Reviews (78)

A poignant drama that provides insight into post-WW2 America
"The Best Years of Our Lives" is a compelling dramatic masterpiece, and certainly one of the best films ever made. It's not as well known today as other pieces from the period, such as "Casablanca" or "Citizen Kane", but it is nevertheless a classic that deserves ranking with those same films.

This film paints a picture of the struggles of World War II servicemen that they faced AFTER the war was over. It was a more personal struggle of men returning home after being away for many years, and after experiencing horrors that their loved ones could never fully understand. They return home as changed people, and come home to changed lives.

The story of such a homecoming experienced by thousands of men after World War II is told from the perspective of three fictional characters: Captain Fred Derry, a bombadier in the Army Air Corps (Dana Andrews), Sergeant Al Stevenson, an Army infantryman (Frederich March), and Seamen Homer Parrish(Harold Russell). They happen to meet on the plane to their hometown, having never met before, and immediately form a bond built upon mutual understanding of the experiences of war and the anxieties of returning home again.

Captain Derry came from a poor background before the war, and married a blond bombshell (Virgnia Mayo) while in the Air Corps. He hopes to return home to a better life, a nice home with his wife, and a better job. This was not to be, as Derry struggles to try and deal with bad job prospects (no one in the civilian world needs a bombadier) and a cheating wife. In a poignant moment in the film, Derry (at his lowest) tells his Father to throw away the citations for his medals, because "they don't mean anything". His Father reads the one for the Distinguished Flying Cross, signed by General Jimmy Doolittle, and a look of pride comes over the old man's face for his son's heroism that makes you want to cry and cheer all at the same time. It also makes the viewer see how criminal it was for such a man to be made to feel worthless.

Sergeant Stevenson comes home to better circumstances, being a banker in the civilian world with a wife, two grown children, and a nice apartment. But he too must confront troubles, as Stevenson must get to know a family that progressed without him, and balance his job with his desire to aid servicemen seeking G.I. Bill loans. He battles with his bank's bosses over the loan issue, and also struggles with alcoholism.

Seamen Parrish's problems are the most obvious. He lost his hands during the war, and now must come home to his family and fiancee with hooks for hands. The actor who potrayed Parrish, Harold Russell, was a real disable veteran, and lends credibility to the role that no one else could have due to real life experience.

This may seem like a depressing film, but it is actually uplifting in its entirety because it does show that hope doesn't die, and that you really can come home again after all. It is also a film of historical importance due to the insights it provides into post-World War II America, and the struggles of veterans in the post-war years. Captain Derry, Sergeant Stevenson, and Seamen Parrish, and their individual struggles to reclaim their lives can provide the student of history an important perspective on the many real life veterans who returned home, and the country of the time they returned home to.

The film has certainly earned accolades over the years. It won the Oscar for Best Picture of 1946. It was named by the American Film Institute as one of the 100 Best Movies ever made, and was also named as one of the most important films of all time by the National Archives for the National Film Registry.

"The Best Years of Our Lives" is not to be missed for both its dramatic poignancy and its insight into an important period of American History. And its a beautiful sight to behold in DVD quality.

One of the best pictures of our lives
The story of three American veterans of WW II and their adjustments to civilian life remains as poignant and moving today, as when it was first released. The three veterans (Fredric March, Harold Russell, and Dana Andrews) all from the same town, but different backgrounds, journey home together on a military transport plain. Fredric March's character, Al Stephenson, is a mature married man with a good profession, a beautiful wife (Myrna Loy), and two grown children (Teresa Wright and Michael Hall); Harold Russell is a disabled Navy veteran (he lost both hands in battle) unsure of where he stands in life and with his high school sweetheart (Cathy O' Donnell); and Dana Andrews is the "glamour boy" bombardier who comes home to find that the civilian world, which includes his wife (Virginia Mayo), cares little about his exploits as a caption in the Air Force. The journey each man takes is both engrossing and entertaining. It's hard to believe this movie is almost 3 hours long; it moves along so quickly. With a dream cast of top talent from 1940s Hollywood, director William Wyler gets superb performances from the stars as well as the most minor bit players. The action begins with a night on the town with March, Loy, and Wright celebrating March's return home. During their celebrating, they run into Russell and Andrews at Russell's uncle's (Hogey Carmichael) tavern. Having celebrated a bit too much, Loy and Wright load March and Andrews into their car to take them home. They drop Andrews off at his wife's apartment building, but he doesn't have a key to get in, and in a drunken stupor collapses outside its entrance. Loy and Wright proceed to load Andrews back in the car and take him in for the night. The relationships between all the main characters reach a level of poignancy without being overly sentimental, which is no easy feat, especially with what must have been tough stuff to watch for an overwhelming majority of the audience when originally released. Russell and O' Donnell's scenes are moving and sensitive, as are Loy and March's. Even though Andrews arrives home physically intact, his lot seems to be the worst of the group. Married to a self-centered-woman who doesn't love him, he longs for a relationship with someone like Peggy Stephenson (Wright). Things get complicated when the feelings are mutual, with Wright beginning to have strong feelings for Andrews. There are many wonderful moments in this film. Roman Bohnen as Andrews's father is terrific as a man who has a tough time expressing his genuine love for his disillusioned son. When he reads the official letter recounting his son's bravery to his wife (Gladys George), it's an incredibly powerful moment. Another wonderful scene is Wright's visit to the store where Andrews works as a salesman at the perfume counter (as well as at the soda fountain). The good-natured flirting between them seems both honest and real in the hands of these two pros. One could go on and on about the wonderful score, the great Gregg Toland cinematography--from the opening shots from the transport plane to the aircraft "graveyard,"--but this is one wonderful whole that is equal to the sum of its parts; everything falls together seamlessly. Top talent at their peak; run don't walk to get a copy of this classic Best Picture winner (1946).

An Amazing Film.
I was fortunate enough to see this movie on TV a few nights ago, and I must say that it is one of the best films I've seen for YEARS. It's hard to believe that I've never heard of this movie. Even though I was born more than 30 years after this movie's release, it melted my heart unlike any film I've seen. I was very surprised by some of the material in the movie. It seemed way ahead of its time, with topics like alcohol addictions, the questionable results of WWII, etc. It's definately a movie that I'll be adding to my DVD collection.

Superb (and Still Relevant)
I'm usually reluctant to watch old movies no matter how good they're supposed to be. I'm thankful that for some reason I decided to at least watch the beginning and see if it held my attention. This movie will break your heart, all of the characters are sympathetic, and although it is almost 60 years old it is extremely relevant right now, since the US is now in the middle of a war and a new generation of veterans is coming home. It is moving, touching, disturbing, thought-provoking, and inspiring, and for someone too young to have known any family members who remembered WWII or post-war America, highly informative. I suspect, from the number of awards this movie won in the 1940s, that it was well-received, but if this movie were released today it would be denounced as anti-American and unpatriotic.

Correction to Jeff Shannon's Review
The Best Years of Our Lives may have perhaps drawn from some things in a Life Magazine article on returning vets, but the plot is really based on MacKinlay Kantor's 1945 novel Glory for Me, which follows a similar trio of returning GIs. ... Read more

Reviews (15)

One Of Hitchcock's Best
"Foreign Correspondent" was Alfred Hitchcock's second American feature made in 1940, the same year as his first feature "Rebecca", and surprisingly both were up for "best picture". In fact "Foreign Correspodent" was nominated for 6 Oscars. But even so, the movie is rarely regarded as one of Hitchcock's best, and that's a shame. "Foreign Correspondent" ranks up there with the best Hitchcock films such as "Rear Window", "Psycho", and "Vertigo". The "master of suspense" displays all the talents that have made him one of the finest film-makers of all-time (at least in my opinion).

"Foreign Correspondent" has Joel McCrea as John Jones, an American reporter sent over to Europe to cover the beginnings of WW2. And, as you can probably guess, Jones will stumble upon a big story and soon become a man who knows too much.

Van Meer, a man Jones was sent to interview (Albert Basserman, in an Oscar nominated performance) is on a council to prevent WW2, but he is soon murdered, or is he? He was the only person who knew of a secret clause that was to be written in a peace treaty.

A lot of people speak highly of the assination scene with the umbrellas, and Edmund Gwenn's scene on top of the tower. Most of you will know Gwenn as Santa Clause in "Miracle on 34th Street". But I have to admit some of my favorite scenes deal with the more comedic aspects of the film such as Robert Benchley's scenes, as an on-the-wagon reporter just yearning for one more drink, who has no idea what is going on around him. I also enjoy a scene dealing with George Sanders (Scott ffolliott) as he explains why he his name is spelled with two lower case "f's", McCrea responds with "How do you pronouce it? With a stutter?"

I've always felt Hitchcock's early work sometimes allowed the dry wit to get into the way of his movies. They could be seen as comedy\mystery movies in the vain of "The Thin Man" series. But in "Foreign Correspondent" I absolutely didn't mind. I enjoyed it greatly. Benchley was actually allowed to write his own lines and Ben Hechet, who helped co-write (he wrote the play "The Front Page", as well as two other Hitchcock movies, "Notorious" and "Spellbound") are without doubt why this movie actually does make us laugh. Benchley really is a highlight for me. Please pay attention to his dialogue. It's a shame so many people don't remember him nowadays.

And, there's more more thing I feel the need to comment on. What an amazing cast this film has. I've mentioned some of them already, McCrea, Sanders, and Benchley, but Herbert Marshall is also in this movie as Stephen Fisher, Van Meer's partner. Everyone does a wonderful job.

Bottom-line: Sadly not as popular as some of Hitchcock's other films, but, it deserves to be. It really is one of his best works. Great moments of suspense and wit.

Hitchcock at the top of his game
Despite being nominated for six Academy Awards, including best picture, Alfred Hitchcock's second American film, "Foreign Correspondent," has received little notice through the years. Critics gush, and rightly so, over "Rear Window" and "Vertigo" but scarcely breathe a word about this masterpiece. Released in 1940, the same year as "Rebecca," it has been left to languish in the graveyard of late night television where its very lack of promotion no doubt leads many a Hitchcock fan to believe it must be one of the master's lesser films, something on the order of "The Paradine Case" or "Under Capricorn."

"Foreign Correspondent" is, in fact, one of the director's greatest films, every bit as good as "The 39 Steps," "North by Northwest" and other famous Hitchcock classics and far superior to "Rebecca," a film that Hitchcock himself described as belonging more to Selznick than to him. The Master of Suspense's trademark touches are very evident in this exciting suspense adventure in which Joel McCrea (chosen after Gary Cooper passed on the project), a lightweight reporter for a New York newspaper, is given a plum assignment that leads him into international intrigue involving a kidnapped scientist.

Hitchcock may have been disappointed in McCrea (labelling him "too easygoing") but the often underrated actor is excellent and is aided by one of Hitchcock's most perfect casts. As fellow reporters, George Sanders provides plenty of world-weary wit and the great Robert Benchley, who also wrote some of his own dialogue, adds a light touch in what is otherwise a fairly grim thriller. Herbert Marshall is on hand as the elegant villain, and Edmund Gwenn who would define "warm and cuddly" as Santa Claus in "Miracle on 34th Street" a few years later, exudes evil as an assassin.

There are many standout scenes, all every bit as imaginative as the cropduster attack on Cary Grant in "North by Northwest" or the shower murder in "Psycho." Note the ominous mood in the windmill where the kidnapped scientist is held captive, or the plane's plunge into the ocean just before the finale. The moment when the aged scientist (perfectly embodied by Albert Basserman, an Oscar nominee for his role) is tortured in a hotel room while a helpless Sanders looks on can make you squirm more than anything in "The Birds."

In short, this is Hitchcock at the very top of his game. The only thing "Foreign Correspondent" lacks is the acclaim and notoriety it deserves.

Good.
'Foreign Correspondent' is yet another fantasic mystery from Alfred Hitchcock. Although I don't remember the storyline too much, I remember liking it enough to give it a four-star review.

Not a Bad Propaganda Film
Released in 1940 by the Master of Suspense, Alfred Hitchcock, this movie (although somewhat fictitiously) explains the beginning of World War II. This is one of Hitchcock's spy thrillers, complete with his man-in-the-middle and MacGuffin storylines.
Huntley Haverstock (Joel McCrea) is a newspaper reporter from New York who is sent to Europe to meet with the Dutch Professor Van Meer, who holds a secret clause in a peace treaty that may avert the coming war. After witnessing Van Meer's death, Haverstock becomes embroiled in an elaborate scenario in which the Nazis play a pivotal role.
In Haverstock's adventure, he meets up with the lovely Carol Fisher (Laraine Day)and her father, Stephen Fisher (Herbert Marshall). Are the Fishers really who they say they are?
The movie has many plot twists and exciting sequences that have become so memorable in Hitchcock lore.
The scene with the windmill's blades rotating backward has become classic, as well as the bobbing umbrellas in the rain as the murderer of Van Meer escapes through them. And also watch for the spectacular plane crash at the end of the film.
And who can forget seeing Edmund Gwenn, the man known forever to film buffs as Santa Claus from Miracle on 34th Street, playing here the sinister hit man, Rowley.
Clearly a great storyline, Foreign Correspondent is a must-see for any Hitchcock fan. This was his second film he made in America after David Selznick brought him over from England, and probably the best piece of propaganda to get the American public more interested in war looming on the horizon.

Another Hitchcock classic!
This movie is great. It deserves five stars. This movie is a wonderful drama and chase movie. Only the Master of Suspense could only direct such a great film. See it! ... Read more

Reviews (19)

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

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

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

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

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

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

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

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

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

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

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

Reviews (58)

The best romantic comedy ever!
This is my all-time favorite romantic comedy (and I am a veteran film fan). YOU'VE GOT MAIL is OK, but the modern film makers had to upgrade Hanks' character to make him rich and threw in unnecessary sexual complications for both characters, thereby detracting from the main plot. IN THE GOOD OLD SUMMERTIME, the Judy Garland musical version of the same plot, has the acrimony between the two main characters so strong that it is completely unbelievable when they suddenly fall in love. Only this movie has the perfect touch throughout. The makers of the stage musical, SHE LOVES ME, wisely stuck with the SHOP AROUND THE CORNER plot and produced a most delightful show.Stewart and Sullavan make a superb team, with just the right balance in their developing relationship to make the ending not only possible, but even inevitable. The supporting cast is nearly perfect, especially the always excellent Frank Morgan. Felix Bressart, as Pirovich, and Joseph Schildkraut, as the arrogant but slippery villain, are a delight to watch.Don't just rent this movie--buy it! You will want to watch it again and again. And each time will seem as fresh as the first, because there isn't a false note in the whole film.

James Stewart at his best
I'm a big fan of you've got mail, but i'm an even bigger fan of the SHop around the Corner.

The story: Stewart works as a head clerk in a store in eastern Europe. A new woman comes to work at the store and spoils Jimmy stewart days. At the same time, they are both involved in writing anonymous letters to each other and slowly fall in love with each other.

The movie is full of ironic situation and the entire cast that support Jimmy Stewart and Margaret Sullivan do a great job. Unlike you've got mail that tends to drag, this movie is full of energy and you can't see time go by.

When the two main characters finally discover their love for each other, it is the most poignant romantic scene i've ever seen. Any girl would want to be in Jimmy Stewart's arms at this point. He had a gift for really making you feel what the characters were going through, and in this case, you really feel the passion he feels for this woman.

I'm not into romantic comedies too much but if there's one to watch, this is the one, regardless of how old it is, the romance in it is timeless.

Honest & Heartfelt
Here's a movie with charm in spades, and a beguiling premise. A man and a woman begin a correspondence, and through this correspondence they fall in love, while in real life despising each other. And what two better to do this sort of thing than Jimmy Stewart (Alfred Kralik) and Margaret Sullavan (Klara Novak). The setting is an odd goods shop in Budapest, staffed by a superb supporting cast, each tossing into the storyline their own minor dramas. Mr Matuschek with his bothersome home life, Mr Pirovitch who serves as Alfred's confidante, Mr Vadas who holds a clandestine affair, Miss Novodny and her gentleman friend ~ who is he? ~ that presents her with lavish gifts, Pepi with his heart of gold, and my favorite, the mousish Flora who devotes her life to her mother, and whom you just know is dreaming of a romance of her own. It is said that Stewart and Sullavan held a deep personal respect for each other off screen, and this makes for a genuine on-screen chemistry between them. This chemistry is of the intellectual variety, and ~ to this viewer at least ~ their sparring conversations and confrontations are greatly more interesting and engaging than any purely physical romance could ever be. Sullavan is terrific, wavering between what she reads in books and thinks she ought to believe, and what her heart is prompting her to feel. Stewart is marvellously put out by all of this, sniffy and sulky, yet finds himself drawn to the prickly Klara despite himself. Everyone is impeccable in their roles, the wit and the banter sparkles. Here's a film that shall grow on you, that shall take you in completely, and will demand repeat viewings ~ and possibly the use of a tissue or two. Intelligent and heartwarming, and infused with a kind of a quiet magic, 'The Shop Around the Corner' ought melt any heart, save the most unmeltable. A romantic masterpiece. Directed by Ernst Lubitsch, who also did 'Eternal Love', 'Ninotchka', and the original 'Heaven Can Wait'.

Wonderful
I loved this DVD I really sudgest it to any classic Romantic

The Shop Around the Corner
1940's THE SHOP AROUND THE CORNER has been remade twice; in 1949 with Judy Garland and Van Johnson in the musical adaptation IN THE GOOD OLD SUMMERTIME, and again in the late '90s in the internet-based YOU'VE GOT MAIL with Tom Hanks and Meg Ryan. They can remake it another dozen times. It's hard to believe any will ever better this gem from director Ernst Lubitsch.
Jimmy Stewart stars as Alfred Kralik, chief clerk at Matuschek's, a gift shop in Budapest. Margaret Sullavan is Klara Novak, a feisty new hire. Klara and Kralik seem to have only one thing in common - a vocal dislike for each other. Of course they share one other thing - they are anonymous pen pals who have fallen in love with each other through the mail.
THE SHOP AROUND THE CORNER is based on the play 'Parfumerie' by Hungarian playwright Miklos Laszlo, and its pedigree as a product for the stage shows. Almost all action takes place within the shop. It is visually static enough to assume that this probably would have made a successful radio production. That said, Lubitsch comes across with one beautiful shot that would have been impossible to duplicate on radio or in a theater. Shot from the inner side of the post office boxes we see #38 being opened and a gloved hand feeling around the empty interior. The hand is removed and Margaret Sullavan's disappointed face appears, framed by the open box.
Lubitsch also has fun with the wonderful character actor Felix Bressart, who plays the wise and timid clerk Pirovitch. The thunderous and intimidating owner of the shop, Hugo Matuschek (Frank Morgan - the wizard in THE WIZARD OF OZ), turns to Kralik a few times in the first half of the movie and begs his honest opinion on this or that. Terrified that his opinion may be asked next, Pirovitch makes like a mouse caught out of the cabinet and Lubitsch catches him scurrying off-screen time and again. This business sets us up for a later scene when Pirovitch confronts Matuschek and gives an unsolicited opinion in defense of his out-of-favor friend Kralik. It's an ennobling moment, one of many in this fine movie.
Stewart and Sullavan are convincing as a couple unknowingly throwing barbs at the object of their tenderest affections. They are average enough looking to make the whole thing plausible - a couple of glamour pusses, say Cary Grant and Rita Hayworth, would have thrown the whole thing off. The story needs a boy and a girl-next-door type.
The dvd's extras include cast and crew biographies, a trailer, "A Great Story is Worth Retelling" (background story of the making of THE SHOP AROUND THE CORNER in written text) and the short subject "A New Romance of Celluloid: The Miracle of Sound," which doesn't have much to do with the movie it's bundled with but is delightful nonetheless. ... Read more

Reviews (10)

Olivia de Havilland.What more do you need?
What a great Western!Would make a great double feature with THE MAN WHO SHOT LIBERTY VALANCE or even NORTH TO ALASKA.

The story is pretty much straight forward: a guy reluctantly takes the job of sheriff in a lawless town and he cleans the joint up, but what made the movie so enjoyable for me was the incredible cast: Errol Flynn, Alan Hale, Bruce Cabot, Ann Sheridan, Henry Travers, Frank McHugh, Victor Jory, Charles Halton and the most beautiful woman in Hollywood: Olivia de Havilland.

My one and only complaint besides the size of Flynn's hat is Ann Sheridan was severely underused.Also her hair color should have been lighter.

I've read (United Press, March 22 1939) that as a promotion for the film there was a contest in the actual Dodge City, Kansas and the winner gotto have Errol Flynn stay over for the weekend!

D: Michael Curtz (ANGELS WITH DIRTY FACES, MILDRED PIERCE)
W: Robert Buckner (YANKEE DOODLE DANDY, JEZEBEL)

Wade Hatton - Errol Flynn (CAPTAIN BLOOD, THE ADVENTURES OF ROBIN HOOD)
Abbie Irving - Olivia de Havilland (GONE WITH THE WIND, LADY IN A CAGE)
Ruby Gilman - Ann Sheridan (THEY DRIVE BY NIGHT, ANGELS WITH DIRTY FACES)
Jeff Surrett - Bruce Cabot (KING KONG, FURY)
Rusty Hart - Alan Hale, (THEY DRIVE BY NIGHT, IT HAPPENED ONE NIGHT)
Dr. Irving - Henry Travers (IT'S A WONDERFUL LIFE, HIGH SIERRA)
Yancey - Victor Jory (GONE WITH THE WIND, EACH DAWN I DIE)
Surrett's lawyer - Charles Halton (THEY DRIVE BY NIGHT, IT'S A WONDERFUL LIFE)

Michael Curtz and Errol Flynn made an astonishing 12 films together:CAPTAIN BLOOD (1935), CASE OF THE CURIOUS BRIDE (1935), THE CHARGE OF THE LIGHT BRIGADE (1936), THE PERFECT SPECIMEN (1937), FOUR'S A CROWD (1938), THE ADVENTURES OF ROBIN HOOD (1938), DODGE CITY (1939), THE PRIVATE LIVES OF ELIZABETH AND ESSEX (1939), SANTA FE TRAIL (1940), THE SEA HAWK (1940), VIRGINIA CITY (1940) and DIVE BOMBER (1941)

One of The Great Early Westerns
Dodge City is one of the Westerns that set the standard for the thousands that would come after it. Fun,funny, even playful, with a stalwart hero (Flynn, dastardly villains (Bruce Cabot and Victor Jory), noble and comical sidekicks (Alan Hale and Guinn "Big Boy" Williams), and a woman worth fighting and dying for (Olivia de Havilland).

Flynn ddidn't consider himself a good Western hero, but he was perfect, and Dodge city, for the time it was made, and even in today's harsh light, is near perfect. Another one of the may great films made in 1939.

A great movie
I thin, that "Dodge City," is one of the classic movie films that combines romance and advenure in the colorful setting of the west.It's very intertaining and fun to watch.I think anyone would enjoy it, as would children.

LAVISH TECHNICOLOR GEM.
In 1872, cattleman Wade Hatton (Flynn) leads a wagon train in Dodge City, Kansas a lawless mecca of gambling, liquor and murder.During the trek, he becomes infatuated with Abbie Irving (De Havilland), but she wrongly blames him for the death of her careless kid brother......DODGE CITY is a colourful and action-packed Western that put much of the Warners stock company to good use and contains the definitive barroom brawl scene. Flynn felt somewhat miscast in Westerns (and perhaps rightfully so), but this was one of the best.What the film lacks in story, it more than made up for with beautiful Technicolor, a memorable score by Max Steiner and the ultimate barroom brawl scene - plus Alan Hale and Ann Sheridan in support.Flynn and the notoriously tyrannical Hungarian director Michael Curtiz made 10 movies together; but Flynn felt that Curtiz demanded much too much of him (he also blamed him for the death of a close friend during the shooting of THE CHARGE OF THE LIGHT BRIGADE in 1936).Flynn was in love with the lady-like DeHavilland but he was married at the time and was unwilling to court her in anything vaguely resembling a traditional manner - which made any conceivable consummation between the two a frustrating matter!

Corny but fun!!
The first time I watched this movie I didn't have a clue what the plot was about because I was laughing so hard all the way through it.The movie's "special effects" are about as corny as it gets.But any movie starring Errol Flynn & Olivia de Havilland together has some merit.The two engage in their usual witty bantering with de Havilland getting the upper hand most of the time.Once you get past old western lingo, you'll find the movie full of fun, action, and sweetness.Just don't forget that you may have to watch it more than once to appreciate it! ... Read more

Reviews (22)

Carole Lombardo's final movie and Jack Benny's best
"To Be or Not to Be" has the distinction of being the last movie starring Carole Lombard before her tragic death in an airplane crash in 1942 and is also remembered as having Jack Benny's finest film performance. But beyond the qualities of the stars Ernst Lubitsch's film deserves to be singled out for its anti-Nazis position, a distinction shared with Charlie Chaplin's "The Great Dictator" and few other films. Keep in mind that the film was released on February 15, 1942, not only a month after Lombard's death but only two months after Pearl Harbor, which means it was in the works before the United States entered World War II.

Lubitsch and Melchior Lengyel came up with the story, which was turned into a screenplay by Edwin Justus Mayer. The story of "To Be or Not to Be" is of a Polish theatrical company that is in Warsaw preparing to perform an anti-Nazi melodrama on the eve of World War II. In the leading roles are the husband and wife team of Maria (Lombard) and Joseph Tura (Benny), who are trained in Shakespeare. However, the production is canceled by the Polish government because they are afraid Germany will attack the country is a play critical of the Nazis goes on (you know how touchy Hitler can be). So the Turas put on "Hamlet" instead and while Joseph does Hamlet's "To be or not to be" soliloquy, Maria is visited backstage by Lieutenant Stanislav Sobinski (Robert Stack), a young pilot in the Polish Air Force. Then the war breaks out, Sobinski makes it to London to fight with the RAF, and the Turas remain in occupied Warsaw.

While in London Sobinski meets with Professor Siletsky (Stanley Ridges), a Nazi agent posing as a Polish patriot, who gets the names of friends and relatives from the pilots. Sobinski becomes suspicious and is sent to Warsaw to recover the list from Siletsky before he gives it to the Nazis. In Warsaw Maria helps Sobinski, but then she is arrested by the Gestapo as Siletsky tries to get her to join the Third Reich. To rescue his wife Joseph and the other actors masquerade as Nazi soldiers and end up with one of them (Tom Duggan) dressing up as Hitler to help in the great escape.

This is a comedy, but it is not a broad comedy in which the whole thing descends into slapstick, otherwise the overt attempts at anti-Nazi propaganda would not work. There is a similarity between "To Be or Not to Be" and the television situation comedy "Hogan's Heroes," in terms of presenting the Nazis as incompetent buffoons, personified by Sig Ruman as Colonel Ehrhardt. The difference is that Lubitsch still manages to work in the idea that the Nazis are also killer clowns. However, the biggest joke is that these actors, less than inspiring on the stage in Shakespeare, are so convincing playing Nazis. Meanwhile, Joseph cannot quite bring himself to belief that Maria is actually cheating on him.

Keep in mind that when this film was made "concentration camps" did not mean what they mean today; the terms was used by the United States to describe the camps in which Japanese-Americans were interred during the war. But then when you see Jack Benny walk in as a Nazi you know this is a different time and place. The humor is pretty coarse for a film from the early Forties (e.g., Ehrhardt recalls Joseph's performance of "Hamlet" and declares, "What he did to Shakespeare we are doing to Poland"), but then keep in mind who is being made fun of here and you have to admire the bite that they put into some of these bits. Benny is pretty much perfect for this part and Lombard sparkles throughout. As is usually the case, the original is much better than the 1983 remake with the husband and wife team of Mel Brooks and Anne Bancroft.

World famous in my eyes!
Too bad this movie isn't better known than the weak Mel Brooks remake of the same name. Jack Benny as that great, great stage actor, Josef Tura (world famous throughout Poland!), and Carole Lombard are hilarious. Aside from the first couple of minutes, the whole movie is a laugh riot. Amazing how well the script and performances have stood the test of time. Truly one of the greatest comedies of the 40s! Best lines: "So they call me Concentration Camp Airhart, eh?" and "What he did to Shakespeare, we are now doing to Poland." and "To be or not to be ..." Rent it, borrow it, buy it -- whatever you do, watch it. You'll love it.

Time to produce a DVD version with commentary track.

Extremely funny.
I was on a tour in Europe, when this movie was put in. Instead of a much needed rest, I got a great laugh fo an hour or so. Its a classic. Worth the purchase price and a lot more!

Let It Be
There were plenty of his contemporaries, George Burns and Johnny Carson among them, who thought Jack Benny was the best American comedian of the 20th century. This film does nothing to detract from his reputaion; it just confirms it. Benny is utterly superb here in a wonderful and difficult project by the German-Jewish director Ernst Lubitsch. He effortlessly dominates a great cast in every scene and his timing, for which he was already famous on stage and in radio, is equally flawless. The film about the invasion of Poland was produced before the full extent of the anti-Semitic atrocities committed in Europe were known, and the great Lubitsch took a somewhat more diplomatic approach than more heavy-handed directors like Mel Brooks would today, but this artistic detachment certainly made a better movie. There are some flat-out riotous lines. When a Gestapo agent leeringly tells Carole Lombard he would like to launch a romantic blitzkrieg her way, she responds: "I'd prefer a slow encirclement." Movie comedy doesn't get much more sophisticated.

A gem, Lombard at her most lovely and Benny at his funniest
I'm so surprised that this classic is not revived more often or is not better known. It really is one of the most superb films turned out during the war years and is significant for a number of diverse reasons. One is that Carole Lombard, the stunning comedienne par excellence of the 30's and wife of Clark Gable was killed in a plane crash on a war bond selling tour soon after completing her role in it and secondly that Jack Benny, normally regarded as a radio personality, has the film role of a lifetime in this classic and has never been better.

The film has so many wonderful moments and features that it is hard to know where to begin. Carole Lombard, one of my favourite actresses of the 1930's has never been better than in this role and it is a melancoly experience watching her so radiant, so beautiful and full of life in this her last film prior to her death. The role of Maria Tura is at once street smart, sexy and totally up to taking on the Nazi's in the script. This performance stands up there with all her classic performances in "Twentieth Century" "My Man Godfrey" "Hands Across The Tabe" "In Name Only" and "Vigil In The Night".

Jack Benny, famous for his radio performances and later television work shines in the role of her husband Joseph Tura your typical egocentric actor who is known for putting the "ham" in Hamlet once and for all !!! The supporting cast is first rate with Robert Stack shining in one of his earliest roles as Lieut. Stanislav Sobinski, Maria's lover who always exits the front row of the theatre as Joseph Tura the hammest actor in all of Warsaw launches into his "To be or not to be........ speech and has his big moment ruined night after night!! The fact that Stack and the rest of the cast neither look or sound Polish in no way detracts from the magic of this film as we are sent on a rollicking satire about the Nazi takeover of Warsaw which of course was very topical at this time. Indeed the subject matter was considered very daring at this time and "To Be Or Not To Be" was one of the first films along with "The Mortal Storm" to attack Nazism at a time when the outcome of the war was still very uncertain.

The film has the rare distinction of successfully combining humour with a strong depiction of the terror inflicted on countless people by the Nazis. It maintains its own personal dignity throughout and the credit for that must be laid at the feet of Ernst Lubitsch who here combines his own rich European experience with the crack - crack volleys of a fast moving Americam satire. The superb end result (which was not a big success upon release, but has been redeemed with the passing of time) has much to do with his confident and sure handling of potentially very risky material for that time.

The wonderful humour of this piece comes from the great characterisations by all the cast and the storyline which has them as a Polish theatrical troupe which is pulled into working as resistance workers to aid a Polish Lieutenant find safety from the Nazis. What ensures is a hilarious series of events that is both clever and witty while succeeding in jogging our thoughts about man's inhumanity to man.

If you are an admirer of the sure Lubitsch touch in film or are just a fan of sharp, fast moving satires with plenty of dark humour thrown in for good measure "To Be Or Not To Be" is not to be missed. For me I enjoy it as a fitting farewell performance for the beautiful Carole Lombard. It makes you wonder about all the great roles she would have undoubtedly played in the 1940's had she lived. Alas that's something we are doomed never to find out about. Enjoy this classic over a number of screenings as you will need that many to fully appreciate all the charm and wit of this great classic. ... Read more

Reviews (14)

A marvelous and strikingly unique Western
This is one of the most unusual and delightful Westerns ever made. What sets it apart is the relative lack of action, the way that director William Wyler shifts most of the interest onto the relationship and interpersonal interplay between Cole Hardin (Gary Cooper, in one of his finest Western roles) and Judge Roy Bean (Walter Brennan). The way the two move from instant enemies, to unexpected friends, to uneasy opponents, to reluctant enemies, and finally back to sympathetic friends is masterfully portrayed. As fine as Cooper is, much of the credit lies with Brennan, who became the first person to win three acting Oscars by picking up his third Best Supporting Actor Oscar. Unlike his other Oscar wins, this role was essentially a lead role. Although many actors have portrayed Judge Roy Bean over the years, Brennan's is the definitive one, despite being the least historically accurate. If his version isn't the most faithful, it is the most compelling. He manages to be utterly absurd, dangerously unpredictable, and utterly likable at the same time.

The story essentially falls into two halves. The first involves Gary Cooper's accidental identification in Judge Bean's saloon as a horse thief, his trial and conviction, and clever manipulation of the Judge to gain a reprieve. The second half concerns Cooper's taking sides in a range war, siding with a lone female farmer against cattlemen. Both halves are brought together nicely in Cooper and Brennan's final struggle that ends the film.

Along with Walter Brennan and Gary Cooper, the real star of this film is Gregg Toland, whose cinematography rivets the viewer's attention on the screen from beginning to end. Toland, who died tragically young in 1948 at the age of 44, is universally regarded as one of the very greatest cinematographers of all time, and THE WESTERNER was one of his finest efforts in a very, very great streak of films over a relatively short period of time. In the period running from 1939-41, Toland was responsible for filming such extraordinary classics as WUTHERING HEIGHTS, THE GRAPES OF WRATH, THE WESTERNER, and CITIZEN KANE. Has any cinematographer ever had a two-year period matching this one? I saw THE WESTERNER years before I knew who Gregg Toland was, but I long retained the memory of several of the amazing shots Toland framed. He was a favorite of director William Wyler, who would employ him often during Toland's tragically short career.

Toland's photography manages to give this film an epic feel and scope, while the tensions in the relationship between Cooper and Brennan make it a highly intimate film. This is easily one of the most unique Westerns in the history of Holly, and one of the best.

"The Westerner": Brennan's acting and Toland's photography
Director William Wyler began his career making two-reel westerns in the late 1920s, but did not return to the genre or filming outdoors until this 1940 classic. The traditional story of the conflict between the farmers and the cattlemen is represented by Gary Cooper as Cole Hardin and Walter Brennan as "Judge" Roy Bean. Hardin is brought before the self-appointed Judge ("the only law west of the Pecos") as a horse-thief. Fortunately, Hardin notices the giant pictures of Lily Langtry behind the bar of the Jersey Lily (Langtry's nickname as well as the name of the Judge's bar). Playing upon Bean's love for the actress (better known as the mistress of Prince Edward), Hardin wins a two-week reprieve and becomes embroiled in the coming range war. Brennan deservedly won an Academy Award for his portrayal, but for me the star of the show is cinematographer Gregg Toland ("Citizen Kane" as well as Wyler's "Wuthering Heights). The only other western to really come close in terms of compositional artistry is "My Darling Clementine." The climatic showdown between Hardin and the Judge in the deserted auditorium Bean had bought out to watch Lily performed without being disturbed evidences Wylers touch as a director, but most of the film's memorable moments are Toland's photography, such as the young girl standing by her father's grave reading the scorched pages of the family's Bible. "The Westerner" is arguably the most cinematic film in the genre.

Cooper cracks necks with the best of em'
The Westerner is simply one of the best westerns ever made. It has all of the elements of the genre, the lonesome drifter (Cooper), the half-evil judge (Brennan as Judge Roy Bean), the "searching-for-a-real-man" women, the gang of thug rustlers (played by a gang of various thugs), the wimpy farmers (played by a bunch of wimpy farmers), the raunchy bar-room singer (played by a lock of golden hair), and the climatic shoot-out (Cooper versus Brennan). The scenes that steal the movie are those in which Cooper kindly agress to gently crack Judge Roy Beans stiff neck with a quick twist. You can hear the pops and also feel the relief as you watch.

THE Classic Western
Anyone who likes westerns will treasure this
gem. Cooper and Brennan at their best. Wyler's
direction and Tiomkin's music unequaled.

One of the greatest movies of all time!
This movie has everything: humor, history, adventure, great acting, and a terrific story. No actor today has more appeal than Cooper. Tom Cruise? Pshaw--a star manque. Coop was afraid Brennan would steal every scene; in fact they work quite well together. This is Coop before High Noon, another classic. ... Read more

Description

Carrie's dreams of adventure in the big city are quickly squashed as she discovers all that awaits her there is a bleak life of grueling and poorly-paid factory work. That is, until a traveling salesman named Drouet steps into her life and changes her outlook. Breaking all the rules of morality at the time, Carrie moves in with him and at first she's content, but when Drouet introduces her to the wealthy and married Hurstwood, who manages a restaurant, Carrie instantly sizes up the difference between the two men and discovers she's falling for him. ... Read more

Reviews (9)

Interesting adaptation
I notice many of the other reviewers lamenting that this film adaptation of Dreiser's novel is not as good as the book itself. Of course it isn't, but that doesn't mean there isn't considerable merit in this film. Naturally there are considerable differences between the book and the movie, but that is inevitable in any screen translation.

The performances are uniformly good. Jennifer Jones was hardly considered an outstanding actress, but she's well cast here in the role of a passive, timid and one-dimensional Carrie. The ambitious side of Carrie in the novel is muted a bit for the screen. Olivier is exceptional in the lead character and his disintegration from rich restaurant manager to skid row bum is masterful. Perhaps the most overlooked performance is that of Eddie Albert, cast as Carrie's first lover. Albert is exceptional and most resembles the original character in Dreiser's book.

The ending will have you reaching for your handkerchief's, so be forewarned. For anyone who has not read Dreiser's novel, you will be prompted to lay hands on the book as soon as this film is concluded. Recommended viewing.

Good, But Could Have Been Better
If you are a fan of Laurence Olivier, then you should definitely see this movie. The beautiful Jennifer Jones is an adequate, if uninspired, Carrie--hampered partly by production codes that took too much bite out of the character and her overriding drive for happiness. The excellent novel by Theodore Dreiser definitely deserves another shot by Hollywood, but not if it involves the previous reviewer's suggestion of the title character being portrayed by Jennifer Jason Leigh. Miss Leigh has very little talent and plays every one of her characters as if she's on the brink of committing suicide. She ruined the remake of "Washington Square" with her talentless performance, so if "Sister Carrie" is remade, please, Hollywood, don't let Miss Leigh get her hands on this fascinating character from another American Classic!

Attention Hollywood! Please remake this movie!
Fortunately, Theodore Dreiser was long dead before the release of this bland travesty of his masterpiece "Sister Carrie", so he didn't have to suffer the misery of seeing it. Although plans for the movie had been floating around while he was alive (with Irene Dunne slated to play Carrie and Charles Laughton to play her married lover), due to the themes of the novel (young girl moves in with travelling salesman, then marries bigamist), the Hayes Office kept it off the screen for years. When it finally emerged, Jennifer Jones starred as Carrie, and Lawrence Olivier played her married lover, with Edward Albert as the travelling salesman.

In the novel, Carrie is a plucky, ambitious and often ruthless girl set loose in the cruel world of Chicago around the turn of the century, who survives by her wits and triumphs against all odds. In the film, as played by Jennifer Jones, she is a bland, wimpy, completely guileless and innocent girl who is taken in by the cruelty of men, and simply plods her way along from bad situation to worse situation (with Ms. Jones all the while widening her eyes for sympathy). The movie robs the audience of one of the greatest literary heroines since Becky Sharp. Most of the fault lies in the watered down screenplay, but I also must lie blame on Ms. Jones. One wonders what Vivien Leigh could have done with the role. I'm wondering what Jennifer Jason Leigh could do with it now, if some enterprising producer would read one of the greatest classics of American literature.

Advice? Skip this and pray for a decent remake.

The Descent of Hurstwood
Bleak and poignant adaptation based on one of Theodore Dreiser's masterpieces. Brunette beauty Jennifer Jones is touching as Carrie, the unsophisticated, naive teenager from hicksville who moves to the big city in search of glamour and a better life. Interesting to watch is her transformation from simple small-town girl to a reluctant, disillusioned "scarlet woman," to a famous stage actress and wise woman who truly loves and then loses her man--for good. Laurence Olivier is riveting and heartrending as her lover and "husband" George Hurstwood, an upper-class middle-aged man in a desperately unhappy marriage whose utter lack of romantic happiness and love leads him to abandon everything--his wealthy wife, adoring children, a grand house complete with servants, a good job and a comfortable existence--when he develops a grand obsession with Carrie that sends him on a downward spiral from which there is no return. Also excellent is Edward Arnold who steals some of the show as the brash and smooth-talking George Drouet, a commitment-averse young man who takes the innocent Carrie as his live-in lover; and Miriam Hopkins is her quintessentially witchy self as George's cold and scheming wife. The beautiful moving score serves as a perfect accompaniment to chronicle the trials and travails of Carrie and George. This film did poorly when released; perhaps because unlike other early 50's movies derived from great literary works such as Steinbeck's "East of Eden" and another of Dreiser's novels "An American Tragedy" (made into "A Place in the Sun"), "Carrie" as a film veered off concerning the heroine by portraying her as a warm and depthful "good" girl instead of the materialistic and selfish person as shown for the most part in the book, and thus did not pack as much force as it might have otherwise. Yet a solid enough version that left me only slightly disappointed after reading the book, and will probably be more than satisfactory if you haven't due to the sensitive, genuine performances of the leads.

Even Olivier misses his mark here
in this disappointing screen adaptation of Theodore Dreiser's powerful study of social darwinism, "Sister Carrie". That novel is one of the most riveting I've ever read, and I was looking forward to see this film. Yet Olivier played the Hurstwood character all wrong; he lacked the smooth bravura of the man who originally seduced away the Jennifer Jones character from her earlier lover played by Eddie Albert. Eddie Albert's performance, incidentally, is the only one that comes close to what Dreiser wrote. And Jennifer Jones gives us a Carrie who is sympathetic and nice, and Dreiser's Carrie is neither. This is one of those occasions where you wonder why they bothered to acquire the rights to the novel if they had no intention of realizing it accurately as a movie. Take my advice, and read the book. ... Read more

Reviews (4)

"Let's Do It The Hard Way !"
"The Spoilers" is an excellent western, released in 1942, that just misses being a classic. I suppose with the setting in Nome, Alaska, it should be called a "northern" ! The film boasts a potent starring trio of John Wayne, Marlene Dietrich and Randolph Scott, and has remained famous over the years for its climactic, no-holds-barred fistfight between those two icons of western cinema, Wayne and Scott.

Clocking in at just under an hour and a half, "The Spoilers" does not have a complcated plot. The gold rush is on, but ruthless government agents, led by a swaggering crook named McNamara ( an atypically villainous Randolph Scott ), are trying to chisel miners out of their property. Cherry Malotte, the local casino operator ( smouldering Marlene Dietrich ) may seem like a tough woman on the outside, but she has supported a number of the miners and is pleased when her old flame, Glennister ( formidable John Wayne ), is back in town. Cherry's relationship with Glennister is about as calm and centred as that of two Siamese fighting fish ! At the same time, McNamara's pursuit of Cherry is only slightly less energetic than his efforts to steal gold mines, so when the showdown comes, the "Duke" has a lot at stake.

In addition to the three stars, there are many supporting performances of note, with faces familiar to fans of old "A" and "B" westerns--Harry Carey, George Cleveland, Russell Simpson, William Farnum, Ray Bennett and Forrest Taylor to name a few. The movie is directed with a lot of energy by Ray Enright. The sets are impressive--check those streets--thick mud--I suspect that Nome around 1900 was like this--plenty of booze, mud, fortunes won and lost, and a busy undertaker !

The DVD exhibits a black and white picture with reasonable quality. When a movie is 62 years old, I tend to be less critical about technical matters than some reviewers. There are no extras whatsoever. Surely there are some noted film critics out there who could have provided some interesting background comments ? Hey--Leonard Maltin--hey Roger Ebert--how about a little help here ?

"The Spoilers", even with the legendary fisticuffs, is not--for me, at least--in the top echelon of classic westerns. At the same time, Wayne, Dietrich and Scott are so watchable that this disc still deserves a place in the collection of any serious fan.

Format of DVD
I would like to know whether the DVD format is COLOUR or Black & White . Amazon.conm shows it as Colour but Movies Unlimited
info. is B&W !! I am confused. Please clarify before I decide to purchase

Ashoke P. Mahtani/ Calcutta/ India

SPURS & SADDLES: SUBLIME SPOILERS - YE-HAW!
"The Spoilers" is an unabashed adventure flick brimming with romance, humor and spectacular action. The plot, such as it is, is simple but compelling. When government agents arrive in Alaska and 'steal' a gold miner's claim, the miners decide to retaliate. Both Randolph Scott and John Wayne cut dashing figures of masculinity across the stark but beautiful Alaskan backdrops while Marlene Dietrich - as the lusty, husky madam, is at her most provocatively sensual best. The climactic fistfight, between Wayne and Scott is defiantly brutal to say the least.
TRANSFER: Exemplary. The B&W picture can be nicely balanced. Blacks are sometimes unstable. There's a limited amount of film grain and age related artifacts that enhances the performances. Digital anomalies are generally not an issue, though some edge enhancement is present. The audio is mono but nicely cleaned up.
EXTRAS: Forget it! Universal generally doesn't think much of its classic film library and this disc is no exception.
BOTTOM LINE: "The Spoilers" is recommended as a movie - not as a reference quality DVD.

Wayne and Scott Brawl Highlights Classic!
'The Spoilers' may be the most often-filmed western, ever, yet it has been largely forgotten by today's moviegoers, which is a shame! This is a riproaring adventure yarn with claimjumpers, a sexy romantic triangle, loads of humor, and, to cap things off, the most spectacular fistfight in screen history!

The second of three Marlene Dietrich/John Wayne teamings (and Duke is third-billed, behind Dietrich and Randolph Scott!), the plot is simple; evil government 'agents' arrive in Alaska, steal goldminers' claims, until the miners finally take matters into their own hands!

The climactic fistfight, between Wayne and Randolph Scott, is the stuff of legends! You can hold up 'The Quiet Man', or 'Hard Times', or 'Any Which Way But Loose' as having epic brawls, but this one tops them all! We're talking shirts ripped to shreds, broken furniture and windows, rolling under horses and through the mud mayhem, here! If this were pro football, both Scott and Wayne would make the All-Madden Team, for sure!

This film may never make a 'Classic Westerns' list (other than mine!), but it is a VERY enjoyable tale that shouldn't be forgotten! If you love a good Western, particularly if you're a John Wayne fan, 'The Spoilers' is a MUST! ... Read more

Reviews (14)

A marvelous and strikingly unique Western
This is one of the most unusual and delightful Westerns ever made. What sets it apart is the relative lack of action, the way that director William Wyler shifts most of the interest onto the relationship and interpersonal interplay between Cole Hardin (Gary Cooper, in one of his finest Western roles) and Judge Roy Bean (Walter Brennan). The way the two move from instant enemies, to unexpected friends, to uneasy opponents, to reluctant enemies, and finally back to sympathetic friends is masterfully portrayed. As fine as Cooper is, much of the credit lies with Brennan, who became the first person to win three acting Oscars by picking up his third Best Supporting Actor Oscar. Unlike his other Oscar wins, this role was essentially a lead role. Although many actors have portrayed Judge Roy Bean over the years, Brennan's is the definitive one, despite being the least historically accurate. If his version isn't the most faithful, it is the most compelling. He manages to be utterly absurd, dangerously unpredictable, and utterly likable at the same time.

The story essentially falls into two halves. The first involves Gary Cooper's accidental identification in Judge Bean's saloon as a horse thief, his trial and conviction, and clever manipulation of the Judge to gain a reprieve. The second half concerns Cooper's taking sides in a range war, siding with a lone female farmer against cattlemen. Both halves are brought together nicely in Cooper and Brennan's final struggle that ends the film.

Along with Walter Brennan and Gary Cooper, the real star of this film is Gregg Toland, whose cinematography rivets the viewer's attention on the screen from beginning to end. Toland, who died tragically young in 1948 at the age of 44, is universally regarded as one of the very greatest cinematographers of all time, and THE WESTERNER was one of his finest efforts in a very, very great streak of films over a relatively short period of time. In the period running from 1939-41, Toland was responsible for filming such extraordinary classics as WUTHERING HEIGHTS, THE GRAPES OF WRATH, THE WESTERNER, and CITIZEN KANE. Has any cinematographer ever had a two-year period matching this one? I saw THE WESTERNER years before I knew who Gregg Toland was, but I long retained the memory of several of the amazing shots Toland framed. He was a favorite of director William Wyler, who would employ him often during Toland's tragically short career.

Toland's photography manages to give this film an epic feel and scope, while the tensions in the relationship between Cooper and Brennan make it a highly intimate film. This is easily one of the most unique Westerns in the history of Holly, and one of the best.

"The Westerner": Brennan's acting and Toland's photography
Director William Wyler began his career making two-reel westerns in the late 1920s, but did not return to the genre or filming outdoors until this 1940 classic. The traditional story of the conflict between the farmers and the cattlemen is represented by Gary Cooper as Cole Hardin and Walter Brennan as "Judge" Roy Bean. Hardin is brought before the self-appointed Judge ("the only law west of the Pecos") as a horse-thief. Fortunately, Hardin notices the giant pictures of Lily Langtry behind the bar of the Jersey Lily (Langtry's nickname as well as the name of the Judge's bar). Playing upon Bean's love for the actress (better known as the mistress of Prince Edward), Hardin wins a two-week reprieve and becomes embroiled in the coming range war. Brennan deservedly won an Academy Award for his portrayal, but for me the star of the show is cinematographer Gregg Toland ("Citizen Kane" as well as Wyler's "Wuthering Heights). The only other western to really come close in terms of compositional artistry is "My Darling Clementine." The climatic showdown between Hardin and the Judge in the deserted auditorium Bean had bought out to watch Lily performed without being disturbed evidences Wylers touch as a director, but most of the film's memorable moments are Toland's photography, such as the young girl standing by her father's grave reading the scorched pages of the family's Bible. "The Westerner" is arguably the most cinematic film in the genre.

Cooper cracks necks with the best of em'
The Westerner is simply one of the best westerns ever made. It has all of the elements of the genre, the lonesome drifter (Cooper), the half-evil judge (Brennan as Judge Roy Bean), the "searching-for-a-real-man" women, the gang of thug rustlers (played by a gang of various thugs), the wimpy farmers (played by a bunch of wimpy farmers), the raunchy bar-room singer (played by a lock of golden hair), and the climatic shoot-out (Cooper versus Brennan). The scenes that steal the movie are those in which Cooper kindly agress to gently crack Judge Roy Beans stiff neck with a quick twist. You can hear the pops and also feel the relief as you watch.

THE Classic Western
Anyone who likes westerns will treasure this
gem. Cooper and Brennan at their best. Wyler's
direction and Tiomkin's music unequaled.

One of the greatest movies of all time!
This movie has everything: humor, history, adventure, great acting, and a terrific story. No actor today has more appeal than Cooper. Tom Cruise? Pshaw--a star manque. Coop was afraid Brennan would steal every scene; in fact they work quite well together. This is Coop before High Noon, another classic. ... Read more

Reviews (7)

Why so expensive?
I feel like the sellers are holding this movie for ransom. WHO is going to pay that much money for a movie (DVD) that no one remembers? It would be better for a Frances Farmer fan to have and enjoy rather than sit and collect dust on the shelf. I guess I'll instead be ordering the VHS copy for cheap.

LOVE HER TENDER.......
Yeah? So, where IS the FRANCES FARMER Award or Scholarship?
Everyone's profited from her - so? [Then again, there were/are so many ...... since then.]

This rather staid adaptation of the Ferber novel [and here's another lady who should be canonized! Brilliant novelist- should be mandatory reading for any immigrant] hit the screen with Greats, Edward Arnold [that final close-up!]; Walter Brennan [unfulfilled career - Award winning here]; FRANCES FARMER [it's that John Wayne/Mae West swagger that gets you in the first incarnation - two roles here - mother and daughter - very subtle/economic] - THEN devastating as the daughter - just imagine what Frances would have done to 'Basic Instinct' or "Klute"?

As we now know - A RARE talent way ahead of her time.

The DVD is excellent - try watching it in German - with English subtitles - now that's an experience, and it brings a freshness to this quirky work.

The title? Frances pre-dates Mr. Presley with this song .......... very authentic, but then we do have an artist at work.

A SHOWCASE FOR FRANCES FARMER
Howard Hawks, who directed this film stated that Frances Farmer was, without a doubt, the finest actress he ever worked with. In a dual role in which she excellently plays both a mother and daughter with honest conviction, Farmer is perhaps even more natural than say Barbara Stanwyck in her playing: she emerges, almost without emphasis, from out of the crowd at Arnold's elbow. He's at one of the gaming tables a lumberman who's just struck it rich and he naturally draws a crowd. When Arnold eyes Farmer, she says in her low voice "Hullo" her mouth crooked while chewing gum - she's an assured dame who doesn't take any baloney. Not a typical Hollywood beauty, the large - boned Farmer was an intellectual individualist who eventually ruined her career because of her egotistical independence which was deemed as mental illness. She was actually committed to institutions for the insane in the forties and her real life became a horror story. Alcoholic and lonely (after being released) she got a job in Eureka, California working as a secretary by day as Frances Anderson. She got away with her anonymity for about a year when a man approached her coming out of a liquor store. He said to her "You're Frances Farmer aren't you?" for reasons unknown to her she blurted out "Yes, I am - how did you know?" he replied "I remember you" and thusly encouraged her to revive her career somewhat. Farmer died of cancer of the throat in 1970. The excellent performance of look - alike Jessica Lange is worth seeing in the 1982 movie biography FRANCES.

A Truly Unusual and Effective Star Performance
This film resurfaced briefly about 15 years ago when the movie "Frances", detailing the fall of actress Frances Farmer, was released and did so much for the career of Jessica Lange. I saw "Come and Get It" around that time, and while I appreciated the double role played by Farmer, the performance that impressed me most from this excellent movie was that of Edward Arnold. Why so? Because Arnold is a stout middleaged man, but so powerful that he rivets your attention to himself. Arnold plays Barney Glasgow, an ambitious logger who schemes to become the richest man in Wisconsin through the lumber business--partly by planning to marry the boss's daughter. He is almost derailed by a barroom singer, dark wigged Lotta/Frances Farmer. He stays around long enough to earn and throw away her love before setting off to achieve his object and leaving her to marry his sidekick, Walter Brennan in an Oscar-winning role. All Barney's plans come to pass, except that he's not happy in his marriage and has a rocky relationship with his handsome son, Joel McCrea. A trip back to logging country brings him in contact with Lotta's daughter and namesake, blond wigged Frances Farmer. He becomes obsessed with trying to recapture the love he spurned years ago by pursuing the young girl, with serious ramifications for all involved. I'm glad that Edward Arnold, usually seen only in supporting roles as in "The Hucksters", gets the chance to display his full range here in "Come and Get It". He really runs the gamut from bare-knucked fighter to tender lover to distant father to passionate old fool. Few roles offer so much variety to an actor in one movie, and Arnold rings true in every scene. The expression on his face in the final confrontation he has with his son as Lotta makes a crushing remark about his age is dynamite. In my opinion, Edward Arnold really ought to have won an Oscar himself for this superlative performance. I also thought they had a really good idea for this "through the generations" movie: Rather than cast a young man to play a young man at the beginning and then wear old makeup for the rest of the movie, they opted for the opposite approach. Edward Arnold has a little shoe polish in his hair for the first part, and then a title card announces that 20 years have passed and he's now 50. He then proceeds to perform a part that is written for his own age. (This same trick was used a few years ago in "The Mask of Zorro" with Anthony Hopkins to great effect.) Take my advice about this movie and "Come and Get It' as soon as you can.

The best of Frances Farmer
"Come and get it," directed by Howard Hawks until Samuel Goldwyn fired him and replaced him with William Wyler, is hokey and I find the overinsistent music grating. Offsetting it are the cinematography of Greg Toland (making it look like a Wyler film), the anti-clearcutting message (any message being famously anethema to Goldwyn!) and two fine performances by Frances Farmer. She appears to have been put forward (by Hawks who replaced the star he had been given with her) as an American boondock Marlene Dietrich. Sometimes she looks like Jessica Lange (yeah, I know the chronology!). She is somewhat too innocent for her first part and too old and knowing for her second, but the camera likes her, and the two parts (one the mother of the other) are very different.

Howard Hawks obviously liked Walter Brennan. Here, in his first (of three) Oscared part and first (I think) Hawks part, Brennan early on is a stereotype Swede, but probably earned his Oscar for the scene in which he has to tell Frances Farmer that Edward Arnold has left by marrying her. He's fine in the latter half of the film, too. Knowing how he would age, it's somewhat disconcerting seeing him skinny and old.

I don't find Edward Arnold at all convincing as one of the boys (even as the dominant one, ruthlessly using them). He _is_ convincing as a magnate and in wooing the daughter of the love of his life, who looks strikingly like her mother, being played by the same actress (Ms. Farmer). His deflation when she tells Joel McCrea he shouldn't strangle his father both because of paternity and because he's an old man is also effective. It seems a Wylerian moment, but Hawks's "Red River" when Montgomery Clift knocks down John Wayne also springs to mind. Hawks alleged that Wyler argued against Hawks being credited, Goldwyn wanted to credit only Wyler, but decided to list both directors (who went on to become more famous than they were in 1936).

The main reason to see this is to see Frances Farmer before her real-life tortures began. ... Read more

Reviews (1)

Good '40s B; character actors help this newspaper yarn
This is one of Paramount's low-budget features produced by William Pine and William Thomas. As is customary with Pine-Thomas product, the cast is accomplished, the story is atmospheric, and the workmanship is efficient. The entire cast will be familiar to fans of old movies: William Gargan and Ann Savage as the bantering newspaper reporters trying to outscoop each other when a murder victim disappears, George Zucco as a velvet-voiced, dangerous killer, Leo Gorcey as comedy-relief office boy, Charles Halton as a worried museum curator, Don Beddoe as a frustrated detective, Paul Hurst as a bemused watchman, and George E. Stone as the missing corpse (always a fine actor: he doesn't say a word, but he expires eloquently). The pacing is good and the dialogue is snappy. The DVD derives from an old 16mm print that was very popular at some TV station -- there are frequent cue marks for station breaks, but thankfully no choppiness or serious damage. This has its own peculiar charm for movie addicts, because it looks just the way late-show movies used to look on television, before video and cable. It's an enjoyable hour for movie buffs. ... Read more