Reviews (93)

Farmers vs. Ranchers
Shane is the title of the movie and the main character of this well-made Western. Alan Ladd plays the stranger who arrives in a Western community where a range war between farmers and ranchers is about to play out. The farmers' leader is Joe Starrett, played by tough, reliable Van Heflin. He wants the farmers to stay, to stand up to rancher Rufe Riker and his hired hands.

Riker tries to buy Starrett out, but Starrett won't go. Then Riker hires a gunman - Wilson - played by Jack Palance. He's as mean as they come and he verbally goads one of the farmers into trying to "draw" on him. Wilson(Palance) kills the farmer without blinking.

The farmers are about ready to give up. But when Riker sets fire to a farmer's home as the community gathers to bury its dead, the farmers vow to "play one more hand." Riker sends men to Starrett's ranch to tell him that Riker wants to see him. But Shane stops Starrett by physically knocking him out. He knows that he must go into town to "talk" to Riker.

Civilization is fast approaching on the Western range. And Shane is going to hasten that change by going into battle against Riker.

Western Classic
Shane might well be the greatest western ever made and a true American classic. Recently in a New York Times article, Woody Allen of all people considered it the best American film of all time. The movie is about a mysterious stranger who unexpectently comes into a homestead family's life and helps in their battle against a greedy landowner who is threatening them to move off their land. Alan Ladd stars in the title role and he exudes an air of calm control and dark mystery. Shane is an expert gunman and a skilled fighter, but he doesn't want any trouble. He tries hard to avoid a fight in the local saloon, but no matter how hard he tries, trouble finds him. The homestead family is played by Van Heflin, Jean Arthur and the young Brandon De Wilde. Mr. De Wilde is excellent as a wild-eyed youngster who grows to idolize Shane. Mr. Heflin plays the strong, defiant landowner, but also loving husband to his devoted wife, played tenderly by Ms. Arthur, and his son. He stands by his new friend Shane, when the other homesteaders want him to leave when they feel he's stirring up trouble. A young Jack Palance is menacing as an icy hired gun hired to drive the homesteaders off their land. The showdown between him and Shane is a tense and taut showdown. Director George Stevens captures the breathtaking beauty of the American Old West. Shane was nominated for several Academy Awards, but failed to win any. Despite that fact, it remains a brilliant film worth repeated viewings.

Revisionist History as Entertainment
A lone rider approaches a family ranch. He observes a gang riding up to order the owner off his land. There is an economic conflict between a big land owner and small ranchers who are bringing in Jersey cows and working the land for agriculture. The big land owner wants to eliminate competition from small businesses; his government contract shows his political connections. The film shows the use of barbed wire, the invention that put an end to the open range. The settlers go into town for supplies. A barroom brawl occurs when Shane is attacked; Joe Starrett joins in to help his hired hand. Tavern owner Riker sends to Cheyenne for a hired gun, Jack Wilson, for a final solution to the homesteader problem.

The settlers gather for a July 4th celebration. They hear of Riker's hired gunfighter. That evening Riker show up to make a final offer to Starrett: join him for a good price, and abandon the other small ranchers. This offer is refused. The next day the gunfighter insults Torrey to force a duel, and kills him. Joe Starrett announces he will go into town next, without waiting for the other settlers. The question is: shall the people be oppressed and swindled by a rich powerful landowner? (Most of the large ranches were owned by corporations from back East.) Some of the small ranchers decide to abandon their claims. Yet they have the right to settle and farm the land. "This country wasn't made for just one man." The burning of one home makes the settlers decide to hang on for a while.

Riker makes an offer to draw Starret to his place (for an ambush). Calloway turns up to warn Shane of this trick. Starrett's wife argues for giving up and moving out now. (Credible?). Shane tries to stop Starrett, and they fight in the dark (to hide their body doubles?). Shane wins and leaves to keep the appointment, and force a final showdown. Shane successfully resolves the problem of Jack Wilson, then Riker, and moves on to new territory. [This avoids any retribution by Riker's allies.) {This film uses the dime-novel fantasy of a "fast-draw", which did not occur in historical records.]

This story is loosely based on the Powder River war. In reality, the settler's militia drove off the armed gang hired by the large landowners. The large ranchers tried to get rid of small ranchers by passing a law that gave them sole rights to all cattle in the state! Read the chapter in William Weir's "Written With Lead" for more details. "Unhappy are the people who want a hero."

Two stars. One for each time it put me to sleep.
Don't get me wrong, folks ,I am A HUGE fan of classic Westerns! This one, it just doesn't make it for me. Don't even get me started about Alan Ladd's "tough but gentle" potrayal of Shane. Ladd is unconvincing to this reviewer not only in the tough guy category, but his dramatic side is very, very "Ward Cleaver." AND THAT KID!!! That blasted kid. Joey, played by Brandon De Wilde. Good gawd, if he wasn't the most annoying little snot that came out of Hollywood. (before the debut of Pauly Shore) "Shane, are you gonna shoot that man? "Shane, are you gonna let me look through your Playboys?" I spent half the film (before I fell asleep) hoping Shane would say, "Come here, Joey, and help me change the wheel on this stagecoach" and have a little "accident." Joey's absence from the second half of this movie MAY have kept me awake. (but I doubt it.)

miscast but still legendary
SHANE is among the most renowned westerns in motion picture history, inspite of the miscasting of Alan Ladd in the title role. many other more accomplished actors come to mind of whom could have assumed the role, and many of these were offered the role. however it was Alan Ladd who was awarded the role.

Ladd was a formidable actor and delivered a fine performance inspite of the other more accomplished actors who may have given better performances.

regardless of Ladd in the role of SHANE, the movie was legendary and considered a true classic to this day. the other actors, which include: Van Heflin, Jean Arthur, Brandon De Wilde, Emile Meyer and Jack Palance all gave stellar performances. however it was George Stevens, a director whose name is synonymous with great filmmaking who was solely responsible for the renowned success of this truly legendary western classic. a true masterpiece. ... Read more

Reviews (13)

A Tortured Soul Finds Peace
This was the first time Alan Ladd and Veronica Lake were in the same film together, and when box office receipts exploded because of the gritty and tortured performance of Ladd as the killer Raven, Paramont knew it had a star. The chemistry of Ladd and Lake together was electric also, and Paramont also knew it had a couple. Ladd might not have gotten her in this one, but they ended up together in the other three films they would make and everyone loved it.

This was a dark and star making performance from Ladd. From the very first scene, as Raven stops on the stairs, gun in hand, to pause and decide if he should shoot the little girl who has seen him, he was a star. Raven has been double crossed by "Neptune Club" owner Willard Gates (Laird Cregar) and is out to settle the score. Ellen Graham (Veronica Lake) has a nightclub act and a cop boyfriend played by Robert Preston.

The government wants Ellen to help get the goods on Alvin Brewster (Tully Marshall) who runs a chemical company that has sold poisonous gas to the Japanese and also happens to be Gates's boss, the man pulling all the strings. But when Ellen senses the pain inside Raven and becomes his only friend, other than cats, we know the bad guys don't have a chance.

Doom follows Phillip Raven also though, his horrific chidhood slowly revealed to Ellen, his willing captive. She begins to reach Raven and make him human once more, maybe human enough to make the ultimate sacrifice for his country, and put his personal demons to rest. It was a teriffic turn from Ladd and one of his most memorable roles.

It's a good movie made great by Ladd's performance. It was also the beginning of screen magic for he and Lake. You have to see this movie if you like crime noir and/or you like Ladd and Lake, and how could you not? They were lightening in a bottle and the cork is blown completely off here....

A nice, slick bit of 40s movie-making
This Gun for Hire was based on the Graham Greene novel A Gun for Sale and was considerably toned down and glammed up for the early 40s movie going public. Not that there's anything wrong with that.

I found this movie rather enjoyable, it is easy to see why Ladd and Lake were made into a screen team. They are supported by Laird Cregar as a plotting spy with no stomach for violence and Robert Preston as Veronica Lake's cop boyfriend. Alan Ladd steals the show as Raven, a killer for hire who really only likes cats. (as a cat lover, I was automatically more sympathetic to him) Cregar's Gates betrayed him to the cops and now he wants revenge.

Raven and Lake's Ellen, a nightclub magician, cross paths throughout the movie and she begins to strip down his tough guy veneer to reveal an abused childhood. Armed with her brains and a considerable amount of flag waving, Ellen tries to persuade Raven to give up his vengeance and uncover an Axis plot.

Ladd, Lake and Cregar are all marvelous but the usually wonderful Preston (best known for his smooth con-man in Music Man) isn't given much to work with and his cop character feels flat especially next to Raven.

This movie is really a must-see for any fan of 40's films and even with its flaws (I also found the final image to be annoying and totally against Lake's independant character), it is still a pleasant way to pass an evening.

Over-rated....Lake and Ladd make up for a tired scenario
This is the movie that made Alan Ladd a star, and his teaming here with Veronica Lake caused quite a stir back in 1942.

Sadly, THIS GUN FOR HIRE is really second-rate noir, a tired melodrama that really doesn't hold up, especially for repeat viewings.

Universal's DVD looks very similar to the old Image laserdisc release from a few years back. Not really any improvement

There's a lot of film-noir available on DVD, but this one doesn't live up to the hype. Skip it.

RAVEN A CHILLING SCREEN CREATION
"This Gun For Hire" is a watered down, glammed up version of Graham Greene's novel A Gun for Sale. It represents the first of four cinematic outings that teamed sultry Veronica Lake with the stoically handsome Alan Ladd, a potent cocktail of personalities that proved to be much in demand over the next decade. Perhaps a tad heavy on sentimentality than most film noirs, the plot concerns Philip Raven's (Ladd) obsession with Ellen Graham (Veronica Lake) a nightclub dancer with a rough and rumble cop boyfriend, Michael Crane (Robert Preston). Ellen is supposed to be working on exposing Alvin Brewster (Tully Marshall), a chemical company CEO who sold poisonous gas to the Japanese. But an odd and Freudian driven relationship surfaces between Ellen and Raven when she senses his childhood pain and angst. Ellen becomes Raven's willing captive, in the process transcending his nightmares and making him more human. The very first scene in this film is so incredibly chilling it begs special mention. After having been double crossed by ne'er-do-well, Williard Gates (Laird Cregar), Raven (Ladd) contemplates killing an innocent little girl who has seen him. Even though the resulting decision is typical "golden age" morality, Ladd makes one believe, if only for a moment, that such cold blooded silencing might be possible.
THE TRANSFER: Universal's DVD transfer is remarkably solid and clean. The gray scale is very well balanced with deep solid blacks and whites that are almost pristine. There's a hint film grain and some age related artifacts. Also, some edge enhancement and pixelization occur, but nothing that will distract from a visual presentation that is a considerable improvement over previously issued VHS tapes. The audio is mono and very well represented.
BOTTOM LINE: There are no extras on this disc. Nevertheless, it is a good disc to add to your library of classic cinema.

this gun for hire
In the world of film noire I found all the elements here, with wonderful casting. Lake and Ladd are imbued with a gorgeous chemistry, there is an underlying element that suggests that if the circumstances had been different:they would easily have succumbed to each other. This is indeed Ladd at his best,he carries the subtle,seething world of hatred just beneath the surface, and the camera is fascinated by the intensity of his physical gestures, and facial expressions. In particular when he recounts the nature of the injury to his wrist, you get a window into how his mind works and what motivates him to be who he is. Lake is strong, and vulnerable and I see no mistep in her performance. This is a film that mesmerized me when I was much younger and I still find it to do so. Laird Cregar as Willard Gates is as oily as grease and I felt his performance too was a standout,a coward at the core but willing to have murder done on his behalf . I enjoyed the whole spy-thing interwoven into the plot, and as well very memorable atmospherics, especially the scene where Ladd and Lake are trapped in the railroad yards; the fog just added an extra dimension to the scene. I also found Robert Preston did a fine job too in his role as Lake's detective love interest with an understated performance, but with just the right touch of resolve to win through the day. ... Read more

Reviews (3)

Good railroad western has a top cast
One of Alan Ladd's first starring films is this good detective western as the title character who is a railroad investigator assigned to solve the mystery of a rash of train robberies. Luke "Whispering" Smith meets up with old friend Murray Sinclaire [Robert Preston], a railroad employee whose fine ranch and well-to-do lifestyle are not in accord with his workman's salary. Railroad executive George McCloud [John Eldredge] suspects Sinclaire of wrong-doing but can't prove anything until Sinclaire is caught red-handed looting a wrecked train, and is terminated from the railroad on the spot. Sinclaire is now free to rob and plunder trains as part of a gang led by mastermind Barney Rebstock [Donald Crisp]. With Smith closing in on Sinclaire, the two erstwhile friends square off in a showdown at Sinclaire's ranch in the last reel. There is a romantic triangle of sorts involving Smith, Sinclaire and his wife, Marian. Brenda Marshall has a touching, feminine role as Sinclaire's unhappy wife who was Smith's sweetheart at one time and still carries a torch for him. Ray Rennehan's camera and Adolph Deutsch's music top off a first-rate production.

ONE OF THE BEST RAILROAD WESTERNS
Not just a western, but this is one of the better RAILROAD westerns--there's a lot of us train nuts out here. This film shows a vanished way of life on the American railroad that held true for over 100 years. The power of the railroad, the comradory, wreck trains, roundhouses, etc.

Not only that, but for a 1948 release it's also in COLOR--jeesh not even 1976's SILVER STREAK is out on DVD!!!

You get to see all those 4-4-0 Americans seen in Cecil B.'s UNION PACIFIC--only in COLOR and, get this, Robert Preston is the heavy in this film just as he was in UP!!! Ooh he's a mean one here too.

A good price, hopefully an equally good scan (the scan on Jimmy Stewart's NIGHT PASSAGE was a bit dark; in any even you CAN'T go wrong here!!!

Now if they'll only release DENVER & RIO GRANDE over at Paramount!!!

Alan Ladd's WHISPERING SMITH at last!
Although I write this "review" weeks in advance of the release on DVD of "Whispering Smith," there is, I think, the need to acknowledge this significant release before the event. Certainly after his magnificent "Shane" Alan Ladd's "Whispering Smith" deserves greater familiarity and exposure. It's a superb western, with some excellent acting, good production values, and well worth viewing. I am unaware that it ever showed up on VHS; but now that Universal intends to release it on DVD, moviegoers and western fans can enjoy it in their homes. Thanks, again, to Universal for this release. ... Read more

Amazon.com

As Walt Disney's fame grew during the 1930s, people wanted to know moreabout his studio and how the "Silly Symphonies" and Mickey Mouse shorts werecreated. Although Disney seldom allowed visitors, he periodically offeredviewers peeks inside into the studio through the films in this collection. In1937, Disney made A Trip Through the Walt Disney Studios for hisdistributor, RKO, to help the marketing campaign for Snow White. Thisin-house documentary was later reworked and released as a trailer for the studio'sfirst feature as How Walt Disney Cartoons Are Made. In 1941, humoristRobert Benchley toured the studio and chatted with the artists in TheReluctant Dragon. But the film was released during a bitterly fought strikethat belied its cheerful depiction of the studio.

During the '50s, Walt used his studio as a backdrop for several episodes of theDisneyland TV series. "The Story of the Animated Drawing" traces thehistory of the medium, including re-creations of Emil Reynaud's Théâtre Optique(1892-1900) and Winsor McCay's vaudeville routine with his landmark filmGertie the Dinosaur (1914). "Tricks of Our Trade," which focuses on thecreation of Sleeping Beauty, shows staged footage of four of thecelebrated "Nine Old Men"--Marc Davis, Milt Kahl, Frank Thomas, and OllieJohnston--sketching. In the DVD bonus material, host Leonard Maltin traces thedevelopment of the studio facilities from a Los Angeles garage to its presentlocation in Burbank. Maltin also chats with Disney legend Joe Grant, who cowrotethe "Baby Weems" sequence in Reluctant Dragon. Recorded at the time ofGrant's 94th birthday, the artist displays the sly wit that continues to inspireanimators. (Unrated: Suitable for all ages: cartoon violence) --CharlesSolomon ... Read more

Reviews (10)

Disney 101
The Walt Disney Treasure series is a mix of great cartoons and some more obscure material. This DVD fits into the "obscure material" category, and has only a few animated segments.

From a Disney and Animation fan's point of view, this is a near perfect DVD set. Tons of inside information, interviews and snippets with talented Disney animators and voice actors and every good thing are included in the various documentaries. I particularly enjoyed the history of animation sequence in "The Story Of The Animated Drawing" and the interview with the voice of Donald Duck. It is so strange to watch him talk in Donald's voice!

Much of the information is redundant, and the same sequences show up in a few of the documentaries. The film, "The Reluctant Dragon" is fun, and has the best animated sequences of the set. However, as a theatrical release film is leaves much to be desired. As always, Leonard Maltin supplies interesting commentary and insights for the series.

Definitely not for the casual fan. However, I am sure glad that Disney released this collection. Educational and fun.

Wow! This IS Behind the Scenes!!!
Walt Disney Treasures Review 5: Behind the Scenes at Walt Disney Studios:Leonard Maltin has done it, again. He made in myopinion one of the most interesting. This may not be the greatest quality but it is perfect. Like all the other treasures, it opens with the Walt Disney Treasure Theater and intro with Leonard Maltin. When you get to the main menu, you should start at the "How Walt Disney Cartoons are Made." Here, you could choose to view it with a informational subtitle showing history about the short made in the 30s for Snow White. Leonard Maltin Introduces it as usual. After this, head over to the crown of the collection, the 1941 feature, "The Reluctant Dragon." Introduced by Leonard Maltin, this film was a compiltation of various cartoons including the one that gave the film its name. Slid in between it all was comedy footage of Robert Benchley taking a "Detour" of the studios. He looks for Walt and gets sidetracked as he visits the sound effects stage, a recording session with the voice of Donald Duck, visiting the Multiplane Camera, paint room, sees a storyboard for the short "Baby Weems, and sees the animator's desk of Ward Kimball and watches Goofy's "How to Ride a Horse." After this movie, take a peek at the the film, "A Trip Through Walt Disney Studios." This film was created for RKO to distribute Snow White. This was remade into "How Disney Cartoons are Made" and shown to the public. It is introduced by Leonard. Finally on disc one, take a look at a few bonus features. Go look at "Behind the Boards on Baby Weems" featurette, a "Leonard Maltin's Studio Tour" featurette, and a Reluctant Dragon Gallery. Disc 2 opens with an intro by Leonard. He then gets you prepared to watch the second half, the Behind the Scenes Disneyland Shows. The first one is the pioneering "The Story of the Animated Drawing." This show is in black and white and was the first of three shows Walt would make about animation. He talks about the history of animation with a remake of "Gertie the Dinosaur," a demo of "Koko the Clown," and early animation devices. It is introduced by Leonard. Second is "The Plausible Impossible." This show is in color and came after the show seen before. Walt talked about things that would be impossible in our world, but seem Plausible in animation. It is introduced by Leonard Maltin. Finally, the third show is "Tricks of Our Trade." This one is when Walt Disney shows tricks that he and his animators used to created special effects and easier ways to animate that other studios would never be able to do. It is introduced by Leonard Maltin. Final bonus features are, "Walt Disney Studios" gallery, a "Kem Weber Gallery," and "A Trip Through Walt Disney Studios" radio program. Considering all the things in the is limited edition set show's age, this is good quality. This is worthy of ten stars for content, and five for quality. Buy it before all 250,000 run out.

Also See:

Silly Symphonies
Mickey Mouse in Living Color
Disneyland USA
Davy Crockett
Mickey Mouse in Black and White
The Complete Goofy

"Yeah, that is a lot of beef."
What a treat this is. While this Treasure is probably the least popular of the series, it contains some of the niftiest information I've seen regarding animation. You get the full release of The Reluctant Dragon here, which is huge because I'm positive it hasn't been released to purchase before. There have been VHS tapes for just the animated short of the same name, but it's only a small bit of what you get in the whole package. It's part of a behind the scenes look at the studio, starring the great Robert Benchley. His wife has him take his story- The Reluctant Dragon down to the studio to try and get an animated feature made out of it. Along the way, he gets distracted many times, and in doing so, we get to see some of Disney's techniques in how his cartoons are made. From the sound studio, to the paint shop, to the huge camera used in Fantasia, to even a glimpse at the voice of Donald Duck, to much more. It's an honor to see how everything was done at that time. Robert does a fantastic job of making the trip enjoyable, and not boring. Back then, it took hundreds of people to get one small project done, and watching this feature gave me a new respect for Disney.

It's a shame the company has lost the magic it once had. Walt seemed like a genuine nice guy. He really did care about making people happy, and trying new things in animation. And you can't blame Roy E. Disney for leaving the company, stating "they don't put their hearts into anything anymore". Though it's sad the company is going to be forgotten once Pixar's contract with them expires. Compare every feature Disney's put out since The Hunchback of Notre Dame to some before that point. They're almost all forgettable, save the Pixar ones. And with recent efforts like Home on the Range, are they even trying any more? The animation quality of that looked like one of their many direct-to-video sequels which seem to be their new trend.

Also on disc 1 are 'A Trip Through the Walt Disney Studios' and 'How Walt Disney Cartoons Are Made'. They're both essentially the same program, with the second having a new narrator, some added dialogue, and clips from the premiere of Snow White. These were used as promotional bits to let people know what to expect soon. Leonard gives us a tour of the studio and well...*does halfway hand gesture* it's ok. It's not as in-depth as it could've been, but it was nice to see a few things not shown in any of the other programs. 'Behind the Scenes on Baby Weems' is a quick interview with Joe Grand. Also included are photo galleries from The Reluctant Dragon and the Disney Studios.

On disc 2 we get 3 Disneyland TV broadcasts: 'The Story of the Animated Drawing', 'The Plausible Impossible' and 'Tricks of Our Trade'. While they're all good, the best of the bunch is easily 'The Story of the Animated Drawing'. It's a thorough feature, going back over 100 years, showing us each step in the history of animation. I tell you, some of the guys in the late 1800's/early 1900's...they were geniuses. And if they could see how far animation's come since their time, it'd be overwhelming. Especially on how easy it is to make a cartoon now. From inventors using huge reels of film to project their short features on screen, to carnival sideshows using animation in their attractions. After watching this one, I almost hate all new forms of animation techniques. Using a computer to create huge CG worlds is nothing compared to what some of these guys went through just to give people something new to see.

There's also a rare Australian radio interview with some of the Disney crew and Walt. It's enjoyable, if a bit fake. The woman interviewing everyone has little personality, and the whole thing seems edited just to fit her responses. Never the less, they shed good information, including a little bit on Song of the South. Just hearing them talk about that is a tease since it's likely to not be rereleased ever again. C'mon Disney, that was how animation was done back then. You put can put out dozens of cartoons showing how you portrayed Asians and Germans, but African Americans is a no-no? I hope people keep petitioning to get Song of the South released again. The big fuss Disney's making over it makes it sound like it's just the most racist piece of film ever released. I saw some of it a few years ago and it was nothing but a happy family short. But Leonard's done a good job giving us these gems, and if anyone can get SotS for us, it's him.

There's also a gallery for Kem Webber's art. I couldn't find any Easter Eggs on either disc, so I doubt there are any.

If you see this Treasure laying around, get it. I got mine just a few weeks ago for the same price as the new Treasures amazingly. Since it's the least popular from the second wave released 2 years ago, some are still laying around I guess. But don't get these from Amazon's Used & New- most of the sellers say they're new, but are missing the tin. How do you just go and lose the tin for these? Obviously they're bootlegs. Good luck though. I'd place this right behind On the Front Lines as far as the total package goes.

Walt Disney Treasures Part 5: Behind the Scenes at WDS
Walt Disney Treasures Review 5: Behind the Scenes at Walt Disney Studios:Leonard Maltin has done it, again. He made in myopinion one of the most interesting. This may not be the greatest quality but it is perfect. Like all the other treasures, it opens with the Walt Disney Treasure Theater and intro with Leonard Maltin. When you get to the main menu, you should start at the "How Walt Disney Cartoons are Made." Here, you could choose to view it with a informational subtitle showing history about the short made in the 30s for Snow White. Leonard Maltin Introduces it as usual. After this, head over to the crown of the collection, the 1941 feature, "The Reluctant Dragon." Introduced by Leonard Maltin, this film was a compiltation of various cartoons including the one that gave the film its name. Slid in between it all was comedy footage of Robert Benchley taking a "Detour" of the studios. He looks for Walt and gets sidetracked as he visits the sound effects stage, a recording session with the voice of Donald Duck, visiting the Multiplane Camera, paint room, sees a storyboard for the short "Baby Weems, and sees the animator's desk of Ward Kimball and watches Goofy's "How to Ride a Horse." After this movie, take a peek at the the film, "A Trip Through Walt Disney Studios." This film was created for RKO to distribute Snow White. This was remade into "How Disney Cartoons are Made" and shown to the public. It is introduced by Leonard. Finally on disc one, take a look at a few bonus features. Go look at "Behind the Boards on Baby Weems" featurette, a "Leonard Maltin's Studio Tour" featurette, and a Reluctant Dragon Gallery. Disc 2 opens with an intro by Leonard. He then gets you prepared to watch the second half, the Behind the Scenes Disneyland Shows. The first one is the pioneering "The Story of the Animated Drawing." This show is in black and white and was the first of three shows Walt would make about animation. He talks about the history of animation with a remake of "Gertie the Dinosaur," a demo of "Koko the Clown," and early animation devices. It is introduced by Leonard. Second is "The Plausible Impossible." This show is in color and came after the show seen before. Walt talked about things that would be impossible in our world, but seem Plausible in animation. It is introduced by Leonard Maltin. Finally, the third show is "Tricks of Our Trade." This one is when Walt Disney shows tricks that he and his animators used to created special effects and easier ways to animate that other studios would never be able to do. It is introduced by Leonard Maltin. Final bonus features are, "Walt Disney Studios" gallery, a "Kem Weber Gallery," and "A Trip Through Walt Disney Studios" radio program. Considering all the things in the is limited edition set show's age, this is good quality. This is worthy of ten stars for content, and five for quality. Buy it before all 250,000 run out.

Also See:

Silly Symphonies
Mickey Mouse in Living Color
Disneyland USA
Davy Crockett
Mickey Mouse in Black and White
The Complete Goofy

Was this review helpful to you?

Looking beyond the curtain
Out of all the Disney Treasures releases, this will probably be the most overlooked. Sure, it doesn't have Mickey Mouse or Goofy or those wonderful Silly Symphonies. Instead, we get prehaps the best look into one of the most important studios in cinema history at its peak. The set is not the most entertaining, but it's the one set that shows the brillance of the House of Mouse (and shows what once was and lost now at Disney) ... Read more

Amazon.com

The Carpetbaggers is the kind of trash classic most people are too embarrassed to admit they actually enjoy. But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time--especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way. The high cheese factor is aided by the good-time cast:Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut--uncharacteristically, as a good girl. The sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star. Elmer Bernstein's swaggering score helps goose the action along, but the rest is thick melodrama indeed. --Robert Horton ... Read more

Reviews (6)

Hey, Paramount! You got it wrong once again!
What a shame! This wonderfully trashy movie deserved better treatment on DVD! When Paramount released "The Carpetbaggers" on LaserDisc years ago, they used the "censored" US version instead of the more "racy" European cut. I was one who wrote them about this, but apparently no one at the office took notice or cared, so here is the US cut once again. What is missing is Ms. Baker's nude back sitting in her budoir when her stepson comes in to tell her that she is now a widow. Ms. Baker's almost nude back is also displayed in the short montage in Paris before she goes down with the chandelier; in the scene missing she poses on a divan for a group of painters. (This image was even depicted on an American lobby card! People must have wondered where it went!) Not much to cry about maybe, but fun in any case! If these scenes were not to be found in the Paramount vaults in Hollywood, they could have asked for them from any surviving European print - existing in decent condition in state archives in both Sweden and Denmark.
Sad is also the fact that the print used for DVD transfer is absurdly grainy! The LaserDisc was much better in this respect! The speckles and dirt are gone, but I'd rather keep them for a smooth film-like image quality.
Now, please let us have other Paramount trash classics on DVD from this era: "Harlow", "Sylvia" and "Where Love Has Gone", to mention just a few! But please make sure they're mastered from first class complete prints! Is this asking too much?

"The Carpetbaggers" AKA "Is he crazy folks?"
I just finished watching the "The Carpetbaggers" on AMC; I thought the 'C' part of that acronym was "Classic", but now realize that perhaps 'Cornball,' 'Contagious,' or 'Compelling' may substitute since this movie seemed to be all of this. But, hey, maybe that's just the gin talkin. It is one of those movies that you cannot wait to end, so you can find out just who these B-film actresses really were - yet you continue to watch. But when it does end, you are somewhat saddened that it is over. Partially sad because you have been drawn in by this charismatic yet utterly ruthless SOB Jason Cord (George Peppard), but mostly just sad because AMC DOESN'T GIVE YOU THE CREDITS! that's why I'm here...finding out that the actresses were Caroll baker (as Rina Marlowe, the not-so-lovable Hollywood star; and Elizabeth Ashley (as Monica Cord) - the impossibly forgiving ex/not-so-happily-ever-after-wife of the unmarriable-unlovable-unrelenting-insanely ambitious Jason. Bob Cummings gets accolades as the fiendishly charming scumbag who plays Dan Pierce - most probably a very typical Hollywood agent. Someone who would put a rattlesnake in your pocket and then ask you for a match if he could get 10% of your blood in doing so. Go ahead and watch the dern thing (4/5 stars) - You'll understand. But hey - don't forgit the gin.

Devoid of Interest
I suppose THE CARPETBAGGERS may hold the same cult-film appeal for some views as such awful movies as VALLEY OF THE DOLLS hold for me--but I've quite been able to see it. Loosely based on Harold Robbins' trashy bestseller which was itself loosely based on the life of Howard Hughes, the film gives us glimpses of such performers as George Peppard, Elizabeth Ashley, Diane Baker, and an aging Alan Ladd, but even their presence can't spark up the deadly dull script. Give it a miss.

--GFT (Amazon.com Reviewer)--

CAN'T HELP MYSELF
C'mon. Admit it. Embarrasing though it may be, you probably have one. One of those films that by almost any standard of good taste is considered to be pure trash -- but you adore it just the same. Well, "The Carpetbaggers" is my source of shame and delight. Yes, it's cheap and tawdry, unintentionally laughable at times, and held together (barely) by a script with many a line in need of a rewrite. It sports hair styles and costumes that, although undeniably lavish, are often anachronistic to the 1920's and 1930's (those decades in which the story is set). Performances range from extreme and over-the-top to downright comatose. But this early 1960's contribution to the breakdown of the American cinema's once strict moral code never loses its ability to do what Hollywood does best -- to entertain. It's a film filled with a grand potpourri of characters ranging from an arrogant and ruthless Jason Cord (a wooden George Peppard) to a lushly lascivious Rina Marlowe (a questionably sexy Carroll Baker), from a charmingly unctuous (i.e., villanous) Dan Pierce (Bob Cummings) to a bubbling and bouncy Monica Winthrop Cord (a totally engaging Elizabeth Ashley). Classic character actors and actresses (e.g., Charles Lane, Tom Tully, Audrey Totter) abound. And Elmer Bernstein's jazz score boasts a main theme that is pulsatingly decadent. Yes, "The Carpetbaggers" is all flash and fire with very little substance. But I love it. Can't help myself.

Not frequently mentioned: A complex movie!
This movie starts out with a bang in the first five minutes. Itkept me on the edge of my seat throughout the entire movie. It is a movie that I have remembered since I saw it the very first time years ago. George Peppard and Carol Baker are at thier top performance levels, and the movie keeps moving with intricate subplots going at all times. Many reviews mention the tycoon who is cruel and calculating, the insights into the movie business, complex personal relationships, but few mention the situations that created these characteristics in him, one being a incident that is never totally shown or explained, but partially shown then implied, not explained thoroughly. This particular subplot may then get missed and is psychologically of great impact if one looks for and finds it.

For music fans, the soundtrack is fabulous, I have had it on Lp for almost 15 or more years, and it is one of very few soundtracks where I am willing to just listen to the music without always seeing the movie, it is wonderful all on it's own. Just on it's own, the music is well worth buying the movie. I sincerely appreciate Amazon for still carrying what many might consider an old, and outdated movie. I don't believe times have changed that much, much of it would still apply today. For anyone that likes phychological plots and mystery this is a movie for you, even if not, the other subplots make it a very worthwhile movie to have. I would recommend it to anyone, and especially George Peppard fans. END ... Read more

Reviews (16)

The Original is Always the Best
Erle C. Kenton brings H. G. Wells' novel to life in "Island of Lost Souls." It is the story of a mad scientist on a remote island that transforms animals into half-human abominations. Through medical procedures he slowly turns animals to resemble a human form. Dr. Moreau's control over his creations is soon lost and a rebellion takes place. While the others escape Dr. Moreau does not and receives a taste of his own medicine. The film was of tremendous quality. Charles Laughton illustrates to the audience the insanity of this mad scientist and his quest to feeling like God. He does this by the way he shows the emotion of the character, with his quick mood swings of being violent to calm. Béla Lugosi also makes a great appearance as the "Sayer of the Law" who is one of the creatures Dr. Moreau created. He along with the other beast does a good job of acting as animals formed to function like humans. The beasts acted as they should, only having few words and fraises to guide their lives by such as "are we not men?'' The special effect where a great asset to the quality of this film. The make-up of the creatures was spectacular. Adding a lot of realism to the film. Also the sets were something to admire. An entire house that contained enormous plants formed from the Doctors experiments. There were many jungle scenes among other scenes to make this secret island come to life. The dark lighting also greatly added to the mood and suspense of the movie. With a fabulous story, wonderful acting, spectacular scenes and special effects Island of Lost Souls is a great film to view.

"The natives are restless tonight!"
H. G. Wells' novel "The Island of Dr. Moreau" is the source for this exciting sci-fi/horror flick. Charles Laughton as Moreau prissily poses and preens as the mad doctor conducting forbidden experiments in vivisection, a variation of Frankenstein's theory of life and death. As a twisted god, he rules a remote tropical island populated by terrifying animal-man mutants, the failed results of his dark science. Into this menagerie of lost souls stumbles shipwrecked Edward Parker. Moreau has the insane idea to mate Parker to Lota, the delectable panther girl. Lota is Moreau's greatest success, and he wants to verify that she will react sexually to Parker (she does). By 1933 standards, Lota is the sexiest near human around. Her cat-like body movements and brief jungle attire add to her erotic appeal. Bela Lugosi, as a wolf man with a thick accent, is eerily effective as the "Sayer of the Law." His plaintive wailing and drawn out syllables raise the hackles as this jungle Moses articulates "the law" before Moreau. The scary make-up of the animal men conveys dread and fear nicely. The night scenes in the steaming jungle of huge bonfires surrounded by hellish shambling creatures are the stuff of troubled dreams. Moreau's island is Dante's Inferno retold. Things get very grim when the animal men revolt. As the animal men howl and growl in the distance, in a side-splitting moment of unintended humor, Moreau utters that great cliche of old movies: "The natives are restless tonight!" The movie is competently directed by Erle C. Kenton who went on to direct some of Universal's best horror movie programmers. Relax and enjoy the thrills. ;-)

That is the law! Are we not men?
The earliest and best H.G. Wells' adaptations is Island Of Lost Souls, based on The Island of Dr. Moreau. After being rescued from a lifeboat by the S.S. Covena, Edward Parker ends up on an island run by the mysterious Dr. Moreau and his assistant Montgomery. The Covena was delivering some animals, mostly dogs, for Moreau.

The island also has some pretty strange natives, who are hirsute and barely human. Fortunately, Moreau has a whip that scares them off. Apart from Moreau, Montgomery, and M'ling the servant, there's Lota, a ravishing young girl whom Moreau introduces to Parker. He is curious as to their interractions, as he secretly observes them.

The natives also have a strange ritual. Moreau asks them "What is the law?" To which they reply "Not to eat meat. That is the law. Are we not men?" And other replies. The leader of the natives says of Moreau: "His is the hand that makes/His is the hand that heals/His is the house of pain." Those who have read the book will know what's going on, but does not exactly follow it, as is the case with most future Moreau adaptations.

Charles Laughton plays Moreau in a variety of shades, far from the typical mad scientist. He's refined, reserved in speech (for the most part), and cunning. His smile, and that weird twinkle in his eyes lends the hint to his (Laughton's) homosexuality, but his performance here demonstrates why Hollywood decided to protect him.

Richard Arlen plays Parker as a bit of an uptight and conventional prude, and Leila Hyams as his fiancee Ruth is a perfect match for him.

Kathleen Burke is a wonder as Lota--pity she didn't appear in that many films. She gives a sensitive, sympathetic portrayal, speaking in a soft, child-like voice. If I were Parker, I'd dump Ruth for Lota anyday.

Bela Lugosi is barely recognizable in furry makeup as the leader of the natives, but once one sees those unmistakable eyes... one instantly recognizes the man who lost his identity playing Dracula ad nauseum. And whoever played the giant Ouran did so with great menace.

As this was made before the Hays Code, some of the scenes and implied dialogue on the island is strong for that era. That this was initially banned in many countries and in some parts of the U.S. is not surprising. Pity they don't make movies like this anymore, because it stands heads over many.

This 1932 creepy classic may give you nightmares
I remember seeing this as a kid on TV's "Creature Features" in the early '70s, and it really embedded itself into my consciousness. Edward Parker (Richard Arlen) ends up on an isolated island run by Dr. Moreau (Charles Laughton) in this first film version of the H.G. Wells story.

And the film was banned in Britain and many other countries for many years. Perhaps because of what Dr. Moreau is doing: transforming animals into humans. Yes, you heard that right. He found out how to speed up evolution (recall this was only a few years after the Scopes Monkey Trial) and when he does so to animals they become humanlike, but very freaky looking humans...

Anyway, Parker becomes attracted to this strange girl (Kathleen Burke) until he sees shes not exactly a girl, she's a former panther. This is the last straw for him and he vows to expose Moreau, but the problem is how to get off the island.

If you watch this film, don't be surprised if you have a nightmare containing a man with a whip asking, "What is the law?"

A SPOOKY CLASSIC FROM 1933.
For 35 years, the film was banned in England. As Dr. Moreau, Laughton is the ultimate mad doctor. He isn't experimenting for the good of science, nor is he using his genius to wreak revenge: he knows exactly what he's doing, and he knows why. A classic scene (in which he is speaking more to himself rather than to his guest): "Doctor Parker, do you know what it means to feel like God"? H.G. Wells, the story's author heartily denounced the movie and encouraged it's ban in Britain. Any which way the viewer looks at it, this film is potent stuff - especially considering that it was filmed 7O years ago!. The plotline runs thusly: On a South Seas island, Dr. Moreau transforms animals into humans via vivisection. Kathleen Burke does well as Lota the pantherwoman: her oddly angular yet attractive face and unaffected body language are assets towards a good charactersation. Karl Struss' camerawork is impeccable. Lugosi is memorable as the weird, tortured "Sayer of the Law". Unfortunately, Richard Arlen's performance is rather ineffective and wooden: a rather unconvincing portrayal in a film full of good ones. ... Read more

Reviews (2)

branded is the best
great movie with teriffic alan ladd action with a great story

Branded
If you enjoy good OL westerns this is one of the most entertaining.Good story, one of Alan Lad's best westerns. ... Read more

Description

Proud rebel Alan Ladd doggedly wanders the land looking for a doctor who can cure his mute son. The warmth of a father's love and faith, the devotion of a boy for a dog, and the understanding of a strong woman (Olivia deHaviland) combine to make this a gr Year: 1958 Director: Michael Curtiz Starring:Alan Ladd, Olivia deHaviland, David Ladd ... Read more

Reviews (93)

Farmers vs. Ranchers
Shane is the title of the movie and the main character of this well-made Western. Alan Ladd plays the stranger who arrives in a Western community where a range war between farmers and ranchers is about to play out. The farmers' leader is Joe Starrett, played by tough, reliable Van Heflin. He wants the farmers to stay, to stand up to rancher Rufe Riker and his hired hands.

Riker tries to buy Starrett out, but Starrett won't go. Then Riker hires a gunman - Wilson - played by Jack Palance. He's as mean as they come and he verbally goads one of the farmers into trying to "draw" on him. Wilson(Palance) kills the farmer without blinking.

The farmers are about ready to give up. But when Riker sets fire to a farmer's home as the community gathers to bury its dead, the farmers vow to "play one more hand." Riker sends men to Starrett's ranch to tell him that Riker wants to see him. But Shane stops Starrett by physically knocking him out. He knows that he must go into town to "talk" to Riker.

Civilization is fast approaching on the Western range. And Shane is going to hasten that change by going into battle against Riker.

Western Classic
Shane might well be the greatest western ever made and a true American classic. Recently in a New York Times article, Woody Allen of all people considered it the best American film of all time. The movie is about a mysterious stranger who unexpectently comes into a homestead family's life and helps in their battle against a greedy landowner who is threatening them to move off their land. Alan Ladd stars in the title role and he exudes an air of calm control and dark mystery. Shane is an expert gunman and a skilled fighter, but he doesn't want any trouble. He tries hard to avoid a fight in the local saloon, but no matter how hard he tries, trouble finds him. The homestead family is played by Van Heflin, Jean Arthur and the young Brandon De Wilde. Mr. De Wilde is excellent as a wild-eyed youngster who grows to idolize Shane. Mr. Heflin plays the strong, defiant landowner, but also loving husband to his devoted wife, played tenderly by Ms. Arthur, and his son. He stands by his new friend Shane, when the other homesteaders want him to leave when they feel he's stirring up trouble. A young Jack Palance is menacing as an icy hired gun hired to drive the homesteaders off their land. The showdown between him and Shane is a tense and taut showdown. Director George Stevens captures the breathtaking beauty of the American Old West. Shane was nominated for several Academy Awards, but failed to win any. Despite that fact, it remains a brilliant film worth repeated viewings.

Revisionist History as Entertainment
A lone rider approaches a family ranch. He observes a gang riding up to order the owner off his land. There is an economic conflict between a big land owner and small ranchers who are bringing in Jersey cows and working the land for agriculture. The big land owner wants to eliminate competition from small businesses; his government contract shows his political connections. The film shows the use of barbed wire, the invention that put an end to the open range. The settlers go into town for supplies. A barroom brawl occurs when Shane is attacked; Joe Starrett joins in to help his hired hand. Tavern owner Riker sends to Cheyenne for a hired gun, Jack Wilson, for a final solution to the homesteader problem.

The settlers gather for a July 4th celebration. They hear of Riker's hired gunfighter. That evening Riker show up to make a final offer to Starrett: join him for a good price, and abandon the other small ranchers. This offer is refused. The next day the gunfighter insults Torrey to force a duel, and kills him. Joe Starrett announces he will go into town next, without waiting for the other settlers. The question is: shall the people be oppressed and swindled by a rich powerful landowner? (Most of the large ranches were owned by corporations from back East.) Some of the small ranchers decide to abandon their claims. Yet they have the right to settle and farm the land. "This country wasn't made for just one man." The burning of one home makes the settlers decide to hang on for a while.

Riker makes an offer to draw Starret to his place (for an ambush). Calloway turns up to warn Shane of this trick. Starrett's wife argues for giving up and moving out now. (Credible?). Shane tries to stop Starrett, and they fight in the dark (to hide their body doubles?). Shane wins and leaves to keep the appointment, and force a final showdown. Shane successfully resolves the problem of Jack Wilson, then Riker, and moves on to new territory. [This avoids any retribution by Riker's allies.) {This film uses the dime-novel fantasy of a "fast-draw", which did not occur in historical records.]

This story is loosely based on the Powder River war. In reality, the settler's militia drove off the armed gang hired by the large landowners. The large ranchers tried to get rid of small ranchers by passing a law that gave them sole rights to all cattle in the state! Read the chapter in William Weir's "Written With Lead" for more details. "Unhappy are the people who want a hero."

Two stars. One for each time it put me to sleep.
Don't get me wrong, folks ,I am A HUGE fan of classic Westerns! This one, it just doesn't make it for me. Don't even get me started about Alan Ladd's "tough but gentle" potrayal of Shane. Ladd is unconvincing to this reviewer not only in the tough guy category, but his dramatic side is very, very "Ward Cleaver." AND THAT KID!!! That blasted kid. Joey, played by Brandon De Wilde. Good gawd, if he wasn't the most annoying little snot that came out of Hollywood. (before the debut of Pauly Shore) "Shane, are you gonna shoot that man? "Shane, are you gonna let me look through your Playboys?" I spent half the film (before I fell asleep) hoping Shane would say, "Come here, Joey, and help me change the wheel on this stagecoach" and have a little "accident." Joey's absence from the second half of this movie MAY have kept me awake. (but I doubt it.)

miscast but still legendary
SHANE is among the most renowned westerns in motion picture history, inspite of the miscasting of Alan Ladd in the title role. many other more accomplished actors come to mind of whom could have assumed the role, and many of these were offered the role. however it was Alan Ladd who was awarded the role.

Ladd was a formidable actor and delivered a fine performance inspite of the other more accomplished actors who may have given better performances.

regardless of Ladd in the role of SHANE, the movie was legendary and considered a true classic to this day. the other actors, which include: Van Heflin, Jean Arthur, Brandon De Wilde, Emile Meyer and Jack Palance all gave stellar performances. however it was George Stevens, a director whose name is synonymous with great filmmaking who was solely responsible for the renowned success of this truly legendary western classic. a true masterpiece. ... Read more

Description

The director's son put together this outstanding documentary of his father's life and work. In addition to interviews with actors and contemporaries (Fred Astaire, Warren Beatty, Frank Capra, Cary Grant, Katherine Hepburn, John Huston, Joel McCrea, Alan Pakula, Ginger Rogers, Elizabeth Taylor, and others), the film features behind the scenes home movies. Stevens was also assigned by Eisenhower to film WWII and the documentary contains highlights from this spectacular footage - the only color footage shot of D-Day, the march through Paris, and the liberation of Dachau. ... Read more

Reviews (2)

stevens on stevens
When the son of a director makes a film about his father, you have certain expectations. Bias, yes, but also insight and facts that are otherwise unknown. George Stevens Jnr provides us with his father's behind the scenes footage and also the World War 2 film he shot of D-day, the liberation of Paris, and Dachau, since he was in the special coverage unit. (The war footage is actually badly edited, or is it that the material is still subject to the censorship of the military?, and accompanied by a Hollywood-type saccharine score by Carl Davis). Jnr tells us that he was bequeathed his father's memorabilia, yet when it comes to covering his Hollywood career, we get hardly anything new. Even the behind the scenes home movies are mostly tedious images of the actors waving to the camera. So then we are left with the movies Snr made, complemeted by present day interviews with some of the actors involved. Of these, Katharine Hepburn is particularly entertaining. George Stevens is admired in the same way as John Ford, a point driven home by iconic profile stills of Snr in a cowboy hat. Like Ford, Stevens style was simple. He boasted that he could manage any genre, though he never tried a thriller, and his contemporaries Howard Hawks, William Wyler or John Huston were just as versatile and also managed to add some individuality. So there hangs an air of suffocating self-importance to the films we see. What is interesting is that this air evolved. His career in Hollywood began as a cameraman and gag writer for Laurel and Hardy, and Hal Roach. The story of how he overcame the blue eyes of Stan Laurel that the camera didn't register is the promise of detail unfulfilled. And the action of Gunga Din looks fun. Hepburn may have hit upon the reason for Stevens loss of humour. She comments that she had fierce arguments over his abandoning comedy, which she felt was his true gift, and turning to more serious subjects, though Jnr makes the point that it was his war experience which contributed to this decision. I guess after Dachau, nothing is funny anymore. Jnr also tells us that his father watched Triumph of the Will alone in a screening room and then said it was the most influential of his life. (Interpret that as you may). What is mentioned in this doco but passed over quickly is Snr's notorious reputation for shooting multiple takes of the same scene at different angles, so that he could make decisions when editing, which the studios balked at because of the cost of film exposed. (In this way, he was the opposite of Hitchcock, who shot so that the film could only be edited one way - ie the way Hitch had storyboarded it.) However all this seems worth it when you consider the one-take long-shot of The Way You Look Tonight from the Astaire/Rogers Swing Time (a lesson in how to shoot a dance number), and the beautiful extreme closeups of Elizabeth Taylor and Montgomery Clift in A Place in the Sun. Millie Perkins from The Diary of Anne Frank tells us that during their shoot, Stevens always wore dark sunglasses and treated the actors in the way he wanted them to perform. Since they were all meant to be frightened, that doesn't sound too positive. Luckily for Perkins, her character was to be loved. The perceived failure of The Greatest Story Ever Told also deprives us of anything of his later film, The Only Game in Town, though the discussion of his disagreement with Cecil B DeMille over Joseph L Mankiewicz and the Directors Guild during McCarthyism is fascinating.

a son's tribute
When the son of a director makes a film about his father, you have certain expectations. Bias, yes, but also insight and facts that are otherwise unknown. George Stevens Jnr provides us with his father's behind the scenes footage and also the World War 2 film he shot of D-day, the liberation of Paris, and Dachau, since he was in the special coverage unit. (The war footage is actually badly edited, or is it that the material is still subject to the censorship of the military?, and accompanied by a Hollywood-type saccharine score by Carl Davis). Jnr tells us that he was bequeathed his father's memorabilia, yet when it comes to covering his Hollywood career, we get hardly anything new. Even the behind the scenes home movies are mostly tedious images of the actors waving to the camera. So then we are left with the movies Snr made, complemented by present day interviews with some of the actors involved. Of these, Katharine Hepburn is particularly entertaining. George Stevens is admired in the same way as John Ford, a point driven home by iconic profile stills of Snr in a cowboy hat. Like Ford, Stevens style was simple. He boasted that he could manage any genre, though he never tried a thriller, and his contemporaries Howard Hawks, William Wyler or John Huston were just as versatile and also managed to add some individuality. So there hangs an air of suffocating self-importance to the films we see. What is interesting is that this air evolved. His career in Hollywood began as a cameraman and gag writer for Laurel and Hardy, and Hal Roach. The story of how he overcame the blue eyes of Stan Laurel that the camera didn't register is the promise of detail unfulfilled. And the action of Gunga Din looks fun. Hepburn may have hit upon the reason for Stevens loss of humour. She comments that she had fierce arguments over his abandoning comedy, which she felt was his true gift, and turning to more serious subjects, though Jnr makes the point that it was his war experience which contributed to this decision. I guess after Dachau, nothing is funny anymore. Jnr also tells us that his father watched Triumph of the Will alone in a screening room and then said it was the most influential of his life. (Interpret that as you may). What is mentioned in this doco but passed over quickly is Snr's notorious reputation for shooting multiple takes of the same scene at different angles, so that he could make decisions when editing, which the studios balked at because of the cost of film exposed. (In this way, he was the opposite of Hitchcock, who shot so that the film could only be edited one way - ie the way Hitch had storyboarded it.) However all this seems worth it when you consider the one-take long-shot of The Way You Look Tonight from the Astaire/Rogers Swing Time (a lesson in how to shoot a dance number), and the beautiful extreme closeups of Elizabeth Taylor and Montgomery Clift in A Place in the Sun. Millie Perkins from The Diary of Anne Frank tells us that during their shoot, Stevens always wore dark sunglasses and treated the actors in the way he wanted them to perform. Since they were all meant to be frightened, that doesn't sound too positive. Luckily for Perkins, her character was to be loved. The perceived failure of The Greatest Story Ever Told also deprives us of anything of his later film, The Only Game in Town, though the discussion of his disagreement with Cecil B DeMille over Joseph L Mankiewicz and the Directors Guild during McCarthyism is fascinating. ... Read more

Reviews (10)

A Masterpiece
The Blue Dahlia is the finest noir film of its kind and everything is absolutely perfect in the third of four films Alan Ladd and Veronica Lake would make together. Raymond Chandler wrote the origional screenplay and George Marshall turned in his finest directing job in this screen classic. This film has the perfect blend of grit and gloss, romance and female treachery, and for my money is better than the film often held up as the perfect noir, Casablanca.

Lt. Morrison (Ladd) returns from WWII with his two buddies only to find his wife Helen (Doris Dowling) has been unfaithful, in your face unfaithful, and responsible for his son's death while he was away. He confronts her at a party and blows out in a storm, unaware that someone kills her with his gun only hours later. Joyce Harwood(Lake) meets him for the first time when she offers hm a ride in the pouring rain and an attraction between the two begins.

This film is everything others of its kind during the 1940's tried to be. The noir elements are blendid perfectly with romantic touches sprinkled here and there, creating a masterpiece in the genre. A scene as Johnny and Joyce cross paths a second time in a restaurant overlooking the sea is a particular standout, the romantic view brought back into focus when he overhears a bulletin on the radio alerting him he is being sought by the police for the murder of his wife.

Like Johnny, Joyce is running from something,and trying to help him takes her right back to The Blue Dahlia nightclub. Johnny's loyal war buddies are on hand to help him but the shell shocked Buss (William Bendix) can't quite remember what he did the night Johnny's wife was murdered. The list of suspects begins to grow and includes a slimy hotel detective and the guy Joyce is all tangled up with, who just happens to be the owner of--you guessed it-- The Blue Dahlia .

This may be the most entertaining 100 minutes you'll ever spend watching a movie in this genre and is certain to be one of your all time favorites after you see it for the first time. Alan Ladd and Veronica Lake were the perfect screen duo. Johnny tells Joyce early on in the film that every guy has seen her somewhere before; meaning the girl we all see in our dreams. When things are all wrapped up Johnny stops her from driving away, reminding her of what he said. We know then as she does that she is Johnny's dream, and ours as well.

This film is a dream come true for Ladd and Lake fans and one you simply can't miss.

The Ladd/Lake magic continues in "The Blue Dahlia"!
This classic is one of the best examples of film noir of the 1940s, and it's also perhaps the best on-screen pairing of macho Alan Ladd and sexy Veronica Lake. This was Raymond Chandler's first screenplay, adopted from his unfinished 128 page novel, The Blue Dahlia. According to Hollywood legend, he got totally drunk while finishing the script, living up to his reputation as an alcoholic. Nevertheless, this is an excellently-crafted noir murder mystery that will have you guessing right up till the end who the real killer is!

Alan Ladd plays Johnny Morrison, a returning WW2 veteran who is eager to see his wife, Helen (Doris Dowling). He walks into his home only to discover her kissing another man, nightclub owner Eddie Harwood (Howard da Silva). As if that wasn't painful enough for him, she also tells him the truth about their child's death during the war: he was killed in a car crash in which she had been driving while drunk. This spells the end of their already troubled marriage, and Johnny leaves her (along with his .45 pistol) behind.

Johnny's two war pals, Buzz (William Bendix) and George (Hugh Beaumont) get a phone call from Helen saying that he's run out on her, and Buzz goes out looking for her to find out more. The next morning, Helen's lifeless body (killed by Johnny's pistol)is found in her home, and police begin an immediate search for Johnny, who's hitched a ride with a beautiful woman, Joyce (Veronica Lake). Unkown to Johny, Joyce is the unhappy wife of Eddie Harwood! Johnny suspects Eddie of his wife's murder, but nothing is as it seems in this thriller with so many twists you'll be dizzy by the end!

This highly underated film noir has great performances from the outstanding cast, and the Raymond Chandler script is very memorable, especially Alan Ladd's "Every guy has seen you before somewhere, the trick is to find you." to Veronica Lake. I hope Universal will release this classic and "The Glass Key" on dvd soon because the vhs is becoming increasingly difficult to find.

Stylish, but not genuine noir
The opening shot may be one of the most knowing and beautiful ones in film noir, a focus on the word 'Hollywood' which after the camera pulls away, is actually a destination on a bus sign. With fiml noir, just utter "Hollywood" and there is no need to explain betrayal, hypocrisy, seediness, injustice or pretence.

The screenplay is classic Raymond Chandler, sharply brilliant with rat-a-tat fire exchange. But the plot fails -- it's too simple, too linear, and not convuluted enough to darken the shadows and reflect the torn morals noir characters have to face. Veronica Lake as the femme fatale isn't quite vicious enough, and her own private agenda is boring enough to bleach white into the noir. In fact, that credit should go to man-caught-in-the-middle Johnny Morrison's (Alan Ladd) ex-wife, who goes out of her way to make a war hero look bad.

Why isn't this on DVD
Alan Ladd and Veronica Lake made some of the best film noir movies of all time and none of them are on DVD. These are great movies if you love old black and white intrigue and mystery however. They are worth getting in any format.

Engaging Early Noir
Although riddled with improbabilities, Raymond Chandler's tough story and script is well served with a glossy look and the hard-edged performances drawn by director George Marshall from a superior cast.THE BLUE DAHLIA concerns a recently discharged military man Johnny Morrison (Alan Ladd) who returns home to find his wife Helen (Doris Dowling) has been as unfaithful as the day is long--and is presently carrying on with club owner Eddie Harwood (Howard da Silva), over whom her hold is not entirely romantic.After stomping out into the rain, Morrison learns Helen has been murdered, and must race to prove his innocence before the coppers pick him up.

Ladd would give considerably more sophistocated performances in his later years, but he strikes all the right ultra-tough chords, and although Veronica Lake is a rather wooden actress she is remarkably beautiful and as a team the pair has considerable chemistry.The standouts in the cast, however, are Da Silva, who gives the role of the heavy a surprising interpretation, and William Bendix, who plays Ladd's war-wounded buddy to great effect. THE BLUE DAHLIA lacks both the moodiness and grittiness of truly great film noir, so it is not in the first rank of the genre--but it is no less enjoyable for that.The film cracks along at a rapid pace with plenty of action and a surprise twist or two that will keep you guessing to the very end.Ladd and Lake fans will love it, and any one who likes the hardboiled style will be in for a real treat.Recommended. ... Read more