Reviews (29)

Bergman shines in religious epic
Overlong but fairly engrossing bio of Gladys Aylward, an English-woman who, despite her lack of qualifications, becomes a missionary in China. The film is episodic and covers Aylward's brief career as a parlor maid (saving money for her trip to China), her journey to China, her work at the Inn of the Sixth Happiness and the Chinese-Japanese war which results in her guiding 100+ children in an arduous journey through the mountains to a safer village. I didn't find the film as moving as other reviewers but it is well mounted and nice to look at. Bergman is outstanding as are other supporting players, most notably Curt Jergens and Robert Donat. This was Donat's last film (he died before it was released) and his last screen words are prophetic - "We shall not see each other again, I think. Farewell."

What is most notable about this dvd release is the excellent commentary by Nick Redman, Aubrey Solomon and Donald Spoto. Redman talks about the real Gladys Aylward, Solomon talks about the film production and Spoto discusses Ingrid Bergman. There were many things changed for the film version and many of them are small and inexplicable. For example, Aylward's given Chinese name was Ai-weh-deh (not Jenai), an adopted child was actually named Ninepence (Sixpense in the movie), etc. Other changes were more larger in scope - Aylward's journey to China was quite harsh and she almost died several times. The inn-keeper, Jeanne Lawson (memorably played by Athene Seyler) was no as agreeable a woman as portrayed in the film - she was actually a cantankerous person prone to fits and thought to be quite mad by the villagers. Aylward herself was thought by many to be fanatical and to put it bluntly, off her rocker. Many other fascinating aspects about the film and the women (both Aylward and Bergman) are included.

A must for every video library ! An inspiring tear-jerker !!
One rainy afternoon I was channel surfing and came across this movie and fortunately for me it was very close to the beginning. I was so drawn into the story and captivated by Ingrid Bergman's performance that I forgot I was even watching television!! This is one of the most touching and moving stories I have ever seen and (I won't give this part of the movie away) when the Chinese gave "Gladys" a new name and what that translated to in English I thought I was going to go through a whole box of tissues right then and there. The storyline, scenery and acting are superb and the fact that it is based on a true story only makes it more inspiring. My cousin is 18 years old and wants to pursue a career in the mission field and I told her many times that she has to see this film. So I'm not only going to purchase one for MY video library but one for HER'S as well.

following God's call
This is a magnificent film in every aspect; the acting is brilliant, the landscapes beautiful, the drama intense. Based on the true story of Gladys Aylward, a house maid in England who was "not qualified" to be sent to China as a missionary, so went there on her own, saving every shilling earned for a ticket on the Trans-Siberian railroad. Taking place in the pre-WWII era, it's an adventure story of great spiritual courage, the chaos of war, and a romance between two independent people who never thought they would find love.

Ingrid Bergman is luminous as Gladys. It is one of her very best performances, and my personal favorite. Robert Donat, who passed away before the film was released, is also marvelous as the Mandarin of Yang Cheng, and Curt Jurgens as Captain Lin Nan is handsome and believable as the man who falls in love with Gladys. In a small but pivotal part, Athene Seyler is terrific as Jennie Lawson, the elderly missionary who helps Gladys in her early years, and Peter Chong is a delight as Yang the cook.
It is odd that the only Oscar nomination went to director Mark Robson; perhaps Bergman was overlooked because she had received a "Best Actress" for "Anastasia" two years earlier, but Bergman fans will give this film their own five-star award.

The fabulous location filming by Freddie Young was done in Snowdonia National Park, North Wales, a remarkable substitute for Shaanxi Province, in the heart of China. The village reproductions are very well done, and look incredibly similar to films I have seen shot in China. The lovely score by Malcolm Arnold adds much to the film, and Alan Burgess, whose book "The Small Woman" is the basis of the story, wrote the script, which is witty, wise and wonderful, with Isobel Lennart.
Many times I've laughed out loud , and many times I've cried watching this film; it's good for several viewings, as it is epic in scope, and the script has an intelligence that makes it a rare gem. total running time is 158 minutes.

In the film, Chinese tradition has five "Happiness" wishes: Wealth, longevity, good health, virtue, and a peaceful old age and death. "Each person must decide in their heart what the sixth happiness is".

Break out the Kleenex...
...for this manipulative, mawkish tear-jerker. The story feels superficial (you never get a feeling for Aylward's sense of spirituality, only the very ocassional bit of tacked-on religiosity), and it's all grossly sentimental. All those feel-good moments with singing kids and long hugs actually detract from the important message about selfless service by making self-sacrifice seem all too easy and romantic, even in the face of brutal Japanese invasion.

The casting choices will try your suspsension of disbelief, to say the least: a Swede as an Englishwoman, a hulking German as a half-Dutch/half-Chinese colonel, and an Englishman as a Chinese mandarin. That said, this is still a fun film if you take it for what it is. It boasts an unusual story and exotic setting, and Bergman is as radiant as ever (even if she overacts in a couple scenes). Donat and Jurgens are uqually winning, in their own way.

Hardly Bergman's best film, but certainly worth a watch if you're a fan.

Noah visits the baby Jesus
The Inn of the Sixth Happiness was filmed in Wales and the scenery is beautiful. Ingrid Bergman is in top form as Gladys Aylard would be missionary to China. One of my favorite scenes is when her assistant Yang, who has a fondness for Noah and his ark, is telling the diners at the inn that Noah came in his ark to visit the baby Jesus along with the wise men. When she gives him a disapproving look he goes on to explain that even though Noah was born long before Jesus people lived alot longer back then, so no one could say for sure that he couldn't have been there. ... Read more

Reviews (37)

Approved by Agatha Christie
Having read the book many times I've come to know its complexities well enough. Albert Finney embodied Poirot from top to bottem so much so that all other portrails pale by comparison. Even the remarkable work of David Suchet cannot touch Finney. Poirot is an eccentric ego-ist who is also one of the most intelligent characters ever created and Finney captures his qualities perfectly. The rest of the cast is equally superb! With an interational cast of Vanessa Redgrave, Lauren Bacall, Ingrid Bergman, Wendy Hiller, Sean Connery, Richard Widmark, Jean-Pierre Cassel etc. one wonders why all of them were not nominated for Oscars. The entire film is a work of art from the production design to the costumes, make-up and music. All these elements under the direction of Sidney Lumet are kept flowing swifty so that you have to rewind over and over till you catch all the nuances. The book can be a bit confusing and plodding despite the wonderful prose but the film clears away any clutter and solidifies the story. Yes the film changes some names and some early locations but it also clarifies some plot points particularly the Armstrong case. Agatha Christie saw this version of her story brought to life on screen and approved of it. This film will delight the viewer with each repeated playing to the point that after a while you're going to have to get another tape the old one will become so worn!

Still one of the most stylish who-dun-its
Nearly 30 years after its release, the star-studded "Murder on the Orient Express" remains one the the best of the big screen's adaptations of Agatha Christie's works. Confined to the fabled train with the richest of the ultra-privileged class and trapped by a mammoth snow drift, everyone comes under suspicion when a self-described businessman (Richard Widmark) who turns out to be the mastermind of a child kidnapping that ends in murder of the child, is himself murdered (who can ignore the obvious similarity to the Lindbergh baby kidnapping?). Everyone in the all-star cast comes under suspicion, from Lauren Bacall as a character intended to scrape the nerves raw, to Ingrid Bergman in an Oscar-winning supporting role, to the breathtakingly beautiful Jacqueline Bissett, to Anthony Perkins, the late Sir John Geilgud and a magestic Wendy Hiller. But Albert Finney, as celebrated investigator Hercule Peroit, is amazing. True to Christie form, we come to a totally unexpected solution and resolution that doesn't deter us from watching this film time and again. Lavishly produced and rich in scenery, we actually get a sense of being trapped on the motionless train wondering who of our fellow passengers did the dirty deed, which is what makes this film so enjoyable with every viewing. More satisfying is that the viewer won't feel cheated by an ending that one critic at the time dismissed as "too easy." That aside, it's little wonder the film was an Academy favorite in multiple nominations.

Can't wait...
"Murder on the Orient Express" probably had the most intense production values as any film in 1974. The period detail was exquisite and the ensemble cast was stellar, all put into perspective by the brilliant Sidney Lumet. 1974 saw "Godfather II" and "Chinatown", wonderful in their own right. Can't argue too much about comparisons, but the editing in "Orient" is a true work of art, shifting its time-frame constantly. The viewer always knows everything, but really knows nothing. Albert Finney is a terrific Hercule, and the whole ensemble cast was great! Ingrid Bergman won the Oscar for this, but I thought Rachel Roberts was the best of all. So VERY classy, and so very grisly... all done with aplomb by a brilliant cast and America's own, very underrated great director, Mr. Lumet. Don't forget, Lumet did the original "12 Angry Men" in the 50's, as well as "Long Day's Journey Into Night". The man has control. Experience it!

"...there are too many clues in this room..."
Thirty years ago in 1974, Sidney Lumet (who is known for directing "Network" in 1976, "Serpico" in 1973 and "Death Trap" in 1982) directed a murder-mystery film based upon the 1934 novel "Murder on the Orient Express" (a.k.a. "Murder in the Calais Coach"). The novel was written by the famous murder-mystery author Agatha Christie (1890-1976) and was the ninth book in the series that featured her famous fictional detective named Hercule Poirot. The Orient Express began service in 1883 as a passenger rail service between Paris and Venice. An additional southern route (known as the Simplon Orient Express) was started in 1919 that ran from Paris to Istanbul that also passed through Venice. It is upon the Simplon Orient Express that Agatha Christie placed the location for her novel.

The 1974 film adaptation included an all-star cast, including the famous actor Albert Finney who played Hercule Poirot, for which he received an Oscar nomination for Best Actor. (Albert Finney has been nominated 4 times by the Academy for Best Actor and once for Best Supporing Actor, which was for his role as Ed Masry in the 2000 film "Erin Brockovich".) Poirot boards the Orient Express on his journey home after solving a murder case. On the train, in the sleeper cabin next to his is the millionaire businessman Mr. Ratchett (Richard Widmark), who is accompanied on the train by his secretary, Hector MacQueen (Anthony Perkins, 1932-1992), and his butler, Mr. Beddoes (Sir John Gielgud, 1904-2000). Other passengers on the train include the Countess Andrenyi (Jacqueline Bisset), Greta Ohlsson (Ingrid Bergman, 1915-1982), Mrs. Harriet Belinda Hubbard (Lauren Bacall), Colonel Arbuthnot (Sean Connery), Princess Dragomiroff (Wendy Hiller, 1912-2003), Mary Debenham (Vanessa Redgrave), Hildegarde (Rachel Roberts, 1927-1980), Count Andrenyi (Michael York), Mr. Hardman (Colin Blakely, 1930-1987) and Signor Bianchi (Martin Balsam, 1914-1996). The conductor was Pierre Paul Michel (Jean-Pierre Cassel). One night with the train en route, Mr. Ratchett was murdered. When Poirot learns this, he begins an immediate investigation in the hopes of finding the murderer before the train reaches its next scheduled stop. As Poirot questions the passengers, he is amazed that many of them may share something in common from many years earlier. Tension on board mounts when the train becomes trapped following an avalanche covering the tracks ahead of it. Before the tracks can be cleared, can Poirot solve this very mysterious murder on board the Orient Express? You'll have to watch this very well made film to understand the mystery.

In addition to Albert Finney's Oscar nomination for Best Actor, "Murder on the Orient Express" received four other nominations including Best Cinematography, Best Costume Design, Best Original Score and Best Adapted Screenplay. Ingrid Bergman won her nomination for Best Supporting Actress. Overall, I rate this outstanding film with 5 out of 5 stars. It is a tribute to the great mystery and literary skills that Agatha Christie shared with the world in her many novels. I highly recommend the purchase of this film that is being released on DVD, which, thankfully, is in widescreen format.

Overall good, but as for Finney's Poirot...mon dieu!
One of Agatha Christie's most famous mysteries was adapted to the big screen in 1974, two years before the author died. Murder On The Orient Express was the first in a brief series of cinematic and TV movie Christie adaptations continuing with Death on The Nile, Evil Under The Sun, Easy To Kill, A Caribbean Mystery, The Mirror Crack'd, and Appointment With Death.

Mr. Ratchett, an American businessman, tries to employ Poirot after he has been getting threatening letters. Poirot turns him down, and the following morning, he is found dead in bed from multiple stab wounds. Clearly, it was someone on the coach, but who? And before the murder, there was a lot of weird activity going on. Someone wearing a fancy nightgown knocks on Poirot's door. Ms. Hubbard calls the wagon-lit conductor and reports a man in her room.

There then follows the usual Poirot method of questioning the suspects one by one, sifting out lies and clues, of which he notices there are too many, after speaking to them. Poirot discovers that Ratchett was the mastermind behind the kidnapping of Daisy Armstrong, a young girl who was ransomed and murdered despite the money being paid. But Daisy was not the only casualty. A maid was falsely blamed in collusion and committed suicide. Ms. Armstrong gave birth to a stillborn child and died later, and Colonel Armstrong ended up shooting himself.

One of the key motifs of Christie mysteries and others was the use of flashbacks to accompany testimony of the people being interrogated, as well as the denouement, where in tried and true Christie fashion, Poirot gathers everyone in the room and tells them who did it, with scenes of what actually happened, something used in the later movie adaptations.

Murder On The Orient Express boasts an all-star cast of the top draws at the time, Sean Connery (Colonel Arbuthnot), Vanessa Redgrave (Miss Debenheim), Jacqueline Bisset (Countess Andrenyi), and Anthony Perkins (Hector McQueen), as well as some old veterans such as Dame Wendy Hiller (Countess Dragomiroff), Martin Balsam (Mr. Bianchi), Richard Widmark (Ratchett), and George Coulouris (Doctor Constantine). Despite being more svelte than the character to the novel, Lauren Bacall is the strongest actress as Harriet Hubbard, and one who exasperates Poirot and the other passengers with her aggressive bossiness, although her character's name was Caroline Martha Hubbard in the novel. Ingrid Bergman won her third Oscar, albeit for Best Supporting Actress as the simple-minded Greta Ohlson.

Some changes made in the movie is John Gielgud as the elderly and masterfully unflappable valet Biddoes. In the novel, it was Edward Masterman, who was 39 years old! And originally, Mr. Bianchi was a Monsieur Bouc, a fellow Belgian friend of Poirot. And the second set of interviews with the suspects is deleted from the movie. Other than that, I was surprised that the movie more of less followed the book.

There is a splashy elegance to the whole thing. The music veers from the sumptuous glamorous orchestra to the eerie horror sounds given in the prologue and in the reenactment of the murder. However, the biggest debit is Albert Finney (Poirot), who doesn't fit Agatha Christie's famed dignified Belgian sleuth. He's tall, has a rough voice, laughs like he's on drugs, and looks more like a grotesque gargoyle than a calm and refined gentleman. A pity David Suchet wasn't born sooner, as Peter Ustinov's Poirot is only slightly better. ... Read more

Description

Considered by many to be the greatest Hollywood movie ever made, this WW2 classic takes place in war-torn Casablanca and tells the tale of mysterious nightclub owner Bogart and his old Flame (Bergman), her husband, underground leader (Heinreid), and other skeletons from his past. Won 3 Oscars - Best Picture, Director, and Screenplay. ... Read more

Reviews (359)

Even After So Much Time Has Gone By
Only Citizen Kane was ranked higher when the American Film Institute announced its list of "America's Greatest Movies." (The Godfather, Gone with the Wind, and Lawrence of Arabia complete the top five.) My own opinion is that AFI ranked Casablanca higher than it deserves. Nonetheless, the film remains immensely popular among critics and film historians as well as so-called movie buffs. It received an Academy Award as best film in 1943, as did Michael Curtiz for directing it. Bogart and Bergman are joined by an especially strong supporting cast (notably Greenstreet, Henreid, Lorre, Rains, and Veidt). There really isn't much to the plot but the dialogue is first-rate. (Philip Epstein, Julius Epstein, and Howard W. Koch shared an Oscar for best screenplay.) It is tempting to over-analyze this film by, for example, devoting excessive attention to American versus European sensibilities during World War II, the conflict between what Rick and Ilsa want to do with what they think they ought to do, etc.

Obviously, the war in progress outside of Rick's cafe cannot be denied although he makes every effort to insulate himself and his clientele from it. There is no shortage of social and political issues and yet, in my opinion, the significance of the film -- and its enduring appeal -- is explained by the development of the relationship between Rick and Ilsa. The final resolution is necessarily somewhat ambiguous, I think, precisely because the relationship between two people in war time faces quite different challenges, obligations, and implications than it would otherwise. Ultimately, having recently seen this film again in a special edition, accompanied by an abundance of supplementary features (e.g. Roger Ebert's commentary, Lauren Bacall's Introduction, and about ten minutes of additional scenes and out takes), I think the film now has a special symbolic significance which could not have been evident when it was released in 1942. More specifically, it somehow dramatizes what so many of us also struggle with when seeking a balance of obligations to ourselves and to others as well as to certain values which sustain the human race, especially during crises which threaten its survival. Perhaps I make too much of this film but these are among the reasons why it continues to hold special meaning for me.

Rounding Up the Usual Suspects
(To the reader: This review is about the original MGM DVD release and NOT about the 2-disc edition just released.)

Casablanca!

The very name conjures up an exotic mix of adventure, intrigue, heroism, selfless sacrifice, and romance. Hear the title of this 1942 Best Picture winner and your memory will provide you with images of Humphrey Bogart, Ingrid Bergman, Paul Henreid, Dooley Wilson, Peter Lorre, and Claude Rains. Or maybe you'll hear snatches of Max Steiner's unforgettable score, with its interpolation of Herman Hupfeld's "As Time Goes By" and the stirring strains of "The Marsellaise."

Based on the stage play "Everybody Comes to Rick's" by Murray Burnett and Joan Allison, the movie tells a dramatic story of refugees fleeing from wartorn Europe and making a perilous trip to Casablanca in French Morocco. It is December 1941 and that French colony is under the control of "unoccupied France." Ostensibly neutral in World War II, Vichy France is nevertheless a German vassal state, as the arrival of Major Strasser (Conrad Veldt) clearly demonstrates.

Strasser's mission in Casablanca: to stop Czech underground leader Victor Laszlo (Henreid) from obtaining one of two exit visas stolen from two murdered German couriers and escaping from the Gestapo. Having tracked the defiant Laszlo after his escape from a Nazi concentration camp, Strasser is determined to capture the symbol of anti-Nazi resistance once and for all.

Accompanying Laszlo is the beautiful Ilsa Lund (Bergman), a young Norweigan student whom he married in secret before he was captured by the Gestapo in 1940. Devoted to her husband and his great cause, Ilsa has been at his side since Laszlo's miraculous escape and sudden reappearance in Paris.

Unbeknownst to Laszlo, however, his fate will now rest in the hands of American saloonkeeper Rick Blaine (Bogart). In the months following Victor's escape from the concentration camp he was reported as "presumed dead." In loneliness and despair, the grieving Ilsa met and fell in love with Rick in Paris shortly before the German occupation began. For a brief time the lovers were together, only to tragically part ways when news of Laszlo's return reached Ilsa.

Now, in the eve of America's entry into World War II, Victor Laszlo's fate hangs on the conflicting emotions felt by both Rick and Ilsa, as well as the shifting loyalties of French police Capt. Louis Renault (Rains).

The screenplay by Julius J. and Philip G. Epstein and Howard Koch is a wonderful mixture of romance, intrigue, drama and comedy (the latter provided both by colorful characters and witty exchanges). Director Michael Curtiz and producer Hal B. Wallis made Casablanca as one of many movies produced in 1942, never knowing that it would become a classic of Hollywood's Golden Era.

"As Time Goes By" This Is The Best Film You'll Ever See
From the first frame of "Casablanca" you know you are about to watch something special. There is not a moment in the film where you will find yourself bored or overwhelmed. It is perfect in every way. I have seen many films in my time and I am only 17. I have an extensive collection of over 180 DVDs and this is by far my most prized. I saw this film for the first time exactly one year ago and purchased this Two-Disc Special Edition the day it came out. Not a day goes by when this film does not pop into my mind.

There are many movies but very few great films. The few include Gone With the Wind, Wizard of Oz, Lawrence of Arabia, Schindler's List, The Godfather, and, of course, the rarely seen Imitation of Life. This is at the head of those. It is at the head of all films.

"Casablanca" is about Rick (Humphrey Bogart), the owner of an American bar in Morroco, who is visited by Ilsa (Ingrid Bergman), the object of a love affair in Paris a few years earlier. She is accompanied by her husband (Paul Heinreid) who knows nothing of this but is only interested in acheiving two exit visas because they are both wanted. What follows is the most romantic and thrilling film of all time.

The DVD transfer is nothing short of miraculous. The film looks like it had been filmed today in B & W. Even the mono soundtrack sounds breathtaking. The DVD does not shy away from some amazing special features. I don't want to spoil them but anyone will find them interesting. I promise you this is one of the finest DVD packages on the market.

So go out now and buy the film that recieved three Academy Awards for Best Picture, Best Director, and Best Screenplay; the film that was called the Second Greatest Film of All Time on the AFI's 100 Best List (it's second to Citizen Kane); and also called the Most Romantic Film of All Time by the AFI's 100 Most Romantic Films.

"Play it again, Sam."

Best Gin Joint in the world!
Simply the best movie ever made.
Bogie at his best, Bergman as always splendid! Add in a wonderful supporting cast headed by Peter Lorre, and the result is the perfect bittersweet love story. A must have for any Bogart fan, and a must see for everyone!

Black & White For A Reason
Ah, kids today. "Man, it's crap if there's no color to assist my info-ladened cranium!" Get a life. It's "Casablanca", for God's sake. It NEEDS to stay in B&W format. And, might I say, this film is a cult classic for more reasons than just minimalist acting. Dialogue: Heard of it, kids? It's what actors used to do instead of blowing (...)up or flying through the air in front of a blue screen. I love my DVD of "Casablanca", and cherish the fact that I don't have to rewind a tape to get to some of my favorite quotes. ... Read more

Description

In Notorious, a brilliant allegeory of love and betrayal, Hitchcock fuses two of his favorite elements: suspense and romance.A beautiful woman with a tainted past (Ingrid Bergman) is enlisted by American agent Devlin (Cary Grant) to spy on a ring of Nazis in post-war Rio.Her espionage work becomes life-threatening after she marries the most debonair of the Nazi ring, Alex (Claude Rains).Only Devlin can rescue her, but to do so he must face his role in her desperate situation and acknowledge that he's loved her all along.Stunning performances, Ben Hecht's excellent script, and Hitchcock's direction at its best make Notorious a perfect film. ... Read more

Reviews (103)

beautifully restored film with lots of dvd bonus features
It doesn't get much better than this -- a Hitchcock film starring Ingrid Bergman, Cary Grant and Claude Raines! What a treat it is to see all of this talent -- behind, and in front of, the camera. The story of a star-crossed romance set against the backdrop of post-WWII Miami and Rio, the film has a great script and terrific acting. The direction is awesome; Hitchcock did some wonderful camera work here -- innovative tracking and crane shots that are a delight to see.

This Criterion Collection DVD edition is more expensive but I think it's worth it -- a lot of time and effort have been taken to restore the film and the soundtrack, and it really looks and sounds great. Also, the many bonus features are excellent: excerpts from 'The Song of the Dragon', a two-part Saturday Evening Post short story on which the film was based; fascinating production correspondence by David O. Selznick, Ingrid Bergman, J. Edgar Hoover and the head of the Production Code Administration (censors); rear projection and production stills, including wonderful shots of the scaffolding used to get that breathtaking crane shot from a stairtop balcony right down to the key in Bergman's hand; script excerpts from deleted scenes and alternative endings; a music and sound effects only track; trailers; the complete 1948 Lux radio Theatre version of the story, starring Ingrid Bergman and Joseph Cotten; terrific voiceover narration with film scholar Marian Keene discussing artistic choices and film historian Rudy Behlmer discussing technique; and a touching story about the fate of the Unica key -- the one used in the film. Language and subtitles are English only.

This is a wonderful package for one of Hitchcock's best films. Highly recommended.

Beautifully Restored Film Classic
This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

Criterion Disappoints.
This is the first Criterion DVD that I've ever owned. I must say, I was pretty surprised by the price, but promises of extra treatment over standard editions of this movie convinced me to go the extra mile and pay twice as much. Notorious is, perhaps, my favorite movie with Cary Grant. Bergman's performance is excellent, to say the least (I think I'm in love with her now). The way that she passionately kisses Mr. Grant excites like no movies can. The look in her eyes makes her seem as though she is truly in love with him; which is exceptional for "acting". Grant's response seem almost insensitive, rejecting her for her "ways". It's very convincing work. The connection between the two characters amazes me, and the movie seems way ahead of its time. Claude Raines plays an overlooked (but perhaps the most important) performance that amazes me as well. Its definately a movie for all fans of classics to own. There's no doubt, in my mind, that this is deserving of 5 stars. It's probably one of my favorite classic films.

I have no regrets with buying this movie, but I feel very let-down by Criterion. Their attempts do not justify the jacked-up cost. The extras, at best, are pretty disappointing. The RKO radio broadcast (which is the best inclusion) is fairly sub-par in comparison to the film, especially since it was cut short to fit into 60 minutes. The "deleted scenes" and extras are merely text descriptions in most cases. All of this is material that has been in the Internet fan sites for years. As for the quality of the film; I'm neither impressed nor disappointed. The crispness of the film is certainly excpetional, but it almost feels a bit unnatural for such an old film. The "graininess" that many complain of is visable on a high-res TV or monitor (I watched on my standard TV and my PC as well), but it seems to be inherent in the film master itself. Dust particles and artifacts are pretty typical on older movies. Not bad, but not breathtaking. I'm happy with the video and audio quality.

Overall, it's a 5-star movie, but Criterion's effort is a 3 or 4 star attempt for the severe price-inflation. Unless you really must have this version, I can't see why the Anchor Bay release wouldn't be a suitable alternative. The picture quality is different, but each is nice in its own way. I will probably own both (in addition to possible future releases).

Neglected Classic
When I say neglected, I mean in comparison to other Hitchcock films. When people talk about Hitchcock, rarely does this film get mentioned. I think it stands alongside Sir Alfred's best work. Right up there w/ Rear Window, Vertigo and North By Northwest. Spectacular performances by Grant (a CIA g-man doing his job), Bergman ( a woman trapped by her past), Rains (a craven, cowardly, weak mama's boy) and Konstantin (an Austrian actress in her final film role playing the evil and sceming mother). Very realistic, conflicted and not particularly sympthetic characters. Hitchcock displays a perfect knack for creeping dread and a perfect final touch.

Shows How Much Love Hurts
I've always liked Notorious, but, until recently, it hasn't been one of my absolute favorite Hitchcock films. However, recently I've gained an appreciation for Alfred Hitchcock's more personal films. Lighter, more humorous films like The 39 Steps, The Lady Vanishes, Strangers on a Train, Rear Window, North By Northwest, Psycho (Hitch called this a black comedy), The Birds and Frenzy, to name a few, are masterpieces and rank among my favorite films of all time. But the films I have gained much more appreciation for in the past few years are those like Shadow of a Doubt, Vertigo and Notorious. Shadow of a Doubt showed that monsters can live among us, even in the most innocuous of settings and may even be someone we care about. Vertigo showed obsessive love taken to the extreme with deadly consequences. And Notorious shows just how hard it can be for someone to express love for another.

Like in many of Hitchcock's films, the central point of the story is masked by a plotline of suspense and intrigue. In this case, Alicia Huberman (Ingrid Bergman) must marry Alexander Sebastian (Claude Rains), an ex-Nazi in exile in Brazil, in order to infiltrate his organization. With the help of U.S. agent Devlin (Cary Grant), she finds out that Sebastian is stockpiling uranium (the MacGuffin). On the surface, it's a straightforward espionage tale.

However, the film, at its very core, is a tale of frustrated love. Specifically, Devlin can't bring himself to express what he feels for Alicia and must watch helplessly while she marries Sebastian. Devlin knows that he would jeopardize the entire mission if he tells Alicia he loves her and this repression begins to eat him up inside. Even at the beginning of the film when Alicia has fallen deeply in love with Devlin and tell him so, he can't bring himself to return that love, even though he feels just as she does. Cary Grant, usually charming, plays one of his darkest roles brilliantly. He shows his longing for Alicia in every expression on his face. Ingrid Bergman, likewise, shows the frustration of having to marry a man she despises while pining for the affections of the man she truly loves -- a man she thinks doesn't love her. The emotions onscreen are sometimes so raw its almost painful to watch. When Devlin finally tells Alicia how he really feels about her at the climax of the film, the scene ranks as one of the most emotional in screen history.

The movies often make it seem so easy to find true love. In Notorious, however, Alfred Hitchcock shows how painful and just how difficult it is to just say, "I love you" to someone you care about. Everyone has had situations where they were too afraid to tell someone they cared about that they loved him/her and have wondered what would have happened had they done so. It's agonizing to think that you may have missed your chance for happiness with someone who loves you as much as you love them. Alfred Hitchcock brilliantly recognizes those feelings in Notorious -- that's what makes this one of his best. ... Read more

Reviews (359)

Even After So Much Time Has Gone By
Only Citizen Kane was ranked higher when the American Film Institute announced its list of "America's Greatest Movies." (The Godfather, Gone with the Wind, and Lawrence of Arabia complete the top five.) My own opinion is that AFI ranked Casablanca higher than it deserves. Nonetheless, the film remains immensely popular among critics and film historians as well as so-called movie buffs. It received an Academy Award as best film in 1943, as did Michael Curtiz for directing it. Bogart and Bergman are joined by an especially strong supporting cast (notably Greenstreet, Henreid, Lorre, Rains, and Veidt). There really isn't much to the plot but the dialogue is first-rate. (Philip Epstein, Julius Epstein, and Howard W. Koch shared an Oscar for best screenplay.) It is tempting to over-analyze this film by, for example, devoting excessive attention to American versus European sensibilities during World War II, the conflict between what Rick and Ilsa want to do with what they think they ought to do, etc.

Obviously, the war in progress outside of Rick's cafe cannot be denied although he makes every effort to insulate himself and his clientele from it. There is no shortage of social and political issues and yet, in my opinion, the significance of the film -- and its enduring appeal -- is explained by the development of the relationship between Rick and Ilsa. The final resolution is necessarily somewhat ambiguous, I think, precisely because the relationship between two people in war time faces quite different challenges, obligations, and implications than it would otherwise. Ultimately, having recently seen this film again in a special edition, accompanied by an abundance of supplementary features (e.g. Roger Ebert's commentary, Lauren Bacall's Introduction, and about ten minutes of additional scenes and out takes), I think the film now has a special symbolic significance which could not have been evident when it was released in 1942. More specifically, it somehow dramatizes what so many of us also struggle with when seeking a balance of obligations to ourselves and to others as well as to certain values which sustain the human race, especially during crises which threaten its survival. Perhaps I make too much of this film but these are among the reasons why it continues to hold special meaning for me.

Rounding Up the Usual Suspects
(To the reader: This review is about the original MGM DVD release and NOT about the 2-disc edition just released.)

Casablanca!

The very name conjures up an exotic mix of adventure, intrigue, heroism, selfless sacrifice, and romance. Hear the title of this 1942 Best Picture winner and your memory will provide you with images of Humphrey Bogart, Ingrid Bergman, Paul Henreid, Dooley Wilson, Peter Lorre, and Claude Rains. Or maybe you'll hear snatches of Max Steiner's unforgettable score, with its interpolation of Herman Hupfeld's "As Time Goes By" and the stirring strains of "The Marsellaise."

Based on the stage play "Everybody Comes to Rick's" by Murray Burnett and Joan Allison, the movie tells a dramatic story of refugees fleeing from wartorn Europe and making a perilous trip to Casablanca in French Morocco. It is December 1941 and that French colony is under the control of "unoccupied France." Ostensibly neutral in World War II, Vichy France is nevertheless a German vassal state, as the arrival of Major Strasser (Conrad Veldt) clearly demonstrates.

Strasser's mission in Casablanca: to stop Czech underground leader Victor Laszlo (Henreid) from obtaining one of two exit visas stolen from two murdered German couriers and escaping from the Gestapo. Having tracked the defiant Laszlo after his escape from a Nazi concentration camp, Strasser is determined to capture the symbol of anti-Nazi resistance once and for all.

Accompanying Laszlo is the beautiful Ilsa Lund (Bergman), a young Norweigan student whom he married in secret before he was captured by the Gestapo in 1940. Devoted to her husband and his great cause, Ilsa has been at his side since Laszlo's miraculous escape and sudden reappearance in Paris.

Unbeknownst to Laszlo, however, his fate will now rest in the hands of American saloonkeeper Rick Blaine (Bogart). In the months following Victor's escape from the concentration camp he was reported as "presumed dead." In loneliness and despair, the grieving Ilsa met and fell in love with Rick in Paris shortly before the German occupation began. For a brief time the lovers were together, only to tragically part ways when news of Laszlo's return reached Ilsa.

Now, in the eve of America's entry into World War II, Victor Laszlo's fate hangs on the conflicting emotions felt by both Rick and Ilsa, as well as the shifting loyalties of French police Capt. Louis Renault (Rains).

The screenplay by Julius J. and Philip G. Epstein and Howard Koch is a wonderful mixture of romance, intrigue, drama and comedy (the latter provided both by colorful characters and witty exchanges). Director Michael Curtiz and producer Hal B. Wallis made Casablanca as one of many movies produced in 1942, never knowing that it would become a classic of Hollywood's Golden Era.

"As Time Goes By" This Is The Best Film You'll Ever See
From the first frame of "Casablanca" you know you are about to watch something special. There is not a moment in the film where you will find yourself bored or overwhelmed. It is perfect in every way. I have seen many films in my time and I am only 17. I have an extensive collection of over 180 DVDs and this is by far my most prized. I saw this film for the first time exactly one year ago and purchased this Two-Disc Special Edition the day it came out. Not a day goes by when this film does not pop into my mind.

There are many movies but very few great films. The few include Gone With the Wind, Wizard of Oz, Lawrence of Arabia, Schindler's List, The Godfather, and, of course, the rarely seen Imitation of Life. This is at the head of those. It is at the head of all films.

"Casablanca" is about Rick (Humphrey Bogart), the owner of an American bar in Morroco, who is visited by Ilsa (Ingrid Bergman), the object of a love affair in Paris a few years earlier. She is accompanied by her husband (Paul Heinreid) who knows nothing of this but is only interested in acheiving two exit visas because they are both wanted. What follows is the most romantic and thrilling film of all time.

The DVD transfer is nothing short of miraculous. The film looks like it had been filmed today in B & W. Even the mono soundtrack sounds breathtaking. The DVD does not shy away from some amazing special features. I don't want to spoil them but anyone will find them interesting. I promise you this is one of the finest DVD packages on the market.

So go out now and buy the film that recieved three Academy Awards for Best Picture, Best Director, and Best Screenplay; the film that was called the Second Greatest Film of All Time on the AFI's 100 Best List (it's second to Citizen Kane); and also called the Most Romantic Film of All Time by the AFI's 100 Most Romantic Films.

"Play it again, Sam."

Best Gin Joint in the world!
Simply the best movie ever made.
Bogie at his best, Bergman as always splendid! Add in a wonderful supporting cast headed by Peter Lorre, and the result is the perfect bittersweet love story. A must have for any Bogart fan, and a must see for everyone!

Black & White For A Reason
Ah, kids today. "Man, it's crap if there's no color to assist my info-ladened cranium!" Get a life. It's "Casablanca", for God's sake. It NEEDS to stay in B&W format. And, might I say, this film is a cult classic for more reasons than just minimalist acting. Dialogue: Heard of it, kids? It's what actors used to do instead of blowing (...)up or flying through the air in front of a blue screen. I love my DVD of "Casablanca", and cherish the fact that I don't have to rewind a tape to get to some of my favorite quotes. ... Read more

Amazon.com

George Cukor helped transform a moody Victorian stage melodrama (previously filmed in Britain in 1939) into a gothic Hollywood romantic thriller. Ingrid Bergman stars as a meek, uncertain heiress courted and married in a whirlwind romance by the debonair Charles Boyer, but when they move back into her childhood home she begins losing her grip on reality and becomes convinced that her husband is trying to drive her insane. Joseph Cotten, rather stiff and colorless next to the anguished Bergman and charming and lively Boyer, is the heroic Scotland Yard detective who becomes enamored of the skittish woman who is slowly succumbing to madness. The grand, glorious sets and elegant photography recall Hitchcock's Rebecca, another lush Hollywood gothic melodrama of a retiring young wife overwhelmed by the history of her abode, and Gaslight is still assumed by some to be a Hitchcock film (the Bergman connection doesn't help the confusion). It's really a rather straightforward thriller with a forced plot device, but under Cukor's control the tightly constructed script is given the full MGM treatment, then reined in for intimate moments of harrowing suspense. Boyer brilliantly played off his continental lover reputation by adding an undercurrent of malevolence and Bergman won an Oscar for her haunted performance. It also marks the memorable debut of Angela Lansbury as a saucy maid unwittingly drawn into Boyer's master plan. --Sean Axmaker ... Read more

Reviews (14)

Hallelujah!
GASLIGHT is finally on DVD! And not just the 1944 suspense classic. This edition includes the complete British GASLIGHT made just a few years before in 1940. For years MGM actively supressed the older film giving rise to the legend that it was a far superior film. Now finally film buffs can view both and decide for themselves.

Both are terrific movies. For me, while the British version is leaner and faster, the Cukor film is by far the greater of the two. The relationship between Walbrook and Wynyard in the 1940 version is a well-played but two dimensional depiction of a tormentor and his victim. Boyer's and Bergman's characters are more complex and subtle in the 1944 film. There is a genuine romantic/sexual energy between them. While Boyer is sinister he also very charming and attractive. And you watch as the once-vibrant Bergman gives up her self confidence and becomes emotionally dependent on Boyer a little bit at a time. And what can you say about the amoral delinquent maid of Angela Lansbury? That alone is worth the price of admission!

A great movie and a very good movie. Buy the DVD and enjoy them both!

Wow!! It's about time!!!!
It is truly incredible that it has taken so long to get this film onto a DVD. We can only hope that the edition will do justice to this great film, easily in my personal top 10 of all time. It should have a commentary track, cast background, any outtakes, a documentary on earlier versions of the film, and the subsequent history of this version--something like that. It really deserves a first class treatment. Ingrid Bergman is stunningly beautiful and palpably anguished as the slowly-crumbling Paula. Charles Boyer is consummately dark and evil as the insidious husband. Angela Lansbury is the tasty tart of an upstairs maid. Joseph Cotten is suitably efficient and ardent as the heroic rescuer. No words can describe the atmosphere of this movie, the gem-like quality of the images, the nauseating effect of the heroine being driven mad..... Ah....think I'll pull out the VHS and savor it again--why wait until February!!!

Haunting and Gorgeous!!!
The DVD release of Gaslight is terrific. The inclusion of both film versions is a great treat because both films are definitely worth seeing; perhaps they even deserve a back to back viewing. The 1944 version is somewhat superior because of the casting, but there are some terrific things, storywise, in the 1940 version that fare better.

The plot is simple yet satisfying: An unstable woman and her husband move back into her childhood home, where a murder had taken place years earlier. She slowly begins losing grip on reality and becomes convinced that her husband is trying to drive her insane. Or is he? It adds up to a diabolical, atmospheric thriller, which won Bergman her first, but not last, Oscar.

By today's standards GASLIGHT may be seen as slow-moving and obvious. But no modern film can match this picture's intricate psychology. Beautifully filmed in a gloomy, atmospheric black-and-white, GASLIGHT exhibits all the classic visual elements of '40s film noir. The attention to detail is more obvious than in many modern films and heightens the suspense. The benighted streets of London are cloaked with fog, and the large, lonely house where most of the action takes place, is filled with shadows and strange noises. The paranoid, claustrophobic world of Paula's confinement is also effectively conveyed. This is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation. It's a must!

A crafty, well-made thriller
Young Paula Alquist witnesses the murder of her Aunt Alice, a world-reknowned opera singer, in her own house. On the advice of family and friends, Paula moves out of the country, to live with a family friend. After many years, she falls in love with Gregory Anton, and he convinces her to move back into her Aunt's house. Nothign has changed since she left 10 years ago, but Gregoy persuades her to remove her Aunt's belongings in order to keep those painful memories at bay. Soon after moving in, though, strange things start to happen. The gaslights mysteriously dim each night, followed by strange noises coming from the closed off upper floor. Paula begins to lose and to misplace things, convinced by Gregory that she must rest or the strain would get to her. On one of their few outings, for she is somewhat unstable around the outside world, a strange recognizes her and soon discovers that things are not as they seem and that her husband maybe up to something involving her Aunt's hidden jewels which have never been found.

Director George Cukor presents a remarkably thrilling film, with superb acting from Ingrid Bergman (in an Oscar-winning performance) as Paula Alquist, Chalres Boyer as her mysterious husband Gregory Anton, Joseph Cotten as Inspector Brian Cameron, and Angela Lansbury in her first screen role as the maid Nancy Oliver. The captivating story of a woman struggling to maintain her sanity is marvelously portrayed on-screen. Bergman fills her character with enough frayed nerves and self-doubt that you feel right along with her. Boyer is both menacing and debonair and gives off just the right amount of malice to make you bite your nails as you watch the film.

This is a first-rate thriller that will keep you glued to the screen!

My Favorite Thriller!!!!!
I love this Movie!I first decided to watch this when I found out Angela Lansbury was in it,because she is my favorite actress.I saw it on Turner classic movies and I loved this movie ever since.This movie is so great with actress Ingrin Bergam and Actor Charles Boytermake this great as well.Do buy this movie. ... Read more

Description

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

Reviews (66)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why is that?

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

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

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

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

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

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

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

Reviews (13)

Pronounced "terror-men"
Leon Theremin was the Russian-born inventor of the electronic musical instrument that sounds like a fly buzzing but has a touching, yearning vibrato. It was used memorably on the Beach Boys song "Good Vibrations", in the TV series Lost in Space, and in several films including Spellbound, Lost Weekend and The Day the Earth Stood Still. Mr Theremin's life is as bizarre as his creation. At the height of his fame and wealth in New York in the 1920's, he was kidnapped by the KGB, who used his genius for bugging devices and other "bad things". Meanwhile, his student Clara Rockmore thrived as the theremin virtuoso in symphony orchestras. There is poignance in seeing the old Mr Theremin wandering the streets of New York, while the theremin plays "Lover, Come Back to Me" on the soundtrack, and in seeing him reunited with Clara. Watch out for a dazed and confused Brian Wilson.

Worth every penny
If you have ever had any interest in the theremin, you need to get this film.

There is extensive footage of Clara Rockmore playing the instrument, and her technique is amazing. She has developed a way to play scales by moving her fingers. You have to see it to believe it. I play the theremin and this film helped me out tremendously.

If you never heard of a theremin, the film is worth watching anyway, because you don't see too many documentary films with this much intrigue and depth. Plus, you get to see Brian Wilson's whacked out explanation of the 60s. Really funny.

Leon Theremin had every reason in the world to give up and die, and instead, he kept living. He is a true giant among human beings. The last 10 minutes of the film are sublime.

This is not an action movie. It's a documentary.

But it's one of the best documentary films I've ever seen.

Good ending. Buy it.

A Loving Homage to the Art of Invention
"Theremin" is a captivating, eighty-two minute portrait, of the late Russian musical inventor Leonard Theremin. The film describes the life of Professor Theremin's social circle, which was located in New York City during the 1920's and 30's. The instrument that bears his name, along with a range of other exotic musical instruments and inventions, were born during this unique period.

A special attribute of the film is that Director Steve Martin has sought out, and then interviewed, a range of talented musicians, dancers and composers. These artists have made direct contributions toward bringing the sound of Professor Theremin's instrument, from the inventor's basement laboratory, into the consciousness of the American public.

Robert Moog, whose modular synthesizers revolutionized musical production, spent his teenage years building Theremin's from the plans of a hobbyist magazine. Moog claims that Leon Theremin's work is the cornerstone of the use of electronics in musical instrument design.

The film shows that concerts performed by Clara Rockmore to the accompaniment of major symphony orchestras, went a long way towards gaining the acceptance of the Theremin as a serious musical instrument. The Theremin was also popularized by Hollywood, with its use in films such as "The Day the Earth Stood Still".

An interesting subplot of the film describes Professor Theremin's abduction from his 57th Street New York apartment, with his subsequent rediscovery, in Russia, some fifty years later. "Theremin, An Electronic Odyssey" is a documentary film that both informs and surprises. It is highly recommended viewing for all fans of electronic music.

Very good information
This video is full of excellent samples of the instrument being played - alone, in concert, with other theremins, modern as well as classical musical styles.

It is a bit long for classroom use (1 hr. 23 minutes). It could have been condensed a bit.

Word of warning: 2 instances of objectionable language which would not be suitable for younger classrooms.

Otherwise, very enjoyable and we learned alot.

Only skims the surface.
A documentary on my favourite musical instrument, the theremin ! It has all the "big players" for theremin enthusiasts : Leon Theremin, inventor of the theremin, Clara Rockmore, the most well-known theremin player, and Robert Moog, maker of theremins and a big figure in electronic music.

Léon Théremin was the prototypical mad scientist, except for real. Emigrated from Russia, he pioneered the realm of electronic music by inventing the theremin, an electronic cello, and other wonderful things. The Russian government did what statist governments do best, ruin Prof. Theremin's career by kidnapping him and trying to get his secrets. Consequently the theremin and other electronic instruments of its type became mere curiosities and B-movie instruments.

It is difficult not to shed a tear at the dramatic Theremin pieces being played by Rockmore and others. Also, an incredible piece for ten theremins, which was directed by Theremin himself, is played for a short moment. Why not play more of that piece ? We also see Theremin himself play, and discuss the theremin. The documentary itself only skims the surface, only hitting the obvious payoffs. ... Read more

Description

Walter Matthau stars as Julian Winston, an easy-going bachelor dentist whose delicately balanced scheme crumbles under some unexpected circumstances. Winston is stringing along his dizzy blonde mistress, Toni (Goldie Hawn), by telling her he has a wife and children. When he learns that Toni has tried to commit suicide over him, however, he promises to marry her. Toni, refusing to be a homewrecker, insists on meeting Winston's wife. He convinces Stephanie (Bergman)--his starched, no-nonsense receptionist--to pose as his wife, and there are unforeseen twists and surprises for everyone. ... Read more

Reviews (22)

A Romantic Love Classic
This film is really rather a classical love story will stay in my heart forever. In my opinion, no one can see this film remaining indifferent or apathetic without feeling the incomparable charm of Ingrid Bergman¡¯s and Yul Brynner¡¯s throughout the story. As I remember, the first time I saw the film, it had already been on for about 1 hour on TV. Even if I didn¡¯t see it completely, I was still fascinated by both the complicated plot of the story and the wonderful performances of the actors/actresses. Some scenes in the film were very humorous. And the music which showed the characteristic of Russia in it also leave a deep impression on me. Now I have seen this film for several times, but every time I saw it, it always moved me a lot. Having seen many other films acted by Bergman or Brynner, I still think ¡®Anastasia¡¯ is the one I like the most. Without kisses, embraces or sweet conversations, it would still be a romantic love classic forever. As a woman who roamed the streets, Anna might be the Grand Duchess of Russia or even only a poor, bewildered person. And what she only wanted was love. Since no one accepted her, no one cared about her, she even had a feeling suicidal. Then a Russian general found her and saved her. He wanted to train her to be Anastasia---the youngest daughter of Russia¡¯s last czar. What only attracted him was the ten million pounds. Bergman was weak, tender and gentle, on the opposite, Brynner was stern, hard and sharp. Is there any possibility that she would be able to change him? In the film, there were many very excellent details that showed the subtle relation between Anna and Bounine. On the one hand, Anna hated him for his only wish for money, hated his using her for his own purpose, hated his not understanding what she really longed for was. On the other hand, she had fallen in love with him. Therefore, she tried flirting with Prince Paul (her former fiance), trying to make Bounine feel jealous. Bergman¡¯s performance was so subtle, ingenious that make the story much more lively. Even if general Bounine was in love with her, too, he didn¡¯t show any concern on the surface. He wanted the money of the legacy, but he loved her more. He seemed rather fierce, but is kind at heart. How many ¡®contradictions¡¯! At the end of the story, Anna succeeded in changing him. The scene which left the deepest impression on me was their last conversation just before the ball. They tried to convey their real feelings to each other. But there were so many problems existing between them. Money or Love? The ending of he story was to be expected but unexpected as well. When Anastasia left from her grandmother again, who was so kind, was so approachable, was the person she had wanted to see for so many years. How sad she was at that moment! I was greatly touched by this scene. In the end, Anna and Bounine ran away to seek for their own happiness renouncing their claim to the money, in spite of the public. I supposed that Yul Brynner might be a most suitable actor to act the white Russian general. His looks, his expression, his posture, his performance, even his bald head were very great. The performances of the other actors/actresses (especially Helen Hayes and Martita Hunt) were also wonderful ones. Everyone must be deeply moved by Anastasia¡¯s close relation with her grandma particularly. The film was also memorable for the acting of the two main characters. The story told us that money or position doesn¡¯t mean love, happiness and freedom. In the film or in the real life, no matter what Anna was, whether she was real or just a imposter, it doesn¡¯t really matter. The most important thing is that the film showed us a history, a mystery, or even a legend. This film was written, directed, acted very well. When it was made in the 1950s, even my parents had not been born. But time doesn¡¯t mean discrepancy, either. I¡¯ll love the romantic splendid love story forever and I¡¯m quite sure that it would always be a classic in the film history forever.

A Romantic Love Classic Forever
This film is really rather a classical love story that will stay in my heart forever. In my opinion, no one can see this film remaining indifferent or apathetic without feeling the incomparable charm of Ingrid Bergman¡¯s and Yul Brynner¡¯s throughout the story. As I remember, the first time I saw the film, it had already been on for about 1 hour on TV. Even if I didn¡¯t see it completely, I was still fascinated by both the complicated plot of the story and the wonderful performances of the actors/actresses. Some scenes in the film were very humorous. And the music that showed the characteristic of Russia in it also left a deep impression on me. Now I have seen this film for several times, but every time I saw it, it always stirred me a lot. Having seen many other films acted by Bergman or Brynner, I still think ¡®Anastasia¡¯ is the one I like most. Without kisses, embraces or sweet conversations, it would still be a romantic love classic forever. As a woman who roamed the streets, Anna might be the Grand Duchess of Russia or even only a poor, bewildered person. She had suffered terribly for a long time and what she only wanted was being accepted. Since no one cared about her, she even had a feeling suicidal.At the begining,though acting a woman who was in dire straits, Bergman still had a unique noble disposition just like a princess wandering destitute far from home. Then a Russian general saved her and changed her life. He wanted to train her to be Anastasia---the youngest daughter of Russia¡¯s last czar. The only thing attracted him was the ten million pounds. Bergman was weak, tender and gentle, on the opposite, Brynner was stern, hard and sharp. Is there any possibility that she would be able to change him? In the film, there were many excellent details that showed the subtle relation between Anna and Bounine. On the one hand, Anna hated him for his only wish for money, hated his using her for his own purpose, hated his not understanding what she really longed for was. On the other hand, she had fallen in love with him. Therefore, she tried flirting with Prince Paul (her former fiance), trying to make Bounine feel jealous. Bergman¡¯s performance was so subtle, ingenious that make the story much more lively. Even if general Bounine was in love with her in spite of himself, too, he didn¡¯t show any concern on the surface. He wanted the money of the legacy, but he loved her more. He seemed rather fierce, but was kind at heart. How many ¡®contradictions¡¯! The scene that left the deepest impression on me was their last conversation just before the ball. They tried to convey their real feelings to each other. But there were so many problems existing between them. At the end of the story, Anna succeeded in changing him. Money or love? The ending of the story was to be expected but unexpected as well. When Anastasia left from her grandmother again, who was so kind, was so approachable, was the person she had wanted to see for so many years, how sad she was at that moment! I was greatly touched by this scene.... I supposed that Yul Brynner might be a most suitable actor to act the white Russian general. His looks, his expression, his posture, his acting, even his bald head were very great. And he had a quite different glamour that made him always attractive. The performances of the other actors/actresses (especially Helen Hayes and Martita Hunt) were also wonderful ones. Everyone must be deeply moved by Anastasia¡¯s close relation with her grandma particularly. The film was also memorable for the acting of the two main characters. It told us that money and position don¡¯t mean love, happiness and freedom. In the film or in the real life, no matter what Anna was, whether she was real or just an imposter, it doesn¡¯t really matter. The most important thing is that the film showed us a history, a mystery, or even a legend. This film was written, directed and acted very well. When it was made in the 1950s, even my parents had not been born. But time doesn¡¯t mean discrepancy, either. I¡¯ll always love this romantic splendid love story and I¡¯m quite sure that it will be a classic in the film history forever.

Anastasia
Great Movie - Horrible DVD! I'm rating this one star because the DVD quality is so bad. For the first time, I'm in the process of returning an item to Amazon. This makes me sad because I love this film and wanted to add this to my growing collection of classic films in my DVD Library. The sound is not always in synch and the volume goes up and down. The sound is absolutely terrible!