Description

Stanley Kubrick directed a cast of screen legends-including Kirk Douglas as the indomitable gladiator that led a Roman slave revolt-in the sweeping epic that defined a genre and ushered in a new Hollywood era. The assured acting, lush Technicolor cinematography, bold costumes and visceral fight sequences won Spartacus four Oscars©; the blend of politics and sexual suggestion scandalized audiences. Today Kubrick's controversial classic, the first film to openly defy Hollywood's blacklist, remains a landmark of cinematic artistry and history. ... Read more

Reviews (107)

A Cry for Freedom
Even though the story of SPARTACUS takes place in ancient Rome, the film itself is a profoundly contemporary work of the time that it was made; the eve of the Civil Rights movement in the US, and at the end of the HUAC witch hunt in Hollywood.

The chief engineer of this project is producer Kirk Douglas who portrayed the salve hero, but the wisdom behind all that is screenwriter Dalton Trumbo, black-listed in Hollywood, worked under various pseudonyms during the fifties for films such as ROMAN HOLIDAY, here properly restored to his rightful position of one of the best screenwriter in the business, with his own name credited on screen. The original novel is also written by another black-listed writer, Howard Fast, who claims that the idea of writing a film about the slave revolt came into his mind during the time that he spent in prison.

So the message that its story carries is unviersal, and even contemporary: man's struggle for freedom, striving for human equality, the solidarity of all that are oppressed disregarding their creed, birth and color of skin--the gladiator whose death triggers Spartacus' revolt is portrayed by Woody Strode, afro-american actor and a regular of John Ford's movies. The film embraces humanity, freedom to chose the way he wants to live, the freedom to trust one's friend, even the freedom of sexuality --Spartucus and his lover Varinia are never legally married, but she gives birth to his son--, and the freedom and passion to sacrifice oneself for the sake of his pears and the great cause of human freedom.

One the other hand, the film strongly accusse the corruption of power, the decadence of those who have power, and the rise of fascism. Democratic politician Charles Laughton, with all the virtues and vices that a regular politician has, taken over and eventually eliminated by seemingly much "cleaner" military leader Laurence Olivier. Needless to say, the clashes performed by those two great actors is a great excitment to watch.

Kirk Douglas gives one of his most convincing performances as the revolutionary leader of slaves, Jean Simmons plays his innocent, healthy and strong partner with a healthy sensuality, and Tony Curtis gives credibility to Spartacus' surrogate son who represents culture and education; they are not barbaric slaves, they can be as cultured as their masters are, and even better because they are true, honest humans as opposed to the corrupted masters whose wealth and culture are based on oppression of other humans.

To simply put, SPARTACUS is a fine example of how a good entertaining movie can carry a powerful message; when it truly suceeds, it'a great joy to watch.

This fully packed DVD is a re-issue of Criterion's celebrated LaserDisc edition. Added to a interesting commentary track by the filmmakers including Douglas and Peter Ustinov who won an oscar for his performance, there is another track on which Dulton Trumbo's notes to the rough cut of the film is read--a great lesson to all those who wants to learn how to write a film. Othe supplements includes a hillarious interview with Peter Ustinov, a lot of scketches and stills, and more. It's a great DVD. Please enjoy it as many times as you want.

note: the superb package design is a reproduction of the original poser art created by Saul Bass. The poster is also among the suplements of this DVD.

Strong story, weak depth, but epic & entertaining
Based on the novel by Howard Fast, Spartacus recounts the life of a slave turned gladiator turned freedom fighter. The story of Spartacus begins with him as a free spirited Thracian slave in 70BC. Spartacus is trained in a gladiator school, where he meets and falls in love with the slave girl Varinia. He then leads the other gladiators in revolt, and assembles a huge army of thousands of slaves to challenge the might of Rome. The ending is tragic, but not without hope. Spartacus was in fact a historical figure and the movie's story of his squashed rebellion against Rome - including the crucifixion of 6000 survivors - is largely rooted in truth.

The movie can best be described as epic. On a grand scale, the Roman empire is brought to life, with its corrupt aristocracy and its simple lower class. The epic battle scene which forms the climax of the movie features 1000s of extras, and although it is sometimes hard to tell who is on which side, the effect is magnificent and grandiose. Despite the action scenes, the movie is surprisingly introspective at times. Unlike modern efforts such as Gladiator, Spartacus is not an action movie as such, and fans of contemporary action movies not surprisingly find it disappointing. Spartacus' struggles are just as much emotional as they are physical. But to me this is a strength and not a weakness: the shortcoming of most modern action movies is not present here because the characterization is superb.

Even though the movie is not gory (although it is bloody at times), the adult themes make it unsuitable for children. For instance, successful gladiators are given women to have their way with them. And on numerous occasions, although nudity is not shown it is strongly implied and barely concealed. The implication of bisexuality (in a scene not present in the original) and promiscuity is also strongly evident as part of the corruption in Rome. But it also touches Spartacus. In a rather daring move for the 1960s, Spartacus and his woman Varinia conceive a child out of wedlock, which is presented as natural and good. Spartacus' fight for freedom apparently includes sexual freedom. Its hardly surprising that these two fall in love in a rather sappy love-at-first-sight Hollywood romance, where they don't even know each other as yet. Ultimately it is not only Rome that chases gold, girls and glory without morals, but Spartacus himself is not really much different.

But it is not only the moral ambivalence of this movie that disturbs me, but also its underlying political themes. How is Rome presented? As totally corrupt, with no redeeming qualities. "If a criminal has what you want, you do business with him." How are the slaves presented? As noble and good. "We're brothers." The army of slaves proceeds in a carnival like atmosphere, and the producers present lots of images of joyful children and exuberant elderly as part of their number, to arouse sympathy for their cause. But isn't this rather a cliché? It is, but that's the whole point. Aristocratic Rome is presented as evil, and the oppressed lower class need to be liberated from her corrupt rule. The rich are all evil, the poor are all good. Sounds familiar? It's a defence of the brotherhood of communism. Ultimately the movie endorses peasant revolt as a legitimate option, and advocates rebelling against authority. Rather than rendering to Caesar what is Caesars, it encourages open rebellion, in order to usher in a new political system of brotherhood and freedom from repression. Sound too far-fetched? Here's the clincher: Howard Fast, author of the novel on which this movie was based, was a devout and committed member of the Communist Party of the USA, and for many years his works were black-listed. The story of Spartacus may be rooted in history, but Howard Fast has reinterpreted it as a defence of his own political communist ideals. Rome represents Western Capitalism, and the slaves represent the oppressed peasant proletariat. Spartacus' defence of liberty, equality and fraternity is in fact anachronistic.

So sure this is an epic movie. At the time of its production in 1960, Spartacus was the most expensive movie ever made. With a cast of star actors, especially the compelling performances of Kirk Douglas as Spartacus, Laurence Olivier as Crassus (the influential Roman senator), Peter Ustinov as Batiatius (the bumbling and greedy owner of a gladiator school), and Charles Laughton as Gracchus (the corrupt and scheming Roman senator), it's no wonder it won four academy awards. But the fact that Spartacus is an epic movie does not disguise the fact that it is not deep. Any deeper themes that the movie does have to offer are communist and hedonistic, and this ideology mars the story. This may be a movie that rivals the grandeur and scale of Ben Hur, but thematically, it doesn't come close.

Even so, it's still worth a look. Even if one cannot share the cause of Sparticus and political ambitions it embodies, one has to admire the spirit in which Spartacus fights for his cause: it is a losing battle, and yet with dignity and fervour he fights for what he believes is right - a quality to be coveted. And it's ironic that if you can overlook the weaknesses of its depth, the strength of this movie lies in its superficial story. It has comedy, tragedy, triumph, romance, action, intrigue, and an epic scale. As entertainment, it's an enduring epic that still can be enjoyed today.

3 Stars For 3 Outstanding Performances...
Kubrick replaced Tony Mann on directing duties for this brave, but lumbering costume epic which is ultimately propped up by three beautiful performances. Peter Ustinov(won the Academy Award for Best Supporting Actor for his work here), Charles Laughton(should have been similarly nominated)& Laurence Olivier all do incredible work under the guidance of a very young Kubrick & all deliver what comes very close to their best work. Their presence is notable chiefly for the fact that without them, SPARTACUS would never have been the extraordinary spectacle it surely is. Kirk Douglas gives a brooding(& lifeless)performance in the title role, ultimately undermining any sequence not containing the three aforementioned thespians. Jean Simmons, as the love interest, is similarly uninteresting & while undeniably beautiful, fails to evoke for the viewer the love & devotion she receives from Douglas & ultimately Olivier. Pre CGI, it comes armed with some beautifully choreographed & violent battle sequences, but for those looking for an earlier version of Ridley Scott's GLADIATOR, this one may come off a little old-fashioned. It is worth noting(& you'll learn this from the wonderfully insightful 1992 Ustinov interview[his impersonation of Laughton is a riot]contained in the bonus material)that Ustinov rewrote all the scenes he plays with Laughton. It should come as no surprise to the discerning viewer, they are easily the best moments in the film.....

Divine Right of Kings
Sparticus represented more than a gladiator-slave uprising. Sparticus represented the Italian's people dissatisfaction with the Roman Senate and the general corruption and impotence within the Senate.

Citizens once had a voice with the Senate and the Senate listened keeping the republic free. Now, the Senate caved to the demands of the dictators and military commanders and installed for the first time an Emperor giving him six legends too suppress the slave uprising.

In the end the slave and citizen uprising could not resist the Roman legions. Many of the people joining Sparticus were discontent citizens of Rome and individuals from countries that did not like Rome. Originally, the republic which was composed of strong free men. The military started the slow strangulation of the republic by replacing it with an empire. Julius Caesar was introduced as the shadow of the wings of power. Crassus was depicted as the total dictator who put oppressive demands on Rome and the Senate as the body that had lost its power. The Senate historically would have debated the issues and objected to outrageous demands. Instead, the Senate allowed the Emperor to rule Rome and the Emperor established the laws and source of the law and executed the law. The Emperor had power too repeal old laws and establish new laws, in place of the old ones. The punishments for violation of the law could be death and probably a Roman death on the cross demonstrating the Emperors absolute power. The Citizen did what they were told and they did not act without permission. Secret police reported any activity that could bring punishment on the citizen. The laws were supposedly designed to bring security. As the Emperor distrusted and feared the people this only accelerated the downfall of Rome.

The notion of divine right of kings was established. Taxes imposed on the people support the huge military appetite generated as Rome conquered many European countries. The government would become an autocracy and the Emperor the supreme commander.

Sparticus hoped to flee Rome, negotiated with pirates too build ships using gold taken during conquests that would take them from the tip of Italy away to a promise land. Instead, the pirates betrayed Sparticus and did not build the ships allowing the Roman legends to trap Sparticus from the South pushing him towards Rome and forcing a confrontation in the fields close to Rome.

Sparticus was defeated, his men cruxified along the way to Rome, when captured his men coined the phrase "I am Sparticus" when asked who was Sparticus. Sparticus wife would become a member of Crassus Heirloom yet the Senator would arrange for her escape and continue with his own suicide and Sparticus son would remain free.

Good movie, bad transfer
It should be noted that the reviews on this page refer to two different versions of the Spartacus DVD. This review refers to the Universal single disc edition, not the Criterion two-disc release.

While both versions of the film are the same, this version is devastated by a bad transer: both sound and picture quality are seriously lacking - even as far as a blue edge to blacks, including the widescreen matting, and blue fades in parts of the film. The sound is poorly balanced - voices are too quiet, music too loud. I was contantly turning the volume up and down throughout. So much for "fully restored."

If you are interested in quality and really like this movie I would skip this version and go for the Criterion release, which many other people own and have approved. ... Read more

Reviews (38)

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

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

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

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

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

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

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

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

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

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

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

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

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

A Really Good Movie
MY DARLING CLEMENTINE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Amazon.com

Any short list of the all-time greatest Westerns is bound to include this 1948 Howard Hawks classic about an epic cattle drive. Red River features one of John Wayne's greatest performances. Like his Ethan Edwards in John Ford's 1956 masterpiece The Searchers, the Duke plays an isolated and unsympathetic man who is possessed by bitterness. Wayne is Texas rancher Tom Dunson, who adopts a young boy orphaned in an Indian massacre.That boy, Matthew Garth (played as an adult by Montgomery Clift in his screen debut), becomes Dunson's assistant and heir apparent--until Dunson's temper gets out of control during a long cattle drive and Matt intervenes to stop him.From that moment on, Dunson swears he will kill Matt.Red River has everything a great Western ought to have: a sweeping sense of history, spectacular landscapes, stampedes, gunfights, Indian attacks, and, of course, Walter Brennan as Dunson's crusty old cook and comic sidekick, Nadine Groot.As a special bonus, the film also features the legendary Harry Carey (upon whom Wayne would base some of his gestures in The Searchers) and his son Harry Carey Jr., who became a fixture in Ford and Hawks Westerns.Red River is essential for anyone who loves Westerns, or movies in general.This one's a real beaut.--Jim Emerson ... Read more

Reviews (41)

THE cattle-drive movie
Having weighed-in on _The Culpepper Cattle Company_, I have to genuflect at the altar of THE cattle-drive movie-- _Red River_.

This film pre-dates _The Searchers_ by about eight years. The lead character, Tom Dunson, is a sort of prototype for Ethan Edwards. This is John Wayne without sentiment or schmaltz, until the final scene which differs from the story on which the film is based, and which jars a bit.

That being said, _Red River_ still stands as the definitive cattle-drive movie. Wayne/Dunson builds an empire but then must head the herd north on a drive that simply _has_ to get through-- despite conflicts with nature, rustlers, Indians, and between Dunson and his men, including his adopted son, Matthew Garth.

Wayne is cast against his own stereotype as Dunson and comes across as a hard and unlikeable character. Walter Brennan as his sidekick, Groot, nearly steals the show just as he did (again) in Hawk's _Rio Bravo_. Montgomery Clift does a passable job as Matthew Garth, but is outclassed by John Ireland as Cherry Valance, the gunfighter turned cowhand.

The rest of the cast is outstanding. You need only look at the cast list to appreciate the fine ensemble company that Howard Hawks put together for this movie. This is also on of Dimitri Tiomkin's finest musical scores.

Finally, I agree with Maltin on this point: beware edited and abridged copies of this film. Anything less than a 133 minute running time should not be bothered with.

"Take `em to Missouri, Matt!"

A Flawed Western
For an hour and 20 minutes or so, Red River is a great western (even with such embarrassing moments such as Wayne killing the Indian and discovering the bracelet he had given his girl, the stuttering cowboy who is killed in the stampede, etc.). It boasts a stunning Dimitri Tiomkin score, terrific B&W photography by Russell Harlan, a wonderful performance from Montgomery Clift, a powerful (if typically one-note) performance from John Wayne ... and then Joanne Dru enters the story and it basically falls apart from this point on. She is so completely incompetent that she manages to almost sink the film! Her dialogue is, admittedly, terrible (Hawks bragged that he wrote most of it!), but her line readings are so terrible that it just makes the awkward dialogue even more awkward. The ending is absurd, a complete build-up to a deadly collision and it ends up a rather weak fist-fight. Perhaps, had Wayne's performance included emotional shadings, the ending might have worked, but since he is so one-note hard and uncompromising throughout, not for one moment do I believe the final sequence. In the original Borden Chase novel, the character dies at the end. It should have happened here, also (same major flaw in Wayne's The Searchers, too). On top of which, the John Ireland character is built up as a major challenge to Montgomery Clift, but this is simply dropped halfway through. Indeed, the Ireland character is allowed to fizzle out. The auteur theory is what keeps critics from analysing this film from a more objective viewpoint. But it is very watchable and its strengths certainly outnumber its weaknesses.

Black and white sensation!
John Wayne's Red River is one of the most exciting and classical westerns of our century. So, if somebody hates black and white, screw them, it's their problem. Don't even review the product, genius! Alongside The Searchers, this is one of the Duke's landmark films. Also, John Wayne was our ultimate hero, prevailing in every gunfight and every story. His acting AND his strength certainly prevail here. Also filled with action packed gunfights and suspenseful scenes. The ending is fine.
The DVD transfer is nothing special, and somewhat grainy at times. MGM DVDS are not known to be the best DVD makers on the market. To shape up this classic western, expect a Criterion Collection re release and enjoy!

An American Treasure
In the rich history of American film, this piece of work by Howard Hawks makes the short list. It has been used as a template for any filmmaker wishing to make a Western, and further, it is one of those rare pieces of culture by which a society defines itself. If you needed to demonstrate to a foreigner what the American character is all about, you could show them this movie.

As a Western, it certainly has it all: cowboys killing Indians, men leaving women for the call of the trail, gunfights, stampedes, love, betrayal, and finally redemption. It is also gorgeously filmed, beautifully written, and well acted throughout. And finally, it stars John Wayne, an actor that towers over today's crop of male actors like an oak over weeping willows.

This film also stars Montgomery Clift as the surrogate son that eventually challenges Wayne for control of the drive. In terms of acting styles, Clift and Wayne were about as different as two actors could be: Wayne seemed always to act on instinct and charisma, while Clift was one of the young Turks through the 40's and 50's, a proponent of a new style of acting - the method developed by Lee Strasburg (one can easily imagine Wayne giving his crooked sarcastic grin over the very idea of a "school" where young people learn acting). Yet, casting these two together works. By all reports, the two hated each other at the beginning of the production, but had developed an actor's respect for one another by the end of filming. Wayne, after watching Clift in one of his scenes, was quoted as saying something like "damn, that little queer sure can act."

John Wayne, for his part, goes toe-to-toe with the new school of internal acting and more than holds his own. His portrayal of a powerful, unbending man who slowly descends into bitterness and hate is a real treat to watch. His performance was, to use a phrase Wayne would have hated, multi-layered and very, very skillful.

Other performances to watch: the ever-faithful Walter Brennan, one of the greatest character actors of all time, is perfect as Wayne's partner/friend. It is in watching Brennan's reaction to Wayne's increasing dementia that we see how far off track he's gone. John Ireland also is a standout as Cherry Valance, the pistoleer, who is full of casual grace and menace. As if all the above wasn't enough, the great Harry Carey is onboard briefly as Mr. Melville, radiating authority.

Every film lover should own this film and watch it at least once annually.

Every American should treasure it as a source of national pride.

One note: this is one film that simply demands a better DVD treatment. The picture and sound isn't bad, but it isn't widescreen, and there are absolutely no special features. C'mon, Criterion Collections, where are you? --Mykal

Mutiny on the plains
Howard Hawks' 1948 RED RIVER is an ambitious, sprawling, epic western. It's on a number of top-100 lists, and it belongs there.
The movie tells the story of cattle rancher Tom Dunson and the first drive along the fabled Chisholm Trail. It's based on Borden Chase's "The Chisholm Trail"
The movie hits the ground running. Within the first five minutes there's a romantic leave taking, an indian attack and a burning wagon train. The romantic parting of Dunson (John Wayne) and his intended is a key incident in the development of this bitter and hard-driven character. Dunson and Groot Nadine (Walter Brennan), who left the wagon train with Dunson, are joined by a survivor of the massacre, Matt Garth - who, fourteen years later, will become the quick-drawing Montgomery Clift. The shocked boy is leading a cow, Dunson and Groot have a surviving bull, and with this bovine first couple they make for the open land south of the Red River.
Fast forward 14 years and Dunson has 10,000 head of cattle and a depressed, post-Civil War southern economy that can't afford to buy them. They must drive them to Missouri and sell them to the more prosperous northerners or face ruin. During that drive Dunson descends to near insanity and Matt ascends as a moderating influence and, apparently, becomes the only one who can successfully lead the men and cattle to market. Without giving too much away, something happens on the drive that will drastically change Dunson's and Matt's relationship and jeopardize both of their lives.
It's pretty heavy stuff, and John Wayne is rock solid great as the troubled Dunson. This is one of the greatest roles in the career of a sometimes under-rated actor. Montgomery Clift is fine in his screen debut.
Walter Brennan's Groot is a marvel. That guy was such a good actor. Like all good sidekicks, and Brennan was the best, Groot is part court jester and part moral barometer. It helps that he plays most of the movie without his upper teeth in, too. Brennan was always better when his mouth was half empty.
There are some images that will stick with you for a while. Thousands of cattle crossing the Red River, a midnight stampede with a couple of hair-raising rescues. And there's a neat little bit with an angry John Wayne striding down a long street crowded with cattle - Wayne doesn't break stride, of course, and the cattle move out of his way like a longhorn Red Sea parting for an angry Moses.
For the most part the script is well written, and there's enough amusing scenes (usually including Brennan) to keep the whole thing from collapsing under it's own weight.
For instance, when Dunson and Matt are deciding who's to go along on the drive, Dunson excludes Groot (bum leg.) Groot mutters to himself like a live-action Popeye while Dunson and Matt continue their conversation. A distracted and exasperated Dunson finally says:
Dunson: What are you saying? I can't understand you. Where's your store teeth Matt bought you?
Groot: They're in my pocket.
Dunson: Well, why don't you use them?
Groot: 'Cause they whistle. I use them for eating.

Then there's the Joanne Dru character, Tess Millay. It doesn't help that her first appearance occurs in the third scene. One hour and forty-one minutes into the 2:20 movie, by my clock. My guess is the scriptwriters didn't want to clutter up the action with a romantic subplot until absolutely necessary. Fair enough, but it means that Millay's and Matt's romance has to be telescoped severely. Basically they meet, fall in love, and part in a day. It stretches an audience some. Worse, Dru as an actress simply wasn't right for the part.
One of her character traits, as written, is to talk and keep on talking when something worries or frightens her. She does this to negligible effect. It's a role that seemed to have been custom written for Jean Arthur, who always could blabber on to good effect, who could always drop her voice down to a husky purr or have it emit an abrupt squeak for maximum dramatic effect. Unfortunately Arthur was nearly fifty when this movie was made, so I guess casting her as a romantic lead opposite the young Clift would have, uh, added an strange and unwelcome dimension to the movie. Dru, in one of her earliest roles, just doesn't have the chops to carry off the role convincingly. All things considered, I think this piece of miscasting is more Hawks' fault that anyone elses. Anyway, I shaved a point off because of it.
I don't normally notice bad transfers, but there are a few dark night scenes in RED RIVER that look like someone lit a Fourth of July sparkler. And, less forgivable, my new factory-sealed-from-a-reputable-national-outlet retailer did NOT contain the advertised four page booklet. Finally, I've played the movie twice so far, and each time the start up menu screen doesn't appear until AFTER the movie is over. ... Read more

Reviews (6)

Widescreen fans please note...
...you can order a very good quality print of this film from Amazon France's marketplace sellers. The only drawback is that the English version has French subtitles which can't be erased using the menu. However, when you see the low price, even accounting for postage, you won't complain.

A movie that needs to be remade
Don't get me wrong. This movie is fun but as historical accuracies go, it falls pretty flat. The movie doesn't even use the real names of the people involved.

I'm a big fan of epic period pieces and I think there is a lot going for this kind of movie to be made today (with an international cast)

First I'd choose John Milius, Michael Mann, or Mel Gibson as director

Sample Cast
George Clooney or Billy Zane.....US Marine Major
Catherine Zeta Jones...Russian countess
Elizabeth Hurley....British ambassador's wife
Tom Sizemore.....US Marine sgt
Chow Yun Fat.....Prince Tuan
Michelle Yeoh....Empress Dowager
Brian Cox....British Ambassador
Ioan Gruffudd (Hornblower) or Heath Ledger....British Captain
Jermey Irons....German Colonel
Sophie marceau....French ambassador's wife
Alan Rickman....Russian ambassador

You get the picture :-)

spectacular yet intimate
Before the era of political correctness, Caucasian actors donned make up to play characters of other races; roles which, for whatever reason, could not be filled by non-white actors at that time. If you are the kind of person who gets mad watching white people play "sinister" Chinese roles then stay away from this movie or be prepared for this kind of thing:

Prince Tuan: "Your majesty, the execution has been stopped!"

The Empress: "Who!"

Prince Tuan: "Jung Lu!"

However if you can keep that momentary suspension of disbelief going just long enough to allow yourself to get into the story, then you can believe Flora Robson is the Empress and 55 Days is one of the most underrated films of all time: the action sequences are extremely well paced and choreographed and the film, for the most part, stays faithful to history. Obviously the producers could not reproduce the entire Forbidden City so the "palace" exterior scenes are somewhat hokey, but the legation compound and the city wall are reproduced in a convincing way and as set pieces they are used to great effect.

Look for Walter Gotell (General Gogol from the 007 films) and Nicholas Ray himself (in wheelchair) as the American ambassador.

55 days at peking
With all the wham, bam, thank you not madam junk that is prevasive now, this has a superb plot and it has class. This is a 5 star in a world of -1 s! Niven is wonderous and Ava is regal with her feet of clay.

Enjoyable epic and star vehicle
"55 Days At Peking" is an unusual and enjoyable epic and star vehicle. Not least among its admirable characteristics is a set re-creating in Spain an authentic impression of the old Legation Quarter of Peking. The set makes sense to anyone who knows the actual site in modern-day Beijing. That is a considerable achievement in the pre-digital cinematic art of illusion. It shows, too, that there was a great deal of China knowledge behind the making of the movie. Well into the 1990s, many Boxer Rebellion-era structures survived in the old Legation Quarter of Beijing. Due to enduring political and cultural sensitivities, the historical significance of these structures was unsignposted and ignored by the official Chinese tourist authorities, and most of the area was occupied by Chinese Government organisations. The gate of the former British Legation which was recreated for the movie could still be seen just off Chang'an Avenue in Zhengyi Street, a short walk southwest from the Beijing Hotel. The layout and other striking architectural features of the area are well-recorded in books such as Michael J. and Yeone Wei-Chih Moser's "Foreigners Within The Gates" (Oxford 1993). The movie takes liberties with history--overplaying, for instance, the US military contribution, and making the British Minister (played by David Niven) appear a more militarily energetic figure than he seemed to contemporary observers of the siege of the legations. Some purists might find jarring the poor Chinese calligraphy in graffiti, and the casting of (generally well made-up) Caucasian actors in major Chinese roles. However, the standard caveat applies that this is an entertainment, not a documentary. Talent like Chow Yun-Fat, John Lone, Gong Li, Zhang Yimou and Wayne Wang wasn't available to western moviemakers in 1963. "55 Days At Peking" entertains with a creditable impression of this historical episode when China warred by proxy on the rest of the world. It is an interesting film to compare with "Khartoum", in which Charlton Heston also plays the lead, as part of the canon of epic moviemaking about imperial and colonial wars. The casting and illusion of China is worth comparing with "The Inn Of The Sixth Happiness" (1958), in which Robert Donat plays a Chinese mandarin and Wales substitutes for China. It would be fascinating to see a remake of this film with a re-worked story and script, a re-arrangement of Dimitri Tiomkin's excellent score, digital technology, and cross-cultural casting and direction. However, as it probably still could not be shot in China without unacceptable interference, it might need "Red Corner" treatment. ... Read more

Description

Berlin, 1939: At the dawn of World War II, power-mad SS Officer Wallenberg (Helmut Berger of THE DAMNED) is ordered to find and train Germany's most beautiful women to work in the opulent brothel of Madam Kitty (Ingrid Thulin of CRIES AND WHISPERS). Here these Nazi nymphs will submit to the bizarre passions and carnal degradations of the Reich's highest-ranking men and women while Wallenberg secretly records their acts for blackmail. But when an innocent young prostitute (Teresa Ann Savoy of CALIGULA) uncovers the conspiracy, her revenge will ignite a holocaust of pain, pleasure and shocking sexual perversion. The story is true. The depravity is real. The film is SALON KITTY.

John Steiner (MANNAJA), Tina Aumont (TORSO) and John Ireland (RED RIVER) co-star in this infamous epic co-written and directed by Tinto Brass and featuring exquisite production design by OscarAE winner Ken Adam (BARRY LYNDON, GOLDFINGER). Released in America as the heavily censored MADAM KITTY, this controversial shocker has been fully restored from the director's own personal vault print and features extended scenes of sexual atrocities now presented for the first time ever. ... Read more

Reviews (7)

Dull Brass
Interesting only because it was made by Europe's premier exploitation director, "Kitty" is tedious and has pretensions to being an expose of the Nazis. This film is nothing more than a forerunner of the Italian (...) genre that flourished briefly in the 1970's. As to the controversial and perverse elements - they are clumsily handled and pointless. You'll find more (...) readily available elsewhere and the horror of the Nazis is presented much more graphically and forcefully in movies by Speilberg and Polanski to name but two. If you're interested in a more thoughtful attempt at controversy from Italian directors with better artistic credentials, you might try "Seeds of Evil" and Pasolini's "Salo: 100 Days of Sodom".

about the movie salon kitty......
This story is basically how that one man that tried to black mail hitler was shot dead in the suana by the hitler's loyalist(the armed police officer of that time). There are quite a number of quality nudity scene but the sex scenes[what I can say is those whom watch sex scenes in today's movie like forbidden will definitely shy away from this] in this movie as I've watched the Malaysian's bootleg copy DVD9(clarity as good as code 1) which my friend brought back from there. Recommended purchase for those whom are interested in this movie.

So-So Effort From the Director of "Caligula"
Director Tinto Brass is probably better known for lensing the controversial film "Caligula" starring Malcolm McDowell, Helen Mirren, and Peter O'Toole than he is for the sleazy little number called "Salon Kitty." Made five years before the Vidal/Guccione/Brass "Caligula" collaboration, "Salon Kitty" sports several similarities to Brass's later production. This film also takes a historical setting as its starting point, specifically National Socialist Germany of the 1930s. The film boasts similarly impressive set pieces constructed by Oscar winner Ken Adam of "Barry Lyndon" fame (this is saying something because "Barry Lyndon" is one of the best period pieces ever put to film, in large part due to the costumes and sets). "Salon Kitty" even casts the beautiful Teresa Ann Savoy in a major role as the young Aryan prostitute Margherita (she played Caligula's sister in "Caligula"). Yep, it is easy to make plenty of comparisons between this movie and the later "Caligula." It is also quite simple to make comparisons of the bad traits in both films because "Salon Kitty" tends to bore more than it titillates.

Specifically, "Salon Kitty" takes place in 1939 Berlin just as the German military readies itself for war. At some point, higher ups decide to assemble the best examples of young Aryan womanhood in order to train them as prostitutes in service to the German soldiers. A German officer of supposedly impeccable standards, Helmut Wallenberg, runs this new training program. Wallenberg, who has his own nasty little secrets, comes across as the archetype of every German officer portrayed in films since the end of World War II: he is imperious, cold, calculating, and as cruel as they come. In order to put his plan into action, Wallenberg enlists the services of Madam Kitty, a brothel owner of some note who spends her evenings performing cabaret numbers for the customers. Kitty scoffs at Wallenberg's suggestions until the German officer closes down her business in order to force her into service to the state. Kitty finally acquiesces to the Germans and proceeds to turn the young Aryan gals into carbon copies of the prostitutes she once presided over at her brothel. What follows are endless scenes of partying, nudity, and cabaret numbers as Kitty and her coterie perform for the fatherland.

Unknown to Kitty and the nubile Margherita, Wallenberg runs the brothel as a cover for a massive spying operation complete with bugged rooms, bugged telephones, and blackmail. And there is great potential for blackmail as high-ranking National Socialists show up to party with Kitty and the gang. All the while the tape recorders run away behind the walls, capturing any hint of criticism directed against the German government. Margherita eventually discovers these shenanigans when she falls in love with one of her clients only to discover later that the authorities arrested and executed him for treasonous comments he made in the brothel. Armed with deep suspicions about her role as a prostitute, Margherita approaches Kitty and together the two launch their own private war against Wallenberg and his henchmen.

"Salon Kitty" is a sick, morally reprehensible film. The party scenes are exercises in sleaze, with swastikas adorning the most unusual of objects. Every character engages in the most nauseating of acts, and Brass tosses out gruesome scenes in an autopsy room and a slaughterhouse just in case you forget you are watching a movie about National Socialist Germany. The worst scene comes early in the film, and I am not going to say anymore about it except to say you will know it when you see it. In addition to the sordid scenes, the movie further offends with a poor script, mediocre acting, and pacing that absolutely plods along. The picture seems to run for an eternity due to these elements and a few others. Madam Kitty and Margherita don't even put the pieces together about Wallenberg until well into the movie, long after most of the viewers have long wearied of the whole exercise. About the only thing I enjoyed about "Salon Kitty" was Madam Kitty's cabaret numbers and watching the beautiful Teresa Ann Savoy. I think "Salon Kitty" serves as a good example of what occurred in certain filmmaking circles in the 1970s: overly long, overly pretentious attempts to weld sleaze with art house pretensions.

The DVD version of "Salon Kitty," put together by William Lustig's Blue Undergound, gives more attention to this film than it really deserves. The transfer is widescreen and looks darn good for a movie of this age. There are tons of extras, too, including interviews with Tinto Brass and Ken Adam, gallery stills, radio spots, and a trailer for the film. When "Salon Kitty" originally came out in the 1970s, the U.S. print suffered numerous cuts and arrived on our shores under the name "Madam Kitty." Completists, like me, will appreciate Lustig's generous restoration of the film while lamenting that the movie really isn't that great. Still, I've seen much, much worse than "Salon Kitty," so spending a couple of hours with it wasn't a complete loss. If you really must see this film, try and rent it instead of buying it.

One of the worst films ever made?
What alternate universe did the makers of this film come from? It doesn't even deliver on the ick factor like Ilsa She Wolf of the S.S. did. It's just plain embarrassing.

LUSH SEXPLOITATION.....
First of all, there is no "sexual perversion" or "sexual atrocities" in this film. But it IS brought to you by the director of "Caligula". "Salon Kitty" is a very lush, very raunchy and very graphic sexploitation film set in 1939 Europe about an SS officer who converts a popular brothel into a spy operation staffed with specially trained and selected girls. The madam, Kitty (Ingrid Thulin), doesn't understand why she had to relocate and restaff and is unaware of the covert goings on. It supposedly is being done to blackmail certain officials but this kind've takes a back seat to the nudity and sexual cavorting. The officer (Helmut Berger) is a twisted and tortured soul---incapable of any sort of sexual relations or relationships. The heroine, prostitute Margarita (Teresa Ann Savoy), looks innocent but is capable of handling the most demanding situations imaginable. She ends up cluing Kitty into what's going on and helping bust the whole thing open. Nazi symbols are everywhere (even on garters!) and some scenes are mind-boggling in their silliness. At times I was wondering if the whole thing was a satire. But some non-sexual scenes (like the slaughterhouse) are repellent in the extreme. The costumes are extravagant and beautiful and suited to the decadence of the brothel. Miss Kitty's song numbers (oh yes, she performs, too) are a bit much in their Dietrich-esque sultriness. Thulin resembles an aging drag queen as she carries on in her over-the-top costumes and blonde wigs. Savoy is pretty (and looks disturbingly too young) but cannot act for love nor money. And she has chances at both in this film. Berger is all pomp and starch as the officer. He's believable. You wonder if he's gay at times. He refuses the services of Kitty's girls but tries with Savoy. It's unpleasant because he's too cold and too far gone. The sex in "Salon Kitty" IS rather repulsive but there's ample male and female nudity for voyeurs. The soundtrack is good---with appropriately decadent music and song numbers suited to the period and place. The DVD print is mostly good but ranges from too dark in some scenes to quite vivid in others. Overall, it's watchable with plenty of extras and a second disc all about "Salon Kitty". A collector's item for those with a taste for this sort of thing. Just be careful who you show it to. It's very strange stuff. ... Read more

Amazon.com

Elvis plays a roughneck country boy, seething with hostility but gifted with literary talent. In the occasionally precious Clifford Odets script, this comes across as James Dean by way of a Thomas Wolfe novel--and not a bad shot at respectable acting by Elvis. His monologue about his dead mother, delivered to sympathetic shrink Hope Lange, is one of the most affecting things the King ever did in a movie. The songs are kept to a minimum, and Presley has some good, thrumming energy with the young Tuesday Weld (bad girl) and Millie Perkins (good girl), two uncommonly smart actresses. This is one of many Hollywood melodramas suggesting the angst brewing beneath the prosperity of the Eisenhower-Kennedy era, and it holds up decently, if not spectacularly. For Elvis fans, it's a poignant glimpse at a performer still in the young-buck stage of exciting possibilities. --Robert Horton ... Read more

Reviews (5)

Elvis' best SAFE dramatic role.
When I say "safe", I mean where Elvis does not killed in the end like in "Love Me Tender", and "Flaming Star." This something that's much better and I prefer a whole lot. Elvis has not one but three female costars: Hope Lange, Tuesday Weld, and Millie Perkins. I don't know about you but he gives an equal amount of attention to every one of them except near the end when he focuses more on Hope Lange. I love the songs which are: "Wild In The Country", "I Slipped, I Stumbled, I Fell", "In My Way", and "Husky Dusky Day". My favorite line is when Elvis as Glenn Tyler says "This routine of yours could stagger a billygoat." That's one of his best lines. All Elvis fans should see this once in their lifetime. It's a must!

Wild In The Country
Wild In The Country would offer Elvis his last serious role in a film by a significant director (Philip Dunne). Elvis portrays Glenn Tyler, a southern boy from a rural, poverty-stricken background, who has just been released from juvenile hall. Central to the character of Glenn is that the brooding young man is at a crossroads in his life, and he must choose the path most suitable for him. His choices are represented by three women. Noreen (Tuesday Weld) is Glenn's cousin who urges him to stay with his own kind. Noreen offers passion and good times, but such a carefree existence allows little thought for the future. Betty Lee (Millie Perkins), who is Glenn's childhood sweetheart selflessly places Glenn's future above her own needs, urging him to leave town and attend college. She is prepared to lose him that he may have an education and a secure future. Hope Lange costars as Irene Sperry, the court-appointed psychiatrist assigned to Glenn's case, who recognizes in him the raw talent of a budding writer. She also encourages Glenn to attend college but causes scandal when she falls in love with him. Glenn ends up following Betty Lee's advice and asking her to wait for him.

With a strong supporting cast including a young Tuesday Weld who was only 17 years old during the film's production. She was one of the hottest and wildest starlets in Hollywood and already had romances with two of of her costars in the film - Elvis and Veteran Actor John Ireland.

Produced for Twentieth Century Fox by Jerry Wald. Released June 22, 1961. Color.

Of Banana Oil and Bathtubs With Dry Ice In Them
This movie starts with Glenn Tyler (Elvis) trying to kill his brother Hank in the barn while their father looks on as casually as if this was an everyday occurrence. His brother throws a pitchfork at him, and Glenn breaks a milkstool over Hank's head, injuring him... There is a hearing after this fit of violence and Glenn is put under the care of his uncle who runs an elixir business. This uncle has a brasen daughter, Noreen, who has a baby, and he is determined to get Noreen and Glenn hitched up. Noreen is perpetually tight from the elixir, the uncle spends his nights at the bowling alleys and poker games, and Glenn divides his time among work, his girlfriend Betty Lee, and visits to Mrs Irene Sperry the psychiatrist. Irene finds out that Glenn has always loved writing but stopped because people laughed at his dreams of being a writer. So she asks him to write down the story of what happened at Hi-Tension Grove a few nights before (Glenn had had an argument/near fight with Cliff Macy, a rich young guy) and he does as she asks. She is amazed at his talent and wants to show it to a professor friend of hers who might be able to get Glenn a scholarship at a college . But he won't let her. He gets upset at the very idea of letting anyone else see it, and goes home to spend an evening being wild and crazy and drinking elixir with Noreen. They go to Irene's house (this one of the best scenes in the movie)... Glenn is drunk and so is Noreen, and he's yelling to Mrs Sperry to give his story back. He turns on the hose and rattles out all kinds of nonsense while he "hoses down the heat" - but really it's the porch and the front windows. Irene and her housemaid Sara watch through the door, and Irene is amused at him until he turns away calling out, ''Ok, oh well, you don't give a damn about me anyway,'' and Noreen, who's been swaying and chattering right along with Glenn, kisses him. Irene suddenly knows that she does care. The next day, Irene takes him his story back. After that little confrontation he decides to rewrite it and type it up like she asked and let her show it to her friend at the college. He goes along with her and on the way back they get caught in a violent rainstorm, so they stop at a motel and get rooms until the rain stops... then occurrs the other sweet little scene in the movie, when Glenn tells Irene he's in love with her. After they get home, he tries to call her three times, but she refuses to talk to him. She loves him deeply too, but doesn't want him to know or see. She agrees to marry Cliff Macy's father, who has been begging her to marry him for a long time now so he can divorce his wife. That evening Irene is expecting Mr Macy to come and celebrate the engagement, but Glenn gets to her house first. He talks with her, tries to find out whether she loves him, but she refuses to tell him that she does. Glenn takes her by the shoulders and begs her to answer him - and Mr Macy walks in. Seeing them together he begins to get ruffled and demands to know whether the rumours about Glenn and Irene spending a night together in a hotel were true. Glenn tells him the truth (that it is a lie), but Mr Macy won't believe him. He makes the mistake of telling Glenn that Irene has agreed to be his wife. Glenn looks daggers at Irene, and as he walks out he calls to Mr Macy, ''If I find your son and he comes home in a box, don't say I didn't warn you. Mrs Sperry, I'm never going to see you again.'' And he walks out. Irene runs to the porch, but Glenn has gone. She starts crying and tells Mr Macy that she does love Glenn. Meanwhile Glenn goes back to Noreen, and asks her to run away with him. On their trip out, Glenn stops at Hi-Tension Grove, violently knocks down Cliff and leaves before finding out that he has killed him. Not ten minutes pass before the police arrest him for manslaughter. At the hearing the next day, Mr Macy does all he can to cut down Glenn, determined to see him dead. Irene shows up and testifies that no matter what Glenn may have said, he was innocent because he didn't mean to kill Cliff. No one believes her - after all, they were in a small town, and slander spreads fast. After Mr Macy lies and condradicts Irene's statement that Cliff had a bad heart and that it was surely the real cause of his death, Irene leaves the courtroom. It is a dramatic moment. Just before going out, she turns back and meets Glenn's eyes. He is gazing at her, and he looks as though about to cry. He still loves her. She turns and leaves. When she gets home and takes care of a few little things, she shuts herself in the garage and turns on the car, intending to kill herself. Back in the courtroom, Mr Macy is finally admitting that Irene and Glenn were right and that Cliff's death was an accident when word comes that Irene has attempted suicide. Glenn jumps up and runs all the way to her house, where he drops down by the couch where the doctor is trying to revive her, takes her hands and wills her to live again, promising that he will take care of her, that nothing bad will ever happen to her again. The movie closes with Glenn going off to college, but we know that he will come back and that he will marry Irene whom he loves.

This is one of the best Elvis movies except for a few things. I felt that the difficulties between Mr and Mrs Macy should have been detailed a little more - you never quite understand what exactly was wrong between them that he wanted to divorce her. The other fault is that many times characters who kept appearing were never built up so that you could understand what was going on with them. Mr Macy's son Cliff was a primary example of this.

Also the two songs he sang during the film didn't ''go''. ''I Slipped, I Stumbled, I Fell'' is a cute little tune but didn't seem to fit; he also sings a song to Noreen which also just seemed out of place. I don't know what that was called. The only songs which really belonged, in my opinion, was the title song that he sang during the credits, and the little thing he and Irene were singing on the way home from the college.

This movie had a lot of truly good moments and I think that with a few improvements it really could have been impressive, with all the intrigue and spicy subplots. It was also good to see Elvis playing a character who was somebody with other aspirations than music or performance. You just need to give this movie a chance.That's all, folks.

My review on Elvis movie " Wild In The Country "
"Wild In The Country" is certainly the number one best movie of Elvis, eventhough it seems to be a forgotten one. Actress Hope Lange (the role of Irene Sperry) had great chemistry with Elvis. I'm not an Elvis fan, but I do think he had done an excellent job being the character Glenn Tyler...END

A True Elvis Gem That Must Be Recognized
Elvis can act, and sing and love!!! This movie, based very loosly on the JD Salamenca novel Lost In The Country, is about Glen who is put on probation after a run in with his drunk borhter(and a previous charge of car theft). He is to move in with his Uncle Rolfe and cousin Nory and work in Uncle Rolfe's Snake-Oil Medicine factory and he must meet with social worker Irene Sperry. He still finds time to spend time with girlfriend BettyLee but is warned to leave her alone, by her father. Even from the beginnig Glen is a sour, angry young man and only finds time to soften up to BettyLee and later Ms. Sperry who he considers an enemy who's trying to find out if he's "touched in the head". When he can no longer carry on with BettyLee he has a fling with his cousin Nory(who has an illegitimate baby) whom he butts heads with at first. Uncle Rolfe, in a way, encourages this but then seems outraged(when it really happens) causing Glen to lash out and run away to work at a car garage. Right now the only women he can turn to is Ms. Sperry who finds a hidden writing talent in Glen and asks him to write in a journal and present it to him. ONe day she takes him to a prestigious University and encourages his writing talent. ON the way back they stop over in a motel during a storm and of course they attempt to make love only to have Irene come to her senses. While there a young man(Glen's enemy) reads the motel register and realizes the two are there. The young man's father is the town lawyer who is married and carrying on with Ms. Sperry. When he tells his father(whom he can't stand), the man confronts Irene who confesses she is in love with Glen. She tries to discourage Glen, who feels the same way, when she explains her husband felt the same way but he was not ready for marriage and it led to his accidental death. Unfortunately, Glen is at the house when Irene is confronted by her lawyer lover and Glen then claims that the young man will die for this and the boy does after being hit by Glen. Glen is put on trial but Ms. Sperry arrives saying the deceased had a heart problem(she overheard this from the boy's father) but the father vehemently denies it. Irene is ruined and attempts suicide. Glen has been exonerated(after the boy's father realizes he cannot hide the heart condition and hurt Irene) and is released and tells her he will always be there. Glen then goes to college but still says he will be back for her. I can believe it! This is a rare opportunity to see an angry and sensitive Elvis who can act and he does very little singing. It's a shame his movie career didn't continue on this course. Hope Lange is excellent but she seems to play "the other women" alot, but always harmless. It's the first time she plays a rather weak one, especially when she tries to kill herself. This is a wonderful movie ... Read more

Amazon.com

The main draw of these low-budget horror pictures is their unabashed affection for the great horror movies of the past. In Waxwork, Zach Galligan and his teen friends investigate a wax museum, where they are menaced by the re-animated tableaux. It's about as energetic as a wax dummy. The sequel is livelier, with Galligan now passing through a time portal that transports him to various classic film scenarios:Frankenstein, Dawn of the Dead, Alien, and, briefly and amusingly, Nosferatu (that's Drew Barrymore as one of the virgins cowering in bed). But why no parody of Vincent Price in House of Wax? It goes on too long, but there are weird celebrity guest stars aplenty (Bruce Campbell, David Carradine, Martin Kemp). Director Anthony Hickox helmed both offerings, without quite deciding how much humor was too much humor. In short, genre cultists are pretty much the exclusive audience here. --Robert Horton ... Read more

Reviews (19)

In Spite of Flaws, This Political Noir Is Still Powerful
There are certain subjects that films in general and Hollywood in particular never handled very well--and chief among them are politics. But even some fifty years after it first hit theatre screens, ALL THE KING'S MEN still has plenty of power. Filmed in a "noir" style and based on the famous novel which was in turn based loosely on the rise and fall of Louisiana's Huey P. Long, the film offers the story of Willie Stark, a small-town lawyer who is nominated for govenor by a political party seeking to defeat their opponet by dividing the rural vote. When Willie gets wise to the plot he turns on his false benefactors and rockets to political power--but once in power the honest small-town-joe becomes even more corrupt than those who sought to manipulate him for their own gain.

Broderick Crawford justly earned an Oscar for his performance as Willie Stark, whose ego and thirst for power grows to horrific proportions--and whose corruption gradually taints even the most honorable people around him. The supporting cast of John Ireland, Joanne Dru, Anne Seymour, and Walter Burke (to name but a few) is also quite good. But the real knockout here is actress Mercedes McCambridge as Willie Stark's hard-edged assistant and sometimes lover; it is an astonishing performance which, in spite of its supporting status, remains locked in mind long after the film ends, a role for which McCambridge won an Oscar as Best Supporting Actress.

The script doesn't really do full justice to Warren's novel, the film is a bit slow to start, and the story itself feels a bit dry in the telling--but the performances and numerous memorable scenes carry it through to tremendous effect. ALL THE KING'S MEN is so explicit in its portrait of how corrupt politicians manipulate the public that it should be required viewing for every one of voting age. Recommended.

The political rise and fall of Willie Stark
"All the King's Men" turns Robert Penn Warren's Pulitzer Prize winning novel into the role of a lifetime for Oscar winning Best Actor Broderick Crawford. The story is inspired, for lack of a better word, by the real life and times of Huey P. Long, the infamous Louisiana politician who seemed intent on adapting fascism to American politics. Director Robert Rossen also wrote the adaptation of the celebrated novel, and ultimately it is Rossen who deserves the credit for the film's power. There is an intensity to the film, beginning with the torchlight processions, campaign barbecues and banners for Stark that we see behind the opening credits. When Stark is finally revealed to us in a rapid-fire sequence showing him at a football stadium, speaking to a crowd at the fair, steamrolling legislators, posing for photographs with his family, there is a vitality that presents the political figure of Stark as an utterly American political figure. The only problem with this film, at least for me, is that the transformation of Willie Stark from the hick lawyer with a sincere concern for the plight of the downtrodden into a drunken, egomaniacal dictator once he has tasted power. The change is too sudden, just like the assassin's bullet that cuts Stark down at the end, so that instead of becoming a tragic figure (a good man gone wrong), we are left wondering who is the real Stark and forced to conclude it is the original naive do-gooder that was the sham. However, once we jettison the character's roots, there is no arguing that this is not a compelling political narrative and the fact that the true story of Huey P. Long again proves that fact is stranger than fiction should not really enter into the equation.

Ordinary
The book is infinitely better. Robert Penn Warren wrote a deep and subtle story about the American dream, morals and desires of early 20th century America. The movie keeps the plot and thats about it. It's well acted but there isn't much here. Won the Oscar for best picture in a weak year.

Never again as good. Brodrick Crawford is another of that
select group of actors who peak early in their career. In his case it is 1949, he won an Oscar, & never again got close. Eventually Crawford moved to the small screen where we,of a certain age, remember him on "Highway Patrol". But his best was better than most. His character, in All the King's Men, is Willie Stark, an idealistic, honest, populist politician bucking the system. He is also ambitious & seeing his opportunity, seizes it. His greed, lust for power & ego run amok & turn him into the very thing he had fought against only worse. He corrodes everything & everybody he touches & comes to a fitting end a 'la Huey Long, the man on which the film & presumably the book were loosely based. Highly recommended for all who like this style of political noir or junkies.

What a disappointment.
What can I say -- I found this film to be so incredibly trite, so simple were its morals and weak its characterization. John Ireland is a lump at the center of the film, Mercedes McCambridge's character arc is severely underdeveloped. As for Willy, we never see his true motivations for an instant, and this is most maddening. I have read a small portion of Warren's book, and it so so vastly superior to the piece of Hollywood pap it's ridiculous. It's hard to imagine a book that is considered the greatest political novel in American history is represented by this connect-the-dots fare. ... Read more

Reviews (18)

A great Western
Despite its title, this movie does not center around the gunfight at the OK corral. Instead, this is a sort of life of Wyatt Earp, and includes much information about his life in Dodge City as well as Tombstone. One of the most interesting aspects of the film is Earp's developing relationship with Doc Holladay, which is perhaps never treated so well as in this movie.

Burt Lancaster, who plays Wyatt Earp, does an exceptional job. And Kirk Douglas, as always, is also very good. Still, I just can't picture these men well dressed, impeccably groomed, and always wearing light colors. I give this movie four stars for the simple reason that I can never think of Doc Holladay again without picturing Val Kilmer. For me at least, the definitive movie about Wyatt and Doc will continue to be the recently made "Tombstone." I enjoy this movie immensely, but it just doesn't have the raw power that the later film does.

"Boot Hill...Boot Hill...So cold...so still"
One of the best retellings of the historical gunfight to ever make
it to the silver screen. Burt Lancaster and Kirk Douglas are in top
form as the legendary gunmen Wyatt Earp and Doc Holiday.Both on the
opposite sides of law by design the two men develop respectful but
cautious friendship in a time where a man's life depended on how he
was with a gun.

This is by no means the "Tombstone" version of the '90's with it's
with it's glorified hightech shooting angles nor the over sensitive
"My darling Clementine"(Both Classics in their own respect) This is
however a spirited techicolor wonder of a film best noted for its
splended pace, great cinematography and a grand cast of familiar
faces including the always lovely Rhonda Fleming and Jo Van Fleet
along with faithful bad guys Lee Van Cleef, Jack Elam and a young
Dennis Hopper. Also in the cast Forest De Kelly,Kenneth Tobey and
John Ireland. And the best sung theme song since "Do not for sake
me" from High Noon and "El Dorado" from El Dorado.

The DVD version is superior in sight with it's respected scope of
2.35:1 Enhanced and sound is what you expect for mono. I was way
disappointed with no trailer added. Shame on you Paramount!

Better than OK
Much like its predecessor "My Darling Clementine", this film uses the names of real people for its characters - the Earps, Clantons, Doc Holliday - but has virtually nothing to do with historial reality. It's a marvelous film nonetheless and entirely different in its feel and approach from "Clementine." "Gunfight" focuses on the friendship between occasional marshall Wyatt Earp and occasional gunman John Holliday (Burt Lancaster and Kirk Douglas), and if anything underplays the intense bond between the two men in real life. Screenwriter Leon Uris telescopes several years of events into a few months to fit the movie, and director John Sturges was never better at the pacing and staging of his story. For my money this is Kirk Douglas' greatest performance; the combination of menace and degraded dignity he gives the TB-ridden Holliday is something to see. Just as great as the performances and production work is Dimitri Tiomkin's score. It's so powerful it seems almost like another character; the same effect he achieved in "Red River" for Howard Hawks.

A Classic
I always loved the pairing of Burt Lancaster and Kirk Douglas because of their impeccable work together.

While lacking in the grandeur of recent remakes of the tale, the movie certainly does ably tell the story leading up to the titled gunfight--as well as the friendship between Earp and Holliday. Unlike Tombstone, Wyatt's brothers have a relatively peripheral role in the movie. Note: Morgan Earp is played by DeForrest Kelley, who went on to play Dr. Leonard McCoy in TV's Star Trek.

Lancaster is excellent in his portrayal of the straight-as-an-arrow Wyatt, and Douglass is his equal as the smug Doc Holliday. I love Douglas's line (when he volunteers to be Wyatt's deputy to track down some bank robbers): "Well, I am handy with a gun, but those best able to attest to my skill are no longer around to do so."

The movie deserves a place in any western fan's DVD collection.

A showcase for Lancaster and Douglas
Basically, a vehicle to showcase the talents of Burt Lancaster and Kirk Douglas, but an appropriate one. Though there are many characters, this is hardly an ensemble cast, with Burt and Kirk prominent in virtually every foot of film. Rhonda Fleming provides a bit of window dressing in a wonderful but brief role as Wyatt's love interest.

More of a classic western than "My Darling Clementine", an earlier movie about Wyatt and Doc at the OK Corral, but this version is more episodic in nature, though equally fictional. Don't look for nuance in the characters. The bad guys are bad, the good guys good but not flawless.

Gunfights, gambling, galloping horses, bar room ladies... If you love westerns, you'll love this one. ... Read more

Reviews (26)

Superb Epic of Ancient Rome and its decline
"The Fall Of The Roman Empire" is one of the very best of the 1960's lavish epics detailing various historical periods. Filled with eye popping historically accurate costumes, spellbinding sets (The Roman Forum was the largest set built up till that time) heavy doses of corruption and intrigue and believable performances combined with intelligent writing, this film has it all and indeed is a winner all the way.

The film makes a real attempt not to stray too far from historical fact and focuses on the beginnings of the fall of Rome after 150 years of dominating the known world. The story opens with the last troubled period of the reign of Marcus Aurelius the benevolent philosopher Emperor who spent most of his reign reluctantly fighting on the frontiers of the empire against invading barbarians, through to the succession of his son the corrupt and insane Emperor Commodus. Woven into the fictional dialogue and personal situations is a great deal of historical detail which is authentic and illustrates the research and care that went into the preparation of this production.

Movie making during the early 1960's was a time rich in many historical epics and what distinguishes "The Fall Of The Roman Empire" is its wonderful performances set against this sprawling historical canvas of the decay of the mighty power of Rome. First and foremost the late Alec Guinness shines in a superb performance as Marcus Aurelius. Being a student of Roman History I was amazed at how closely he actually is made to look like the emperor and his performance is one of the towering achievements of the film. He is at times a strong leader, a trifle world weary and concerned about his place in history. It is one of Guinness's finest performances. The main focus of the story is the love affair between Lucilla (Sophia Loren, never more beautiful than here) and the upright Livius (Stephen Boyd) and their continued conflict with the new Emperor Commodus (Christopher Plummer). While Lucilla is the heroine of the piece here in actual history she was a seasoned intriger who was executed by her brother Commodus two years into his reign for plotting his death. This historical inaccuracy aside all three are excellent in their roles, in particular Plummer who really steals the scenes he is in as the corrupt, power mad Emperor and is far and way the best performer so far to play Commodus (the more recent "Gladiator" included). He is everything one has come to expect from a Roman ruler, mad, vicious, lavish in appearances and manner. It really is an attention grabbing performance and paved the way for his very different but equally famous role of the following year in "The Sound Of Music". Seasoned performers like James Mason, Anthony Quayle and Omar Sharif (pre "Dr. Zhivago") round out the excellent cast.

"Roman Empire" benefits from some of the very best visuals lavished on a film at this time. First and foremost the recreation of the Roman Forum would have to go down as one of the truly great sets in motion picture history. Long before computers did all the work this set was actually built to life size and is amazingly accurate in its layout and design. The battle scenes that take place on the empire's frontier near modern day Vienna are exciting and well staged and are some of the best of their kind ever undertaken. The film benefits from all the extensive location shooting that took place including the battle scenes supposedly taking place in Persia that were actually shot in Spain. Ably directed by Anthony Mann who had a similiar epic in the classic "El Cid" he keeps the action moving along at a good pace and allows the romantic subplot to weave into the story at appropiate times. Combined with Dimitri Tiomkin's sublime musical score it is a beautiful production to sit through and even its long running time (Almost 3hours) doesn't detract from it.

For lovers of Hollywood epic productions and students of Roman history "The Fall Of The Roman Empire" is an excellent piece of entertainment from back in the grand old days of film making when no expense was considered too much to achieve a truly great effect on screen. Certainly this film is one of the best of its kind and I highly recommend it as an exciting and colourful insight into the grandeur that was Rome.

Fall of the Roman Empire (1964)
Fans of the blockbuster hit GLADIATOR will find this film somewhat familiar as it deals with the same factual characters and events. Sophia Loren and Stephen Boyd provide attractive window-dressing as the starcrossed lovers, but the real stars are Alec Guiness, James Mason and especially Christopher Plummer whose portrayal of the evil emperor Comm