Reviews (22)

A real find, I promise!
This is the best movie I ever saw that I had heard nothing about before seeing. Linda Darnell was _astounding_ as the so-called "golddigger," Lora Mae Hollingsworth, nee Finney. Ann Sothern is terrific, and Jeanne Crain does well with a role that somehow wasn't written to be quite as vivid as the others. Kirk Douglas is a charming, personable schoolteacher, and Paul Douglas is a very believable businessman forever in search of "class." Thelma Ritter is unforgettable as Sadie the wise-cracking housekeeper, as well as Mrs. Manley "the walking advertisement." The premise is, of course, that the town's most eligible woman, Mrs. Addie Ross, writes a letter to three of her friends who have gone on a state picnic. In it she informs the three ladies that she has run off with one of their husbands. The film is surprisingly realistic, hilarious in parts.

What if the chances were 1 in 3 that your husband left you?
Those are the odds facing Jeanne Crain, Ann Sothern, and Linda Darnell when just as their boat leaves the pier they receive a letter from the Sexiest Woman in Town that she has just skipped town with one of their husbands. Each wife thinks over her marriage while on the day trip, wondering whether she has driven her husband into the arms of another woman.

While each vignette has its share of laughter involved, by far the best of the lot is the courtship of working girl Linda Darnell and the cantankerous town millionaire Paul Douglas. Their retorts and gruff manner belie real animal attraction, and the way she plays "The Rules" to win her man is certainly the highlight of the movie. What a woman!

Although over 50 years old, "A Letter to Three Wives" went over very well with the two sophisticated year 2001 girlfriends I showed this to--and only one of them guessed right as to the abandoned wife's identity!

Take a peek yourself at "A Letter to Three Wives" and share in the suspense and the fun.

High Ho! Mankiewicz Delivers The Goods
The foundation of any great film is an even greater screenplay. In "A Letter To Three Wives" Joseph L. Mankiewicz achieved greatness as a writer first and a as director second. The screenplay sparkles with wit and humor and an edgy take on the modern world that is as up to date today as it was fifty-four years ago.
Joe was a great writer and a consummate wit; were he not in the movies one might think him an intellectual. (Hats off to his "Cleopatra"). He understood women and wrote some of the most complex, deep and exciting women on the screen. He gave them life on the page and then with his brilliant eye for casting and directing he brought them to life on the screen. Eve Harrington, Margo Channing, in "All About Eve". Maria Vargas in "The Barefoot Contessa", and his most complex of all his smart Cleopatra, a modern woman of politics and passion in an ancient setting.
The unseen Addie Ross, the clumsy Deborah, Rita the writer, and the smart and guarded Lora Mae are just a few of the gems Joe Mankiewicz presented to us in his Oscar winning "Letter". He brings out some of the best acting Jeanne Crain would ever do. She is both vulnerable and comic. Ann Sothern dominates the screen as a feminist ahead of her time. She cements the image that she would carry the rest of her career, that of a beautiful smart woman making it in a man's world. The stunning centerpiece to this work is the top-notch performance handed in by Linda Darnell as tough wrong side of the tracks Lora Mae. This is a great performance by an actress who herself felt she had little to offer as an actress. Here with the help of her writer and director Miss Darnell delivers the goods as no one else of her generation possibly could.
In a small role as Sadie Dugan, Thelma Ritter in her third film nearly steals the picture from all involved. Paul Douglas as Lora Mae's husband and meal ticket is at the top of his form. He matches Lora Mae word for word and punch for punch. And what a face he had! Kirk Douglas is right on the money in this early film of his career. The entire production is superb.
Darryl F. Zanuck always stressed the importance of good writing and good story at his studio, 20th Century-Fox and over the decade that "Letter to Three Wives" ushered in he gave us some great works. He hired some of the best writers and directors of the day to work at his studio. At the top of that list was Joseph L. Mankiewicz. Personal differences aside between the two men, they did some wonderful things together. With what Fox is now doing in it's incredible classics series on DVD, I hope they will devote some much needed attention to this classic film.

Lovely movie, great script
This 1949 film won Best Director and Best Screenplay. It's still a great movie to watch after all these years. It's soapy, but the script is great and really tight. The dialog is not dated at all, and the cast is perfect. It's delightful to watch even today. All three leads are great. The plot involves three married women who are chaperoning a field trip for elementary school students on an island offshore from where they live. All three are friends. Shortly after the tug leaves the mainland for the island, the women open a letter that was delivered to them right before the boat left. The letter is from Addie Ross, a local divorcee/socialite who is friendly with each of their husbands, but none of the wives likes her much. Addie tells them in the note that she's leaving town that day, and is taking one of their husbands with her. Which one? Addie doesn't say. This was before cell phones, and the island has no pay phones, so the wives must wait until the trip is over at the end of the day to know who's been dumped. The movie is, all three wives on the island have about 25-30 minute flashbacks about their marriage, dealings with Addie, why their husbands might have left them, and how they feel about that potential.

When they return at the end of the day, they meet at the club and the identity of the wayward husband is revealed. You never see Addie, you just hear her voice when appropriate. The three wives are great, and the script is sharp. A lot is serious and a lot is quite funny. This is a nice movie to watch a couple of times a year. If you like a sharp script and don't mind 1940's sets and plots (the way marriage works and a wife's role is a little dated), this should be on the top of your list to see.

Sharp, Funny, and Socially Savage
Jeanne Crain was a very pretty girl, Ann Sothern was chiefly noted for her comic turns, and Linda Darnell was a memorable beauty--but although all three appeared in popular films none were particularly celebrated for their acting talents until Joseph L. Mankiewicz tapped them for the roles of three society wives in this poison pen letter to both sexes. Wickedly witty in script, and remarkably acid in tone, A LETTER TO THREE WIVES would put every one involved in the film firmly on the Hollywood map.

Three society wives (Crain, Sothern, and Darnell) are committed to hosting a children's picnic on an isolated island--and as the ferry prepares to depart they receive a letter from town femme fatale Addie Ross (never seen but memorably voiced by Celeste Holm.) Addie informs them that she is leaving town forever... but has decided to take one of their husbands along as a memento. And each of the three wives, cut off from the outside world for the day, is left to wonder: when I go home tonight, will my husband still be there?

During the day each of the wives recalls scenes from her marriage. Deborah (Craine) arrived in town as a pretty but very awkward farm girl fresh out of the navy and with a wardrobe consisting of a single and very ugly mail-order dress; she has never felt entirely secure. Rita (Sothern) is married to a schoolteacher, and has committed the unpardonable sin of becoming the writer of a popular radio show that brings her more money than her husband will ever earn. And Lora Mae (Darnell) was a beauty born on the wrong side of the tracks who connived her way into a wealthy marriage and now specializes in bickering with her gruff and boorish husband. And always they have been victim to Addie--a woman who "has class," who stings them with competition and evil wit, and who has their husbands eating out of her hand.

Although the construction is artificial, the script is wickedly knowing, painting a truly subversive vision of American marriage and mores of the late 1940s. Of the three leads, Ann Sothern dominates with her spirited "Rita"--but Darnell has the best of the script, a series of manipulations and drop-dead quips and ripostes, and Crain is perfectly cast as the insecure beauty who is as out of place as a dove at a gathering of eagles. The supporting cast, which includes Kirk Douglas, Thelma Ritter, and Connie Gilchrist is remarkably fine as well. And before all is said and done, small town society gets raked over coals.

If A LETTER TO THREE WIVES has a flaw, it is the same flaw that would trouble Mankiewicz's later and even more celebrated ALL ABOUT EVE: the point of view that a woman is ultimately nothing without a man, an idea that tends to limit the scope of the film and at times even belittle its characters. Some viewers may also be disappointed with the film's conclusion, which--although extremely ironic--lacks the sharp bite you might expect. Even so, this is a truly memorable and often very funny film, and one that deserves to be seen more often today than it usually is.

GFT, Amazon Reviewer ... Read more

Reviews (38)

Shakespeare in Tombstone
Of the many movies that I love and own, this is one of the DVDs I would grab if the house was on fire.

My Darling Clementine is fundamentally about the shootout at the OK Corral, arguably the most famous 30 seconds in American history. But in John Ford's loving hands, the story takes its time getting there and, in the process, becomes as graceful and easily beautiful a piece of film-making as you will ever see.

In this age when movie goers prize realism, sheer violence, and de-mythology, Ford has become something of a whipping boy for those who point out the glaring historical inaccuracies present in Hollywood's traditional portrayal of the American West. These folks miss the larger picture and are the poorer for their narrow, fashionable view. In this archetypal story of Wyatt Earp, Doc Holiday, and the Clanton family, Ford was not interested in historical detail. He was creating legends, not historical accounts for the archives.

Ford was a film maker. When a movie lover approaches a Ford film, it becomes necessary to give oneself over to the power of film. Once one does that, tremendous pleasures await. Such as: the townspeople of Tombstone having a dance around the skeletal frame of a half-built church while the huge, flat buttes of Monument Valley tower in the background; or Henry Fonda as Earp watching with great sympathy as Victor Mature (Doc Holiday) recites Hamlet's suicide soliloquy in a barroom (as hokey as this sounds, it is Fonda's expression that will move you, I guarantee).

Other images worth mentioning: Fonda/Earp walking alone through the rain of Tombstone at night; or the final shot of Clementine (meaningless in the film other than as a perfect symbol of all the things men love but can never have) standing framed against the Arizona sky and a picket fence - or the way Walter Brennan as Old Man Clanton, flashes through his scenes like a rattler's hiss.

Loving a John Ford Western is a bit like believing in a religion: it requires a leap of faith - a belief in something that might not be tangible reality, but is instead an ideal no less worthy of love.

This DVD is an absolute must for Ford fans, Western fans, or movie lovers. As an extra bonus, the special feature commentary by Ford biographer, Scott Eyman, is absolutely superb. Mr. Eyman's concise and rich commentary is nearly as enjoyable as the film itself. All in all, a real treasure for John Ford fans. -Mykal Banta

Ford and Fonda at their Finest
"My Darling Clementine" has to rank as one of John Ford's three or four finest films, as well as one of Henry Fonda's finest performances. It is only incidentally about the Gunfight at the OK Corral--rather than attempt a factual retelling of the gunfight, Ford uses the story of the Earps, Doc Holliday, and the Clantons to illustrate the sacrifices that have to be made in order for the West to be civilized.

This theme of sacrifice runs through many of Ford's Westerns--see also "Wagonmaster" and "The Searchers," for example. In order for the malevolent lawlessness symbolized by the Clantons to be driven out, there are some others, not malevolent themselves, who are nevertheless doomed by their inability to adapt to civilization (Doc Holliday). Wyatt represents those who must give up something they love--any hope of a future with Clementine Carter--in order to continue doing things that need doing.

As previous reviewers have noted, Ford's account is a far cry from the historical events of the OK Corral gunfight. His biggest alteration of history is to change the relationship between Wyatt Earp and Doc Holliday from friendship to antagonism that is somewhat softened by mutual respect, and eventually evolves into alliance. The genuine tension between Wyatt and Doc strengthens the film.

The cast is very strong. Henry Fonda's performance as Wyatt is magnificent. Walter Brennan is equally superb as the malevolent Old Man Clanton, while Victor Mature's consumptive Doc Holliday is, if not memorable, very competent. A number of Ford regulars such as Ward Bond, Russell Simpson, and Jane Darwell provide solid support. The awkward slapstick humor of some of Ford's other films is not a big factor in this one, which is another plus.

Ford was the master of filming outdoor pictures in black and white. Several scenes, such as the dance at the church, are visually stunning.

Of the half dozen or more films about the OK Corral gunfight, this is by far the finest, with "Tombstone" a respectable, but distant second. I highly recommend it to all.

A Really Good Movie
MY DARLING CLEMENTINE

There has been a number of movies made about the gunfight at OK Corral, however this one happens to be my favorite.
I personally enjoy classic black and white movies and I am an avid fan of Victor Mature, who plays Doc Holliday in this movie.
One thing that makes this movie especially interesting is the development of the characters, for example, Wyatt Earp's misgivings about the town, the apparent conflict between Chihuahua (Doc Hollidays's girlfriend, played by Linda Darnell) and Wyatt Earp (played by Henry Fonda) and the conflict between Doc Holliday and Clementine (played by Cathy Downs), all of which add a human element to this film.
I highly recommend adding this film to your collection.

Beautifully Paced Western
I have always put"My Darling Clementine" in my top-ten westerns as do some critics,and after viewing it recently on the excellent DVD version I am considering it to be the best! The alternative version on the disc might not be to everyones taste but westerns should be slow paced(check out the excellent "Open Range")not just shoot-ups added for padding every 20 minutes or so. One of the best scenes in this movie or any other western is the excellent dance scene,especially the moment when Henry Fonda asks Kathy Downes to dance. Definetely Ford at his best and Victor Mature,s best hour as well. Kudos to all for a well produced DVD package

Ford Prints the Legend - Sublimely
This is arguably the best Western by the best director of Westerns in the history of the genre. Ostensibly the story of the gunfight at the O.K. Corral, the legendary John Ford gives us a vision of the Old West that is violent yet idealized, frightening yet warm, grim yet majestic. Ford has often been called a visual poet, and the sublime "My Darling Clementine" is perhaps the best example of visual poetry that anyone has ever put to celluloid.

Forget about comparing this film to actual historical events. While Ford knew Wyatt Earp from his early Hollywood days when Ford was a prop boy, and he claimed that Earp told him how the gunfight really happened, he also said he wasn't trying to make a documentary when he directed "Clementine". The "facts", whatever they may be, don't matter here. As the newspaperman tells Senator Ransom Stoddard in Ford's "The Man Who Shot Liberty Valance", "When the legend becomes fact, print the legend."

Henry Fonda's Earp is the classic Ford hero, somewhat distant and removed from society, quietly confident and basically nonviolent, but nevertheless commanding the utter respect of others (partly because of his reputation which has preceded him, and its inherent threat of violence). And, most importantly, he is ultimately unable to share in the peace and security that he makes possible for others. Next to his portrayal of Tom Joad in Ford's "The Grapes Of Wrath", this is perhaps Fonda's finest performance. He has never appeared more cool and comfortable in a role, as he laconically and assuredly inhabits the lawless frontier town of Tombstone.

Contrasting Wyatt's sanguine pragmatism, Doc Holliday (Victor Mature) is a haunted, tragic outcast who has uprooted himself from civilization and drifted West. We learn that Doc was once a surgeon (the real Doc Holliday was a dentist, another negligible historical discrepancy), a valuable, functioning member of society, his career presumably cut short by alcoholism, consumption and undisclosed ghosts, which apparently still haunt him.

The Clanton family provides the reason for Wyatt's accepting the job as marshal of Tombstone, by murdering his youngest brother, James, and making off with the Earp brothers' cattle. The miscreant Clantons, like the Cleggs family in Ford's "Wagonmaster", are the personification of evil, demented and motherless. The leader of their clan, known only as "Pa" (ominously played by Walter Brennan), would like nothing better than for Tombstone to remain open and lawless and free for the taking.

Clementine Carter (Cathy Downs) appears as a civilizing angel from the East, who has come to rescue Doc from himself and bring him back to Boston (Ford's eternal bastion of Civilization in the worst sense, invariably inhabited by bigoted grotesques - though Miss Carter seems to have been spared this characterization). The tempestuous Chihuahua (Linda Darnell), who wants to run away with Doc to Mexico, embodies the wild, open frontier.

While the climax naturally takes place at the O.K. Corral, the centerpiece of the film, as in many Ford films, is a dance. Its prelude unfolds majestically as Wyatt and Clementine meet in the lobby of the hotel and begin a stately walk toward the framework of the unfinished "first church of Tombstone", the sound of a tolling church bell and the strains of one of Ford's old favorite hymns, "Shall We Gather at the River" growing louder as the couple approaches the assembled congregation. Like many great moments in great films, the beauty of several elements melding flawlessly to create this sequence defies verbal description.

The church, to Ford, helps legitimize the existence of a community, not only for religious reasons, but as a place where people can come together in fellowship, providing a foundation for that community's future existence. The dance, which takes place on the physical foundation of the unfinished church, is the turning point of the film, and provides possibly the most transcendent moment in all of Ford's work. It is the embodiment of the spiritual establishment of a real and lasting community, which, until the arrival of Wyatt and Clementine, and all that they stand for, had no solid foundation.

Ford's use of comedy, often criticized for its broadness (but of which he was nevertheless proud), is sparing and deft in "Clementine". It is gentler and more restrained than his usual comedic fare, as in the humorous references to the aroma of the eau de toilette which the enthusiastic proprietor of the Bon Ton Tonsorial Parlor has applied to Wyatt's freshly shaven and coiffed person: "I love your town in the morning, Marshal", says Clementine, as she and Wyatt step out onto the front porch of the hotel; "the scent of the desert flower . . ." "That's me," corrects Wyatt, adding, explanatorily, "Barber." There is also the justly praised bit of business of Wyatt doing his seated "dance" on the front porch of the hotel, as he, somewhat passive aggressively, ignores the shrewish admonishments of Chihuahua. This casual, reportedly spontaneous creation of Fonda's (or Ford's, depending on the source) succinctly captures the essence of the relationship between the two characters.

Ford's innately masterful sense of composition and lighting, which he displayed throughout his career, is magnificently displayed in "Clementine". The sweeping diagonal of the bar in the saloon as Wyatt walks to the door after Chihuahua's operation; the expressionistic shadows which constantly envelop the doomed Holliday's face; the somber, monumental tableau of Wyatt and Morgan, bending over the dead body of their brother Virgil in the street at night; all of these images resonate indefinitely in the viewer's memory, and all reveal a visual master in his prime.

Many of the reassuringly familiar faces of Ford's legendary "stock company" are faithfully present, as was nearly always the case - with slight variations - over the years. Ward Bond, Jane Darwell, Russell Simpson, Mae Marsh, J. Farrell MacDonald and the ever-present, ever-endearing Francis Ford, John's older brother and former mentor (and a veteran of Hollywood from its infancy), all add their warm, familial qualities, counterbalancing the darker aspects of the film.

Of all the Westerns I've seen, "My Darling Clementine" is the most eloquent, the most understatedly awe-inspiring - the most poetic.

John Ford printed the legend. Sublimely. ... Read more

Reviews (41)

Tyrone Power at his best!
During the age when swashbuckling action films were the most popular form of entertainment, there arose from Twentieth Century Fox an adventure film that topped all others. This film was "The Mark of Zorro" starring Tyrone Power and Basil Rathbone. The daring masked avenger cloaked in black has been an American legend for 80 years, and many films have been produced starring the masked fox. However, I believe that this film is the best Zorro production ever made.

The setting is Spanish California in 1820. Don Diego Vega (Tyrone Power), an expert fencer of Madrid an in the elite training corps, is summoned back to Los Angeles by his fahter, Don Alejandro (Montagu Love), the alcalde. Upon arriving home, Diego learns his father has been run out of office by Capitan Esteban Pasquale (Basil Rathbone). Esteban holds in his hand the perfect puppet, a superstitious, greedy alcalde, Luis Quintero (J. Edward Bromberg). However, Diego pretends to be a fop, unmotivated to fight the capitan, befriending the alcalde and his wife Inez (Gale Sondergaard). However, Diego soon dons the mask of a daring hero, identifying himself as Zorro. Zorro terrorizes the alcalde and robs Esteban of the money he has robbed from the peons. Zorro and a local padre (Eugene Pallete) work to return the money to the citizens of Los Angeles. Diego/Zorro also falls in love with the beautiful Lolita Quintero (Linda Darnell), the niece of the alcalde. She cares nothing for her father's plans, her full support to Zorro. However, when the padre is arrested, Diego abandons his mask and leads the caballeros on a revolt.

This film added into the Zorro figure a new trait. In most Zorro stories, Zorro forces his enemies to return stolen money themselves. This Zorro, more serious, delivers the gold himself. This is a definate classic.

Of course, the film has it's problems. Power spends less time as Zorro and more time as Diego. Zorro only battles one soldier, the main battle occuring between Esteban and Diego. However, dispite minor errors, this film is an undisputed classic, and cannot not be missed by Zorro fans.

The supreme Zorro film
After the success of Warner Brothers "The Adventures of Robin Hood," starring Errol Flynn, Twentieth Century Fox released a film of their namesake, "The Mark of Zorro," starring Tyrone Power. It was a box office hit, and is a classic of it's time. While not in color, and wary of action, this film holds up as, in my opinion, the best of the Zorro films.

In the 1800's, the Spanish Empire rules California. Don Diego Vega (Tyrone Power), is "the best fencer of Madrid." He is ordered home by his father, Don Alejandro. Upon arrival, he hears that the alcalde is an evil tyrant. But Diego's fahter is the alcalde!
Diego learns from Capitan Esteban Pasquale (Basil Rathbone) that his father resigned, and that Luis B. Quintero (J. Edward Bromberg). Both Esteban and Quintero are worthless land theives, taxing the peons into pverty to fill their own pockets. However, Diego suddenly appears to have lost his swordsman skills, now acting foppish and peaceful, much to Alejandro's dissapointment. However, Deigo soon becomes the black-clad Zorro, a daring freedom fighter rescuing both the rich and poor from the tyrants. To disguise himself, he must remain foppish. Only the padre Felipe (Eugene Pallette) knows his true identity, along with Diego's fiance Lolita Quintero (Linda Darnell), a kind girl against her uncle and his henchman. However, when Fray Felipe is arrested as Zorro for trying to defend the mission taxes, Diego abandons both disguises and leads the caballeros and peons to battle, personally taking on Esteban in a spectacular showdown.

"The Mark of Zorro" was bassed on three stories. One was Johnston McCulley's original Zorro story. Unlike the Fairbanks film, the theme here focuses on saving the people from corruption, rather than defending Lolita. Another was Douglas Faribanks's "The Mark of Zorro" (1920). The other was "The Adventures of Robin Hood." Basil Rathbone and Eugene Pallette had roles in the Robin Hood film before starring in "The Mark of Zorro." Zorro here as a Robin Hood characteristic: he steals tax money and returns it to the people. Most Zorros force their enemies to give the money back themselves.

Sword battles in this film occur mainly between Diego and Esteban. The fencing in this movie is excellent. Rathbone is one of the best fencer's of all time, as is Power. The Zorro in this film is the closest thing ever that fits the Zorro legacy. This is a beautiful colassic, one than cannot be missed.

the classic fox period
the films of 20th century fox had a sheen unlike the other studios output.
one of their main stars; tyrone power (an underrated star today)was an embodiment of this sylized sheen.
he was different than errol flynn. while you always sensed flynn's bad boy personality even when he played squaeky clean heroes, power was far more an actor and his performances always seem more professionally toned. he is more 'with the film' than standing out against it and this may be the reason for the lack of appreciation for him.
this film is the shining example to the hollywood of old.
its excellence was predictable when you mix the beauty of power and darenll with the down right fun villany of rathbone, the music of newman, the goya toned cinematography and the virtually flawless direction of mamoulian.
sadly, its the like of which we wont see again for numerous reasons.
NOW, IF FOX WOULD DIG INTO THEIR ARCHIVES AND RELEASE POWER'S BEST ACTING IN FILM; NIGHTMARE ALLEY' a film that has never even seen the light of vhs.

Zorro the fey blade.
Tyrone Power's Zorro is both effeminate and masculine, one moment the picture of delicate and fey passiveness and the next the masculine caballero of legend. The film has held up well, mostly due to the excellent swordplay and Power's magnetic persona. The lack of actual Spanish actors will be noticeable and perhaps offensive to today's audience, although in 1940 it was probably a minor point at best. The DVD transfer could have been better, although it is generally grain-free and vivid. A 60-year old film can only look so good, after all. A fine version of the Zorro legend, lacking somewhat in political correctness but making up for it in sentiment and charm.

Movies - and Ty Power - don't get better than this!
Beautiful faces, gorgeous b&w photography, an array of old Hollywood's best character actors, brawling and tumultous fight scenes, probably the best sword fight ever filmed, and a rousing musical score that must have sent people almost dancing out of theaters with big smiles on their faces in 1940 - and will still make you smile in your living room. And dialogue laced with wit and humor as well as drama. Now THIS is what a Hollywood action movie should be!

This is one of the all-time best. Got the blues? This ought to chase them right away. Really got the blues? Try a double-feature of this with Flynn's The Adventures of Robin Hood. And you can keep all the Wars and Treks in the stars. They are made by mere children as compared to these old pros.

Why doesn't Tyrone Power have a cult of his own today? He was handsome and versatile, and a good actor whose performances hold up better than many of his competitors'. Ty Power's the Man! ... Read more

Reviews (12)

a wonderful film based on a great book
One of the best books I have ever read is Margaret Landon's true story of Anna Leonowens, who at the age of 33, went to Siam as a governess to tutor the king's children. A widow of incredible courage and talent, her story is moving as well adventurous, and this film is a marvelous adaptation of Anna's time in that strange and foreign land, with her small son to take care of.
Landon's book of course also inspired the terrific Rodgers and Hammerstein musical and the film starring Deborah Kerr and Yul Brynner, as well as the far less successful 1999 remake.

Rex Harrison, in his first film for an American studio is riveting as King Mongkut; it's a sensitive and insightful portrayal, with his beautiful voice and enunciation making the most of the intelligent script, and Irene Dunne is a strong and wonderful Anna. These were the days when Caucasian actors took the parts of Asians, and we have some excellent supporting parts taken by Lee J. Cobb as Prime Minister Kralahome, Linda Darnell as Tuptim, and Gale Sondergaard, who received a Best Supporting Actress Oscar nomination as Lady Thiang.
Oscars were given for Best Art Direction, and to Leon Shamroy for his fabulous cinematography, and nominations were for score (Bernard Herrmann) and screenplay.

The excellence and charisma of its two stars and their chemistry together are great to watch, and anyone who likes Landon's book as much as I do will appreciate this film. Total running time is 128 minutes.

Classy Movie with Claasy Actress
Anna and The King of Siam stars one of my favorite actresses. Irene Dunne has always been a star with tons of class and in this movie you can see why she was so popular in the 30s and 40s. The movie differs from the musical stage hit The King and I, but it is, nevertheless, very enjoyable. The sets, the photography and Rex Harrison as the King are all superb.

Excellent Movie
I have seen this movie over and over again.I love it.I have been waiting for it to come out on DVD but decided not to wait any longer.When I first saw it I was a bit surprised by Rex Harrison in the lead role, but after a few moments you begin to believe he is the King of Siam.The cast is superb.....the movie is excellent.

if it were DVD
I love this movie and want to buy it but will not till it comes out on DVD.

The King and His Teacher
Irene Dunne stars as a widowed single mother who is engaged to teach the numerous children of the King of Siam.Rex Harrison stars as the King, a man trying to bring Siam into the modern world and to find respect for himself and his country on the world stage.Ultimately, he comes to rely on Dunne for her support and guidance to achieve his goals, and there is an obvious feeling of attraction that develops between the two.Dunne delivers yet another solid, emotional performance as the independent woman who must learn to adapt to a new culture.Dunne was always such a pro, yet surprisingly is not as well known today as other actresses from her time.Harrison strikes me as an odd choice for the role of the King, but he grew on me as the movie progressed, and although I think he's not the best choice, he nonetheless delivers a credible performance.Gale Sondergaard, a favourite character actress of mine, is very good and quietly effective as the King's ignored first wife, looking out for the interests of her son, the heir.I don't know how much of the story is really true, but it is entertaining and a good look at another time and place in history.It's an excellent production, and even if you've seen the musical, I'm sure you'll enjoy this version, too. ... Read more

Description

In 1674, "reformed" pirate Sir Henry Morgan is a high official in Jamaica, but Edward Maynard hopes to win a large reward by proving Morgan still dabbles in piracy. Maynard goes undercover as ship's surgeon with a Morgan henchman...who's been supplanted by the notorious Blackbeard himself. Also on the ship is Edwina Mansfield, seemingly a damsel in distress, to whom there's much more than meets the eye. A great pirate adventure awaits them all! ... Read more

Reviews (5)

Robert Newton's over the top performance as Blackbeard
"Blackbeard the Pirate" was one of the films that really freaked me out as a kid. This is not because this 1952 film is anywhere near a great film but because of the way that Blackbeard (Robert Newton) meets his fate at the end. That might be the first genuinely scary thing I ever saw in a movie on a Saturday afternoon (after the transformation of Elvira Gulch into the Wicked Witch of the West). You would expect more from director Raoul Walsh ("Captain Horatio Hornblower," "They Died With Their Boots On," "High Sierra," "Battle Cry") but this film is subverted by the over the top, eye rolling, leering performance by Newton. Come up with the most extreme seafaring pirate accent you can come up with ("Aarrr") and you will still fall short of what Newton uses in "Blackbeard the Pirate" (and that includes Johnny Depp in "Pirates of the Carribean: The Curse of the Black Pearl"). The only thing that makes Newton's performance look okay is that of William Bendix, who plays first mate Ben Worley and is so miscast in the role that it makes his infamous performance in the titel role of "The Babe Ruth Story" look better in comparison.

Linda Darnell has little to do besides looking good as damsel in distress Edwina Mansfield, the comely captive with whom the 17th century buccaneer falls in love. Yes, yes, that is indeed Irene "Granny" Ryan as Alvina, the lady in waiting. Torin Thatcher (great name) is Sir Henry Morgan, the former pirate who is set by the King of England to hunt down Blackbeard. Just to make things interesting, Edwina turns out to be Morgan's daughter. But she likes Edward Maynard (Keith Andes), a honest lad who ends up as the ship's surgeon on Blackbeard's pirate vessel. By the standards of the time this is a pretty bloody little film, and you can certainly argue that Blackbeard gets his just deserts (shudder), but time and time again Newton's performance turns this into too much of a cartoon; even if the end of this film still freaks me out.

Blackbeard sails once again!!!.....the DVD
I have this movie recorded on tape, but I just now stumbled on the DVD on Amazon. This movie nearly outranks Treasure Island which is also one of my favorites. Robert Newton, fresh from his role of Long John Silver in Treasure Island, does a surperb job in the role of Blackbeard, the most feared of all pirates. William Bendix adds comic relief as Blackbeard's First Mate Mordey. Linda Darnell does really good in her role as Edwina Mansfield, and I forgot who did the role of Robert Maynard, but he does a good job in the role, and last, but not least, whoever does the role of Sir Henry Morgan, does a excellent job of it. I saw this movie on DVD, and I may purchase it off Amazon. If you didn't see this movie, you don't know what you're missing. I recemend this movie to everyone who loves pirate movies. Glad it's on DVD. Thanks Amazon.

Robert Newton's over the top performance as Blackbeard
"Blackbeard the Pirate" was one of the films that really freaked me out as a kid. This is not because this 1952 film is anywhere near a great film but because of the way that Blackbeard (Robert Newton) meets his fate at the end. That might be the first genuinely scary thing I ever saw in a film on a Saturday afternoon (after the transformation of Elvira Gulch into the Wicked Witch of the West). You would expect more from director Raoul Walsh ("Captain Horatio Hornblower," "They Died With Their Boots On," "High Sierra," "Battle Cry") but this film is subverted by the over the top, eye rolling, leering performance by Newton. Come up with the most extreme seafaring pirate accent you can come up with ("Aarrr") and you will still fall short of what Newton uses in "Blackbeard the Pirate." The only thing that makes Newton's performance look okay is that of William Bendix, who plays first mate Ben Worley and is so miscast in the role that it makes his performance in "The Babe Ruth Story" look better in comparison.

Linda Darnell has little to do besides looking good as damsel in distress Edwina Mansfield, the comely captive with whom the 17th century buccaneer falls in love. Yes, yes, that is indeed Irene "Granny" Ryan as Alvina, the lady in waiting. Torin Thatcher (great name) is Sir Henry Morgan, the former pirate who is set by the King of England to hunt down Blackbeard. Just to make things interesting, Edwina turns out to be Morgan's daughter. But she likes Edward Maynard (Keith Andes), a honest lad who ends up as the ship's surgeon on Blackbeard's pirate vessel. By the standards of the time this is a pretty bloody little film, and you can certainly argue that Blackbeard gets his just deserts (shudder), but time and time again Newton's performance turns this into too much of a cartoon; even if the end of this film still freaks me out.

Blackbeard the Pirate
This film is classic Saturday matinee pirate fare from 1952. The tongue-in-cheek coupling of 18th century lingo with 1950's hip slang is clever. Critics who bashed this film missed the point--it's simply to be enjoyed. It's a semi-farce,and should be viewed as such.

Excellent casting, charaterizations and script. Good seafaring musical score and great special effects considering the technology that was available at the time the film was produced. And Robert Newton, despite criticisms, is clearly the best pirate to ever grace the silver screen. Good perfomances by Linda Darnell, Keith Andes, William Bendix, and Irene Ryan (granny Hillbilly). Better than average in every way. But what less than a cool flick like this could you expect from RKO in the postwar era? ARRRRH!

WE'VE BEEN ON THIS BOAT BEFORE
The early 1950s proved to be a Golden Age for pirate movies as Hollywood countered the threat of small, black-and-white TV screens with big, colorful adventures set in exotic Caribbean locations. Although "Blackbeard the Pirate" has all the trappings of such rousing adventures as "Against All Flags" and "The Crimson Pirate," it lacks the necessary verve and style needed to lift it above the routine level.

Robert Newton makes for a larger-than-life title character but he'd be better in small doses and he's given little opportunity to modulate his boisterous performance. Linda Darnell does what she can with the damsel-in-distress part but that's simply not enough. Keith Andes has the face and physique of an action hero but his bland personality is probably what kept him from becoming a star. There is an interesting moment when he's flogged across his bare back, and Newton orders that salt be thrown on his bloody welts in order to increase the pain. Here's one of those unique touches that the movie could have used more of, but -- typically enough -- little is made of the situation. Andes doesn't seem to be affected by the salt and there's no shot of his face to show his reaction to this punishment.

William Bendix, Irene Ryan (in her pre-"Beverly Hillbillies" days), and a young Richard Egan provide adequate support, but no one really seems to have his heart in this project. ... Read more

Reviews (4)

Joel McCrea as Buffalo Bill
Well,so this Western biopic is wildly off from an historical point of view, but, nevermind, as entertainment it fills the bill and more. BUFFALO BILL is the kind of wholesome, patriotic film that fifty years ago provided solid good entertainment with good production values--and we kinda miss its kind today. McCrea never did a bad job of acting in any of his films, and here he keeps the action going, even when it becomes a bit desultory during the second half of the movie. He really is a pleasure to watch and hear...so easy in the saddle and with his lines. So, lay back and enjoy this film, and with family.

Sanitised biopic
This is standard movie biography of a legendary figure of the old West and modern showbiz and it follows the sanitised version of Cody's life perpetuated by dime novel writers such as Ned Buntline .It does not ecplore the gap between myth and legend but instead follows the advice of the editor in the Ford classic " The Man Who Shot Liberty Valance " -namely "When the facts conflict with the legend -print the legend "
The Cody of this lavish and colourful movie does not have feet of clay but is presented in an uncomplicatedly heroic and mythic mode which may have gone down well when it was made but which now comes across as horribly simplistic and patronising .
Cody is written and played as a plaster saint -handsome ,deeply moral and a spokesman for the cause of the Native American and one who earns their respect by defeating their war chief in hand to hand combat.The first half while inaccurate has vigour and pace and is entertaining enough but interest sags when Cody leaves the West for Washington and thence to a career asa world travelled circus proprietor
Macrae does a decent job in the title role bringing a quiet gravity to scenes showing the character being reduced to a humiliating side show attraction astride a rocking horse before his return to fame and fortune .There is a customarilly peppy performance from the great Maureen O'Hara anda zestful cameo by Thomas Mitchell as the ebullient Buntline ,Cody's chronicler .
Not to be taken seriously as history but a decent if dated movie shot in lustrous colour and which should please lovers of the Western

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A Good Way To Pass The Time on a Saturday Evening...
This is a good film for all ages indeed. Growing up in Stonewall, Texas (birthplace of Lyndon Baines Johnson), I remember seeing this film with my parents in the theatres when I was 15. The cast is perfect with heavysupporting players such as Anthony Quinn and Linda Darnell. So what lowersmy rating by one star you ask? Well, the length. Although it couldn't bemore that 100 minutes, there is slightly a tad less action than there isverbal communication and the picture sticks to the same theme too long(i.e. Buffalo Bill's friendship with the Cheyenne Indians). If only thedialouge was a little more fast paced, this film would be of moreentertainment.

Yet as my headline reads, if you have not too much to doon a Saturday evening and feel like passing the time with a historic movie,watch this then. ... Read more

Reviews (4)

Good Trek Movie
Having given up on Hollywood's latest offerings, which are over-produced, over-digitalized, over-sexed, over-cussed, and over-violent, I am now exploring movies made before my time, in a kinder, gentler era. As such, I enjoyed Brigham Young very much. Although it is true that much of the story is not historically accurate, the descriptive comments that overlay the movie explain each departure from fact, and the reasons that it was done. As I knew something about the LDS church and its history, I was not disappointed or shocked to learn, e.g., that Brigham and Joseph Smith did not meet in the place depicted in the movie. The spirit of the story is well-retained, from the early persecutions of the Mormons to the settling of the Great Salt Lake Valley. The movie is well-cast and well-acted. I especially liked Dean Jagger as Brigham, and Linda Darnell as Zina - what a surprise to learn that she was only 16 at the time! She more than holds her own in scenes with far more experienced actors.

It is not true that the subject of polygamy is mentioned only once. It is confronted several times, including as the subject of a fierce argument between Linda Darnell and Tyrone Power. Brigham admits to having 12 wives at the time of the trek (he had 27, count 'em, by the end of his life), and there are other allusions to polygamy, e.g., the frequent presence of his second wife alongside his first. The script presents the viewer with a "this is how it was" attitude. You may decide whether you approve or disapprove.

Having the comments version available after we watched the movie greatly enhanced our understanding of the history. The comments include some interesting details about location filming and casting decisions. I was amazed to learn that the locust scenes were actually filmed during a locust invasion in Nevada, and that this was a grueling experience for the cast and crew. Those are real bugs! I was also amused to hear that the depiction of Joseph Smith's murder was very controversial. It was considered extremely violent, and the director fought not to have it edited. The average TV cop show today is infinitely rougher than anything in this flick!

All in all, a very nice movie for a pleasant evening, with some popcorn and an open mind.

An American film about an American Legend.
This is an interesting film. You have to admit that Mormonism is quite an American phenomenon, and Brigham Young is quite an American. He was one of the great trailblazers, and after seeing the 2002 Olympics, you must admit that there was something going on here beyond mere spiritual skullduggery.

This film was made with an "arm's distance" approval of the hierarchy of the Church of Jesus Christ of Latter-day Saints. Indeed, for some reason, Mormon prophet David O. McKay had a quite cordial relationship with Cecil B. DeMille, and the great filmmaker willed Brigham Young University his papers.

This is quite an interesting film, and has many of the conventions of the era. Porter Rockwell is played as comic relief rather than the rough and tumble mountain man's mountain man that he was. Vincent Price makes an interesting Joseph Smith, with that eerie twinge to his voice giving a sense of mystery. Tyrone Power did a wonderful job of breathing life into a man who was larger than life, and Linda Darnell isn't overwhelmed by her role or her character.

The sets are a major part of the film. You can almost taste the trail dust. Filming on location adds to the power of the film, and the black and white gives the film an Ansel Adams feel. You see the long trails across the long plains, plus the ragged Rocky Mountains. While they were filming, there was an actual outbreak of crickets in Nevada, so they sent a camera crew out, and you are seeing the real thing!

True to all historical fiction, this film's history is subservient to the fiction. For those wanting the facts, I suggest Leonard Arrington's aptly-titled "Brigham Young: American Moses." For a sample of his theology, there is "Discourses of Brigham Young," compiled by John A Widtsoe.

The film in itself is a good, especially for the AMC and Turner Classics fans that like films that wisely omit the salacious sex, machine gun profanity, or scene after scene of computer generated effects that glitz in an attempt to cover up a feeble story line. This is good, solid Americana film that hearkens back to the days of pre-cause-oriented Hollywood.

MORMON HISTORY INEPTLY DEPICTED
It was inevitable that sooner or later Darryl F. Zanuck would light upon the history of the Mormons for one of those grandoise movie epics on which his name is a U.S. trademark. This picture, from a story by Louis Bromfield, is actually more honest than many other Zanuck epics of the day - which really isn't saying much! The picture cost a whoppin (in 1940) 2.5 million dollars to make; you would think that they could have done more research in order to make the story more historically accurate. It's fatuous, dull and false. Its tepid love story between Linda Darnell and Tyrone Power is irrelevant, as it serves only to "gum" up the flow of action. More serious is its frightened skirting of the subject of polygamy, which for half a century kept the Latter Day Saints and the U.S. Government in state of warfare. Only once - and then in jest - is polygamy mentioned, and only two of uxorious Brigham Young's 27 wives shown (and only one is clearly designated as his wife). The migration of the Mormons across 1,384 miles of prairie and desert in search of religious freedom is a subject interesting to watch on film, however. Many of them walked on foot, were killed by Indians, died of starvation or merely perished in the brutal blizzards. Those who fought their way through mountain passes to Salt Lake Valley were determined to make a great city rise out of arid wasteland; here, at least Zanuck caught the spirit of these intrepid builders of a new world.

Nice story, but historically off base.
When I first saw this movie on the shelf at our local video store, I had to see it. Being a mormon myself and an LDS Church history buff, I had to see how Hollywood depicted my ancestors. The basic plot to the story is correct. The mormons were driven out of Nauvoo, Il., by angry and violent mobs, but the rest of the story is lacking in any real historical basis. Nice to see Hollywood recognizing a true and potentially a good American story to tell, I just wish they could get the facts straight. ... Read more

Amazon.com

Judy Garland in Valley of the Dolls? Walter Matthau in The Seven Year Itch? These are among the what-ifs offered by these screen tests from the vaults of Twentieth Century Fox. Some of the pieces are more intriguing than others (there's too much time spent on Hello, Dolly!), but the goodies are choice: teenage Tuesday Weld showing her independent spirit in a casual "personality test," and the brand-new Rock Hudson rather unpolished in an extended emotional scene. A highlight is a long test of a pre-Green Hornet Bruce Lee (shot, Lee mentions, a few days after the birth of his son Brandon), in which the future star shows off his dazzling kung fu moves. Matthau's test (he was favored by director Billy Wilder) is played side-by-side with Tom Ewell trying the same scene; Ewell got the role he'd played on Broadway, but this snippet makes you wonder what might have been. --Robert Horton ... Read more

Reviews (3)

Lots Of Stars - Not Many Shiners
This relatively brief series of vintage screen tests of the stars from the sixties is satisfying on the first take, but I cannot imagine watching it twice, other than to share it. Sean Connery looks darn good in his first test (did he ever not?) and can actually act. But, his test for "The Inn Of The Sixth Happiness" just looks weird as Sean playing a half white/half Japanese man. Mia Farrow can't exactly sing in her test for "The Sound Of Music", but she has the skills to land herself in Peyton Place; a much more appropriate place for her. Christopher Plummer shows up singing "Edelweiss" in his real voice only to be dubbed by someone else - there's not much difference. A good deal of the DVD goes to the large search for the actors for the Von Trapp family. There are a few surprises there (Kim Darby?). There's a large section on Batman and Robin and I really don't understand the importance of these tests as they are for TV and not major films. However, it's interesting to see them all nervously try out. James Coburn is an absolute riot in his test alongside Raquel Welch. Her talents are obvious, but he just dances around, arms flailing like a smiling geek, and he was considered a woman's man! Another real shocker is not that Mitzi Gaynor nailed "South Pacific", but that she overdubbed so many other film scores, like "My Fair Lady" and several others. She almost sang for Julie Andrews on the "Sound Of Music". That would have been a travesty! In summary, there are some interesting anecdotes and unknown secrets, but there are so many stars out there that a tight screen test overview would be nearly impossible. I guess that's why "Hollywood Screen Tests, Take II" was released. Note: For pre-1970's hard-core movie buffs only and there are no extras.

Good, Especially DOLLY Shots
This DVD is a good show, interesting to watch. Obviously, everyone will have different reasons for purchasing it. Some will look forward to seeing some screen tests over others.

I bought the DVD for the HELLO DOLLY screen tests and costume shots. I was amazed that this footage was not used on the newly released Fox DOLLY DVD! Extremely rare Streisand costume and wig tests and screen tests for the supporting roles are the highlight here. All of the DOLLY footage is in excellent condition. Danny Lockin's audition is very charming and it's obvious why director Gene Kelly chose him. You can even hear Kelly off screen reading with Lockin. Also interesting is Sandy Duncan's audition.

A bit disappointing...
I bought SCREENTEST TAKE 1 for the Batman screentests. What was here was nice to see one time, but were obviously edited and incomplete. Also, there is unnecessary narration over the parts of it that were shown. ... Would I purchase a DVD of a Stones concert if it had a narrator commenting how good Jagger looks or how well the band held up over the years? I think not. CANNOT RECOMMEND THIS DVD EXCEPT FOR A CASUAL VIEW. Not worth the money, nor suitable for a permanent DVD library/collection/archive because of the above mentioned problems. ... Read more

Reviews (3)

Classic Clair - Always makes me smile
In the Hollywood tradition of the 1940's feel good cinema comes a non-Hollywood production that is just as charming. I will never get bored of this film, from the comic interludes to the hokey ending that was required of all movies in that era. Why, oh why, can't someone produce movies like this anymore? At every turn I, a 21 year old boy, simply thought, "Cool". A must see for anyone who appreciates old fashioned, cheese-ball cinema.

A stinker
One wonders why UCLA spent time and money to refurbish this clunker. Young Linda Darnell, however gorgeous, can barely act. Jack Oakie plays...well, Jack Oakie. Edgar Buchanan is wasted as a cop. Dick Powell, now shedding his dumb tenor roles in those Busby Berkeley films, is competent and does his best to make this unfunny movie at least palatable.

If you're into amateur theatre, you might like this. Otherwise, save your money.

A Satyrical but Charming Fantasy-Comedy
The great french master Rene Clair directed this movie when he was in exile in Hollywood. Dick Powell (who is slightly aged at this point; his haydays as a baby face was in the thirties) plays a news paper editor to whom, by some miracle, somebody put's the next day's paper in his pocket. In stead of telling this story as a fairy tale, Clair choses to direct it as a screwball comedy. And his sense of mad-cap comedy is as zany as in his more famous French films such as in Le Million, Les Belles de Nuit, making it a quite an enjoyable comedy with certain philosophical (but never serious) undertone. The tape is made from a beautiful print restored and preserved by UCLA Film-TV Archives. The black and white cinematography and the sets depicting New York at the turn of the century is also a joy to watch. ... Read more

Amazon.com

It's the equivalent of documentary fast food, but there's something irresistible about these long-shelved scraps of Hollywood history. Sometimes formal, sometimes loose, these screen tests show a batch of actors as you've never seen them--i.e., nervous, hesitant, but often flashing the X factor that separates them from the other would-be stars. Check out the 1958-model Sean Connery, or Mia Farrow auditioning for the role of Liesl in The Sound of Music (her warbling on "I Am Sixteen" suggests one reason she didn't get the role). Newcomer Ann-Margret needs no vocal help; knocking out a couple of songs, she looks about as inexperienced as Helen Hayes. Cultists will zip to Patty Duke's test for her role in Valley of the Dolls, and there's a long section devoted to the '60s Batman TV series. Lyle Waggoner as the Caped Crusader? Ah, how different screen history might have been. --Robert Horton ... Read more

Reviews (3)

Lots Of Stars - Not Many Shiners
This relatively brief series of vintage screen tests of the stars from the sixties is satisfying on the first take, but I cannot imagine watching it twice, other than to share it. Sean Connery looks darn good in his first test (did he ever not?) and can actually act. But, his test for "The Inn Of The Sixth Happiness" just looks weird as Sean playing a half white/half Japanese man. Mia Farrow can't exactly sing in her test for "The Sound Of Music", but she has the skills to land herself in Peyton Place; a much more appropriate place for her. Christopher Plummer shows up singing "Edelweiss" in his real voice only to be dubbed by someone else - there's not much difference. A good deal of the DVD goes to the large search for the actors for the Von Trapp family. There are a few surprises there (Kim Darby?). There's a large section on Batman and Robin and I really don't understand the importance of these tests as they are for TV and not major films. However, it's interesting to see them all nervously try out. James Coburn is an absolute riot in his test alongside Raquel Welch. Her talents are obvious, but he just dances around, arms flailing like a smiling geek, and he was considered a woman's man! Another real shocker is not that Mitzi Gaynor nailed "South Pacific", but that she overdubbed so many other film scores, like "My Fair Lady" and several others. She almost sang for Julie Andrews on the "Sound Of Music". That would have been a travesty! In summary, there are some interesting anecdotes and unknown secrets, but there are so many stars out there that a tight screen test overview would be nearly impossible. I guess that's why "Hollywood Screen Tests, Take II" was released. Note: For pre-1970's hard-core movie buffs only and there are no extras.

Good, Especially DOLLY Shots
This DVD is a good show, interesting to watch. Obviously, everyone will have different reasons for purchasing it. Some will look forward to seeing some screen tests over others.

I bought the DVD for the HELLO DOLLY screen tests and costume shots. I was amazed that this footage was not used on the newly released Fox DOLLY DVD! Extremely rare Streisand costume and wig tests and screen tests for the supporting roles are the highlight here. All of the DOLLY footage is in excellent condition. Danny Lockin's audition is very charming and it's obvious why director Gene Kelly chose him. You can even hear Kelly off screen reading with Lockin. Also interesting is Sandy Duncan's audition.

A bit disappointing...
I bought SCREENTEST TAKE 1 for the Batman screentests. What was here was nice to see one time, but were obviously edited and incomplete. Also, there is unnecessary narration over the parts of it that were shown. ... Would I purchase a DVD of a Stones concert if it had a narrator commenting how good Jagger looks or how well the band held up over the years? I think not. CANNOT RECOMMEND THIS DVD EXCEPT FOR A CASUAL VIEW. Not worth the money, nor suitable for a permanent DVD library/collection/archive because of the above mentioned problems. ... Read more