feared for Tony and Tia. Now as an adult it has lost the scary aspect. That comes with age I guess. It is still a good watch though.

I have wanted to purchase this film for years so my children could watch it. Now that they are pre-teens and begining to loose their childhood innocence I was finally able to purchase this new DVD. As I suspected they were reluctant to watch this movie and the sequel RETURN FROM WITCH MOUNTAIN. I finally got them to watch the films and they did enjoy the them but obviously it did not have the same effect on them as it did me. However younger children, especially those who have not been spoiled by CGI special effects will no doubt still enjoy the films. I tried to explain to my children that as a grade schooler I had a huge crush on Kim Richards (Tia). I got teased for that and of course when I teased my boy about his attraction to Hillary Duff that was a different matter. Go figure.

The DVD has some nice special features. Interviews, cartoons and other such material. I don't have enough positive things to say about Disney's old movies being offered through their Vault Disney line of products.

Superb and timeless.
I like Escape To Witch Mountain better than any other Disney film. It's probably in the top 5 best kid-movies ever made for that matter. I'm now 36, but was 7 when I first saw it. I probably had a crush on Kim Richards back then but I clearly remember seeing the movie at the theater and loving it.

Looking at the dvd now.. the direction by John Hough is crisp and the effects, though not digital, have loads of SOUL, creativity and charm. When a car full of bad guys wrecks.. the fact that they show the 4 occupants safely getting out of the car is a nice touch (after all kids are watching this).. and that (and lots of other things in this movie) speak to the innocence that still actually existed for those of us lucky to be kids in the 1970s... there was still a common-respect in large parts of society.. kids could be kids .. and all the in-your-face junk that permeates much of the world of kids today was years away...

Back on the subject at hand...I watched the DVD (which is nicely loaded with extras) and was surprised by a couple of moments in the film that clearly ...we'll say INFLUENCED.. a certain Mr. Spielberg years later. One involves a menacing object being shown in a rear-view mirror (like Jurassic Park!). The 2nd is when the Winnebago eludes its chasers (I won't say exactly how!).... looking rather similar (shot for shot!) to a scene in E.T. involving a chase and bicycles. (This film is HUGELY suprior to E.T. by the way!)

But I don't want to get too bogged down in how other movies clearly ripped this great one off!

This film is amazing with it's memorable musical score, acting by Albert and the kids, mystery-unfolding storyline and warm, nicely-done conclusion. The open credit sequence is really good too. Perhaps most of all... it has something that gobs of movies today certainly DO NOT - a great story.

I plan to show it to my 5 year old neice this weekend!

Enjoy it!

My Favorite Live-Action Disney Movie from the 70's!
I first saw Escape to Witch Mountain in a movie theater with my friends when I was 10 years old and it is my favorite Live-action Disney movie from the 70's and the one that stands out in my memory the most! Kim Richards (Tuff Turf) and Ike Eisenmann (Star Trek II - The Wrath of Khan) play sister and brother Tia and Tony who are brought to an orphanage after their foster parents die. They are the only parents that they remember and have no memories of their lives before they were brought to their foster parents. Tia and Tony it turns out have powers that make them be able to move objects with ther minds, see in to the future, etc and when a man named Lucas Deranian played by Donald Pleasence (Halloween) finds out about it he pretends to be their uncle and takes them to live in the secluded mansion of his employer the wealthy, greedy and powerful Aristotle Bolt played by Ray Milland (The Lost Weekend). It turns out that The sinsister Mr. Bolt has plans to enslave them so he can force them to use their powers to bring him even more wealth and when Tia and Tony escape they befriend a crusty old widower named Jason O'Day played by the wonderful Eddie Albert (Green Acres) who helps them escape the clutches of the evil Bolt and Deranian but they also have to escape a crooked sheriff and a hunting party who think they are witches. This is a delightful movie that is good for the whole family and has a great cast that includes the actors I already mentioned, but also good in small rolls in the beginning of the movie are Reta Shaw (Mary Poppins) as Mrs. Grindley who runs the orphanage and Dermott Downs as a bully called Truck. Denver Pyle (The Andy Griffith Show and The Dukes of Hazard) was good in his cameo roll as Uncle Bene. I also think the director John Hough did a great job and I really like this DVD. I love that they presented the movie in widescreen and the extra features are pretty good, I especially liked the making of doccumentary but I didn't really care for the Mickey Mouse and Pluto cartoon which is not my favorite Mickey Mouse cartoon but anyway I just very highly recommend this DVD!

The Bolt Mansion in Carmel
For anyone interested, the Mansion Disney used for Mr Bolt is located on the famous "17 Mile Driveing tour of Carmel homes, in Monterey Cal.

On the Set of Witch Mountain, Felton California
I was in HS the year they shot this movie, and what excitment that was for Disney to come to the Mt. town of Felton California, in the Redwoods. All the meadow scenes and mountain road and cabin were in our small town. The city hall was used for the Jail, and you see the bowling alley and Felton drug in the backround. WOW, also The summer they shot "The Lost Boys" was also shot in Santa Cruz County, along with "Sudden Impact" The final scene was shot at the Boardwalks' Big Dipper Rollercoaster.

Randy
Movie Fan ... Read more

Reviews (16)

Mirale of the White Stallions
I am a ridding instuctor and have been searching for this video to show my students. It is a wonderful way for them to see some of the greatest riding in the world in a story every horse lover should know! These precious animals are braught to such vibrant and beautiful light by Disney in this movie. A REAL MUST SEE!!!

White Stallions Dancing
I have been trying to track down this movie for a long time. It was a movie from my childhood and I loved it dearly, I simply could not remember its title. I remember the heroics of the rescuers and the beauty of the Lipizanner horses. This is a movie that would still entrance all viewers, but especially those with a passion and love of horses. I wish Disney would release this on video for the children of today and tomorrow. This movie reminds us that war is not just about people but treasures and animals as well.

Miracle of the White Stallions
"Don't give a hoot about Joe Public" seems to be the mantra these days at Disney when it excitedly releases classics on DVD.

Why don't they take a little more care and issue these films in widescreen format in the way they were supposed to be seen. Its just another way the public has been hoodwinked by a greedy mouse. I wouldn't purchase any of these "new" re-releases until they put product of an acceptable - as opposed to half-assed - quality. Shame on you!

Again, the "new" Disney shows no respect for their heritage
No wonder the company is about to be taken over and broken up -- DVD was introduced to be an alternative to video, to offer more than video: better picture, more extras, and most importantly, more picture. Letterboxing. Widescreen. The complete image. So what does Disney do? They take some of their most beloved live-action films such as this one, and dump it on DVD in full-frame editions. It's a crime against these wonderful films, films that are a credit to the "old Disney" -- the wonderful, family-friendly Disney. And what, exactly is the point of pan-and-scan? Who isn't used to widescreen DVDs yet? Why should I waste my money replacing my old Disney videos with the same crappy full screen image as before? Disney just doesn't get it, and their sales show it.

THE DVD VERSION
Several of the reviews on this site ask the Disney studio to release this film on DVD. Well, they have and this review refers to the DVD version.

I have been familiar with this movie since I worked at the Disney studio in 16mm film distribution in the 1970s (about 7 years before the VHS blockbuster years began), and am familiar with the original negatives. In what I am finding to be typical of the Disney folks, this film is presented in a 'full frame' version, rather than a WIDESCREEN version. The film was shot for a 1:85x1 projected ratio (known as Academy Flat) which presents the picture in a slight retangular format. However, a full frame, 4x3 video transfer of such a negative isn't all that bad, although it would have distinguised it from the normal VHS format.

Also, I am very surprised that the Disney people didn't make an effort to 'clean up' the original negative, which contains a great amount of negative dirt and scratches. The DVD does preserve the original look to the film (color and tint), but there has been so much technology invented to digitally reproduce an almost flawless image, that I am surprised it isn't been used. It is one of trhe major reasons that people have switched to DVD.

Also, look for a mistake in the original negative. Just after the horses board the train, there are reddish, flash frames (possibly an overexposure to the camera original negative) which could easily have been removed digitally.

A few "extras" would have been nice, such as behind-the-scenes material. This stinginess is becomming something notorious with recent Disney DVD releases. Walt Disney shot tons of background footage for every movie he made, and this is stored in the studio vaults. I've seen it in 16mm, although it was shot on 35mm.. You can ignore the lack of a WIDESCREEN image if the DVD contained these precious extras. Otherwise, it's just a transfer of the old VHS image. What's the point of that?

As far as Robert Taylor's performance, far from being 'wooden' (as one reviewer wrote) I agree with another reviewer who said that he was protraying a real man (who was also alive at the time and a hero in Europe), and the script and direction decided to present a truthful, realistic portrrait of him. Don't forget that this movie, and many others (BALLERINA, HORSE WITHOUT A HEAD, ALMOST ANGELS) were shot in Europe after World War II. They were made chiefly for a European theatrical audience and were intened for an American TV audience on THE WONDERFUL WORLD OF DISNEY. So, you'll find a different style of acting and presentation: a bit slow for us, but perfect for their intended audience. ... Read more

Description

Robert Evans became head of production at a major Hollywood studio at age 24. Took a studio from worst to first. And brought to the screen a phenomenal string of hits that includes Chinatown and The Godfather. He lived fast. Lived large. Lost it all. Then rose to prominence again. And now the inside-Hollywood story is revealed by ROBERT EVANS in this dazzling show-all movie that's narrated by Evans in his inimitable showman's style! ... Read more

Reviews (32)

Being Robert Evans Means Never Having To Say You're Sorry
There's an apt little epigram that appears on screen as the movie opens. "There are three sides to every story," it says, "my side, your side and the truth. And no one is lying. Memories shared serve each one differently." The speaker is Robert Evans, upon whose memoir, "The Kid Stays in the Picture", this rousing and raucous documentary is based. The epigram not only serves as a fancy little bit of wordplay to get the picture off on the right foot, but it also acts as the film's (and, more specifically, the subject's) credo.

Evans narrates the events of his life as they unfold on the screen. His gravelly voice is a soothing guide, but it is the content of what is said that is addictive. If this film had been made independently by directors Nanette Burstein and Brett Morgen, without Evans' help, it would have been just another rise and fall and rise again Hollywood morality tale. But Evans' presence lends it something more. It gives the filmmakers, based solely on the forceful and gargantuan nature of his personality, license to tell this story only from Evans' myopic point of view. Usually documentarians have a responsibility towards objectivism. But with "The Kid Stays in the Picture", they're not really documenting Evans' life story, but his persona. Which makes for a much livelier tale.

So we get Evans' version of why Mia Farrow, after enduring much heat from her then husband Frank Sinatra to quit, decided to stay in "Rosemary's Baby": because Evans, the slick operator, fed her dreams of Oscars and glory; and because Mia, a flighty and whiny little girl, had an actress' ego that needed massaging. Is Mia given an opportunity to defend herself? No! Of course not! Does it matter? No! Of course not! Because Evans', and here is where the epigram comes in handy as an excuse, can tell a good story, especially when he comes out of it looking like a genius hero. If he is to be believed, than "Rosemary's Baby", "Love Story", "The Godfather", and "Chinatown" were all made by the singular vision of Robert Evans, and no one else (the only subject on which he is not completely egotistical is his acting; he rightfully acknowledges how lousy he was -- and offers video evidence to prove it! Another gutsy move). There's a lot of tall tales here, and a lot of toes stepped on. And if Evans were any less charming, the whole picture would crumble under the weight of his huge ego. But he is exceedingly charming, and it is on this charm that the picture coasts.

Farrow isn't the only one raked over the coals by Evans. If you're going to live in his circle, you better be as outrageous and thick-skinned as he is. There is much childish name-calling here: Roman Polanski is "The Little Pollack", Ali MacGraw is "Miss Snot Nose", and Francis Ford Coppolla is repeatedly called, always with a sneer of contempt, "The Prince". Evans refuses to pull his punches, to let anyone off easy, be they friend or foe. He can do this because he takes none of it seriously. As he says about Coppolla, in a contemporary interview clip from "The Cotton Club" days, "We've fought many times before." Implying that despite their differences, he and Coppolla will eventually allow this melee to pass too. Evans is a man who lives for the battle, especially when it's a battle fought for the sake of movies.

Besides the Tasmanian Devil-persona of its subject, "The Kid Stays in the Picture" has a lot of stylistic things going for it. The look of the film is mostly achieved through Evans' personal photo collection, each picture manipulated so that the people in the foreground appear to float over the background. It makes what could have been a very static collage come alive with action and movement. This is most effectively used in the way the film portrays Charlie Bludhorn, the owner of Paramount Pictures who gave Evans his own studio to run. Bludhorn's bald, bespectacled, toothy visage (along with Evans broad impression of his speaking voice) floats throughout the film; but we never see video of the man. Doesn't matter, for his gruff, straightforward character shines through. Old interviews and film clips from some of Evans' more famous movies are also thrown into the mix, giving the film a vibrant and manic feeling.

Except, that is, when the subject of Woodland comes up. Woodland has been Evans' home for the past thirty years. He lost it during his mid-1980s troubles, only to regain it thanks to Jack Nicholson. It is his refuge away from the Hollywood hustle and bustle, and whenever he speaks of it, Evans gets a nostalgic and romantic lilt to his voice. Burstein and Morgen allow their camera to float around Woodland, from its lush and colourful backyard, to its deep blue pool, to its comfortable corridors, making it a silent co-conspirator in Evans' story. When he's riding high, Woodland seems like an oasis, a Xanadu, a utopia. But when Evans is going through a rough spell, Woodland offers a sad reminder of his past glory, of what he has lost. When he returns in triumph, Woodland is there waiting for him, arms open. At times it felt like the house was a major character in the film, and I suspect that's not too far from Evans' own truth.

"The Kid Stays in the Picture" is rousing fun, regardless of its veracity. Evans is a no-holds barred narrator, giving equal measure to his glorious highs and his agonizing lows. You may find the man too slimy to ever want to meet in real life, but the 91 minutes you spend with his voice and his life story will be an hour and half worth giving up.

Facinating documentary...
The Kid Stays in the Picture is a glitzy peek into Hollywood in the 70's as seen through the eyes of one of its prime movers: Robert Evans. You may not have heard the name Robert Evans, but you've definitely seen movies he's produced: Rosemary's Baby, The Godfather and Chinatown are just the tip of the iceberg as far as his career goes.

The documentary has a unique, but somewhat flawed, style. The directors put up many of Mr. Evans' personal photographs (enhanced with 3D effects), TV and movie footage and have Evans himself narrate the entire movie (his narration is taken from book-on-tape version of his biography). The period of his life covered from his discovery in a Beverly Hills swimming pool to his meteoric rise to fame to becoming persona non grata in Hollywood and back to acceptance in Tinseltown. Evans' cool self-assesment provides a facinating look into one of the most volatile and creative decades in Hollywood history. The only problem is that because Evans is the only person narrarating, the perspective, although very interesting, is somewhat limited. Evans himself does not bore for a second in the film though. His warbly barritone is almost hypnotic.

I caught this movie by accident on HBO one afternoon, and I was thoroughly pleased with what I saw. It was more compelling than most documentaries that are out on the market. I would recommend it to those who want to learn about fame and the movie industry in America.

Evans comes out hitting a homerun
Robert Evans was behind a bunch of hollywood masterpieces such as Chinatown, The Marathon Man, Rosemary's Baby and The Godfather (just to name a few) and why he was involved with Popeye I have no clue. He must of been looney. Evans had a wife and child but he was divorced. He did drugs, got into the wrong thi