Reviews (70)

"Everybody wants to be a cat"
I would have to give this 5 stars for the movie and 2 stars for the rest of the dvd. The Aristcats could also be called a sequel to 101 Dalmations, but this time it is only 4 cats that has to find thier way home instead of 15. Then you enter an ally cat name Thomas O'Malley thas aksed for help in return to the city of Paris in 1910. This movie took the Disney animators almost 4 years to make. Looks like every animators are still from Walt Disney days including Frank Thomas (who at the time of this writing) is still alive, but not very active, in fact looks like the last movie he worked on is The Fox and the Hound. As the movie opens, a woman named Madame Adelaide Bonfamille (Hermoine Baddeley) has come hom to her mansion, and awaits her lawyer (Charles Lane) to do her will in which, because of she has no living relatives, she decides to leave her house to her cats, and after the cats die, then the house goes to her butler Edgar (Roddy Maude-Roxby), and when Edgar over hears Madame's plane over a speaker, he decides to kid nap her cat Duchess (Eva Garbor) and kitness Marie (Liz English), Berlioz (Dean Clark), Toulouse (Gary Dubin), and he does that. And the Duchess and the kitness along with an alley cat named Thomas O'Malloy (Phill Harris), they make thier journey into Paris. This film was orginnlay intented to be a live action movie, but then somebody or somehow it got changed to an animated movie. And maybe some day a live action movie of this may be made, but if that does happen, for now you have this cartoon movie. This movie is a must for Disney or animated movie fans.

"Lady & the Tramp" for aileurophiles
(That's cat-lovers, by the way.) Disney here remakes his canine classic with feline leads and succeeds wonderfully. Duchess (voiced by Eva Gabor) is the pampered pet who (with her three kittens, Marie, Berlioz, and Toulouse) is forced out into the cruel world, and O'Malley (Phil Harris) the gallant alley cat who comes to their rescue and wins her love. Unlike the original, here we find a genuine villain--Edgar (Roddy Maude-Roxby), butler to Duchess's wealthy "Madame," who stands to inherit her estate after the cats have lived out their lives, and wants to hurry things up so he can get the money while he's still able to enjoy it. With the help of Froufrou the carriage horse (Nancy Kulp), Roquefort the mouse (Sterling Holloway), and Scat Cat (Scatman Crothers) and his (jazz) band of Alley Cats, O'Malley succeeds in foiling Edgar's plot, and Edgar gets his just desserts. True, the two hound dogs Napoleon and Lafayette (Pat Buttram and George Lindsey) are a bit over-the-top (where are they supposed to be from, the South of France?), but they do provide a laugh-out-loud comic interlude. With humor and suspense aplenty and a delightful array of characters, this movie might even convert the cat-haters in the family. Definitely one of my favorites.

The Purr-fect Film
This may be one of the best Disney movies that I have ever seen!The movie is about some of the rarest kinds of cats you could find just about anywhere in the world. The story shows some tips on how to respect oters, How to share, and how to show others how much you care about them. If you havent seen this movie, then plan to see it. This movie is for everyone, no matter how young you are, or how old you get.

One the Best Disney Films EVER!
I love everything about this movie. Ava Gabor is wonderful as the voice of Duchess. The kittens in the story are sooo sweet. This is a must have for anyone who is a true Disney fan.

No Aging, cute cats
How is it that Disney movies don't seem to age? Even Snow White seems pretty normal nowadays. The Aristocats is not the best, prettiest or funniest Disney movie ever made but people who like sweet cats will enjoy the drawing of the cute little cats in this movie.

The drawing of the people is very realistic and the animals all have their own personality, the jazzy alley-cats are my favorites. It's about 80 minutes long so perfect for young children. ... Read more

Reviews (160)

Mary Poppins on DVD
This is probably one of Walt Disney's best films, if not the best. It is the most excellent realized combination of live action and animation. It contains eternal charm, wit, and magic as it introduces us to the "practically perfect" nanny who brings profound change to the Banks family of London in the early twentieth century. Every song composed by Richard and Robert Sherman is pure magic. The believable visual effects, the heartfelt scripting, and the solid performances by Julie Andrews and the heart rendering Dick Van Dyke are truly eternal. Every element of production came together at their zenith to create a treasure of cinematic endearment. The DVD is excellent. The supplemental material is very good and nostalgic. One of the best films ever made. The superb cast also includes: David Tomlinson, Glynis Johns, Elsa Lanchester, Arthur Treacher, Ed Wynn, Hermione Baddeley, Reginald Owen and Jane Darwell as The Bird Woman. Director, Robert Stevenson is at his best.

Do Movies get much better than this???
This is my favorite musical of all time. It's wonderfully done, and the story is excellent. Julie Andrews did a great job in her first ever cinematic role, she plays a magical nanny that comes to a rich man's house in order to bring the family back together. What I love about her performance is that she looks very confident and so straight forward and firm, not as playful as you may think. The film also has Dick Van Dyke in the role of Bert, who is a very good friend of Mary Poppins and also handles magic very well. That role was funny and very entertaining(the accent is a bit confusing though), and i loved all of his dance numbers, especially Step In Time, the dance on the roof-top. Another excellent performance was David Tomlinson, who did the role of George Banks, the father of the children. He is very firm and strict, but he can also be very clumsy and forgetful, which is another reason I liked him. His song The Life I Lead was also great. This film was prized with five well-deserved Academy Awards, for the excellent Film Editing, the Visual Effects, like the jump into the pavement picture, the tea party on the ceiling and the smoke ladder, the excellent score, the song Chim Chim Cheree, which may have not been the best song, but one of them had to win, and last but not least, the excellent (oscar-winning) performance by Julie Andrews. I cannot find any more words for this film, so I'll leave you with one word. Supercalifragilisticexpialidocious

"Perfect Nanny"
Mary Poppins is my favorite movie. I love the charictors, the singing, the dancing. It is fun for the whole family. When I was alittle girl I watched it over and over again. I love to dance with the chimeny sweeps; I can't do everything they do, but still. This is the best master piece Walt Disney ever created besides Micky and friends. I love it and I am a teen.

It is about a fun nanny who has magic. That is probobly why I like her. There is never a dull moment when Mary Poppins is around: fox hunting, laughing in the air, riding a merry-go-round without the going arout. One of the best parts of all, supercalafagilisticexpialadocious.

My Kids Love it!
I have a preschooler and a kindergartener. They both watch it together. They get up and dance to "Step in Time" and "A Spoon Full of Sugar". We purchased the music CD, and listening in the car, makes the time go faster.

This Movie is Defintately a "Jolly Holiday"
I had not seen this movie for a very long time until last week I borrowed a copy from my cousin and it was very good.It was so much better than I remembered.My favorite part of this movie is the scene where Mary,Bert,and the children go into the painting and they see the pinguin waiters who do a very funny dance with bert,and they sing my favorite song in the movie called "Jolly Holiday".This is a very good movie.I recomend this movie to anyone. ... Read more

Amazon.com

Not only was Molly Brown unsinkable, so is the musical based on heramazing life. Released in 1964, The Unsinkable Molly Brown gave DebbieReynolds one of her most memorable roles and earned her an Academy Awardnomination (she lost to Julie Andrews in Mary Poppins). Paired with HarvePresnell, fresh from the Broadwayversion, Reynolds and Presnell sparkle as Molly and Johnny Brown, well-meaning but gauche nouveau millionaires who take on stuffy Denver society (whoare loathe to admit that they are nouveau riche as well). During their Molly-guided quest for "respectability," the pair learns that old adage--all the moneyin the world can't buy happiness or contentment.

From her beginnings as a foundling floating down the Colorado River to herfateful trip on the Titanic, Molly Brown aims upward, swearing "I Ain'tDown Yet." Reynolds imbues her Molly with energy, determination, and poignancy.Molly feels every slight keenly and is convinced that more and bigger will makeher place in society. Husband Johnny, who promised "I'll Never Say No," finds itharder and harder to keep his promise as he watches his wife's single-mindednessbury her effervescent personality. In the songs by Meredith Willson (TheMusic Man), Presnell's rich baritone soars on "Colorado, My Home" and beginsa rousing "He's My Friend," while "Belly Up to the Bar, Boys" is a bawdy, catchyromp during which Reynolds shines--rollicking across the dance floor, she's ared-headed dynamo in a gauzy green dress. --Dana Van Nest ... Read more

Reviews (23)

A Fairly Good Musical
THE UNSINKABLE MOLLY BROWN is a fairly good musical based on the life of a young woman who rises from rags to riches as the wife of Leadville Johnny Brown and later gains even more fame as a survivor of the sinking of the Titanic. The movie is not quite as good as the original production on Broadway starring Tammy Grimes but it is still very entertaining in spots. The most memorable song is "Belly Up To The Bar, Boys."

Debbie Reynolds does a fine job in the lead as Molly Brown and Harve Presnel repeats his successful Broadway role as Leadville Johnny Brown. The strong supporting cast for the film includes Ed Begley, Hermione Baddeley, Jack Kruschen and Vassili Lambrinos.

The movie received Oscar nominations for Best Color Cinematography, Color Costume Design, Color Art Direction and Adapted Music Score. Debbie Reynolds was nominated for Best Actress. MY FAIR LADY dominated the Academy Awards in 1964.

Debbie Is Unsinkable
This terrific 1964 film is based on the stage musical of the homespun backwoods girl at the turn of the last century from Meredith Willson and Richard Morris, but this is Debbie Reynolds' movie all the way! Her energetic performance as Molly Brown deserved an Oscar and more. This is a big good old-fashioned musical the way they used to make them. Great Choreography by Peter Gennaro and Panavision Cinematography by Daniel Fapp make this a real winner combined with Meredith Willson's music. The underrated Harve Presnell plays Johnny Brown. This guy could sing and dance! It was good to finally see him show up in a recent move in a pivital role, something called "Saving Private Ryan."

Is this real?
When I started watching this the other day, I had no idea when it was made, who it was made by, etc. Thus, in my ignorance and based on the laughable opening scenes, I thought I might be watching some really bad quality program. And so, I sat down to enjoy a really poor quality film, just to do it.

As the movie progressed, I was able to get past the jerky story-telling and one-dimensional plotline to really start appreciating the main character, Molly Brown. She reminded me of Reba, and her enthusiasm and energy were unreal! She bounced back from more let-downs than one could possibly imagine.

By the end of the flick, I got the idea that Molly Brown was based on a real person as she had turned up in "Titanic" as a much heavier Kathy Bates. Her story was unbelievable and very rich, if still somewhat poorly told in this film.

In doing a bit of research, I learned alot more about the film. I think I appreciate what it was setting out to do but am disappointed that they directors seemed more enamored with the frivolous than with the meat of Brown's story. In the true story, Molly Brown forces her fellow women to row the boats around to pick up drowning survivors from the Titanic. Here, she simply sings to those in the boat with her.

Not too bad over all, but there might be better ways to learn Molly Brown's story...or whatever her real name is.

Great Musical, Weak on Authenticity
The songs and the dances were terrific -- but Mrs. Brown's real first name was "Maggie," and this film shows the wrong side of the Titanic scraping the ice berg, better loosen your belt. Bellying up to the ice berg. Whatever.

The End of an Era
When this movie originally came out, I wouldn't have guessed that this would be one of the last great musicals out of Hollywood. Sad as that may be, I am eternally grateful that Debbie Reynolds was cast as Molly Brown. She is absolutely terrific. Of course, she's always terrific and fortunately still going strong. And Harve Presnell.....this man would have been huge in the musical genre if MGM and its musicals hadn't crashed and burned.
If you love the film musical as an art form, this is a must have for your collection. Remember, no one did them bigger or more consistently better than MGM. ... Read more

Reviews (106)

the ultimate in animated movies
I'd give this movie 10 stars if possible. I watched this movie everyday when I was a kid and when i watch it now, i can still recite it. This is such a great movie. As some of the other reviewers said, this movie is a little more realistic, a little grittier.
This movie truly does have something for everyone. Children will love the talking creatures, the ridiculous crow, Jeremy, (voiced with perfection by Dom DeLuise), and they'll recognize the overwhelming, self-sacrificing love Mrs. Brisby (the mother) displays for her family. Adults will enjoy the more subtle humor as well as the message of pure love conquering all obstacles. This movie (along with my role model mother) formed my image of how mothers should be: loving, strong and self-sacrificing. Even when Mrs. Brisby if forced to face her deepest fears (an owl, the cat), she does it, not without fear, but to save her son's life. This is a touching movie.
Another point of appreciation for this movie is that it does not try to simply dumb things down for kids. I like most Disney movies but this aims a little higher. There are some deep issues, such as death, jealousy, fear and hate, that aren't dwelt on but are brought up and as children grow older, they will grow to understand and love this movie more and more.

An enduring tale of love, courage and trust
Don Bluth's "The Secret Of NIMH," based upon the novel "Mrs. Frisby and the Rats of NIMH," was released in 1982 and was quickly forgotten at the box office in favour of Steven Spielberg's E.T. (which was released around the same time). I picked this up for less than ten dollars on DVD and I haven't stopped playing it since. It has been at least fifteen years since I had last seen it, and I enjoy it more than ever.

Bluth and close to two dozen Disney animators defected from Disney's studios in favour of having a chance to express and explore their artistic visions and creativity. One of their first animated films was "The Secret of NIMH." Other Bluth films include "Anastasia," and "An American Tail." But no other animated film captures the sense of magic and wonder like "The Secret of NIMH."

Mrs. Brisby, a recently widowed field mouse, tries desperately to protect her invalid son Timothy from Moving Day, when the farmer's plough will destroy their underground home. She is led to a colony of superintelligent rats, ex-subjects of laboratory experiments at the National Institute of Mental Health. They are led by wise old Nicodemus, a friend of Mrs. Brisby's late husband Jonathan, also an escaped lab mouse from NIMH.

The somewhat dark tale does feature light-hearted comedic relief in the form of Jeremy, a trouble-prone young crow voiced by Dom Deluise. The story sticks fairly close to the book version, although several new elements are added and some side plots are cut due to time restraints. The artwork is breathtaking; vibrant backgrounds, clever special effects, the play of light and shadow. The characters are real and you quickly become attached to them. No one breaks into song every five minutes, although there is a very beautiful lullaby on the soundtrack that Mrs. Brisby sings to Timothy.

To me, this film is deeper, darker, and more imaginative than anything that Disney has produced. There are no fancy CGI effects, only the skilful work of animators that love what they do. The film carries a message of courage, love, and trust without being preachy or simple. There are plenty of tense, dark scenes, some of which might upset smaller children. But "Secret of NIMH" is a beautiful, intelligent movie that is so much more than a cartoon or a children's fable.

filled with wonder
As a kid in the 1980's, this was a favorite film of mine. I remember thinking how cool and imaginative this was compared to the sludge of rerun 80's tv cartoons (did anyone else have to suffer through the "USA network cartoon train" as a kid?) like "The Flintstones."

Don Bluth, like Tim Burton, was a very talented artist and animator who broke away from Disney. Both Burton and Bluth could not stand redrawing the same animation cells for other people all day long. Burton found profit, Bluth, sadly, did not. However, that is not to say that Bluth did not create some very fascinating films along the way.

This is a tale of wonder and imagination. Watching this film is almost like seeing the equivalent of an American film with Miyazaki style and presentation. If you have ever seen "Spirited Away" or "Kiki's Delivery Service" there is an obvious similarity here between Miyazaki and Bluth. However, Bluth is very much an American, as is the setting for this imaginative tale.

It is a tale of rats who were experimented on by humans, who became very intelligent, strange, and different as a result of what the humans had done to them. Eventually, these creatures managed to escape their bondage from humans, and formed their own kingdom far out in the country. This is the tale of Mrs. Brisby encountering this strange race of rats, but it is so much more.

Please check it out and experience one of the more unique animated films ever made. This is not Disney, this is a new and different style. Sadly, these films just didn't catch on with the 80's crowd and Bluth was forced to go underground and now, today, makes a living in the straight-to-video kid market (He churns out those Land Before Time sequels just about every month).

Not the same as the book, but just as good anyway!
While this movie is a bit more fantasy-like than the book, I think it's just as good. The first time I saw this was several years ago when Nickelodeon used to play movies on Sundays. Once I saw it, I immediately went after the book, Mrs. Frisby and the Rats of NIMH. Told in the style of Poppy or Watership Down, both the movie and the story have the same main plot: A family of mice must move out of their home before the tractor comes for the yearly harvest. The problem is, little Timothy mouse is sick with pnemonia (forgive my spelling) and if he goes out of the house, he will die. Now Mrs. Frisby must look to the Rats, a race of intelligent rodents, to help them to be able to survive the tractor without leaving their home.

A childhood classic
This had been my favorite cartoon movie since I was six years old. I knew every line Mrs. Brisby spoke. This is the stuff that flying dreams are made of and will always be treasured in my heart.

A great tale of bravery and overcoming the odds with a touch of magic. ... Read more

Reviews (160)

Mary Poppins on DVD
This is probably one of Walt Disney's best films, if not the best. It is the most excellent realized combination of live action and animation. It contains eternal charm, wit, and magic as it introduces us to the "practically perfect" nanny who brings profound change to the Banks family of London in the early twentieth century. Every song composed by Richard and Robert Sherman is pure magic. The believable visual effects, the heartfelt scripting, and the solid performances by Julie Andrews and the heart rendering Dick Van Dyke are truly eternal. Every element of production came together at their zenith to create a treasure of cinematic endearment. The DVD is excellent. The supplemental material is very good and nostalgic. One of the best films ever made. The superb cast also includes: David Tomlinson, Glynis Johns, Elsa Lanchester, Arthur Treacher, Ed Wynn, Hermione Baddeley, Reginald Owen and Jane Darwell as The Bird Woman. Director, Robert Stevenson is at his best.

Do Movies get much better than this???
This is my favorite musical of all time. It's wonderfully done, and the story is excellent. Julie Andrews did a great job in her first ever cinematic role, she plays a magical nanny that comes to a rich man's house in order to bring the family back together. What I love about her performance is that she looks very confident and so straight forward and firm, not as playful as you may think. The film also has Dick Van Dyke in the role of Bert, who is a very good friend of Mary Poppins and also handles magic very well. That role was funny and very entertaining(the accent is a bit confusing though), and i loved all of his dance numbers, especially Step In Time, the dance on the roof-top. Another excellent performance was David Tomlinson, who did the role of George Banks, the father of the children. He is very firm and strict, but he can also be very clumsy and forgetful, which is another reason I liked him. His song The Life I Lead was also great. This film was prized with five well-deserved Academy Awards, for the excellent Film Editing, the Visual Effects, like the jump into the pavement picture, the tea party on the ceiling and the smoke ladder, the excellent score, the song Chim Chim Cheree, which may have not been the best song, but one of them had to win, and last but not least, the excellent (oscar-winning) performance by Julie Andrews. I cannot find any more words for this film, so I'll leave you with one word. Supercalifragilisticexpialidocious

"Perfect Nanny"
Mary Poppins is my favorite movie. I love the charictors, the singing, the dancing. It is fun for the whole family. When I was alittle girl I watched it over and over again. I love to dance with the chimeny sweeps; I can't do everything they do, but still. This is the best master piece Walt Disney ever created besides Micky and friends. I love it and I am a teen.

It is about a fun nanny who has magic. That is probobly why I like her. There is never a dull moment when Mary Poppins is around: fox hunting, laughing in the air, riding a merry-go-round without the going arout. One of the best parts of all, supercalafagilisticexpialadocious.

My Kids Love it!
I have a preschooler and a kindergartener. They both watch it together. They get up and dance to "Step in Time" and "A Spoon Full of Sugar". We purchased the music CD, and listening in the car, makes the time go faster.

This Movie is Defintately a "Jolly Holiday"
I had not seen this movie for a very long time until last week I borrowed a copy from my cousin and it was very good.It was so much better than I remembered.My favorite part of this movie is the scene where Mary,Bert,and the children go into the painting and they see the pinguin waiters who do a very funny dance with bert,and they sing my favorite song in the movie called "Jolly Holiday".This is a very good movie.I recomend this movie to anyone. ... Read more

Description

Boston proper meets the Wild West as Roddy McDowall, Suzanne Pleshette, and Karl Malden star in a fish-out-of-water comedy for everyone! To restore his family's lost wealth, a young Boston lad stows away on a ship bound for the California Gold Rush. When their very proper butler gives chase, all roads lead to nonstop adventure, wild and woolly characters, and a lucky punch that leads to a bonanza of belly laughs! You'll discover a fortune of family fun in this classic Disney film -- perfect for your collection. ... Read more

Reviews (7)

cute Disney western comedy - in WIDESCREEN
THE ADVENTURES OF BULLWHIP GRIFFIN, a western comedy-rouser from Disney, gets it's long awaited DVD debut.Roddy McDowall, Suzanne Pleshette and Karl Malden (all veterans of Disney live action films) lead the impressive cast.

McDowall plays a meek butler from Boston, suddenly landed in the wild wild west, in the thick of the gold rush.Romance, adventure and comedy abound with Suzanne Pleshette an eyeful as saloon cutie Arabella Flagg.The cast also includes Harry Guardino, Richard Haydn, Hermione Baddeley, Cecil Kellaway and Joby Baker.

Disney has released THE ADVENTURES OF BULLWHIP GRIFFIN in pleasing 16:9 anamorphic.With the company in the bad habit of releasing most of their back-catalogue titles in fullscreen, this is rather a surprise.Sadly no extras, though having BULLWHIP GRIFFIN finally in digital format has been worth the wait.

REVIEW of DVD presentation only...
Why is Disney releasing all these classic movies in FULL FRAME aspect ratio?Its an insult to the people that made these films and just a plain hatchet job....
perhaps their master plan is to come out with some juiced up widescreen "theatre" versions with bonus features down the road and get all of us baby boomers to buy them again?Anyway... I was a ten year old laughing myself hysterical when this movie first came out and don't have the option NOT to buy it....I just wish Disney cared enough to treat their "movies"more like motion pictures and less like afternoon movie of the week.

Victorian Adventure, American Style
Of those countless live-action films that Disney made and seemed to have forgotten about, this is by far one of the best - and now they're finally releasing it on DVD.
Roddy MacDowell stars as Eric Griffin, a by-the-books, remarkably canny Butler for the Flagg family.When the patriarch dies and the Flagg orphans are revealed to be destitute, Griffin must follow them to the wild west where he proves that good manners and a clever, clear head can help one overcome any situation, from poverty to bandits to bare-knuckle boxing championships.The villian of the show, played over-the-top with delicious relish by the potatoe-nosed Karl Malden, is a treat, and a great counter for MacDowell's clean, handsome Griffin.
There are laughs, great action sequences, and numerous episodic adventures, but what really makes this movie shine is a strong sense of period.The feeling that this really is the mid nineteenth century, and not a '60s recreation, is palpable, and is a must for any fan of Westerns, victoriana, steampunk, or just the good old days when "for the whole family" didn't just mean "for kids."
For similar enjoyment, check out Disney's soon-to-be-released dvd of "In Search of the Castaways", based on Jules Verne's riveting adventure "Captain Grant's Children."

Very cute Disney film from the 60's
How can one resist the cast?Roddy McDowell, Suzanne Pleshette (YES, she sings! - and quite well), Karl Malden and a host of classic western stars.A very fun family film that has a fun story that takes many different directions -It will be nice on DVD, though only disappointment is that Disney NEVER does any extras at all on these old "claasics".

A butler with a THEME SONG!
A series of extremely funny accidents take a butler, a boy and an independent young woman off to California for the gold rush.
They keep getting rich, and then losing it.
The whole movie is full of wonderful quotes that make you want to repeat them at random moments:
"Oh.Well, now I shall be forced to trounce the scoundrel!"

It's just an unwilling hero story, but so well done that you will always remember it.And who could pass up a butler with a theme song? ... Read more

Reviews (40)

delightful Disney musical
Fred MacMurray, Tommy Steele, Lesley Ann Warren and John Davidson star in the classic Disney musical THE HAPPIEST MILLIONAIRE, a delightful story centering on the Biddle family of Philadelphia.

Cordy Biddle (Lesley Ann Warren) becomes engaged to Angie Duke (John Davidson). When this should be a happy occasion, Angie's snooty mother (Geraldine Page) still ensures that Angie hangs onto her apron strings. Cordy's mother (Greer Garson) tries to sort things out while Aunt Mary (Gladys Cooper) engages in some bitchy repartee with Mrs Duke!

The entire production is flawless, and while Leonard Maltin has criticised this film for being too long, I think the time flies by.

The Sherman brothers songs are strong throughout, and the supporting cast, including a very young Joyce Bulifant, are wonderful.

Highly recommended.

lavish disney production does not equal the sum of its parts
THE HAPPIEST MILLIONAIRE is the last live production that Walt Disney oversaw before his death. The movie is an attempt to emulaite the big blockbuster reserved seat movie musicals popular following the SOUND OF MUSIC's success during 1960s and also to duplicate MARY POPPINS success. The production is lavish in terms of settings and costumes; with a great cast led by Fred MacMurray and Greer Garson; The songs by the Sherman brothers are likeable and not as bad as critics would have you believe; there are some great dance sequences. Unfortunatly, the plot is such a simple trifle which goes on and on for 164 minutes(in the restored version)that the movie eventually becomes a bloated, overlong bore. Its too bad because all the right ingrediants are there except a good story and script. The new DVD finally restores the movie to its original roadshow lenght. MILLIONAIRE was cut by 20 minutes following its premiere engagements.In fact the print which opened at Radio City Music Hall in NYC was already cut. The colors are excellent, the stero sound is good and the source materials are generally in good shape (a few markings here and there are not worth complaing about). This movie is now more a curiousity of its era and the wanning days of Disney's regime. It is certainly worth a look and may appeal to non-discriminating fans of musical movies.

NOT THE HAPPIEST, BUT CERTAINLY THE MOST TYPICAL FROM DISNEY
Walt Disney's was a visionary film pioneer; he took the fledgling craft of animation and transformed it into an art form of the highest order, and, in the process, altered our collective perception of what childhood is all about. However, occasionally that vision was marred by Disney's own lack of foresight into changing audience tastes. By the end of the 1950s the Walt Disney Studios had incurred huge expenses on Disney's foray into live action films, the birth of his theme park - Disneyland - and the lack luster box office response to his most recent and most expensive animated feature - Sleeping Beauty. Though the old master was set to recoup his losses, the sumptuously mounted, though often dismal, The Happiest Millionaire (released the year after Disney's death) was the personal and financial failure that rounded out Disney's tenure as the mogul of one of Hollywood's great cinema dream factories.

Throughout the 1950s and 60s road show engagements for movies of distinction were quite common. Road shows were designed to elevate movies to the lofty ambitions of live theater. They usually began with a lush orchestrated prelude, included an intermission half way through, and exit music to escort audiences out of the theater after the final credit sequence. One often dressed up for this sort of premiere event, certainly paid extra to attend and was often provided with a printed program as a keep sake from the occasion. Disney had attempted the road show only once before, on Fantasia (1940) and the result had been an unqualified financial disaster. What a pity then, that The Happiest Millionaire - what should have been an eighty-minute tune-filled - if antiseptic and sexless - melodrama, is over inflated into a gargantuan three hours spectacle that, quite simply, fails to dazzle.

The plot is a fictionalized account of real life circumstances that concern an eccentric Philadelphia millionaire, Anthony J. Drexel Biddle (Fred MacMurray). He runs a combination Bible and physical fitness college of sorts, loves boxing and keeps alligators in a solarium adjacent his dining room. When immigrant John Lawless (Tommy Steele) becomes Biddle's new butler he does indeed find his new surroundings rather odd. Not that Lawless isn't odd himself - it's just that, unlike Biddle's quirkiness, which can be grating to the point of distraction, Lawless becomes a genuinely loveable reprobate of congenial good humor, thanks to Tommy Steele's remarkable performance. The plot is thread bare to the point of nonexistent. It concerns Biddle's only daughter, Cordelia (Lesley Ann Warren). She's a sort of tomboy desperate to be feminine and sent off to a lady's finishing school where she meets and becomes engaged to New Yorker Angie Duke (John Davidson). Mrs. Duke (Geraldine Page) is social snob but Angie doesn't share her values. He wants to forgo the family business and build automobiles in Detroit. True to Disney form, everything does indeed work out in the end with Angie and Cordelia driving off toward an unintentionally apocalyptic matte painting that depicts the Motor City as something of a cross between Blade Runner and Mary Poppins, a glowering jungle of towering chimneys blackening the skies with the aftershocks of modernity.

Plot construction is problematic; As Cordelia's mother, Greer Garson is given extremely little to do. One of Disney's good luck charms - Hemione Baddeley has even less of a say. Equally curious is the fact that after the film takes great pains to introduce the Biddle two sons Tony and Livingston (Paul Petersen and Eddie Hodges) - even giving them a song - it suddenly loses interest in their character development by sending them off to school where, as an audience, we forget that they ever existed.

Of course, the plot - such as it is - would be largely forgivable if Disney's resident song writers, the Sherman Brothers had come up with a score worthy of their best endeavors. Tommy Steele opens the show with a bang with, Fortuosity, but the rest of the score does not live up to expectations and, in spots, is painfully sweet and cuddly. Valentine Candy or Boxing Gloves is so coy one wishes for the elegant Tommy Steele to burst into the room and tap dance its treacle into silence. All in all, Steele is remarkably well served by the score, belting out I'll Always Be Irish and several other songs with such austerity and charm that he easily dismisses the awkward lyrics. His choreography by Mark Breaux and Dee Dee Wood showcase Steele's finer points, particularly in the barroom number that closes the second half of the show. Unfortunately, there are no memorable showstoppers that leave one with a sudden urge to run out and buy the soundtrack or even leave the theater humming.

THE TRANSFER: This re-released DVD of The Happiest Millionaire is about as dismal as the film itself. Everything's present: the Overture, Entr'acte and Exit music, but the transfer is not enhanced for widescreen televisions. Unlike the previously available DVD from Anchor Bay, colors seem somewhat more dated this time around and fine details breaks apart with a considerable amount of pixelization and edge enhancement, especially when viewed on a larger monitor. There are also several cases where mis-registration of the camera negative results in an excessively blurry print - something else absent on Anchor Bay's version. This DVD compresses the entire running time on one side of the disc, which I suspect is the biggest problem. There are no extras, not even the trailer.

BOTTOM LINE: Get the Anchor Bay version instead!

Best Musical Ever!!
This is my favorite movie of all time! I used to rent it over and over when I was in high school. I love the music, the story, the characters, everything. It is funny and wonderful! I loved the fact that Cordelia never could make it past a first date, because she always "knocked out" literally, all of her dates! The alligators and the butler from Ireland make for some hilarious scenes also. Don't wait, get the DVD. You'll love it!!

Fun and silly
I remember catching this on the Disney channel back in the 80s and LOVED it! It was fun and just down right silly. I loved the music and a woman I had NEVER seen before and fell in love with, Lesley Ann Warren. I soon began to always remember this film due to her. I also really enjoyed most of Fred MacMurray's films from this time period also. A time that films were fun and innocent, or at least MORE innocent then the films now. ... Read more

Reviews (12)

"Be careful what you ask for...."
Throughout the 1950s, a group of young British writers were referred to as "angry young men" because, in their novels and plays, they excoriated what they perceived to be the dominant materialistic values of their society following World War Two. They included playwrights John Osborne and Kingsley Amis and novelists John Braine, John Wain, and Alan Silitoe. This film is based on Braine's novel Room at the Top; Neil Patterson received an Academy Away for best adapted screenplay. Joe Lampton (Laurence Harvey) is the focal point. Driven by smoldering ambition to overcome his modest circumstances and deeply resentful of the wealthiest man in a North Country village (Brown, played by Donald Wolfit), he finally obtains a position in Brown's company and begins his difficult journey to "the top" while including marriage to Brown's daughter Susan (Heather Sears) among his ultimate objectives. Along the way, he meets an older but still attractive Frenchwoman, Alice Aisgill (Simone Signoret) with whom he has an affair. For Joe, it is a mere dalliance along his career path; she, however, falls in love with him. Beyond the passionate sex which she enjoys as much as he does, Alice also helps Joe to refine his social graces and increase his understanding and appreciation of the cultural arts. (Signoret received an Academy Award as best actress for her performance in this film.) Joe seems grateful for her contributions to his self-improvement but really has no long-term interest in her. He remains obsessed with reaching "the top" with wife Susan at his side, possessing great wealth, power, and prestige.

And then he learns from Susan that....

Alice is the most sympathetic character in the film, largely because Joe exploits her so callously. As for Brown, "what you see is what you get": a class-conscious, hard-driving, no-nonsense capitalist. Unlike Joe, no need for dissembling. Brown is at "the top" and (by God) he intends to remain there. Susan is of great importance to Joe (and to her father, of course) but is of little importance to the film's story line except as one of the ambitious goals which motivate Joe. He really cares little for her as a person, one way or the other. Were she in his own social class, Joe would probably have little to do with her...except, perhaps, for occasional sexual gratification (for himself). At least Alice offered more than sex...she offered unconditional love. Only at the end of the film does Joe begin to realize what he has gained by reaching "the top" and at what a cost. Both in the novel and in this film, Joe symbolizes just about everything which enraged Braine and other British writers.

Years later, in a brief excerpt from "The Paradox of Our Time," George Carlin observes that "We have multiplied our possessions, but reduced our values. We talk too much, love too seldom, and hate too often. We've learned how to make a living, but not a life; we've added years to life, not life to years." He could well be describing Joe Lampton and countless others who seem to know the cost of everything but the value of nothing, who (in Socrates' words) live unexamined lives, in Thoreau's words "lives of quiet desperation."

Those who share my admiration of this film are urged to check out A Place in the Sun (1951), Look Back in Anger (1958), Saturday Night and Sunday Morning (1961), and A Taste of Honey (also 1951).

MADAME SIGNORET IS BACK
English director Jack Clayton is well known for his 1961 adaptation of Henry James 's The Turn of the Screw, baptized THE INNOCENTS, with Deborah Kerr. Two years before, he had directed A ROOM AT THE TOP, a movie which received numerous international awards. Forty years later, this movie hits the DVD market hoping for a second career. Does it worth it ? Without doubt, YES !

Shot in black & white, partly in studio, partly in an industrial town of England, A ROOM AT THE TOP is a drama involving a middle-class employee played by Laurence Harvey trying to obtain " a place in the sun " by seducing the only daughter of the richest man around. Unfortunately, he also falls in love with Simone Signoret, the 40 years old wife of a member of the local bourgeoisie.

Apart of the study of the subtle mechanisms that ruled (rules ?) english social classes, A ROOM AT THE TOP gives us the opportunity to admire Simone Signoret, in her glory, an actress who, with the italian performer Anna Magnani and Bette Davis, is one of the best actresses ever.

Too bad that the DVD is not at the level of the movie.

A DVD for your library.

confessions of a teenager.
I was barely in my teens when I first saw this movie. Mylene Demongeot's comment about Ms. Signoret's Oscar triumph have been forgotten. That summer of 1959 is long gone; but I still cannot erase the image of Harvey and Signoret on the beach in raincoats [sans everything else]; her husky voice [Kathleen Turner inherited that charm]; and that unforgettable backward handwave as she walks away from Harvey. ONE of the all time ultimate movies about finding love in the wrong way, and very much about a woman and a man in love.

Harvey, social climbing his way to the top [perhaps reflecting his own, beautiful, flawed, tragic life] has never been better - went on to do "Life at the Top" later. Wolfit, now forgotten by the younger ones - and possibly the inspiration for Albert Finney's "Sir" in "The Dresser" - is a formidable presence.

Shot in velvet black and white this film pulsates with gritty sexuality.

Worthy of being viewed over and over - together, alone, sad or happy - it always returns like the wayward lover it is, and leaves you depleted, but sated.

Angry Young Men Indeed
Mr. Morris's review offers the requisite enlightenment per the Angry Young Men phenomenon. Alas, the fellow who actually wrote the screenplay for "Room at the Top," though young and somewhat angry, was in fact the Canadian novelist and essayist Mordecai Richler, which, I suppose, is why he does not merit membership in this august group of Brits.

Outstanding English drama
Powerful drama with impressive performances that will have you captivated. Admittedly the base of this story has been recycled so many times in cinema since but this film explores characters and situations in a realistic, true to British Free Cinema way. Won an Oscar for best script and Simone Signoret's great performance. Her continental air and sophistication create an antithesis with the mundane, English, small town setting. ... Read more

Amazon.com

Laurence Harvey is a brash hustler with a stream of snappy patter who takes bongo-playing crooner Cliff Richard out of the coffeehouse and into the big time in this sardonic spoof of the cynical star-making industry. Set amid the sleazy strip clubs and bustling nightlife of London's Soho district, Expresso Bongo is a fab bit of show-biz lampooning that loses its bite and its momentum when it leaves the lively streets for the claustrophobic offices and penthouse suites of the professional music industry sharks. It's still a marvelous time capsule of Britain's pre-rock pop-music scene, and the cast is terrific. Fast-talking Harvey is a dynamo as the small-time opportunist, with Sylvia Sims as his worldly stripper girlfriend growing weary of his schemes and Yolande Donlan as the savvy but aging American sex symbol plotting her comeback on the back of Harvey's naive new star. --Sean Axmaker ... Read more

Reviews (7)

Temple's template?
This look at the British rock'n'roll scene, circa 1959, HAD to have inspired Julien Temple's "Absolute Beginners", right from its opening nightime shots swooping through London's Soho coffee bar/club scene to its depiction of naive show biz beginners with stars in thier eyes and savvy talent agents' hands in thier wallets. The late great Laurence Harvey portrays the classic success-hungry hustler/"manager" stereotype with the kind of cheeky chutzpah that remained unmatched until Ray Sharkey's astounding performance in 1980's "The Idolmaker". The elfin Cliff Richard plays it straight as Harvey's "discovery", the hilariously named 'Bongo' Herbert. Great footage of the original "Shadows" group, including guitar whiz Hank Marvin (whom Jeff Beck and Jimmy Page have cited as a seminal influence). The smart, bitchy dialog is better written than most U.S. "youth" films of the era ("The Girl Can't Help It" and "Rock Rock Rock" may contain priceless performance footage, but tend to sport somewhat sophmoric scripts). DVD notes: The Kino release has the best picture I've ever seen of the film, but the oversaturated sound makes much of the dialog unintelligable and some of the "brassier" songs unlistenable. A real hoot for music geeks.

Sharp Showbiz Satire.
WOW ! Talk about mixed reviews ! I gather from some of the reviewers that certain parts of the original film--apparently Laurence Harvey had some songs--are missing in this version.
Sorry--I find it difficult to miss what I have never seen in the first place. As long as the Cliff Richard numbers are included, I suspect most people will be satisfied.

This is a highly entertaining film, and while Laurence's singing may be "missing in action", his acting as the ultimate hustling, unethical, desperate showbiz manager is terrific. Whether it's 1959, when the film was made, or 2003, one suspects that success in the world of pop music does dictate that "nice guys will finish last". Harvey's character is certainly not a "nice guy", but his brash, "silver-tongued" persona becomes, thanks to a great actor, sympathetic to the viewer. As his long-suffering girlfriend, Maisie the Stripper, Sylvia Syms matches Harvey's performance as the only type of woman who would stick with this manic guy for more than five minutes !

An incredibly young Cliff Richard is "Bongo" Herbert, Harvey's big "discovery". This was not Cliff's first film, but it was his first major role, and he was well-cast as a naive young singer who just performs "for kicks", until he learns the ways of a ruthless world. One more point for music fans--you will also see Cliff Richard's legendary backing group, the Shadows, in the coffee bar scene, before they became big stars in their own right.

The film captures the atmosphere of London's more sleazy areas, circa 1959, as well as the excitement created by a new force in music--rock n' roll. Of course, if there is one ingredient that lifts this movie over many others of the same type, it is the script--this one really crackles !

The picture is widescreen, black and white and the quality is good, rather than great--sound, of course, is mono.

Overall, a classic satire on the music business and the exploitation of artists. Recommended.

Expresso Bong.....Oh
An on target black and white satire of the 1950's pop music scene with only one problem. The music isn't all there. As I remember it , there was at least one other song in the original cinema release and it's omission removes some of the bite from the whole. Overall, a bit of a let-down considering that there wasn't much music to start with, although Cliff Richard does get a reasonable look-in. (Can you believe that he was really nineteen at the time ? He only looks about fourteen here.)Anyway, it is still worth having a look at but I imagine that those expecting to see the same film that they saw all those years ago are going to feel disappointed.

The Same Shoddy Piece of Goods
Forget about stars. Kino's DVD of "Expresso Bongo" is the same mangled version that appeared on VHS a couple of years ago. Three
songs performed by Laurence Harvey are missing. I e-mailed Kino about this abridgement at the time. Mr. Gonzalez is quite correct in calling Kino's cut a "Reader's Digest" version of the film.I was hoping Harvey's numbers would be restored for the DVD version but I see I will have to make do with my murky off-the-air video recording.

Bohemian Madness
Laurence Harvey as Johnny Jackson is appealing, cool and wild. This movie is just one great period piece of a time and place long gone. What a ride in 50s London! Spellbinding. ... Read more

Reviews (111)

A haunting ghost story
Somehow, across the years, the story of Ebenezer Scrooge and his three ghosts has been transformed from it's spooky roots to light-hearted family fare. Scrooge is not so much evil, as grumpy. The ghost's tend to amuse rather than frighten.

This black-and-white version of "A Christmas Carol" maintains the horror roots of the story. Jacob Marley is one of the most frightening ghosts to haunt the silver screen. He grows intolerant of the idea that Scrooge is not frightened, and howls his rage and frustration. The Ghost of Christmas Past is an impersonal specter, cold and distant. Present is jolly and yet quick to anger. Future is the grim shade that he is supposed to be.

The back story of Scrooge is told in greater detail here than in any other version. He resents Fred, not because of his Christmas cheer but because his birth caused the death of Scrooge's beloved sister. He not only remembers the good times at Fezzywig's, he remembers putting Fezzywig out of business later in life. Alastair Sim brings this character to fullness more than any other actor. The Christmas morning scene is a delight, and worth the wait.

As a bonus, the Fleischer "Rudolph the Rednose Reindeer" is included on this disk. This is clearly Santa Claus by the people who gave us the first animated Superman. The animation is fluid and dynamic. One of the best extras on any DVD.

Alastair Sim IS Scrooge!
I have loved Alastair Sim's version of "A Christmas Carol" for as long as I can remember; the film certainly belongs in every collection. Sim was essentially a comic actor, which is why his portrayal of Ebeneezer Scrooge is so believable. Sim's Scrooge is a basically good and trusting man who has allowed himself to be hardened by some unfortunate life experiences. But as he is visited on Christmas Eve night by the spirits of Christmas Past, Present, and Future, we see Scrooge's cold-hearted facade gradually stripped away until he wakes up on Christmas morning a giddy, light-hearted "child." This scene is the movie's emotional peak; it is cathartic to watch Sim as he dances joyfully around his bedroom. Afterwards, it is touching to watch him try to right his past wrongs by accepting his nephew Fred's invitation to Christmas dinner (while the lovely Scottish ballad "Barbara Allen" plays in the background), and by promising to help the poor family of his clerk, Bob Cratchit. Though Sim dominates the film, the other cast members are fine indeed, while the score, by Richard Addinsell, evokes the Dickensian mood superbly (particularly memorable are the dark, pounding chords heard during the opening credits). The sets and lighting, though rather low-budget for a 1951 movie, also contribute to the atmosphere of Victorian grittiness. For me Alastair Sim's is the definitive version of "A Christmas Carol," while Sim himself will always BE Ebeneezer Scrooge.

It's Got One Thing Going For It...
...And that's Alastair Sim's definitive performance as Ebenezer Scrooge. His transformation from pathetic wretch to hysterical exuberance is beyond words. I'm not sure any actor will be able to duplicate such a performance. Other actors (like George C. Scott and Michael Caine) have been able to successfully provide their own interpretations however.

That said, I cannot bring myself to rate the 1951 version of Scrooge: A Christmas Carol as high as other versions. Though it's one of the shortest renditions at less than 90 minutes, it seems like one of the longest. Part of the reason why is that it spends so much time visiting Ebenezer Scrooge's past. Not only does the film touch on aspects that the other films do (the break-up with his girlfriend, etc), but they also cover his sister's death while giving birth, his first meeting with Jacob Marley, his and Marley's takeover of the business (I don't care what anyone says, no child watching this "family" film will be interested in watching business transactions like the one depicted in this scene - neither will some adults), and they even show Marley on his deathbed. I haven't counted, but this film must devote at least 30 minutes to Scrooge's past, which doesn't leave much room to cover his present and future. This is a problem, because they spend more time on how Scrooge became a bitter old miser and less time on his emotional transformation toward good-heartedness...thank goodness they had Sim to pick up the slack.

As much as it pains me to say I also have a problem with how dated the film seems to be. This movie looks more like it's from the 30's or 40's instead of 1951. I don't know if it's due to budget constraints or if they just haven't taken good care of the original film. It just looks old and washed out...and I love films from the 50's many of my favorites are from that era.

There's one more thing. It's not a big deal, but have you noticed the young actor playing Tiny Tim? I mean, he has to be at least 15 years old! I might be wrong, but I don't think "Tiny" Tim was in his mid-teens! The sight of Bob Cratchet carrying around this adolescent on one of his shoulders is hilariously absurd.

For years, the 1951 production of A Christmas Carol has been considered by many to be the best interpretation of the Dickens' classic, thanks primarily to Alastair Sim's brilliant portrayal of Ebenezer Scrooge. To that, I say "Bah, humbug!" The best treatment of this tale not only needs a great performance from its lead actor, but from the entire cast. The film should also be told with just the right atmosphere and pacing. The 1951 version meets none of these criteria. When regarding the classic story of A Christmas Carol, we don't have to settle for a film that rides on the coattails of its lead actor's performance! For my money, the 1984 production of A Christmas Carol with George C. Scott has always been the best...and after viewing the 1999 Patrick Stewart film, it still is!

50+ Years a Fan!
I was 15 when this film was first shown, in 1951, and I have watched it as often as possible, ever since. Since the advent of home video machines, I have watched it every year, and not only at Christmastime. In my opinion, this production of A Christmas Carol is by far the best one ever done. The direction and casting were brilliant, the supporting cast was excellent, and Alastair Sim was/is the quintessential Scrooge. I doubt that anyone else could ever equal Sim's masterful portrayal, both subtle and powerful, poignent and moving. He truly brought Scrooge to life. Who could possibly forget the joyful awakening on Christmas morning? And, for that matter, who could forget actor Mervyn Johns' portrayal of Bob Cratchit, as he was greeted by Scrooge upon his late arrival at work the following morning? Perfect and priceless! A superb film!

Best of the Litter
This version emotionally takes you back to the time and spirit of Dickens. You will need to look out the window every once in a while to make sure you have not been time transported to 160 years ago. It is very close to the original manuscript which I read once per year just before Christmas as well as viewing this version of the video. ... Read more

Reviews (111)

A haunting ghost story
Somehow, across the years, the story of Ebenezer Scrooge and his three ghosts has been transformed from it's spooky roots to light-hearted family fare. Scrooge is not so much evil, as grumpy. The ghost's tend to amuse rather than frighten.

This black-and-white version of "A Christmas Carol" maintains the horror roots of the story. Jacob Marley is one of the most frightening ghosts to haunt the silver screen. He grows intolerant of the idea that Scrooge is not frightened, and howls his rage and frustration. The Ghost of Christmas Past is an impersonal specter, cold and distant. Present is jolly and yet quick to anger. Future is the grim shade that he is supposed to be.

The back story of Scrooge is told in greater detail here than in any other version. He resents Fred, not because of his Christmas cheer but because his birth caused the death of Scrooge's beloved sister. He not only remembers the good times at Fezzywig's, he remembers putting Fezzywig out of business later in life. Alastair Sim brings this character to fullness more than any other actor. The Christmas morning scene is a delight, and worth the wait.

As a bonus, the Fleischer "Rudolph the Rednose Reindeer" is included on this disk. This is clearly Santa Claus by the people who gave us the first animated Superman. The animation is fluid and dynamic. One of the best extras on any DVD.

Alastair Sim IS Scrooge!
I have loved Alastair Sim's version of "A Christmas Carol" for as long as I can remember; the film certainly belongs in every collection. Sim was essentially a comic actor, which is why his portrayal of Ebeneezer Scrooge is so believable. Sim's Scrooge is a basically good and trusting man who has allowed himself to be hardened by some unfortunate life experiences. But as he is visited on Christmas Eve night by the spirits of Christmas Past, Present, and Future, we see Scrooge's cold-hearted facade gradually stripped away until he wakes up on Christmas morning a giddy, light-hearted "child." This scene is the movie's emotional peak; it is cathartic to watch Sim as he dances joyfully around his bedroom. Afterwards, it is touching to watch him try to right his past wrongs by accepting his nephew Fred's invitation to Christmas dinner (while the lovely Scottish ballad "Barbara Allen" plays in the background), and by promising to help the poor family of his clerk, Bob Cratchit. Though Sim dominates the film, the other cast members are fine indeed, while the score, by Richard Addinsell, evokes the Dickensian mood superbly (particularly memorable are the dark, pounding chords heard during the opening credits). The sets and lighting, though rather low-budget for a 1951 movie, also contribute to the atmosphere of Victorian grittiness. For me Alastair Sim's is the definitive version of "A Christmas Carol," while Sim himself will always BE Ebeneezer Scrooge.

It's Got One Thing Going For It...
...And that's Alastair Sim's definitive performance as Ebenezer Scrooge. His transformation from pathetic wretch to hysterical exuberance is beyond words. I'm not sure any actor will be able to duplicate such a performance. Other actors (like George C. Scott and Michael Caine) have been able to successfully provide their own interpretations however.

That said, I cannot bring myself to rate the 1951 version of Scrooge: A Christmas Carol as high as other versions. Though it's one of the shortest renditions at less than 90 minutes, it seems like one of the longest. Part of the reason why is that it spends so much time visiting Ebenezer Scrooge's past. Not only does the film touch on aspects that the other films do (the break-up with his girlfriend, etc), but they also cover his sister's death while giving birth, his first meeting with Jacob Marley, his and Marley's takeover of the business (I don't care what anyone says, no child watching this "family" film will be interested in watching business transactions like the one depicted in this scene - neither will some adults), and they even show Marley on his deathbed. I haven't counted, but this film must devote at least 30 minutes to Scrooge's past, which doesn't leave much room to cover his present and future. This is a problem, because they spend more time on how Scrooge became a bitter old miser and less time on his emotional transformation toward good-heartedness...thank goodness they had Sim to pick up the slack.

As much as it pains me to say I also have a problem with how dated the film seems to be. This movie looks more like it's from the 30's or 40's instead of 1951. I don't know if it's due to budget constraints or if they just haven't taken good care of the original film. It just looks old and washed out...and I love films from the 50's many of my favorites are from that era.

There's one more thing. It's not a big deal, but have you noticed the young actor playing Tiny Tim? I mean, he has to be at least 15 years old! I might be wrong, but I don't think "Tiny" Tim was in his mid-teens! The sight of Bob Cratchet carrying around this adolescent on one of his shoulders is hilariously absurd.

For years, the 1951 production of A Christmas Carol has been considered by many to be the best interpretation of the Dickens' classic, thanks primarily to Alastair Sim's brilliant portrayal of Ebenezer Scrooge. To that, I say "Bah, humbug!" The best treatment of this tale not only needs a great performance from its lead actor, but from the entire cast. The film should also be told with just the right atmosphere and pacing. The 1951 version meets none of these criteria. When regarding the classic story of A Christmas Carol, we don't have to settle for a film that rides on the coattails of its lead actor's performance! For my money, the 1984 production of A Christmas Carol with George C. Scott has always been the best...and after viewing the 1999 Patrick Stewart film, it still is!

50+ Years a Fan!
I was 15 when this film was first shown, in 1951, and I have watched it as often as possible, ever since. Since the advent of home video machines, I have watched it every year, and not only at Christmastime. In my opinion, this production of A Christmas Carol is by far the best one ever done. The direction and casting were brilliant, the supporting cast was excellent, and Alastair Sim was/is the quintessential Scrooge. I doubt that anyone else could ever equal Sim's masterful portrayal, both subtle and powerful, poignent and moving. He truly brought Scrooge to life. Who could possibly forget the joyful awakening on Christmas morning? And, for that matter, who could forget actor Mervyn Johns' portrayal of Bob Cratchit, as he was greeted by Scrooge upon his late arrival at work the following morning? Perfect and priceless! A superb film!

Best of the Litter
This version emotionally takes you back to the time and spirit of Dickens. You will need to look out the window every once in a while to make sure you have not been time transported to 160 years ago. It is very close to the original manuscript which I read once per year just before Christmas as well as viewing this version of the video. ... Read more

Amazon.com

There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim-Chim Cheree") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career--and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. --Jim Emerson ... Read more

Reviews (160)

Mary Poppins on DVD
This is probably one of Walt Disney's best films, if not the best. It is the most excellent realized combination of live action and animation. It contains eternal charm, wit, and magic as it introduces us to the "practically perfect" nanny who brings profound change to the Banks family of London in the early twentieth century. Every song composed by Richard and Robert Sherman is pure magic. The believable visual effects, the heartfelt scripting, and the solid performances by Julie Andrews and the heart rendering Dick Van Dyke are truly eternal. Every element of production came together at their zenith to create a treasure of cinematic endearment. The DVD is excellent. The supplemental material is very good and nostalgic. One of the best films ever made. The superb cast also includes: David Tomlinson, Glynis Johns, Elsa Lanchester, Arthur Treacher, Ed Wynn, Hermione Baddeley, Reginald Owen and Jane Darwell as The Bird Woman. Director, Robert Stevenson is at his best.

Do Movies get much better than this???
This is my favorite musical of all time. It's wonderfully done, and the story is excellent. Julie Andrews did a great job in her first ever cinematic role, she plays a magical nanny that comes to a rich man's house in order to bring the family back together. What I love about her performance is that she looks very confident and so straight forward and firm, not as playful as you may think. The film also has Dick Van Dyke in the role of Bert, who is a very good friend of Mary Poppins and also handles magic very well. That role was funny and very entertaining(the accent is a bit confusing though), and i loved all of his dance numbers, especially Step In Time, the dance on the roof-top. Another excellent performance was David Tomlinson, who did the role of George Banks, the father of the children. He is very firm and strict, but he can also be very clumsy and forgetful, which is another reason I liked him. His song The Life I Lead was also great. This film was prized with five well-deserved Academy Awards, for the excellent Film Editing, the Visual Effects, like the jump into the pavement picture, the tea party on the ceiling and the smoke ladder, the excellent score, the song Chim Chim Cheree, which may have not been the best song, but one of them had to win, and last but not least, the excellent (oscar-winning) performance by Julie Andrews. I cannot find any more words for this film, so I'll leave you with one word. Supercalifragilisticexpialidocious

"Perfect Nanny"
Mary Poppins is my favorite movie. I love the charictors, the singing, the dancing. It is fun for the whole family. When I was alittle girl I watched it over and over again. I love to dance with the chimeny sweeps; I can't do everything they do, but still. This is the best master piece Walt Disney ever created besides Micky and friends. I love it and I am a teen.

It is about a fun nanny who has magic. That is probobly why I like her. There is never a dull moment when Mary Poppins is around: fox hunting, laughing in the air, riding a merry-go-round without the going arout. One of the best parts of all, supercalafagilisticexpialadocious.

My Kids Love it!
I have a preschooler and a kindergartener. They both watch it together. They get up and dance to "Step in Time" and "A Spoon Full of Sugar". We purchased the music CD, and listening in the car, makes the time go faster.

This Movie is Defintately a "Jolly Holiday"
I had not seen this movie for a very long time until last week I borrowed a copy from my cousin and it was very good.It was so much better than I remembered.My favorite part of this movie is the scene where Mary,Bert,and the children go into the painting and they see the pinguin waiters who do a very funny dance with bert,and they sing my favorite song in the movie called "Jolly Holiday".This is a very good movie.I recomend this movie to anyone. ... Read more

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Reportedly the last feature to be personally shepherded by Walt Disney himself, The Happiest Millionaire is a stubbornly old-fashioned musical intended to build on the success of Mary Poppins, relying on songs and score from Richard M. and Robert B. Sherman, the studio's resident songwriting team responsible for the hits of Poppins. Despite that pedigree, and a cast headlined by Fred MacMurray, Greer Garson, Tommy Steele, Geraldine Page, and, in their screen debuts, Lesley Anne Warren and John Davidson, the would-be successor wound up a white elephant.

Released in 1967, a watershed year for youth culture and social upheaval, The Happiest Millionaire romanticizes Philadelphia's upper crust circa 1916. Its title character, Anthony J. Drexel Biddle (MacMurray), is a militant industrialist urging America's mobilization against Germany, and noteworthy for an eccentric lifestyle that includes his own bible study classes, martial arts training, and (in a lone nod toward any remotely modern social values) a readiness to empower his lovely, headstrong daughter, Cordelia (Warren).

Under Norman Tokar's busy but routine direction, the project does muster moments of charm, and packs its story line with enough twists to partly explain its excessive 144-minute length. But the unintended irony of paeans to capitalism and conservative politics in an era of Sgt. Pepper isn't masked by the Shermans' music, which is eminently forgettable, despite the game mugging of Tommy Steele as an immigrant Irish butler. Equally game is MacMurray, but as a singer, he's no Rex Harrison. --SamSutherland ... Read more

Reviews (40)

delightful Disney musical
Fred MacMurray, Tommy Steele, Lesley Ann Warren and John Davidson star in the classic Disney musical THE HAPPIEST MILLIONAIRE, a delightful story centering on the Biddle family of Philadelphia.

Cordy Biddle (Lesley Ann Warren) becomes engaged to Angie Duke (John Davidson). When this should be a happy occasion, Angie's snooty mother (Geraldine Page) still ensures that Angie hangs onto her apron strings. Cordy's mother (Greer Garson) tries to sort things out while Aunt Mary (Gladys Cooper) engages in some bitchy repartee with Mrs Duke!

The entire production is flawless, and while Leonard Maltin has criticised this film for being too long, I think the time flies by.

The Sherman brothers songs are strong throughout, and the supporting cast, including a very young Joyce Bulifant, are wonderful.

Highly recommended.

lavish disney production does not equal the sum of its parts
THE HAPPIEST MILLIONAIRE is the last live production that Walt Disney oversaw before his death. The movie is an attempt to emulaite the big blockbuster reserved seat movie musicals popular following the SOUND OF MUSIC's success during 1960s and also to duplicate MARY POPPINS success. The production is lavish in terms of settings and costumes; with a great cast led by Fred MacMurray and Greer Garson; The songs by the Sherman brothers are likeable and not as bad as critics would have you believe; there are some great dance sequences. Unfortunatly, the plot is such a simple trifle which goes on and on for 164 minutes(in the restored version)that the movie eventually becomes a bloated, overlong bore. Its too bad because all the right ingrediants are there except a good story and script. The new DVD finally restores the movie to its original roadshow lenght. MILLIONAIRE was cut by 20 minutes following its premiere engagements.In fact the print which opened at Radio City Music Hall in NYC was already cut. The colors are excellent, the stero sound is good and the source materials are generally in good shape (a few markings here and there are not worth complaing about). This movie is now more a curiousity of its era and the wanning days of Disney's regime. It is certainly worth a look and may appeal to non-discriminating fans of musical movies.

NOT THE HAPPIEST, BUT CERTAINLY THE MOST TYPICAL FROM DISNEY
Walt Disney's was a visionary film pioneer; he took the fledgling craft of animation and transformed it into an art form of the highest order, and, in the process, altered our collective perception of what childhood is all about. However, occasionally that vision was marred by Disney's own lack of foresight into changing audience tastes. By the end of the 1950s the Walt Disney Studios had incurred huge expenses on Disney's foray into live action films, the birth of his theme park - Disneyland - and the lack luster box office response to his most recent and most expensive animated feature - Sleeping Beauty. Though the old master was set to recoup his losses, the sumptuously mounted, though often dismal, The Happiest Millionaire (released the year after Disney's death) was the personal and financial failure that rounded out Disney's tenure as the mogul of one of Hollywood's great cinema dream factories.

Throughout the 1950s and 60s road show engagements for movies of distinction were quite common. Road shows were designed to elevate movies to the lofty ambitions of live theater. They usually began with a lush orchestrated prelude, included an intermission half way through, and exit music to escort audiences out of the theater after the final credit sequence. One often dressed up for this sort of premiere event, certainly paid extra to attend and was often provided with a printed program as a keep sake from the occasion. Disney had attempted the road show only once before, on Fantasia (1940) and the result had been an unqualified financial disaster. What a pity then, that The Happiest Millionaire - what should have been an eighty-minute tune-filled - if antiseptic and sexless - melodrama, is over inflated into a gargantuan three hours spectacle that, quite simply, fails to dazzle.

The plot is a fictionalized account of real life circumstances that concern an eccentric Philadelphia millionaire, Anthony J. Drexel Biddle (Fred MacMurray). He runs a combination Bible and physical fitness college of sorts, loves boxing and keeps alligators in a solarium adjacent his dining room. When immigrant John Lawless (Tommy Steele) becomes Biddle's new butler he does indeed find his new surroundings rather odd. Not that Lawless isn't odd himself - it's just that, unlike Biddle's quirkiness, which can be grating to the point of distraction, Lawless becomes a genuinely loveable reprobate of congenial good humor, thanks to Tommy Steele's remarkable performance. The plot is thread bare to the point of no