Reviews (8)

Still Some Uncollected Gary Cooper Out There!!!
Always glad to see some new films being released by major stars. I had no idea a film had even been made of Peter Ibbetson, let alone with a major star in it. I'd like tosee two of my favorite Gary Cooper films come out on DVD: The Fountainhead and Bright Leaf. Both have sultry co-stars--Patricia Neal and Lauren Bacall, respectively. The Fountainhead can be found on VHS for a rather high price, and I don't think Bright Leaf ever even made it to VHS, to my knowledge. It was an excellent film, with Cooper playing a tobacco plantation magnate whose greed and bitterness takes over everything in his life. I can only hope that someday we'll see these two gems in a nice DVD release. Yup!!!

THE HANGING TREE
WHERE IS THE GREAT MOVIE (AND ONE OF MY FAVORITES) - "THE HANGING TREE" ?IT SEEMS TO HAVE DROPPED OF THE FACE OF THE EARTH.

overdue classic releases
What a delight whenI found out these were FINALLY being released. Five great films, and three great COOP adventures. "Beau Geste" needs no build-up for anyone who has seen it. The best sound version of this classic tale."Geste" with "Gunga Din" are the pair of great adventures NOT TO BE MISSED! Also to be rewarded in the same set with TWO! of my favorite less apreciated classic COOP adventures. "Lives of a Bengal Lancer" was a big picture when it was released and did well, and an intersting precursor to "Gunga Din" filmed four years later. "Lives" had alot of location shooting done up near Lone Pine. A truly great piece of cinema. And for me personally, "The General Died at Dawn" I've been wearing out my VHS copy of this. A great film with a dark and mysterious quality about China of the period, captured in few films of the time(Shanghai Express comes to mind). William Frawley is priceless in another of his famous 30's film character roles. The finale was filmed with real period weapons, many a rare piece even then. Just for these three great films I'd pay the money or MORE.... with the other two 30's classic COOP added as well, what a gift, more priceless cinema, a relief from modern repetetive media....

The Incredible Mr Cooper
Gary Cooper was without question one of the most outstanding actors ever to break onto the silver screen. How unfortunate that his untimely death would prevent us from having more gems like these.

Its true, all of these films are good, but for me one of the greatest films ever made is included: Beau Geste. I would buy any collection with that film packaged. How exciting it will be to get a jumpstart with Gery Cooper on dvd. Did he ever make a bad film? Even better than Beau Geste is the heartfelt and spiritual "Sargeant York" which any fan would soon hope to enter the dvd realm.

There are many rumors circulating about these discs. I wondered myself if they would cram two films onto a flipper disc, but it appears each movie will have its own disc, with hopefully some cool cover art for each.

Beau Geste is worth the price, but the remaining four films should relieve any quiestion from your mind. Cinema at its finest! ~SAOS~

Films are 5 excellent- hopefully these prints will be, too.
I have seen these 5 films and had to go to some desparate links to find them (including buying a really fuzzy, dim, pirated copy of "Peter Ibbetson" from a bad ebay seller who got ahold of an old copy someone taped off AMC). I would personally rank them in order of my favorites as 1. "Beau Geste", 2. "Bengal Lancer", 3."Peter Ibbetson", 4."Design for Living" and 5. "General Died at Dawn". I havn't seen "General.." for a long time, but I recall I wasn't too impressed with the story, the characters or the makeup/costumes (unattractive lady can equal unappealing love scenes). The other four are very enjoyable. "Ibbetson" is really surreal/dreamy and romantic, "Design" has controversial menage-a trois type innuendo (quite racy for the era)but understandable from the girl's point of view (if you could have both Cooper and Frederic March, why not?) and "Geste" and "Lancer" are wonderful adventures with Cooper as a strong yet sentimental hero with wonderful stories and supporting characters. Certainly we all are waiting for "Sergeant York" to be released, but it stands alone as popular enough to be individually released. I am a huge Cooper fan who would buy 4 of these five films from the collection individually as well, but I guess those releasing it know that not many current film fans are classy enough to recognize the merits of these wonderful,little seen, little known films. I find it frightening that people would waste their money buying knock-off farce like Adam Sandler in "Mr. Deeds" yet have never seen the incredible, wonderful original "Mr. Deeds Goes to Town." Thank God for Turner Classic Movies! ... Read more

Reviews (34)

Pride of the Yankees: Lou Gehrig as True Hero
There are movies that involve the audience about the life of its star and there are others that use gimmicks to hide the fact that the audience never gets to look at the star from the inside. In PRIDE OF THE YANKEES director Sam Wood gave us a movie that has already stood the test of time as one of the best movies to come out of Hollywood. The high quality of this film is mostly because of Gary Cooper's startlingly realistic portrayal of a baseball icon whose playing career overlapped the cinematic career of the film icon who played him. The audience sees the man in a way that the fans in the stands could not. Cooper carries the movie in the same way that he carries SERGEANT YORK, by his straightforward radiating of emotion that is often at odds with the face that says one thing but the eyes that say another.
The young Lou Gehrig starts off as a youth loving baseball so much that he has to hide his love from a mother who wants Lou to surpass Uncle Otto as a symbol of success. Lou hears his mother praise Uncle Otto and assures her that he will follow in his footsteps, but his eyes tell another story. In fact, throughout this movie, it is his eyes that speak more eloquently than anything else he can say or do. Lou winds up in Columbia on a scholarship, and during a frat party hazing designed to test his ability to endure a razzing, Lou retreats within himself until he can retreat no more. For the first time in this film, and very nearly for his entire movie career as well, Cooper shows the anger that we all knew lay buried deep. Cooper made a career out of rechanneling emotion into productive ends, and as Lou Gehrig, he can redirect his inner chi into belting baseballs over walls well enough to earn a tryout with the New York Yankees. By this time, the audience is hooked by their caring for a man who combines the best of the American ideals of hard work and talent with the self-effacing that marks most film icons of that time.
Theresa Wright plays first his girlfriend, then later his wife. She is simply wonderful as the cultured girl who falls for the small town hero. They poke fun of each other but the audience knows that what they are really saying is the Real Thing. Theresa Wright knows exactly when to back off and let Cooper be at center stage and when to interact with him to produce some truly stirring moments. There are two scenes that stand out as unforgettable, one with Wright, the other without. The first occurs when Lou has been playing poorly. He has been striking out, dropping easy catches, and running awkwardly. His teammates are puzzled and mix anger with concern. After a loss caused by his poor play, Lou sits on a bench, trying to make sense of a body that had never before betrayed him. As he leans forward to untie his laces, he continues to fall, rolling over onto the floor. His mates pretend not to notice. Lou says nothing but his face tells the audience all that they need to know. The fear that often bubbles just beneath the skin in many of Cooper's movies surfaces, and that fear clicks in the hearts of all. Later, when he has seen a doctor and knows that his illness, Amyotrophic Lateral Sclerosis, is terminal, he decides to hide this knowledge from his wife who nevertheless has already guessed the truth, but tries to hide that from him. There is a heartbreaking scene in which she tries to raise his spirits by donning a barker's hat and mustache. As she stares at him, she laughs. As she hugs him, her eyes reveal her own torment. Each actor is absolutely convincing in their respective attempts to hide what they know, while pretending all is well.
PRIDE OF THE YANKEES tells a story well-known to anyone who reads the sports pages. It features Cooper in center stage, with a supporting cast including Walter Brennan and Dan Duryea, both of whom interact credibly with him and Ms. Wright. This is more than a baseball bio of a man who hits it big in his game. It is more the story of a giant who continued to hit it big even after the fans have left the stadium.

Nostalgic Eye for the Baseball Guy
I hate people that can't seem to enjoy an old fashioned good feeling movie and call it sacharine because it has a happy ending. Which is why I am a little embarassed to give Pride of the Yankees just three stars. But the truth is that I really had to fight hard to surpress a smile at the level of schmaltz in this film that I didn't recognize when I saw this as a boy.

Gary Cooper plays Lou Gehrig with a childlike naivete which I know was charming in its day but today it feels like you would have to lock someone up who was his age and still that childlike. And I really did want to play along with the most classic scene in the film but found it funnier than any campy parody I have seen over the years. The little boy in the hospital who is sitting by the radio because the Babe and Lou promised him they would each hit home runs form him. "Little Billy" sits in pajamas in the hospital by the radio. He listens earnestly with a expectant vapid open mouth expression waiting. Its as if his ability to ever walk again hung on the success of that hit. Bottom of the sixth Gehrig disappoints by striking out for his second time in a row still one short of the two promised home runs, you can tell the kid is thinking "Damn" but instead says "Golly"! I am glad I wasn't drinking anything at the time because it would shot through my nose trying to hold back the laugh. Pride of the Yankess does hearken back to simpler times but is perhaps so gentle and guileless it crosses the line into accidental comedy.

However I did very much enjoy the relationship between the two competing sportswriters who mock each others favorite players much like Statler and Waldorf the two old geezers in The Muppet Show. Walter Brennan plays writer Sam Blake who roots for Lou and does a wonderful job. He is so slender of build here he is almost unrecognizable in this role.

I am sure most people will have a fine time enjoying this film and Lou Gehrigs touching farewell speech.

From NY Immigrants' Child to American Legend
This was probably my introduction, and for millions of others, to the legend that is Lou Gehrig. And for so many years, I had Gehrig and Gary Cooper completely confused in my mind--they seemed inseparable. But there's good reason for it: the role of the Iron Horse seemed to be made for Cooper. Gehrig was a low-key, almost self-effacing athlete and person, which was just the type of character that Cooper built his career on. Their sizes were just about the same. Cooper nailed down Lou Gehrig's voice, especially for the famous "luckiest man" farewell speech. Hell, Gary Cooper LOOKS like Lou Gehrig! Maybe my confusion is justified, at least on this subject.

PRIDE OF THE YANKEES is the grand-daddy of all baseball movies. Cooper's performance, as I can't help but keep mentioning, is stellar. Teresa Wright as his wife helps keep the hankies moist but she is also very spunky and strong. Walter Brennan (who also played opposite Cooper in MEET JOHN DOE where John Doe is a semi-pro pitcher) is in a supporting role here but provides desperately needed comic relief.

And perhaps I'm wrong to categorize PRIDE OF THE YANKESS as merely a baseball film. It is about human potential, human frailty, and above all human strength during times of crisis. Lou Gehrig's tragedy occurred during a time of extreme crisis in America, and, I believe, his strong steady public appearances helped the nation through it. PRIDE OF THE YANKEES could easily have been named "Strength of America" in my mind. It's that important a film.

The story of Lou Gehrig and the classiest sports biopic
There are all sorts of little imperfections in the 1943 film "The Pride of the Yankees." The screenwriters rearranged Lou Gehrig's famous farewell speech at Yankee Stadium so that the best line, "Today, I consider myself the luckiest man on the face of the earth," becomes his exit line (it was the second line in his speech with his actual last line being, "So I close in saying that I may have had a tough break, but I have an awful lot to live for"). Gary Cooper had enough problems batting right-handed let alone left-handed like Gehrig, so the actor wore a uniform with "KROY WEN" on the front, ran to third base when he managed to hit the ball, and then they reversed the print. Gehrig is shown wearing his famous number 4 when the Yankees play the World Series, but that happened in 1926 and 1928 while the Bronx Bombers did not start wearing uniform numbers until 1929 (Gehrig batted cleanup and was 4, Babe Ruth batted in front of him and was therefore 3). The film talks about how Gehrig won the Triple Crown on the day he was married but Gehrig won the Triple Crown in the 1934 season, the year after Lou and Eleanor were married in 1933.

But none of that really matters because "The Pride of the Yankees" remains the standard by which all sports biopics, whether of baseball players or anyone else, are judged. Even those who were not weaned and raised on baseball know that the title character is going to die of Lou Gehrig's disease and the film takes full advantage of that foreshadowing: when Gehrig gets into his first game and refuses to come out after being hit in the head by a thrown ball, manager Miller Huggins asks, "What do we have to do to get you out of the game? Kill you?" Irving Berlin's song "Always" becomes a recurring musical theme throughout the film, another reminder of Gehrig's mortality.

In many ways "The Pride of the Yankees" is more of a love story than a baseball theme. It starts off as a rags-to-riches story, where Gehrig's mother (Elsa Janssen) insists her son will be an engineer and does want him wasting time playing baseball. Eventually the fame and money opens her eyes, but then Lou meets Eleanor Twitchell (Teresa Wright) and has a new "best girl." One of the most impressive aspects of this film is how it touches on the two darker sides of the Lou Gehrig story, the friction between his overbearing mother and his society wife along with the strained relationship that developed between Gehrig and Babe Ruth. The film really only touches on these aspects and Ruth, playing himself, is usually a smiling figure when he shows up on screen, except for when Gehrig is eating his new hat and he is listening to Gehrig's farewell speech.

Cooper was nominated for an Oscar for his performance and even though he is rather awkward and a bit old for the role, he captures the essential dignity and class of Gehrig. It makes sense that one American icon is being played by another. Having been nominated of a Best Actress in a Supporting Role Oscar for "The Little Foxes" in 1941 she received another nomination in that category in 1942 for "Mrs. Miniver" and also one for Best Actress that same year for "The Pride of the Yankees." Wright won for "Mrs. Miniver" and lost out to Greer Garson for Best Actress (because of the war the Oscars were made of plaster for the first time, but were replaced by "real" Oscars when the war ended). "The Pride of the Yankees" was nominated for 11 Oscars, including Best Picture, but only won for Daniel Mandell's Film Editing.

Walter Brennan as sportswriter Sam Blake and Ludwig Stössel as Pop Gehrig provide a lot of the comic relief in the film. Brennan's role is rather low-keyed for him while Stössel has several fine moments where he tries, usually without success, to stand up to his wife. Appearing as themselves are Yankee players Bill Dickey, Bob Meusel, and Mark Koenig, and the familiar voice of Bill Stern makes it on screen as well.

Gehrig's tragic death at the age of 38 makes all of his records even more astounding given that his career was cut short. Sportswriter Jim Murray once described the tall, strong Gehrig as a "Gibraltar in cleats," and "The Pride of the Yankees" provides a sense of that. For me the most poignant scene comes before Gehrig enters Yankee Stadium on July 4, 1939, when he encounter 17-year-old Billy (David Holt), the lame boy in the hospital (Gene Collins) for whom Gehrig hit two home runs in a World Series game in the film's most extended baseball sequence. The irony that Gehrig could inspire Billy to rise up and walk but Fate had conspired to strike down the Iron Horse who played in 2,130 is enough to reduce most of us to tears before Gehrig ever steps to the plate for the last time to talk about how lucky he is.

Courage and Heroism in Perfect Form
"The Pride of the Yankees" is without a doubt one of the best baseball films of all time. Why? Because it isn't just about baseball. It's about a real person seeking that seemingly impossible American dream and capturing it, only to lose it all too soon. Cooper plays Gehrig with so much heart in this film, that the movie almost seems unreal due to the fact that Gehrig was such a good person, both as a human and as a star athlete.

There are few professional athletes in the world who show so much character and so much love to others as Gehrig did. He faced death with honor and courage. He was and is a true hero. If you're looking for an athlete for your children to look up to, pick the "Iron Man of Baseball."

This film does exceptionally well in capturing the heart and soul of Gehrig. It is a great family film and I highly recommend it. Gehrig might have been in Ruth's(and later, DiMaggio's)shadow, but he was so much bigger than these guys. He was honest, hard-working, and approached people long after the cameras were gone.

Add this one to your collection. It's a keeper, even if you don't know the difference between a baseball and a ball of yarn. ... Read more

Reviews (103)

One of the Best Westerns ever. Gary Cooper wins 2nd Oscar!
This Western is told in a real time, nail biting, how does it feel to be alone scenario. Digitally remastered the picture & sound are extrodinary to the story telling. Oscar winning opening song "Don't Forsake Me" sung by Tex Ritter sets the stage for the "Miller Gangs" return.

Will Cain (Cooper) on this his happiest day of his life having a wedding and retirement ceremony (from being the town Marshall) has his past suddenly become the challenge of a lifetime. Vengeful returning outlaws are seeking Cain.

Everyone wants him to go on his honeymoon and leave town immediately. His sense of loyalty & duty is to stay until the new Marshall arrives. Problem no one stands beside him to defend the town. Will Cain must do it alone.

What is so wonderful about this classic black & white western is the real-time scenario from about 10:40 am until 12:00pm "High Noon". Clocks & railroad tracks are the major ingredients to the suspense. These desparados are coming on the noon train.

This is a great movie and "The Making of High Noon" with Leonard Maltin is wonderful. You'll be watching this movie more than once. This is a western to have in your DVD library now!

High Noon Does Not Foresake the Viewer
Gary Cooper and Grace Kelly are spectacular in what is considered one of the best westerns ever made, but should be ranked as one of the greatest films ever produced because it easily transcends its genre.

A morality play that was deliberately produced in stark black-and-white to heighten the mood, the story revolves around Cooper's character, the aging Marshal of Hadleyville who, when the film begins, weds Kelly's character. Cooper has retired and plans to return after his honeymoon as a store keeper because his wife is a Quaker and a pacifist. Plans immediately go awry, however, when it is discovered that a notorious killer whom Cooper had arrested and was expected to have been executed, was instead pardoned. The killer is expected to arrive back in town on the noon train to take revenge on Cooper. Three of his equally savage gang have already arrived and are waiting for him at the train station.

The townspeople urge Cooper to flee with his new wife, but as he starts out of town, he stops, then returns, convinced that he has a responsibility to protect the town and bring the outlaws to justice. Pinning the marshal's badge back on, Cooper tries to deputize residents, but no one will help him and he is forced to stand alone. In powerful scenes, Cooper is forced to ask for help time-after-time but is turned down by residents who refuse to accept civic responsibility or acknowledge the debt they owe Cooper, rationalizing their decision not to act.

Kelly doesn't understand her new husband and threatens to leave on the same noon train if he persists in remaining as the marshall this one last time. Kelly eventually begins to understand what drives Cooper but only after forming an unlikely friendship with his former girlfriend, who teaches Kelly about loyalty and character. Ironically, it is Kelly the pacifist who saves Cooper's life by picking up a .45 and killing one of the gunmen.

In the last scene, the steets are utterly deserted until the gunmen are killed, then the townspeople, who had been hiding, flock around Cooper and Kelly. Without a word, Cooper removes his badge and drops it in the dirt. He and Kelly leave together.

Throughout the movie, the stirring music and the real-time focus of the minutes ticking by until High Noon, serve to increase the movie's tension. The film combines elements of love, trust, duty, honor and courage in unexpected ways that are both thought-provoking and entertaining. The DVD version is crisp and clean, the story as powerful today as when it was filmed. If you have never seen this movie, you owe it to yourself to pick up this DVD.

The clock is ticking
It's half past ten in a little western town, and the local marshall of law, Mr. Kane (Gary Cooper) just got married to a gorgeous Quaker girl (Grace Kelly, always a sight for sore eyes). Mr Kane will now retire as a marshall, and head to a new and peaceful life. Or will he? At the telegraph station the postmaster gets a cable stating that a dangerous bandit (Frank Miller) will arrive in the twelve o'clock train. At the train depot, three of Miller's gunmen are wating for him. When he arrives, they will seek revenge against the one man that tried, unsuccessfully, to convict Miller of a capital crime: Mr Kane himself.

During these 90 minutes, Gary Cooper will try to get help from the local population, old friends, and a man who wants to be the next sheriff (Lloyd Bridges). But it will not be an easy task. Add to that the fact that his brand new wife abhorres violence, and threatens to leave him less than two hours after the marriage - in fact she says she'll leave in the train that brings the outlaw Miller to town.

People think this is a western classic. Wrong. "High noon" is surely a classic, but not a western. It only happens to be set in the old west. To say the truth, "High noon" is more like a thriller with a Hitchcockian feeling to it. The western setting (violence, lack of respect for the laws, gunfights, dry and sun-scorched landscape, etc.) is present to add to the mounting tension and suspense that grow with each shot depicting the face of a clock and the relentless passage of time towards noon and the train arrival.

What makes this movie great is the seemingly dead-end situation, the great dialogues, and very good acting by Gary Cooper (which earned him an Oscar, when the Academy Awards were not given for political reasons), Grace Kelly, Lloyd Bridges, among others (and Lee Van Cleef, the infamous "Angel Eyes" from "The good, the bad and the ugly" - he doesn't say a word, but those eyes are surely creepy).

I will not give "High noon" five stars because I felt the script could be a little more developed. The ending is too rushed and kind of unsatisfying. But this is an excellent movie nonetheless. And, I say it again, this is not a "western" in the common sense of the genre.

Grade 8.0/10

High time for High Noon
"High Noon" is the classic western movie about a marshall facing down four badmen alone after the townsmen refuse to help him. Although it has a western setting, it could have easily been most any other locale because the psychological and social aspects are the important themes, not the old West, or riding horses. Made during the time of McCarthy and the Communist witch hunt, many have read political undertones into the movie.

A seemingly unusual cast includes Gary Cooper ("Sergeant York", "Pride of the Yankees") as the good-guy out-going marshall, Grace Kelly ("Rear Window") as his new wife, Lloyd Bridges ("Sea Hunt", "Airplane") as the deputy, Lee Van Cleef (the "bad" of "The Good, The Bad, and the Ugly") as one silent badguy, Lon Chaney ("The Wolfman"), and Henry Morgan ("MASH").

The movie proceeds in nearly real time - it starts about 10:30 AM and ends shortly after noon - and clocks are increasingly prominent in nearly every scene. The leader of the badmen, Frank Miller, who was sent to prison by the marshall under a death sentence but was released, is now coming to town on the noon train to kill marshall Kane. Three of his friends are waiting at the station to greet and assist him in killing the marshall. That same morning, Kane is getting married to a violence-abhoring Quaker woman and is going to give up being marshall because of it. After learning Frank Miller is coming to town, the wife convinces Cane to essentially skip town and they leave, but the marshall gets his sense of duty back and returns to town. He and his wife argue, and she is determined to leave on the noon train. The judge also packs his things and leaves town. The marshall's deputy also quits. Kane goes around town trying to organize a posse, but only one capable man volunteers (the other is a one-eyed drunk) but he subsequently backs out.

Cane is forced to face the men alone. I won't spoil the ending.

At a time when movies (even bad ones) were being made in color, "High Noon" was shot in black-and-white, trying to get an unglamorous look to it modeled after Matthew Brady's photographs of the civil war, and succeeds. There is no beautiful sky and clouds, or cactus and sunsets. It is great cinematography however. Oscars for Best Actor, Editing, Song and Score.

Reasonably-priced DVD picture and sound are good. It has an average commentary by daughter of actor, son of singer, son of writer and son of director. Also has a short documentary, a fair behind-the-scenes, and a 5-plus minute radio interview with singer Tex Ritter.

When people do nothing...
As a high school student, I was taught how to write a screenplay through the first 5 minutes of this film. I never forgot how to do it either! It's simple storytelling, really. This is a classic story of one man forced to take care of unfinished business without any help. It's a story of good and evil. And it's a story of what happens when people don't help each other. Gary Cooper is awesome as the Marshall who must fight alone. Grace Kelly is beautiful in this movie. Though it may seem ugly to watch, the director, Fred Zimmerman and his Cinematographer shot this film without any special lenses or adjustments, making this movie an outstanding piece of work and possibly the greatest western ever made! ... Read more

Description

For two years the Civil War has been elsewhere.Now Confederate forces are nearby, looting and burning.It is time to fight back, Jess Birdwell's neighbors insist.Yet Birdwell, a Quaker, knows there must be a better way to settle things.

Year: 1956

Director: William Wyler

Starring: Gary Cooper, Dorothy McGuire ... Read more

Reviews (26)

Beautiful story about pacifist Quaker family in Civil War
Gary Cooper shines as a Quaker alongside a resolute and opinionated Dorothy McGuire as his "congregation elder" wife. They live in the rural "North" at the outbreak of the Civil War, raising 2 eligible teenagers (a boy and a girl), as well as a 10 year old boy. The emminent Civil War has the Quaker community divided on the issue of pacivism. Several "older men" in the congregation quickly turn coats, urging Cooper to join them in fighting the Rebels who plunder and burn Northern villages and kill women and children. When put to the true test, it is Cooper who proves to be the "true Christian". -- A love story between the teenage girl and her soldier suiter is a beautiful bonus. The entire cast is excellent, and the timeless theme song by Pat Boone puts the icing on the cake. This is a 5-star classic. You'll want to watch "Friendly Persuasion" again and again.

Cooper is magnificent
This is a lovely movie, beautifully photographed on location (no phony Hollywood sets here). The performances are stellar throughout, but Gary Cooper is outstanding as the family patriarch. Watch him acting, the subtle shifts in gait, his facial expressions and nuances make him the great star that he was. They don't make 'em like Cooper anymore. Anthony Perkins is also excellent as the vacillating Josh Birdwell, the Quaker boy gone off to fight in the Civil War and Dorothy McGwire is quietly effective. There is much humor throughout the movie, you'll laugh our loud many times.

This is a great movie for everyone in the family, adults and children alike. "Wholesome" is an old-fashioned concept, this this movie lives up to that billing.

An all but perfect movie
This gentle, sensitively crafted story of a loving Quaker family is the closest thing to a perfect movie I have come across.

Usually touted as an anti-war film, Friendly Persuasion deals with young Josh Birdwell's (Anthony Perkins) crisis of conscience over whether to fight the Confederate forces that have invaded his home area. But, the film has a broader sweep as well, fitting Josh's struggle into the broader life of the Family. Sister Mattie is in love with a Methodist, son of Papa's friend Sam Jordan, with whom he races to Meeting and/or Church on Sundays. Little Jess, the youngest, has a mortal fude with Mama's pet goose Samantha.

And, Mama and Papa? Different as their outlooks on life seem, they love each other very much. Without sinking to the maudlin this film, like The Sundowners, portrays two people who have been married for about twenty years and are totally, charmigly in love.

The story takes place over just a few weeks, but the brief time-span allows for a depth of realization which, by the end, leaves the viewer feeling that she/he kknows and is very fond of this family.

Perfect for snuggling with that special someone, or watchig as a family project.

revisiting a classic
I'd seen this film once as a child since it is one of my mother's favorites and recently we obtained a copy. I'd only remembered the goose! Upon seeing it again, I can safely say this is a classic to be viewed numerous times. It never slides into mockery and presents the Quakers as a family struggling with temptations forbidden by their religion from dancing to violence. The trip to the fair is a wonderful example of this: Little Jess's adventure with gambling, Josh's friend Caleb wrestling and their fight with other spectators, the father, Jess, played wonderfully by Gary Cooper, squirrel shooting and singing with friend and racing competitor, Sam Jordan, and the daughter Mattie dancing with epitomy of non-Quakerness, a Methodist Union Officer.

The trip Josh takes with his father to Ohio and meets a widow and her three very single daughters is delightful. Anthony Perkins is fabulous as he tries to keep away from the girls who hardley ever seen men!

THings turn serious as the Civil War which was always somewhat distant (even with Gard, Mattie's suitor and Sam Jordan's son, coming home on furlough wounded in battle) finally comes to fore. Enoch, the hired hand and runaway slave, must leave to save himself from the Confederates and Josh must choose between his country and his religion. The war literally comes to their front porch as Eliza, the mother and minister, Mattie and Little Jess are left defenseless at home.

One of the best parts is the culmination of the courtship between Gard and Mattie where he asks her to marry him. What will they go through during and after the war as Mattie will have to reconcile the conflict between her religion and Gard's occupation and what will her family's reaction be? There's a sense that her father doesn't mind Gard and would welcome a marriage between Gard and his only daughter. She could honestly not do better. The man is the son of her father's friend and is highly trusted by the family.

The characters and stories are delightful and I've rewatched this film several times over and still find great things in it every time. Well worth owning.

About Quakers By A Quaker
This is my favourite movie and I refer people to it often to explain the Quaker Distinctive of Non-Resistance (pacifism is something different). Based on the book by Jessamine West (who was also the consultant on the set), there are many 'inside' jokes only a Quaker (Friend) would get. Many non-Plain Faith people think we plod peacefully and quietly along through life (refering to noise level and degree of emotions), and that our children are born that way, too. This movie does an excellent job of showing we are all human, laugh, cry, etc., and especially why Quakers (Friends) do not bleieve in 'returning violence for violence done' (one of Dorothy McGuire's lines), why we do not believe in the 'glory' of war (there isn't any), and why we stress the sacredness of all human life. I also like how, when the teenage son (Anthony Perkins) feels compelled to choose differently, his dad reminds the mother (who is not just an Elder, but the Recorded Minsister of the Meeting) that one of the principal beliefs of Friends is each individual being directly responsible for their own actions/decisions to God through their individual consciences. An outstanding movie, with lots to keep you intertained and interested all the way through. Look for the humorous scene with Marjory Main (Ma from the Ma and Pa Kettle movies). ... Read more

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Fairy-tale Paris doesn't get more enchanting than Billy Wilder's Lovein the Afternoon, an ode to picnics on the grass and champagne at the Ritz.Audrey Hepburn (who had already made Sabrina with Wilder) is at her bestas the inexperienced cellist with a fascination for millionaire American playboyGary Cooper. Maurice Chevalier (who else?) is Hepburn's father, a privatedetective with ample evidence of Cooper's crowded history of l'amour.Alongside the sheen of the romance is Wilder's unerring sense of craftsmanship;watch how inanimate objects such as a liquor tray, a white carnation, or thelittle dog in the suite next door are developed into sublime running gags. Theage difference between the two leads has often been questioned, but perhaps thisis what gives the gossamer material the whiff of welcome melancholy. The finalthree minutes leave no doubt that Wilder hatched the best endings in Hollywoodhistory. --Robert Horton ... Read more

Reviews (43)

Cute but superficial romance
"Love in the Afternoon" is a cute but superficial romance. I realize that some elements of the film are intended as a satire on French cinema of the time, but Wilder went too far in a few instances, in my opinion.

Audrey Hepburn is beautiful, as always, in her excellent performance as a young music student who falls madly in love with American playboy Gary Cooper, a visitor in her native Paris. Both actors are elegantly funny and exchange witty banter, but a few elements of the relationship were quite disturbing and just TOO unrealistic. First, Cooper looks every bit of his 56 years, while Hepburn appears to be a college freshman. Second, why doesn't Cooper immediately realize that virginal Hepburn isn't the flighty young woman she claims to be? His ignorance is astounding. Third, the ending is just too over-the-top. This film was cute, especially watching Hepburn recount her many, many (fictional) affairs to a perplexed Cooper, but if you really want to see a good Hepburn romance, get "Roman Holiday" or "Breakfast at Tiffany's." Those two films top this one any day.

Wilder's Parisian souffle
With two of Hollywood's most glamorous stars, and (despite the silly plot) a sharp and witty script, this film is an evergreen, and one I never tire of watching.
Audrey Hepburn is enchanting as the spunky "Thin Girl", a cello student who falls in love with a millionaire playboy bachelor, played with grace and charm (and quite a bit of humor) by Gary Cooper. Hepburn was 28 at the time, and looked younger, Cooper was 56, and looked perhaps older, but despite the age difference, their chemistry together sparkles and sizzles.

The romantic cat and mouse game played by Hepburn to intrigue and win Cooper's heart is all very innocent and sweet, and I always shed a few tears at the magical ending.
Maurice Chevalier as Hepburn's father, a private detective specializing in matters of love and deception is fabulous, and gets most of the funny lines, and John McGiver, as one of Chevalier's jealous husband clients, is also very amusing.

The b & w cinematography by William Mellor is exceptional, and how the camera loves Audrey, looking exquisite in an array of beautiful gowns. There is also a quartet called "The Gypsies", who serenade the lovers throughout the film with some terrific czardas, and the melodic song "Fascination".
Light, frothy, and thoroughly enjoyable, this is one of Billy Wilder's most delightful films, and it's a treasure for Hepburn and Cooper fans.
Total running time is 130 minutes.

Cute but superficial romance
Audrey Hepburn delivers a wonderful performance as a naive young music student who falls hopelessly in love with a much older playboy American tourist. Both Hepburn and Cooper are funny, and their witty banter is wonderful. I know this is a comedy, and partly a satire, but I was disturbed by several aspects of this film. First, the age differences between the two characters is a bit disturbing. Cooper looks every bit of his 56 years, while Hepburn looks like a college freshman. Second, couldn't the worldly Cooper tell that virginal Hepburn wasn't the flighty woman she claimed to be? Third, I was also disturbed by the "happily ever after" ending. Maybe my tastes are a little superior to this film (I much more prefer the ending to "Roman Holiday," a much better romantic comedy), but I simply could not swallow the final scene. Other than that, this film is a cute romantic comedy, especially the scenes where Hepburn describes her many (fictional) love affairs. Worth a viewing, but this one isn't being added to my DVD collection, even though I am an avid Audrey fan.

A tragedy disguised as a love story
This movie helps us to understand why the divorce rate is so high amongst this generation. The story line is written to depict a great love founded on lies and deceit. Cooper plays a skirt chasing, immoral, philanderer, who has absolutely no depth of character and nothing positive to offer, other than financial security. Hepburn portrays an idiot child who can't see what a loser she pursues. The differences in their ages could suggest that Cooper is a child molester. I found this movie disturbing and annoying.

Cooper too old? Ask Ted Kennedy
or Michael Dougless or Bob Packwood ... Read more

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Mr. Deeds Goes to Town is Frank Capra's classic screwball comedyabout a village innocent who inherits $20 million, only to discover it's more trouble than it's worth. The screwball in question is Longfellow Deeds (Gary Cooper), a small-town greeting-card poet and tuba player transplanted to the big city to administer his newly inherited wealth, where fast-pattering, wised-up cynics, sneering society denizens, and corrupt lawyers lord it over the ingenuous and straightforward. Deeds's idiosyncrasies are amply magnified in the tabloids by journalist "Babe" Bennett (Jean Arthur), dating Deeds as a cover, only to discover she's the sap when she falls irresistibly for him. But the damage has been done, when Babe's column is used by a pack of corrupt lawyers, Cedar, Cedar, Cedar & Budington, to prove Deeds mentally unfit. The miracle of this unforgettable comedy is how it embraces dark material, calling into question some common assumptions about capitalism while maintaining an approachable atmosphere of light comedy, and deceptively so. You'll be so pixilated by its charm, you won't rest until you've doodled your way to a rhyme for "Budington." --Jim Gay ... Read more

Reviews (27)

Mr. Capra Goes Overboard
Director Frank Capra's work doesn't hold up as well today as some of his contemporaries' because of his habit of over-inflating his scripts. "Deeds" starts out wonderfully well when the tuba-playing small-town yeoman Gary Cooper inherits a fortune and heads for the big city to look into it. But Capra can't leave well enough alone and transforms the funny contrasts into a ridiculously overblown sanity hearing. Capra repeated the same missteps in "Mr. Smith Goes to Washington" and "Meet John Doe", straining for social commentary and ending up with pomposity. Still, I would recommend Deeds and those other two pictures for all the scenes Capra got right. Cooper serenading the townspeople by playing "Auld Lang Syne" on his tuba from the back of a departing train is a real classic.

Moving Capresque flick
MY RATING- 7.8

This is quite a moving tale a la american by the master of socio drama, Frank Capra in which he uses one of his fave actors Gary Cooper as the country man who inherits a fortune from a rich uncle and is double crossed in the city. I never enjoyed the first roles of Cooper in MOROCCO, yet it looks like he's been improving his acting over the years and his eyes seem to be brighter and emotional with Capra efforts. Jean Arthur is very good too with her sexy voice and tender love. The cast also includes H. B. Warner as the judge and Lionel Stander as Deeds gardian angel with that frog voice.
Maybe a bit overlong, however it's moving (not as much as It's a Wonderful Life"), , love triumphs at the end, with the Capraesque final act at the court.

better than the sandler version
This is a great movie. The Adam Sandler version might be funnier in a silly, mindless way, but this movie makes a point that too many people forget. People who criticize this movie as naive or propaganda have bought into too much capitalist propaganda. The only people who wouldn't like the message this movie makes are slaveholders and feudal barons. Beautiful movie making a point that we should all remember in our daily life. When Deeds' assistant comments on the difficulty of feeding all of the farmers ("there's 2000 of them"), Deeds replies "that doesn't make them any less hungry." This movie isn't naive. It should simply remind us of how to be human. Its a shame that the message even needs to be said or that the Sandler version would suck the beauty out of it for a cheap lines from a hispanic butler.

I'm sure this was GREAT sixty some-odd years ago.
...But today I found it as bland as a glass of water, however not pure or refreshing. In fact reading a dull, damp B&W newspaper is just as entertaining and very similar. Classic or not I just found the remake with Adam Sandler & Winona Ryder very funny and fresh. So I wanted to see where it came from. My great grandma loved the original when she was my age.. I'm guessing. But being that the only B&W film I liked was "Psycho", I'm glad that they remade this film just for me.

just to naive to be true
This kind of social comedy, with its naive eulogy of the simple man, the inocent farmers and the small american town, just gives me the creeps. Look out for the way it is satyrized in Preston Sturges' "Sullivan Travels". ... Read more

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Offering a screwball twist on the story of Snow White and the SevenDwarfs, this delightful comedy has grown dated since its release in 1941, but that only adds to its everlasting charm. Written by the ace screenwriting team of Billy Wilder and Charles Brackett and directed by Howard Hawks, the movie presents a breezy case of opposites attracting when nightclub singer "Sugarpuss" O'Shea (Barbara Stanwyck) is recruited to teach jazzy slang to a group of culturally isolated professors. Gary Cooper plays Bertram Potts, the straight-laced scholar who's compiling slang for a new encyclopedia, and his equally stodgy colleagues are fascinated when Sugarpuss and "Pottsie" seem to be warming up for romance. Complications ensue when the savvy singer must distance herself from her mobster fiancé (DanaAndrews), and Ball of Fire takes a wacky turn when the klutzy intellectuals take on the mobster's henchmen. It's all a bit quaint by today's standards, but the movie's got a wealth of witty dialogue and sassy appeal, with Stanwyck leading the way in a role that's equal parts tough exterior and soft-hearted vulnerability. As a bonus, she performs a pair of rousing nightclub numbers (including a lively rendition of "Drum Boogie") with hopped-up drummer Gene Krupa and his orchestra. Ball of Fire wasremade in 1948 as the Danny Kaye musical A Song is Born. This one's a real treat for fans of vintage Hollywood comedies. Don't miss it! --Jeff Shannon ... Read more

Reviews (21)

Cooper and Stanwyck in the classic screwball comedy
This classic screwball comedy offers a nice twist on the tale of Snow White, Prince Charming and the Seven Dwarves. Gary Cooper plays Professor Betram Potts, who is writing the definitive treatise on slang for an encyclopedia. Towards that end he elicits the help of burlesque stripper, Sugarpuss O'Shea, played by Barbara Stanwyck in her second Oscar-nominated role. Sugarpuss knows all about slang and moves in with the professor and the seven distinguished professors (Oscar Homolka, Henry Travers, Z. Z. Sakall, Tully Marshall, Leonind Kinskey, Richard Haydn and Aubrey Mather) helping Professor Potts with his research. Of Sugarpuss sets the stuffy household on its head, with the result that the professors are all totally smitten with her and the lady has to rethink marrying her gangster boyfriend (Dana Andrews) because she, of course, has fallen for Potts.

This is a first rate screwball comedy and it is hard to believe that Cooper and Stanwyck had played opposite each other in Frank Capra's classic "Meet John Doe," since there is quite a difference between Capracorn and screwball comedy. For me, it is the seven dwarves, er, professors who steal the show with their ensemble responses to everything Sugarpuss says and does. Originally called "The Professor and the Burlesque Queen," Charles Brackett and Billy Wilder's Oscar nominated screenplay was based on an original story by Wilde and Thomas Monroe called "From A to Z." This 1941 film was directed by Howard Hawks, produced by Samuel Goldwyn, had Gregg Toland of "Citizen Kane" fame as the photographer and featured an Oscar nominated score by Alfred Newman. The song "Drum Boogie" was written by Gene Krupa and Roy Eldridge. Watch "Ball of Fire" as a double-bill with "Bringing Up Baby" and you can enjoy the two best screwball comedies ever made at one sitting.

Delicious Screwball Farce
BALL OF FIRE is one of the classic screwball farces. With a wonderful script from Billy Wilder and Charles Brackett, smart, spot-on direction from Howard Hawks, great B&W cinematography from Gregg Toland, elegant set design from William Cameron Menzies (wait'll you see the wonderful Manhattan town house!) BALL OF FIRE turns Snow White and the Seven Dwarfs on its head. Here, the seven dwarfs -- led by a terrific Gary Cooper -- are taught the ways of the world by Snow White -- an equally terrific Barbara Stanwyck. This is sheer, unadulterated fun, from beginning to end. Has any actor in the history of film had a year like Cooper had in 1941? Besides BALL OF FIRE, he also starred in two other critical and box office smashes -- Capra's very disturbing MEET JOHN DOE, and a second Hawks film, SERGEANT YORK, for which Cooper won his first Academy Award. Not bad for an actor whom some have claimed was wooden and only played himself! Buy this, most definitely.

Great 40's comedy
For anyone who only associates Barbara Stanwyck with television's "The Big Valley" series, this movie should provide some good insight into just how talented this actress was. Barbara Stanwyck was a top star during the forties, and her versatility was amazing. "Ball of Fire" showcases her marvelous comedic talents. It also gives viewers a glimpse of just how wonderful these "old" movies really are. Gary Cooper and Stanwyck had a great on-screen chemistry. But the most surprising thing is how sexy Barbara Stanwyck was on that screen. She was positively luminous. See this movie and judge for yourself. Today's movies are positively sordid by comparison.

Worth the wait.....
I never had the opportunity to watch this classic film, neither on tv, nor on vhs format....Having watched so many times Capra's "Meet John Doe", also starring Cooper and Stanwyck, which I love....I had always wanted to see this second and last pairing of this wonderful screen couple.

When I bought my dvd player, three years ago, this one was of the first movies I wanted to buy....but when I tried to, the dvd edition was already out of stock or out of print....and sadly for us, this HBO 1998 dvd edition, is being sold at very high prices at Internet Stores. So... I had lost all hopes when I had the luck of finding it at a very convenient price in an unknown small store in Raleigh, North Carolina, while on vacation there.

This wonderful, classic comedy...deserved the long wait....'cos Stanwyck is really fantastic as cabaret stripper and singer Sugarpuss O'Shea, at first using Gary Cooper for her own selfish purposes, but in the process (not unexpectedly), falling for his naive, clumsy Professor Potts ("Pottsy" for her).

By the way, professor Potts works on an encyclopedia project with seven fellow experts, on different areas of knowledge, all of them bachelors or widowers, living by themselves in a big house...with the only female presence of the elderly housekeeper, Miss Bragg (played by Kathleen Howard), who doesn't live there (she wouldn't dare to!!).

While researching more information on current slang (for their encyclopedia project), Cooper meets Stanwyck at a nightclub, where she sings with legendary Gene Krupa! (nothing less!!) immediately trying to persuade her to meet him at his home (with other fellow "users" of slang: the garbage man, the newspaper boy et al), in order to try get all of the existing slang words into the encyclopedia.

His seven fellow -much older than Cooper- co-workers and professors, are sort of like the seven dwarfs kind of characters, trying to play matchmaker between sexy-woman-of-the world Sugarpuss O'Shea and reluctant, prudish Professor Bertram Potts. Some of them are played by the best of character actors: Richard Haydn (his debut on screen), S.Z. Sakall, Henry Travers, Oscar Homolka, Tully Marshal, et al.

Also, noteworthy performances by Dana Andrews (as Stanwyck's underworld boyfriend) and Dan Duryea, as one of his "boys".

Hilarious scenes, very funny moments and witty dialogue, thanks to a great script by the Charles Brackett-Billy Wilder team, and Howard Hawks' deft direction.

The dvd edition is good, pretty crisp and sharp...featuring the original mono audio and a remastered-stereophonic one.

1941 was an excellent year for both actors, besides this one and "Meet John Doe", Stanwyck starred in the very, very funny Preston Sturges' movie "The Lady Eve", with Henry Fonda, and Cooper starred in Hawks' "Sergeant York", and Oscar winning role.

This one was remade in 1948 by Hawks, as "A Song is Born" with Danny Kaye and Virginia Mayo, a funny movie, but not up to the original.

Sugarpuss and the Seven Dwarfs
Rollicking satire is what is dished out in this superb 1941 valentine to 40's jive and slang. Rarely have written words and actors to deliver them ever experienced a happier marriage than here as the wonderful Barbara Stanwyck adds another triumph (and another Oscar nomination to boot!) to her list as the jive talking, flashy show girl come mobster's gal Sugarpuss O'Shea. Playing opposite her is frequent co star Gary Cooper as the upright and very proper Prof Bertram Potts in the Billy Wilder written, Oscar nominated screw ball comedy hit "Ball Of Fire".

Directed by veteran Howard Hawks this terrific screen confection is loosely based on the idea of Snow White and the Seven Dwarf's in its telling of a group of mostly elderly professors, led by the younger Cooper who have been hired to write a new encyclopedia containing all the up to date slang terms used in society. Into their tightly academic and isolated world waltzes the flashy woman of experience Sugarpuss O' Shea on the lam from the vice squad who needs a place to safely hide out in till the heat gets off her and her crooked fiance . In a delightful way she proceeds to turn the professors snug little world upside down with her gangster connections, sassy language loud music and free and easy manner with all of the professors who all become quite smitten with this rare bird who has flown into their nest.

Barbara Stanwyck was born to play Sugarpuss and had already teamed beautifully with the lanky Gary Cooper in "Meet John Doe". Barbara was as expert in comedy as she was in the hard hitting dramas she is probably better known for. In "Ball Of Fire" she has the perfect screen teaming with Cooper contrasting her tart and breezy mobster's moll character with Cooper's sound and respectable academic with no experience of the opposite sex. Of special delight are Sugarpuss's wonderful exchanges with the elderly professors (expert character actors like Henry Travers, S.Z. Sakall and Tully Marshall among them in truly delightful performances).By employing her considerable feminine wiles and smart talk she manages to not only convince them to let her stay with them in the house but also dupes them into literally becoming her personal bodyguards when her fiance (Dana Andrews in an early performance) starts to cause her trouble. Prof. Potts finds himself attracted to her worldly manner and proposes marriage with a minisule diamond ring that pales beside the vulgar nuckle duster given to her by her mobster fiance. Sugarpuss also finds herself falling for the prim Professor's sincerity and what ensures is a mad race to the altar complete with interfering mobsters, machine guns and the professors taking on the mobsters at their own game.

Under Hawk's breezy direction this madness all works beautifully and the film is unique in containing a very complete catalogue of all the early war time slang expressions which are a delight to listen to and are as fresh and funny today as they were back in the forties. Edith Head's designs for Stanwyck are wonderful as always and Cooper's shock at Barbara's gold lame show costume slit right up the sides in their first scene together is priceless.

"Ball Of Fire' is fast, sexy and great fun all round with the stars at their absolute peak. I always laugh at Barbara's reactions to the stuffy professors, the gem being when S.K Sakall is stroking her hand repeatedly and Barbara simply states "Do you mind if I have that back?" Great stuff delivered with relish and it's evident that they were all having as much fun filming this piece as the audience has watching it. Simple and extremely innocent it indeed is but what's wrong with that? It easily beats many of todays so called attempts at a heart warming comedy. Enjoy Barbara and her beloved Coop at their best in "Ball Of Fire". ... Read more

Reviews (8)

FAUX HISTORICAL EPIC - FLASHY BUT INACCURATE
"The Plainsman" represents the directorial prowess of Cecil B. DeMille at its most inaccurate and un-factual. It sets up parallel plots for no less stellar an entourage than Wild Bill Hickok (Gary Cooper), Buffalo Bill Cody (James Ellison), Calamity Jane (Jean Arthur), George Armstrong Custer and Abraham Lincoln to interact, even though in reality Lincoln was already dead at the time the story takes place. Every once in a while DeMille floats dangerously close toward the truth, but just as easily veers away from it into unabashed spectacle and showmanship. The film is an attempt to buttress Custer's last stand with a heap of fiction that is only loosely based on the lives of people, who were already the product of manufactured stuffs and legends.
TRANSFER: Considering the vintage of the film, this is a moderately appealing transfer, with often clean whites and extremely solid blacks. There's a considerable amount of film grain in some scenes and an absence of it at other moments. All in all, the image quality is therefore somewhat inconsistent, but it is never all bad or all good - just a bit better than middle of the road. Age related artifacts are kept to a minimum and digital anomalies do not distract. The audio is mono but nicely balanced.
EXTRAS: Forget it. It's Universal!
BOTTOM LINE: As pseudo-history painted on celluloid, this western is compelling and fun. Just take its characters and story with a grain of salt - in some cases - a whole box seems more appropriate!

CALAMITY JANE
On September 17, 1868, while fording the south fork of the Republican River in what is now Colorado, General "Sandy" Forsyth was ambushed by 600 Cheyennes and Arapahoes. Outnumbered ten to one, Forsyth and his troops took refuge on a brushy island in the middle of the river and for nine days stood off one of the fierest charges in the history of Indian wars. The ten years which followed this gallant episode saw the final defeat of the Indians on the Northern half of the Great Plains. Some 300 battles were fought, chiefly against the Sioux and Cheyennes. In 1876, the two nations rallied to wipe out General Custer's regiment on the Little Big Horn. By 1880, Indians were no longer a power on the plains. Cecil B. DeMille, the producer of super-colassal spectacles of the thirties and forties goes the American West for THE PLAINSMAN. The film opens with a prologue shot of President Lincoln and his Cabinet, from then on compresses many actual events in the history of the Great Plains. Its hero and heroine are two of the most famous characters of the West "Wild" Bill Hickok and "Calamity Jane" ably portrayed by Gary Cooper and Jean Arthur (whose Calamity is decidedly more glamourous - with rouge and mascara applied - than was the real Martha Jane Canary!) In one segment, the Cheyennes ambush Buffalo Bill for twelve minutes ; it was considered quite an exciting climax to 1937 audiences.

The West as it SHOULD have been!
This epic western condenses "many years into an hourglass". In 1936 when it was made, it used available information & speculation, added a big dose of romance, & created a masterpiece. More recent research has rendered some of the plot devices obsolete, but for the lovers of great film, who cares? The friendship of Hickok & Cody was true enough, & the rest is good fun. Cooper & Arthur are superb, & the supporting cast is terrific. This is a must-see film for anyone.

Grand Old-Fashioned Movie-Making
The Plainsman is terrific fun, grand and old-fashioned movie-making in the best sense of the word. Gary Cooper is splendid as Wild Bill Hickok. And even though the facts are bent and twisted, there is something so honest in his portrayal of Hickok, you get the idea that he has managed to reveal the real Hickok. Jean Arthur is also wonderful, as Calamity Jane. A real flaw is James Ellison as Buffalo Bill, he throws off every scene he appears in, especially when in the same frame as the iconic Cooper. It is also less than politically correct in its treatment of Native Americans.

Fascinating Cooper
THE PLAINSMAN is probably all the things its champions and its detractors say it is. Graham Greene felt it was the best western ever made when he reviewed it in 1936. Others point to the clumsy plotting and awkward pacing. However, there are things in it which are just wonderful! Take the opening sequence, with the illegal gun runners plotting how to get around government laws. It is tightly written, bitterly ironic and flawlessly acted. Indeed, it is as up-to-date as John Le Carre's fine novel about illegal gun runners of today -- THE NIGHT MANAGER. There are beautifully handled set-pieces, especially the shoot-out on a dusty, deserted street, shot in one long take, in which Cooper kills three villains. No MTV-style editing here, no tight close-ups of guns exploding, bodies flying, etc. You aren't asking yourself after the scene is over, how did he kill all those guys? And then there is Cooper's performance -- since he knew from the beginiing that his character was to die at the end, he played throughout as if his Hickok was doomed and well knew it. The weary fatalism in the way he utters his lines, the bleak look in his eyes for most of the film, it is a very, very fine performance. A performance which isn't given its due, perhaps because it is a DeMille film. For all its flaws, this is a movie with a great deal recommending it. Try it. ... Read more

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"You're the first friend I ever had," grins flamboyant mercenary Burt Lancaster to lean, laconic Gary Cooper with a smile that suggests that he may be the last. They're a pair of Americans abroad looking to cash in on the Mexican revolution by selling their services to the highest bidder in this energetically cynical south-of-the-border Western. They meet cute, conning, robbing, and out-witting one another in a bit of one-upmanship that bonds the men in mutual admiration, and then team up to escort a royal convoy through revolutionary country. When they discover its secret stash of gold bullion, they revert to their old way, selling out anyone it takes to get the treasure for themselves, even each other. Played out as a seat-of-the-pants con game of shifting alliances and double crosses, this is a cheerfully ruthless tale that served as a veritable blueprint for the Italian spaghetti Westerns of the 1960s. Director Robert Aldrich has a real flair for turning rogues and opportunists into deviously riveting characters, and went on to work the same sort of magic on Kiss Me Deadly and The Dirty Dozen. The cast of character actors features Ernest Borgnine, Charles Bronson, and Jack Elam in the gang, George Macready as Emperor Maximilian, and Henry Brandon as the martinet German captain Danette. --Sean Axmaker ... Read more

Reviews (21)

Underrated western with two top Hollywood stars!
When lists of the best westerns are drawn up, rarely is "Vera Cruz" included. This is most unfortunate, for this 1954 Robert Aldrich adventure features Hollywood legends Gary Cooper and Burt Lancaster at their peaks and is rousing good fun. It is also able to tell a story in less than two hours.

The story is set in Mexico, following the end of the American Civil War. Two men, Joe Erin, a wanted criminal (Lancaster) and Benjamin Trane, a civil war veteran, (Cooper) decide to work for the Emperor Maximillian in a job that involves escorting a woman of the court, Countess Marie Duvarre, to the port of Vera Cruz along with other soldiers. But they are unknowingly escorting something else: A large cache of gold. Everyone involved seems to want that gold for themselves and the journey is full of double crosses and attempts at theft. Lancaster and Cooper's characters get along through most of the film, but it is clear that Joe wants all he can get (As he states, "I'm a pig"). His greediness and double crossing culminates in a climatic shoot-out.

Ben, on the other hand, is a southern gentleman. He is more to himself and is more dignified, treating people with respect by saying "sir" or "mam". Another good example is when Joe, Ben and Emperor Maximillian practice target shooting. All three have excellent aim, yet Joe shoots it seems without aiming, while Ben and the emperor take their time. Cooper's character also is not seemingly too social or outgoing and seems to take his time thinking, while Lancaster blurts things out. This kind of regular guy character was what made actors like Cooper, Jimmy Stewart and Henry Fonda popular with audiences.

If you have yet to see "Vera Cruz", you are in for a big treat at your local video store. Enjoy!

Vera Cruz-Grossly underrated
When lists of the best westerns are drawn up, rarely is "Vera Cruz" included. This is most unfortunate, for this 1954 Robert Aldrich adventure features Hollywood legends Gary Cooper and Burt Lancaster at their peaks and is rousing good fun. It is also able to tell a story in less than two hours.

The story is set in Mexico, following the end of the American Civil War. Two men, Joe Erin, a wanted criminal (Lancaster) and Benjamin Trane, a civil war veteran, (Cooper) decide to work for the Emperor Maximillian in a job that involves escorting a woman of the court, Countess Marie Duvarre, to the port of Vera Cruz along with other soldiers. But they are unknowingly escorting something else: A large cache of gold. Everyone involved seems to want that gold for themselves and the journey is full of double crosses and attempts at theft. Lancaster and Cooper's characters get along through most of the film, but it is clear that Joe wants all he can get (As he states, "I'm a pig"). His greediness and double crossing culminates in a climatic shoot-out.

Ben, on the other hand, is a southern gentleman. He is more to himself and is more dignified, treating people with respect by saying "sir" or "mam". Another good example is when Joe, Ben and Emperor Maximillian practice target shooting. All three have excellent aim, yet Joe shoots it seems without aiming, while Ben and the emperor take their time. Cooper's character also is not seemingly too social or outgoing and seems to take his time thinking, while Lancaster blurts things out.

If you have yet to see "Vera Cruz", you are in for a big treat at your local video store. Enjoy!

A truly underrated western with great cast
Vera Cruz is an excellent western that was years ahead of its time, serving as a blueprint for plenty of westerns made years later. The story takes place during the Mexican Revolution after the conclusion of the Civil War. A prologue states that many Americans went south into the country hoping to become rich by prospering off of the revolution. One of these men is Ben Trane, an ex-Confederate officer hoping to earn some money to help out the war-torn south. He teams up with cocky gunfighter, Joe Erin, to help Emperor Maximilian transport a countess to the port of Vera Cruz. Joining them are Erin's gang, a bunch of adventurers, mercenaries, criminals, and hired guns, and a company of French lancers. Ben and Joe find more than they bargained for when they discover the countess wants out and they are also guarding $3 million in gold. This is a great western full of action with plenty of double and triple crosses. What makes it fun is that you never really know what the characters are going to do. Will Ben and Joe steal the gold? Filmed entirely in Mexico, Vera Cruz is beautifully shot and looks great in letterbox.

Gary Cooper stars as Benjamin Trane, the ex-Confederate officer who sees an opportunity to make a lot of money. He plays straight man to Burt Lancaster's Joe Erin, the amoral gunfighter who really only looks out for himself. Cooper and Lancaster are great together, with Burt stealing the show much of the time, but Cooper never lets him outshine him. Denise Darcel plays Countess Duvare while Sara Monteil plays pickpocket, Nina. Erin's gang includes Ernest Borgnine as Donegan, Charles Bronson as Pittsburgh, Jack Elam as Tex, James McCallion as Little-Bit, and Archie Savage as Ballad. The movie also stars Cesar Romero, Henry Brandon, George Macready, and Morris Ankrum. The DVD includes the widescreen presentation and a theatrical trailer. For a beautifully shot, underrated western with plenty of twists and turns and a great cast, check out Vera Cruz!

Pure Corn
Ok I understand that standards were different in 1954 and escapist entertainment was in vogue. Viewing Vera Cruz in that light is enjoyable enough. The campy performances of Burt Lancaster and Gary Cooper are so uneblievably corny and yet difficult to stop watching at the same time.The Mexicans are all stereotypical cartoonish characters and the Emperor Maximillian's court scenes are like something out of the Roman Empire.
The movie is a great example of 1950's Hollywood corn and can be appreciated as such despite the cheezy screenpaly.

Before "The Dirty Dozen" there was the Dirty Duo...
Directed by Robert Aldrich pre. WHATEVER HAPPENED TO BABY JANE? and DIRTY DOZEN, VERA CRUZ is a western which sees the teaming of movie legends Burt Lancaster and Gary Cooper as mercenaries in the 1860s Mexican revolution. In a novel twist Benjamin Trane (Cooper) is the good guy and Joe Erin (Lancaster) is the bad guy, but are both drawn together when a gorgeous Countess (Denise Darcel) offers them $50,000 to escort her and a fortune in gold to the Emperor's troops in Vera Cruz. Not surprisingly the two men's growing greed and jealousy over the cash and the Countess place them further at odds with each other, which really isn't the best of situations when you're in the middle of a raging war; as well as being pursued by a band of outlaws led by Ernest Borgnine.
VERA CRUZ is a watchable western that coasts a long way on star power but climaxes in an all too predictable HIGH NOON finale (Which in 1954 would actually have been a reasonably innovative wrap-up to spring on audiences of the era). The movie is also notable for an early screen appearance by Charles Bronson, in his final billing under the name "Charles Buchinski" playing a member of Borgnine's gang. An entertaining movie, but there's not a lot here that distinguishes VERA CRUZ from countless other westerns of the day. It's still worth a look. ... Read more

Reviews (7)

Ladies and gentlemen: another disaster from Artisan!
The back of the box says Full Screen Format! What? This is a CinemaScope picture? So I put it in my player just to check it out. And what do I see? Some kind of letterbox image (about 1:2) far from the correct aspect ratio, but better than full screen. Alas, it is not enhanced for anamorphic playback, and the colors are washed out and fuzzy! So is the focus, and there is some kind of "net" pattern so obvious and distracting most of the time, that I finally decide to rate this DVD as unwatchable! Sad, indeed! Yet another disaster from Artisan, one of many DVD distributors that you cannot rely on. Sure, they have given us some pretty nice transfers, but most are far below acceptable standards. When will these people learn that quality means happy consumers, and happy consumers means better sales?

Flies High, But Not Supersonic...
"The Court Matrial of Billy Mitchell" is a gem, albeit not a precious one.

Gary Cooper is in fine form given the constraints of the material he has to work with. Charles Bickford is perfect as General Guthrie, Ralph Bellamy steals his scenes, and Rod Steiger rules his eight to ten minutes of screen time. Here we also have three future stars of television, who round out the supporting cast; Jack Lord, Elizabeth Montgomery, and a cameo for Peter Graves.

The story of the almost prescient Mitchell, who forsaw the then-fanciful advancements in air power, perfectly captures the views of the Army and Navy at the time; that airplanes were nothing more than unreliable toys.

Mitchell, always a crusader for air power, is muzzled and ignored by the military establishment. Only when the Navy airship Shennedoah is lost due to shortsighted Navy orders does Mitchell break with the Army and make public statements accusing the Army and Navy command of negligence. Inviting his own courtmartial in order to finally have his say, Mitchell is given the opportunity to martyr himself in the name of military airmen everywhere.

If anything holds the film back, it would have to be the combination of the script and the oddly detached direction of Otto Preminger. Neither serves the material well, but the film is compelling anyway. The film bogs down a bit as it transmutes from historical action bio into a courtroom drama, but the legend of Mitchell is enough to carry the film over the rough spots, and keep the viewer watching.

The packaging of the DVD says that the film is in standard (or pan n' scan) format, but the disc is actually (and thankfully), in widescreen. The widescreen framing is not perfect, but close enough for satisfaction. The color is a bit "washed out", and the sets are clearly painted in a color scheme meant for black and white film. This combination makes the colors a bit garish at times, but for the age of the film, it looks pretty good overall barring a full-on restoration.

Of special note is the final set piece, the warehouse that served as location for Mitchell's trial. The set is surprisingly true to the photos taken of the actual location during the real life trial.

Billy's Universal Choice: Obedience or Integrity
The events of December 7, 1941 may have come as a total surprise to nearly all Americans, but not to Billy Mitchell, who years earlier had predicted with astonishing accuracy the details of an attack that would cripple United States naval powers for more than two years. In THE COURT MARTIAL OF BILLY MITCHELL, director Otto Preminger dramatizes the dilemma of Billy Mitchell, who had to struggle with his sense of duty that ran counter to a conscience that refused to let his fellow airmen die in preventable air crashes. Gary Cooper as Billy Mitchell was 54 when he made this film and his true life weariness and evident age did not detract from a performance that did not differ materially from the laid back roles he had earlier showed as Lou Gehrig and Alvin York. As disgraced Colonel Billy Mitchell, Cooper uses his stone face and immense dignity that allows him to maintain his purpose while others lose theirs in the heat of the moment. Colonel Mitchell has seen too many trusted comrades die when he and they knew that their deaths were caused by the criminal negligence of his military superiors. Mitchell does the unthinkable. He goes public with his accusations and is court martialed.

The first half sets up this courtroom drama with sterling performances by Jack Lord, Elizabeth Montgomery, and Darren McGavin. As his friends die, you can sense that Mitchell's iron-bound duty not to break the chain of command is beginning to rust. The dramatic center of the first half is internal, as Cooper portrays a man who knows what he wants to do but is forbidden to do. The second half is the trial itself. Although Cooper has to share center stage with Charles Bickford as the presiding judge and a young and arrogant Rod Steiger as the prosecuting attorney, Cooper manages a rare balancing act. He successfully keeps the military jury's and the audience's attention on the need for aviation reform while not allowing the film to sink into a 'message' movie, that might otherwise have been literally true but less interesting. One of the reasons that enabled Cooper to be the megastar that he was was his ability to say commonsense things in a straightforward way that never let the audience forget that a fully-fleshed character truly believed in the veracity of his words. No matter how hard Steiger tries to make Cooper look foolish on the witness stand, it is Steiger--and by implication the army--that was foolish for not heeding Colonel Mitchell's many warnings about the need to upgrade the American air force. The movie ends rather abruptly with no hint that Mitchell's foresight would one day be vindicated. And if the audience is denied the pleasure of seeing Colonel Mitchell vindicated, then, by contrast, the integrity of a man who had only his gut feelings to guide him stamps him as the rarest of men: one who has strong convictions and is unafraid to place his job and character on the line to express them.

The man who predicted the Pearl Harbor attack!
I am reviewing the movie "The Court Martial of Billy Mitchell", and not the VHS copy of it. Gen. Billy Mitchell was the Army/Air Force General who in the 1920's; said, and showed, that aircraft bombers could sink battleships. He also said,(under oath), in the 1920's that the Japanese could launch a Sunday morning aircraft carrier attack on Pearl Harbor, and devestate the USA Army and Navy units stationed there. ENDING SPOILER-Gen. Mitchell was court martialed and forced to resign his commission more for the way he said what he did, than for what he had to say. Seeing this film with it's great cast, especially Gary Cooper in the title role, makes me think about what might have been IF Gen. Mitchell been a little more tactful, or had his higher ranking officers been a little more willing to listen to him. Citizen Billy Mitchell died in the 1930's, so he was not alive in 1941. This is an outstanding film about the only person a US military aircraft was named for; the B-25 Mitchell, and I think it should be shown every Dec. 7th, along with "Tora, Tora, Tora".

An Air Force History Lesson
Gary Cooper stars as a General advocating the need for developing the Air Force following WWI, at a time when the Army and Navy did not believe it would be useful. His insistence on its usefulness leads to a demotion when he goes against orders, and later on, when he makes accusatory statements about the military, he is brought to trial for court martial. The fact that this is a true story certainly lends interest to it, but the slowness of the pacing offsets that. Cooper has a few good moments as the stubborn, heroic general who puts his career on the line to speak the truth and try to make changes, but to be honest, I did not find his performance to be a complete success. He's inconsistent and his laid back style doesn't always work. The supporting cast does better, with Rod Steiger as one of the prosecutors adding a lot of spark, and Ralph Bellamy relishing his role as Cooper's defender. It's fun to watch a number of up-and-coming young stars such as Elizabeth Montgomery (in a critical role), Jack Lord, Darren MacGavin, and Peter Graves. As a history lesson I learned a few things, and as a courtroom drama, it does come to life at times. But director Otto Preminger keeps things moving pretty slowly, and I wish the film had been tightened up a bit. ... Read more

Reviews (9)