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

Reviews (20)

Lightweight but entertaining John Wayne western.
John Wayne rules in this big, sprawling western adventure film. The screenplay, co-written by western novelist Clair Huffaker, struggles with the historical accuracy of Texas in the 1840s and the rifles seem a little advanced for 1843, but, nit-picking aside, this is an entertaining film. Texas Ranger Jake Cutter (Wayne) and sometime gambler Paul Regret (Stuart Whitman) go under cover after a vicious army of outlaw raiders known as "Comancheros," led by the diabolical Graile (Nehemiah Persoff). Hard-hitting, large scale action sequences deftly directed by Michael Curtiz, who directd some of Errol Flynn's better adventure films, will please action-adventure fans. The movie includes a comfortable blend of action, suspense, and humor with occasional serious overtones of duty, friendship, and the love of a good woman. Taken within the context of the film that isn't as corny as it might sound. Great outdoor color photography adds to the appeal. A pulse-pounding musical score by Elmer Bernstein matches the excitement. Lee Marvin makes the most of his costarring role as Tully Crow, one of the West's wildest bad men. Watch for the hilarious vignette featuring Edgar Buchanan as a judge of dubious integrity. Ditto the comic relief segment with Guinn "Big Boy" Williams as a seemingly bewildered gunrunner. There is nothing intellectual or artistic to say of this movie, but it's good old fashioned fun. Recommended viewing.

Classic, Crowd-Pleasing Duke!
You can see by the title that I am a John Wayne fan, and this rip-roaring Western is one of the reasons why. With equal portions of rousing action, humor, and drama, this film keeps your interest and, like the Duke's performance, never loses its authenticity. It's said that John Wayne took over direction of some of the action sequences, and they're great. There are well-drawn, clear differences between the good buys and bad guys, but the characters are human and developed enough for the actors to sink their teeth into, which all do with gusto. By this time in his career, the Duke only had to show up on screen to be the authentic Western hero, but as usual he goes 'way beyond that, giving a colorful, humorous, absolutely real and terrific performance as the Texas Ranger who helps a man on the wrong side of the law redeem himself and find the woman he loves--as well as stopping a motley, dangerous bunch of white renegades (Comancheros) who are selling weapons to warring Comanche Indians. It's great movie-making and a great couple of hours with the Duke, so check it out!

Drunk Indians
This movie was good for the most part but then again if you dont want to see drunk indians shoot white people then dont worry about seeing it. There were some good parts in this movie but the whole movie was a rather large dissapointment. These Indains would kill people so they could get their Jollies off byy getting alcohol. This movie was very unrealistic(...). I take my reviews very serioulsly. John Wayne was a good actor props to my man Wayne, he's my man.

A Real Entertaining John Wayne Western
THE COMANCHEROS is one of John Wayne's most entertaining Westerns. It has a great cast, story, photography and one of Elmer Bernstein's best scores. The widescreen DVD looks incredible. John Wayne and Stuart Whitman play off each other brilliantly. Lee Marvin as Crow has a small but effective and outrageous character part. There's plenty of action and heroics to go around in this great outdoor adventure. I wish they would make movies like this today.

Excellent Duke western
The Comancheros is another great John Wayne western with a great supporting cast. The story follows Captain Jake Cutter, a Texas ranger, and his efforts to capture a prisoner, and then to infiltrate a group of gunrunners and bandits, the Comancheros. This group has been supplying the Comanches with repeating rifles who then wreak havoc on the area. There is plenty of action here with numerous shootouts, and also plenty of great characters. At parts during this movie, I wondered why the Duke never took more comedic roles since he is very funny in several scenes.

John Wayne plays Captain Jake Cutter, the big, brawling Texas Ranger who attempts to bring in a prisoner who keeps escaping his grasp, "Monsoor" Paul Regret, played by Stuart Whitman very well. Another notable performance is Lee Marvin's Crow, the contact between Cutter and the Comancheros. He doesn't have a very big part, but what is there is very good. The film also stars Ina Balin, Nehemiah Persoff, Michael Ansara, Patrick Wayne, Bruce Cabot, and Joan O'Brien. Elmer Bernstein also turns in another excellent score that has elements of the Sons of Katie Elder and The Great Escape. The DVD offers a widescreen presentation which looks very good, two trailers(one in Spanish), and also Movie Tone News about an award presented involving the movie. More John Wayne movies should be put out like this, and I give credit to the companies putting out so many new ones recently. A very exciting, enjoyable Duke western that all his fans will love! ... Read more

Amazon.com

From the Terrace is one of Paul Newman's lesser-known films, but it's a worthy showcase for the actor's developing screen persona. Like Butterfield 8, this is a slick, prestigious adaptation of a John O'Hara novel, about loose morals and forbidden love among the wealthy elite. Director Mark Robson lacks the mastery of melodrama that Douglas Sirk would've brought to this material, but he's still on target with O'Hara's tale of a prodigal son (Newman) who rejects his late father's steel mill in favor of big-business conquest, only to find his trophy wife (superbly played by Newman's off-screen wife, Joanne Woodward) straying into the arms of her former fiancé, while he falls in love with a socialite (Ina Balin) with whom he's much more compatible. A well-tuned drama of marital discord and unchecked ambition, From the Terrace was sharply adapted by Ernest Lehman between the triumphs of North by Northwest and West Side Story, and Newman's brooding performance gave him a solid boost to his iconic role in the 1961 classic The Hustler. --Jeff Shannon ... Read more

Reviews (8)

Excellent oldie.....
A view FROM THE TERRACE is what Paul Newman's character David Alfred Eaton has of his future wife Mary (JoAnne Woodward). The screen play was based on a best-selling novel of the same name by John O'Hara. Given it was released in the 1950s when sex on the screen was verboten and not much more explicit in novels (ban a book in Boston), one must appreciate the work it took for Newman and Woodward to give these performances.

Like many other teenagers of my generation, I was "in love" with Paul Newman. Newman could make female hearts flutter by simply looking at the camera with his big blue eyes. Many other teens preferred Marlon Brando, his peer and rival for female affection. I believe these two actors were the Leonardo de Caprio and Brad Pitt of their day, although in the long run, Newman (like de Caprio) has had more staying power and gracefully made the transition to mature roles.

In the 1950s, to see a film one had to attend a theater, where the screen was usually covered with a huge velvet curtain. FTT played at the Center theater in my small town, and I saw the film six times after it was released. I was able to get into the theater for a quarter, and as my allowance was $3, this was no small sacrifice. So, you might say this film was one of my all time favorites.

Watching it again almost 50 years later, I wondered how I would react, and of course the passage of time and arrival of many other actors and vast changes in filmmaking have affected the way I view the film and Newman, but I still like him enormously, and this film holds it's own, though the storyline may seem archaic.

This film is about infidelity and divorce and the price of success, a story line that may be lost on generations raised in an age of no-fault divorces and dual earner households. Once upon a time, divorce and infidelity were considered absolutely scandalous, and financially disastrous. In fact, if you divorced, your life was ruined. Many couples stayed together and suffered the ignominy of a cheating spouse. FTT was a ground-breaking film because it tackled these issues head-on.

The DVD version of the film is well done, and the price reasonable (technicolor and cinemascope production). Do your self a favorite, buy this DVD and add it to the shelf where you keep CAT ON A HOT TIN ROOF and other 50's favorites.

I absolutely adore this movie
I saw this movie for at least the third time today and I told myself: go ahead and get this on DVD because you watch it every time it comes on TV. Well, I just simply must have it near me. I love the "how do you like them apples" part in the movie. What a move! I love every minute of this movie. It is like a short story! I love the dialogue! Watch it people!

My View From The Sofa
Paul Newman has many more famous roles...but for some reason, this is one of my all time favorite movies of his. It comes on the Love Stories, AMC, or TCM cable channels every here and now...or you could just buy it like I did.

He's nice, determined, well-meaning Alfred Eaton, who starts off with lofty, wealthy ideas about what is important in life...the right woman, the right career, the right friends...and showing them all how important he can be when he has them. Ultimately, he learns that what is important is only what feels right to him alone.

I love his story of personal discovery as much as his love affair story with Natalie. Alfred and Natalie have this beautiful scene where they are saying goodbye, they're barely touching, but it's the most painfully romantic thing to see.

Paul Newman and his wife Joanne Woodward have some excellent scenes in this movie also with real good comeback dialogue. He's the hardworking, decent man and she's the desperate-to-impress and just plain desperate society wife. She self-righteously and hurtfully accuses him of adultery with a girl with no guts when she's been sleeping with her ex-fiancee all along. She actually calls her lover and arranges a tryst while her husband is in the room!!!! She has guts!!!! (if little else) Unbeknownst to her, Alfred has exhaustingly if unaffectedly (if you can look unaffected and disgusted at the same time, that is) done his best to makes her invisible in the room, but she probably just becomes invisible without any real effort on his part to make her so by that point. Their voices just have the most impactful tones...especially when they get to play off of each other. I can play their final scene over and over again where she says she won't give him a divorce and he says,"Any further communication between you and me will be through legal channels." He has the most genuine smile on that handsome face in that moment than through the entire movie!!!!!

This movie is actually pretty long, but not a moment is wasted. It all comes together in the end when Alfred finally chooses what he actually wants instead of what he's supposed to want.

Maybe it's because it's so subtle and not at all like a "movie" that it seems to be largely overlooked by everyone except me and 20 other people. Paul Newman is one fine, naturally classy actor, I say.

Unfaithfully Yours
Every few years, I sit back and enjoy "From the Terrace" for what it is. As good old fashioned "potboiler", John O Hara's screen adaptation is not quite as sprawling as say....Edna Ferber's works, but nonetheless is a decent potboiler in its own right. Alfred (Paul Newman), discharged from the Navy after WW II is the ambitious, disaffected son of nouveau riche steel mill owner Samuel Eaton, (Leon Ames). Seeking to make his own unique mark in the world he spurns his father's hopes of joining the business and decides his fortune is to be made elsewhere. Along the way, he meets his future blue-blooded trophy wife Mary St. John (Joanne Woodward) and soon discovers her appetites are far in excess even to his own ambitions. Landing a job at a prestigious Wall Street firm in an oblique way that is a potboiler's trademark, Alfred comes under the watchful eye of old money and traditional expectations by J.D. MacHardie (masterfully portrayed by Felix Aylmer). I very much enjoyed all the scenes in which Aylmer's MacHardie was highlighted and I can almost smell the stodginess of old money, ritual table manners, wood paneled walls, cigars, and brandy that were part of his ultra-conservative environment. Soon enough, while on a trip to scout business opportunities, Alfred meets Natalie (Ina Balin), the unattached daughter of a wealthy coal mine owner. Knowing full well of his marital status, she consents, even encourages his attention and unfaithfulness. Balin manages to pull this off with a naive sweetness without ever seeming cheap or trashy. Infidelity is a major theme in this work and I'm sure its frank discussion must have sparked many a controversy when this film was released very early in 1960. Veteran actress Myrna Loy was given near top billing as Alfred's alcoholic and unfaithful mother, yet her on-screen performance was limited to the first reel of this nearly 2 1/2 hour film. I enjoyed the brief on screen appearance of young Barbara Eden as a flirtatious socialite. Patrick O'Neal was perfectly cast as the smarmy Dr. Jim Roper, the illicit lover of Mary St. John. Over his long acting career, Paul Newman has delivered solid performances again and again. This is one of his lesser known works but serves as a fine example of why he was so popular with the audience as a silver screen heartthrob. Watching this film today and being mindful of his lasting marriage to Joanne Woodward just serves to make this movie all the more compelling to me. I hope you will agree.

A view of the male in society.
Based on John O'Hara's novel, Alfred Eaton wants success in his own right but also seeks happiness for himself. He ventures out to New York leaving behind his cold, unloving father and alcoholic mother. As he is settled, he meets Mary St. John at a party in Southhampton. She is engaged to a psychiatrist Jim Roper. She rebuffs him at first but laters falls in love with him, calling off her engagement to her fiance. The two marry. However, their marriage is on the rocks. As Alfred gains success and social status, Mary feels isolated from his affection and has sexual affairs outside of the marriage. A business venture in rural Pennsylvania force him to confront his past and his future. Having dinner at the Benzinger home, he falls in love with the daughter Natalie. Strikingly beautiful and raven-haired, she is the one who understands him and is affectionate towards him.
Alfred Eaton, is relatively like most men. They want to gain recognition and respect from the social and economical community and at the same time, be happy with themselves. However, success doesn't always bring happiness. Happiness comes from within. Eaton's lack of affection from his father caused him to seek happiness elsewhere but he was forced to make hard decisions that would not only affect his career, but himself. ... 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

Making artificial flowers as a way of coping with her great loss, Rose’s life changes when she meets widower Frank Valente, played by Academy Award™ winner Anthony Quinn.The two fall in love and decide to get married, but before they can say "I do," Frank must win over Rose’s daughter who does not approve of their union. ... Read more

Reviews (3)

Touching romance
There is more than a hint of the Oscar winning Marty in this quiet and well obseved drama ,shot in luminous black and white by Roberet Barr and directed with ecconomy and restraint by Martin Ritt.
Anthony Quinn palys a widower who falls in love with Rose Bianco -the Black Orchid of the title.She is a widow whose husband was entangled with the mob and killed in a mob hit.She is eking out a living working in an artificial flower company and worrying about her son who is a persistent escapeee from the county farm.Initially resistant she soon falls heavily for Quinn's rough hewn charms but there is an obstacle -the staunch opposition of his possessive daughter ,played by Ina Balin.
The movie is the story of the courtship and its eventual resolution .
Sterling performances by the leads and a strong musical score by Alessandro Cicognini compensate for the slighly over sentimental script but overall this a neglected little gem

Priceless Movie
Many of you might be unfamiliar with this particular movie. But I will say one thing: you are definitely missing a lot if you don't watch this very touchy drama. I don't think they ever showed this movie on AMC but they really should. Although the movie is filled with sad moments, there's still a certain mellowness to it. I have watched this movie 10 years ago and I decided to rewatch it again last week. I almost forgot how delightful it was. Please watch it if you get a chance, and you'll see what I mean.

A film about second chances.
Sophia Loren is a headstrong widow and loving mother with a past. Her deceased husband was involved in the crime world and the neighbors aren't too friendly to her. Her young son is lost without guidance. Anthony Quinn, who portrays a lonely widow, tries hard to convince Loren and his daughter that they could be a happy family. Quinn is great as he desperately tries to reason with people all caught up in the past. There is always hope and love, if you try hard enough seems to be a good message here in this film. Good chemistry between Loren and Quinn. ... Read more

Description

In THE PATSY, after a star comedian dies his handlers are resolved to find a replacement to take the deceased star's place so their gravy train will continue.They decide to hire a total unknown and find the ultimate Patsy in hotel bellboy Stanley Belt.After realizing that Stanley can't do anything right, the team begins to think they've made a mistake, but the television show's air date approaches and it's too late to hire someone else. ... Read more

Reviews (5)

Thoughtful, reflexive and funny
The Patsy, Lewis' fifth film as a director and one of his best, can be considered as a semi-sequel to both The Bellboy (his first) and The Errand Boy (his third). Like its two predecessors, it features a confrontation between a complete outsider (always played by Lewis) and a lavish, illusionistic and mercantile milieu. As in all of his films, the interplay between 'Lewis the artist' (a natural performer whose inventiveness knows no bounds) and 'Lewis the star' (has more swagger, aggressiveness and self-confidence but far less freedom) is central here. It takes place in a single character (named Stanley as in The Bellboy) whose road to stardom is as unexpected and multi-layered as Morty's was in The Errand Boy. In many ways, the artist-star conflict is resolved in the postmodern conclusion: Lewis' choice to equal Stanley with himself - and The Patsy's world with 'reality' - implies that the true star-artist is finally made possible. Some of the movie's set pieces - Stanley's first appearance, the singing lesson, the silent flashback, the failed stand-up performance - are among the most effective of Lewis' filmography, seamlessly weaving together the sophisticated and the grotesque. A very impressive film from an underrated filmmaker.

Lewis is the KING
FUNNY , FUNNY , FUNNY , For TRUE Jerry Lewis FANS !!! Alot of people dont care for the STUPID HUMOR ( I DO !!!) This movie is supposed to be just that, all out stupid funny (HeLlO!!!! its Lewis........Ivan!!!)Belly hurt laughs come from every direction ,but mostly right in your face. so kick back and enjoy on a Sunday afternoon while the wife out shopping ,cause chicks dont DIG STUPID FUNNY .

What could have been...
Whether or not Co-writer/Director/Actor Jerry Lewis knew it or not, he made what was supposed to be a significant "Black comedy", on a level with "Network", and many others. Because of once again spreading himself too thin, i.e., not re-shooting scenes, dragging out pointless bits, and over-exaggerating the mugging, he offers an uneven comedy, mixing brilliance with amateurish self-indulgence.
A famous entertainer dies in a tragic plane crash and his staff is left without work. The opening sequence is wordy, but effective: Peter Lorre, Phil Harris, Ina Balin, John Carradine, and Everett Sloan reflect on their past, plan their future. It is suggested that their star taught them everything they know and perhaps their working relationship was insular. To prove to the Hollywood community that their skills are still relevant they decide that the answer is to take an unknown talent and teach him everything *they* know. Stanley Belt, the hotel bellboy, stumbles in and...you know.
Despite some first-rate, insightful dialogue about the early '60s show-biz star system, the above-named actors' talents are hardly tapped. Add to those names, Rhonda Fleming, George Raft (in his second Lewis cameo), Ed Wynn (it seems a chance to unite Keenan with his Father in a scene went by the boards - they worked together in Paddy Chayefsky's TV production of "Requiem for a Heavyweight" in '53), and Hedda Hopper, all who perform an interesting send-up of their own screen personaes as they enthuse over Belt, who they never heard of.
The continuity is also in question. Belt releases a Number One record (!) but follows this with an appearance in a small club, with about ten people in attendance. He had already survived a lip-sync on a dance show (incidentally hosted by Mr. Lloyd Thaxton). Even if it's an adult setting, a Pop hit would have filled the place.
When Lewis is not bouncing off the walls, he shows his strength as a dramatic actor. This chance comes in several sequences with Ina Balin. But even here, the scenes are inconclusive.
The high point comes following another star's send-up of himself: Ed Sullivan actually imitating Ed Sullivan. It is priceless. Ed introduces Jerry, who finally shows his handlers and the world, in a pretty good sketch combing pathos and slapstick, that it's best to let *natural* talent evolve.

Not his best.
Jerry has done ALOT BETTER than this. The whole thing was very shallow and did'nt hold my attention to the end. Another custoner gave it a 5 star rating and said that Jerry didn't say a word through the entire movie, Ithink they may have been refering to "THE BELL BOY" in which he did'nt speak at all, and I also give that one a 5 star. I am a HUGE Jerry Lewis fan and love almost every thing done by him, but this is not one of them.

Great Idea, Excellent Cast, Boring Results
A superstar passes away, and his managers/publicists/writers are unsure of their futures in the biz. If they can take a no-talent "Blue Collar" guy and transform HIM into a star, then their place in history is assured. Or somethin' like that - it's a novel idea. Too bad that Everett Sloan, Phil Harris, Keenan Wynn, Ina Balin, John Carradine, Peter Lorre, and Scatman Cruthers are saddled with downbeat dialogue and stilted direction. But there are a few hilarious scenes (his first rehearsal, his first club appearance, and an incredible Ed Sullivan self-parody). ... Read more

Reviews (1)

Classic Mob Movie!!
Anthony Quinn stars as a mob boss whose mistress gets killed and starts a bloody mob war.This is a classic must see mob movie!! ... Read more

Description

Chuck, a movie theater projectionist bored with his life, fantasizes that he is one of the superheroes in the movies he shows in the theater. He envisions himself as "Captain Flash," and daydreams into the world of movies, where he summons the help of screen heroes such as Gary Cooper, Errol Flynn and Humphrey Bogart in his fight against The Bat, his evil nemesis. Chuck McCann, as Chuck/Captain Flash, is superb as he mixes physical comedy and surprising tenderness. Rodney Dangerfield, making his film debut, is the slimy, miserly, mean Theater Manager/The Bat. Written and directed by Harry Hurwitz, "The Projectionist" has been carefully preserved and newly restored by the New York Museum of Modern Art. ... Read more

Reviews (3)

Bizarre
Summary:
A projectionist (Chuck McCann (I)), whose name we never find out, is a major movie buff and a loner of sorts. To find pleasure in life he fantasizes about himself (as Captain Flash) visiting and making famous movies. The upscale theater where he works is owned by a man named Renaldi (Rodney Dangerfield) who is mean to all of the employees and the projectionist, but the projectionist isn't as affected by the treatment because he is a union worker. As part of the projectionist's fantasies he casts Renaldi as 'The Bat' and battles with his henchmen over a girl (Ina Balin). The movie uses clips from older movies to tell the story interspliced with a few scenes of the actual cast. In the end, Captain Flash kills The Bat and saves the girl and the projectionist's life goes on.

My Comments:
The movie really is surprisingly better than I had expected because of the way it is setup. If the movie was just the story of the projectionist/movie buff and his life, it would be pretty lame. But, because he lives his life in his fantasies about the movies, it is somewhat interesting. Also, the acting in 'real life' is not too bad, but could be much better. This is contrasted with the acting in the fantasies being farcical, which the movie can pull off because they are fantasies. With that leeway, the movie isn't nearly as bad as it could have been. There is also very little dialogue; most of the old scenes are just put to music.

I don't know that the movie is trying to push a social commentary, but perhaps it is. The basic idea I get out of it is that movies can be, for some people at least, a way to make their humdrum, boring life something more. It is also a commentary on how ordinary most people's lives are. When the movie first opened up I thought for sure I was going to be bored stiff, but I was surprised in the end. I don't know that the movie is truly worth watching for most people as it is a bit obscure and unless you have seen most of the movies from which the clips are taken, it might not be as funny.

Overall, the movie was fun, though very, very slow at times.

Film sampling starts here
There are a couple of film arteests located somewwhere in Calif. who have produced entire epics out of having assembled clips of extant films- dialogue dubbed over. "The Projectionist" seems to have been the genesis of the idea (don't know who of people I've discussed obtained legal rights, but who cares? We're only interested in art, correct?).

There are wonderfully inventive sequences of clips in "The Projectionist" that are a hoot in their making sense as part of a sequence, but also can't overcome their familiarity to movie fans, so they work on two dimensions.

Also, there is some interesting juxtaposition of clips forming sequences of feelings of standard Mom-Apple Pie-Chevrolet U.S.A. flag-waving, but they are counterparted by sequences of clips showing the dark side and hypocrisy of the American Dream (myth?). There is the voice of JFK, delivering his most famous line: "Ask not...(etc.)", with that audio timed perfectly to sync with Hitler exhorting and gesticulating (No particular disrespect to JFK, I'm sure- just to make the point that Hitler demanded sacrifice to further the dreams of the State, also, and the misguided adventure in Vietnam was very topical at the time of this film's production. At least I think that's what the point is).

This movie also has the wildest use of split-screen, ever.

And the finale harkens to "The Stunt Man", i.e., where does the movie begin and where does the part not in the movie end?

Richard Rush, the director of "The Stunt Man", says he's excited by pushing the envelope of film syntax. That is really accomplished in "The Projectionist".

a must see for movie buffs
a wonderful fantasy that shows a pure love of film. an interesting artistic journey that holds up after all these years. ... Read more

Reviews (12)

Pass the Pills
No wonder Elvis took "Prescription Medication" making dreadful movies like this. It's so awful words cannot describe. It looks cheap, nasty, badly acted, badly directed, badly edited with no story. It's just awful.

What on earth was going on in his and the Colonel's heads thinking that fans would put up with watching this crap at the movies when you had the real deal in Clint Eastwood. Even at the time it was made, Westerns were going out of fashion.

This was, thank God, one of the last movies he made. I'm a big Elvis Fan but could not bear to watch it twice.

The DVD is bad quality, no picture clean up, no extras, nothing. What's the point?

Put attention at this movie
The hits, the beats ( don't the critic) were in the reality.
Elvis was very beaten in this movie ( and isn't about the critics).
Put attention in this movie

A No-Budget King
The King is a rogue cowboy hunted by his former outlaw buddies in what is one of Elvis' lowest points in a not so celebrated film career. Yes, he doesn't stop what he is doing and burst out singing "Clambake, Gonna have a clambake" but that would have been better then this hard to watch western. I know EP was making a million dollars a picture by this time. The budget on this movie excluding his salary had to 10, maybe 20 bucks. It looks horrible. There is just no life in the movie. I know it was suppose to be a drama but come on. I'm an enormous Presley fan, just not so much with his acting movies. I'll blame the Colonel for that, but that's a totally different review for another time and place. Check out Change of Habit co-starring Mary Tyler Moore for a good acting role by the hillbilly cat and Elvis: That's the way it is for the real thing on and off stage.

The DVD should be called "CHARRED"
I read all the reviews about how poor the quality of this DVD was.Yes- they are absolutely correct.I refused to buy it until such time a quality dvd was released.But I was in an oddlot closeout-type store and guess what was sitting in their "bargain dvd" bin? You guessed it- a brand new,factory-sealed copy of Charro!I grabbed it and saw the price sticker: [$]I own it.It [stinks].The guy who said it looks like they used a camcorder to tape it off a TV screen was pretty accurate.It is hard to believe but I've NEVER seen a VHS tape as bad as this dvd.I can't imagine they went all through the trouble to get licensing rights,copy the film to DVD,design packaging,and set up distribution for something that, when viewed, assaults and insults simultaneously.I spent 2 weeks contacting everyone who would take my call at Graceland,NBC,RCA,Westlake,etc. and the best I could discover was nobody knows the whereabouts of the original print and negative.Perhaps Elvis,not liking what he saw,had them destroyed?This one should win an award for sheer ,unmitigated gall.

The worst DVD ever!!!!
Keep your VHS tape of this movie, it it head and shoulders in quality above this DVD - I've never seen a video tape this bad, let alone a DVD. Stay Away Joe as Elvis once said... ... Read more