Reviews (151)

Grand Guinol scathing satire of Hollywood and its oddities
Sadly, the mastermind behind Sunset Boulevard, Billy Wilder has passed on recently, but his genius lives on in this dark comedic indictment of Hollywood and its star system. The film shot William Holden to stardom and he became a major player in the '50s and it also afforded Gloria Swanson her last piece of public honor and she made a dramatic comeback as faded screen star Norma Desmond. Both she and Holden earned Oscar nominations here as did supporting players Erich von Stroheim (Max the butler) and Nancy Olson (as a script reader and love interest of Holden's screenwriter Joe Gillis). The film was nominated for Best Picture and Best Director (Wilder), but unfortunately it lost on all counts.....possibly because Hollywood felt bullied and intimidated by Wilder's not-so-rosy depiction of their little town. Wilder even received death threats during and after filming. Classic dialogue and forever memorable scenes abound (the chimpanzee burial scene is a keeper). This black comedy may seem too morbid and ghoulishly funny for some tastes, but it is one of my absolute favorites........

Dark and Addictive--Melodrama at its best!
Simply put, this is the greatest movie ever. And Gloria Swanson gave the greatest film performance in thie movie. You forget your Bette Davises, your "All About Eve"s, your "Titanic"s, your Katharine Hepburns, your Jack Nicholsons, and your "Citizen Kane"s. This--Hollywood will never produce anything better.

A striking film, visually, emotionally, and in every sense, this is a dark, bitter, darkly comical study of what happens when a faded star (who was a bit out of touch with reality to begin with) clings a little too tightly to her gone days of fame. Gloria Swanson gives a phenomenally powerful, over-the-top performance as Norma Desmond, histrionic ex-silent film star. Bill Holden is fine as the down-and-out screenwriter from Dayton, Ohio, that accidentally gets mixed up with her. Max von Stroheim is magnificently creepy as Norma's devoted butler, and Nancy Olson is heartbreaking as the one innocent with no idea of the trouble that surrounds her.

Every frame is perfectly filmed, every image marverlously conveyed, every line wonderfully spouted. Nothing is wrong or out of place. And practically every line is a classic. Most remember the last line of the film's insane conclusion: Norma, finally completely descended into madness, sweeping dramatically down the grand staircase as cops, reporters, and even Hedda Hopper look on; the music swells to a deafening height, and Norma--with that deranged look in her eyes--breathes, "I'm ready for my closeup..." But the best line of all, and the line that symbolizes everything that stands for the golden days of Hollywood, is spoken when Joe recognizes Norma and makes the mistake of saying, "You used to be big." She eyes him bitterly, raises her chin, looks down her nose at him and cries, "I AM big! It's the PICTURES that got smaller!"

If you have to choose a movie to see one day, and can only choose one, don't let the opportunity go by. See this.

SWANSON SHOULD HAVE WON THE ACADEMY AWARD
Swanson deserved the Academy Award for this picture. The ending shot alone shows this.

A superb film all the way around except for the casting of Nancy Olson. Inexplicably, Olson won a supporting actress nomination from the academy that year, but I fail to see why. Her character gets on my nerves, especially making goo eyes at William Holden. But this is just a little quirk I have.

The film succeeds brilliantly mainly because of Swanson. It has an effecting score, great cinematography and great acting from the principle characters (Olson notwithstanding).

You will not be disappointed with this one!

FULL AND WIDE
While widescreen films date back as early as 1930 (The Bat Whispers), Sunset Boulvard is not a widescreen DVD because Sunset Boulevard is not a widescreen film.

A supreme film: a ltrue andmark in the american cinema.
This movie belongs to the legend from its release. Never before Wilder got down to the deepest regions of the soul, like in this one.
A voice in off (William Holden) will be as introductory device to involve us in this gripping story about the loneliness of an old fashioned actress who lives only in her lost picture images.
In this sense it's worthy to name the only five films which have had a succesful exit about this no mercy theme.
These are: Cries and whispers, The silence and Persona (Ingmar Bergman), The anxiety of Veronica Voss (Rainer Werner Fassbinder) and American Beauty(from Sam Mendes).
The sense of loneliness grows progressively in this old lady, who decided to stop the physical time and create her own reality between the dark clouds of her ancient memories.
An eternal treasure of the american cinema and in my point of view the masterpiece of that film maker giant called Billy Wilder. ... Read more

Description

Sam Spade is caught in a frantic search for the jeweled falcon of Malta and his partner's killer.His pursuit leads him to a group of desperate individuals who also want the bird. ... Read more

Reviews (101)

One of the few movies that's as good as the book
John Huston's directorial debut nails every single possible angle for a great movie: a great hero in Humphrey Bogart's Sam Spade, here making a major transition from the gangster roles that made him famous; a great set of villains, from Sydney Greenstreet's ponderous Gutman to Peter Lorre's effeminate Joel Cairo to Elisha Cook's almost cartoonish gunman Wilmer; a great femme fatale in Mary Astor's Brigid O'Shaunessy; a great hunt, in the quest for the fabled Maltese Falcon. Shot scene for scene out of the novel (with some notable cuts of extraneous material, such as a long story Sam tells Brigid while they're waiting, and Gutman's daughter!), "The Maltese Falcon" is utterly clean, economical film-making with no fat whatsoever (except for Gutman, of course). The movie creates a tense atmosphere from its opening shots, with ironic humor simply acting as counterpoint throughout. The final scenes of revelation, where Sam explains to Brigid his personal code of honor, are as emotionally devastating today as they were fifty years ago. The last shots of the movie, as Brigid descends in the elevator quickly to her fate, while Sam takes the stairs, suggests each character is heading to their own private hell, even if at different speeds. A brilliant movie!

The Stuff That Dreams Are Made Of On DVD
Seldom has any novel been so successfully interpreted on screen: in approaching Dashiell Hammett's seminal private-eye novel, director John Huston not only stayed meticulously true to the plot, he also lifted great chunks on the novel's dialogue directly into the script--and then styled the pace, cinematography, and performances to reflect Hammett's stripped-for-action tone. And the result, to borrow a phrase from the film, is "the stuff that dreams are made of." THE MALTESE FALCON is a iconographic landmark in twentieth century cinema.

The story is well known. Private eyes Sam Spade and Miles Archer are employed by an attractive but decidedly questionable Brigid O'Shaughnessy to track down a man named Thursby--but within hours of taking the case both Miles Archer and Thursby are shot dead, and Spade finds himself embroiled in a search for a legendary lost treasure: the figure of a falcon, encrusted with jewels.

The cast is remarkable. Humphrey Bogart made a name for himself first on the stage and then in films with a series of memorable gangster roles, and was fresh from his great success in HIGH SIERRA; Sam Spade, which offered a new twist on his already established persona, was an inspired bit of casting. Mary Astor had been a great star in silent film, but the late twenties and early thirties found her dogged by scandal; perhaps deliberately playing on those memories, she brought a remarkable mixture of toughness, tarnish, and absolute believability to the role of the very, very dangerous Brigid. And the chemistry between Bogart and Astor is a remarkable thing, a simmering sexuality that more glossy casting could have never achieved.

The supporting cast is equally fine. Although a great star in Europe and the star of a number of 1930s films, Peter Lorre was still something of an unknown quanity in American film; Sidney Greenstreet was a minor stage actor with no screen experience; Elisha Cook was a well-liked but neglected character actor. But THE MALTESE FALCON would fix all three firmly in the public mind, and to some extent all three would continue to play variations of their FALCON roles for the rest of their lives.

FALCON is particularly noted as one of several films that craftily circumvented the notorious "Production Code" by effectively implying but never directly stating the various sexual relations between the characters. Spade has clearly had an affair with Archer's wife, Iva; Archer is clearly a man on the sexual make, and leaps at the chance to tail Brigid. Lorre's lines effectively expose Brigid as man-hungry, and the script and situations do everything but flatly state that Lorre's character is homosexual. Perhaps most startling is the implied sexual relationship between Sidney Greenstreet and the hoodlum Elisha Cook, and the concluding implication that Lorre may well replace Cook in Greenstreet's affections. Just as the plotlines swirl and twist, so do the layers of innuendo and the tangles of sexual uncertainty--all of it adding to the film's feel of uneasy decadence and grittiness.

The DVD bonuses are enjoyable but slight--two film trailers and a documentary that uses trailers to show how Warner Bros. marketed Bogart during the 1930s and 1940s. But even if it came without any bonuses the DVD would still be greatly welcomed: although it has not been restored in a computer-corrected sense, this is the finest print I have ever seen of the film, far superior to anything available on VHS. A great film, a true essential, and strongly, strongly recommended.

A Bogart classic

Director: John Huston
Format: Black & White
Studio: Warner Studios
Video Release Date: February 1, 2000

Cast:

Humphrey Bogart ... Private Detective Sam Spade
Mary Astor ... Brigid O'Shaughnessy
Gladys George ... Iva Archer
Peter Lorre ... Joel Cairo
Barton MacLane ... Det. Lt. Dundy
Lee Patrick ... Effie Perine
Sydney Greenstreet ... Kasper Gutman
Ward Bond ... Det. Tom Polhaus
Jerome Cowan ... Miles Archer
Elisha Cook Jr. ... Wilmer Cook
James Burke ... Luke
Murray Alper ... Frank Richman
John Hamilton ... Bryan
Charles Drake ... Reporter
Chester Gan ... Bit part
Creighton Hale ... Stenographer
Robert Homans ... Policeman
William Hopper ... Reporter
Walter Huston ... Capt. Jacobi
Hank Mann ... Reporter
Jack Mower ... Announcer
Emory Parnell ... Ship's mate

This is a cult classic Sam Spade (Humphrey Bogart) film. The cast included all-time greats Peter Lorre, Sidney Greestreet, Walter Huston, Ward Bond, and other veterans like Mary Astor and Jerome Cowan.

John Huston directed, and kept the tension high throughout.

This is a story about a statue of a falcon that the Knights Templar had made as a gift for the King of Spain in gratitude. It was lost in transit to the king. Crusted with jewels of immense value, but covered with black lacquer to disguise its worth, it was lost for centuries. This story is about the struggle between factions of villains to get the bird.

If you have never see Bogart in this movie, you have missed one which is partly responsible for his fame.

Joseph (Joe) Pierre

Sticking with my VHS copy for now
I would love to own a restored version of the Maltese Falcon on DVD, if it existed. I'll just stick with my 10 year old VHS tape for now. The film needs to be restored. Take a look at the way the second scene with Spade and Mrs. Archer ends. The film always seems broken at this spot, even when it runs on the movie channel.

Defining Bogart
Of all the movies and reviews of Humphrey Bogart, let this one stand and pronounce that the scene when he slaps Peter Lorre's face and tells him, "shut-up and like it..." is the defining moment in Bogart's career and especially this movie.

Well crafted, but a bit loose on plot developement, The Maltese Falcon is what too many mystery/suspense movies trying to live up to an assumed description of what a "noir" film is supposed to be about, pledge their loyalties.

Entertaining more than a fine film, The Maltese Falcon is a tour de force performance for Bogart. If you are a fan, then this is a must see. The camera work is also a good source for cameramen wannabes. ... Read more

Reviews (53)

Good movie, weak video, poor sound
"Life With Father" is an enjoyable movie. Unfortunately, the video on the DVD is not that good (though better than a VHS version I've seen). What makes this DVD a real disappointment is the sound quality. Aside from only coming through the left channel, the sound is rather muddled and fuzzy. I suppose one shouldn't complain too much given the low price, but it was still dissappointing.

Life With Father- - - A True Classic
This film has lost none of its appeal over the years. I remember loving it as a child and it still is one of my favorites. William Powell is a joy to behold as the overbearing yet loving Clarence Day Sr. And Irene Dunne gives what I consider to be one of her better performances. Elizabeth Taylor can do no wrong and is as adorable as ever. Fans of Adam-12 might not have noticed that the second son, John, is played by Martin Milner (who, co-incidentally, is in Mr. Roberts with William Powell, though sadly, not in any scenes together). As for the quality of the DVD, I found that my copy has two minor audio problems where the sound drops out entirely. Thankfully it is only for a short moment. Otherwise it is a wonderfully preserved movie, showing some of our finest actors at their best. LOVE IT!!! Five stars all the way!

Winning movie deserves better presentation.
Despite the anomalies of this DVD version, "Life with Father" is still a winning, wonderful movie suitable for viewing by all ages. William Powell stars as the combustible, but essentially kind and loving patriach of a late 1800's family in New York City. A wife and three adolescent boys round out this colorful family.

Powell lends irascible charm to his role while Irene Dunne plays the slightly ditsy, well meaning wife marvelously. The supporting cast includes a young and very beautiful Elizabeth Taylor as a flirtatious visitor as well as the future star of the television series "Adam 12", Martin Milner, as the middle son.

"Life with Father" has plenty of warmth and humor to make it well worth seeing. It just needs a better presentation than in its current DVD format. Catch it when it airs on television for an optimal viewing experience.

A Film worth restoring! Terrible sound makes it unwatchable!
I watched this movie many years ago on AMC. It made me laugh outloud! I cannot understand why the DVD transfer is so poor.The colors are faded and the sound is so garbled that you can't understand what they are saying. This is the kind of film that deserves to be transferred by real professionals. If that ever happens I will buy a new copy. The one I own, I will keep as a reminder that Madacy entertainment=poor quality.

Speaking from a well
I love this movie, but this DVD has horrible sound quality. The actors sound as though they were speaking from a well, and the louder anyone speaks, the worst the garbled effect. I ordered this to replace my VHS copy, but have since discarded the DVD. The VHS is a far superior product. ... Read more

Reviews (7)

Silent movie, loud screams of laughter
The Cat and the Canary (1927) is of interest not just from the historic perspective of expressionist film making, but also for just sheer fun.

This is not a movie for everyone. People who need special effects that leave nothing to the imagination, sound systems that capture every bullet casing hitting the floor or editing to hold those with short attention spans should not buy this movie. Well, they should, but they won't and they wouldn't enjoy it if they did.

For those who grew up watching Chiller Theater on Friday nights, this is a great movie to turn the lights down, prop the popcorn bowl on the knee, crack open a cold frosty and sit back for a pleasant evening.

The Cat and the Canary is just plain fun to watch. The hero doodling as the lawyer drones on is worth the price of the DVD alone. It's also amazing to see how silent actors and actresses can convey so much with a raised brow or a dimpled smile than many of today's Hollywood stars can with reams of scripts to read.

The Harold Lloyd short also is another pleasant haunted house comedy that develops at a leisurely pace like a stroll through a park that builds into a madcap dash.

When The Cat's Away The Canaries Come Out To Play
Ask some young film students or filmbuffs to name what they think are some of the most influential early films of cinema. Chances are you'll hear "Birth of A Nation", "Battleship Potemkin" and "Citizen Kane", but, I'd like to elect one more film to that list Paul Leni's "The Cat and the Canary".

"The Cat and the Canary" originally started off as a Broadway play in 1922 and was made into (as far as I know) three films. The most famous being the 1939 adaptation starring Bob Hope. But this 1927 version just dazzles you with its techinal achievements. It has inspiring cinematography by Gilbert Warrenton and remarkable editing from Martin G. Cohn. There are plenty of shots I'm willing to bet were ahead of their time, mostly dealing with fade in's and out's.

If you were to ask me, is this movie scary? I would have to answer no. "The Cat and the Canary" is just too dated to scare anyone. We've seen this far too many times for it to give us "thrills and chills", but, what makes this movie so entertaining to watch is it is an exercise in style and atmosphere. It is the cinematography and the mood the film creates that will capture your attention. This film set-up what we now refer to as "haunted house" movies.

Paul Leni, for those who don't know is revered as one of the great German expressionist through such films as "The Man Who Laughs" and "Waxworks". And these three films are seen as the last of there kind.

"The Cat and the Canary" as I said help establish what we now refer to as "haunted house" movies. The plot revolves around the death of Cyrus West, a millionair who's relatives hounded him like cats around a canary (hence the title). His will, as ordered by him, will be opened twenty years after his death. So a few of them show up to his dark eerie castle where legend has it is haunted by his spirit. The movie stars Laura La Plante as Annabelle West. She was very much in demand during the silent era and made some sound pictures including "Show Boat" and "The King of Jazz" (featuring Paul Whiteman). and Creighton Hale as Paul Jones (after you see his performance you'll understand perfectly why they remade it as a Bob Hope vehicle). He too was once popular but when sound came in, he was reduced to very small bit parts often going "uncredited". As you watch the movie you can expect every cliche attempt at horror you can think of. Some of which are still used today. Creepy hands appearing out of nowhere, the "offbeat" looking characters who you just suspect are evil and as mentioned before, that eerie atmosphere.

Fans of silent films or even young film students I urge you to see this movie. You will be impressed.

Bottom-line: As far as I'm concerned should be considered one of the most influential films of all-time due to its impressive cinematography and editing. An exercise in style and atmosphere that actually works.

Wonderful Haunted House Film with Harold Lloyd Bonus
This silent film may rank high among those that are written about far more often than anybody ever sees them. THE CAT AND THE CANARY is well worth the wait - in my case, it's been about 40 years between first reading a glowing account of the film and finally viewing it. And I wasn't disappointed. Of course, it requires a certain suspension of disbelief and I wondered why it was necessary to explain away everything as having a natural, and not supernatural, origin. Still, the film is great fun - sort of like going to a Halloween party.

Paul Leni's expressionistic directing does wonders with the story although its stage origins are apparent. Had Leni not died in 1929, I wonder what he might have done with DRACULA as early Universal publicity claimed he would direct it.

The DVD contains a great bonus of an early Harold Lloyd short, HAUNTED SPOOKS, from 1920. Consistently inventive, this film is chilling on its own terms because Lloyd lost the thumb and index finger of his right hand during the filming. He was posing for publicity photos and was holding a lighted but supposedly dud bomb. It went off. Despite his hospitalization and the obvious trauma he suffered, Lloyd was back at work on HAUNTED SPOOKS within a few weeks, wearing a flesh-colored glove on his right hand with a prosthetic thumb and finger. It's interesting to compare footage that is clearly "before and after" based on how he uses his right hand. This tragedy didn't stop Lloyd from making this film into a top comedy or from going on to be a star of feature films, enjoying a popularity that was second only to Charlie Chaplin. Now that's REAL determination!

Unsuspecting Audience Is the Real Canary!
This fascinating and suspenseful tale of melancholy blends top notch camera work with quintessential serendipity. A group of mostly greedy family members gather at midnight for the reading of a will that should pay real dividends, but only for one. And this will features a very personal touch from the dearly departed! There are bumps in the night galore, wickedly funny thrills, and even a booby hatch or two. And, oh, by the way, it doesn't help much that a deranged lunatic is at large (IN THE HOUSE)! Still, by today's standards it might be a little too silent and gloomy if not for a well chosen stereo sound track. This is unequivocally the best version of "The Cat and the Canary" despite not being the most popular. It is also the oldest. Now on a personal note: Many moons ago, several long departed family members of mine were subjected to a highly regarded and nightmarish silent movie that remained ever so present in their delicate minds. But the memories were fresh enough to provoke an occasional mentioning, usually in hushed tones. This was a film they had viewed in their formative years on a Saturday afternoon, inside a smallish structure located within the boundaries of the home town park. As young children, they remembered a person called "the narrator" reading horrific subtitles as a conspicuous and repugnant hand (a hand that makes "Thing" of "The Addams Family" look like a stool pigeon!) was prominently displayed in the backdrop behind unsuspecting victims. The capacity of the human mind to recall can be both a blessing and a curse--Certainly cruel and unusual punishmnent to these innocent children whose fragility had been exposed by a talented but unknowing director named Paul Leni. Time often distorts reality but their vivid descriptions of the fright and terror they endured by virtue of being strapped to a chair for eighty some odd minutes whild watching "The Cat and the Canary" doesn't bode well. Much of this was clearly a bad omen for the tragic lives that ensued. At least one developed "endostosis", a condition in which the vascular connective tissue lining the marrow cavities of bones results in the formation of bone within the cartilage. Others faired even worse. Ironically, this production is considered a milestone of the American horror film even though it had a German director.

Excellent Restoration Of This Silent Thriller
DVD releases of old silent films have tended to enjoy mixed fortunes - certain releases of 'Metropolis' and 'The Lodger' have received shockingly bad treatment. Rest assured though, 'The Cat and the Canary' is an example to every DVD distributor of how to treat a vintage 'classic'. The movie boasts a superb newly recorded (1997) stereo soundtrack that compliments the images very well indeed. The soundtrack even contains sound effects such as door knocks and clock chimes which help compensate for the lack of real sound. Speech cards, often hazy and unclear in other silent films, are here clean, crisp and easily readable. This is because the title cards are shown in freeze frame, a technique other distributors should take note of. The film itself is a very enjoyable 80 minutes 'old dark house' romp that never takes itself too seriously. The cast blends together well and the characters are really quite fun and likable. The camera work is also worthy of praise. The director, Paul Leni, provides us with interesting angles and dynamic camera movement throughout the film. If you love silent movies then 'The Cat and the Canary' makes a very worthy addition to your collection. Finally, I must just mention the Harold Lloyd short 'Haunted Spooks' which is included on the DVD. This is the one where Harold tries to commit suicide by standing in front of an oncoming tram, jumping off a bridge into two feet of water and shooting himself with a water pistol. A classic in it's own right! ... Read more

Reviews (5)

A 1915 "Psychological Drama" as good as any!
This film's own introduction as a psychological drama says it all as far as I'm concerned. It depicts very powerfully how some men easily fall victim to being manipulated and dominated by emotionally disturbed women to the point of committing suicide or becoming alcoholic, and anyone with some life and people experience will recognize these things which happen around us all too often. I found that the frequent scenes of the "fool's" wife and playful small child (which some think were superfluous) showed poignantly what he had sacrificed and lost, and the ending was equally heart-wrenching. For anyone who appreciates true psychological drama about real-life situations and understands them well, this old film will not disappoint, despite some poor picture quality at times. Another interesting aspect is this window into the past showing people's manner and behaviour nearly a century ago, and also showing that psychological problems were perhaps better understood in the past than we realize. However, for those who didn't understand, the special features on this DVD explain how Theda Bara's image was 'created' in order to attract viewers and put the focus on her - something that hasn't changed in Hollywood over the century! So whether you like the psychological angle or the allurement of Theda Bara, this movie is still well worth watching.

One from the vaults
It would be a major stretch to describe "A Fool There Was" as a good film, but for all sorts of reasons it remains full of interest. The plot is utter nonsense, some garbage about an evil woman who has nothing better to do than destroy the lives of wealthy men. Exactly how she achieves this is never made clear, but apparently arching the back and flaring the nostrils was carried some clout in 1915.

We shouldn't get too superior about it though. The public for whom this movie was made was by no means as naive as we might like to think. The film was camp then, just as it is now, though they probably had a different word for it. It was clearly a less permissive society. What passed for "sin" isn't at all recognisable as such today. And in fact as a primary source you couldn't find a better social commentary than "A Fool There Was". For instance it is interesting that a conspicuous display of feminine ambition and sexuality had automatically to be branded "evil" - it would take decades for this perception to be reversed.

Much of the focus will be on Theda Bara. With so little of her output available for viewing today its unfortunate to have to say that this is far from representative. What is clear is that she was a credible actor - not immediately apparent from her still photographs - capable of restraint as well as frenzy. Her fame is much easier to understand when she is actually seen in action. She has considerable poise and presence and when well lit and photographed is surprisingly beautiful.

The DVD issue is exceptionally well presented - the menus are imaginative and atmospheric, the extras well chosen and interesting. The print is variable; here and there it is mottled and jittery, but more often the image is crisp and sharp and revelatory for those of us who know the film solely from pirated VHS copies. An appropriate music score is also a huge advantage.

In all, an unexpectedly compelling and thought provoking film, if not always for the reasons that were intended. And if you are disposed towards silent movies, a compulsory addition to the collection.

The Original Vampire
"A Fool There Was" is based upon a stage play dealing with the subject of forbidden desires. I agree with the other reviews that Theda Bara (in her film debut) is the reason to watch this film. The film has been lovingly restored (having some cracking in places) with original tints and the overall quality is excellent. The piano score is perfect for the film.

As one would expect, the acting in this 1915 feature is old-fashioned. People endlessly shake hands on meeting and parting. Perhaps this is a reflection of the polite manners of the time but after several scenes with this kind of repetition it was laughable. "A Fool There Was" has the flavor of a social commentary with overtones of forbidden sex. Lust is something to be avoided; else you fall into the snares of female vampires. By our standards today, the film stretches credulity. John Schuyler, Theda Bara's principle victim, presents quite a contrast. First, he is an upright family man and is selected as an ambassador to Great Britain. On meeting the vamp, he descends into a drunken ruin. How the vamp gains control over Schuyler is not told (missing footage?) and is a done deal. John Schyler's wife is a martyr, who suffers from her husband's fall but is powerless to do anything.

Theda Bara's vampire character exudes a hypnotic influence over everyone. The men under her power are utterly helpless in her presence, lending her a supernatural aspect. Even when the wife and a family friend come to reclaim the errant husband and father, they cower in the presence of the vamp and Schuyler becomes a jelly. One might expect the vamp to get her just deserts but she remains victorious. Perhaps this serves as a further warning that the vamp remains on the loose.

The film is fun as a social history and for Bara's performance, one of the few remaining. Anyone who loves the silent cinema will want a copy.

"Kiss Me, My Fool!"
I became interested in Theda Bara last year after reading Eve Golden's biography of the star and was thrilled to discover that Kino were releasing this movie on DVD allowing me the opportunity to see her on film. She didn't disappoint. A Fool There Was is one of the few Theda Bara films still in existence, and while its not considered to have been her best it is the film that made her an overnight sensation in 1915. It's fun to watch the movie now to determine what all the fuss was about. This is definitely Theda's movie from start to finish - she dominates the film and even after all these years remains a compelling presence on screen. Although not conventionally beautiful, when lit and photographed well in the film she is strikingly attractive - dark and dangerous - and it's clear veiwing the movie today why Theda became such a sex symbol for audiences in the 1910s - it's as much about what she does onscreen as how she looks - her behaviour must have been shocking for audiences of the time - the 'vamp' pursues sex throughout the film as ardently as any man and makes no apology for her "sins". With her heavily made up eyes, her dark hair falling about her shoulders and her contemptuous smile she is truly one of cinema's great bad girls. She appears to enjoy making the lives of the men around her a living hell - however I suspect audiences in 1915 must have seen the fun in all of this too as they made her a star and loved her for her supposed wickedness. The quality of the DVD is fine for such an old movie - with attractive tints and a piano score that works very well. And while the story itself is no longer gripping it does entertain (sometimes for all the wrong reasons - this is not the best directed film you're likely to see). Theda's the real reason to watch this film and for silent movie fans the chance to see one of the great goddesses of the era in her star-making role should be worth the price of the DVD alone.

The Return Of "The Vampire"
No, this does not refer to the 1944 thriller starring Bela Lugosi (a neat little thriller by the way) but rather to the original screen vampire Theda Bara. Her 1915 film A FOOL THERE WAS launched a revolution in the motion picture industry and introduced the word vamp (as noun and verb) into the American vocabulary where it referred to a predatory woman until the advent of Lugosi's DRACULA in 1931. Here was a woman who knew what she wanted, went out and got it, and suffered no consequences for it. The film made an overnight star of Bara and made William Fox's film outfit a major player in early Hollywood. They would later become 20th Century Fox and today's Fox TV network. Theda Bara was born Theodosia Goodman in Cincinatti. Her screen name, cooked up by Fox's publicity department, is an anagram for Arab Death. She was the biggest early silent female star but her films have rarely been seen as most were destroyed in a Fox warehouse fire. While A FOOL THERE WAS is not her best film, it remains a fascinating glimpse of her and of the morality of early Hollywood. A poem by Rudyard Kipling which became a play was the basis for this film which portrays the decline and fall of a prosperous lawyer who leaves wife and child to be with a worldly woman who proceeds to literally drain him of everything he possesses (hence the term vampire) until he dies a broken man while she crushes flower petals over his lifeless body. Strong stuff for 1915 and the forerunner of every woman takes man away from wife scenario that would follow. While the stylised acting may seem silly and overblown remember that we're dealing with archetypes carried over from 19th century melodrama. What makes it so fascinating today is the unhappy ending and the lack of moral retribution. Although Bara dominates the screen, the charecter of John Schuyler as played by Edward Jose' manages to stick with you as you watch him slide (very quickly) into total degradation. The print utilized for this DVD is from the Killiam Collection. It is tinted and toned with much greater picture clarity than the old VHS transfer once available although there are still a few rough spots. The piano score by Phil Carli is appropriately downbeat and effective helping to make the histrionics more believable. When a film is this old it literally becomes a window into a bygone era. That and the superb transfer make the DVD of A FOOL THERE WAS worth owning especially for silent film buffs. Now if Kino can just get Fox and the Killiam Collection to issue a restored version of SUNRISE. ... Read more

Reviews (14)

Crawford as You've Never Seen Her
Joan Crawford gives one of the finest performances of her career in "Possessed," a brilliant film with a truly crackerjack script in which reality and madness compete for possession of Crawford's fragile mind.The story begins when Crawford is discovered, frightened and disoriented, wandering Los Angeles, repeating the name "David."When she is brought to the psychiatric ward of a hospital, she is eventually able to tell her story through flashbacks.The intricate twists and turns in the script, together with Crawford's fine, multi-layered, complex performance, are truly dazzling.Apparently Louise Howell (Crawford) was having an affair with bachelor David Sutton (Van Heflin), but although Howell is becoming increasingly fervently attached, Sutton is ready to cut the cord.This rejection sends Howell over the edge.As she races back from his cottage by the sea, we learn that she is a private nurse for the ill wife of wealthy Dean Graham (Raymond Massey) and that the delusional Mrs. Graham believes Nurse Howell is having an affair with her husband.When Mrs. Graham is found drowned in an apparent suicide, Mr. Graham ultimately makes known his growing love for Nurse Howell and begs her to marry him.Howell's heart lies elsewhere, but he convinces her to give the marriage a go. Initially Graham's daughter Carol (Geraldine Brooks) rejects Howell, believing her responsible for her mother's death although the nurse insists that Mrs. Graham was "more ill" than Carol realized.(Wonderful touch since Howell is "more ill" than she realizes).Eventually Carol accepts Howell, but the plot thickens when Carol begins a relationship with Sutton which becomes serious and threatens Howell's sanity.

"Possessed" is a stunning drama with beauty and depth, meticulously acted.Each character is complex and multi-dimensional.There is also the gorgeous, black and white photography which greatly enhances the shadowy elements of the story and the stunning planes of Crawford's face (particularly in the scene where Crawford's face is examined and analyzed under a lamp).There are no shortcuts in the script, so that the story never rings false.It's a beautiful piece of cinema and a performance from Crawford that certainly warranted an Academy Award.A must see.

"Take her to Psycho."
In "Possessed" Joan Crawford plays private nurse Louise Howell employed by the wealthy Graham family to nurse Mrs. Graham. There's no indication what's wrong with Mrs. Graham, but she's holed up permanently in bed, and from this power position, she screams out accusations and orders. Louise has a brief affair with neighbour, engineer David Sutton (Van Heflin). The relationship is clearly intimate (in one scene, Louise changes after going for a swim with Sutton), and Louise seems to have the idea that all this intimacy and romance will lead to a wedding ring. Sutton counters all of Louise's unsubtle suggestions about marriage abruptly, and he shakes her loose when she starts to talk about the future. Louise becomes more desperate, and Sutton can't get away fast enough. This rejection drives the already unstable Louise to insanity.

There are two reasons why I love "Possessed."

1) Gender roles: there are three main female characters: Louise, Mrs. Graham (you actually don't see her), and daughter, Carol Graham. Louise is a neurotic mess. This is a role made for Joan Crawford, and she plays it to the hilt. Then there's Mrs.Graham--she requires a permanent nurse, and even that isn't enough to make her behave. Finally, there's Carol Graham. She appears normal in her first scene, but in her second appearance, she's obviously as potty as her mother, so she's shipped off where can she do the least harm. Other female roles in the film portray subservient, submissive nurses who meekly take orders from their male superiors.

In contrast to the female roles, the men are cast as these poor beleaguered individuals who are forced by circumstance to navigate through the emotional minefields set by the berserker women in their lives. The men are calm when faced with hysterical scenes, and the women screech to a cruel indifferent world. Sutton mumbles about the stability of mathematics when faced with Louise's hysteria, and Mr. Graham (Raymond Massey) doesn't even ponder why he has two loony wives. The male doctors sit calmly while shaking their heads at Louise's advanced condition, and one Doctor even manages to diagnose Louise instantly--with just one squeeze of the hand. All this extreme gender typing makes for some great campy scenes

2) A second reason "Possessed" fascinated me so much is the characterizations in the film. Each of the main characters develops in extraordinary ways as the plot plays out. For example, in the beginning, Sutton seems just disassociated--a confirmed bachelor--but by the end of the film, he really is portrayed as quite a rotter. And just what is Carol Graham's little game? And then there's Mr. Graham ... just how much does he know about his first wife's death?

Crawford fans should be delighted by "Possessed", and I recommend grabbing a copy if you can find one--displacedhuman

ACTRESS CRAWFORD AT HER PEAK IN WARNER'S "POSSESSED"
By May of 1946, Joan Crawford had seen her film career revived by the release of "MILDRED PIERCE", her first starring role since leaving M.G.M studios after 18 star studded years.

Crawford assended even further when she recieved the Academy Award as Best Actress. A renewed, lucrative contract with Warner Bros. studios quickly followed, under which she completed some of her finest films.

"POSSESSED", written and produced by the same team which created "MILDRED PIERCE", began filming two months after she recieved the Academy Award. It is perhaps because of this sudden burst of praise, that Crawford was able to tap deeper into her talents and deliver first rate performances in the three films she made during this period.

In portraying Louise Howell in "POSSESSED", Crawford gave what was arguable the most vivid and well crafted performance of her 81 film career. As a mentally unbalanced private Nurse involved in a one way love affair, Crawford dominates the film, but doesn't push her co-stars out of the frame. Instead, she works with them to help her create a portrait of a schizophrenic woman teetering on the edge of self destruction.

Her descent into madness is slow, but evident from the start. Every detail of this production is geared torwards creating an atmosphere of despair and lunacy (In the wedding scene, Crawford's black wedding suit is adorned with various straps making it seem almost like a black strait-jacket).

From the clinging, pathetic creature hoplessly in love with a self absorbed engineer to the rigid private Nurse ascending the stairs of her employer's home, to the rejected woman accepting her employer's propsal of a marriage of convenience, to the crumbling and scorned woman lost in her own private hell, Crawford is nothing short of mesmerizing.

After "MILDRED PIERCE","HUMORESQUE" and "POSSESSED", never again would Crawford reach the same level of carefully nuanced acting. There would be ambitious attempts, but never again would all the elements blend together to create a classic Crawford film.

A reminder of how good the silver screen can be
I had to sit and really watch this one, as its quality will tolerate no less.And as I did so, it became a pleasure.A sophisticated story, superb acting, plots and subplots, use of flashback, and believable settings -- all combined to take me along with the characters and keep me focused on the events as they developed.I never knew Joan Crawford or her career before now, but I know when I'm in the presence of brilliant, polished performance, and can easily and enjoyably contrast it with the dumbed down crapola that Hollywood has repeatedly dished out in recent years.See this film as a treat when you're in the mood for real entertainment.

Oscar nominated Joan Crawford in one of her best roles
Any of the numerous detractors who complain about Joan Crawford's acting ability need to watch a screening of the Warner Bros Noir classic "Possessed". I'm sure they will be pleasantly pleased by the wonderful range of ability displayed by Joan in what is without a doubt one of her finest performances during the 1940's.

Often overshadowed by her wonderful performance in her first Warner film in 1945 "Mildred Pierce", for which she won an Oscar as Best Actress, "Possessed" involved a far more difficult acting task for Joan Crawford in a role that had numerous layers of complexity dealing as it did with the tragic issue of schizophrenia and its effects on the mind. Crawford rises admirably to the task and received a second Academy Award nomination for her work here. "Possessed" (not to be confused with an earlier film of the same name that Joan made costarring Clark Gable at MGM in the 1930's) tells the story of a personal nurse Louise Howell who suffers through a one sided love affair withDavid Sutton (Van Heflin in a stand out performance) an eternal bachelor type who is not willing to commit to an ongoing relationship and treats Louise with a dimissive attitude that feeds her inner uncertainity. The tragic consequences of this lack of love in Louise's life eventually leds to murder and a total mental breakdown with her being taken to a psychiatric hospital. Despite eventually marrying the husband (Raymond Massey), of her sick charge after her deathas a form of compensation the obsession with David never leaves Louise and when he returns to her part of the world after working in Canada the old attraction that Louise thought she had buried foreverreturns with tragic results. The lack of response in David to her advances unhinges Louise's mind and she eventually forsakes her new family and shoots David as a form of revenge for the hurt he has caused her. This action springing from her schizophrenia completely sends louise over the edge to the extent that she looses the knowledge of who she is and what she has done.

Joan Crawford's handling of this complex role is light years away from much of her earlier work at MGM. Her depiction of the schizophrenic mind at work and how it distorts the personality is brilliantly displayed. Crawford made a famous quote about this film in that she stated that she worked harder on "Possessed" than on any other film in her career and it is easy to see that she was corrct in saying that. She is at times loving, desperate, frantic in her illusionary world and lack of control of it, and heart wrenching as her character progressively looses her grasp on reality. Besides her power house performance most of the other characters have a hard time competing. Van Heflin is fine as the object of her desire who moves from a playful dismissing of Louise's affections to an almost open hostility towards her to his own detriment and Raymond Massey in a surprise performance creates a sympathetic portrayal as Louise's devoted husband who marries her despite knowing her attention is elsewhere and who battles trying to fully understand Louise's condition and possible treatment. One standout in the cast is young Geraldine Brooks as Louise's step daughter Carol who begins a relationship with David under Louise's nose unwittingly triggering off Louise's psychotic tendencies. Done with all the customery gloss of the noir genre at its height the film benefits from beautiful photography and a distinctly shadowy black and white look. This shadowy effect really heightens the "grey" feel of the story and makes the progression of Louise's character so much more engrossing to witness. This is an instance where colour photography would have been a grave error. In "Possessed" Joan Crawford has rarely been photographed more stunningly and it's a shame that it almost marked the last time she was so flatteringly photographed just prior to the hardening that her screen image began to take on in the late 1940's.

Depressing and heavy the theme of "Possessed" may appear to the reader however what unfolds is an fascinating story that is bold in the theme that it explored. Schizophrenia is not a topic often tackled by mainstream Hollywood but it is dealt with in an honest and straightforward manner. Joan Crawford's understanding of this role gives the film a strong conviction that rings true and it all adds up to an engrossing melodrama of the higest order with an interesting storyline, terrific performances and a bit of education of just how the mind can react under different circumstances. Enjoy Joan Crawford in her greatest acting role of her 1940's career. ... Read more

Amazon.com essential video

In what may have been his most brilliant surprise, D.W. Griffith transformed an archaic melodrama about a wronged woman into a transcendent love story of redemption. Lillian Gish plays an innocent New Englander seduced by an urbane charmer (Lowell Sherman), who arranges a mock marriage and then abandons her when she's pregnant. When the baby dies from illness, Gish leaves the city and changes her identity. She finds herself reborn in the pastoral splendor of a farming community, catching the adoring eye of a young idealist (Richard Barthelmess), only to have the past come back to haunt her. Griffith made two kinds of films: spectacles and love stories. It's the tremulous love stories such as Way Down East that have endured the best. This 1920 film is a triumph of humanity over cruelty, a work that brilliantly conveys emotion through environment. The famous climax on the floating river of ice is still amazing--especially since it uses no special effects. --Bill Desowitz ... Read more

Reviews (12)

THIS IS THE BEST D.W. GRIFFITH FILM EVER!! HANDS DOWN!!
This is the best film of D.W. Griffith, HANDS DOWN!! Out of all his films (the controversial Birth of a Nation, the powerful Intolerance, the HIGHLY OFFENSIVE Broken Blossoms, and the beautifully sad Orphans of the Storm), this is HIS BEST! The story of a poor innocent religious farm girl Anna (played with perfection by Lillian Gish) who goes to the city to get money to for her mother and is wooed by a sleezy playboy who tricks her into a mock marriage and gets her pregnant and leaves her is emotionally gripping. No one should find ANY faults in this film. It is brilliant. David Bartlett, Anna's true love played by Richard Barthlemess, known for his offensive role in Broken Blossoms makes up for his previous film with this one. It is truly brilliant, the scenes with him and Lillian are so loving and beautiful, its more powerful than any romantic movie in our era now. And of course the scene were Anna is driven out into a blizzard and almost falls over a waterfall is the most powerful stunt ever seen. And Lillian did it herself AND in a blizzard AND Richard did indeed save her. It is truly magnificent! D.W. Griffith makes up for his previous film with this one! It is truly heart-wrenching and beautiful!! I cannot say enough of this movie! In fact I am going to watch it again!! Brilliance Sheer brillance and Genius!!

One Of The Greatest Scenes In Movie History
The Ice Flow...Anyone Who Has Seen This Classic Film Will Know Exactly What I'm Referring To. This Is One Of The Greatest Scenes In Movie History, Without Question & I Believe, The Greatest Action Sequence Ever Filmed. Remember, These Were The Days BEFORE Stunt Doubles. That Was Really Lillian Gish Being Rescued On The Ice Flow Heading Over The Falls - That Was Really Her Hero, Nearly Falling Off The Ice During The Rescue & Dropping Her - That Was Her Hand Dangling In The Freezing Water As She Lay On The Frozen, Floating Ice. Her Desire For Perfection In The Scene Included Dangling Her Hand In The Freezing Water & Resulted In Her Having Pain In That Hand For The Rest Of Her Life. Now THAT, Is Artistry & Dedication To Your Craft. I Doubt Very Much That Julia Roberts Or Any Current Stars Would Do The Same. Lillian Gish Was A Legend - She Invented The Close-Up, Along With D.W. Griffith & In My Opinion, This Is Her Finest Work. If You Ever Cared To Learn About Silent Film, Watch THIS Movie & You Will Not BELIEVE Your Eyes !!!

Lillian Gish in an epic melodrama: the one with the ice flow
"Way Down East" was originally a 1898 stage melodrama written by Lottie Blair Parker and had been a popular play in the United States when D. W. Griffith stunned his peers by paying $175,000 for the rights (the amount was more than it cost Griffith to make "The Birth of a Nation"). Lillian Gish stars as Anna Moore, an innocent country girl who falls prey to big city playboy Lennox Sanderson (Lowell Sanderson), who sweet talks her into a sham marriage. When Anna becomes pregnant, he leaves and after giving birth the baby dies during the baptism (I SAID this was a melodrama). Anna tries to find a new life on the farm, but Lennox owns the farm next door and plots against her. In the big sequence of the film, Anna's secret is revealed and she is cast out of the farmhouse during a raging blizzard (remember what I said about MELODRAMA). These famous exteriors were filmed on an icy river in late winter at White River Junction, Vermont. If you have ever seen a clip from "Way Down East," then this would be the sequence you have seen; however, the shots of the falls are of Niagra Falls and other shots were filmed with wooden ice-cakes in a studio. Anna is saved from death by David Barlett (Richard Barthelmess), the son of the farmer whose advances she has been rejecting because of her checked past, thereby securing a happy ending after Anna has endured all this grief. Despite the daring rescue on the icy river, it is Gish's performance that is at the heart of the film. Griffith makes excellent use of close-ups at each pivotal moment of the film, where the emotion is carried entirely by the heartfelt expression on Gish's face. Griffith had edited down the film over the years until the New York Museum of Modern Art screened a restored print in 1984 after five-years of work. Fortunately, that is what is now available on videotape.

the best silent movie ever made!
I loved this movie! It was entertaining, suspenseful, and romantic! I fell in love with the character David, the moment i laid eyes on him. Too bad he was born such a long time ago. I would have loved to meet him!

Go Way Back to Griffith
In order to truly enjoy a film like Way Down East it is necessary to try to perform the seemingly impossible task of transporting yourself back into the 1920's. It is very easy to be critical of the moralizing, the melodrama and the attitudes. It is easy to find a film like this primitive in its techniques and its acting. But this is to miss the point and prevents a viewer from having a great silent film experience. This film carries the viewer along with the intensity of the emotion that is portrayed, especially by Lillian Gish in what is perhaps her best performance. Certain scenes have become archetypes, such as the 'leave my house' scene. Some people may criticise the so-called comic relief scenes in this film. But it must be remembered that they are not intended to be funny in the sense of Keaton or Chaplin, for this would make the film fantasy rather than drama. They are supposed to be light relief, nothing more. The best thing about this DVD is that it shows the film complete. The colour tinting, which should always be reproduced if at all possible, is subtle and greatly adds to the mood of each scene. The print shows some damage in places which at times is quite serious, but does not detract from the enjoyment of the film. We must accept that sometimes it is not possible to restore a film to perfection. It is better to have a few damaged frames than to have them missing. The original music for a 1928 reissue is reproduced and sounds fine. Finally this DVD includes extensive sleeve notes which are informative and well written. Griffith, as far as I am concerned, will always remain one of the greatest of directors and Way Down East is one of his finest films. ... Read more

Description

Ernst Lubitsch's first American comedy masterpiece, the film that kept him in the States. Reeling from the difficulties encountered on his first American film, "Rosita," Lubitsch was ready to return to his native Germany until Warner Brothers, looking for an identity other than Rin Tin Tin, offered the director a chance to make his own unique films. In "The Marriage Circle," Lubitsch's influential silent comedy effortlessly follows the love and lust, flirtations and phoniness among several upper-crust citizens of Vienna. In Lubitsch's deft hands, "The Marriage Circle" continues the tradition of manners comedy and shows the "touch" the director was famous for. Lubitsch knew that in an atmosphere of hushed whispers and discretion, a kiss can carry quite an erotic charge. To see "The Marriage Circle" in this glistening print derived from the original negative, with an appropriately lilting score by the Mont Alto Orchestra, is to fall in love with the movies--and Ernst Lubitsch--all over again. ... Read more

Reviews (2)

Another Kind of Silent Comedy
The most famous examples of silent comedy are the brilliant films of Chaplin and Keaton, but this type of comedy was not the only type of comedy there was. The Marriage Circle shows another way of being funny, the sophisticated, witty, comedy of manners. It may not be as dazzling and inventive as the work of Chaplin or full of the daredevil stunts of Keaton, but Lubitsch's style, in its own way, is equally amusing. Moreover it is this style of comedy which was developed into the sound era. The Marriage Circle can be seen as a sort of prototype for films like The Philadelphia Story.

The story concerns two couples, Adolphe Menjou and Marie Prevost who loathe each other and Monte Blue and Florence Vidor who are living a life of married bliss. Prevost sets out to find love with Blue, who tries desperately to resist her, while Menjou sets out to obtain evidence of infidelity which he can use to obtain a divorce. This all leads to numerous complications and misunderstandings. The plot is relatively conventional, but it does not descend into farce. These are characters grounded in real life, albeit the life of high-society Vienna. The many laugh-out-loud moments are derived from the situations the characters find themselves in. The humour comes from the skill of the actors in portraying their characters. There is some really wonderful acting in this film. These actors can convey their thoughts with a subtle change of expression or posture.

The quality of the print used for this Image DVD is superb. It is sepia tinted throughout and shows hardly any signs of damage. There are some occasional scratches and a few frames are missing here and there, but thankfully The Marriage Circle has survived in an almost pristine condition. The film is accompanied by a fine score which follows the action very closely and adds greatly to the enjoyment of the film.

A PERFECT EXAMPLE OF COMEDY FILM MAKING
The classic that made Ernst Lubitsch one of the most imortant director in Hollywood history is finaly back for to the general public. THE MARRIAGE CIRCLE actually created the genre of sophisticated romantic comedy. Lubitsch's inteligence in his mise-en-scene as well as in his editing makes this a hiralious film, so funny it actually becomes a true work of great art.

Two couples, one facing divorce and the other still loving each other. The wife of the first couple is attracted to the husband of the second couple (who also happens to be her best friend's husband). Though the husband of the second couple is rather annoyed by her interest in him, the other husband doesn't miss the chance to get the divorce in his terms. On the other hand, the wife of the second couple gets suspicous about her husband. So... the basic idea is rather simple, even conventional. It is how Lubitsch twists the plot around these themes and create situations that are unconfortable for the characters but hilarious for us, and how he develops these situations as cinema which is so great about this film. The result is, simply one of the funniest movie you've ever seen. As a silent film, it doesn't have dialogues. But when you see it, you'd understand that the film does not need dialogues (incidentally, Lubitsch himself remade this film as a musical: ONE HOUR WITH YOU which is also quite enjoyable, but not as good as the original).

The story is set in Vienna, and the sophisticated costumes and sets are also a joy to watch. The women are beautiful; Florence Vidor is so innocently charming while Marie Prevost is gorgeously provocative. And You will also enjoy the delicious performance from the actor Adolph Menjou.

The new transfer is created and restored from an original print. I had the chance to see it on a VHS test copy and it looks quite stunning. Certain scenes are tintted with gorgeous color, as originally intended by the filmmakers. So, it's actuallu not correct to list this film as Black and White. ... Read more

Reviews (53)

Good movie, weak video, poor sound
"Life With Father" is an enjoyable movie. Unfortunately, the video on the DVD is not that good (though better than a VHS version I've seen). What makes this DVD a real disappointment is the sound quality. Aside from only coming through the left channel, the sound is rather muddled and fuzzy. I suppose one shouldn't complain too much given the low price, but it was still dissappointing.

Life With Father- - - A True Classic
This film has lost none of its appeal over the years. I remember loving it as a child and it still is one of my favorites. William Powell is a joy to behold as the overbearing yet loving Clarence Day Sr. And Irene Dunne gives what I consider to be one of her better performances. Elizabeth Taylor can do no wrong and is as adorable as ever. Fans of Adam-12 might not have noticed that the second son, John, is played by Martin Milner (who, co-incidentally, is in Mr. Roberts with William Powell, though sadly, not in any scenes together). As for the quality of the DVD, I found that my copy has two minor audio problems where the sound drops out entirely. Thankfully it is only for a short moment. Otherwise it is a wonderfully preserved movie, showing some of our finest actors at their best. LOVE IT!!! Five stars all the way!

Winning movie deserves better presentation.
Despite the anomalies of this DVD version, "Life with Father" is still a winning, wonderful movie suitable for viewing by all ages. William Powell stars as the combustible, but essentially kind and loving patriach of a late 1800's family in New York City. A wife and three adolescent boys round out this colorful family.

Powell lends irascible charm to his role while Irene Dunne plays the slightly ditsy, well meaning wife marvelously. The supporting cast includes a young and very beautiful Elizabeth Taylor as a flirtatious visitor as well as the future star of the television series "Adam 12", Martin Milner, as the middle son.

"Life with Father" has plenty of warmth and humor to make it well worth seeing. It just needs a better presentation than in its current DVD format. Catch it when it airs on television for an optimal viewing experience.

A Film worth restoring! Terrible sound makes it unwatchable!
I watched this movie many years ago on AMC. It made me laugh outloud! I cannot understand why the DVD transfer is so poor.The colors are faded and the sound is so garbled that you can't understand what they are saying. This is the kind of film that deserves to be transferred by real professionals. If that ever happens I will buy a new copy. The one I own, I will keep as a reminder that Madacy entertainment=poor quality.

Speaking from a well
I love this movie, but this DVD has horrible sound quality. The actors sound as though they were speaking from a well, and the louder anyone speaks, the worst the garbled effect. I ordered this to replace my VHS copy, but have since discarded the DVD. The VHS is a far superior product. ... Read more

Amazon.com

Although it blithely rewrites the history of a legendary race horse, The Story of Seabiscuit is still an appealing example of Technicolor entertainment from Hollywood's studio system. It wasn't unusual for contract players (in this case Shirley Temple, Barry Fitzgerald, and Lon McAllister) to play fictional characters in fact-based stories, since factual fidelity was often considered a secondary priority. That's why this blandly charming drama makes no mention of the legendary Seabiscuit's actual trainer Tom Smith or jockey Red Pollard, who were duly recognized in 2003's Seabiscuit, based on Laura Hillenbrand's historically accurate 2001 bestseller. McAllister plays a loose rendition of Pollard (including his accidental chest injury), wooing a race-phobic nurse (Temple) while "the Biscuit" is trained for championship by luck-of-the-Irish Fitzgerald. A bit quaint by modern standards, but ironically, this is the only movie that features the real Seabiscuit in action, since vintage race footage is included in the black-and-white newsreel interludes. Plus, a bonus featurette from 1946 offers a still-valid primer on the backstage details of horseracing. --Jeff Shannon ... Read more

Reviews (11)

Fitzgerald and Footage make the movie...
"The Story of Seabiscuit" is a perfect example of the ridiculously historically inaccurate Hollywood studio film. Next to the Errol Flynn pre-Civil War movie "Santa Fe Trail", "The Story of Seabiscuit" is probably the most fanciful version of history ever put on film. If that weren't enough, Shirley Temple's Irish brogue is reminicent of the Kevin Costner School of Foreign Accents, going back and forth from perfect to painful.

That being said, the movie does have a few bright spots that carry it through the mush of melodrama. The Technicolor photography is absolutely stunning, for one thing. The story moves along at a pretty good pace, and there's a good amount of humor sprinkled into the script. Cast members Lon McCallister and Barry Fitzgerald ("The Quiet Man") are tops as jockey and wise old horse handler, respectively. Even Seabiscuit's son, Sea Sovereign, was used for close-ups. Best of all is the shockingly innovative technique used by the filmmakers to work in the black and white footage of the actual racehorse, Seabiscuit, in action. Opting for pure black and white segments, the newsreel of Seabiscuit is cleverly added to make a seamless segment into the Technicolor film. Strange, but oddly effective.

The nine minute primer on the intricacies of a horse race, included in the bonus material, is still pretty accurate and informative.

Worth watching at least once to see Fitzgerald's performance and the Seabiscuit footage, plus the Technicolor splendor. Temple fans or Seabiscuit completists may want to own the disc. Harmless fun for family viewing, and suitable for kids who like horsies.

Actually, I was surprised at how much they got right
Books have been written about what Hollywood does to history when it makes a movie, so it is not surprising that "The Story of Seabiscuit" takes great liberties with the story of the famous thoroughbred. But I was actually surprised that so much of the true story made it into the movie. Screenwriter John Taintor Foote must have done some research, because some key details, such as training Seabiscuit to respond to the sound of the bell for the celebrated match race with War Admiral, are worked into the story. But you do get a sense for the film's priorities when you take the fact that Seabiscuit's jockey, Red Pollard, married the nurse who took care of him in the hospital when he was recuperating from this leg injury, and it turns into the big romantic plotline of the film with jockey Ted Knowles (Lon McCallister) falling for Margaret O'Hara (Shirley Temple), the neice of Shawn O'Hara (Barry Fitzgerald), who has come from Ireland to train Seabiscuit for glory. Margaret is studying to become a nurse and likes Ted, but since her brother was killed at the Grand National (a flashback using film from "National Velvet"), she cannot stand to be in love with a jockey. When he is injured (chest and arm rather than leg) they become closer and he agrees to stop racing, but then comes the big race and--well, you can just imagine.

Another way that you can tell where the focus of this film is would be that Shirley Temple gets top billing over Barry Fitzgerald, even though the strength of this film is Fitzgerald working his peculiar brand of magic on this horse and the actual footage of Seabiscuit's big races (at which point the movie suddenly goes from color to black & white so that the actual footage fits). This 1949 film was Temple's last movie, made 14 years after she received a special juvenile Academy Award, and besides the familiar smile why she shouts for "Biscuit!" from the box at the races, she adds little to the film. However, she is still better than the caricature of Wong the O'Hara's Cook.

It is a safe assumption that most people are going to come to "The Story of Seabiscuit" out of curiosity, having read Laura Hillenbrand's best selling novel or seen the critically acclaimed 2003 film, so all of the changes in the historical record are going to really stick out. Charles S. Howard (Pierre Watking), the owner of Seabiscuit gets to keep his name, but that is just about it. Besides, even the interest in seeing actual footage of Seabiscuit racing is less impressive when you can see it in the excellent "PBS American Experience" documentary. But if you have read the book, seen the movie and the documentary, and still have not satisfied your longing for all things Seabiscuit, then this film is certainly worth a look.

Talk About Streching the Facts!
This movie bothered me. None of the historiacal facts and names are correct. Though some were, I think "you can't see the forest because the trees are in the way"." The bad stuff blocked the accurrate information. Also, the film doesn't even focus on Seabiscuit, but on the romance that develops between Shirley Temple and the jockey. In spite of the enormous amount of faults, it is a cute movie.

Historically inacurate but cute none-the-less
I thought this was a cute movie. It had the old movie charm about it. Though it had nothing to do with the REAL Seabiscuit except the racing footage. If you like good ol' happy horse movies and don't care about history then I recomend this movie.

Not based on facts!
Very average movie- I quickly got bored with it.

This movie is not based on facts.

The real racing footage is the only highlight of the movie.

It is really about the romance between Shirley Temple's character and the jockey. ... Read more

Reviews (53)

Good movie, weak video, poor sound
"Life With Father" is an enjoyable movie. Unfortunately, the video on the DVD is not that good (though better than a VHS version I've seen). What makes this DVD a real disappointment is the sound quality. Aside from only coming through the left channel, the sound is rather muddled and fuzzy. I suppose one shouldn't complain too much given the low price, but it was still dissappointing.

Life With Father- - - A True Classic
This film has lost none of its appeal over the years. I remember loving it as a child and it still is one of my favorites. William Powell is a joy to behold as the overbearing yet loving Clarence Day Sr. And Irene Dunne gives what I consider to be one of her better performances. Elizabeth Taylor can do no wrong and is as adorable as ever. Fans of Adam-12 might not have noticed that the second son, John, is played by Martin Milner (who, co-incidentally, is in Mr. Roberts with William Powell, though sadly, not in any scenes together). As for the quality of the DVD, I found that my copy has two minor audio problems where the sound drops out entirely. Thankfully it is only for a short moment. Otherwise it is a wonderfully preserved movie, showing some of our finest actors at their best. LOVE IT!!! Five stars all the way!

Winning movie deserves better presentation.
Despite the anomalies of this DVD version, "Life with Father" is still a winning, wonderful movie suitable for viewing by all ages. William Powell stars as the combustible, but essentially kind and loving patriach of a late 1800's family in New York City. A wife and three adolescent boys round out this colorful family.

Powell lends irascible charm to his role while Irene Dunne plays the slightly ditsy, well meaning wife marvelously. The supporting cast includes a young and very beautiful Elizabeth Taylor as a flirtatious visitor as well as the future star of the television series "Adam 12", Martin Milner, as the middle son.

"Life with Father" has plenty of warmth and humor to make it well worth seeing. It just needs a better presentation than in its current DVD format. Catch it when it airs on television for an optimal viewing experience.

A Film worth restoring! Terrible sound makes it unwatchable!
I watched this movie many years ago on AMC. It made me laugh outloud! I cannot understand why the DVD transfer is so poor.The colors are faded and the sound is so garbled that you can't understand what they are saying. This is the kind of film that deserves to be transferred by real professionals. If that ever happens I will buy a new copy. The one I own, I will keep as a reminder that Madacy entertainment=poor quality.

Speaking from a well
I love this movie, but this DVD has horrible sound quality. The actors sound as though they were speaking from a well, and the louder anyone speaks, the worst the garbled effect. I ordered this to replace my VHS copy, but have since discarded the DVD. The VHS is a far superior product. ... Read more

Description

The starving poor, the excessive rich, moral corruption, political intrigue, and the sharp oncoming blade of the guillotine—what do they all have in common? The answer is D.W. Griffith and his masterpiece of melodrama, Orphans of the Storm, an epic production set amongst the feverish backdrop of the French Revolution. A visual marvel with beautiful costumes, lush atmospheres, high emotions...and the Gish sisters.

DUAL LAYER DISC ... Read more

Reviews (9)

You'll shiver better without that shawl
ORPHANS OF THE STORM is a great movie, and this time I'm not going to deduct a point for print quality and its non-sequiter of a sound track.
Real sisters Lillian and Dorothy Gish star as half-sisters Henriette and Louise Girard. Louise (Dorothy) was found on the cold and snowy steps of the church Henriette's father had, before a change of heart, placed her. Their parents die, the girls grow into porcelain beauties and Louise loses her sight. Henriette vows to take care of Louise forever, and they travel to Paris in hopes of restoring Louise's sight.
En route a cruel aristocrat is inflamed with Henriette's "virginal beauty" and connives to kidnap her. Henriette is indeed kidnapped shortly after her arrival in Paris, and the helpless Louise is forced to fend for herself.
Half of the fun of ORPHANS OF THE STORM is watching the indignities DW Griffith subjects his two starlets to. Henriette is kidnapped by one of the slimier specimens of the over-fed and over-sexed aristocracy. Her desperate search for Louise is frustrated at every turn- when she finally spots Louise and attempts to reach her the police arrive and she is sent to a prison for fallen women. Oh, yeah, did I mention her delivery to "the foot of Death's gate?"
Louise has it no better. She is kidnapped by the monstrous Mother Frochard (Lucille La Verne). Mother Frochard, with her hair mole and moustache and missing teeth, may be the ugliest woman ever filmed. Mother F is a street beggar, and she plans to use the blind Louise as her main attraction. After she breaks Louise's spirit, that is. So, down into the rat-infested cellar with Louise and up comes the ladder. They're real rats down there. Griffith also throws a few cold days of beggary and an attempted rape in Louise's direction.
It's all great fun and the girls are indomitably strong and resourceful. The print quality is quite good in spots, simply awful in others. Most of the stock is sepia-toned, but some battle scenes seem to have been tinted red and there's a scene towards the end of the movie that seems to have been colorized. Because this isn't a restored print it's impossible to tell.
Having watched a handful of silent movies recently I'm beginning to wonder why they aren't rescored. Alpha Video puts a classical recording on the track of their releases and calls it good. It's not. These old films are works of art and national treasures, and they deserve better than this. Sound IS an important component to movies. Either restore the original music or have a contemporary composer write a brand new score. (Note: I watched the discount Alpha release of the film, and I didn't realize that Kino has a pricier print that includes the original music. I'm going out on a ledge here, but I'll bet the print quality is better, too. I'll be trading up to the Kino version in the near future.)

Great historic period piece
This is one of those early films that kept me checking the date of production. This is impressive stuff coming so early in the history of American cinema. From the lush costumes and sets to the use of thousands of extras, this reminds us how ground-breaking some of Griffith's work truly was.

Sure, it's campy melodrama, the sets are stagey, and cinematography had not yet matured beyond wide-shot vs. close-up, but for its time, "Orphans of the Storm" is full of moving characterizations and real drama. Like Griffith's other great works, "Orphans" is over-long but it must have been an expectation in the day for a "serious" film.

The Gish sisters are great fun to watch, as are the young male stars, Schildkraut and Puglia. I LOVE Lucille La Verne's performance as the "scoundrel" Mother Frochard. You have to love the mustache!

Yes, watch this film for the impressive work by Griffith in this EARLY period piece, but it also serves as a time-capsule to a by-gone era in American cultural history. While not as obvious or heavy-handed as "Birth of a Nation," the political leanings that underscore "Orphans of the Storm" are not subtly hidden but are on full display.

Delicious Melodrama!
D.W. Griffith's wonderful historical melodrama can keep viewers on the edge of their seats just as masterfully as it did nearly a century ago. The Gish sisters are spectacular, as are the supporting players, sets and costumes. Too bad the DVD version offers no additional features, but at least the movie itself will provide 2 hours of delicious melodrama.

A True Masterpiece and the Gish Sisters Dual Triumph