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World War II transformed the Disney Studio. Although nearly one-third of the artists had been drafted, production quintupled, up to 95% of it for military and government uses. Some of the films included in On the Front Lines have not been seen since their initial release; others were never shown to the general public. Anticipating the importance of animated training films, Disney produced the studio's first educational film, "Four Methods of Flush Riveting" (1941), using limited animation to train riveters at Lockheed. Decades later, "Four Methods" and the excerpts from military training films remain models of how to present information clearly and concisely.

Many of the wartime entertainment shorts are largely propaganda. Donald's nightmare of working on a Nazi assembly line in "Der Fuehrer's Face" is still hilarious slapstick. The grimmer "Education for Death" and "Chicken Little" have aged less gracefully. Disney's oddest wartime project was Victory Through Air Power (1943), a live action/animation feature based on Major Alex de Seversky's controversial book that called for the adoption of long-range bombers. By the time it was finished, air power was a reality.

Front Lines also includes several health films made for the Office of Inter-American Affairs, and bond-buying shorts for Canada that reuse animation from Snow White and "Three Little Pigs." This collection of genuine rarities is a must-have for anyone interested in the history of animation, the Disney Studio, or America during WWII. (Rated G, suitable for ages 10 and older: violence, ethnic stereotypes, tobacco use) --Charles Solomon ... Read more

Reviews (30)

Excellent and Entertaining as well as Educational
This collection has been the most aniticpated set for hardcore Disney fans and cartoon historians alike. Collecting all of Disney's war time cartoons into one set was just a great idea and a real gem to own. I watched the entire collection in one day with friends of mine and I showed it to some students I teach at school who were just dumbfounded that people did this with cartoons during the second world war.
An excellent set with many bonus features including Leonard maltin who comes on to explain the background of many of these animated shorts.
I recommend this to everyone, not as a baby sitter for young children, but as an entertaining and educational look at America's history in animation and WW2.

DIFFICULT BUT CREATIVE ERA FOR DISNEY
The years that the probable contents were released, as well as some info on the various works.

FILMS

1943
VICTORY THROUGH AIR POWER - This film was basically propaganda with some entertainment and some powerful animation. Mainly championed Major Seversky's 1942 book of the same title with the theory that long-range air power could defeat the WWII enemies. The scene of an American eagle attacking the Japanese octopus is very powerful, moving animation.

ENTERTAINMENT/PROPAGANDA SHORTS

1942
DONALD GETS DRAFTED-always enjoyed the idea of Donald reporting to the draft board in his sailor suit.
THE ARMY MASCOT-Pluto schemes to take over the job of a mascot goat, with hilarious results.
THE VANISHING PRIVATE-Donald goes crazy with invisible paint, leading to war with his sergeant Pete, with a perfect, funny ending.
SKY TROOPER-Donald wants to be a pilot, and his sergeant Pete gives him more than Donald bargained for.

1943
DER FUEHRER'S FACE-the famous and infamous cartoon in which Donald dreams he is in Naziland where he is forced to work in a munitions plant.
EDUCATION FOR DEATH-very strong propaganda about Germany's totalitarian state which turns an innocent young boy into a robotic soldier.
PRIVATE PLUTO-Pluto has a war with the chipmunks in guarding the area.
FALL OUT - FALL IN-Donald experiences some of the trials of Army life, such as super-long hikes.
REASON AND EMOTION-entertainment and propaganda used in a story about reason and emotion working together for the war effort, enjoyable animation.
VICTORY VEHICLES-Goofy shows off alternate transportation due to the wartime rubber and gasoline shortage, settling on the pogo stick.
THE OLD ARMY GAME-Sergeant Pete catches Donald sneaking back into base after a late night on the town, leads to a merry chase.
HOME DEFENSE-Donald's nephews conflict with Donald after he sleeps during his duty of watching for enemy attack.
CHICKEN LITTLE-The classic "the sky is falling" story, originally planned to have more wartime references.

1944
HOW TO BE A SAILOR-Goofy's story of the history of sailors, ending with him using himself as a torpedo to sink Japanese ships.
COMMANDO DUCK-Donald is sent on a suicide mission to wipe out an entire Japanese air base, with hilarious results.

EDUCATIONAL SHORTS

* = Created for Canada to sell their war bonds.

** = CIAA films (Coordinator of Inter-American Affairs) created to combat the German Nazy influence that was widespread in Latin American in the early 1940s.

1941
THE THRIFTY PIG * - animation from Three Little Pigs cartoon adapted, with the Big Bad Wolf wearing a Nazi hat and armband.
THE SEVEN WISE DWARFS * - animation from Snow White adapted to show dwarfs buying war bonds.

1942
DONALD'S DECISION * - uses animation from 1938 Donald Duck cartoons "Donald's Better Self" and "Self Control" to convince Donald to buy war bonds.
ALL TOGETHER * - uses animation from several sources, including The Band Concert (1935) and Mickey's Amateurs (1937) to show several Disney characters in a parade to sell war bonds.
THE NEW SPIRIT - Donald is encouraged to pay his income tax to help the war effort.
FOOD WILL WIN THE WAR - Stresses the importance of farmers to the war effort. Includes the Three Little Pigs leading a long line of pigs.
OUT OF THE FRYING PAN INTO THE FIRING LINE - Minnie & Pluto star in an effort to show how important it was for housewives to save kitchen fats and greases for the war effort.

1943
THE GRAIN THAT BUILT A HEMISPHERE ** - Tells the history of corn and its importance to the world.
THE SPIRIT OF '43 - Donald Duck resists Nazi propaganda and pays his taxes to support the war effort.
WHE WINGED SCOURGE ** - The Seven Dwarfs point out ways to defeat the malaria-carrying mosquito.
DEFENSE AGAINST INVASION ** - Shows the human body's ability to fight off germs through vaccination.

1945
CLEANLINESS BRINGS HEALTH ** - The difference between the Clean Family that is happy and healthy and the Careless Family that is unhappy and unhealthy.
WHAT IS DISEASE ** - Shows what causes disease and how to protect against disease.

1946
PLANNING FOR GOOD EATING ** - Careless Charlie is used to teach a family about good dietary habits.

TRAINING FILMS

1942
FOUR METHODS OF FLUSH RIVETING - basic animation for education purposes
STOP THAT TANK (BOYS ANTI-TANK RIFLE) - a great deal of live action but fun, enjoyable animation of Hitler being blown to Hell by the rifle

1942-1945?
TRAINING FILM MONTAGE - A selection of scenes from various training films, I assume.

There are a few war-related entertainment shorts not listed here - one or more might be added to this collection instead of what is listed above.

1943
DONALD'S TIRE TROUBLE - most likely short. Donald has continual trouble with flat tires due to the wartime shortage of rubber.
PLUTO AND THE ARMADILLO - small connection to the wartime. Short releated to the Latin Armerica trip and the Saludos Amigos and The Three Caballeros films developed from that trip.

1944
THE PELICAN AND THE SNIPE - same info as for Pluto and the Armadillo.

1945
DOG WATCH - Pluto is a watchdog for a Navy ship.

The war years were a demanding time for the Disney Company. Most of their meager resources were devoted to the war effort. But this era contained a great deal of creative effort that might not have existed if not for the war.

I have seen most of these war works, and I consider them fascinating and among the best of all of Disney's work. I much look forward to owning them on DVD.

GREAT CINEMATIC LESSONS IN PROPAGANDA
This is trully a grat collection of war-time propaganda from WWII made by the Disney Studios. Some of these movies feature our favorite characters Donald Duck, Goofy and Pluto. Others feature specific characters created on purpose.

The main thing about this collection is Mr. Disney's master hand behind each film. Quality animation (and expensive animation from the studio that elevated animation to an art on its own).

They alert, inspire, teach and (last but not least) entertain. Some of these little gems are a bit violent and you should see them before deciding if they are suitable for your children. But anyway, these are great films and should be seen by anyone who want to see some of the best propaganda films aver made.

It is all great if you check Nazi propaganda films at the same time... they are very different. In these here films Mr. Disney never lost his touch and the style that made his studio famous.

In this double DVD you will find lots of things... one feature-length film (VICTORY THROUGH AIR POWER - a trully memorable film that explains the importance or air power to american forces and also the strategical and logistic problems WWII represented to America). This is certainly a landmark film.

The DVDs also contain an enormous list of cartoons (in the short form) that cover a large variety of subjects and moods.

This is one of the best titles in the collection and an important piece of History. Should be treasured. The quality of the DVDs is outstanding... as everything that is made with care.

I just don't understand why the tin cans are not numbered anymore (like the previous titles in this collection).

Finally!
Of all the film studios that produced "propaganda" cartoons during WWII, none have been better kept hidden than those made by the Walt Disney studio. Sure a couple of them slipped through the cracks into the public domain, but as a whole they remained sealed in the Disney Vaults until now.

While not every single cartoon made during the War (Disney produced numerous "how to" films made only for those in the actual armed forces, clips of some are shown on these DVDs), it does include all the theatrically released features. Stars like Donald Duck, Goofy, Pluto, Pete, Minnie and Huey, Dewey and Louie star in these wartime cartoons. Mickey Mouse only appeared in one short, using borrowed animation from "The Band Concert."

There is also the full length animated WWII feature "Victory Through Air Power," which is considered to be amongst the rarest of all the Disney features. This DVD set is well worth the buy.

History Buffs and Disney Fanatics Will Love It
During World War II, Walt Disney almost bankrupted his company producing stuff for the war effort. Now, we get a chance to see this part of animation history at home on DVD with this two disc set.

Disc 1 features 29 shorts. They range from entertainment with a patriotic edge, like "Donald Gets Drafted" or "Private Pluto," to shorts purely to help with the war like "The New Spirit" and "Out of the Frying Pan and into the Firing Line." There are even shorts used to fight disease in South America like "Cleanliness Brings Health" and "The Winged Scourge." I was surprised to learn from this disc about the films Disney was making for Canada even before the US entered the war.

Of course, the highlight of this disc is "Der Fuehrer's Face" which finds Donald trapped in Nazi Germany.

Disc two's main attraction is "Victory Through Air Power." This feature length movie was produced to bring the arguments of a book by the same name to more people. It makes a compelling argument that the Allies needed to build up their air forces to win the war, arguments about modern warfare that still apply today.

Disc two also features a few of the educational shorts Disney produced during that time. Frankly, after viewing the two that are included in their entirety, I'm glad that most of them are just highlighted. I don't find watching a film on how to fire a gun or how to flush rivet that entertaining. There are lots of production galleries and even galleries of some project this Disney fan had never heard of before. Finally, we have interviews with Disney veterans Joe Grant, John Hench, and Roy Disney.

This is a set that Disney buffs will want because it fills in some time in the studio's history. It also has interest for historians of all stripes as it presents a picture of life on the home front during World War II. Since the entertainment value of much of the disc is low, I took away one star. I probably won't go back to this set in the near future, but I was fascinated by much of what I saw here and am thrilled that the studio released this material so fans can view it today. ... Read more

Description

Dr. Constance Petersen (Ingrid Bergman) is a psychiatrist with a firm understanding of human nature-or so she thinks. When the mysterious Dr. Anthony Edwardes (Gregory Peck) becomes the new chief of staff at her institution, the bookish and detached Constance plummets into a whirlwind of tangled identities and feverish psychoanalysis, where the greatest risk is to fall in love. A transcendent love story replete with taut excitement and startling imagery, Spellbound is classic Hitchcock, featuring stunning performances, an Academy Award(r)-winning score by Miklos Rozsa, and a captivating dream sequence by Surrealist icon Salvador Dali. ... Read more

Reviews (66)

Psychoanalysis
Dr. Constance Petersen (Ingrid Bergman) is a psychiatrist, who thinks she has a firm understanding of human nature, that is until she meets Dr. Anthony Edwardes (Gregory Peck). He has just become the chief of staff, at the institution, where they both work. As one might expect, the 2 fall in love. but all is not as it seems...For each is hiding a secret.

Direected by Alfred Hitchcock, SPELLBOUND, like the "Master's" later film, MARNIE, this movie concentrates more on the human drama aspects of the story. The film is not a thriller per se` The end result gets bogged down by too much psychobable at times. That said though, I still admire the film, thanks to (the lovely and radiant) Bergman and Peck. Even though some of the dialogue is now dated, the pair gives solid peformances. The movie also boasts an Oscar winning score by composer Miklos Rozsa and memorable dream sequence, created by icon Salvador Dali

The Criterion Collection DVD contains some fine extras. Hitchcock scholar Marian Keane provides another good commentary, as she has in the past, with other Hitchcock Criterion DVDs. There's an illustrated essay on Dali's dream sequence. One of the best supplements on the disc is the '73 radio interview with composer Rozsa, really rare stuff. Speaking of radio, the disc also boasts, the complete 1948 LUX radio adaptation. Additional essays on the director, an exhaustive photo and publicity gallery, and the theatrical trailer, top off the extras on the disc. The look of the film has never been better...

SPELLBOUND may not be among my favorites from Hitchcock, but I still think it's worth your time, as a film, and the rare extras can't be beat. Recommended with *** and a half stars

Spellbound is Unforgetable....DVD is Superb
This review refers to the Anchor Bay release of the "Spellbound" DVD....

Anchor Bay has done it again. This 1945 classic directed by Alfred Hitchcock, was beautifully transfered onto this DVD. The black and white images are sharp, crisp, and clear. Barely a sign of this film's age. The sound remastered in Dolby Dig 2.0 is great. If you're a fan of this film, you'll be thrilled at how good it looks.

Haven't seen it yet, but love Hitch, or maybe it's been a while since you have?....Here's a little of this riveting story.....
The beautiful Ingrid Bergman plays the distant psychiatrist Dr. Constance Petersen. She treats a number of troubled patients at the Green Manors Mental Asylum, but her toughest case is yet to come. With Dr. Murchison(Leo G Carroll) being forced into retirement a new chief of staff will be arriving. It is the esteemed Dr Edwards(Gregory Peck)who takes over. It is not long before Edwards and Constance find themselves attracted to one another, and it is not long before Constance figures out that Edwards is not really who he says he is. He displays signs of paranoia and amnesia and it is possible that he murdered the real Dr. Edwards.They are on the run to try to solve the case but as the original theatrical poster says,"Will he Kiss me or Kill me?"(The DVD comes with a mini version of this poster).

You'll be awed Hitch's definitive style of camera angles, shadow and lights, romance and a unique dream sequence designed by Salavdor Dali. Not to mention all the wonderful talent that graces this film. Bergman and Peck make screen magic together, Carroll is a legend and this film shows us why.Also starring is Rhonda Flemming,Michael Chekhov, and Wallace Ford. The music by Miklos Rozsa also adds greatly to the building tension, and romantic scenes in the story.

Looking for Hitch: About :40 minutes in, you may see him if you're quick!

It never ceases to amaze me that we are lucky enough to be able to see these great classics as they were first seen and with the added treat of the origianl theatrical Overture.(I will be adding this one to my listmania of "Old Movies That Look Great on DVD") Now, if you are looking for special features, this DVD does not have any, there is another version by Criterion that offers more in the way of extras,although quite a bit more expensive.(Criterion also does great transfers)Which ever you choose, this a a must have for fans of Hitch, Bergman or Peck.

So don't worry about trying to over anaylze this one....As Hitch himself said "It's just a movie." But a GREAT one! So enjoy!......

Ingrid Bergman In The First Of Her Classic Hitchcock Roles
The words "Directed by Alfred Hitchcock", in the opening credits always alerts me to the fact that I am possibly about to see something special up on the screen no matter what the genre. This legendary director put his stamp on a large number of classic films such as "Rebecca", "Notorious",and "Rear Window". With "Spellbound", Hitchcock made cinematic history by beginning his successful collaboration with favourite leading lady Ingrid Bergman that also produced the classic "Notorious", co starring Cary Grant. Ingrid Bergman here has a most challenging vehicle as a dedicated psychiatrist who through psychoanalysis attempts to uncover the dark secret life of an amnesia victim that possibly involves murder. Bergman here shows what total emersion into a character can do for the conviction of a story and the results are most satisfying in what was to become one of her many fondly remembered roles by fans and critics alike.

The action begins at Green Manors Psychiatric Sanitarium where there is a change occuring in the head personnel with the "retirement", of facility head Dr Murchison (Leo G. Carroll), after a bout of illness. His replacement a Dr. Anthony Edwardes is due to arrive shortly and in the meantime we are introduced to young psychiatrist Dr. Constance Peterson, (Ingrid Bergman), an all business enthusiast of psychoanalysis totally dedicated to her job. When Dr. Edwardes arrives however all is not well and not only does he appear to be far too young for such an important role but he has a number of "spells", where his own mental health is called into question. Constance finds herself experiencing an immediate attraction to this strange young man who before long she realises is not actually Dr. Edwardes but an amnesia sufferer who harbours a severe guilt complex about something unexplained that occured in his past. When complications start to arise and "JB", as he now calls himself is accused of the murder of the real Dr. Edwardes he quickly leaves the sanitarium and hides out in a New York Hotel. Convinced of his innocence Constance follows him to New York and together they try via psychoanalysis to get to the root of JB's problems and find out actually who he is. Pursued now by the police who also are also searching out Constance as an accessory, JB and Constance then travel to see her old University mentor Dr. Alex Brulov (Michael Chekhov). Alex discovers the truth about JB's real condition and feels that he might have been capable of murder all along. Constance is firm in her belief of his innocence however and after travelling to a ski resort JB starts to recall his past and what happened to cause him to loose his memory. It seems his severe guilt complex was over the accidental death of his young brother for which he has always blamed himself. It is revealed that Dr. Edwardes actually died on the ski slope which caused JB to assume the blame for his death. With a clearer picture now JB and Constance work to trace the real murderer. The police however apprehend JB leaving it up to Constance to prove his innocence. The clues lead Constance back to the Green Manors where Dr. Murchison has resumed his former position. A slip of his tongue where he states to Constance that he thought the real Dr. Edwardes was a horrid man when earlier he stated he had never met him alerts Constance to who the real murderer is and in a fateful confrontation the real truth and its tragic consequences all come out. The bright aspect of this conclusion of the situation is that "JB", learns his real name, "John Ballantine", and is freed of any suspicion in Dr. Edwardes' death. He and Constance also can then plan a future together now that he is cured of his earlier amnesia.

Despite the dated medical practices that make up the core of the action in "Spellbound", the uniformily fine acting performances by the cast make this film a memorable viewing experience. Ingrid Bergman was in the middle of her extraordinary run of critical and box office success as possibly the freshest performer in Hollywood at this time and she had her choice of a dazzling array of leading men eager to work with her. Gregory Peck only teamed with her the once and despite his relative inexperience with film at this time, despite being nominated for an Oscar for "Keys of the Kingdom", he already shows the mettle that would make him one of Hollywood's most enduring leading men. A favourite character actor of mine, Leo G. Carroll long associated with pedantic, fussy men in his film roles had one of his best roles here as Dr. Murchison who features prominently in the unexpected thrilling finale to "Spellbound". He teams particulary well with Ingrid Bergman and their nail biting climatic scene at the film's conclusion has become a classic. Hitchcock used a number of quite innovative practices to make "Spellbound", a creative and for the times quite thought provoking work of cinema. Boasting an Oscar winning musical score by Miklos Rozsa, the film is also justly famous for the elaborate dream sequence designed by the legendary Salvador Dali. Originally much longer and surreal than as it appears on screen now, it was cut in length due to Studio pressure so as to not "alienate", the average audience. Its rich expressionist symbolism however creates a marvellous illustration in showing Gregory Peck's characters search for the truth about his past. Also the famous colour gun shot at the gripping conclusion in an otherwise black and white production helps create another not expected element in the story.

Viewed today "Spellbound", might not be considered the best work in Alfred Hitchcock's acclaimed body of work however it provides interesting asides into the then fashionable world of psychanalysis and its benefits to those suffering guilt complexes and associated memory losses. Despite its dated elements that are very obvious with the passage of time and advances in medical practices "Spellbound", I feel justly takes its place as one of David O. Selznick's more thoughtful productions from this time and is still best remembered as one of the jewels in the crown of Ingrid Bergman's career in the early 1940's. Enjoy

Timeless Classic
What's remarkable about "Spellbound"--aside from wonderful performances by stars Ingrid Bergman and Gregory Peck--is that despite its foundation in psychology for plot, it never devolves into the dark, pretentious psychobabble of contemporary films. Instead, the framework of a brilliant man (Peck) suffering from amnesia that results from a murder he may have committed is just that--a framework for what is essentially a mystery-love story. And it works because of Alfred Hitchcock's dream-like direction and the chemistry of its eminently watchable stars. Less film noir and more expressionism, the film delights in a terrific atmosphere of the strange, including a brief but interesting animated sequence by Salvador Dali. Nonetheless, the main characters are always warm and sympathetic. Add Miklos Rosza's elegant score (which will remind some viewers of his work 30 years later on "The Private Life of Sherlock Holmes") and the result is an often overlooked masterpiece from an era of great films.

Extremely sacrilegious review...
First things first: I am not a Hitchcock fan, fanatic, or devotee. The only film I like by him, after seeing quite a few, is Frenzy, a lesser known work from the early 70s.

Why is that?

Let's take Spellbound, the film here reviewed. Hitchcock is famous for romantic suspense; there are quite a few examples of his work in this category, and Spellbound is one of the most flagrant. I say "flagrant" because he delights in working with actors who can provide emotional overheat, supposedly signifying passion. When Ingrid Bergman as psychoanalyst Constance Peterson is worried about her lover, John Brown (nee Ballantine), played by Gregory Peck, she rants and cries and throws herself around. When Gregory Peck remembers something about his past, his face becomes completely zomboid and he subsequently spouts emotionally overheated dialogue, making absolutely sure the viewer knows he is upset about what he's experiencing.

Hitchock may have believed in "MacGuffins", but he did nothing to hide this bombast from the audience. Anyone seeking subtlety and real depth--i.e., intelligence--in the portrayal of human behavior won't find it watching a Hitchock film.

Additionally, he's not only not above using stereotypes, he often loves them, because they convey what he really wants to convey--his fulfillment of what he believe the audience EXPECTS to see and hear. Thus, in Spellbound, for example, he has a wise old psychoanalyst, Bergman's mentor, who proffers sagely advice. This is a character the audience can relax with, and the principal reason for that is that they, the audience, EXPECT this character to deliver certain lines and that's excatly what he does.

Hitchock was an arch conservative who may have been innovative in cinematic technique from time to time, but storywise, took no chances. Spellbound, like most of his films, today seems dated, even coy, because the actors are enacting what really amounts to an emotional tableau--a series of set pieces designed to elicit intensity of feeling by providing them, the actors, with dialogue and related behavior attempting to force the audience to experience simple responses. This simple-minded approach to film making is, in fact, an insult to intelligence.

While much has been made of the Dali-inspired dream sequence, it counts for little here, because it is used for show only. Once presented, its analysis is piecemeal, which is all very well and good, but its detail is discarded. That is, the care and precision that went into creating the sequence itself is essentially thrown out in favor of, yet again, a simple-minded subsequent "analysis" that disregards any real discussion of its bizarre-ness and instead focuses on its basics. One might argue that this is necessary to prevent audience loss of interest, but the converse of this arguement is, as I would maintain, an approach to filmmaking that refuses to really investigate human behavior but only scratch the surface.

This being the case, it appears that Hitchcock is really afraid that he will not appeal to the common man if he makes a film that provides the viewer an opportunity to think with his heart, or feel with his head. Instead what we have, in Spellbound as in most of his films, is a work that revels in overkill to insure that the "message" is not lost.

While Spellbound's message, like that of many films, is that love conquers all, the manner of its presentation is much too simplistic and overwrought to make this an interesting film today. ... Read more

Amazon.com

Embittered by his experience working with 20th Century Fox on The St. Valentine's Day Massacre (1967), and weary of the Poe films for American International Pictures, Roger Corman was in dire need of inspiration for his next production. He found it in Life magazine, which featured a photo of the funeral of Mother Miles, head of the Sacramento, California, Hell's Angels. From this picture came both The Wild Angels and the biker-movie genre itself. Peter Fonda, who replaced George Chakiris, stars as brooding Angels chieftain Heavenly Blues. When his pal Loser (Bruce Dern) is shot by police, Blues attempts to bury him in a small town, but the locals resist, and a brawl ensues. Audiences and critics were alternately appalled and thrilled by the extensive drug use and violence, but beneath Angels' leathery hide beats the heart of a Western, especially in its ruminations on personal freedom. Charles Griffith's script (cowritten by Peter Bogdanovich, who also cameos in the film) helped make Angels the sole U.S. entry for the 1966 Venice Film Festival, which irked the State Department enough to try and revoke the honor. Corman's direction, freed from AIP's period pieces, is lean and exuberantly active, aided by Monte Hellman's editing. The film helped give Fonda the counterculture clout to later make Easy Rider, and boosted the careers of Dern and then-wife Diane Ladd; Nancy Sinatra, however, renounced the picture, fearful of its effect on her image. Mike Curb's score features Davie Allan and the Arrows' fuzz-tone-soaked hit "Blues' Theme." --Paul Gaita ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Description

They're one kiss away from MURDER! Millionaire industrialist Walter Williams is marked for murder by his sexy young wife and her seedy lover. When the insidious plot ends in a fiery disaster, Williams is thought dead. In reality, he finds himself without a clue as to who he is or what happened. But as his memory starts to return, his shattered life becomes a runaway roller coaster ride of suspense and excitement! Beautifully photographed on location in San Francisco, this hard-boiled drama snaps with smart dialogue, a hell-frosted broad and more twists than a rusty corkscrew. "Impact" is truly a forgotten film noir masterpiece. ... Read more