Reviews (28)

The man who invented big band!
"The Glenn Miller Story" can be enjoyed even by someone who's not a fan of big band or jazz music. It's for everyone especially music lovers of all tastes. Jimmy Stewart is cast superbly here and at times you're thinking you're watching the actual Glenn Miller himself and not the actor. The music of Glenn Miller is brought to life so magically with its captivating soundtrack filled with his most memorable tunes and melodies like "Chattanooga Choo-Choo" and the one everyone knows: "Moonlight Serenade." The colors on this film are vivid and make you wish you'd want to be there. It was indeed tragic to lose such a great musician all too soon. You still hear his music in movies, nightclubs, theaters and more. All in all, it is a neat movie to look at and to hear remembering the trombonist who became the leader of the band: Glenn Miller.

5 stars for the music.....as for the story.....well.......
This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

That Sound
This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

Evocative and Amazing
It happens every time. When you watch a film with James Stewart in it certain things happen.

The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing.

He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really.
Those who carp about accuracy should pick up a biography. Those who love the mystique will watch and enjoy the timeless Glenn Miller through James Stewart.

I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history.

Finally, I was not around during during the Miller era however,

after viewing this film .. " I was there"

C Pope

Another mistreatment of a classic
Let's clarify a couple of things.

First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such.

Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies".

Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history.

Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release.

The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie.

Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal.

As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more

Amazon.com

A classic screwball comedy with a supernatural twist, Topper starsthe incomparable Cary Grant and sparkling Constance Bennett as George andMarion Kirby, a fun-loving couple who cap an evening of jazz and champagneby running their car into a tree. They return as ghosts with a mandate toliven up the straight-laced hen-pecked life of bank president Cosmo Topper(Roland Young), who's hungry for just such a shake-up. Before long he'sboozing, dancing, and getting into fights, all of which gives him a rakishreputation--much to the consternation of his wife (Billie Burke, bestknown as Glinda the Good Witch in The Wizard of Oz). The sequelreplaces Grant and Bennett with Joan Blondell, who can't quite compare,but she's charming in her own way. Topper Returns is a rambunctiousmurder mystery with some gorgeous sets and elegant cinematography--thesequence of Blondell's death and ghostly rise is dazzling. --BretFetzer ... Read more

Reviews (12)

Funny 1937 Original w/1941 sequel now on remastered DVD!!
ARTISAN Home Entertainment brings us a remastered DVD of Hal Roach Studios (who brought us Laurel & Hardy and the Little Rascals in 1920's through the 1930's on the side experimented with full length feature films,greater than 65 minutes in length) original 1937 Topper. In 1937 Hal Roach used trick photography, camera magic and ground breaking FX technology for the amazing ghost creations.

"Topper" with a Star studded cast Cary Grant as Millionaire George Kirby (at his comedic best), Constance Bennett as his wife Marion (a beautifully devine actress), Roland Young as their Banker Cosmo Topper (nominated for Best Supporting Actor as "Topper") and Billie Burke as Mrs. Topper (best known as Glenda the "Good Witch" from the 1939 "The Wizard of OZ"). Included is a very young song writer/singer Hoagy Carmichael.

This wonderfully remastered Black / White Standard Feature DVD is delightful. Worth the price of admission alone but the 1941 sequel "Topper Returns" is also included. Note: a very weak sequel but still a cute storyline featuring Roland & Burke in reprise. A double feature DVD with no extras.

Summary: The jet setting, ever partying Millionaire Kirby's die in an automobile accident on a late night country road. They enter a state of limbo (earthbound ghosts) until they perform a good deed. So they go about trying to free their banker "Topper" from his dull routine high collar lifestyle and make him a jet setting man of high society. This is a great story with ghosts, floating objects and Topper talking to himself. Mrs Topper has the hardest time trying to figure out whats happening to her timid obedient husband. Lots of laughs here. Enjoy.

Hilarious and utterly charming!
As a screwball comedy, Topper has it all: high spirits and hijinks, wonderful acting all around, sharp dialogue, deft physical comedy, and a theme lots of people can relate to. If you're in the mood for a screwball comedy that still has a real message, this is one to watch.

Topper Returns is like an episode of Scooby Doo come to life: spooky mansion, secret corridors, creepy servants, and a masked murderer on the loose. Mix in a hard-drinking ghost, a befuddled detective, a blonde bombshell, and Eddie "Rochester" Anderson of Jack Benny fame, then add a string of razor-sharp one-liners, double-takes, and pratfalls, and you get a recipe for hilarity. Billie Burke, as Topper's ditzy, jealous wife, is even funnier in this one than in the original: she takes blithe cluelessness to a new level!

The special effects in both films are suprisingly good for the era, and the beautiful DVD transfer really brings them to life. Great films!

Well worth the price
Although I don't think Topper with Cary Grant is as good as some of his other B&W comedies, "Bringing up Baby", "The Bachelor and Bobby Soxer" or even "Monkey Business", it is a good old B&W movie to watch. However, I think I like "Topper Returns" even better, "Topper" gets bettter as the movie nears the end, but "Topper Returns" seems to keep laughs coming throughout the picture. I find the scenes with "Rochester" from the old Jack Benny show most memorable, the comments he makes ( he has a very memorable voice) , the way he rolls his eyes and responds to the ghost extremely funny. "Topper Returns" has more people doing the funny scenes, little things throughout the movie.

The picture and sound quality on this DVD seems better on our Hitachi 57S700 better than "Topper Returns" by Alpha Video. We have one of our Dtivos getting every Cary Grant movie for the past few years but never seemed to get Topper. We were at a store and saw "Topper Returns" by Alpha Video. After buying this I decided to buy Topper/Topper Returns here on Amazon, just to get "Topper" with Cary Grant, and glad I did. Once again, for those of you that like old B&W comedies, this DVD is welll worth the Amazon price.

THIS TWOSOME TOPS OUT IN HILARITY!
"Topper" is the supernatural screwball comedy about a pair of fun-loving ghosts who wreak havoc on the life of henpecked banker, Cosmo Topper (Roland Young). Cary Grant and Constance Bennett simply glow as George and Marion Kirby, a couple of devil-may-care free spirits who accidentally kill themselves by wrapping their car around a tree. They return as a couple of blithe spirits, determined to introduce Cosmo to the good life. Billie Burke costars as Cosmo's stuffy and hilarious bubble-head wife. The sequel, "Topper Returns" uses this same premise but replaces Grant and Bennett with Joan Blondell. Although she's amply cast, she doesn't quite eclipse the memory the original. The engaging murder mystery plot of "Topper Returns" with its sumptuous setting and elegant cinematography compensate, particularly the surreal visual splendor of Blondell's haunting death and her ghostly reincarnation.
THE TRANSFER: "Topper" is a little bit worse for the wear than "Topper Returns". This is to be expected since, after years of being a late night television fav', the rights to this classic have fallen into public domain. MGM is credited with originally making this classic. The gray scale is a trifle underexposed on "Topper" well seemingly close to dead on in "Topper Returns." Age related artifacts are more heavy and noticeable on "Topper" as well. Over all, the image has a dated appearance but contrast and black levels are generally good on both movies. Edge enhancement is present slightly on "Topper" only. The audio is mono for both films. "Topper" suffers from slight hiss and popping but "Topper Returns" is generally more natural sounding on the ears.
EXTRAS: None.
BOTTOM LINE: "Topper" is an outstanding Cary Grant comedy with few equals - save "Bringing Up Baby." Perhaps one day we'll see the release of that classic on DVD!

clear DVD from Artisan
This is a good transfer indeed. I know Artisan is hit and miss. This DVD title is clear. The 1st Topper is always my favorite. Why? Cary Grant and Constance Bennett are in it. Wow she has a figure no man today would turn away. And I am a woman saying that.

The second movie has the couple that play the Toppers. But Not the Kirbys. (No Grant and Bennett). he Kirby's haven't been re cast, they aren't in it. It is still an interresting movie though. A comedy/murder movie.

At the price this DVD can be bought at it is a steal. A must get for your collection. ... Read more

Reviews (57)

The Merry Widow Murderer strikes again
Hitchcock loved to subvert what others took for granted. Set in the Northern California town of Santa Rosa, Shadow of a Doubt is most subversive about the very normal, tranquil qualities of small town life. Like all of Hitchcock's most convincing and powerful thrillers, the mystery is revealed right away. Uncle Charlie (Joseph Cotton)is on the run from the police. He's endearing, charming and a serial killer nicknamed The Merry Widow Murderer. With the police hot on his trail he turns to the only place he can--home.

Uncle Charlie visits with his sister and her family in a sleepy small town. Uncle Charlie gets the chance to visit with his namesake and favorite niece nicknamed Young Charlie (Teresa Wright). They have a grand old name visiting until the past comes haunting. Young Charlie begins to suspect that Uncle Charlie is the Merry Window Murderer. What's worse, he realizes that she knows. Suddenly, he must find a way to murder his favorite niece and escape without suspicion.

Shadow is one of Hitchcock's earliest films where his favorite themes finally come together in a great collabortive effort with Thornton Wilder (Our Town). Wilder's early drafts (Hitchcock's wife and frequent collaborator Alma Reville did extensive rewrites along with Sally Benson and, of course, Hitchcock himself, as always, uncredited). Like many of the releases from Universal in the Alfred Hitchcock Collection, Shadow comes back with some interesting extras.

The documentary which includes interviews with Teresa Wright, Hume Cronyn, Robert Boyle, Pat Hitchcock O'Connell and director Peter Bogdanovich, isn't the usual slapdash affair. There's some interesting insights and observations about the film (if you'd like real insight into the film, I'd suggest the recent Hitchcock biography).

Joseph Cotton, Teresa Wright and the rest of this stunning cast capture the atmosphere (or least Hollywood's version of it with a bit more realism courtesy of Wilder and Hitchcock)of life in a small town during the 40's. It's one of Hitchcock's early American masterpieces (along with the wonderful Notorious).

The transfer looks pretty good overall. There are some minor issues with edge enhancement but the overall look of the film is very clean considering the age of the negative. It's a pity that so many Hitchcock films are spread over so many studios. Shadow would work well in a boxed set with Strangers on a Train and even Rear Window.

Charlie, think. How much do you know about your uncle?
Having just watched Alfred Hitchcock's Shadow of a Doubt (1943) last night for the first time, I was surprised at how good it was, and why I've never seen it before. I mean, I am a fan of Hitchcock, and I've seen many of his movies, but to have heard so little of this particular film seems puzzling to me, as it's an excellent film, and worthy of a lot more recognition than it seems to have gotten. Either that or I just need to get out of my cookie jar more often...

Anyway, the film, directed by Alfred Hitchcock and written by Thornton Wilder, stars a wonderful cast including Teresa Wright, who appeared with Gary Cooper the previous year in The Pride of the Yankees (1942), Joseph Cotten (Citizen Kane, The Third Man), and Henry Travers (High Sierra, Mrs. Miniver, It's a Wonderful Life). Also making an appearance is Hume Cronyn making his film debut in a supporting role as a mousy neighbor.

The story involves a family in a small California town, and the impending arrival of a relative, Charlie (Cotten), from back east. Most anticipatory is younger Charlie (Wright), named after her uncle, as she feels a deep, almost telepathic connection to this man she hasn't seen in quite awhile. Now, before Charlie's departure for California, we get a general sense of unease, as it seems Charlie is involved in something of a sinister nature. Upon arriving in California, the visit seems to be going well, as the family welcomes him with open arms, but soon we learn that trouble has followed Charlie in the form of two rather shady individuals who present themselves with a certain amount of deception, which is elaborated on later. The older Charlie's behavior begins to change subtly, perceptible only to the younger Charlie and us, the audience. As various bits of information are disseminated, the younger Charlie's begins to realize that her uncle may harbor a terrible secret that could tear apart the very fabric of her family. As her uncle's slick veneer is slowly peeled away, she eventually learns the truth, with the older Charlie realizing that the relative safety he sought in coming to stay with his sister and her family is in jeopardy. What lengths will he go to to protect himself from his past?

The film starts out very slowly, but it's obviously deliberate, as the sense of dread within the viewer is cultivated in meticulous fashion. This seems a common tactic with Hitchcock, but I did get the feeling it was more drawn out here than in most of his other films. The pacing felt very similar to Rebecca, another Hitchcock film, which was released in 1940, but while that film had a much more grandiose feel to it, this film keeps things fairly simple, which really works well. There is a good amount of leaving the viewer in the dark within the first hour or so of the film, but when the secrets of the character is revealed, the plot points prior to this fall into place nicely, making sense of these once less meaningful elements. Teresa Wright's character is wonderful as the perceptive and intelligent niece forced to make a very difficult decision between her family and her uncle, trying to deal with the consequences of whatever path she chooses. Cotten is the real standout performance in the film, presenting a very likeable character, with a highly polished exterior, but an exterior you learn is barely hiding a very ugly and, ultimately, dangerous core. He figuratively becomes the fox in the hen house, as his sinister nature encroaches upon this quiet, unassuming community. As I said before, the pacing is pretty slow, picking up moderately within the last 30 minutes (it has a running time of 108 minutes) to a very suitable and satisfying ending, one that provides a nice jolt during an already tense scene.

The print provided by Universal for this release looks very good, despite a few hardly noticeable signs of age and wear. Special features include a featurette on the making of the film, detailing why Hitchcock considered this to be one of his favorite movies he made, production notes, drawings and photographs, recommendations (to other Hitchcock films), and a theatrical trailer for the film. All in all, and excellent, if underrated, Hitchcock classic.

Cookieman108

What a Film!!!
It is sad that Santa Rosa, Ca. doesn't look like this today,but this film almost foretells the waiting, looming changes that we were about to face in our land, both to our lifestyle and our environment. Never more relevant than now.Hitchcock captured the essence of a wonderful and, now, nostalgic time in America as no one else, before or after.

5 star movie ...
While the film itself is absolutely brilliant, 'Shadow of a Doubt' loses a star for being a disappointing DVD. Considering this film was always hailed as being Hitchcock's favorite, I'm really surprised that Universal didn't roll out the red carpet when it came to the disc's bonus features.

I completely expected to see the same TLC that made the 'Rear Window', 'Vertigo', and 'Psycho' DVDs such an education to watch. Instead Universal didn't even seem to think 'Shadow of a Doubt' warranted a simple wide-screen format.

I loved the film and will always think of it as one of my favorites among Hitch's works. I can't help but to be disappointed that it seemed to fall to the way-side when it came to the attention I felt it should have commanded in its reproduction and formatting though.

I'll Go With the Masses on This One
No question about it: this one of Hitchcock's best, and it ought to be a lot better known.

There's some truth in the contention that much of Hitchcock's work is based on flimsy plotting, gimmickry, and attractive stick figures racing from one scene to the next just a step ahead of sense or logic. This is easily seen even in much-admired films like "North by Northwest".

But "Shadow of a Doubt" (along with "Vertigo" and the first half of "Psycho") gives the lie to the claim that this was all there was to Hitchcock. This is a film in which every turn of the narrative is governed by the development of character, as a girl matures from giddy teenager to strong (and even deadly) young woman while grappling with the knowledge that her beloved uncle is a serial killer.

The acting is uniformly outstanding. Cotten is in full lounge-lizard mode here--nobody ever enunciated a perfectly-balanced sentence with more venom. Hume Cronyn plays a neighborhood geek almost--but not quite--to the point of parody. But it's Teresa Wright who takes the prize here. Wright was a pleasant but unremarkable presence in a number of films, but in "Doubt" she really shows what she was capable of. Consider the expression on her face as she descends the stairs in the climactic scene, and how easy it would have been to overplay it.

Perhaps it was the influence of Wilder (though his biographers state that he actually didn't really do much work on the picture), but "Shadow of a Doubt" is one film in which the master outdid himself, stepping beyond the limits of entertainment into something approaching art. ... Read more

Description

Through no fault of his own, artist and lady's man Richard Nugent finds a love-besotted teenage girl curled on his sofa. Through no fault of his own, the teen's sister is a judge who "sentences" thunderstruck Richard to date the girl until her schoolgirl crush wanes. Circumstances aren't kind to Richard. But they certainly are hilarious when Cary Grant plays Richard, Myrna Loy is the judge and Shirley Temple is the teen. ... Read more

Reviews (15)

Funny, 40's Screwball Comedy
The Bachelor & The Bobby Soxer is an amusing, feather-light comedy about a playboy artist (Cary Grant) who to avoid jail is commended by a judge (Myrna Loy) to date her seventeen year old sister (Shirley Temple) who has a major crush on him. The move is made to curb the playboy excesses of Mr. Grant and to help get him out of Ms. Temple's system. Mr. Grant shows off all his comedic skills as he plays up the part by dressing like a teenager, adopts the slang of the day and makes a fool of himself in athletic events. For those use to seeing Ms. Temple as a preteen, will be surprised to see her as almost an adult. Ms. Loy is a bit too icy and stern in her role, but she's such a good actress, you can look past that. The film won an Academy Award for Best Original Screenplay for Sidney Sheldon who would go on to create I Dream Of Jeannie and become a best-selling novelist.

"The Power of Whoo-doo!"
I rented this movie and watched it last night--hadn't seen it in close to thirty years since I was a little girl--and nearly freaked from the deja-vous experience of hearing the "You remind of a man/what man?/the man with the power/what power?/ the power of whoo-doo". And my older sister knowingly said, "Yes, TutorGal, this is where that comes from." I used to chant and chant that as a kid! So much for memory lane; now down to business about "The Bachelor and the Bobby Soxer." The movie has a bit of a slow start, with pretty static direction, up until the point when high school student Shirley Temple sees ladykiller artist Cary Grant at high school assembly delivering a lecture. Pow! she sees him as a knight in shining armor and is off to corral him. She doesn't know of course that big sis judge Myrna Loy has just had him in her courtroom and has formed a low opinion of his reputed womanizing. Shirley even finds a way to gain access to the unknowing Cary's apartment, where he then unjustly gets slammed with a jailbait charge. Hey, where's this going? Well, Myrna and her assistant DA beau Rudy Vallee decide that the only way for Shirley to get over Cary is for him to date her and probably bore her with his adult ways. And of course, nothing works out like anyone has planned, least of all smug Myrna. As I wrote above, the movie really picks up after about 15-20 minutes and then becomes quite hilarious, with Rudy Vallee particularly good as an eccentric WASP, the sort of thing he does so well . Cary appears to be genuinely enjoying himself, and Shirley has certainly grown to be a real cutie. Myrna's okay, but nothing spectacular this time around. Make a date to watch "The Bachelor and the Bobby Soxer" and see the whoo-doo first hand!

Witty and Fun
I simply adore this movie. It's pure silliness and you'll want to watch it with a friend so that you can occasionally tell them "You remind me of a man..." Pick it up to see a teenage Shirley Temple and to laugh out loud at the wit and ridiculousness of it all. A guaranteed smile. :0) If you like this, you'll want to watch "I was a Male War Bride" as well.

Amiable, Slight
A rather uninspired but harmless enough movie that goes around the world and back again to establish its goofy premise. Cary Grant gets many chances to show off his flair for physical comedy, Shirley Temple is no less grating as a young adult than she was as a child, and Myrna Loy (who I watched this for) is in the movie a lot, but never given very much to do.

Grant fans will probably enjoy this one, but fans of Loy can find vehicles that better display her talents.

Grade: B-

1940's Revealed
Want some insight into what titillated movie-goers in the post-war 1940's? This 1947 RKO production is a good place to start. There's the marquee value of a seductively handsome Cary Grant coupled with that spunky symbol of all-American innocence Shirley Temple, enough at the time to draw in ticket-buying throngs with its naughty innuendo of daring departure and forbidden pleasure. In fact, the underage subtext lingers beneath much of the movie's plot and humorous settings, but in a totally innocent manner, proving that this is not yet the more permissive 1960's. One slip, however, and this light-hearted souffle could easily have become burnt-toast of the most tasteless variety. Fortunately, there are no slips.

Once the pace picks up, this comedy sparkles as brightly as any other Cary Grant madcap, which is to say, about as good as comedy gets. The night club scene is an absolute triumph of timing, staging, and scripting. The laughs build as the party table becomes more and more chaotic, interrupted by one petty annoyance after another, finally reducing the worldly Grant to speechless exasperation. This is the type of soaring comedic architecture that requires real artistry, but has been sadly replaced in contemporary film by a dumbed- down world of bathroom jokes, insult gags, and other cheap forms of humor that appeal mainly to juveniles. The movie itself, directed by an unheralded Irving Reis, is literally brimful of bounce and charm, leaving no one in doubt that the big war is over and America is ready for the future even if its libido is showing. With: a slyly endearing Ray Collins, a bemusedly prim Myrna Loy, a pompously befuddled Rudy Vallee, and a well-deserved Oscar for writer Sidney Sheldon, along with a final scene that could not be more apt. Despite the shift in public mores, audiences now as then should find this a highly entertaining ninety minutes of expert movie-making. ... Read more

Description

A Star is Born marked Judy Garland's return to movies after a four-year absence, director George Cukor's first musical and first color film, and a showcase for great Harold Arden/Ira Gershwin songs in state-of-the-art stereo.One of the most beloved show-business stories of all time, it represents a career peak for many involved.Garland is singer Esther Blodgett, an undeniable talent on the rise.She catches the eye of Norman Maine (James Mason), an alcoholic actor in career decline.Their intense love transforms them both.Only one will survive Hollywood's slings and arrows.Shortened in response to exhibitor complaints after its premiers, the movie underwent one rebirth in 1983 when film historian Ronald Haver found almost all the cut sequences and supervised a reconstruction to near its original length.Its new rebirth is this breathtaking digital surround stereo track and incorporating picture and musical material recently found in the vaults.Star always had a shine to it.Now watch it sparkle as never before. ... Read more

Reviews (64)

One of the Greatest
This film belongs in the library of any serious collector. It is a beautiful love story involvong two people whose mutual dependency on each other deepens as the story progresses. Much of the credit for a job well done of course goes to the films director George Cukor. Judy Garland returns to the screen after a prolonged absence, and reaches her peak both dramatically and vocally. A pinacle I don't believe she ever achieved again. Her musical interpretations are a credit to George Gershwin and Harold Arlen James Mason, in his portrayal of an alcoholic movie star, gives a sterling performance. He is always aware of his tendency toward self destruction."I destroy everything I touch," he warns Vickie. Comparing this performance to his portrayal of Brutus in Shakespeares' "Julius Ceasar" indeed shows a wide dramatic talent. All the supporting players turn in solid performances with Charles Bickford as Oliver the studio head and friend to Vickie and Norman, Jack Carson as the studio Mr Fixit and Tommy Noonan as the friend in need. Truly a movie that is not to be missed.

A Star is Re-Born!
Returning to the screen four years after leaving Metro-Goldwyn-Mayer, Judy Garland is just superb in A Star is Born. Always giveing an honest performance, Judy gives it her all in this classic! This movie has it all, comedy, drama, and most of all, music! Co-staring with James Mason, Garland was nominated for an Oscar for her performace! Although she lost is to Grace Kelly (Judy was beat by only one vote I'll have you know! "The Biggest Robbery Since Brinks!")she deserved that Oscar! This film is simply great!
The widescreen aspect, offered by this DVD, is an extra treat. Also included are outtakes from the film: including three versions of "The Man That Got Away", the broadcast of the premire of the film, tape of the after party at the Coconut Grove, and the film's trailer!
This film is well worth every penny, since it was reconstructed in 1982, after being butchered before it's release in 1954! Buy the video if you have to, but the picture and sound, oh the sound, make me recomend the DVD although it costs a little more it's well worth it!
Lastly, buy this if you just love a great film, or of course, if you love Judy Garland!

I Couldn't Be More Pleased
The film A STAR IS BORN, the 1954 Judy Garland musical for Warner Bros., has been through nearly as many trials and tribulations as any real-life movie-star wannabe to maintain its reputation and realism. The director--George Cukor's--love/hate letter to the joys and sorrows of Hollywood stardom came in just over three hours long--181 minutes. In an ironic affirmation of the film's recognition that "the lush days are over" for Hollywood, the studio cut the actual release print down to 154 minutes so that theater owners could squeeze in one extra screening per evening. That is the only version we had between 1954 and 1983, and any revivals, cinematheque offerings or TV broadcasts--quite enough to sustain the cult of the movie and Judy Garland's bravura performance as a Hollywood star married to an alcoholic has-been--sprang from that truncated release.

In 1983, a partially restored, 170-minute-long version of A STAR IS BORN hit first-run movie screens after long and loving archival and editorial struggle. It was a matter of using anything available to make up for the scenes Warner Bros. had hacked out--stills, amateur home movies made from the set, audio tracks--anything. Most significantly, the restoration reinstituted the entire portion of the movie which appear in the DVD as all of Chapters 14, 15 and 16 in which Garland's character takes a long-shot chance at an acting career; but although that enhanced plot-line was reintegrated into the movie, the static and museum-like restoration was in many ways more admirable than lovable. Still, it gets across the idea that Judy Garland's character--singer Esther Blodgett--faced her own trials and tribulations on the way to becoming "Vicki Lester" the film star.

The current 1999 DVD goes the 1983 theatrical release two better: it incorporates even more material previously thought lost--in particular audio--and the newer computer technology was used for a thorough digital "scrub" of the already handsome restoration. Previous reviewers are right: the restored sequences can still be a bit off-putting, but the DVD now for sale at 176 minutes is a noticeable improvement over the 1983 release and probably the closest we'll ever get to Cukor's original masterpiece. Is the color perfect? No, 1954 Technicolor was still garish and candy-colored; interestingly, the scenes filmed outdoors at night come across as more realistic than some of the interiors, and the character's facial tones look more realistic. Is the sound perfect? It's a good 5.1 multitrack engineering that sounded good on my budget-level home theater, and it certainly holds better aural technology than was available in 1950s movie houses.

A STAR IS BORN is very much a movie about movies, a "backstage" musical something like CABARET where the singing and dancing occur as staged performances or otherwise make sense as something the screen characters would naturally do. (As opposed to the more impressionistic, SINGIN' IN THE RAIN type of movie where characters break character and burst into song artificially.) Judy belts Harold Arlen and Ira Gershwin's unforgettable "The Man That Got Away" in an after-hours club, an impromptu performance later described by eavesdropping leading man Norman Maine (James Mason) as "singing just for yourself and 'the boys in the band.'" (And with those last five words, a play was born.)

The performance-within-a-performance element that any backstage music requires come from two indelible production numbers from Vicki Lester's films. "Born in a Trunk" is by far the better known but the restoration added the endearing "Lose That Long Face," in which another unsinkable Vicki character sings a message of undying optimism as she tap-dances and flat-foots through studio-set rainy streets (Hmm, wonder where they got that idea?)

But most of Garland's performances are in more intimate venues. After rising starlet Vicki Lester becomes Mrs. Norman Maine, her husband puts her to use as "my own little jukebox" as she sings hit songs from her movies. In a particularly charming sequence, Garland's character plays homage to--and gently spoofs--the Fifties penchant for grandiose fantasy production numbers by acting out the round-the-world extravaganza ("Somewhere There's) A Someone At Last" to a background record, using what's available in the living room to mimic props and delighting the sophisticated Mason. The message is clear: it's the star, not the production values, that matter most.

Indeed, Judy Garland IS the star who makes this movie; her fictional Vicki Lester comes alive when fused with elements of Garland's own poignant and turbulent life as an all-too-visible film personality. In this movie her performances--as actor and song stylist--were never better; volumes of praise have been written to which I happily agree. But those who surround "Vicki Lester" are a key component of the film's success, too: James Mason's "Norman Maine" confronts his wife's tendency to overdramatize with a subtle performance as the self-deprecating, self-loathing alcoholic who increasingly becomes the object of his wife's charity. Jack Carson the perennial WB "heavy" of the postwar years (recall him from "Mildred Pierce" and "Cat on a Hot Tin Roof") is in full force as Matt Libby, the gladhanding and cynical studio publicist. Charles Bickford, perhaps best remembered today as father to Lee Remick's character in "The Days of Wine and Roses," adds humanity to the thankless role of the authoritarian film-studio owner Oliver Niles. And Tom Noonan is perfect as the buddy to impart real-life wisdom to "Mrs. Norman Maine."

People who love Judy Garland certainly should go for this improved and more watchable classic, even if they already have a prior version at home. I think lovers of musicals in general will agree that A STAR IS BORN deserves a place among the tip-top musicals of the 1950s, whether or not they are satisfied with the cardboardish ersatz for Chapters 14-16. Just hop over those with your DVD remote and find out what Warner Bros. left after its butchering! A great film at a great price; go for it.

A Star is Born
I read all the reviews listed prior to purchasing and I didn't read anywhere that reconstruction actually meant that they put black and white still pictures in the place of the missing moving picture sequences. At one point I felt like I was watching a slideshow presentation with music and sound! I had no idea the movie would be so choppy and for that I'm deeply disappointed.

I don't feel like it was worth the price and I probably won't ever watch it again. Too bad too, because what I did see of the performance was good. Unfortunately, I felt like I only got 3/4 of the movie and the rest was fill in the blanks.

The Ultimate Musical
The best. Absolutely the best film Hollywood has ever offered. It is a musical which has not only heartwarming songs and dances but one with a real plot, a story so often repeated in this world- a story of dizzying rise and dizzying fall- and a story which stood up to being exposed without the songs. ... Read more

Reviews (3)

Great little Randy Scott western
I collect westerns. And when I saw a Randolph Scott available, I bought it, despite never having seen it before. Was very pleasantly surprised, which hasn't always been the case with these kinds of purchases. Great little story, good cast, characters well drawn, plenty of action and Gabby Hayes as well. Transfer is good with only two minor blips that didn't detract from the watching. Good enough to tell when they were using a painted background(not often), rather than the real thing. Color was great. And learned what an early teamster had to do.

You're Durn Tootin' It's Awesome!!!
To catch a previously unreleased western in this day and age of readily accessible satellite TV is a treat. When that new release happens to be a relatively obscure Randolph Scott western from 1948, presented in the wonderful format of DVD, in CineColor no less, the occasion is nothing short of crackerjack! From an opening stagecoach chase where the fate of a child hangs in the balance, to a grand finale at break neck speed down a hazardous mountain trail, this tale of good and evil in the Old West is one of Scott's best. The wonderful cast includes George "Gabby" Hayes as Randolph's colorful side-kick and Lon Chaney, Jr., as a bad guy so dense he must have been bronc-tossed a few times on his head. Add to that the most colorful cowboy costumes you'll ever see in a serious western and a storyline where right is thicker than blood and you are in for a 5-spur (*****)evening!

Long awaited release....finally!
Okay, this little review comes in advance of the release of the DVD of Albuquerque, and that may seem a bit odd. Despite that, this is of such importance that a short note is actually due prior to the release. Randy Scott's Albuquerque is the most elusive of his Westerns. At "Western festivals" and among dealers this is the one Scott movie that no one seems to have ever seen or have access to. Some writers have gone so far as to suggest that the movie, originally released I think by Paramount, had been lost. Now that Universal is bringing it out, we can only give thanks that it does indeed exist and will be available (hopefully in the same quality production that characterizes other Universal releases). All reviews of the film indicate that it was an above-average Scott vehicle, with good production values. The cast includes George "Gabby" Hayes and Barbara Britton. So, thanks to Universal for this release, and for some of the other very fine oaters listed for release at about the same time [e.g. When the Daltons Rode, Whispering Smith, No Name on the Bullet, etc.] ... Read more

Description

Charles Chaplin turns his traditionally sunny sensibilities inside out with this sublime black comedy about a family man who secretly uses murder to support his beloved invalid wife and child. There's little of the immortal Tramp in Verdoux, yet the fastidious dandy is not lacking in comic graces. Most hilarious of all are the always-foiled attempts to dispatch the raucous Annabella (Martha Raye). When this most atypical Chaplin film opened, the world was not ready to look death in the face and walk away smiling. Today, Monsieur Verdoux ranks among Chaplin's best works. It is killer comedy. ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Description

Gary Cooper and Barbara Stanwyck star in Frank Capra's popular social commentary on the common man. Stanwyck is a newspaper reporter who sends a fake letter upon her firing, signing it John Doe. When the letter becomes a rallying cry for all the little people, Cooper, a man in need of money, agrees to impersonate the nonexistent person who claimed he'd commit suicide because of the problems of society. And thus, a political movement begins--but the newspaper publisher has a secret plan. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Amazon.com

With its straightforward retelling of events leading up to the American Revolution, The Howards of Virginia is a standard slice of patriotism from Hollywood's golden age. Adapted by noted screenwriter Sidney Buchman from Elizabeth Page's 1939 bestseller Tree of Liberty, this colonial melodrama is notorious for saddling Cary Grant with one of his most ill-fitting roles, and it's true that Grant's 20th-century style clashes with his portrayal of buckskinned rebel Matt Howard. Still, his performance is far from being "really bad" (as critic Pauline Kael harshly opined), and Martha Scott brings tenacious dignity to her role as Howard's pragmatic wife, who defies her aristocratic family to join her new husband in the wilderness of Ohio. The stirrings of rebellion clash with some thankfully outmoded Hollywood clichés (such as Howard's initial rejection of his mildly disabled son), but overall this remains a respectable and altogether engaging historical adventure, encompassing the early career of Thomas Jefferson and noteworthy for its meticulous attention to period detail. --Jeff Shannon ... Read more

Reviews (6)

Anyone who loves the history of Virginia . . ..
Being from Virginia, I am of course partial to movies about it. Having spent a lot of time touring historical homes in and around the state, this movie in particular stands out. Part of the movie was filmed at Carters Grove Plantation, one of the James River Plantations. Cary Grant was great friends with the McCrea's who owned the plantation in the 1930's-40's. He loved the house so much that he recommended to the film company that they use the house for the home of inlaws in the movie. (The plantation was also used for the George Washington miniseries with Barry Bostwick/as the Fairfax home)
I recommend this movie to anyone that loves Cary Grant. Mr Grant's portrayal is very moving, Richard Carlson as Thomas Jefferson isn't so bad either !

A very big Cary Fan Hates This One!
As much as it pains me to say, this is a terrible movie for Cary-and a terrible movie in general. All of Grant's strengths are hidden while he is asked to play a rugged, outdoorsman with no polish, class or sophistication. It sounds like a bad joke, doesn't it? Well it is. It hurts to watch this great actor stumble through this movie. Please keep in mind that I am a huge(maybe even obsessive) Grant fan, owning over 30 of his DVDs. This is, however, by far my least favorite. Sorry. Save your money and invest in the new Criterion edition of "Notorious."

Cary Grant -- miscast but still fun to watch
At 115 minutes, this Hollywood historical film runs a bit long, and Cary Grant isn't the best fit for Matt Howard, but he is still fun to watch and the film covers interesting bits of the events leading up to the American Revolution, such as the Boston Tea Party. We also meet Thomas Jefferson and listen to Patrick Henry. The film's tension comes from the class differences between rebel Matt and his conservative wife, Jane. While the sets and costumes look good, the story lags at times, but this would be a worthwhile rental for Grant fans or Revolution cinephiles.

The dvd features are: subtitles in English, French or Japanese, and trailers for three other classic films.

Worthwhile viewing
This is a fine movie for adults to watch along with their children. I totally enjoyed the political IN-correctness of this movie. Filmed on location in Willimsburg before the town was turned into Revolutionary Themepark, the street scenes truly were what they would have been during the revolution. Historical movies today work too hard at either beating us over the head with societal inequalities or pretending they didn't exist. In the 1700s Legislators were men, women stayed on the sidelines, black people were slaves. To deny the truths of the period is to deny the valour of the people who fought for change since then. The story moved quickly and the reasons for Revolution were clearly spelled out as affecting the whole nation, not just about one or two people as we have recently seen in movies like "The Patriot". Although most of the women's costumes were awful (zippers were obvious), the furniture detail and most of the men's costumes were well done. I would recommend this movie as worthwhile viewing.

If it weren't for Cary Grant...
If it weren't for Cary Grant, I would never have finished watching this video/film. I was bored by the lack of character development, but Cary Grant's smoldering presence makes the movie worth seeing once. ... Read more

Description

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

Reviews (4)

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

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

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

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

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

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

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

Description

Cattleman Gene Autry becomes the guardian of a wayward boy deeply indebted to a gambler. Hoping to straighten him out, Gene sends the boy to the New Mexico Military Institute# but the lad flees and is framed for an ex-jockey's murder. Full of rugged action and smooth Western songs, this was Autry's 70th screen feature and includes such tunes as "Can't Shake the Sands of Texas from My Shoes," "There's a Rainbow on the Rio Colorado" and "The Honey Song." ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know