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

Amazon.com

Novelist Evan Hunter burst America's postwar bubble when he described an inner-city school terrorized by switchblade-wielding juvenile delinquents. Director-screenwriter Richard Brooks's 1955 adaptation of Blackboard Jungle still packs a tremendous wallop (even if it was shot mostly on the back lot). A forerunner of Rebel Without a Cause and West Side Story, this black-and-white classic--set to Bill Haley and His Comets' "Rock Around the Clock"--is part exposé, part melodrama, part public-service announcement. "It is the frankest, the toughest, the most realistic film since On the Waterfront," ballyhooed MGM at the time.

Glenn Ford, at his slow-to-rile best, plays Richard Dadier, an incoming English teacher at North Manual High School. An idealist who knows how to handle himself in a dark alley, Dadier stands his ground and earns the begrudging respect of school thugs led by Vic Morrow and Sidney Poitier. Anne Francis plays Ford's especially vulnerable wife; Richard Kiley (later in Brooks's Looking for Mr. Goodbar) is the timid math teacher with the priceless jazz-record collection; Louis Calhern and John Hoyt are among the more cynical North Manual High veterans. See if you can ID Jamie Farr and director Paul Mazursky as gang members. The film was nominated for four Oscars. --Glenn Lovell ... Read more

Reviews (15)

More Exploitation Than Exploration of Juvenile Delinquency
"The Blackboard Jungle" raises many interesting questions about the root causes of student apathy and delinquency in the inner-city schools.At the same time it seems to wallow in the most extreme behavior of students i.e. a near rape of an attractive female teacher, multiple assaults on teachers, a student brandishing a switchblade in the classroom.One character is enigmatic to me, the Artie West character played by Vic Morrow.Not to say that Morrow doesn't play the character well because he is sufficiently menacing but it seemed over-the-top for the film.There is much to recommend in this film particularly the starring role of Richard Dadier played by Glenn Ford.Ford's solid acting keeps the film from veering into melodrama.A young Sidney Poitier as Gregory Miller, a gifted student whose superior intellect is wasted in this apathetic environment, does a charismatic turn.In a note of irony, in 1967 Poitier portrayed a teacher attempting to make a difference in an inner-city school in what I feel is a superior film, "To Sir, With Love".

"Jungle" vs. "Rebel"
"Blackboard Jungle" vs. "Rebel Without A Cause". The two most provocative films of juvenile delinquency from the same year. Both have their own identity and attitude. Here's how they compare in the "Tale of the Tape(or DVD)":

Turf:

Jungle: Mean streets of New York.
Rebel: Squeaky-clean 'burbs of L.A.

Advantage: Jungle. Couldn't be grittier.

Targets of Hostility:

Jungle: Teachers
Rebel: Parents

Advantage: Jungle. It got funny when Kotter's Sweathogs did it.

Future Movie Icon:

Jungle: Sidney Poitier
Rebel: James Dean

Advantage: Dean. Too fast to live, too young to die.

Future Doomed Supporting Player(s):

Jungle: Vic Morrow
Rebel: Natalie Wood, Sal Mineo, Nick Adams

Advantage: Rebel. At least Natalie won an Oscar and married Robert Wagner.

Future Director:

Jungle: Paul Mazursky
Rebel: Dennis Hopper

Advantage: Hopper. "Easy Rider" was the 60s "Rebel Without a Cause"

Future Sitcom Support Player:

Jungle: Jamie Farr(Klinger)
Rebel: Jim Backus(Thurston Howell III)

Advantage: Farr. So that explains the dress!

Favorite Class Clowning:

Jungle: Mr. Dadier(Glenn Ford)'s kids calling him "Daddy-O"
Rebel: Jim Stark(James Dean)'s "moo" noise at the planetarium.

Advantage: Jungle. It inspired the Coasters' lyric, "Who calls the English teacher 'Daddy-O'? Charlie Brown..."

Any other comparisons?

Those "Rock around the clock" times!
This film announced from another angle the enormous no satisfaction social disseminated in several social spheres. This generation who was born just at the beggining of the WW2 expressed with the characteristic rage the rules. This behavior has been an eternal ritornello. The ingenuity innocent , the continue defy to the Status Quo has prevailed always, but specially in those hopeless and confused ages when the radical changes in the whole world even drew new expectations and questions: the rock was an important mass phenomena and somehow allowed to overthrow a good portion of cumulate tensions. In the other side of the Atlantic Ocean the New Wave was born with similar proposals.

The familiar conflicts, the huge number of orphans, the alcoholism , the obvious fear to the ghost of the nuclear weapons, the presence of the Cold War needed some answers but most of the adults ignored them , which it meant a major social effervescence.

Blackboard jungle works out as a frenetic emblem of the miscarried youth, orphan of love and spiritual guides.

Vic Morrow and Sidney Poitier were particularly effective. Glenn Ford's tour de force acting lead this movie with special credibility.

By these destiny's ironies , ten years after Poitier would be just in the other side of the classroom in "To sir with love".

Awakening a Generation
Restless post-war youth may have hit the road on Brando's motorcycle, but it wasn't until this film that they found their sound. From driving downbeat to throbbing close, Bill Haley's title tune promises a party around-the-clock -- from twelve midnight to broad daylight -- to which teens of the day responded with uncaged delight, raucous cheers, and spontaneous twirling in the aisles. A full year before Elvis, a new generation was on its feet, the legendary youth culture was born, and Rock and Roll was here to stay. America would never be the same -- a mighty heavy load for one modest B-movie from famously conservativeMGM!

Needless to say, the film is an absolute must. Minimize the story line which veers from 50's-style social realism to mild reassurances from writer-director Richard Brooks, (this was, after all, the height of the Cold War and the restrictive production code). Instead, concentrate on the seminal images and associations, so vividly presented, whose residue continues to the present day: Rock-music -- unruly youth -- alcohol and violent sex --menacing urban underclass. And in two of the most symbolic scenes -- thetrashing of Richard Kiley's record collection and thethrusting arms through the iron bars --there are serious overtones of barbarians at the gates, against which Glenn Ford's reflex liberalism appears tellingly inadequate. From this point on, only communism was more feared than the spread of Rock-and-Roll and its seditious offspring, juvenile delinquency.

Sure, there are better films from that era than Blackboard, maybe even better teen movies. But, arguably, none are more significant to the course of popular culture. For a brief accidental moment, a little movie from Hollywood not only reflected emergent trends from deep within society, but mobilized them as well. With: a grimly determined Glenn Ford, an arrogantly sinister Vic Morrow, a decidedly unthreatening Sidney Poitier, and in a usual thankless supporting role, the great John Hoyt, whose memorably cruel face was born to preside over either prisons or high schools, take your pick.

The Rock and Roll Era Begins
I saw this movie in 1955. It was one of the best in that age in the genre about alienated youth, dealing as it did with ghetto kids and minorities rather than the spoiled brats of "Rebel Without a Cause."

Most of all, the movie introduced me and a million other kids to Rock and Roll.I remember listening spellbound to "Rock Around the Clock" by Bill Haley and the Comets at the end of the movie.Something, I perceived in my little noodle brain, had changed -- and nothing would ever be the same again. ... Read more

Description

This witty, musical version of The Philadelphia Story stars Bing Crosby, Grace Kelly, Frank Sinatra, and the jazz master himself, Louis Armstrong, playing the hottest trumpet in the land. Year: 1956 Director: Charles Waters Starring: Bing Crosby, Grace Kelly, Frank Sinatra, Louis Armstrong ... Read more

Reviews (19)

All that jazz and more!
Just released on DVD, this fabulous musical remake of George Cukor's The Philadelphia Story (1940) sees Grace Kelly in her last ever film role before crossing the pond to marry into the Monaco monarchy (she even wore her actual engagement ring in the movie).

Kelly plays the spoilt heiress Tracy Samantha Lord, a rather icy perfectionist (this generation would say 'control freak'), who is due to marry the stuffy George Kitteridge (John Lund) when her ex-husband C K Dexter-Haven (Bing Crosby), unexpectedly turns up... Still in love with her, he puts in place a subtle plan to win back her heart. Throw in an incorrigible little sister, a playboy dad, a couple of snoops from Spy magazine, Louis Armstrong (as himself) and buckets of champagne... and now you has jazz!

With a witty script and quite the line-up (it was the first time Crosby and Frank Sinatra, playing Spy magazine reporter, appeared on screen together), the romantic comedy is carried by one of Cole Porter's best - and one of his last - musical scores which includes Who Wants To Be A Millionaire?, Well, Did You Evah?, Now You Has Jazz, and Kelly and Crosby's moving duet True Love.

Like most rereleases of older movies onto DVD, what actually makes you update your video copy are the bonus features. Along with the nostalgic newsreel of the film's 1956 première, this version includes a short documentary on 'the making of...', narrated by Celeste Holm (born 1919, who played Spy magazine photographer). Although it makes for entertaining viewing (throwing up little snippets such as how Kelly's father warned Prince Rainier of Monaco before they got married she was a [bad] driver), one can't help thinking that someone cruelly substituted Holm's oxygen tank with helium...

Overall verdict? Thoroughly entertaining and an absolute must for fans of classic musicals and all that jazz...

Great stars! Great songs! Great film! ...GREAT DVD!
This is a musical remake of George Cukor's classic "The Philadelphia Story". The new setting: the Newport Jazz Festival and the chic mansions on its surroundings. The story is exactly the same: Tracy Lord (Grace Kelly in her last film) is engaged to David (John Lund). But her ex-husband (Bing Crosby) won't let her go that easily. In the between, there are a couple of journalists (Frank Sinatra and Celeste Holm) with problems on their own.

This is one of those films where everything is great. The whole cast is excelent. This is classical Hollywood in full gear!!

The music by Cole Porter will leave you singing for days after you see this movie: "Well, Did You Evah?", "Who Wants to Be a Millionaire?", "Little One", "You're Sensational" and the multi-million Dollar seller "True Love" are great tunes. The film has also a five-minute overture with music that is usually cut by television (great music!!!).

This DVD comes with a great pack of extras. But first... the image: gorgeous Technicolor (it was shot in VistaVision). The beautiful soundtrack was remastered in Dolby 5.1 (it seems it was recorded only 10 years ago). There is also a documentary on Cole Porter hosted by Celeste Holm herself! (still beautiful after all these years). There is a newsreel about the film's premiere, Radio adds with Grace Kelly and Bing Crosby, Trailers (from both "High Society" and "The Philadelphia Story"), Notes ..........and a great Cinemascope Cartoon "Millionaire Droopie".

The only bad thing about this DVD is that the subtitles dissapear during the songs (and there are 3 languages).

Anyway... this a great film with all the elements at their peak!

ONE OF MGM`S BEST
I saw this film years before THE PHILADELPHIA STORY on which it is based. Mind you: THIS MUSICAL is far better than The Philadelphia Story. Grace Kelly is wonderful as Tracy, whereas Hepburn is hard and difficult 2 like. Stewart is an irritating, uncharismatic C.K. Dexter Haven. Sinatra`s Dexter is at his best. Indeed when u have a cast like Grace Kelly, Bing Crosby, Frank Sinatra, Louis Calhern and Louis Armstrong - 1 should just shut up and let them do their stuff. Indeed Charles Walters did; and what a lovely film it turned out 2 be.

I fell in love with Bing Crosby...
...after watching this movie. This is such a great musical - the songs are catchy, the actors are talented, what more could you want? As a little kid watching this movie I thought Bing Crosby could do no wrong and Grace Kelly was just mean - watching it as an adult I understand a little more about how their relationship must've worked (or not, as it were). Some extremely funny moments mixed with a few poignant ones make for a very good movie. Highly recommended!

Cute, Great Cast, But...
This is a fantastic story and a fantastic cast, very talented musically. But, the score does not make up for the plot it forces aside. This is not the best movie for any of these actors. Interesting to compare to The Philadelphia Story, but if you only have time for one--watch the original. ... Read more

Reviews (71)

Betty Hutton scores a triumph as Annie Oakley
At last the 1950 movie muscial "Annie Get Your Gun" is finally available for a whole new generation and fans who fondly recall seeing it years ago to experience the magic of America's greatest composer,Irving Berlin(who in addition to the great score of this film brought us"White Christmas", God Bless America" and hundreds of others)dynamic stars, Betty Hutton, Howard Keel and a first rate supporting cast perform in one of Hollywood's greatest and at the time most expensive musical. The technicolor has been preserved in such a manner that the colors are a joy to behold and the meticulous detail of the great photography of Charles Rosher and the costumes by Walter Plunkett("Gone With The Wind")and Helen Rose, who did the exquisite western costumes for Betty Hutton are truly a feast for the eye.This film showcases Betty Hutton at her best. She may not have "voice of the century" like Judy Galand who had to bow out of the role due to illness and other problems but she adds a tremendous gusto to the role plus an almost child like innocence to her early scenes as the backwoods, uneducated Annie. She is especially touching in several scenes in addition to her special gusto (toned down here from some of her earlier roles). Betty Hutton was one of the top stars in Hollywood when this film was released. That same year she made the cover of Time magazine and the film went on to be one of the top grossing movies that year. She went on to sing and dance with Fred Astaire in "Let's Dance" and then won the coveted starring role in Cecil B. DeMille's oscar winning film(for best picture of 1952)"The Greatest Show on Earth"in which she did most of her own stunts in her role as a trapeze performer in a circus.(both of these films are available on video Her last big film was "Somebody Loves Me" in 1952. She left Paramount Pictures due to a dispute over having her then husband direct her next film. She later made one more film in 1956(released in 1957 called "Spring Reunion" a small black and white film produce by Kirk Douglas'company co-starring Dana Andrews. Miss Hutton gave a sensitive performance in this drama about an unmarried career woman in her 30's ,lonely and living with her parents. Once the most popular girl in high school, she meets and old classmate at a reunion. The film gave Miss Hutton a chance to really show that she was a actress fo considerable depth. It is a small film but quite affecting. It is not available on videobut has been aired on TCM) Also in "Annie Get Your Gun", Howard Keel made his movie musical debut and it was an auspicious one indeed. The first of many great parts showcasing his magificient baritone voice, natural acting ability and his strong, handsome ,masculine prescence.Mr. Keel later reached his peak in MGM musicals in "Seven Brides for Seven Brothers" and especially "Kiss Me Kate" (both available on video and probably DVD)The theatrical version of "Annie Get Your Gun"had several songs that were not included in the film. One "I'm a Bad Bad Man" would have been fun to have had Mr. Keel perform and two sung by Annie were a ballad"I Got Lost In His Arms"(beautifully done recently by Bernadette Peters in the broadway revival) and the delightful "Moonshine Lullaby" sung by Annie to her little brother and 3 sisters with an assist by them . It would have been nice to have had Miss Hutton do these in the film. Most of her songs except "They Say It's Wonderful" are of the exuberant variety. She is a standout doing the show's greatest number "There' No Business Like Show Businesss" in which she sings with her co-stars, later a reprise by herself and a again with Mr. Keel. Before the film, it is enjoyable to see the original trailer(or coming attraction promotion) for the film, a short introduction and brief history of Annie Oakley and her various incarnations by broadway/television star, Susan Lucci. Shown are outakes made by Judy Garland before she was let go for the film. After the film 2 completed numbers by Miss Garland are shown. She appears rather tired in them but her voice is just great and fine natural acting ability is evident as always. Finally a lovely number that unfortunately was later deleted from the film before it was released is shown for the first time.It is called "Let's Go West Again" with Betty Hutton. It is a good number , beautifully shot, sung in a more low key manner by Miss Hutton. Another interesting sideline, some of the original lyrics by Mr. Berlin were considered a little too "racy" for movie censors in 1950. For example in "You Can't Get a Man With A Gun",The lyric "a man's love is mighty he'll even buy a nighty for a gal who he thinks is fun, but they don't make pajamas for pistol packing mamas" was altered for the movie to "a Tom, Dick or Harry will build a house for Carrie when the preacher has made them one" Although a minor complaint it did cause a few of the songs to lose a little of their "bite".The film won 2 Oscars for sound recording and musical adaptation and it is obvious by the smooth , clear arrangements which give great justice to Irving Berlin's genius as both a composer and lyricist. I highly recommend this film for the entire family, especially if you are tired of the current films that offer nothing more than extreme violence, car chases, boring performers, gimmicky special effects, blatant sexuality etc. run and get this film. Betty Hutton was recently interviewed by the brilliant Robert Osborne on TCM(the Turner Classic Movies cable channel) and if they see my review I want to say "Bravo" to both of you for an outstanding one hour conversation about Miss Hutton's life and career. I hope that Betty Hutton will continue to give future interviews and lectures . She is a remarkable "survivor"who gives so much of herself to her audience.It is not surprising that she got her start on the Broadway stage and after her movie career continued appearing all over The USA and Europe in concerts and and theatrical productions to sellout audiences until personal problems in the 1960's caused her to stop performing until she made a brief return to Broadway in 1980(filling in for Alice Ghostley) in the role of Miss Hannigan in "Annie" ( muscial based on Little orphan Annie)

Worth the wait?
Well, it`s here at last. The long-awaited VHS of this smash hit Broadway musical.
I remember seeing it at the movies when it came out and thinking - what went wrong?
The tunes are great - the start is excellent but there`s no heart.
It`s too clean I guess and one-dimensional. Poor Howard Keel has not got into his stride as a movie actor and his Frank Butler is stodgy and quite unpleasant.
Our girl, Betty does her nut as usual but as she gets prettier so does her character diminish and she too appears brash and unsympathetic.
Of course, the songs are block-busters but I really missed Moonshine Lullaby which would have gone a long way to redeem Betty Hutton`s portrayal of Annie Oakley.
My favourite line is when Chief Sitting Bull says:
"Keep bow tight, keep arrows sharp AND NO PUT MONEY IN SHOW BUSINESS."
Unfortunately the movie degenerates into montage sequences of little moment and a conclusion that depends on the woman being subservient to the man and 'letting him win'.
Based on a true story, it starts so well........but finishes like a damp squib.
In all fairness, Judy Garland couldn`t have cut it as Annie, as we see in a couple of her numbers before she was sacked from the production.

There Really Is No Businesss Like Show Business!
Annie Get Your Gun is my favort play.And now it is my favort movie. I loved being in that play even though i was only 11 years old i still loved doing it.As I got older I found out that there was a movie and when I got the movie I could not stop watching it, and now my future goal would Be Palying Annie Oakley. And I think Annie would be proud.

There Really Is No Businesss Like Show Business
Annie Get Your Gun is my favort play. I loved doing it even though i was only 11 years old is till loved doing it.As I got older I found out that there was a movie i could not stop watching it. And My Future goal in life would Be Palying Annie Oakley. And I think Annie would be proud.

One of the most fun films ever made!!
Betty Hutton is sooo good in this musical. Even in pigtails, freckles, and rags she's totally loveable and her backwoods accent is hysterical!!
Annie Oakley (Hutton) and Frank Butler(Howard Keel) are two of the best gunshots in the world, but Oakley, who doesn't know a thing about being a lady, falls hopelessly in love with the handsome Butler. After accepting an offer to work with Butler in Buffalo Bill's western show, Oakley takes pains to become a beautiful lady and win Butler's heart. Unfortunately for Oakley, Butler can't take her being a better shooter than him, so a big rivalry ensues and so does all the fun.
Most memorable performance is Hutton and Keel's adorable number with the song "Anything You Can Do."
The quality of this DVD is great. Picture's bright and clear, sound is excellent, and so are the extra features like Susan Lucci's intro and about four outtakes, two of which contain Judy Garland's only two finished performances. Enjoy!! ... Read more

Reviews (25)

Huston's Revenge
When John Huston was edged out of the production of The Killlers, he was determined to create a landmark film that would define and embody professional criminality. Huston exceeded his expectations. The Asphalt Jungle is the seminal "caper film" that inspired a host of similar productions. Huston assembled a superb cast, where each actor represented a character that possessed special skills needed to complete a million dollar jewelry hiest. Sam Jaffe is Doc Reidenschneider- the mastermind, Anthony Caruso is Louie Ciavelli- the safecracker, Marc Lawrence is Cobby- the bookmaker who finances the operation, Sterling Hayden is Dix Handley- the enforcer, James Whitmore is Gus - the wheelman, and Louis Calhern is Emmerich- the fence. The characters, especially Doc, Louie, Dix and Gus, are sketched with blatant realism. Each character is defined by the skills that determine their existence within the underworld. The characters proceed with their assignments in workmanlike fashion. Huston's tightly wound script eliminated the pompous flambouancy associated with earlier crime films. Doc's hand picked criminal experts represent blue collar values and commitment. Huston injects virtues such as trust, loyalty, and respect into Doc's criminal circle and simultaneously questions the code of honor among the so called rightousness of society. Emmerich the crooked attorney sums up this dichotomy with a memorable line: ..."There's nothing so different about them (criminals). Crime is only a left-handed form of human endeavor". Morality, an issue in most noir films becomes blurred as Emmerich and a graft accepting detective ( Barry Kelley) become viewed as figures more contemptable than the jewel thieves. Sterling Hayden as Dix Handley delivers one of his most memorable performances. Dix is not just a tough, cardboard, heavy, but a loner trying to ..."Wash this city dirt off me". Huston allows viewers insights into each of the character's personas. The elderstatesman Doc has a queer predilection for nubile young girls. Gus is aware that his pysical deformity limits his access and acceptance into mainstream society. Louie's familial responsibilities and Emmerich's moral disintegration also add to the film's dark aesthetics. The Apsphalt Jungle is one of the premier black and white films ever made. John huston's creative energy is evident in every line and scene. The Asphalt Jungle is American noir film making at its best.

Huston's Revenge
When director John Huston was edged out of the production of The Killers, he was determined to create a landmark film that would define and embody professional crimminality. Huston exceeded his expectations. The Asphalt Jungle is the seminal "caper film" which inspired a host of similar pictures. Huston assembled a superb cast where each actor represented a character who possessed a special skill needed to complete a million dollar jewel heist. Sam Jaffe is Doc Reidenschneider-the mastermind, Anthony Caruso is Louie Ciavelli- the safe cracker, Marc Lawrence is Coby- the bookmaker who finances the operation, Sterling Hayden is Dix Handley- the enforcer, James Whitmore is Gus- the wheelman,and Louis Calhern is Emmerich- the corrupt attorney who acts as a fence. The characters, especially Doc, Louie, Dix, and Gus, are sketched with blatant realism. Each character is proud of their status and existence within the underworld. Their careers and reputations hinge on their acceptance by fellow professionals. Huston injects the virtues of trust, loyalty, and respect into their crimminal circle and simultaneously questions the code of honor among the rightousness. Emmerich sums up this dichotomy with a memorable line: "There's nothing so different about them (crimminals). Crime is only a left-handed form of human endeavor." Morality, an issue in most noir films becomes blurred as Emmerich and a graft accepting detective become viewed as figures more contemptable than the crimminals involved in the heist. Sterling Hayden as Dix delivers his most memorable performance. Dix is not just another tough henchman, but a troubled loner trying to ..."wash this city dirt off me". Huston allows viewers unabashed insight into each of his characters. Doc with his predilection for nubile young girls, Gus's conscious awareness of his physical deformity, Louie's familial responsibilities, and Emmerich's moral disintegration add to the film's realism. The Asphalt Jungle is one of the premier black and white films ever made. John Huston's creative energy is evident in every line and scene. Truely American film making at its best.

"That nasty asphalt pavement thing'

Director: John Huston
Format: Black & White
Studio: Turner Home Video
Video Release Date: February 26, 1992

Cast:

Sterling Hayden ... Dix Handley
Louis Calhern ... Alonzo D. Emmerich
Jean Hagen ... Doll Conovan
James Whitmore ... Gus Minissi
Sam Jaffe ... Doc Erwin Riedenschneider
John McIntire ... Police Commissioner Hardy
Marc Lawrence ... 'Cobby' Cobb
Barry Kelley ... Lt. Ditrich
Anthony Caruso ... Louis Ciavelli
Teresa Celli ... Maria Ciavelli
Marilyn Monroe ... Angela Phinlay
William 'Wee Willie' Davis ... Timmons
Dorothy Tree ... May Emmerich
Brad Dexter ... Bob Brannom
John Maxwell ... Dr. Swanson
Ralph Dunn ... Policeman
Gene Evans ... Policeman at Ciavalli's apartment
Pat Flaherty ... Policeman
Alex Gerry ... Maxwell
Sol Gorss ... Policeman
Fred Graham ... Truck driver
William Haade ... Bill (cop)
Don Haggerty ... Det. Andrews
Thomas Browne Henry ... James X. Connery
George Lynn ... Detective at Ciavelli's apartment
Fred Marlow ... Reporter
Strother Martin ... William Doldy (second man in lineup)
Howard M. Mitchell ... Secretary
Alberto Morin ... Eddie Donato (grocer)
Raymond Roe ... Tallboy
Henry Rowland ... Frank Schurz (taxi driver)
Tim Ryan ... Jack (police clerk)
James Seay ... Officer Janocek
Jack Shea ... Policeman
Joseph Darr Smith ... Reporter
Ray Teal ... Policeman
William Washington ... Suspect
Victor Wood ... Evans
Wilson Wood ... Man
Jeff York ... Policeman
Benny Burt ... Taxi driver
Frank Cady ... Night clerk
David Clarke ... Mr. Atkinson (railroad engineer)
John Cliff ... Policeman
Henry Corden ... Karl Anton Smith
Chuck Courtney ... Red (boy in diner)
Eloise Hardt ... Vivian
Patricia Miller ... Girl
Kerry O'Day ... Girl
Helene Stanley ... Jeannie (girl in diner)
Leah Wakefield ... Girl
Constance Weiler ... Woman
Judith Wood ... Woman
Jean Carter ... Woman

Dix Handley (Sterling Hayden) plays the lead in this crime drama. An old-time crook, Doc Erwin Riedenschneider (Sam Jaffe) is released from prison with a plan for a big score--a jewelry store, with gems worth at least a half-million dollars. The heist goes off as planned, but an unexpected policeman's gun goes off as Handley disarms him and shoots Louis Ciavelli (Anthony Caruso ), the safe cracker of the gang, in the belly, which is ultimately fatal.

Then the money man tries to welsh on the payment for the caper, and his muscle, private detective (Brad Dexter) is shot by Dix, who is shot in turn, but not immerdiately fatally.

Police Commissioner Hardy (John McIntire) is wise to a corrupt lieutenant, Lt. Ditrich (Barry Kelley) who is trying to protect his job with phoney crackdowns, and the money man,
Alonzo D. Emmerich (Louis Calhern) and his sidekick, 'Cobby' Cobb (Marc Lawrence) are planning to fence the jewels. But, the best laid plans of mice and men aft gang aglee: everything goes awry, and...that's where the story gets interesting.

This was a very well received movie, which turned into a classic in its time. I recommend it to you.

Joseph (Joe) Pierre

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

THE CITY UNDER THE CITY....
German-born Doc (Sam Jaffe) assembles a team of expert criminals for a big jewel heist in John Huston's "Asphalt Jungle". The planning of the robbery and the actual crime itself make up the first part of this excellent film. The remainder of the film details the fall-out after the crime. Sterling Hayden is Dix, a country boy tired of being covered in big city dirt; James Whitmore is a cafe owner whose dive is a front for criminal activity; Anthony Caruso as a safecracker with a family: Marc Lawrence as a bookie with his own racket going---all these actors are superb as the gang. Then there's Louis Calhern as Lon, a wealthy businessman whose blown all his money on his mistress Angela (Marilyn Monroe) and wants to pull a scam of his own to "get out from under", and there's Doll (Jean Hagen), a clip-joint girl who loves Dix. Just an incredible cast makes this film worth watching and Huston's taut direction keep it exciting all the way to the end. Surprisingly adult for the time in it's frank depictions of the characters foibles and weaknesses---particularly Jaffe's (Doc) eye for young girls. Monroe has two extended and very telling scenes with Calhern and Hagen is wonderful as the uneducated hard luck Doll. Highly recommended all the way for lovers of tough, juicy noir crime films. The DVD is a good print that includes commentaries (including Whitmore) and an archival introduction by Huston. A truly compelling viewing experience.

THE LAW OF THIS JUNGLE IS DEADLY
The disquieting urban landscape and deeply disturbed motley crew of spurious characters that populate "The Asphalt Jungle" make the film one of the essential destinations for fans of film noir. The films artfully gritty atmosphere is perhaps its best selling feature, though, truth be told, there is nothing about the production that is second rate. Basically, it's a jewel heist caper gone horribly wrong but carried off with such panache and attention to detail by director, John Huston that one has to admire both the economy of plot and depth of characters fleshed out within the context of two hours. Huston's great knack for extolling unusual and breakthrough performances from his ensemble is working overtime on this occasion. While we might be used to seeing Sam Jaffe as a nefarious rogue (here, he's Doc, the criminal mastermind with a weakness for hoop earrings and tight skirts), the extraordinary off kilter performance of Louis Calhern - as middle aged fencer, Ennrich/sugar daddy to Marilyn Monroe, is so menacing in its undertone, that one wishes the actor had been given the opportunity to play more such parts. There is nothing cartoonish or cliché about any of the characters in the film. Sterling Hayden's particularly powerful as Dix Handley, the tense enforcer of the group. This is a story about out of control people losing control of their lives. Huston captures the immediacy of these tragic lives and the overwhelming sense of doom. As one might expect, it ends badly for all concerned though, within the context of this review I won't say exactly how.
The transfer on "The Asphalt Jungle" is better than average, though it's not perfect. The gray scale has a richly balanced look with deep solid blacks and clean whites. On occasion grain looks heavier than it should and contrast levels seem a tad low. Still, this DVD is considerable improvement over previously issued VHS tapes. Age related artifacts are present but do not terribly distract. The audio is mono but nicely balanced. The more intent listener will notice some hiss but nothing that will distract. Drew Casper provides the audio commentary here. There are a few inserts of audio from James Whitmore that will most surely enhance your appreciation for this film. All in all, another good disc to add to your library of classic film noir. ... Read more

Description

The Life of Emile Zola episodically explores the career of the novelist who championed the cause of France's oppressed. Zola (Paul Muni) is a hugely successful French author who risks all his success and comfort to come to the defense of the unjustly jailed Capt. Dreyfus (Oscar winner Joseph Schildkraut). Winner of three Oscars overall-and of immense critical and popular success-this distinguished film is a must-see portrait of a life that's "a moment of the conscience of man." Winner of the Academy Award for Best Picture, Best Screenplay and Best Supporting Actor. Year: 1937 Director: William Dieterle, Irving Rapper Starring: Paul Muni, Gale Sondergaard, Joseph Schildkraut, Gloria Holden, Donald Crisp, Erin O'Brien-Moore, Henry O'Neil, Morris Carnovsky, Louis Calhern. ... Read more

Reviews (7)

"He was a moment in the conscious of man" - Eulogy
There are 3 great speeches in this movie including the ending eulogy by Cezanne and the rest of the film moves along admirably, the mood is even a bit in the same way, as "Les Miserables", aficionados of that book-stage play, music and/or film, will find a great and similar message in this movie as well.

Yes, this was made in about 1936; expect that and not something from the '80s, '50s or the present. An outstanding movie, somehow, as one who has read a number of Zola books, I think he would be pleased.

The Life of Emile Zola: Stuffy but Stately
In 1936, Paul Muni was on a roll. He had just won an Oscar for best actor in THE STORY OF LOUIS PASTEUR, so it was no surprise that a year later, director William Dieterle chose him for the lead in THE LIFE OF EMILE ZOLA. Zola, as Muni plays him, is a man who brings to mind a stuffy but morally centered grandfather type who sees his mission in life as the only man who is willing to stand up for what is right and root out corruption and evil when all others turn away claiming one valid excuse after another.
TLEZ is your standard but exceptional Hollywood bio-movie then so popular. Typically, such films begin 'en medias res', thrusting the hero into a series of lesser adventures that prefigure his later, more heroic ones. Zola and Paul Cezanne (Vladimir Sokoloff) are two poverty-stricken friends sharing a dumpy apartment in Paris. Each dreams of using his talent, Cezanne with art, Zola with words, to shake a complacent world with the immediacy of their need to force others to re-evaluate some given bedrock assumptions. Zola is a mudracker, but he cannot find it in himself to lead the fight alone. At critical points in the movie, others step in and out of his life to fire his conscience. Zola and Cezanne meet a streetwalker, Nana, who pours out a tale of economically blighted woe, the result of which is to fire Zola's imagination to write a novel exposing the corruption of a society that allowed such otherwise decent women to go astray. The first half of the movie sets up the character of Zola as one who, when convinced of the rightness of his cause, would boldly put in print inflammatory words that more than once would place him in peril. The second half focuses on the relation that Zola had with Alfred Dreyfus, a French Jew who was a captain in the French army. Zola and Dreyfus never met, but their interaction set the stage for some political fireworks that rocked the very core of the French government. Dreyfus was wrongfully accused of spying for the Germans, and a kangaroo court-martial found him guilty of treason and sent him to Devil's Island as punishment. In historical truth, Dreyfus's Jewishness was a significant factor in arousing France's widespread anti-Semitism against him. Director Dieterle sidesteps this controversy by using the word 'Jew' only once, and then briefly in a personal file on Dreyfus. At first, Zola does not care very much for Dreyfus' protestations of innocence. However, when the wife of Dreyfus makes a personal appeal to him for help, he agrees and the movie then turns into a battle between Zola and a corrupt, entrenched French High Command who are collectively willing to see Dreyfus rot on Devil's Island to save their own skins. Zola's 'I Accuse' harangue rings with the sincerity of a man who is willing to take on the Powers That Be to save a country's honor when those very corrupt Powers argue that their own sense of honor requires the opposite. Louis Calhern leads a fine supporting cast as one of the lying officers who see honor only in lying to the French public about their own shortcomings. Joseph Schildkraut as the accused Dreyfus brings considerable dignity to the role of a man who is forced to endure a public and humiliating ritual of dishonoring. By the film's end, the audience can see that virtue and honesty are not enough to ensure the ongoing vitality of a country's nobility. For that, the occasional pecking gadfly is needed. Zola was such a gadfly. THE LIFE OF EMILE ZOLA serves to remind us that such gadflies are often in short supply, especially when they are most needed.

Two Great Speeches by Muni, But Skip The Rest
As a child in the 1930s I thought Paul Muni one of Hollywood's best, but I can't recall the movies on which this judgment was based. I don't know whether I saw this film then or not.

Now I find the depiction of "great writer (Zola) and great painter (Cezanne) in Paris during the 1800s" to be a grade school or Sunday school version of life. Hollywood's description of the Dreyfus affair lacks complexity, sophistication, reality, accuracy. The true story abounds in dramatic interest, excitement, conflict and power quite beyond the movie's reach.

But we do have two marvelous speeches, one when Muni as Emile Zola is reading his pamphlet, "I Accuse," to his friends and allies. And the other, when he is defending himself on a charge of slander in a hostile court. These alone are worth more than the price of admission. Spend your time hearing them again and again and then get yourself a copy of Zola's pamphlet and a good book from Amazon.com on what the Dreyfus affair was all about.

1937 PRESTIGE PICTURE
An unknown young Parisian writer suddenly becomes famous for penning the sensational NANA. Paul Muni, the great Polish actor who specialized in playing great men of history (seemingly taking the place of the elderly English stage-trained George Arliss) is terrific in his characterization of Emile Zola. It took Warners nearly a year to prepare the "Zola project". The screenplay went through various re-writes and a great deal of research was done to ensure historical accuracy; the result was a showcase for the unique Mr.Muni. The picture may seem a trifle dry, stodgy and drawn-out today, but it has long been esteemed as one of the greatest historical biographies Hollywood ever put on film. Variety called it "a vibrant, tense and emotional story about the man who fought a nation with his pen" It has followed not merely the spirit but, to a rare degree, the very letter of his life and of the historically significant lives around him. The racial theme involving the Jewish Dreyfus is tastefully handled; not once is the word "Jew" mentioned. The movie brought not only great financial success to Warner Bros., but prestige as well. And it solidified Muni's superstardom.

A brilliant story as relevant today as ever
To be honest, I rented this video to do some period costume research, but forgot all about that after getting involved in the story. Paul Muni portrays Zola most realistically, from his rise from the cramped, cold apartment of his early career to becoming the literary toast of France. And just when it seems that life is as good as it can be, along comes the "Dreyfus Affair" to challenge his conscience. All he has to do is keep quiet, and he can live a life of luxury right to the end. However, "all" becomes too much for the man who has spent his life developing the social conscience of his country through literature. Muni is brilliant in the role of Zola, and all the supporting cast give believable and stirring performances. This film holds you in its grip from start to finish, as it examines the worth of social institutions versus the lives of the people who uphold and venerate them, and sometimes become their victims. A definitely timeless piece of art. ... Read more

Amazon.com

Anyone who thinks everyone in the 1950s held marriage sacred hasn'tseen We're Not Married, one of the more gleefully cynical snipesever aimed at that fundamental institution. Five couples discover thattheir marriages aren't legal--Ginger Rogers and Fred Allen as a bickeringpair of beloved radio personalities; Marilyn Monroe as a beauty contestantwith her oppressed house-husband, David Wayne; Eve Arden and Paul Douglasas a chatty pair who've run out of conversation; Louis Calhern as a kindlytycoon married to gold-digging Zsa Zsa Gabor; and Eddie Bracken as asoldier who's just learned his not-quite-wife Mitzi Gaynor is pregnant.Into their lives comes a letter from the government revealing the truthabout their unions, and suddenly everyone considers what their lives mightbe, if only... We're Not Married spins five variations on a theme,with smart, sly, and sardonic results. --Bret Fetzer ... Read more

Reviews (11)

I'm glad Marilyn is Hardly in This
I am probably one of the very few people who actually does not like Marilyn Monroe. She can not act, and thankfully she is hardly even in this movie. Fans of hers, who are more than likely only watching this movie for her appearance, might find themselves a little dissapointed. But if those (many) fans, can accept that fact, and just watch it because it is a good movie, will hopefully find themselves enjoying it. Fans of the brilliant, and beautiful Ginger Rogers will be more than pleased though, since she has a great part in this movie.

Melvin Bush (Victor Moore) has been marrying couples, before his time has actually come, as to when he has the authority to do so. The five couples later find out, through a letter, that they are not legally married. Its mixed into different sections, one for each couple, and none of the stars really get a huge amount of screen-time. The couples are played by Fred Allen and Ginger Rogers; David Wayne and Marilyn Monroe; Paul Douglas and Eve Arden; Louis Calhern and Zsa Zsa Gabor; Eddie Bracken and Mitzi Gaynor.

All of the five sections are mostly amusing. Especially Ginger Rogers and Fred Allen, playing a couple of Radio hosts, who were married really just to get the job (and now completely hate each other). The radio show is made up, almost completely, of stupid sponsors, where they have to say the most scripted, and funny things you could come across in a scene such as this. This film is worthy to watch for their scene alone.

This DVD release from 20th Century Fox, as part of the Marilyn Monroe Diamond Collection, has a brilliant transfer, and the sound is very clear, too. The fact that Marilyn Monroe is on the cover, is quite misleading, and Ginger Rogers, Fred Allen, or maybe one of the other stars, would have been more realistic to have on the cover. I can accept the fact though, that she is on the cover, because it is part of Fox's Diamond Collection series. The extras is a dissapointment. That's one thing Fox never seem to bother too much with. I wish they would, since some deleted scenes would have been good to add, which I know they could have, aswell. But overall, its a good release.

We're not Married?
Marilyn is of course the highlight of this movie as a young mother who enters a beauty pageant. I like particularly the part with Zsa Zsa Gabor and Luis Calhern. Other stars include: Ginger Rogers, David wayne, Eve Arden, Mitzi Gaynor, Fred Allen, Paul Douglas, Eddie Braken, and Victor Moore, who unknowingly marries a number of couples before his appoinment is official and the reults are hilarious.

anull & void
What a waste of a powerhouse cast! Dated, unfunny & plodding--for Monroe completists only.

Why no deleted sequence?
This is a funny movie, especially the Fred Allen and Ginger Rogers section, with a great cast but why didn't Fox include the deleted sequence with Walter Brennan and Hope Emerson as an extra? It's included on the Hidden Hollywood Fox DVD and it's been shown on AMC. It should've been included on this disc.

Marilyn Monroe and Zsa Zsa Gabor in the same film!!!
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Basic rule of cinema #1: Never is a moment of Marilyn Monroe on film not worth seeing.

MARILYN MONROE is very charming and well worth seeing in this early film appearance in which she co-stars with an actor who appeared in several more Fox films with her, David Wayne. Marilyn appears as the winner of not one, but two different beauty contests. This of course gives reason for her to display her ample physical assets as she models the requisite swimsuits, which illustrate a large part of her allure as a pin-up queen of the early 1950's before becoming better-known for her singing and acting talents.

Although early in her career, Monroe proves that her screen-time is always mesmerizing. When she's on screen, you simply can't take your eyes off her.

This is a really entertaining episodic film, with a great ensemble cast. An episode starring Zsa Zsa Gabor is quite amusing, as is the very funny chapter starring Ginger Rogers.

Definitely worth adding the DVD version of this to your Marilyn Monroe collection! This is a funny movie! ... Read more

Reviews (3)

Poor transfer
Even though the box claims a digital transfer, the source elements must be poor. Sections of the film are too dark, and it is noisy and grainy throughout. This film needs a more serious restoration than provided here.

Steinbeck's sensitivie and imaginative story of childhood
Lewis Milestone's adaptation of John Steinbeck's "The Red Pony," which has the surprising virtue of a screenplay by the author, tells the story of the love of Tom Tifling (Peter Miles) for his pony Galiban. The film was shot mainly on location in the coastal range mountains on the western edge of the Salinas Valley. The ranch belongs to Tom's maternal grandfather (Louis Calhern), a talkative old geezer who longs for the old days of the Wild West. Fred (Shepperd Strudwick), Tom's father, came from the city to live on the ranch where his wife Alice (Myrna Loy, looking decidedly out of place out on the farm) grew up. Fred is trying to come to terms with whether or not he has a future being a rancher, but also with the fact that his son feels closer to the ranch's trusted hand Billy Buck (Robert Mitchum). Billy is a real cowboy and figures largely in Tom's imagination: there is a wonderful scene where Tom imagines himself leading a magical processing along the country road. When Tom gets his pony Galiban, he learns a lot about responsibility; in time, he will also learn about loss as well. The climax of the film contains a cruel and terrifying scene that threatens to destroy the overall pastoral mood of the film. "The Red Pony" also features a score by Aaron Copland, which certainly helps elevate the tone of the film. Steinbeck's novel has long been a staple of Junior High English classes and this film version is a decent albeit dated effort. Note: Look for a young Beau Bridges playing "Beau" in this film.

It was a very good movie with a great story and great actors
It was a great movie and I watched it cause I read the boo ... 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

Description

The Marx Brothers are at their hilarious best in this insanely satirical comedic romp. Groucho, Harpo, Chico and Zeppo set international relations on its ear--and the audience in stitches--with their rapid-fire wit and hijinks. Not to be missed, "Duck Soup" is one of the Marx Brothers' most popular films. ... Read more

Reviews (81)

If you can't send help, send 2 more women!
This is my favorite Marx Brothers comedy. Absolutely nuts from beginning to end, they kicked out all the stops on this one, with one of the best and truest satirical jabs at jingoism and militarism ever put on film. "Freedonia's Going to War" and everyone is singing about it!

There are so many great bits in this one: Harpo & Chico battling the lemonade vendor; Groucho & the inimitable Margaret Dumont "That covers a lot of ground, matter of fact you cover a lot of ground, I hear they're going to tear you down and put up an office building... can't you see what I'm saying, I love you!"; the 3 brothers dressed in nightshirts with groucho moustaches (Gad they looked alike)doing the mirror pantomime; Groucho insulting & taking umbrage with Louis Calhern's Ambassador Trentino "Upstart? My father was a little Upstart, my mother was a little Armstrong...."; Groucho's Rufus T. Firefly with the Tommygun ("Look at em run" "But you're killing your own men" "Here's 5 bucks, keep it under your hat."); and on and on.

Arguably their best,this effort didn't do well on release. I think because it was ahead of its time and was the riskiest because of the political jokes and the times. But, it is just plain funny with some of Groucho's best lines and some of the best interplay between the brothers, and without a lot of the shmaltz & corn & musical interludes. Classic.

A hilarious movie!
To gain financial support from Mrs. Teasdale (Margaret Dumont), the tiny bankrupt country of Freedonia agrees to take Rufus T. Firefly (Groucho Marx) as their new president (the poor saps). Mayhem springs from Firefly's cynical and sarcastic leadership, culminating in war with the neighboring country of Sylvania. Throughout, Pinky (Harpo Marx) and Chicolini (Chico Marx) are scheming among the great and powerful, taking money from Trentino (Louis Calhern) of Sylvania, and directing Firefly's war effort. [Black & white, created in 1933, with a running time of 70 minutes.]

This movie contains some of Groucho's funniest witticisms, his badinage with Margaret Dumont producing some of the funniest lines in theatrical history. The story takes something of a backseat to the Marx brother's comedy, but this movie is first and foremost a satire of politics in general, and war and patriotism in particular. Back to the comedy, this movie is fantastically funny, containing the famous mirror scene, where Chico is dressed as Groucho, who must figure out if he is seeing his reflection or something else!

This is a great movie. The comedy is funny and clean, and can be watched by viewers of any age. I highly recommend this movie.

Where is the Region 1 release?
I don't need to gush over how great this movie is, plenty of customers have already done that. Warner Brothers did the Marx Brother's justice with their five DVD set of seven films with loads of special features. Granted that set is of their later films but isn't it time their early movies got the same treatment? Great collections of their early films are available in R2 and R4 formats, why not R1? Any answer? Universal Studios?

A comedy classic that still holds up...
My two favorite comedies of all time are "Duck Soup" and "Airplane." Don't agree with "Airplane?" I have a good mind to join a club and beat you over the head with it!

Anyway, few people will dispute that "Duck Soup" is one of the funniest movies ever made. So many classic lines and zany moments; this is the Marx Brothers at the peak of their powers. It was made in the 30's, but holds up extremely well. That makes it a timeless movie. Never boring or corny. I swear the whole hat gag has to be one of the funniest things I've ever seen.

So... when can we expect a reissue on DVD, Paramount/Universal?

Worth Every Penny (Ruble)
My good friend K.M (Karl Marx recommended this movie to me a while ago (back in 1933 about nine years after my premature death)

Now I have it on DVD and I can still say that I find this movie just as great as I did back 70 years ago.

Groucho and his ilk (The other brothers) continue (even in death) to represent the gold standard of comedy.

Despite my untimely death I still find that this movie makes me laugh like no other.

Oh by the way Groucho, Karl told me that your Mom wanted you to pick up a gallon of milk. ... Read more

Description

The scholarly and underpaid Professor Griggs and his family live in genteel poverty in a small college town. To help out the family, beautiful young Amelia Griggs (Claire Windsor) works in the public library. Next-door to the Griggs are the Olsens, a large and lively family of immigrants living high on the hog, thanks to a thriving shoemaking business. Amelia attracts the attentions of Phil West, the son of a college trustee and her father’s laziest and naughtiest student. His rival for Amelia’s affection is Reverend Gates, a gentle, sincere and impecunious minister.

When Amelia falls ill from overwork, her mother tries to nurse her back to health. With the cupboards bare, the very proper Mrs. Griggs is sorely tempted to steal a chicken from her neighbor’s kitchen. The ensuing commotion turns out to be a blessing in disguise…

This restoration was produced by Photoplay Productions under the auspices of Kevin Brownlow. Bonus Feature: Commentary by film historian Shelley Stamp. ... Read more

Reviews (3)

"The Female D.W. Griffith"
The story of Lois Weber is one of the saddest in all of early American cinema. One of two prominent women producer-directors to emerge during the silent era (the other Alice Guy Blache' has a very similar story), she was at one time considered to be the equal of D.W. Griffith and by 1916 was actually the highest paid director in the world. She had total control over her films tackling such inflammatory material as religious hypocrisy, drug addiction, birth control and abortion. Along with her husband Phillips Smalley she ran her own studio where THE BLOT was filmed. By 1921 when this film was released her career was in decline (this was her last independent production) and the studio system with its old world patriarchal attitude began to take hold creating the Hollywood of legend where most women could be stars but little else. Very few of her films survive but this is one of the best (only the controversial THE HYPOCRITES of 1915 is better in my opinion) as it shows how Weber approached filmmaking. THE BLOT's emphasis is on story and character as opposed to action or spectacle and features solid work from Claire Windsor and Louis Calhern as the young couple with a finely detailed performance from Margaret McWade as the mother. The film is well photographed with sophisticated editing for maximum impact. The bittersweet ending is well handled and stays with you long after the film is over. By the end of the decade Weber had lost her studio, her husband, and the opportunity to direct. She died in 1939 at the age of 60 and within a few years was completely forgotten along with virtually all of her films. Only in the past few years has a proper reevaluation begun to take place with three of her films coming out on video. THE BLOT remains her best known feature and is given a first class DVD release thanks to the restoration efforts of Photoplay Productions and Milestone Films. It's the least that this pioneer woman director deserves. Give it a try along with anything else you can find by her and discover why Lois Weber was once known to her contemporaries as "the female D. W. Griffith" then ask yourself why you haven't heard of her.

just ok
This may have been made by one of the first woman directors Lois Weber but it is not flawless. Too many characters are thrown in the beginning of the picture making it hard to follow along. The pace doesn't pick up until the middle of the picture. The leading actress Claire Windsor who plays the poor girl shows some promise. The one thing I liked about the picture was how the neighbor next door started to treat the family with warmth, only after they apologized and made themselves look inferior to her. It showed how people are. More like 2.5. I liked the over dramatic scene with the chicken. Although several sites list this as being fifty so minutes, it's more around 80.

Powerful window into a different world
Lois Weber gets a lot of attention these days as the preeminent American woman director of the silent era, much of which overlooks the fact that most of her films were made in collaboration with her husband Philips Smalley, and we don't really know who wore the jodhpurs in the family. The Blot, however, makes a strong case for having been directed by a woman or at least strongly shaped by the women who wrote it, because the most keenly felt thing in the picture by far is the quiet despair of the housewife trying to keep house with too few resources. At those moments, a simple message picture about why college professors should be paid more than subsistence wages (apparently mainly so they aren't quite so envious of the spoiled young bloods who take their classes) rises to a Stroheimian, even Zolaesque level of intensity in its depiction of the bitter effects of poverty on the spirit.

A striking example of the socially-minded silent (which producer Kevin Brownlow documented in his landmark book Behind the Mask of Innocence), very different from the usual image of silent escapism or melodrama-not to mention proof that Louis Calhern really was young enough once to play an undergraduate. ... Read more