Description

Texan rancher Bick Benedict visits a Maryland farm to buy a prize horse. Whilst there he meets and falls in love with the owner's daughter Leslie, they are married immediately and return to his ranch. The story of their family and its rivalry with cowboy and (later oil tycoon) Jett Rink unfolds across two generations. ... Read more

Reviews (62)

The quintessential Texas epic loaded with stars!
This 202-minute slow-paced drama exemplifies the lives of three generations of cattlemen on a grandiose west Texas cattle ranch at the onset of the oil boom. Being a native Texan with relatives living close to the area near Marfa, Tx where GIANT was filmed, I LOVE this movie for the sheer drama and myth of our state. (and yes, there ARE some exaggerations) But it's also a well-crafted movie with exemplary performances by Rock Hudson, Elizabeth Taylor, James Dean, and a very young Dennis Hopper! Viewers seeking a fast-action adrenaline-pumping film probably will be bored by GIANT, but viewers who enjoy classical performances, historical sagas, (and old movies) will cherish this movie. It's sort of like a western "GWTW"! They don't make 'em like this anymore!

A gigantic screen presence
What about this movie isn't big? Big stars (Elizabeth Taylor and Rock Hudson); big state (Texas); big ranch (2 million acres of prime cattle land), and big length; at 202 minutes, this film runs about 45 minutes too long. The story is the familiar one about grandiosity run amok; the moral, which has been done to death, is that the simple life is the one best worth living. We've seen it all before. So why see this movie? In two words: James Dean. In his last film before his tragic death on the Freeway at the age of 24, Dean showed that he was what his legion of fans always claimed: a true genius. Try to imagine anyone else in the role of Jett Rink , and the character remains a cipher - lifeless, dull, nothing. It took Dean to bring it to life and make it his own. In this movie, James Dean and Jett Rink become indistinguishable from each other. And perhaps only an actor as brilliant as Dean could turn Rink from a character we love in the first half of the film, to a character we hate at the end. His drunken tirade near the movie's end is a tour de force. Dean's magnificent performance doesn't take away from the very creditable acting by Rock Hudson as the millionaire rancher Bick Benedict, Elizabeth Taylor as his wife Leslie, the young Sal Mineo, and especially Mercedes McCambridge as Bick's bitter, sexually frustrated sister with an unrequited passion for Jett Rink; but next to Dean's knockout performance, they pale into mere adequacy. Forget everything else; this is Dean's movie.

This is Texas?
I recently decided to view this film. Let's see - a reference to Neiman-Marcus - some wide open spaces, some cattle and oil wells. O.K. - but this film does not really tell about Texas and Texans. Thankfully, Chill Wills (from Seagoville, TX) was in it. He was the most Texan thing about this film. I wish I had something more positive to say - but I don't.

Giant Is Not A Widescreen Film
The product information here should be carefully read, as it reveals that this edition of Giant has been transferred in a 1:1.66 letterbox transfer. This is a travesty. Giant was filmed and released in the classic 1:1.33 "Academy" aspect ratio, which also happens to be the aspect ratio for NTSC analog television. George Stevens disliked widescreen processes, although he was forced to use them by studios on later films.
The time has come to put a stop to these unnecessary, phoney "restored" versions of classics. It's just a marketing ploy to squeeze more money out of old warhorses. Going back to the good old days of the laserdisc, I never much cared about the extras that were first introduced by Criterion and later imitated by the major studios. I've always responded to a high quality video transfer taken from the best film elements available. Getting the aspect ratio wrong and mutilating the images of Steven's classic film makes everything else irrelevant.
Thank goodness I still have my laserdiscs. Failing that, grab a copy on VHS.

FANTASTIC!
The DVD is superb -- I do not know what all the complaints about sound, etc. are all about! My goodness, this film is almost 50 years old -- and I think it is in wonderful shape!

I purchased this video because I have become a big James Dean film, but the acting of Elizabeth Taylor, Rock Hudson, Carol Baker, and Dennis Hopper were splendid.

To think that Hudson was a mere 29, Taylor 23, and Dean 23 and could play characters who age 30 years with such reality is a true testament to their genius! Of course, the makeup artists must also receive recognition.

The most disturbing portion of the film to me is when Hudson confronts "Sarge" the restaurant owner in a fist fight and when "Sarge" lands into the juke box, "The Yellow Rose of Texas" begins to play. However, this epic film is full of irony and subtle twists and nuances -- to really grasp the entire message this film needs to be viewed more than one time.

The irony of the Mexican children singing The National Anthem during the funeral of Angel (played by a very young Sal Mineo) touched me. Little Angel was a person who died for the United States and yet was the focus of bigotry from his impoverished birth until his death.

Or course, in my opinion, there was and never will be another James Dean -- it is heartbreaking to watch this dramatic genius in the final film performance before his untimely demise. Like Buddy Holly, I will always wonder where Dean's career would have gone.

Carol Baker is fantastic in her first film role and the very young Dennis Hopper's performance is equally memorable.

This film speaks to the injustices of racial bigotry that unfortunately will always exist except in a utopian world.

The additions to this DVD make it a must-buy!

Please don't hesitate to purchase -- this DVD is worth every penny -- and then some!

Oh, the editorial review refers to Elizabeth Taylor as a Southern Belle and this is incorrect. Leslie Benedict is from Maryland and even makes the comment to Hudson and his crownies that she was from the "Center of Politics" when Hudson tries to push her aside so the men can talk "Business and Politics". ... Read more

Reviews (55)

Not made for the small screen
Like IMAX films released on dvd...what's the point? This was made for the biggest movie screens ever conceived.

I was lucky to see this film a few years ago in genuine 3-strip CINERAMA on an archival print from the original release. On the big screen it's an amazing experience. The uneven story fades away when one is viewing the spectacular cinematography. CINERAMA captured vast scenes in incredible richness and detail. It's an experience like no other.

On the small screen at home you mainly notice the technical flaws, the borders between the three separate images, and also the dated 1960's Hollywood "Old West" story. (Carroll Baker's makeup is never smudged, even when tilling the soil.) The first two segments are the best dramatically.

One aspect that is still great at home is the magnificent score by Alfred Newman. So save your money, buy the soundtrack, and head to Seattle, LA, or England or where ever you can find an exhibition of the real CINERAMA.

America's own "Triumph of the Will" -- Leni would be proud!
In a remarkable coincidence, the same day I saw "How the West was Won" at the Seattle Cinerama (03/01/03), the History Channel aired a program on the history of the wheel. One of the talking-head experts opined that the wheel's invention marked a fundamental change in human thought -- not only was there a technological solution to every problem, but nature could be bent to human will, forced to reveal her secrets and serve us.

This is the theme of "How the West was Won." It starts with the title, and extends to nearly everything in the film. The narration tells us that the land had to be wrested from nature and from the "primitive people" who inhabited (and by implication, infested) it. The chorus is continually singing about how "we're headed for the promised land" and those who are willing to work hard will be richly rewarded (except the Chinese railroad laborers, of course). We were justified in overrunning the continent because we are actually "doing something" with it -- as opposed to the Indians, who merely lived there in harmony with nature. Not having invented the wheel, they saw no further possibilities.

James Webb's script acknowledge the culture clash between the Americans and the native peoples, recognizing that the latter will have to eventually change or be destroyed. But this is peripheral to the celebration of the industry, hard work, and sacrifice of the Americans, who "tamed" the wilderness. The film ends with a nausea-inducing flyover of the California freeways (I sat next to a guy who'd taken Dramamine in anticipation of such scenes), followed by a flight under the Golden Gate bridge, firmly and unambiguously driving the point home.

"How the West was Won" is social propaganda, plain and simple. It's the kind of film that could change Osama Bin Laden's mind about destroying the US. (Maybe the State Department could arrange a screening...)

As a movie, there's no denying "How the West was Won" is wildly entertaining. Simply as cinematic spectacle, it works magnificently. There are films (such as "2001" and "Lawrence of Arabia") that even the finest video transfer cannot do justice to, and this is one of them. Sitting in the first few rows, you're so close to the screen that you can't take in all of it at once. When the camera tracks into a scene, the sense of physical motion is uncanny. (Can you say "stimulation of peripheral vision"? Sure you can.) And if you haven't seen a buffalo stampede, or a train crash, or a row of cannons firing in sequence on a (roughly) 30' by 90' screen -- well, you haven't lived, cinematically-wise.

Story-wise, there's so much material to cover the script cannot begin to do it justice, even in a film lasting 2½ hours. Characters are more types than individuals, and almost every performer is cast to type. (Eli Wallach, in particular, gets to do his "crazy Mexican outlaw" shtick, though without an accent.) It's only the efficiency and focus of the script that keeps the actors from looking altogether foolish. Other than (perhaps) Karl Malden, no one gives what would be considered a "real" performance.

The plot (which follows the Prescott family and its descendents over 50 years) is concocted to make Debbie Reynolds' character the sort of farm girl who wants to run off to the big city to become rich, so we're treated to several (mercifully brief) song-and-dance numbers. Her sister is played by Carol Baker, who falls head over heels in love with Jimmy Stewart's "aw-shucks" mountain man, and later "tames" him (as the film's conceit requires). The rest of the film rehashes just about every cliché of westerns and Civil War movies -- though entertainingly. The final sequence posits the "conquest" of the West as occurring when "the law" (in the form of George Peppard's marshall) arrives, to establish justice. But Peppard -- who says he wants to bring the bad'un to justice in court -- shoots him to death, anyway.

My five-star rating acknowledges this is a classic film -- not necessarily a great one.

I can't pass up the opportunity to trash Pauline Kael, who was not so much a hard-nosed-but-movie-loving critic as she was an empty-headed, loudmouthed [female canine]. Note how she uses the artistic limitations of a single sentence to craft a thoughtful, insightful commentary that will help the reader better understand this film...

"'How the West Was Lost' would be a more appropriate title for this dud epic, since, as conceived by the writer, James R. Webb, the pioneers seem to be dimwitted bunglers who can't do anything right."

Hello? Were we watching the same movie? "How the West was Won" might be politically incorrect, dramatically shallow, and little more than agit-prop -- but it's no dud. The Seattle audience -- which included many people sporting "No Iraq War" buttons -- just ate it up. "How the West was Won" is Hollywood middlebrow-populist entertainment at its best.

One final question... Where did they find a stunt man who looked like Agnes Moorhead?

Wake me when it's over
I kind of figured television was responsible for this... movie. HOW THE WEST WAS WON dvd comes with a featurette on the making of the movie, in which we learn that the movie studios developed the Cinerama process (three cameras shot the movie which was projected onto three specially designed screens. Think IMAX) to present an alternative "viewing experience" to compete with television.
Watching this on television, even in a letterbox edition, is excruciating. There are visible bars where the three screens meet. Often the color in one screen doesn't jibe with that of the adjoining screen.
Those defects could be corrected by digital manipulation, I suppose, but what's the point? The Cinerama screen was meant to wrap around the audience and a television screen is flat. What can't be corrected is the lack of close-ups and a surplus of dead space.
Almost all the action takes place in the center panel, and the closest we get to the action is in a medium shot. Most of the time there's nothing happening on the edge panels. Two-thirds of the screen is dead. The only time Cinerama seemed to shine was when chaotic action was swiftly coming at the audience, which is why we are so often treated to onrushing trains and galloping horses and stampeding buffalo shot from a camera in the ground. I think it would have taken a visual genius the likes of a Busby Berkeley to exploit Cinerama's potential without having to open the paddock.
The featurette also tells us HTWWW had a cast of 12,000. I guess maybe a dozen of them weren't miscast, but that's just a guess. The movie opens with Jimmy Stewart, out of character as mountain man Linus Rawlings, canoeing along a river while Spencer Tracy narrates over the action: '(The land) known only to the lonely trappers wandering its vastness in search of beaver...' One and a half scenes later Linus skids his bark next to the Prescott campsite and gives Carroll Baker a pelt to stroke....
Okay. I was bored. What can I say? At least I was paying attention. When Debbie Reynolds delivers a rousing rendition of 'Raise a Ruckus' for the despondent members of the wagon train I wasn't paying much attention at all. By the time Eli Wallach was glaring daggers at George Peppard's kids I was wondering whether or not one should fill in that little hole in the middle of a dvd when you make it into a coaster.

Middling story and atrocious transfer
I like westerns. My favorite entries in the genre are spaghetti westerns, those cheap, ultra low budget Italian takes on the American West. I always try to fit some of these movies into my viewing schedule, and when the day came where I considered it time to watch Sergio Leone's epic "Once Upon a Time in the West," I headed out to rent it. Imagine my surprise when I got home and saw that I inadvertently checked out "How the West Was Won" instead. I scratched my head, not familiar at all with the title. After all, I like westerns but I don't know a lot about the genre or the films I have yet to see. When I saw the cast list for this 1962 movie, I decided not to take it back without watching and seeing if I liked it. I think I would be remiss to have skipped this one on initial impression alone; the cast list reads like a "who's who" of mid twentieth century Hollywood. You've got Carroll Baker, Lee J. Cobb, Agnes Moorehead, Jimmy Stewart, Henry Fonda, George Peppard, Debbie Reynolds, Eli Wallach, John Wayne, Richard Widmark, Walter Brennan, Karl Malden, Carolyn Jones, Harry Morgan, Raymond Massey, and Robert Preston filling the roles. Spencer Tracy voices the narration. Howard Hawks and John Ford directed specific segments of the film. What a list of talent! Couldn't go wrong with a movie like this one, right? Wrong.

As amazing as it seems, "How the West Was Won" is not a very good experience. The movie runs for an eternity as it attempts to describe the different experiences in settling the American West. At the beginning of the film, the Prescott clan heads out to the West in search of farmland and a new beginning. Zebulon Prescott (Karl Malden), his wife Rebecca (Agnes Moorehead), and two daughters Eve (Carroll Baker) and Lilith (Debbie Reynolds) travel down the recently completed Erie Canal and travel out into what Illinois or Missouri. Along the way, they encounter a traveling fur trapper named Linus Rawlings (Jimmy Stewart), who stays with the family for a day or so, just long enough to fall in love with one of the daughters. After Zeb and Rebecca perish in an unfortunate rafting accident, Rawlings reemerges to take care of Eve and eventually establish a farm at the sight of the accident. These two will have children-one named Zebulon Rawlings (George Peppard)-who will eventually fight in the Civil War. Zeb Rawlings then leaves the family property to his brother as he moves further west fighting Indians for the railroads and working as a law officer. He ends up thwarting a nasty train robbery in Arizona some fifty years after his grandparents expired on that raft.

The other daughter, Lilith, ends up in St. Louis working as a dancer and actress when she learns that she inherited a gold mine in California. As she prepares to head west, a slick card shark named Cleve Van Valen (Gregory Peck) convinces Lily to take him along. There's a minor competition for Lily's affections between Van Valen and Roger Morgan (Robert Preston), another guy on the wagon train. The gold mine doesn't pan out in the end, so Lilith and Cleve end up falling in love and marrying, eventually going on to build and lose several huge family fortunes. Of course, Lily's travels to the coast are fraught with perils, such as an Indian attack on the wagon train and a song and dance number at a campsite. I kept hoping the filmmakers would insert a Donner Party type situation that would require Gregory Peck to consume either Robert Preston or Debbie Reynolds, but no such luck. In any event, the movie seems to focus more on the Rawlings clan than it does on Lily's experiences.

Sadly, many of the great actors in the movie rarely appear. Raymond Massey plays Abraham Lincoln, John Wayne and Harry Morgan are General William Tecumseh Sherman and General Ulysses S. Grant respectively, and Lee J. Cobb is a Marshal in Arizona. Even Eli Wallach as an outlaw is a ghostly shadow of the villain he played in Leone's "The Good, The Bad, and The Ugly." The huge cast list highlights the central problem of the film, namely that the filmmakers tried to do too much. Very few of the characters we see receive proper development. The focus here is on shock and awe photography and scenery, not the individuals taking part in the events. "How the West Was Won" was the first film shot in Cinerama, and, I think, a prime example of how Hollywood abuses a new technology. We see the same thing going on today with the CGI effects in those top-heavy special effects bonanzas. Everyone wants to use a new cinematic technique, so much so that they rely solely on the effect and lose sight of the human element. A bit less spectacle and a lot more interaction between the cast would have helped this movie succeed.

I hate to say it, but the DVD version of this film could use a lot of work. You can literally see the two lines dividing the picture into three segments in the transfer. Not only is this enormously annoying, it's completely unacceptable. I can't believe the studio techs couldn't release a seamlessly restored version of this film. The disc does contain a short documentary detailing the Cinerama process along with a few bits about the stunts in the film, but the shoddy picture quality of the movie will dampen your enthusiasm for any extras. I imagine some people would like the actual movie better than I did though no one should settle for the poor transfer. I suggest waiting for a special edition disc.

Needs a better format, anamorphic
I saw the film in LA, at the original Cinerama, in the original
showing. This film is not going to be right until shown in
HDTV (HD-DVD), but for Pete's sake, why letterbox ?

What a trashy way to treat this classic. Stick a crowbar in your
wallet and spring for an anamorphic release. When the HD-DVD with
proper restoration shows up, I'll buy a copy of that, not rent. ... Read more

Reviews (162)

Gordon Gekko gets his comeuppance--big time!!!
Less than a full year before A PERFECT MURDER (1998) was released, Michael Douglas starred in THE GAME (1997), which is not simply a Michael Douglas movie, it's a David Fincher film-and you know what that means! From a screenplay by John D. Brancato & Michael Ferris, THE GAME is classic Fincher: dark, mysterious and with a constant sense of brooding danger in which lets you know that somehow, somewhere, something is not quite kosher.

In THE GAME, Douglas is Nicholas Van Orton; a man of great wealth and power and totally devoid of any human compassion (as evidenced by the cold and callous way in which he fires a longtime employee). If this sounds like Gordon Gekko to you, it's because Michael Douglas, at this stage in his career, plays cold callousness like no one else. Call it typecasting; I call it brilliant acting ability and being smart enough to stick with what works. However, Gordon Gekko in the legendary Oliver Stone-directed WALL STREET (1987) didn't have a younger brother; Nicholas Van Orton does. On Nick's 48th birthday (the same age at which his father died, hint hint), his black-sheep-of-the-family brother Conrad, as brilliantly played by Sean Penn, visits him in his sprawling, cherry-wood office and hands his older sibling his birthday present: a business card with the name Consumer Recreation Services (CRS) on it. "What is this," Nicholas cynically asks. The sly answer given by Penn is one of my favorite lines in the film, and one that tells us that his elder bro's life will never be the same, once he begins to play THE GAME.

Along the way, Nicholas Van Orton encounters CRS and its primary spokesman (or so he thinks) Jim Feingold (played with disarming confidence by character actor James Rebhorn), a mouthy cocktail waitress (Deborah Kara Unger) who seems to hold the secret to THE GAME, and a spooky-looking full-size inanimate clown who appears to watch everything he does. Also along the way are near-brushes with death that culminate with Conrad Van Orton's tearful admission that he "didn't know what the $#@! he had gotten them into" when he had signed his brother up for THE GAME. But that's still just the beginning...

Everyone is superbly cast in this film, including BABY DOLL (1956) herself, Carroll Baker, and the always-watchable Armin Mueller-Stahl. But the real star here is David Fincher; he is so adept at guiding us down a labyrinthic path of which only he knows the end, that all we can do is hang on and enjoy the rollercoaster ride on which he breathlessly takes us. He primarily relies on small, subtle signs of foreboding to generate suspense, as opposed to full-blown violence and gore. Although this is one of those films that relies on first-time viewers' lack of knowledge of what to expect, and thusly loses something on repeated viewings, it is still a very good film to re-visit on occasion, if only to experience Fincher's unique style (this film and A PERFECT MURDER are miles apart in this respect, believe me), Douglas and Penn's acting and the production values, which are first-rate.

See and experience THE GAME for yourself.

HIGHLY RECOMMENDED

CULT MOVIES 57
57. THE GAME (thriller, 1997) On the day of his birthday millionaire businessman Nicholas (Michael Douglas) is visited by his brother Conrad (Sean Penn) with a gift. The gift involves Nicholas signing up for a mysterious company which offers a 'game', which in turn offers the participants a series of surprises that "provides whatever is lacking" in their lives. Though a rather pessimistic and somber individual Nicholas accepts in the hopes of escaping the memory of a solitary childhood and witnessing his father's suicide. When the surprises the 'game' issues become seriously deadly Nicholas wants out. But this particular game offers no escape.

Critique: Nerve-wracking, high wire act of a movie directed with guile precision by David Fincher ('Seven', 'Alien 3'). So far all of David Fincher's films have been good which is rare for someone who has been dubbed as a purely commercial director. The sort of tagline that is a deathnail for anyone seeking true legitimacy in Hollywood. Michael Douglas is good in the role of another heartless tycoon type character in the mold of Gordon Gekko from 'Wall Street'. Douglas gives the character just a slight insidious turn and taking him into Twilight Zone territory. It's also good seeing Sean Penn in a first rate mainstream movie for a change. Film is made in such a way that every detail has to be dissected in order to make a logical progression of events. Which otherwise would seem chaotic and purely coincidental. Towards the climax it all makes perfect sense and provides a most welcome escape ending. When the credits roll and you know it is truly over it is strangely satisfying and disappointing.

QUOTES: Conrad: "What do you get for the man who has everything?"

The initiation of a millionaire
Nicholas Van Orton (Douglas) thinks that he has everything - this is true only is we consider material possessions (a vast house, millions of dollars, an enviable reputation, etc.). What he is lacking is the access to the sacred and to his true Self. CRS is there to help, courtesy of his brother Conrad (Penn). But Van Orton will have to get rid of all that he previously stood for and accept to lose himself in the unknown. While some viewers have objected to the film's outrageous events and progression, this is precisely what draws me to it: its willingness to dispense with 'believable' developments makes Van Orton's quest all the more powerful. The movie could have been subtitled 'The initiation of a millionaire', because Van Orton undergoes numerous archetypal trials: he is stuck in a car underwater (in the belly of the monster); he is buried alive; his descensus ad infernos is such that he (literally) has to make a death-defying jump in a garbage dump; he has to find his way through mazes and use secret keys; most scenes take place in darkness. By the time he becomes a new man late in the movie, he has already died three or four times! Perceptive viewers will discover far more than a strandard thriller here, if they allow themselves to dig under the surface... a remarkable film.

Birthday that you'll never forget
Can you imagen a movie with no victims and yet it's one of the best thrillers ever made?! When I heard that director is David Fincher who is responsible for hits such as Seven or Fight Club and that Michael Douglas has leading role, that was more than enough for me to buy it. And I didn't regret it: This film is one wild ride through every aspect of your mind. Just in the moment you think - It's all clear now, next one will leave you with your mouths open. Every scene is one big surprice for you and for main character Nicholas, who is cold rich businessman, who cutted all bonds between him and his family and friends just for power and more money. But his brother's present for his birthday will change everything. One moment, he's on the top of the world, next one he is down in rags, fearing for his life; confused and with no confidence in anyone. That is the price when you are in The Game. Michael prooved that he worths dozen Oscars and Sean Penn is also very good. If you like fast, confusing and surpricing thrillers, this is a movie for you. Note: Ending is unforgetable!!!

Where's The Director's Cut????
This was a great movie with an excellent story to go with it. It's too bad the dvd shares the same fate of others with weak features and no behind the scenes or commentary. This is one dvd that deserves an overhaul like the one that panic room received. ... Read more

Reviews (59)

A big Western with a stupendous music score.
I loved this movie as a kid when I saw it in the theatre back in 1958 or 1959 and I still love it. The movie score by Jerome Morass is absolutely magnificent. Gregory Peck plays a pacifist Easterner who's trying to avoid getting caught up in the land dispute his fiance's (Carol Baker) family is having with a local clan. His shallow fiance and her father (Charles Bickford) interpret his unwillingness to fight as a sign of weakness. Charlton Heston and the beautiful Jean Simmons are fine in their roles. Burl Ives won an Oscar for his portrayal of Rufus Hennesey, the leader of a very large extended family. Last, but not least, Chuck Connors (of the Rifleman TV series) turns in his finest film performance. A big movie with big stars made by a big-time director (William Wyler who won best director Oscars for Ben-Hur and The Best Years of Our Lives). A fine film with a good message about the futility of fighting in order to resolve conflicts.

Good performances in a beautiful Hollywood Western
THE BIG COUNTRY is a very good Hollywood Western, with all the strengths and weaknesses that implies: a first-rate cast and fine production values, but a less-than-imaginative script written by a studio committee. The story is a variation on the tried-and-true "Eastern Dude Tames Wild West" theme. Co-produced by director William Wyler and star Gregory Peck, it strives a bit self-consciously for epic grandeur, and lacks the comparatively gritty realism of John Ford's thematically related THE MAN WHO SHOT LIBERTY VALANCE.

As the transplanted Easterner, Peck's understated performance is a pleasure to watch. Jean Simmons is fine as the schoolmarm, and the two Chucks (Conners and Heston) are equally good in their roles. A supporting actor Oscar went to Burl Ives, but the standout performance belongs to Carroll Baker as Peck's spoiled fiance. Franz Planer's cinematography is quite good, too, but like the script, performances, and pacing, it's just a little bit too self-conscious. The picture feels more like OKLAHOMA! than like THE SEARCHERS--altogether too theatrical to sustain the suspension of disbelief.

Yet this is a very entertaining movie--at least for those who value character, conflict, and beautiful imagery over car chases, explosions, and other special effects. And fans of Westerns in particular should appreciate the many virtues of this near-Classic. Four solid stars.

Atticus Finch goes West
This is a sprawling, glorious saga that will be appreciated by people who don't even like the Western genre. With fabulous cinematography, an excellent script, and two of my favorite actors, it's a film I never tire of watching.
Gregory Peck is the sea captain with principles who goes west to meet his future bride, only to find feuds and fighting, and some lawless varmints who need his "non violent" ways of resolving territorial issues. He is terrific as James McKay, who is sort of an Atticus Finch in boots, and looks mighty fine as well.
Charlton Heston has the smaller part as Leech, a foreman who is seething with jealousy and obeys the orders of his unscrupulous boss (rancher Terrill, played with subtle menace by Charles Bickford) as he yearns for his daughter. Heston is brilliant as this rather complex character, and would a year later star in director William Wyler's next epic, "Ben Hur", which is perhaps my all-time most viewed and enjoyed film.

Both female leads are wonderful, and are portrayed with enormous strength; Jean Simmons, with her luminous eyes is the schoolteacher, and Carroll Baker is the tough daughter of rancher Bickford, and is too much like her daddy to make a suitable bride for Peck.
Among the many strong performances in the supporting parts are Burl Ives, and received a Best Supporting Actor Oscar for his gnarly old Rufus, Chuck Connors is his bad to the bone son, and Alfonso Bedoya, is a delight as Ramon, who along with a horse named "Old Thunder", provides some of the humor in the film.
The score by Jerome Moross is lovely (and received an Oscar nomination) and the cinematography by Franz Planner spectacular. The film was shot in the Yuba and San Joaquin Counties in California, as well as canyon country in Chinly, Arizona, and it is breathtakingly beautiful.

If you like a good screen fight like I do, this has a great one, "mano a mano" between Peck and Heston; it initially has no music, just the pounding of the fists and the men gasping for breath, and is very effective.
Romance, drama, and lots of action make this a film that appeals to many, and is suitable for the whole family. Total running time is 165 minutes.

A good Western movie

Director: William Wyler
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: May 2, 2000

Cast:

Gregory Peck ... James McKay
Jean Simmons ... Julie Maragon
Carroll Baker ... Patricia Terrill
Charlton Heston ... Steve Leech
Burl Ives ... Rufus Hannassey
Charles Bickford ... Major Henry Terrill
Alfonso Bedoya ... Ramon Guiteras
Chuck Connors ... Buck Hannassey
Chuck Hayward ... Rafe Hannassey
Buff Brady ... Dude Hannassey
Jim Burk ... Blackie/Cracker Hannassey
Dorothy Adams ... Hannassey Woman
Chuck Roberson ... Terrill Cowboy
Bob Morgan ... Terrill Cowboy
John McKee ... Terrill Cowboy
Slim Talbot ... Terrill Cowboy
Donald Kerr ... Liveryman
Carey Paul Peck ... Boy
Jonathan Peck ... Boy
Stephen Peck ... Boy
Ralph Sanford ... Party Guest
Richard Alexander ... Party Guest, (Oceans)
Harry Cheshire ... Party Guest

It is said that Gregory Peck and William Wyler, erstwhile friends who had previously worked together successfully had a falling out over this film and never spoke for years afterward. Both were co-producers, and Peck became agitated over the fact that Wylie was working too slowly and the film was going 'way over budget. Wylie resented anyone else telling him how to make a movie. It also appears that three of Peck's children had children's parts in the film.

The fight seen between Peck and Heston is one of the high points of the film that has caused much comment, as it was filmed from a great distance, rather than close-uo.

Such details aside, the story depicts a sea-captain, James McKay (Peck) coming West to marry Patricia Terrill (Carol Baker). He walks straight into a personal vendetta between Major Henry Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives) over an old grudge, and the usual battle over water rights typical in many Western stories. McKay is a peaceful man who tends to avoid resorting to violence, causing his would-be bride to accuse him of cowardice.

Buck Hannassey (Chuck Connors) and Steve Leech (Charlton Heston) play supporting roles, each of whom has designs on the leading women in the story, leading to antagonisms. Ramon (Alphonso Bedoya) plays his part well, as a Mexican ranch employee. He was better in the Treasure of the Sierra Madre, I think, but he always turns in a good performance.

This is a good Western, with the usual scenery typical of the West. The plot is somewhat hackneyed, but is well-played and comes off well, thanks to the staff.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

The only Western that I highly recommend watching
Although my tastes in film are very broad, I am not fond of Westerns. However, "The Big Country" is an excellent film. It is a Western, but in many ways it doesn't FEEL like a Western. The film's intelligence, strong characters, and reliance on humanity provide a superior storyline to the traditional shoot-'em-up mentality so common in Westerns.

The basic premise concerns retired sea captain James McKay (Peck), who travels West to marry his fiancé Pat Terrill (Baker), whom he met while she was visiting Baltimore. He is quickly thrown in the middle of a huge family feud between the wealthy Terrills and the struggling Hannasseys, presumably over water rights at the Big Muddy, a dormant ranch owned by the lovely schoolteacher Julie (Simmons). However, McKay, the intelligent outsider, sees through the feuding patriarchs (Bickford and Ives). What follows is, in my opinion, one of the most effective showdowns in Western cinema (forget "High Noon").

The characterization in this film is particularly strong. Gregory Peck is very good, as always, even though his McKay character has a level of integrity that may be just a BIT hard to swallow. Carroll Baker's role as the spoiled only child is sickeningly good. Jean Simmons is sweet and demure, but strong and self-sufficient, a perfect contrast to her friend, Pat. Charles Bickford's egotistical role as Major Henry Terrill is great, and his questionable relationship with his daughter raised my eyebrows. Charlton Heston's role is relatively small, but he provides the necessary tension and jealousy between himself, Baker, and Peck. In addition, his character's loyalty to Terrill, although misplaced, is touching. Chuck Connors' character as Buck Hannassey is vile, trashy, and degrading, but his performance is one of the most credible in the film. And, saving the best for last, Burl Ives is absolutely superb in the role of Rufus Hannassey, the overweight, bullying patriarch who simultaneously loves and hates his son Buck. He deserved the Best Supporting Actor Oscar that he won for this role.

There is one flaw to this film that stands out, and another reviewer mentioned it below: watch the canyon barricade scene near the end. The Terrill bunch HAD to see that coming, yet they acted surprised. Wyler missed it there, I think, but overall the film is a beautiful piece of cinema.

One last praise: the score. From the opening credits, this beautifully motivating music resounds throughout the film and is one of my favorites. Just beautiful. ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Amazon.com

The Carpetbaggers is the kind of trash classic most people are too embarrassed to admit they actually enjoy. But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time--especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way. The high cheese factor is aided by the good-time cast:Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut--uncharacteristically, as a good girl. The sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star. Elmer Bernstein's swaggering score helps goose the action along, but the rest is thick melodrama indeed. --Robert Horton ... Read more

Reviews (6)

Hey, Paramount! You got it wrong once again!
What a shame! This wonderfully trashy movie deserved better treatment on DVD! When Paramount released "The Carpetbaggers" on LaserDisc years ago, they used the "censored" US version instead of the more "racy" European cut. I was one who wrote them about this, but apparently no one at the office took notice or cared, so here is the US cut once again. What is missing is Ms. Baker's nude back sitting in her budoir when her stepson comes in to tell her that she is now a widow. Ms. Baker's almost nude back is also displayed in the short montage in Paris before she goes down with the chandelier; in the scene missing she poses on a divan for a group of painters. (This image was even depicted on an American lobby card! People must have wondered where it went!) Not much to cry about maybe, but fun in any case! If these scenes were not to be found in the Paramount vaults in Hollywood, they could have asked for them from any surviving European print - existing in decent condition in state archives in both Sweden and Denmark.
Sad is also the fact that the print used for DVD transfer is absurdly grainy! The LaserDisc was much better in this respect! The speckles and dirt are gone, but I'd rather keep them for a smooth film-like image quality.
Now, please let us have other Paramount trash classics on DVD from this era: "Harlow", "Sylvia" and "Where Love Has Gone", to mention just a few! But please make sure they're mastered from first class complete prints! Is this asking too much?

"The Carpetbaggers" AKA "Is he crazy folks?"
I just finished watching the "The Carpetbaggers" on AMC; I thought the 'C' part of that acronym was "Classic", but now realize that perhaps 'Cornball,' 'Contagious,' or 'Compelling' may substitute since this movie seemed to be all of this. But, hey, maybe that's just the gin talkin. It is one of those movies that you cannot wait to end, so you can find out just who these B-film actresses really were - yet you continue to watch. But when it does end, you are somewhat saddened that it is over. Partially sad because you have been drawn in by this charismatic yet utterly ruthless SOB Jason Cord (George Peppard), but mostly just sad because AMC DOESN'T GIVE YOU THE CREDITS! that's why I'm here...finding out that the actresses were Caroll baker (as Rina Marlowe, the not-so-lovable Hollywood star; and Elizabeth Ashley (as Monica Cord) - the impossibly forgiving ex/not-so-happily-ever-after-wife of the unmarriable-unlovable-unrelenting-insanely ambitious Jason. Bob Cummings gets accolades as the fiendishly charming scumbag who plays Dan Pierce - most probably a very typical Hollywood agent. Someone who would put a rattlesnake in your pocket and then ask you for a match if he could get 10% of your blood in doing so. Go ahead and watch the dern thing (4/5 stars) - You'll understand. But hey - don't forgit the gin.

Devoid of Interest
I suppose THE CARPETBAGGERS may hold the same cult-film appeal for some views as such awful movies as VALLEY OF THE DOLLS hold for me--but I've quite been able to see it. Loosely based on Harold Robbins' trashy bestseller which was itself loosely based on the life of Howard Hughes, the film gives us glimpses of such performers as George Peppard, Elizabeth Ashley, Diane Baker, and an aging Alan Ladd, but even their presence can't spark up the deadly dull script. Give it a miss.

--GFT (Amazon.com Reviewer)--

CAN'T HELP MYSELF
C'mon. Admit it. Embarrasing though it may be, you probably have one. One of those films that by almost any standard of good taste is considered to be pure trash -- but you adore it just the same. Well, "The Carpetbaggers" is my source of shame and delight. Yes, it's cheap and tawdry, unintentionally laughable at times, and held together (barely) by a script with many a line in need of a rewrite. It sports hair styles and costumes that, although undeniably lavish, are often anachronistic to the 1920's and 1930's (those decades in which the story is set). Performances range from extreme and over-the-top to downright comatose. But this early 1960's contribution to the breakdown of the American cinema's once strict moral code never loses its ability to do what Hollywood does best -- to entertain. It's a film filled with a grand potpourri of characters ranging from an arrogant and ruthless Jason Cord (a wooden George Peppard) to a lushly lascivious Rina Marlowe (a questionably sexy Carroll Baker), from a charmingly unctuous (i.e., villanous) Dan Pierce (Bob Cummings) to a bubbling and bouncy Monica Winthrop Cord (a totally engaging Elizabeth Ashley). Classic character actors and actresses (e.g., Charles Lane, Tom Tully, Audrey Totter) abound. And Elmer Bernstein's jazz score boasts a main theme that is pulsatingly decadent. Yes, "The Carpetbaggers" is all flash and fire with very little substance. But I love it. Can't help myself.

Not frequently mentioned: A complex movie!
This movie starts out with a bang in the first five minutes. Itkept me on the edge of my seat throughout the entire movie. It is a movie that I have remembered since I saw it the very first time years ago. George Peppard and Carol Baker are at thier top performance levels, and the movie keeps moving with intricate subplots going at all times. Many reviews mention the tycoon who is cruel and calculating, the insights into the movie business, complex personal relationships, but few mention the situations that created these characteristics in him, one being a incident that is never totally shown or explained, but partially shown then implied, not explained thoroughly. This particular subplot may then get missed and is psychologically of great impact if one looks for and finds it.

For music fans, the soundtrack is fabulous, I have had it on Lp for almost 15 or more years, and it is one of very few soundtracks where I am willing to just listen to the music without always seeing the movie, it is wonderful all on it's own. Just on it's own, the music is well worth buying the movie. I sincerely appreciate Amazon for still carrying what many might consider an old, and outdated movie. I don't believe times have changed that much, much of it would still apply today. For anyone that likes phychological plots and mystery this is a movie for you, even if not, the other subplots make it a very worthwhile movie to have. I would recommend it to anyone, and especially George Peppard fans. END ... Read more

Description

Legendary sex symbol Carroll Baker (BABY DOLL, THE SWEET BODY OF DEBORAH) stars as a mysterious sorceress with an undying hunger for sensual ecstasy and unspeakable torture. But when she casts a spell over a beautiful young fashion photographer (the gorgeous Isabelle De Funés), Milan’s most luscious models are sucked into a nightmare world of lesbian seduction and shocking sadism. Are these carnal crimes the result of one woman’s forbidden fantasies or is this the depraved curse of the devil witch known as BABA YAGA?

George Eastman (THE GRIM REAPER) co-stars in this provocative EuroShocker (also known as DEVIL WITCH and KISS ME KILL ME) written and directed by Corrado Farina and based on the notorious S&M comic Valentina by Guido Crepax. Blue Underground is now proud to present BABA YAGA restored from pristine vault materials and packed with eye-popping Extras, including never-before-seen erotic outtakes from the Italian Censors archives as well as the director’s own private collection. ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Description

Twenty-five years after she witnesses her brother's drowning death, and despite her successful career as a psychologist, Laurel (Lisa Rinna) turns to a local swimming instructor for help in conquering her paralyzing fear of the water. For Susan (Gail O'Grady), the pool is her salvation, the only place she's ever felt confident and successful.

As Susan helps Laurel tackle her phobia, the two begin developing a bond. As the student learns to swim, the teacher learns to confront her own lifetime of troubles. The two share a special friendship created by trust and openness. They experience the ultimate test in friendship when they find out that they also share something else: the same man. Based on a true story. DRAMA. 91 Minutes. ... Read more

Amazon.com

Arnold Schwarzenegger made a successful transition to comedy with this 1990 box-office hit directed by Ivan Reitman. Arnold plays an undercover cop whose attempt to locate a little boy and his mother leads him to a small-town kindergarten class, where he poses as a teacher while continuing his investigation. He's also trying to catch a vicious drug dealer (Richard Tyson), whose ex-wife and son are the pair that Arnold's trying to rescue from impending danger. The scenes featuring Arnold and a classroom full of kindergartners are a real hoot, and Pamela Reed offers enjoyable support as Schwarzenegger's police partner, while Penelope Ann Miller (as another teacher) provides a low-key romantic interest and Carroll Baker steals her scenes as the villain's domineering mother. These familiar elements combine to make this a surprisingly lively and entertaining comedy-thriller, but parents are advised to heed the PG-13 rating: there are a lot of funny kids in the movie, but it's still a police thriller, with a violent climax that's not suitable for young viewers. --Jeff Shannon ... Read more

Reviews (37)

Arnold goes to school.
I love this movie. I have seen many more times than I could possibly count. Arnold plays a tough detective who is sent to a small town in Oregon because the criminal he is after is rumered to be heading there to find his son. Arnold is there for servalence, but his parner(Pamela Reed) gets sick and can't cover her assignment. Her assignment is teaching kindergarten at the local school in hopes of finding the mother and the money she took. Arnold goes in her place and the results are hilarious. He finds himself in the crazy world of little kids and he seems hopeless. Of coarse he eventually finds his way as a teacher. This movie is a great mix of comedy, drama, and action. Arnold does some of his best acting in this film. His self-parody is brilliant. The supporting cast is good, as is the direction. I just really like this movie. Fans of comedy, drama, action, and Arnold will all get a kick out of this movie.

Whose your daddy, and what does he do?
This is by far one of Arnold's all time funny movies. I personally love his comedies and this rates close to "True Lies" and "Twins". During his undercover police work some of the funniest stuff occurs when he must sub a Kindergarten class. I fell out of my chair when he said, "Whose your daddy, and what does he do?". Many of his lines can be found at soundbyte sites since they are so funny. One site even used them in a hysterical phone prank. Don't miss this movie. The rest the cast including Penelope Ann Miller as his partner and Linda Hunt as the school principle are great too. Seeing this huge muscular man trying to teach little Kindergarten kids how to march and sing is often comical. Once he finds that he can't be so gruff and the children realize he won't body slam them they are well on their way to learning. Good story, direction, and music make it one of the better comedy cop movies. I highly recommend this reasonably priced DVD.

Good Film - Bad Amazon
I wanted a widescreen version of this movie. Amazon had widescreen for $29.99 and full screen for $13.01. Wal-Mart has Full Screen for $9.44. So I paid these rip-off artists the $29.99 plus postage. Guess what? Like so many orders before, I received the Full Screen version. After weeks of writing, Amazon agreed to refund my money, but five months later, no refund has been received and mail is not answered. This is at least the third or fourth time I have been cheated. If Amazon would screen their actions and those of their sellers, they would probably do a lot more business. After this has happened to me so many times, I feel sure that anyone who wants to rip-off people will find Amazon a good hunting ground.

Dig the heck outta it....
....the stubbled Dirty Harry styled undercover cop runs for cover from rampaging six year olds. Fuuun-neee! Best scene: Kimble catches kid eating everyone's lunches..."you eat der lunt-ches?" Kid is scared stiff as Kimble gives him the eye to eye. "Stop it!" Kimble shakes and drops kid like he would a drug dealer off the roof of a five story and walks off. I always get a kick outta that! See it once more. Good movie.

The Governator at his best
One might not think this movie would have ever worked. 1990 was a pretty good year for Arnold with Total Recall and one might not have put him in this movie. It paired him back up with Twins director Ivan Reitman and I don't think mainstream America could see Arnold in this film.

John Kimble(Schwarzenegger) is a detective that loves his job. He is trying to bring down a drug lord Crisp(Tyson). To do that he must find Crisp's ex-wife and child. They have the evidence he needs to do that, but nobody is quite sure where they are. They are found though and they are living in the small town of Asotria, Oregon. Kimble then teams up with his new partner Phoebe(Reed) to go there and find them.

They go to Oregon and have arrangements made for Phoebe to go undercover at the local school. They know Crisps kid would be five and should be in kindergarten. There is only one kindergarten class so he has to be there. After Phoebe gets sick somebody has to fill in and Kimble steps up. He'll take her place and pretend to be a kindergarten teacher.

The plan quickly backfires in his place. He barely makes it through his first day. If it werent' for another teacher Joyce(Miller) he wouldn't have made it. I'm not going to reveal anymore of the plot because it spoils the movie and this really is a fun movie.

Arnold Schwarzenegger is the man in the movie. You have to love watching him interact with the kids in the movie. He is so much bigger than all of them, most of them are only up past his knees. You get to see a softer side of Arnold and at this point this was only the second family oriented movie he had made other than Twins. A lot of people didn't think he could interact with the kids and he shines.

The kids are fantastic in the movie. This kind of movie all depends on the chemistry of the kids and the star. You can tell the kids loved working with Arnold and why wouldn't they have. At this time in his carear he was the biggest action star in Hollywood. All the kids are great and they will leave you laughing and smiling.

Some have said this really isn't all that of a kids movie. I have to agree with them in some ways. I saw if for the first time at 8 years old and I had no problem with it. Some kids might not understand why the mom and kid are running and thats up to parents to explain that to them. Parts of the movie are a little violent and there is some swearing but it's all PG-13 stuff.

I love this movie. I've enjoyed it for over a decade now. Arnold is the man and this movie is one of the reasons why. Everybody should see this comedy at least once. So go get it and be prepared for a good time. ... Read more

Amazon.com

Ghost story meets paranormal mystery in Disney's PG family spookfest, a rare kid-friendly scary movie that still manages to frighten. American girls Lynn-Holly Johnson (Ice Castles) and little sister Kyle Richards move into a secluded British manor cradled in a mist-shrouded forest, home to a ghostly guardian angel and a decades-old mystery that still haunts the place. Director John Hough (whose Legend of Hell House is a classic of supernatural suspense) delivers all the right shiver-inducing ingredients: flashes of light, whispers in the wind, eerie visions of a blindfolded little girl lost (the long-lost daughter of withered widow Bette Davis) reaching out from mirrors, as if trapped behind them. Though tame by today's bloody standards and a flop on its original release in 1981, this handsome little gothic ghost story has become something of a cult film for its suggestive direction, impressionistic imagery, and spooky sense of the unknown. Ages 9 and up, although more sophisticated younger kids should enjoy this. --Sean Axmaker ... Read more

Description

This Gripping drama portarys the rise of the nazi Regime though the experiences of two ordinary brother who find themselves on opposite side during World War II. Helmut, the brilliant but opportunistic student, and Karl, an idealistic athlete, come of age at the downof Hitler's power in 1931 Berlin. ... Read more

Reviews (7)

Interesting look at the SS' rold in Nazi Germany.
It's an interesting persprctive, looking at the SS from the points of view of two brothers: one in the SS, and one who ran afoul of the SS. The actors playing Heydrich and Himmler did their roles excellently, and the depiction of SS reaction to certain events (Night of the Long Knives, Krystalnacht, and the July 20 Bomb plot) was also well done. The only thing obviusly inaccurate was the assasaination of Heydrich (he was assasinated in Prague, not in the countryside outside the city).

An interesting perspective on a familiar topic
This movie views the rise of the Nazi regime from the perspective of two brothers, who are very ordinary people. At first each brother views the Nazis as just another political party. One brother becomes a full-time SS officer working for Heydrich, the other (who actually became a Nazi before his brother did) sees the evil of the Nazis sooner, and suffers for his outspokeness. The strength of the movie is its portrayal of ordinary Germans during this time period, and how they become caught up in the ugliness of the Nazi regime.
The acting is so-so, but not bad if your expectations are not high. Jose Ferrer plays only a modest role in this movie--he is not the star. Overall an entertaining movie that is worth a try. The quality of the DVD video is slightly below average.

Did you see that movie - Maybe you can help me!
P>...The movie is great because of the intensity of the determination the SS organization had back in the 30's. The actors are great and the music is unique. What is sad about the end of that movie is the same pitfall as other movies. Too much emphasis on concentration camps. In good objectivity, anyone that talks about concentration camps should also learn about the causes of the creation of the SA and the SS. The Germany of 1880 until 1933. This is the period to learn and read about. Stay objective and be a good judge. Like in the movie:"Who needs a revolution, when the revolution already been achieved?"

CHSimon
This fictional dramatization of the life of a typical middle class German family and the effects of the third reich and Adolf Hitlers 12 year reign of terror, does an excellent job in humanizing what must have been a horrile dilhemma for German people in the 30s and 40s. David Warner is terrific as the heartless Reinhardt Heydrich whose influence on the oldest son in the family changed the boy from skeptic and cynic into fulfledged believer. Tony Randall is also excellent as a "Joel Grey" type emcee at the local Night Club who dares to criticise the NAZIS and pays the ultimate price for his performances. All in all the performances are believable if you can get past some of the heavy British accents which are mixed in with bland American accents like that of Carrol Baker who plays the mom. The sharp contrast in accents is kind of distracting.

A Historian with an Opinion...
I have viewed this title a few times. I think this is an excellent movie. Many movies from the World War II era commonly tell a small portion about the people's lives in NAZI Germany during the Third Reich. This movie collected all the bits and pieces and showed how different people from the start had their lives affected throughout this time. This is an excellent movie and I wish it received more publicity to exploit what it does best... inform people about life in the Third Reich. It also shows the innocence of the German people and how they were brainwashed and tricked by the NAZIS. Clearly documenting the civilians at this time. ... Read more

Amazon.com

The first feature film to be photographed and projected in the panoramic three-camera Cinerama process, this epic Western is almost as expansive as the West itself, chronicling a pioneering family's triumphs and tragedies in numerous episodes spanning three generations and a half century of westward movement. Divided into five segments directed by veteran Hollywood filmmakers Henry Hathaway, George Marshall, and the legendary John Ford (and including uncredited sequences directed by Richard Thorpe), the film was one of the most ambitious ever made by the venerable MGM studio. Its stellar cast reads like a virtual who's who of Hollywood's biggest stars. Debbie Reynolds plays a sturdy survivor of many pioneering dangers, and the eventual widow of a gambler (Gregory Peck), who is later reunited with her nephew (George Peppard), a Civil War veteran and cavalryman who heads for San Francisco as the transcontinental railroad is being built. Many more characters and stories are woven throughout this epic film, which is dramatically uneven but totally engrossing with its stunning vistas and countless outdoor locations in Illinois, Kentucky, South Dakota, Monument Valley in Arizona, California, Colorado, and elsewhere. The DVD presents the film in its Cinerama aspect ratio of 2.65:1 and also includes a "making of" documentary and the original theatrical trailer. --Jeff Shannon ... Read more

Reviews (55)

Not made for the small screen
Like IMAX films released on dvd...what's the point? This was made for the biggest movie screens ever conceived.

I was lucky to see this film a few years ago in genuine 3-strip CINERAMA on an archival print from the original release. On the big screen it's an amazing experience. The uneven story fades away when one is viewing the spectacular cinematography. CINERAMA captured vast scenes in incredible richness and detail. It's an experience like no other.

On the small screen at home you mainly notice the technical flaws, the borders between the three separate images, and also the dated 1960's Hollywood "Old West" story. (Carroll Baker's makeup is never smudged, even when tilling the soil.) The first two segments are the best dramatically.

One aspect that is still great at home is the magnificent score by Alfred Newman. So save your money, buy the soundtrack, and head to Seattle, LA, or England or where ever you can find an exhibition of the real CINERAMA.

America's own "Triumph of the Will" -- Leni would be proud!
In a remarkable coincidence, the same day I saw "How the West was Won" at the Seattle Cinerama (03/01/03), the History Channel aired a program on the history of the wheel. One of the talking-head experts opined that the wheel's invention marked a fundamental change in human thought -- not only was there a technological solution to every problem, but nature could be bent to human will, forced to reveal her secrets and serve us.

This is the theme of "How the West was Won." It starts with the title, and extends to nearly everything in the film. The narration tells us that the land had to be wrested from nature and from the "primitive people" who inhabited (and by implication, infested) it. The chorus is continually singing about how "we're headed for the promised land" and those who are willing to work hard will be richly rewarded (except the Chinese railroad laborers, of course). We were justified in overrunning the continent because we are actually "doing something" with it -- as opposed to the Indians, who merely lived there in harmony with nature. Not having invented the wheel, they saw no further possibilities.

James Webb's script acknowledge the culture clash between the Americans and the native peoples, recognizing that the latter will have to eventually change or be destroyed. But this is peripheral to the celebration of the industry, hard work, and sacrifice of the Americans, who "tamed" the wilderness. The film ends with a nausea-inducing flyover of the California freeways (I sat next to a guy who'd taken Dramamine in anticipation of such scenes), followed by a flight under the Golden Gate bridge, firmly and unambiguously driving the point home.

"How the West was Won" is social propaganda, plain and simple. It's the kind of film that could change Osama Bin Laden's mind about destroying the US. (Maybe the State Department could arrange a screening...)

As a movie, there's no denying "How the West was Won" is wildly entertaining. Simply as cinematic spectacle, it works magnificently. There are films (such as "2001" and "Lawrence of Arabia") that even the finest video transfer cannot do justice to, and this is one of them. Sitting in the first few rows, you're so close to the screen that you can't take in all of it at once. When the camera tracks into a scene, the sense of physical motion is uncanny. (Can you say "stimulation of peripheral vision"? Sure you can.) And if you haven't seen a buffalo stampede, or a train crash, or a row of cannons firing in sequence on a (roughly) 30' by 90' screen -- well, you haven't lived, cinematically-wise.

Story-wise, there's so much material to cover the script cannot begin to do it justice, even in a film lasting 2½ hours. Characters are more types than individuals, and almost every performer is cast to type. (Eli Wallach, in particular, gets to do his "crazy Mexican outlaw" shtick, though without an accent.) It's only the efficiency and focus of the script that keeps the actors from looking altogether fooli