Amazon.com

As directed by Jonathan Glazer (Sexy Beast) and dimly lit by cinematographer Harris Savides, Birth is a melancholy chamber piece, its pensive mood sustained by nearly sub-sonic nuances in a fine, thematically developed score by Alexandre Desplat. All of these fine qualities are well-matched by the somber performance of Nicole Kidman, playing a still-grieving widow of 10 years, about to remarry when a 10-year-old boy (Cameron Bright) arrives to announce that he is her dead husband, reincarnated and full of convincing answers to personal marital questions. Rather than go for Sixth Sense-like chills and thrills, Glazer approaches Birth as a conundrum with no clear-cut solution, and his directorial style is so subdued, so deliberately understated, that most of the story's dramatic impact is sacrificed to oppressively dour atmosphere. If it doesn't lull you to sleep, Birth might hold your attention as a strange, subtle thriller in miniature scale. With its delicate, mature approach to the processes of grieving and recovery, however, Birth rewards attentive viewers attuned to the film's ultra-low-key wavelength, and it's guaranteed to provoke interesting post-movie discussions. Lauren Bacall, Danny Huston, Anne Heche, and Arliss Howard lead an esteemed supporting cast. --Jeff Shannon ... Read more

Reviews (86)

Long Labor, Doesn't Deliver

I just watched this movie and while the music, lighting, and hollywood "slickness" were all present and accounted for, I kept waiting for this movie to really get going.It never did.Which is such a shame because I think it had potential.The main problem I felt was that the characters were almost impossible to connect with.Sean, who is the 10 yr. old boy claiming to be Anna's dead husband, has such a flat affect, which may have been intended, that no emotion comes across onscreen (doubt that was intended).And with the exception of one comment by him that his memories are "like deja vous", he gives no other reason for his laspes in memory.Or why he thinks the whole thing is happening at all.Hence, me waiting for something significant to happen.If only slightly.

The movie does have the feel of a foreign film and at times is visually pleasant but overall, the performances by the actors, is rather bland. If you like movies of this genre to have detail and answer some very basic questions, then is not the movie for you.On the other hand, if you like pretty scenes, pretty actors, and a feeling of "was that it?", then this movie is definitely worth your time.

Absolutely Pointless
The premise of this film is intriguing but it is so badly delivered that it seems as though the script were incomplete. This is a film where very little is said; there are long, annoying shots of winter trees, icy New York streets, etc. all amounting to abolutely nothing. Questions that are so obvious are not even touched upon, and Nicole Kidman comes across as mentally ill herself.
It ends so abruptly, as if the director said, "Let's just end this thing and put ourselves out of our misery". This film insults the intelligence of any viewer in a way that is shameful. What a waste of an evening.

the movie was great but some compains about the dvd release
It's not a regular hollywoodic movie which if it was, it could be more entertaning. but its an excellent valuable and conseptual movie with very good actings and very good directing. I said conseptual but its not a boring movie and certainly grabs you to the end. DVD has not special features but theatrical trailer and 10 sneak peaks. but nothing more. It could be good if the studio release it at least with some deleted scenes and alternate ending. And a directors commentary could be useful in many scenes. but the dvd has no special features. I'm sure they will gonna release a director's cut or special edition of this movie in near future but when they want to stop this tradition, releasing a simple dvd first and release several editions later!? anyway, I Suggest everyone, if you like this movie, dont buy this release, simply rent it, and wait for a special edition or director's cut!

Beautiful film...but very boring
Genre: Drama/Thriller

Genre Grade: C-

Final Grade: C+

This movie only saved itself in my book because of Nicole Kidman's wonderful performance and the amazing cinematography and soundtrack. The story itself was weak, uninspired, pointless, and did nothing to entertain the audience. It seemed as though the director made this movie for his own enjoyment and didn't care that it might put the audience to sleep. It's sad because this movie had such potential...if only it had an ending.

Snaps to Nicole Kidman, Alexander Desplat (for the music), and Harris Savides (for the cinematography), but that's all the credit I can give, this movie sucked other than those things.

Pretty good but Pointless...
This movie is good. There is a fairly good plot but some parts aer just stupid. The end makes you think Why was this movie even made? It seems pointless. ... Read more

Reviews (37)

Approved by Agatha Christie
Having read the book many times I've come to know its complexities well enough. Albert Finney embodied Poirot from top to bottem so much so that all other portrails pale by comparison. Even the remarkable work of David Suchet cannot touch Finney. Poirot is an eccentric ego-ist who is also one of the most intelligent characters ever created and Finney captures his qualities perfectly. The rest of the cast is equally superb! With an interational cast of Vanessa Redgrave, Lauren Bacall, Ingrid Bergman, Wendy Hiller, Sean Connery, Richard Widmark, Jean-Pierre Cassel etc. one wonders why all of them were not nominated for Oscars. The entire film is a work of art from the production design to the costumes, make-up and music. All these elements under the direction of Sidney Lumet are kept flowing swifty so that you have to rewind over and over till you catch all the nuances. The book can be a bit confusing and plodding despite the wonderful prose but the film clears away any clutter and solidifies the story. Yes the film changes some names and some early locations but it also clarifies some plot points particularly the Armstrong case. Agatha Christie saw this version of her story brought to life on screen and approved of it. This film will delight the viewer with each repeated playing to the point that after a while you're going to have to get another tape the old one will become so worn!

Still one of the most stylish who-dun-its
Nearly 30 years after its release, the star-studded "Murder on the Orient Express" remains one the the best of the big screen's adaptations of Agatha Christie's works. Confined to the fabled train with the richest of the ultra-privileged class and trapped by a mammoth snow drift, everyone comes under suspicion when a self-described businessman (Richard Widmark) who turns out to be the mastermind of a child kidnapping that ends in murder of the child, is himself murdered (who can ignore the obvious similarity to the Lindbergh baby kidnapping?). Everyone in the all-star cast comes under suspicion, from Lauren Bacall as a character intended to scrape the nerves raw, to Ingrid Bergman in an Oscar-winning supporting role, to the breathtakingly beautiful Jacqueline Bissett, to Anthony Perkins, the late Sir John Geilgud and a magestic Wendy Hiller. But Albert Finney, as celebrated investigator Hercule Peroit, is amazing. True to Christie form, we come to a totally unexpected solution and resolution that doesn't deter us from watching this film time and again. Lavishly produced and rich in scenery, we actually get a sense of being trapped on the motionless train wondering who of our fellow passengers did the dirty deed, which is what makes this film so enjoyable with every viewing. More satisfying is that the viewer won't feel cheated by an ending that one critic at the time dismissed as "too easy." That aside, it's little wonder the film was an Academy favorite in multiple nominations.

Can't wait...
"Murder on the Orient Express" probably had the most intense production values as any film in 1974. The period detail was exquisite and the ensemble cast was stellar, all put into perspective by the brilliant Sidney Lumet. 1974 saw "Godfather II" and "Chinatown", wonderful in their own right. Can't argue too much about comparisons, but the editing in "Orient" is a true work of art, shifting its time-frame constantly. The viewer always knows everything, but really knows nothing. Albert Finney is a terrific Hercule, and the whole ensemble cast was great! Ingrid Bergman won the Oscar for this, but I thought Rachel Roberts was the best of all. So VERY classy, and so very grisly... all done with aplomb by a brilliant cast and America's own, very underrated great director, Mr. Lumet. Don't forget, Lumet did the original "12 Angry Men" in the 50's, as well as "Long Day's Journey Into Night". The man has control. Experience it!

"...there are too many clues in this room..."
Thirty years ago in 1974, Sidney Lumet (who is known for directing "Network" in 1976, "Serpico" in 1973 and "Death Trap" in 1982) directed a murder-mystery film based upon the 1934 novel "Murder on the Orient Express" (a.k.a. "Murder in the Calais Coach"). The novel was written by the famous murder-mystery author Agatha Christie (1890-1976) and was the ninth book in the series that featured her famous fictional detective named Hercule Poirot. The Orient Express began service in 1883 as a passenger rail service between Paris and Venice. An additional southern route (known as the Simplon Orient Express) was started in 1919 that ran from Paris to Istanbul that also passed through Venice. It is upon the Simplon Orient Express that Agatha Christie placed the location for her novel.

The 1974 film adaptation included an all-star cast, including the famous actor Albert Finney who played Hercule Poirot, for which he received an Oscar nomination for Best Actor. (Albert Finney has been nominated 4 times by the Academy for Best Actor and once for Best Supporing Actor, which was for his role as Ed Masry in the 2000 film "Erin Brockovich".) Poirot boards the Orient Express on his journey home after solving a murder case. On the train, in the sleeper cabin next to his is the millionaire businessman Mr. Ratchett (Richard Widmark), who is accompanied on the train by his secretary, Hector MacQueen (Anthony Perkins, 1932-1992), and his butler, Mr. Beddoes (Sir John Gielgud, 1904-2000). Other passengers on the train include the Countess Andrenyi (Jacqueline Bisset), Greta Ohlsson (Ingrid Bergman, 1915-1982), Mrs. Harriet Belinda Hubbard (Lauren Bacall), Colonel Arbuthnot (Sean Connery), Princess Dragomiroff (Wendy Hiller, 1912-2003), Mary Debenham (Vanessa Redgrave), Hildegarde (Rachel Roberts, 1927-1980), Count Andrenyi (Michael York), Mr. Hardman (Colin Blakely, 1930-1987) and Signor Bianchi (Martin Balsam, 1914-1996). The conductor was Pierre Paul Michel (Jean-Pierre Cassel). One night with the train en route, Mr. Ratchett was murdered. When Poirot learns this, he begins an immediate investigation in the hopes of finding the murderer before the train reaches its next scheduled stop. As Poirot questions the passengers, he is amazed that many of them may share something in common from many years earlier. Tension on board mounts when the train becomes trapped following an avalanche covering the tracks ahead of it. Before the tracks can be cleared, can Poirot solve this very mysterious murder on board the Orient Express? You'll have to watch this very well made film to understand the mystery.

In addition to Albert Finney's Oscar nomination for Best Actor, "Murder on the Orient Express" received four other nominations including Best Cinematography, Best Costume Design, Best Original Score and Best Adapted Screenplay. Ingrid Bergman won her nomination for Best Supporting Actress. Overall, I rate this outstanding film with 5 out of 5 stars. It is a tribute to the great mystery and literary skills that Agatha Christie shared with the world in her many novels. I highly recommend the purchase of this film that is being released on DVD, which, thankfully, is in widescreen format.

Overall good, but as for Finney's Poirot...mon dieu!
One of Agatha Christie's most famous mysteries was adapted to the big screen in 1974, two years before the author died. Murder On The Orient Express was the first in a brief series of cinematic and TV movie Christie adaptations continuing with Death on The Nile, Evil Under The Sun, Easy To Kill, A Caribbean Mystery, The Mirror Crack'd, and Appointment With Death.

Mr. Ratchett, an American businessman, tries to employ Poirot after he has been getting threatening letters. Poirot turns him down, and the following morning, he is found dead in bed from multiple stab wounds. Clearly, it was someone on the coach, but who? And before the murder, there was a lot of weird activity going on. Someone wearing a fancy nightgown knocks on Poirot's door. Ms. Hubbard calls the wagon-lit conductor and reports a man in her room.

There then follows the usual Poirot method of questioning the suspects one by one, sifting out lies and clues, of which he notices there are too many, after speaking to them. Poirot discovers that Ratchett was the mastermind behind the kidnapping of Daisy Armstrong, a young girl who was ransomed and murdered despite the money being paid. But Daisy was not the only casualty. A maid was falsely blamed in collusion and committed suicide. Ms. Armstrong gave birth to a stillborn child and died later, and Colonel Armstrong ended up shooting himself.

One of the key motifs of Christie mysteries and others was the use of flashbacks to accompany testimony of the people being interrogated, as well as the denouement, where in tried and true Christie fashion, Poirot gathers everyone in the room and tells them who did it, with scenes of what actually happened, something used in the later movie adaptations.

Murder On The Orient Express boasts an all-star cast of the top draws at the time, Sean Connery (Colonel Arbuthnot), Vanessa Redgrave (Miss Debenheim), Jacqueline Bisset (Countess Andrenyi), and Anthony Perkins (Hector McQueen), as well as some old veterans such as Dame Wendy Hiller (Countess Dragomiroff), Martin Balsam (Mr. Bianchi), Richard Widmark (Ratchett), and George Coulouris (Doctor Constantine). Despite being more svelte than the character to the novel, Lauren Bacall is the strongest actress as Harriet Hubbard, and one who exasperates Poirot and the other passengers with her aggressive bossiness, although her character's name was Caroline Martha Hubbard in the novel. Ingrid Bergman won her third Oscar, albeit for Best Supporting Actress as the simple-minded Greta Ohlson.

Some changes made in the movie is John Gielgud as the elderly and masterfully unflappable valet Biddoes. In the novel, it was Edward Masterman, who was 39 years old! And originally, Mr. Bianchi was a Monsieur Bouc, a fellow Belgian friend of Poirot. And the second set of interviews with the suspects is deleted from the movie. Other than that, I was surprised that the movie more of less followed the book.

There is a splashy elegance to the whole thing. The music veers from the sumptuous glamorous orchestra to the eerie horror sounds given in the prologue and in the reenactment of the murder. However, the biggest debit is Albert Finney (Poirot), who doesn't fit Agatha Christie's famed dignified Belgian sleuth. He's tall, has a rough voice, laughs like he's on drugs, and looks more like a grotesque gargoyle than a calm and refined gentleman. A pity David Suchet wasn't born sooner, as Peter Ustinov's Poirot is only slightly better. ... Read more

Amazon.com

The follow-up to the original Broadway's Lost Treasures delivers more of the same--historic performances of great moments in American musical theater televised on the Tony Awards--but is a step up in terms of sheer entertainment value.The first volume included only performances before 1987, and while they had bigger stars (Yul Brynner, Robert Preston), some of them were lip-synced and considerably less polished than their feature-film equivalents. Broadway's Lost Treasures II features newer performances that are almost indistinguishable from an actual show, including scenes from splashy, high-energy revivals such as Anything Goes (Patti LuPone and company performing the title tune) and Guys and Dolls (the fabulous "Sit Down You're Rockin' the Boat"), and new shows such as Grand Hotel (Michael Jeter and Brent Barrett in a gloriously exuberant "Take a Glass Together"), Les Miserables ("One Day More"), La Cage aux Folles (George Hearn solo and with a chorus line in drag in"I Am What I Am"), and Jelly's Last Jam (Gregory Hines tapping "That's How You Jazz"). There are classic performances too, including Angela Lansbury and Bea Arthur's 1987 reunion of "Bosom Buddies" (Mame), Richard Kiley's "The Impossible Dream" (Man of La Mancha), Jerry Orbach's "All I Care About" (Chicago), and (in the DVD's bonus content) Katharine Hepburn in a 15-minute part-dramatic, part-musical scene from Coco. Fans were disappointed when performances from Dreamgirls and A Chorus Line were pulled from the first program due to rights issues, and those still aren't included here, but one can always hope they might appear in a volume 3.--David Horiuchi ... Read more

Amazon.com essential video

Yes, it's true: you can virtually see Humphrey Bogart and Lauren Bacall falling for each other in this Howard Hawks variation on Casablanca but adapted from--as legend has it--Ernest Hemingway's self-declared "worst novel." (The story goes that Hawks told Hemingway he could make a movie of the author's least work, and Hemingway gave him the rights to this story.) The script by William Faulkner and Jules Furthman actually makes this one of Hawks's and Bogart's most interesting and often exciting films. Bogart plays a boat captain who reluctantly agrees to help the French Resistance while wooing chanteuse Bacall. Hoagy Carmichael, wry at the piano, adds a delicious accent to an already wonderful mood. --Tom Keogh ... Read more

Reviews (53)

HEMMINGWAY'S SAGA HITS THE BIG TIME!
"To Have And Have Not" is the film credited with launching Lauren Bacall's movie career. Under a personal and exclusive contract to director, Howard Hawks - who evidently hoped for a more personal involvement with his young find - Bacall disappointed her mentor by falling for, and eventually marrying, Bogart instead. In the film she plays Marie 'Slim' Browning, a pickpocket and girl about town who crosses paths with Harry Steve Morgan (Humphrey Bogart). He's a sea captain in Martinique who is double crossed by his most frequent fishing patron, Johnson (Walter Sande). However, before Steve can collect on their debt, Johnson is accidentally killed by a stray bullet. But a financial reprieve comes by way of nightclub owner and supporter of the resistance, Frenchy (Marcel Dalio). If Steve can water taxi Frenchy's freedom-fighting friends to safety his pay off will be substantial. Like most of Warner's adventure films of the period, its not the story, so much as the atmosphere that makes up the sum of this film - though in this instance - no less than literary giant, Ernest Hemmingway, was responsible for the framework on which the film's plot is based.

Again, Warner outdoes the competition when it comes to remastering their catalogue of great films for the DVD consumer. The gray scale is outstanding and fine detail is rendered with remarkable clarity. Blacks - for the most part - are black. The stock footage - used during the fishing trip sequence - is obvious, riddled with excessive grain and slightly out of focus rear projection. However, that's to be expected. The rest, as they say, is the stuff that dreams are made of! The audio is MONO but cleaned up and very well balanced.
Warner gives us a featurette that, although short, covers a lot of ground regarding the film's production. There's also a Warner Brothers cartoon and the film's original theatrical trailer.

You can't afford to not have this
I think that the1944 classic "To Have and Have Not", which features one of Humphrey Bogart's best roles as Harry Morgan, the film debut of Lauren Bacall as "Slim" and an excellent supporting role by Walter Brennan as Eddie, Harry's drunk friend, is a great movie. The dialogue in here is sharp and witty, the most famous being said by Slim to Harry: "You know how to whistle, don't you? You just pucker your lips and blow". A personal favorite of mine is Eddie's question to about half the other characters in the film: "Was you ever stung by a dead bee?"

However, while I don't really hold it against this film, a lot of plot elements in here reminded me of "Casablanca" (And, though officially based on Hemingway's novel, some say this was actually a remake of that film). It is mostly in the plot details: Harry Morgan is a refuge from America and refuses to get involved with the work of some Free French fighters. But he eventually decides to but only for the personal needs of himself and another runaway (Slim). Harry, like Ric Blaine, also has to leave at the film's end. The locale of Martinique is a strange and exotic one, much like French Morocco. There is also a club called Hotel Martinique that reminded one a lot of Rick's Café, such as a pianist (A major difference between the two places is that Morgan doesn't own the Hotel and the pianist is caucasian)

But remakes of films are very common and this movie breaks no laws by replicating another movie. I must also say that while this movie is worth watching on video or television, the only one you need to have is the DVD, whenever that'll be released.

An H & H production
The success of this picture was apparently a little embarassing to the legendary director Howard Hawks. He and author Ernest Hemingway cooked it up during a hunting trip, according to Hawks, in trying to make a picture out of the author's novel. They ended up with a story that ends where the novel begins, and a title that has no bearing at all on the movie. Hawks refused to admit the two of them had been influenced by "Casablanca," but that's baloney, the parallels are just too strong. Nevertheless it's a fine picture, like a variation on an earlier theme of music. Bogart and Bacall have their famous meeting, some Vichy French types on Martinique take the gaff, and what is there to say about Walter Brennan, the greatest character actor in American movies? Just another day's incredible work. The real novel was later converted into "The Breaking Point" with John Garfield.

Works because of Bogie and Bacall's chemistry.
In my opinion, this movie's story is not all that interesting or original. As it's been said many times, To Have and Have Not is essentially Casablanca's twin sister, and bares almost no resemblance to the Ernest Hemingway novella. But despite it all, I must say that I prefer this movie as opposed to the other.

What makes this movie so good are three things: the writing, the acting, and the real-life chemistry between the supercouple of the time, Humphrey Bogart and Lauren Bacall. The screenplay has perhaps some of the most clever and memorable one-liners in movie history. In fact, this is the movie that produced the now-cliche saying "You do know how to whistle, don't you...just put your lips together, and blow," as well as the lesser-known but sure-to-bring-chills "It's even better when you help," sdaid after Bacall kisses Bogart. The acting is extremely good, especially since both the leads can be very cold and distant one moment, and very warm and sweet the next. Finally, as this movie will always be remembered for, Bogart and Bacall are clearly falling in love as the story is going, a case of art imitating life. The sexual tension in the beginning can be cut with a knife, while the true love in the middle and end is nothing short of romantic and touching.

To Have and Have Not is a quintissential example of the stars making a subpar story into one of the most romantic films of the era. This is the perfect start in exploring the world of Bogart and Bacall, and perhaps the best of their four films.

The first meeting of this immortal couple
Bogart in his well known of anti hero owner-operator of charter boat in wartime Martinique.
The essential inner values about the freedom however don't tie Bogart with anyone except for himself. The overwhelming presence of Lauren Bacall makes this film a winner match between the growing attraction she awakes in our no land anti hero and the fight against the enemies forces.
This is not precisely a film noir due the happy ending. But the script is dazzling with the Hawks's camera flowing through the viewer.
And instead the fact we are talking about a sixty years movie , this one hasn't got old.
Watch this legendary picture. One of the best works in that year. ... Read more

Reviews (38)

A tear-jerking Western classic from the Duke
In my opinion, this is one of John Wayne's most underrated films. Oh, people like it well enough, but few see it for what it really is: the twilight of a great epoch in American cinema. In it, Wayne gives one of his finest and most believable performances, and stars opposite a great cast of old contemporaries (like James Stewart) and up-and-comers (like Ron Howard).

This final film of the Duke could not have been more fitting. Wayne plays an old gunfighter who's dying of cancer. He knows he's dying, and tries to live out his final days in peace. The real tragedy of the story is that no one will let him--he is constantly harassed by would-be heroes, newspapermen, and people seeking to play a part in the death of a legend. The role is a different one for the Duke--he doesn't play the tough-as-nails cowboy this time--and yet he seems to fit it perfectly.

This is perhaps the most fitting farewell of a Hollywood legend conceivable. No matter what people think of him, few can deny the everlasting impact that John Wayne has had on American society. This film is the last hurrah, the blaze of glory. Wayne's character, and Wayne himself, senses the end of his era, and goes out with style.

The "Duke" Saves His Best For Last!
John Wayne's last film serves as an epitaph of his enormously popular career in film.

"The Shootist", directed by Don Siegel in 1976, went through numerous delays and battles before the film was finished. But what the audience is left here is nothing short of a masterpiece. This should serve (and in my opinion, it does serve)as the pinnacle of both John Wayne's and Don Siegel's careers.

Many people who are not John Wayne fans will get the exact same enjoyment out of this film as much as his biggest fans do. Simply because the film is beautifully shot and is deeply heartfelt and moving.

John Wayne plays J.B. Books, a gunfighter looking to retire. When he returns to Carson City 15 years after one of his greatest gunfights, he is a changed man. He is also an ill man. Doc Hostetler (played be Jimmy Stewart) is forced to tell Books the bad news that he is dying of cancer. (Unfortunately, Wayne truly was dying of lung cancer during the filming of the motion picture). Obeying Hostetler's orders, Books gets a room at Widow Rogers' (Lauren Bacall) boarding house and intends to live out the rest of his life in peace. This does not happen however as the rumour spreads quickly around the town that Books is dying and every gunfighter trying to make a name for themselves unsuccessfully try to shoot him down.

With just days before his 58th birthday, Books decides to "go out in style" (guns blazing). He gets Widow Rogers' son, Gillom (played by Ron Howard) to tell local gunfighters Cobb, Pulford and Sweeney that he will meet them at the Metropole Saloon on his birthday. It's just hours before the Rogers' realize what Books is planning to do.

The film does tend to become depressingly downbeat at times but in the end, this proves to be John Wayne's finest work. Wayne gives the performance of his career with this film and it's probably just as well that the "Duke" went out with this blaze of glory than say the sequel to "True Grit". (Not that "Rooster Cogburn" is a bad movie, but it doesn't even compare to this magnificent piece).

Also watch for excellent performances by Richard Boone (Sweeney), Hugh O'Brian (Pulford), Harry Morgan (Thibido), Scatman Crothers (Moses) and especially John Carradine as Beckum, the undertaker. (Surprise, surprise!!!) The scene in the barber shop between Books and Beckum is truly wonderful.

Parents, if you intend to show this film to your children, let them know there is some bloody violence and strong language (for a John Wayne movie). Otherwise, show them this fine work of art. That's right, this is art.

The Movie, the Cast, the DVD
This is the story of the last eight days in the life of John Bernard Books (John Wayne), a legendary gunfighter who pulls into Carson City, Nevada on January 22, 1901. Books is dying of inoperable prostate cancer. Knowing that all he has to look forward to in the few weeks left him is an undiginfied and agonizing death as his disease progressively worsens, and unwilling to go out that way, Books orchestrates one last glorious gunfight, himself versus the only three men in town who just might be able to kill him.

The Shootist has the cast from Hell: John Wayne, Jimmy Stewart, Lauren Bacall, Ron Howard, Harry Morgan, John Carradine, Hugh O'Brian, Richard Boone, Scatman Crothers, all in the same movie. Made on a shoestring budget of eight million (not a lot of money for a major Hollywood production even in mid-Seventies dollars) the only way The Shootist could afford such a cast was that everyone involved realized this would probably be Wayne's last picture, and wanted to be involved. Hugh O'Brian volunteered to play his part for free.

The only "extras" on the DVD are the original trailer which is mediocre and a "Making Of" feature that's absolutely excellent. In the latter it's revealed the filmmakers changed the ending of the movie from the book on which it was based. In the novel, J.B. Books is killed at the end by young Gillom Rogers (Ron Howard) after surviving the final gun battle. But the powers that were felt it would be awfully hard to have audiences like the Howard character after that. In hindsight they realize their decision weakened the movie. And they're right. That would have been the perfect ending to The Shootist, the ultimate act of love from Gillom to Books, to be the one who ended his pain when no one else could. The way the movie does end is great - The Shootist is fully deserving of its five stars - but it could have been even better.

While it would be difficult to make a case against either Once Upon a Time In the West, Red River, or The Outlaw Josey Wales being the best Western ever made, The Shootist is one of the very few movies even worthy to be mentioned in their class. It adds an immense amount of poignancy to Wayne's portrayal of J.B. Books, a strong man in the final stages of terminal cancer, to know the actor was in exactly the same situation at the time. This is arguably Wayne's finest acting job, understated and powerful. While some actors are great for a time, then degenerate into crap roles to finish out their careers (Basil Rathbone's last movie was Hillbillys from Outer Space, if you can believe it), John Wayne was a class act til the very end. The Shootist was the perfect way to cap his career: one last superb Western from the greatest Western star of all.

John Wayne's elegiac swan song; Farewell, Duke...
As movie genres come and go, the American Western was gasping for its last breath when John Wayne starred in "The Shootist" in 1976. This story about a dying gunfighter counting down his last days in the New World is loaded with an extremely heavy dose of symbolism. This is a quiet western, completely emphasizing dialogue over action. Directed by Don Siegel, a master of the western, the overall mood laments the passing of the Old West and its ideology. I agree with other comments that this film has a slightly made-for-TV quality about it, but it's clear this is supposed to be a delicate look at the death of a revered cowboy, and not a wide-open prairie epic. Like the character himself, John Wayne was dying, and provided for us what would be his final performance. The last words Wayne ever said onscreen at the end of this film are the same words I'd say to him if I had ever met him - "Thank you, sir."

Set in Nevada in 1901, Wayne plays John Bernard Books, considered one of the last infamous gunfighters of the Old West. Books settles into Carson City and learns he's dying of cancer. Hoping to live his last few days quietly, he is befriended by a strong-willed widow (Lauren Bacall) who owns a boarding house, and her impressionable son (Ron Howard). His presence becomes known, and enemies from his past emerge looking for a fight, while other so-called friends try to coax the legendary outlaw into letting a little fame rub off. Books soon develops a tender friendship with the Bacall character, while becoming a mentor to her eager son, even though the local Marshall is pressuring him to leave town immediately. Books soon figures out how to rid himself of his enemies and his debilitating condition in one swift stroke. The cast is a large who's-who of western actors and they do an all-around great job; Lauren Bacall looks a little less glamorous than usual, but fits right in as the stern yet feminine widow. Ron Howard gives a brash, "aw shucks" grown-up version of Opie, and Harry Morgan provides a little humor as the cowardly, trash-talking town deputy. There's also a small but fantastic supporting role by the eternal Jimmy Stewart as the doctor who informs Wayne of his ailment.

As the titular dying gunfighter, Wayne's role is not as complex as it was in "The Quiet Man" or "The Searchers", but this is still some of the best acting he's ever done. This is a solemn film, about someone reaching the end of their life and isn't afforded much time to rest and reflect because their past is catching up. The sad perspective of the Old West as an antiquated era also shows how we sometimes have trouble trying to stay with the times when the rest of the world is rapidly moving forward. This movie has grown in appreciation over time with many Wayne fans due to his calm, age-old performance. I can't think of another film that has served as such a fitting goodbye to an actor. "The Shootist" is - both literally and figuratively - the Duke's final bow.

THE ICON
I GREW UP WATCHING SATURDAY(OBVIOUS RERUNS)MORNING WESTERNS WITH MY DAD, AND I REMEMBER WITH GREAT FONDNESS THE OLD JOHN WAYNE MOVIES WHEN HE WORE TO MUCH MAKE UP. THESE ARE DAYS I REMBER MOST BECASE THEY WERE WITH MY DAD. HIS LATER MOVIES BROUGHT TO US A HERO THAT WENT THE EXTRA MILE, THAT DID NOT QUIT, THAT TRIED TO DO THE RIGHT THING. HIS YES WAS YES AND HIS NO WAS NO. THE SHOOTIST IS NOT MY FAVOITE MOVIE BECAUSE ALL THROUGH IT I KNEW IT WAS GOING TO BE HIS LAST, AND I DO NOT LIKE IT WHEN HE DIES IN HIS MOVIES. IT IS ONE OF HIS GREATEST. ... Read more

Description

Bogey's on the lam and Bacall's at his side in Dark Passage, Delmer Daves' stylish film-noir thriller that's the third of four films Humphrey Bogart and Lauren Bacall made together. Bogart is Vincent Parry who, framed for murder, escapes San Quentin and soon emerges from plastic surgery with a new face. Bacall is Irene Jansen, Vincent's lone ally. In a supporting role, Agnes Moorehead portrays Madge, a venomous harpy who finds pleasure in the unhappiness of others. The chemistry of the leads is undeniable, and they augment it here with exceptional tenderness. Exceptional too are the atmospheric San Francisco locations and the imaginative camera work that shows Vincent's point of view - but not his face - until the bandages are removed. Lest Irene get ideas, the post-surgery Vincent tells her: "Don't change yours. I like it just as it is." So do we. Year: 1947 Director: Delmer Daves Starring: Humphrey Bogart, Lauren Bacall Special Feature: Original Theatrical Trailer B&W/106 Mins. ... Read more

Reviews (38)

THRILLING NOIR GETS ROYAL TREATMENT ON DVD
"Dark Passage" is the last time Bogart and Bacall were teamed together on screen. The resulting film noir was not a box office sensation when it originally hit theaters, perhaps in part due to the first person camera perspective employed during the first forty minutes of the narrative and then the additional absence of seeing Bogart's character, except behind a swath of bandages for most of the latter half of the film. However, like most great film noir, "Dark Passage" has outlived its initial disappointment to become a classic. Bogart is Vincent Parry, a man accused of murdering his wife and sent to prison for life. But he escapes San Quentin prison and is rescued by Irene Jansen (Bacall). Irene smuggles Parry past police, across the Golden Gate Bridge and to her San Francisco apartment. From there Parry procures a plastic surgeon to alter his facial features, but first takes off to visit his old friend, George Fellsinger (Rory Mallinson). However, when Parry returns to George's flat he finds that someone has murdered his best friend. Knowing that he will be considered the first choice of suspect in this crime, Parry retreats to Irene's apartment where she looks after him for the duration of his healing. With his new face looking like the spitting image of Humphrey Bogart, Parry heads over to his ex-wife's former friend, Madge Rapf (Agnes Moorehead). She is the one responsible for Parry's wife's murder and when Parry confronts Madge with his knowledge, she realizes who the stranger is, attempts to escape, but accidentally falls from the seventh story to her death. With no conceivable way of proving that Madge killed his wife and George, Parry contacts Irene with his next port of call. The finale is perhaps overly optimistic with Irene miraculously turning up at some café in a tropical port with Parry waiting at a table for two for her to arrive.

The DVD transfer is outstanding. Warner Brothers gives us a remastered picture that ranks among their very best transfers. It's amazing how much fine detail is maintained throughout the presentation. The gray scale is extremely well balanced. Blacks are - for the most part - black, although there is a couple of scenes in which 'blooming' does occur. There is also a trace element of pixelization. The audio is MONO but very nicely balanced. Extras include a featurette on the making of the film that, while short, manages to cover a lot of ground and contextualize some of the background surrounding its production shoot. You also get a Bugs Bunny cartoon and the film's theatrical trailer.

Is this "Lady In The Lake" or am I seeing things?
Lesser known and least acclaimed film of the Humphrey Bogart-Lauren Bacall teaming, and justifiably so. Utilizes many over-reaching and cliched plot devices throughout, and in the first half hour or so I thought I was watching a bad reincarnation of the mediocre "Lady In The Lake," what with the subjective camera angle where the audience sees everything through the eyes of the main character. Stars Bogart as Vince Parry, a man wrongfully sent to San Quentin for killing his ungrateful wife and makes his escape, only to encounter many a problem and no-good folks. Bacall plays Irene Janssen, a beautiful young woman that has, in one of the examples of over-reaching this film uses, followed Vince's case since it reminded her of her wrongfully jailed father's situation, and who is every fugitive's dreamgirl since she aids him with all an escaped convict would need or want--helps with his getaway, provides food and her nice apartment for him to stay in, money ($500-a lot back then), and of course romance--although that comes later. She even becomes his nursey when he changes his appearance with plastic surgery. In another ludicrous case of over-reaching, Vince meets up by chance with a cabbie who can "read" faces and who, despite recognizing him and knowing about his wife's murder, can tell Vince didn't do it and that his face is "good." Therefore, he puts Vince in contact with a friend of his who just happens to be a plastic surgeon, exactly what any fugitive would want--and on top of that, is willing to do it for only 200 bucks! (granted, that was a good amount back then, but for a masterful job which could get him into legal trouble, c'mon!). Along the way he meets up again with Madge Rapf (wonderfully played by a deliciously wicked Agnes Moorehead), a devious busybody-troublemaker from his past who is a murderer. Although Vince is never able to get his name cleared, all ends well when he settles elsewhere with a new identity and with Irene, but not before we are given a moralistic scene in the train station where Vince overhears a downtrodden, "Okie" married couple with kids lamenting about lack of human kindness and generosity. I suppose this was to be in contrast to the kindness and generosity Irene showed Vince--nevertheless, it's totally gratuitous. However, despite the flaws, this is a tense and entertaining noir which would have been downright laughable given lesser performers, but is truly gripping due to Bogie, Bacall, and Moorehead.

Dark Horse, But a Winner
The best of black-and-white films are such that the viewer forgets very quickly that there is no color. If truly good, it will impart a style and an atmosphere that color can't duplicate. By 1947, when this movie was made, there wasn't much that a major studio couldn't do superbly in B/W. All their talent has been transferred to this DVD.

The premise for this movie is indeed improbable, and the idea that someone would want to change into the Bogart time-worn face is laughable. However, the interplay between the Bogarts is electric, and she never looked any sexier. The San Francisco art deco buildings and scenery is an added bonus. Agnes Moorhead, certainly one of our most underrated radio and film actresses, was never better as the catty friend. As a variation of film noir, though, this is fun to watch and gets better with each viewing.

Bogie And Bacall Light Up The Screen In Stylish Film Noir
Often passed off as the least successful of the four screen teamings of legendary Hollywood couple Humphrey Bogart and Lauren Bacall, "Dark Passage", despite its often unlikely premise has much to recommend it. Bogie is always riverting to watch on screen even in his lesser films and his work in "Dark Passage", as an escaped convict undergoing plastic surgery to try to clear his name over the murder of his wife is first rate. While the film certainly lacks a degree of the unique verbal sparring that viewers have come to expect of Bogie and Bacall's work together, the personal chemistry is still there and just as magic between the two. It is these two performers aided greatly by the superb Agnes Moorehead in the type of vinegary characterisation that she made uniquely her own in the 1940's that really elevates this story and manages to make many of the incredible turn of events that bit more believable.

Based on a David Goodis novel, director Delmer Daves also took over responsibility for the screenplay and weaved an engrossing if not always plausible story centred around Vincent Parry (Bogart) who we see in the first scene making his escape on the back of a truck from San Quentin Prison. Picked up a few minutes later by artist Irene Jansen (Bacall), who happened to be doing some painting in the surrounding hills as the prison siren went off, Vincent finds himself suddenly with a staunch ally in his quest to get to the bottom of his wife's murder. Irene takes Vincent back to her apartment in San Francisco where her attraction to him becomes immediately evident.She explains that her sudden determination to help him despite the personal risks to herself, is the result of her interest in his case and the firm belief that he was framed for his wife's murder. Seeing that a city wide manhunt is now underway Vincent takes the advice of a friendly cab driver (Tom D'Andrea), who guesses who he is and allows him to arrange to get some plastic surgery done to change his appearance. Hiding out at Irene's apartment while his face heals Vincent realises that he and Irene have a connection in the person of gossipy sharp tongued Madge Rapf (Agnes Moorehead),who is a constant thorn in Irene's side and actually testified against Vincent in his murder trial. Madge gets suspicious of the man she believes Irene is hiding in her apartment and begins to follow Vincent once his bandages are removed and he begins to track down the real killer of his wife. Putting two and two together Vincent realises that Madge is the guilty party and is a woman who when she can't get what she wants is the type to destroy what others love. In a powerful confrontation scene where Madge learns the identity of the man with the strangely familiar face it is revealed that she is the one who was also responsible for the death of his wife and only friend George. Unable to get Madge to confess to her crimes and thus clearing his name Vincent realises he has no chance of going free in particular when Madge falls to her death from her apartment window. He then decides to flee to South America where with not much persuasion he is joined by the romantically hooked Irene to hopefully start a new life together.

Totally implausible? Perhaps but as with alot of the well crafted film Noir's of the 40's it is done in an irresistable style. The sheer coincidence of most the characters being somehow connected with each other or automatically knowing someone who can help in Vincent's plight is indeed at times hard to accept but once again it is the performers and their total immersion in the characters that succeeds in pulling it off. "Dark Passage", is unique, and on the down side has been at times strongly criticised for, its shooting from the view of Humphrey Bogart's face so that we dont actually see him for the first half hour of the film. I personally believe that approach is highly effective and quite unique and it certainly keeps the interest up until Vincent's grand unveiling when he looks like of course Humphrey Bogart. The fact that Vincent does look different is also responsible for the very powerful last scene between Vincent and Madge when she slowly begins to realise, much to her terror, who this strange man is she has invited into her home. Bogart, Bacall and Moorehead rightly run away with the acting honours here but the supporting cast is a strong one with Houseley Stevenson as the plastic surgeon and Clifton Young as the black mailing Baker real standouts in their playing. The film like all noir efforts benefits greatly from the stark black and white photography by Sid Hickox with many of the exterior shots done in very early morning or late in the evening. Location work done in the downtown region of San Francisco also gives the film added interest with alot of action taking place around the Golden Gate Bridge which is well used in particular during the shoot out between Vincent and Baker.

"Dark Passage", may not be top draw Bogart akin to "Casablanca", or "The Maltese falcon", however it is a spirited tale in its own right and should be viewed as such. Its strong 1940's feel and stark photography aid in raising this story a number of notches above other similiar efforts of this period and even when he is not seen on camera for the first section of the story Bogart by using his distinctive voice manages to draw the audience into Vincent Parry's story. He and Lauren Bacall were one of Hollywood's greatest acting teams and even in a lesser effort such as this still provide first class entertainment. Enjoy.

Visually stunning, but too coincidental...
Vincent Parry (Humphrey Bogart) is convicted and sentenced for murder and has now escaped the San Quentin prison. By coincidence Irene Jansen (Lauren Bacall) is in the near by hills painting landscape portraits when Vincent escapes and she decides to help him. Irene is one of the few who believed that Vincent was innocent of the murder of his wife, and this motivates her to help him. However, Vincent wants to discover who the murderer was on his own, but realizes that his face is nationally known as it has been on the front page of all the newspapers. Through the help of a taxi driver Vincent finds a plastic surgeon that gives him a new face that will help him on his quest for the truth. Dark Passage begins with interesting cinematography as it conceals Vincent's face until after the plastic surgery, which enhances the cinematic experience. But it does not save the awkward coincidental moments that drive the story forward and hurts the overall cinematic experience leaving the audience with a viewable, but gawky story. ... Read more

Reviews (100)

The Best Steven King Movie Ever
One of the best psychological thrillers ever made, "Misery" is a tride and true adaption of the classic Steven King bestseller, white - knuckle tale filled with suspense that only someone as brilliant as King himself could ever provide

Paul Sheldon (played flawlessly by James Caan) is the author of a very successful book series called "Misery". But after years of success, he decides to kill the character once and for all and get on with his life. He finishes his book, but disaster strikes on his way back to New York. He gets caught in a snow storm and crashes his car. He is on the verge of death when a seemingly harmless nurse named Annie Wilkes (Kathy Bates in an Oscar - winning role), who claims she's his number one fan. At first, Paul really enjoys Annie's company. Then Annie has several outbursts (including the now infamous ankle - breaking sequence), and Paul becomes suspicous of her past. From here on it's a tense battle between cat and mouse. And if you've never read the book before, then you're in for one of the creepiest endings in your life.

No movie fan should be without "Misery". It is in a class of its own, different from other King classics like "Carrie", "Cuju" and "The Shining". If those films didn't do it for you, then "Misery" will get your blood pumping, your palms sweating and your heart racing in no time.

I Feel Your Pain!
I Feel Your Pain!

Misery is a 1990 suspense drama released by Castle Rock Entertainment, directed by Rob Reiner, with a running time of 107 minutes. Based on a Stephen King novel, this drama is considerably enhanced by the performance of its leads, James Caan (Paul Sheldon) and Kathy Bates (Annie Wilkes).
The tale is really very simple. Paul Sheldon is a successful writer whose career has been made on the back of a series of novels about a 19th century heroine that he is growing weary of, called "Misery." Although she has been the focus of a hugely popular series of novels, Paul wishes to 'retire' the character and focus on writing something more personal. After finishing his latest book, Paul sets out from a Colorado lodge nestled in the Rocky Mountains and begins his drive back to the city during a horrible snowstorm. Let's just say he doesn't make it.
As luck would have it, former nurse Annie Wilkes is passing by and drags him from the wreck. When he comes to, he is in bed being tended to by his 'number one fan' (Annie) in her home. Annie assists Paul in his recuperation, as both legs and an arm are broken as a result of his accident. His gratitude soon turns to concern though, as it become increasingly clear that her love of his Misery novels is far from normal. This unhealthy obsession is only too apparent as she finishes his latest manuscript where Misery dies. To say she becomes outraged would be an understatement. Her rage and insistence that he should rewrite the book leads him to becoming a prisoner in her home.
You would think that a movie centered on two characters in one room wouldn't offer much in the way of excitement, but you need to see this movie! As it becomes quite clear to Paul that help is not on the way, the movie takes on claustrophobic urgency. You find yourself yelling at him, trying to help him escape. As Annie spirals slowly into insanity, things begin to look even bleaker for Paul.
Kathy Bates deservedly took home an Oscar and Golden Globe award for her performance as Annie, and James Caan is wonderful in what must have been a difficult role to play, since he spends most of his time in casts lying in a bed.
Misery is not your typical dramatic movie. It will keep you on the edge of your seat and make you second-guess whether you would really like to be rescued, in a snowstorm, by a "good Samaritan." I give the movie a 4-star rating and recommend it for all viewers, especially Stephen King fans.

Fantastic
The scary thing about Steven King's novels is that they're not that ridiculous. This one in particular, could very well happen. Just remember the penguin always looks south.

Intense and very original.
Misery is by far one of my favorite movies. A writer gets in a car accident and ends up being held at this crazy nurse's home.Excellent plot & fantastic ending---A must've for any one into suspense and who loves S. king's books & movies.

"She can't be dead, MISERY CHASTAIN CANNOT BE DEAD!"
By now pretty much everybody knows the rule that the best movies made from Stephen King novels do not put his name above the title and do not trumpet the fact in the trailer. This would be film's like "Stand By Me," "The Shawshank Redemption," "The Green Mile," and, of course, "Misery." Director Rob Reiner did the first and last films on that list, so he would know. The idea in this 1990 film is fairly simple and one that obviously would send shivers up and down King's own spine: what if an author became the captive of his "number one fan," who, needless to say, is a psychotic maniac?

Paul Sheldon (James Caan) is a famous writer, who has been turning out historical bodice rippers about a heroine named Misery Chastain. As was the case with Arthur Conan Doyle, who killed off Sherlock Holmes at one point, and Edgar Rice Burroughs, who tried to kill off Tarzan's Jane, Sheldon has enough of his fictional creation and has killed her off in a book about to hit the stands. Meanwhile he has just finished a new novel about the slums in which he grew up that he hopes will establish his reputation as a serious writer. However, after he leaves the secluded Colorado Hotel where he goes to write his books his car crashes during a snowstorm and he is horribly hurt. But before he dies he is taken from his car and when he awakes he finds himself in a bed, both of his legs broken, and in the care of Annie Wilkes (Kathy Bates), a nurse who gleefully informs Paul that she is his "number one fan."

Grateful to be alive and believing Annie's story that they are snowed in and that the phone lines are down because of the storm, Paul recuperates. He even lets Annie read his new manuscript, a privilege reserved for his editor, agent, and anybody who saves his life. But Annie does not like Paul's new novel and when she discovers he has killed off Misery she goes off the deep end. It becomes clear to Paul that if he has any hope of getting out of there alive, he is going to have to bow to dictates of his "number one fan" and bring Misery Chastain back from the grave.

Meanwhile, Paul's agent (Lauren Bacall) has called up the local sheriff (Richard Farnsworth) and alerted him to the fact that the writer, on his way to New York with a new manuscript, has disappeared. With the help of his plucky wife (Frances Sternhagen), the sheriff starts to search for Paul, who is trying to find some way of getting away from Annie, even in his hobbled condition. Unfortunately, the more he learns about Annie, the less he likes his prospects and the more desperate his condition becomes.

The original novel had a great irony in that under Annie's stern editorial guidance Paul is rather mortified to find the new Misery novel he is writing is the best thing he has ever done. But with William Goldman's script the novel he is writing is but a small part of the game of cat and mouse between Annie and Paul. Once it becomes clear Annie is insane Paul faces the daunting task of keeping on the slippery slope of her good side. Besides, Goldman knows that the whole bit that King did in the novel with Paul's typewriter, which keeps losing keys as his work goes along, would not translate to the film, so he did not even try.

This film represented the second time King created a female character who would be nominated for a Best Actress Oscar, the difference being that Kathy Bates won for "Misery" whereas Sissy Spacek did not for "Carrie." While Caan turns in a solid performance as a character bound to a bed or wheelchair for most of the film, ultimately it is Bates who makes this film work with the way that she goes from sweet to sour on the drop of a pin. Annie's is a many faceted lunacy and part of the terror is that Paul never knows which one will come walking through the door or back out of it again. "Misery" struck me as being a flip on "The Exorcist" in that instead of being afraid of what we would find when we walked through the door, this time we were afraid of what was going to open the door and walk through.

"Misery" is a relatively simple and rather intimate horror film. This time King's monster is a human being and that makes Annie Wilkes one of the scariest, especially as she is played by Bates. When you think of all the fine cinematic performances Bates has turned in since then, especially in "Dolores Claiborne" and "Primary Colors," you have to be glad that Bette Midler turned down the role of Annie when it was offered to her. ... Read more

Reviews (31)

High Society Fun
Lauren Bacall, Marilyn Monroe & Betty Grable are highly entertaining in this tale of models who set out to land a millionaire. Not having any of their own money, they come up with some off the wall schemes to live the lifestyle they are dressed for! All 3 are gorgeous and funny to watch. Each does a great job of playing the quirkiness of their characters. This is a timeless classic that's as appealing today as it was in it's day. A great girly movie. Lauren Bacall has a flair for humor that is delightful to watch.

Brilliant
This as definatly a feel good movie. A sweet romantic comedy (leaning heavly on comedy) about three models who take up a expensive penthouse in New York hoping to catch themselves some millionairs. Schatze Page (Lauren Bacall)is a woman who is through with marrying poor men, or as she calls them "gas pump jockeys" for the simple reason that poor men have broken her heart. She's the brains of the bunch. Bacall is wonderfull in this film. Pola Debevoise (Marlyn Monroe) is the blonde, and blind, one who is really just going along with what shounds like a good idea. In this role Monroe pulls off a stunning performance, marked by her sweetness and child-like inocence, as well as many commedic scenes. She is somewhat sill (she beleives that her glasses make her unatractive) but warm-hearted.
Loco Dempsey (Betty Grable)is a girl who has an appetite..... for food. She is nice, somewhat dumb but a good person. Her performance is good, but not as outstaning as Monroe's.

Overall this is a really sweet movie with alot of substance.

"How To Marry A Millionaire"
"How To Marry A Millionaire" is a comedy story of 3 girls living in a penthouse searching for meeting and marrying wealthy millionaires.The movie is alot of fun.And if you want to know "How To Marry A Millionaire" and if they do marry millionaires with their schemes then you will enjoy this movie.The movie is Marilyn's best movie.The movie was very popular that there was a syndicated TV version of the same name "How To Marry A Millionaire" starring Barbara Eden in the Marilyn role,Merry Anders in the Bacall role,Lori Nelson (1st 39 episodes) in the Grable role and Lisa Gaye (in episodes 40 thru 52) in the Grable role.

EXCELLENT! BRAVO! 5 STARS!
This is a magnificent movie. It is artful, filled with humor and it's just good clean fun. It is an excellent choice for parents who have girls--like mine--who idealize Marylin Monroe. I can let my 5 and 8 year old watch this classic without any qualms. Betty Grable is fabulous as is Laurne Bacall. The dialogue in the movie is worthy of being memorized. If you like old classics, you'll love this movie. We sure do.

Marilyn should get the millionare
Marilyn Mnroe shines in this movie and all three ladies add a great comedic touch. Definately worth your money, you'll want to watch it many times ... Read more

Description

L.A. private eye Phillip Marlowe takes on a blackmail case...and a trail peopled with murderers, porographers, nightclub rogues, the spoiled rich and more.Humphrey Boart plays Raymond Chandlers' legendary gumshoe and director Howard Hawkes serves up snappy character encounters (particularly involving Lauren Bacall), brisk pace and atmosphere galore in the certified classic. ... Read more

Reviews (81)

Not To Be Missed!
If you haven't already seen THE BIG SLEEP, buy this DVD now! If you have, but don't own this DVD release, buy it now! Why? Both the 1946 classic and the pre-release 1945 edit are on this disc. The differences are quite interesting. The 1946 version shows Bogart (as Philip Marlowe) as the epitome of "Cool" in every situation, even when he has a gun pulled on him or is getting beaten up. Lauren Bacall comes off much better in the 1946 version as well, as she shows the spark that was seen in TO HAVE AND HAVE NOT. The 1945 version has a few scenes cut from the 1946 version which are quite good, and is actually a little easier to follow. Whichever version you watch, THE BIG SLEEP is one of the greatest movies ever in the "Film Noir" or detective "Murder Mystery" genres. The disc also includes a documentary on the making of the film, and the differences between the two versions, which is very interesting. The picture and sound quality are actually quite good, as any flaws in the picture are so minor that they would not be noticed unless you're watching for them, and not watching the movie itself. As stated before, if you don't already own this DVD, BUY IT NOW! It's a classic movie and an outstanding package!

A Detective Masterpiece
This film is absolutely mesmerizing, a masterpiece full of sharp dialog and a plot so complex not even Raymond Chandler could tell you who commited one of the murders. Bogart is Detective Philip Marlowe and from the moment he arrives to talk to General Sternwood and gets mixed up with his daughters this is a film classic.

Bacall is the sultry older sister, but it is sexy and thumb sucking little sister Martha Vickers he meets first. As he tells Sternwood, "Yeah, we met. She tried to sit in my lap and I was standing up". This is all about gambling debts and murder, all of which leads to Eddie Mars and Carmen (Vickers). But there are more twist and turns here than a rollercoaster, and it moves just about as fast. If you blink, you better rewind this tape and start over.

Howard Hawks made a masterpiece here. It is the finest straightforward detective novel ever put on celluloid. William Faulkner adapted Raymond Chandler's greatest literary achievement for Hawks and the whole thing is filmed as a fast moving dream of dialog and images hard to forget. One critic likened it to a huge hangover. That is a perfect description of this film.

Bogart's Marlowe has his hands full trying to keep Carmen out of trouble she may already be in to deep to get out of, and the sparks between he and Bacall may just ignite if he can figure out a way to keep the fast rising body count from getting any higher while keeping himself alive. Bacall has never been more beautiful or inviting than when she is slumped down in the seat of Bogart's car, just waiting for him to kiss her.

You have to see this film to really appreciate it. You'll never see anything else like it in American cinema. Pick up this one as soon as you can.

Wild and Cool
A movie so relentlessly all over the map and incomprehensible, it has to be seen to be believed. Closely adapted from Chandler's equally confusing private eye noir thriller. Bogart and Bacall are just plain cool. The flick captures the time and place perfectly. Every word, every inflection, every move, the clothes, the cars, the places and attitudes are all just right and utterly cool. Buy this and The Maltese Falcon and put em right next to each other on your shelf. Gotta have this on DVD.

Smokey Style
Raymond Chandler's LA was peopled with the flotsam of human kind, a white kind. Though there may have been black or Mexican-Americans in LA in the forties,I didn't see any in this otherwise interesting film. There seems to be an almost stylish,white, even literary criminal class wandering Laurel Canyon Drive. The bad ladies are dressed and the men are suited. Ties are knotted and tight. Even the head gangster seems to be a sensitive soul. Drugs, murder, and classy dames, shut your trap! The film's a classic and so is Bogey.

Side A Has the Sizzle. Side B Has the Steak.
What a rare treat. To have both the theatrical release of The Big Sleep as well as the pre-release version on one DVD is a film-lover's dream.

If you're not familiar with the story behind these two versions, there's a nice documentary on the DVD that explains it. Briefly put, Lauren Bacall is at her sultriest on Side A of the disc (the version that made it into theaters); Side B has some scenes that do a better job at fleshing out the plot, but at the expense of some of Ms. Bacall's glamour.

My advice is watch the pre-release first: It fills in a couple of gaps left open by the inclusion of re-shot Bogie & Bacall scenes in the official release. Then you don't have to worry about anything distracting you from their on-screen chemistry.

There is some film degradation present in this release. While it is nice to have this preserved on DVD, hopefully AFI or some other group will make preservation and restoration of this movie a priority.

In a future release of The Big Sleep it would be nice to have a hybrid version of the movie. That way we could have the re-shot Bacall scenes from the theatrical release along with the more expository scenes from the pre-release (Marlowe searching Geiger's house, Marlowe meets the D.A., etc.). It would be a slightly longer film, and film purists might disagree, but I think it would truly be the best of both worlds.

In the meantime, get this DVD. You'll love it you're a movie-history or -trivia buff, and if you're not maybe it'll make you one. The worst it could do is class up your DVD collection a notch or two. ... Read more

Description

An American merchant marine captain ferries a group of = Chinese refugess down the Yangtze River to escape the Communists. ... Read more

Reviews (9)

Ferryboat to Hong Kong
"Blood Alley" is a big, sprawling, grandly mounted and sumptuously photographed adventure story starring John Wayne and Lauren Bacall that tells the tale of a merchant sea captain (Wayne) who has had his freighter stopped and boarded illegally in international waters by the Red Chinese, and who has been imprisoned by them for some time since. A village downriver from the prison where Wayne has been kept antes up a bribe to the prison guards and gets Wayne sprung. Taken downriver by his "contact", big Mike Mazurski made up to look oriental, Duke is informed that the entire village wants to escape to Hong Kong and they want him, Duke, to captain them all down the Formosa Straits ("Blood Alley") to Hong Kong and freedom...and they want this to be done on a leaky, creaky, pokey-slow and prone-to-breakdown stern-wheeled ferryboat. With no charts.
Wayne mulls this and decides he has no choice in the matter. He makes a homemade chart from memory and sets about to put the escape plan in motion, taking everyone with him, including the headstrong daughter (Bacall) of a medical missionary, and an entire family of loyal communists who can't be left behind because their masters would kill them as "responsible" for this flight.
Down the straits goes the ferry boat, dodging commie gunboats day and night and slipping into forests of reeds for camouflage when their pursuers draw too near.

The telling of the story of this journey is so well done that the viewer tends to be detoured away from the story's great glaring logical pothole. This escape is set in the mid-1950s and NOT the EIGHTEEN fifties. Decades earlier it COULD have happened the way it is shown, but NOT in its supposed time period. The reason? Airplanes. In the mid-1950s Communist Chinese forces would have aircraft up and down the Formosa Straits LOOKING for this ferry and they WOULD find it. Yet there is never a mention of aircraft here and no aircraft ever shows up anywhere in the movie. Its almost as though there is no such thing as a search plane in existance...or any kind of plane at all!!!

Very Strange. Yet, it is only later that you realize this. Throughout the film the movie-makers keep you so involved with the dangers and rigors of the journey that you don't even THINK about planes while you're watching it. Very clever diversion.

There is good chemistry with Wayne and Bacall and they go through the typical "difficult" time with each other before becoming hard-breathers as they enter Hong Kong Harbour together.

Aside from some minor silliness (Duke perpetually talks to an "imaginary friend" named "Baby"....which happened to be Bogart's pet name for Bacall) and the aforementioned mysteriously missing aircraft, this William Wellman-directed story hangs together well and delivers the goods on excitement and interest.

Good movie overall.

Now...WHEN are they EVER going to release one of Wayne's all time masterpieces? WHEN are we EVER going to see "The High And The Mighty"???????

Let me get it correct for everyone
First off, you can't beat the Duke in just about any movie. Blood Alley and The Sea Chase were a departure from his typical westerns and WWII movies, but he handled them in his true dominating fashion.

Now, I noticed that in other reviews, there was some discussion about how many movies John Wayne died in. Let me give you the complete list of those from 1939 onward. I don't know how many he may have died in during the 1930s, if any, because I haven't seen that many of his B westerns.

1. The Shootist (1976)
2. The Cowboys (1972)
3. The Man Who Shot Liberty Valance (1962). He is dead at the start of the movie, and the entire story is told in a flashback.
4. The Alamo (1960)
5. The Sands of Iwo Jima (1949)
6. Wake of the Red Witch (1948)
7. The Fighting Seabees (1944)
8. Reap the Wild Wind (1942)

Great John Wayne Flick
I saw this a couple of times on TV. It's a fine action movie.
One review here suggests to get it on DVD-wisescreen, but I can't find where any such version was made. VHS is the only choice.

also WAKE OF THE RED WITCH
Last saw Blood Alley on tv long, long, ago. I didn't even know it was available on video, but I will pick this up soon to add to my library. A good action movie.
I THINK John Wayne also died in Wake of the Red Witch.Can we say that he 'died' in "The Man Who Shot Liberty Valance"?
3/10/2004 JULY 2003? time sure flies.Just got the VHS (was looking for DVD, can't find).Great, better than I remember from tv.Not just action, there's commentary, and some of the Chinese characters are sooo stereo typed.Note the Chief Engineer is Nisei (2nd gen Japanese American, see GO FOR BROKE i think).

He has died in 4
John Wayne also died in the Fighting Seabies ... Read more

Reviews (51)

Clever and cute.
I've never watched any other Barbra Streisand movies, and I don't listen to much of her music, but this movie struck a chord in me--I LOVE IT!

Lauren Bacall and Mimi Rogers really make the movie. They play Rose's (Barbra) extremely vain mother and sister, and they are truly funny. The movie is full of humor--not exactly high-brow, but well above the usual un-intelligent jokes in so many movies these days. The more I watch it, the more funny moments I catch!

There is some dialogue that gets a tad bit too deep for this movie, but it's limited enough that you may not even notice. Don't look to this movie for nuggets of infinite wisdom, but for a cozy night with popcorn and a blanket, it's a winner.

It's not for you if you don't like chick flicks. But if you have an affinity for corny, cute movies, this one might be for you! And finally, it hardly hurts to have Pierce Brosnan in the movie!

Finally, a love story with ADULTS!
I agree with most of the reviews criticizing this film for giving us neurotic, frumpy Babs vs. self-assured, Hollywood Babs. Pretty shallow. I also thought the college lecture scenes were embarrassingly unprofessional (BTW, I'm a community college prof. To the reviewer who said "well maybe at a community college," stop showing your ignorance. We're as professional as any professors out there). But, I'm cutting this movie some slack, because it's wonderful to see a good love story involving adults for a change! Overall, it is a good movie. I enjoy watching it each time I see it. Barbra Streisand and Jeff Bridges have chemistry and are really fun to watch. George Siegal is hilarious; I wish he'd been in more scenes. When you see gorgeous Lauren Bacall, you wonder why other stars don't just allow themselves to age as beautifully as she has, instead of having so much plastic surgery they wind up looking like bizarre androids. It's a treat to see her back on screen.

I'd watch this movie for the sumptuous scenery and well-crafted score alone, but the acting and story are fun, as well. Not perfect, certainly, but a wonderful love story for adults. I think it also does raise the issue of society's focus on ridiculously narrow definitions of female beauty and the effect it has on us all. I had a friend who use to say about a lot of men, "He missed the most gorgeous orchid because he wasted all his time looking for a rose." With all the superficiality and bad relationships out there, does make you think. But, most of all, it's a movie I can watch over and over again and enjoy it every time.

The Mirror Crack'd
Eight years after watching this film in its original theatrical run, I am sad to say that THE MIRROR HAS TWO FACES has not aged well. While its always a delight to see Streisand display her expert comic timing, this film is simply laden with the star's own vain notions and ramblings regarding true love and beauty and its "two faces". While the premise is interesting, the rest of the film rambles on as if Streisand herself wasn't entirely sure what her conclusions were to be. What does not help the process along is the final half hour's blatant "Hello gorgeous!" antics Streisand perpetuates ad nauseum. Its derivitive and vain and frankly quite dull.
Saving the picture are the wonderful performances by the supporting cast. Brenda Vacarro is given little screen time as Rose's pal who is "in the same boat" when it comes to beauty. Austin Pendleton and George Segal are a delight to watch (both of whom worked with Streisand in pictures in the early 70s). Last but not least is Lauren Bacall, who adds a wonderful teaspoon of vinegar to the portrayal of the seemingly vain mother (who ends up actually having a heart of gold).
If you can get past the "Streisand Vanity" which plagues this movie, then perhaps you will be in for an enjoyable viewing.

"I tried that once, he thought I had something in my eye."
Streisand's third directorial effort was greeted with surprisingly vicious reaction from both fans and critics, nearly all of whom immediately labeled it as an over-the-top vanity piece. It also had considerable difficulty at the box office. After opening with strong numbers, the $45 million budgeted film took a nose dive and did not recover. It ended up taking in $46 million domestically ($65 million worldwide), which was a respectable take, but far from the blockbuster status of films like A STAR IS BORN or THE PRINCE OF TIDES. When considering all of the above information, it's a bit surprising to discover that the film is nothing more than an entertaining and heart-felt romantic comedy. In hindsight, it's hard to understand why a such a harmless and light-weight film became such a lighting rod for scathing reviews and harsh comments.

While the storyline is predictable, the movie is actually very well-done with a brisk pace, compelling characters, and a witty screenplay. The finale may come down a bit heavy-handed on the "message" end, but the build-up is effective enough to merit this indulgence. Though MIRROR doesn't match her previous two directorial efforts, Streisand does once again pull off the various actress/producer/director roles with great efficiently, and this results in an effective star vehicle for the then-54-year-old film legend. Jeff Bridges received a lot of flack for his completely unselfconscious portrayal, but I admire how completely he throws himself into the silly role. Lauren Bacall is brilliantly biting and luminous in her turn as Streisand's mother, a role that earned her first (and so far only) Oscar nomination. Mimi Rogers is also fun as Streisand's (...)younger sister, as is Brenda Vaccaro as her self-deprecating best friend - although Pierce Brosnan is wasted as a gigolo-like suitor. All in all, an enjoyably fluffy film, undeserving of the criticism it routinely receives.

About the DVD: This was one of Columbia's first DVD releases, and while the picture and sound quality are great, there are no extras and the menus are hideous.

"The no-frills girl, right?"
Streisand's third directorial effort was greeted with surprisingly vicious reaction from both fans and critics, nearly all of whom immediately labeled it as an over-the-top vanity piece. It also had considerable difficulty at the box office. After opening with strong numbers, the $45 million budgeted film took a nose dive and did not recover. It ended up taking in $46 million domestically ($65 million worldwide), which was a respectable take, but far from the blockbuster status of films like A STAR IS BORN or THE PRINCE OF TIDES. When considering all of the above information, it's a bit surprising to discover that the film is nothing more than an entertaining and heart-felt romantic comedy. In hindsight, it's hard to understand why a such a harmless and light-weight film became such a lighting rod for scathing reviews and harsh comments.

While the storyline is predictable, the movie is actually very well-done with a brisk pace, compelling characters, and a witty screenplay. The finale may come down a bit heavy-handed on the "message" end, but the build-up is effective enough to merit this indulgence. Though MIRROR doesn't match her previous two directorial efforts, Streisand does once again pull off the various actress/producer/director roles with great efficiently, and this results in an effective star vehicle for the then-54-year-old film legend. Jeff Bridges received a lot of flack for his completely unselfconscious portrayal, but I admire how completely he throws himself into the silly role. Lauren Bacall is brilliantly biting and luminous in her turn as Streisand's mother, a role that earned her first (and so far only) Oscar nomination. Mimi Rogers is also fun as Streisand's slutty younger sister, as is Brenda Vaccaro as her self-deprecating best friend - although Pierce Brosnan is wasted as a gigolo-like suitor. All in all, an enjoyably fluffy film, undeserving of the criticism it routinely receives.

About the DVD: This was one of Columbia's first DVD releases, and while the picture and sound quality are great, there are no extras and the menus are hideous. ... Read more