Reviews (12)

John Wayne, Stewart Granger & co. shine in Alaskan adventure
The tremendously entertaining "North to Alaska" is easily John Wayne's most light hearted and fun filled movie and is wonderful viewing for all ages !!

Henry Hathaway's lively film is loosely based on the play "Birthday Gift" by Ladislas Fodor and Hathaway shows a wonderful hand in the romantic, comic nature of this film.

Confirmed bachelor Wayne and love lorn Grainger strike it rich in Nome, Alaska at the turn of the century and there begins all there problems. Wayne returns to Seattle to bring back Grainger's fiance, finds she has married another man, and ends up in a dance hall and brings back to Nome the glamorous Capucine (she was a knock out in her day !) for Grainger, but the big Duke falls for her womanly charms himself ! Songster Fabian is loads of fun as Grainger's overly amorous kid brother, Billy...and noted funnyman Ernie Kovacs is slick conman Frankie Cannon...eager to get his hands on anyone's fortune. And Johnny Horton's resonant voice sings the title track to the movie !

Henry Hathaway often got the best out of the Duke on screen, and if you never thought screen tough guy John Wayne could be funny...see this film...the honeymoon cabin sequence with cunning Grainger and reluctant Capucine stirring up trouble with an irate Wayne listening is simply priceless !

Watch closely during the all out brawl in the snow and the mud at the conclusion of the film where Wayne cops a hit on the jaw, falls backwards, and his toupee flies off !

Fun, action & romance..."North to Alaska" has got it all !

The Duke......
It's the Duke. What more can I say. John Wayne was one of the most wonderful actors that ever existed. North to Alaska has incredible scenery, memorable music and quite an interesting cast. The fight scenes are hilarious. The romance is so French and refreshing. There truly is something for everyone in this movie. As was said in "Rio Lobo" with John Wayne, he's just so comfortable.

John Wayne Strikes Movie Gold!
They must have had a blast making this movie, set in the snowy mountains of Alaska during its exciting boomtown days. Complete with romance, hilarity AND and some really fabulous fist fights, North to Alaska is definitely one of John Wayne's best.

Claim jumpers, love triangles and power plays keep best friends Granger and Wayne on their toes, and almost at each other's throats, and right smack in the middle of it all is a delectable French lady named Capucine. Her cap is set for Wayne, but she soon finds out he's one of the most mule-headed men in Alaska!

Capucine really shines in her comically romantic role. As she employs all of her feminine wiles you will actually find yourself rooting for her! Granger and Wayne are fabulously paired up in this movie as partners, especially since they are exact opposites. This film has it all - love, laughs and lots of exciting action. A definite gold mine.

We Go North - the rush is on!!
Great fun here in gold rush fevered Nome sees John Wayne as his inimitable self playing (suprise suprise) himself aka Sam McCord the man's man in gold country. A gentle comic tale sees him return to Seattle and bring back a girl for his lovesick partner played superbly by Stewart Granger. He begins to regret this trip, and task after the initial maiden he is sent to fetch has unexpectantly married whilst Granger was away panning for Gold, and he must quickly find a replacement. Add in some claim jumpers, a romantic subplot, a greedy villian and the ever present sandpaper like comic tension between the main characters, and the end result is a real treat. With an excellent supporting cast, great scenery and nothing too serious to get excited about, this is quality family viewing. The location alone precludes the usual Wayne western formula, but the action and laughs come thick and fast. A great classic. Enjoy

My favorite John Wayne film!
"North To Alaska" caught my attention when I first heard the title song by Johnny Horton. I decided to watch this film, considering I like John Wayne and his movies. There's a lot of what anyone who enjoys a western comedy; John Wayne, of course, a humorous good-natured storyline, funny antics, and fisticuffs. There aren't many gunfights, just fistfights, with sucker punches here and there. Wayne is Sam McCord and is sent by his partner George Pratt (Stewart Granger) to Seattle to bring back his love, Jenny. However, she has married someone else. Sticking around Seattle, he finds a dance hall girl named "Angel", played by French model-actress Capucine. Can George accept her in place of Jenny? Find out for yourself. If you're a John Wayne fan, it's a must! ... Read more

Amazon.com essential video

Tough stuff from director Fritz Lang(M), making his first American film with this 1936 story of an innocent man (Spencer Tracy) who escapes a lynch mob and then orchestrates his apparent murder at their hands. Tracy is superb, and the film is uncompromising, until studio interference takes some of the wind out of Lang's sails right at the end. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic.--Tom Keogh ... Read more

Reviews (12)

Lang's First American Film
An insightful study of mob rule, director Fritz Lang's "Fury" (1936) still packs a disturbing punch -- abetted by excellent performances from Spencer Tracy, Sylvia Sidney and Bruce Cabot. The closing shot was studio-imposed and unnecessary, but does not lessen the film's overall impact. "Fury" remains a powerful, thought-provoking drama. The DVD release includes an excellent commentary track from director Peter Bogdanovich.

We've Seen the Enemy And He is Us
What is amazing about Fritz Lang's "Fury" is it's depiction of middle America gone psychotic is it was distributed by MGM, the studio that advanced the Norman Rockwell idyll more than any other.This mirror of the darkest recesses of the American heart remains an obscurity, probably because we cannot admit to ourselves that when law and order break down we are capable of some of the most abhorent behavior.Obvious parallels can be made to what was occuring in Germany at the time of this film's release but our history suggests that, yes, it can happen here.There are many images that are seared in my consciousness from this film none more than that of one of the unruly lynchers munching on a hot dog as the jailhouse burns.Spencer Tracy is simply brilliant as the average Joe who, as a victim of circumstance, becomes the lightning rod for the mob's wrath.Sylvia Sidney contributes solid work as Joe's fiancee and the film's voice of reason.An underrated actress, Sidney also did a good turn in another classic film released in 1936, "Dead End".This film has to be commended for it's brute honesty, though, it took a foreigner to reveal some harsh truths about ourselves.

Smart 1930s Morality Tale from Fritz Lang with Spencer Tracy
"Fury" was legendary German director Fritz Lang's first American film. He spoke English, but not well enough at the time to write fluid dialogue, so Lang worked on the script with writer Bartlett Cormack, who did the actual writing. Lang and Cormack based this morality tale of mob psychology and revenge on a story outline by Norman Krasna entitled "Mob Rule", but they incorporated some elements of a real lynching case that had recently occurred in San Jose, California. Lang's intention was to give the film a realistic, documentary feel. "Fury" gives the impression of looking at the laws and customs of the United States through foreign eyes, which, of course, it is, but I don't know if Lang meant that to be so evident.

Joe Wilson (Spencer Tracy) is a man very much in love with his fiancée Katherine (Sylvia Sydney). The couple are eager to get married but don't yet have enough savings. Katherine takes a job in another city to earn more money, while Joe works hard in Chicago. After over a year of this arrangement, Joe has saved enough money to marry Katherine, and he sets out in his new car to join her. But he is intercepted by police en route and arrested on suspicion of being part of a kidnapping gang. He is held in a small town jail pending further investigation, but gossip spreads of the arrest, and an angry mob descends on the jail. When the mob is unable to break into the cells, they burn and dynamite the jail. Joe is thought to have died in the fire. But he escaped and is determined to avenge his attempted murder by seeing that the lynch mob is prosecuted for murder.

"Fury" isn't the least bit subtle in its message. It states its morals outright, but that doesn't undermine its power. The film is neatly divided into 2 parts: Part one concerns the Fury of the Mob, and part two is about Joe's Fury. The fury of the mob is transferred to its victim, and, although Joe's anger is more justified, "Fury" asserts that it is just as corrosive. At one point, the town barber delivers a monologue on violent impulse. The entertainment value that the public finds in both the lynching and subsequent trial is emphasized. And the state's Governor is reluctant to answer the Sheriff's request for National Guardsmen to protect the jail on account of election politics. The film is generally complimentary of the justice system, but scathingly critical of "mob justice" and vigilantism. "Fury" wasn't a failure when it was released, but neither was it a big success. Looking at it now, I wonder if that may have been because the film is critical of its audience. That's always a recipe for dismal box office. In any case, "Fury" is a smart "social conscience" film of the 1930s that doesn't align itself with any political party or group.

The DVD (Warner Brothers 2005 release): The picture and sound quality are good, but I don't think this is a restored print due to occasional small white specks. The flaws would hardly be noticeable unless you were looking for them, though. There is a theatrical trailer and an audio commentary by Peter Bogdanovich and director Fritz Lang. Yes, Fritz Lang! The commentary alternates between Peter Bogdanovich discussing Lang and the film in the present day and an interview with Fritz Lang that Bogdanovich did in mid-1965. Lang talks about his career, writing and filming "Fury", and differences between American and German filmmaking. Lang's commentary is quite a treat and very interesting. Bogdanovich is also interesting, as he fills in some of the gaps in Lang's comments. The audio commentary is definitely worth a listen. Subtitles for the film are available in English, Spanish, and French.

The scary thing...
is that this film is, with just a little tweaking, just as applicable today as it was then. Mob mentality is mob mentality, even if it's not literal. This is easily one of the best films to illustrate just how imbecilic and lemminglike mobs can be, and how self-righteousness can supposedly cover up for a multitude of sins. Tracy is superb, as are many of the characters, and Lang's direction is near flawless. The only things that keep this from being a 5-star film: The ending, which was forced on lang by the studio, and the fact that some of the acting, including Sydney in parts, is too over the top. Still, one worth watching and owning.

Brutal film !
The inner demons hidden in a crowd will explode with all the expected fury around and innocent man acussed unfairly .

The sociological study of the human being is exposed in all its ugly nakeness .

So after you watch this sinister nightmare brilliantly played by Spencer Tracy, please remind that famous reflection of Ibsen taken from An enemy of the people : ^The majority never has the reason^ .

This movie was the first one made for Lang when he came to North America after leaving Germany .

A major cult movie ! ... Read more

Reviews (19)

Best romantic comedy
(...)This is a wonderful movie!

Carole Lombard gives a brilliant, elegant & understated performance in this film. It is often overlooked for her more over-the-top roles such as Mildred Plotkin in "Twentieth Century" or Maria Tura in "To Be or Not To Be". Watch her facial expressions carefully, especially in the hallway scene on the way to the bedroom - -"Get goin' Annie". But enough boring analytics. Why should you watch this film?

1)Robert Montegomery & Carole Lombard have unbelievable sexual chemistry in this film.
2)If you've ever been in a relationship (...) you will get a good laugh out of this movie. It shows up both men & women and their foibles but in light-hearted way.
3)Robert Montegomery is hilarious as a manly, capable, sexy & yet hen-pecked husband.
4)It has a politically incorrect ending but it is still funny and very sexy.

So if you enjoy a good romantic comedy like me and are fed up with the trash Hollywood has been putting out lately (bad acting, bad scripts, lots of sex & NO sex appeal), ignore the stodgy Hitchcock fans (remember the word fan originates from fanatic), feminists and other assorted dour & unromantic poops and watch this film. By the way, why is this movie not out on DVD?

Not a Typical Hitchcock, but His Trademarks are Still There!
Hitchcock was "The Master of Suspense." His films were famous for combining action, big stars, Bernard Herrmann music, suspense, and even traces of wry and subtle humor. However, in his long career, Alfred Hitchcock only made two films that can be classified as total comedy. One was 1955s The Trouble With Harry, which was a black comedy, but still definitely a COMEDY. His only other comedy, he made 15 years prior to this, in 1940. He made the film as a favor to a friend of his. That friend was Carole Lombard, the undoubted Queen of Screwball Comedy. She had read the script and fallen in love with it, yet she couldn't find a director, so Alfred Hitchcock agreed to do it for her. The film was Mr. and Mrs. Smith, and it starred such comic legends as Carole Lombard, Robert Montgomery, Gene Raymond, and a young Jack Carson.

Mr. and Mrs. Smith is the story of a bickering, but non-the-less happily married couple. In the films hilarious opening scene, the Smiths are locked in their bedroom. It seems that they have a set of rules they follow each time they get into a quarrel. They lock themselves in their room and do not come out until the fight is solved. One time, they stayed in the room for 8 days. When they finally solve the dispute, they sit down for breakfast, where they are as happy and as "in love" as ever, but rule number 7 permits Mrs. Smith to ask Mr. Smith a question, and she asks him, "If you had to do it over again, would you have married me?" He tells her how much he loves her and how happy he is, but he concludes by saying that married life is too much for him, and that if he had the chance, he wouldn't have married her. At first a little disappointed, Mr. Smith soon comes to see that her husband really does love her, and he goes to work happy, and she blissfully starts the chores.

Unfortunately, a man comes to Mr. Smith's office and informs him that because of the fact of "the town is across the river and is in one county and has been considered in another county, but the other county isn't in the state" that Mr. David Smith and Mrs. Ann Smith aren't legally married. The laughter and humor keep rising after he is kicked out of the apartment and has to live in a local men¡Çs' club. Each gets a temporary partner and after a hilarious restaurant scene, a crowd of three is off for a weekend in the county in the uplifting conclusion of Hitchcock¡Çs classic Screwball Comedy.

Marvelously scripted with beautiful and flawless performances by all the cast, Mr. and Mrs. Smith is a breathtaking and fast paced classic. Although not typical Hitchcock, his traces are still evident. There are small incidents of suspense, a small chase scene in a department store, a stalled Parachute Jump in the rain at the World¡Çs Fair, and some great chemistry and rapport between the stars on the screen. If Carole had not died tragically a few years later, in 1942, I would not have been surprised if Lombard and Montgomery had made more films together. Looking at them here, how can one have doubt as to how successful they would have been?

When is the DVD going to come out!
I wish that this movie would come out on DVD soon. It is a wonderful comedy filled with humor and action. It is truly a wonderful movie to see if you are looking for a really good classic, but like other Hitchcock films, this movie is a comedy, not a thriller. So, if you are looking for a mystery by Hitchcock, don't pick this one. Hitchcock has a great sense of humor when he created this spectacular classic. If there is a DVD, (which I hope) I hope there are great special features. If you are looking for a great film to make you laugh, Go see this one!

Extremely Funny!
This is a funny movie! It should be put on DVD. If you are expecting a mystery from Hitchcock, this is not the movie to see, but if you are looking for a funny and entertaining film, this is a great one. I recommend this to everyone. Go see it.

Hitchcock Does Comedy!
Alfred Hitchcock has always shown sly humor even in his darkest moves. This 1941 black and white comedy shows what he can do with obvious comedy as well. Mr. (David) and Mrs. (Ann) Smith are a well off couple who find that they are not legally married. When David (Robert Montgomery) is given this information, does he tell his wife? No way. Instead he chooses to toy with her first. Unfortunately, Ann (beautiful and talented Carol Lombard) and her mother have received the same information. Ann's mother makes her promise that as an unmarried woman she won't ---?!. 'Of course not' she promises. Later, Ann and David talk on the telephone, she asks about his day, he does not mention their invalid marriage but he does tell her that they are going to what used to be their favorite restaurant. As David is talking, he writes "Mrs.", crosses it off and replaces it with "Mistress" then smiles. This unshared knowledge starts a wonderful, sexy cat and mouse game between Lombard and Montgomery. The getting ready for bed scene is just super. Gene Raymond as Jeff Custer, David's friend and law partner is full of southern charm and is wonderfully sly as he double crosses David. Jack Carson as the hard drinking womanizing club friend Chuck, who helps to land Montgomery in more hot water than he is already in, is perfect for this role. One of my favorite scenes is the hilarious 'restaurant' scene where Montgomery and Carson are on dates with two of Carson's lady friends. Watch Montgomery's face as he desperately tries to make his nose bleed. It's our loss that they don't make sophisticated screwball comedy like this any more. (~.~) ... Read more

Description

America's favorite country couple are back together again in a brand new collection featuring four of their all-time favorite films. Ma & Pa Kettle (Marjorie Main and Percy Kilbride) continue to charm audiences with their down-home humor and hilarious antics, inspiring in The Adventures of Ma & Pa Kettle: Volume 2, featuring Ma and Pa Kettle at the Fair, Ma and Pa Kettle on Vacation, Ma and Pa Kettle at Home, Ma and Pa Kettle at Waikiki. Join the Kettles this time as they travel the globe, getting involved in everything from international spies and pineapple plantations to harness racing and hurricanes in this delightful special collector's set. ... Read more

Reviews (1)

Original aspect ratios?
As with the first three movies in this series, the four in this set are a mixed bag in the humor department.

They are nicely transfered by Universal, however, with one exception.....according to the imdb.com database, "Ma and Pa Kettle at Waikiki", made in 1955, had an aspect ratio of 1.85:1. WHY, OH WHY, would Universal release a "Franchise Collection" in other than the OAR????????

This seems to be a bad marketing trend by many of the movie companies when it comes to family oriented movies (i.e., "The Trouble With Angels" and "Where Angels Go Trouble Follows"). Let's hope the movie companies soon realize that the viewers of these older movies are mostly adults who want their movies all in one piece. ... Read more

Reviews (9)

Bogie and The Dead End Kids
This is the film that propelled the Dead End Kids (Leo Gorcey, Huntz Hall, Bobby Jordan et al) to stardom.
Humphrey Bogart portrays a gangster who returns to his old neighborhood only to come to grief.
The Dead End Kids portray slum kids living right next door to the luxurious apartment houses of the rich.
Sylvia Sidney and Joel McCrea are the star-crossed lovers who try to battle their way out of the slums.
Gangster melodrama at its finest!

can't beat bogart and dead end kids
this performance doesn't rank with bogart's most famous but it should, since he is darn near perfect in the part. it makes you wonder why he struggled for so many years in his career. it also has sylvia sydney, the perfect depression era actress with her nobility and wounded sweet beauty. even joel mccrea, who i usually find to be a dud (wait, he was phenomenal in "Sullivan's Travels" and "Palm Beach Story"!) is excellent here. of course, the dead end kids became national institutions with this movie. a fine, fine, really fine movie.

"Yeah, she was my goile when we was kids"
This is a wonderful film about the life of people living in a Manhattan ghetto in the 30's. Their life is starkly juxtaposed against that of an upper class family living in a posh residence in the same neighborhood--moving there for a desirable view of the river. From their terrace, the rich folks are insulated from, and can look down upon, the poor people living in tenements.

The film has a very theatrical feel; most of the action happens right on the street in the neigborhood. The dialouge, written by Lillian Hellman, is snappy and excellent.

The kids of the Dead End are young adolescent boys on the verge of growing up. Their choices in life are constrasted by the characters of Joel McCrea and Humphrey Bogart: adults who were also once Dead End kids. McCrea, who still lives in the neigborhood, has been to college but is now is looking for work. Bogart, who is returning to the neighborhood after many years away, is the nortorious gangster, Baby-faced Martin; he has killed eight men.

The adults are facing tough choices too: McCrea is torn beween two women: Sylvia Sidney, a neighborhood friend who is trying to raise her younger brother (one of the Kids) on her own, and Wendy Barrie, a member of the rich family (her father is brother to a Judge). Sidney, when her brother gets in trouble, contemplates helping him run away. Barrie is apparently engaged but wants to go with McCrea--if a prospective job for him comes through.

Bogart has come back to the neighborhood for something...he's not sure. Perhaps he wants some stability in his life so he seeks out an former girlfriend, Clair Trevor, leading to a memorable scene:

Bogart (reminiscing): "Remember that night on the roof?"
Trevor: "The night was full of stars and I was full of dreamy ideas."

He makes a pitch for her to come away with him but she tells him to take a closer look at her... Bogart feels betrayed--and this comes shortly after being rejected by his own mother--whom he hasn't seen for years. Trevor, like other characters here, feels as if her life is at a dead end. What hope? But this film is not depressing. There is a glimmer of hope offered through the characters of McCrea and Sylvia; and, of course, in the boys.

This is a very enjoyable film, well written and executed. And the dilemmas portrayed are still with us today.

AN all time great movie
This is the movie that made Billy Halop a star..He was a fine actor and its a shame his last job was a male nurse, before he died in 1976...Only 56 years old .God Bless You Billy...You are missed indeed.

Park Ave. it ain't!
In the film Dead End, the murky waters of Manhattan's East River served as an appropriate backdrop for the squalor that manifested itself within the conefines of tenament housing. City streets that offered little hope for the jobless, poor, and oppressed were truely "dead ends". Written by Lillian Hellman and directed by William Wyler, Dead End exposed the stark social and economic divisions between the affluent and the underpriveledged. Logistically, the film was easily adapted from Sidney Kingsley's stage play, as most of the scenes are shot within the shadows of Manhattan's East 53rd street highrises. Dead End is essentially about people and their relationship with the neighborhood that spawned them. Gangster Baby Face Martin ( Humphrey Bogart) returns to his old block seeking glorified acceptance from his mother, only to be rudely rebuffed. Plastic surgery may conceal Martin's outward identity, but his crimminal persona is clearly defined through his street wise and violent attitude towards survival. At first Martin basks in the limelight; preening with sharp suit, hat, and polished shoes. As if to make a social statement exclaiming the virtues and rewards of crime, Martin becomes an icon for a teenage street gang (The Dead End Kids). When Martin is shocked by his mother's repulsive behavior, he seeks out his old flame (Clair Trevor). When she reveals that she is now a prostitute, Martin once again becomes tormented that his homecoming is a lonely one. Sylvia Sydney plays Drina, a young unemployed woman struggling to forge an identity of her own while raising her teenage brother. Drina can only dream about escaping the confines of her depressing neighborhood, since her childhood beau ( Joel McCrea) has been enticed by a society girl ( Wendy Barrie) who resides in an exclusive penthouse overlooking the shoddy apartments that define Dead End. Huntz Hall, Gabriel Dell, Leo Gorcey, and the rest of the Dead End kids provide enough street talk to make an English teacher cringe with embarrassment. Is there a way out of Dead End? Most street toughs assumed a life of crime would free them from poverty. Others set up businesses relying on the patronage of tenanment residents to keep the bills paid. Others relied on marriage in hopes of "marrying up". Still others sought education as a way out. The year is 2000, and if you visit the streets of Manhattan above 110th street not much has changed since Wyler's 1937 film Dead End. ... Read more

Reviews (45)

A Screwball Gem
Arguably the greatest of the screwball comedies, The Awful Truth presents Irene Dunne and Cary Grant as soon-to-be-divorced wife and husband who occupy themselves with spoiling each other's prospective new romances. This is my favorite Dunne performance, probably one of Grant's top three comic performances, and the best Leo McCarey picture. This is also the film that first introduced Ralph Bellamy as the other man who always loses out in love (see His Girl Friday for a reprise). The film is chock-full of great comic scenes: my favorites are Grant, Dunne, and Bellamy watching the awful (and risque) performance of Grant's showgirl girlfriend; Grant making Dunne laugh at Bellamy's love poetry; Dunne trying to figure out how to hide another man's hat from Grant; and Dunne's pretense of being Grant's sister (doing the same number the showgirl did earlier). The film ranges from the broad slapstick of Grant becoming entangled in a chair to the subtle expressions of the threesome watching the floor show. What makes the film particularly work are the attractive performances by Grant and Dunne, who engage in skull-duggery to break up each other's love affairs, but who remain likable--partly because underneath the antics, The Awful Truth remains a love story. Even when bickering, Grant and Dunne clearly love each other; they seem to spur each other, make each other more attractive when together. Even Dunne's throw-away line on not having won any dance cups with

Grant has a sweet, nostalgic, longing tone. Grant has a comic sweetness in the final sequence, befuddled as he tries to resist his desire to return to his wife's bed. The film won Best Director for McCarey, who keeps the film on a delightfully fizzy keel and who encouraged his performers to be spontaneous. Dunne inexplicably lost Best Actress to Luise Rainer for The Good Earth; maybe she should have lost it to Garbo for Camille, but not to Rainer. And this is probably the first of the many years in which Grant gave a great comic performance, only to be forgotten when the Oscar nominations were announced. Sure Grant was always identifiable as himself in comedy-after-comedy, but notice the difference between his performance here and the following year's Holiday, and you can better measure his genuine versatility.

Poignant screwballs.
Why is it that best "screwball" comedies are rarely "screwy"? *The Awful Truth* relies more on character and witty conversation than it does on slapstick (of which, in fact, there's remarkably little). The movie's about a pair of bored New York elites (Cary Grant and Irene Dunne) with an open marriage who decide to give divorce a chance after one mutual infidelity too many. Dunne's very sincere in her protestations to Grant that nothing happened between her and her musician friend, but we remain unconvinced. Grant, meanwhile, tells his wife that he's going to vacation in Florida, but instead stays in town somewhere else in order to better pursue extramarital opportunities. (How did all this get past the Hays Office?!) While they wait for their divorce papers, each partner tries on different hats: Dunne attempts to amuse herself with a vacationing Oklahoma tycoon (poor Ralph Bellamy in another third-wheel role); Grant has perhaps a better time of it with an unimaginably wealthy heiress. It requires their pet dog, Mr. Smith, to bring these lechers back together. It is to be hoped that they can finally expend their lechery on each other -- the movie's last sequence in the honeymooner's cabin, one of the great romantic sequences in all of film, seems to indicate that this will be so. *The Awful Truth* belongs in any serious film-lover's library.

Sheer Entertainment
One of several tremendously fun screwball comedies Grant made in the relatively early part of his career. In actuality, he had already been in nearly 30 movies before he made this one. In 1932, his debut year, he was in seven movies. He was in six in '33 and so on. I guess the idea was to be in as many movies as possible in hopes something would get noticed. Also, under the studio system, inexperienced or not particularly in demand actors were at the studio's mercy and the studio could work them to death if they felt like it. Only fame gave an actor enough power to call his own shots. That Grant was paired with Dunne is a happy coincidence. Their timing and chemistry are perfect. Talent makes all the difference. Dunne was more famous and accomplished at the time. She had already been nominated for an Academy Award for Cimarron. Grant was still perfecting his witty, offhand, debonair and slightly amoral screen persona. He had been in She Done Him Wrong w/ Mae West and that got him on the map but the late 30's were his breakout period with Topper and The Awful Truth.

Decent movie, Bad release.
Cary Grant and Irene Dunne star in this very funny Screwball comedy directed by Leo McCarey who won the oscar for Best Director. The film was released in 1937 and was nominated for 6 Academy Awards.

The story of it is basically, Jerry and Lucy (Cary Grant and Irene Dunne) are a married couple who decide to get a divorce, since they both suspect they are cheating. Lucy finds herself getting engaged to a rich millionaire, named Daniel (Ralph Bellamy, in yet another great role). Jerry and Lucy even try to decide in a court, who is going to get custody over their dog, Mr Smith (Yes, the dog!). Lucy wins, while Jerry gets visiting rights, to see Mr. Smith. This keeps the two seeing each other, and you can guess how it turns out in the end.

The movie is very fast moving, extremely funny, and you will see why it was so successful on its release.

The print on this DVD is not really very good and the sound is not great either, (You might like to compare it to Columbia's other poor effort for the DVD of 'Holiday') but it is worth buying and still very watchable, I am not trying to say it isn't. They just could have done better with it. It has a total lack of extras also.

Even though it has a slightly poor release that could have been a lot better, I would still recommend this brilliant film which I am sure anybody will enjoy.

PLEASE NOTE: I own the Region 2 release, which, appears to be no different to this anyways. The comparison to the bad print on the DVD of 'Holiday', also refers to the Region 2 release.

Nothing awful about the Awful Truth
In 1937 Cary Grant was already a Hollywood Giant... a dynamic actor and a genuine Star. But in the "Awful Truth," Irene Dunn took him to school. Yes, Mr. Grant was as charismatic as usual, delivering his lines marvelously, perfect in comedic timing, and demonstrating great physical humor. Throughout most of the movie, Grant and Dunne sparred on relatively equal terms, each earning a fair share of the proliferus laughter generated by their antics. However, at the last hearty chuckle, it was clear that Dunne had been toying with Grant throughout. No, this is not a spoiler and has nothing to do with the storyline, but rather an evaluation of their performances. Despite the magnificence of his, her's was better.

Irene Dunne was simply phenomenal, deserving her nomination for "Best Actress." She was funny, charming, exuberant, conniving, manipulative, and intriguing. The movie was slow to find it's footing and much time was wasted as Grant and Dunn, in the slower portions, are not on camera together and thus unable to "duel." But as the plot unfolds the momentum builds to a final crescendo and the mutual magic of these fine comedic artists delivers cascade upon cascade of laughter.

The director Lee McCarey, earning his Best Director Oscar, toyed with both the relatively new "Hayes Code" and the censors, implying with sensitivity and subtlety, a physical aspect of love and infatuation that was unnecessarily suppressed in movies for decades. The witty "doublespeak" dialog at the end was fascinating as each of these protagonists explained the situation in self-contradictory fashions and yet their meanings were unmistakable. Yes, there is a predictable plot but the witty words and scrappy schemes are pleasant surprises. ... Read more

Reviews (16)

Curly top is absolutely perfect
Not only is Shirley Temple an amazing actress but she is so adorable I love this heartwarming movie, of a young girl who plays cupid and brings her older sister and friend together. Her sweet and cute songs bring instant happiness to everyone who watches. The movie is a mix of comedy, romance and can be enjoyed by the whole family. This would definetly have to be one of my favourite Shirley Temple movies. If you want real entertainment then please watch and enjoy CURLY TOP!

excellent early Temple vehicle
CURLY TOP is a musical version of Jean Webster's "Daddy Long Legs", about a young orphan who is mysteriously sponsored by a never-named benefactor.

Shirley Temple and Rochelle Hudson play Elizabeth and Mary Blair, two orphans who are sponsored by Edward Morgan (John Boles) who uses the alias of 'Hireman Jones'.Complications arise when Edward falls in love with Mary but of course he cannot reveal his true identity.It's up to little Elizabeth to play matchmaker!

Jane Darwell, Esther Dale, Arthur Treacher and Rafaela Ottiano round out the supporting cast.Temple sings the classic "Animal Crackers in My Soup".A real charmer.

Shirley - Your Such A Bundle Of Joy
One of Shirley's earlier films it's also one of her best-- Shirley's curly hair isn't the only thing that is showcased in this film-- this one features more of her favorite songs including that famous"Animal Crackers In My Soup."

In this Shirley plays an orphan who is the troublemaker and joker of the orphanage. When Bole("Littlest Rebel") comes to visit the orphanage as one of the benifactors of the orphanage-- he becomes entranced by "Curly Top" who decides to adopt-- he learns that Shirley has an older sister as well so he decides to adopt both of them-- but, under the condition they never know who the rich benefactor is who adopted them making up "Hireman Jones." Well, the family slows blends together... Bole and Elizabeth's sister begin to fall in love-- when Elizabeth's sis becomes engaged to someone else it looks like the family will soon be split until a sudden moment of revalation.

Bole does a wonderful job in this Shirley film and you see all that charisma by Bole and Shirley again.There is not a ton of singing done by Shirley in this flick mainly by her on-screen sister and Bole but, it is still a good movie and features the famous "Animal Crackers in my Soup." Keep this Temple treasure-- it's more than the hair it's the whole personality!

Wonderful!!!!
Shirley stars as loveable Elizabeth in this movie. She and her older sister Mary live in an orphanage where the girls are not allowed to sing which is hard for Elizabeth.But one day a man named Mr. Jones comes and visits the orphanage and falls in love with Mary, who is much younger than him. He and Elizabeth take to each other right away and her golden curls earn her the nickname, Curly Top.But Mary recieves a marrige proposal from a boy her age, and Mr. Jones is jealous and upset.Will Mary realize that she and Curly Top belong with Mr. Jones? Find out in Curly Top!

One of the cutest movies ever
... enough said about that, but why did FOX Video spend all their money for colorizing a charming silver screen movie -instead of actually RESTORING it? This was a hit movie in the 30s, there must be dozens of copies still available from which they could have made a mint-condition B&W video release, knitting together the good pieces. Bigger scratches could have been re-touched, the audio digitally remastered and sent carefully through a noise reduction filter. But no! They splashed all sorts of unnatural colors onto the poor film; esp. in scenes with moving camera the color layer shakes visibly. No use switching your TV to B&W - contrast and fine details are all gone. Bad job, FOX. ... Read more

Reviews (7)

AWFUL
My title sums it up. This movie struck us as sad and drawn out. The ending though satisfying is preceeded by a series of rather shocking scenes. It caught us totally unawares. I shall never watch this movie again.

Good early Stewart and Lombard
This is an early film is the careers of stars James Stewart and Carole Lombard. They star as a young impulsively-married couple who go through all the tribulation that entails. The performances are all top-rate and the cast includes Charles Coburn as Stewart's hearing-impaired boss and a cameo by Ward Bond as a reluctant pilot.

It is a light comedy-drama with a good script and great acting. My one complaint is that the last half-hour is mostly taken up with a soap-ish baby sickness scare that does little to expand the story, but gives Lombard an opportunity for an "Oscar clip" level crying scene and to look beatific praying to a statue of Jesus. This is in retrospect, however, as I was riveted to the screen throughout the ordeal.

All in all, a good (not excellent) film and a realistic portrayal of married life (sans housekeepers, of course) buoyed by terrific acting all around.

LOMBARD ROCKS!!!!
Although not her best, this film still stands the test of time. The film is simple, but that is what makes it a classic. Lombard will make you fall in love with her character. Not many actresses can do that today. Jimmy Stewart is as dependable as ever as the husband. If you like Lombard, check out "Nothing Sacred" as well. It is a great comedy with a wonderful screenplay by Ben Hect.

MEDIOCRE SOAP
The trials and tribulations of a young married couple. Carole Lombard was that rarest type of actresses - a beautiful woman who was also funny. Seen today, it is very much a film of the Hollywood past, and without the pleasing performances of the leads, would have little to recommend it. By 1939, she had established herself as a top-flight comedienne, and it had begun to bother her; she felt that she needed to prove her dramatic abilities. David O. Selznick agreed with her and commissioned Jo Swerling to write an original screenplay about the problems of a young married couple. Lombard's humour shines through, even though the part doesn't call for comedy, and Stewart is in his element as the shy but sunny, diffident yet optimistic all-American. Both Selznick and Lombard felt that the perfect actor to play the husband would be James Stewart, which required a loan-out from MGM in order to play in this United Artists production. The film was a modest success but not the winner Selznick had hoped for; the scene in which the serum is brought to the baby (he has pneumonia) via a plane in snowstorm barely passed muster in 1939, today it borders on the ludicrous.

Soap Poisoning
My wife and I expected SOME comedy - after all, Carol Lombard and Jimmie Stewart have BOTH done excellent work in that field, and the reviews we'd seen CALLED it a "comedy-drama". But alas, the only funny part of this movie was unintentional humor, particularly the "dramatic" sequence at the end, with a biplane pilot flying precious "serum" (on New Year's Eve, apparently) over the Rockies in a blinding blizzard (some wing spars on that plane!) and eventually bailing out somewhere over the Susquehannah (some fuel tanks that biplane had!) while newspaper headlines track his progress - all in one night? As a (former USAF) pilot, I laughed myself out of my seat throughout THIS sequence - it is totally ludicrous.

This "weepie", made in 1939, is infinitely dated. It looks much like a prototype for "It's A Wonderful Life", and maybe film buffs can check it out bearing *that* in mind, but if you are expecting ANY sort of humor, forget it. Stewart lurches from one setback to another, while his wife stays home with the baby and the mother-in-law (and the maid - don't forget the maid....). Trying to think of a single "funny" scene, I suppose the two seconds Stewart spends poking a bottle at the baby could bring a smile, but the scene where he comes home completely drunk is like watching a train wreck.

As another reviewer wrote, the DVD transfer is awful. The sound seems to come from the bottom of a 55-gallon drum stuffed with cotton - turning the volume up only gets you an earful of hiss and crackle. And extras....well, what do you expect at this price? The "art work" is a single lobby card (and that's shown so small that I can't imagine why it was even included), and "biographies" is a single page for Stewart, nothing for Lombard or anyone else.

The film this reminded me of most was "Cavalcade", but without the high spots. Even if you like "weepies" like "Penny Serenade", there is precious little in this archaic creaker to interest you. I highly recommed passing. Or better yet - go for "It Happened One Night". ... Read more

Reviews (7)

AWFUL
My title sums it up. This movie struck us as sad and drawn out. The ending though satisfying is preceeded by a series of rather shocking scenes. It caught us totally unawares. I shall never watch this movie again.

Good early Stewart and Lombard
This is an early film is the careers of stars James Stewart and Carole Lombard. They star as a young impulsively-married couple who go through all the tribulation that entails. The performances are all top-rate and the cast includes Charles Coburn as Stewart's hearing-impaired boss and a cameo by Ward Bond as a reluctant pilot.

It is a light comedy-drama with a good script and great acting. My one complaint is that the last half-hour is mostly taken up with a soap-ish baby sickness scare that does little to expand the story, but gives Lombard an opportunity for an "Oscar clip" level crying scene and to look beatific praying to a statue of Jesus. This is in retrospect, however, as I was riveted to the screen throughout the ordeal.

All in all, a good (not excellent) film and a realistic portrayal of married life (sans housekeepers, of course) buoyed by terrific acting all around.

LOMBARD ROCKS!!!!
Although not her best, this film still stands the test of time. The film is simple, but that is what makes it a classic. Lombard will make you fall in love with her character. Not many actresses can do that today. Jimmy Stewart is as dependable as ever as the husband. If you like Lombard, check out "Nothing Sacred" as well. It is a great comedy with a wonderful screenplay by Ben Hect.

MEDIOCRE SOAP
The trials and tribulations of a young married couple. Carole Lombard was that rarest type of actresses - a beautiful woman who was also funny. Seen today, it is very much a film of the Hollywood past, and without the pleasing performances of the leads, would have little to recommend it. By 1939, she had established herself as a top-flight comedienne, and it had begun to bother her; she felt that she needed to prove her dramatic abilities. David O. Selznick agreed with her and commissioned Jo Swerling to write an original screenplay about the problems of a young married couple. Lombard's humour shines through, even though the part doesn't call for comedy, and Stewart is in his element as the shy but sunny, diffident yet optimistic all-American. Both Selznick and Lombard felt that the perfect actor to play the husband would be James Stewart, which required a loan-out from MGM in order to play in this United Artists production. The film was a modest success but not the winner Selznick had hoped for; the scene in which the serum is brought to the baby (he has pneumonia) via a plane in snowstorm barely passed muster in 1939, today it borders on the ludicrous.

Soap Poisoning
My wife and I expected SOME comedy - after all, Carol Lombard and Jimmie Stewart have BOTH done excellent work in that field, and the reviews we'd seen CALLED it a "comedy-drama". But alas, the only funny part of this movie was unintentional humor, particularly the "dramatic" sequence at the end, with a biplane pilot flying precious "serum" (on New Year's Eve, apparently) over the Rockies in a blinding blizzard (some wing spars on that plane!) and eventually bailing out somewhere over the Susquehannah (some fuel tanks that biplane had!) while newspaper headlines track his progress - all in one night? As a (former USAF) pilot, I laughed myself out of my seat throughout THIS sequence - it is totally ludicrous.

This "weepie", made in 1939, is infinitely dated. It looks much like a prototype for "It's A Wonderful Life", and maybe film buffs can check it out bearing *that* in mind, but if you are expecting ANY sort of humor, forget it. Stewart lurches from one setback to another, while his wife stays home with the baby and the mother-in-law (and the maid - don't forget the maid....). Trying to think of a single "funny" scene, I suppose the two seconds Stewart spends poking a bottle at the baby could bring a smile, but the scene where he comes home completely drunk is like watching a train wreck.

As another reviewer wrote, the DVD transfer is awful. The sound seems to come from the bottom of a 55-gallon drum stuffed with cotton - turning the volume up only gets you an earful of hiss and crackle. And extras....well, what do you expect at this price? The "art work" is a single lobby card (and that's shown so small that I can't imagine why it was even included), and "biographies" is a single page for Stewart, nothing for Lombard or anyone else.

The film this reminded me of most was "Cavalcade", but without the high spots. Even if you like "weepies" like "Penny Serenade", there is precious little in this archaic creaker to interest you. I highly recommed passing. Or better yet - go for "It Happened One Night". ... Read more