Reviews (40)

classic sex farce
THE SEVEN YEAR ITCH provided for Marilyn Monroe the chance to play in an accomplished sex comedy, and gave the world a singular Marilyn moment: the now-classic subway grate scene.

Richard Sherman (Tom Ewell in his original Broadway role) has just farewelled his wife and young son for the annual summer exodus from New York. Far from having nothing to do, Sherman fantasises all day and night about the never-named girl (Marilyn Monroe) who has just moved into the apartment above his.

Evelyn Keyes (GONE WITH THE WIND) gives a comically-knowing performance as Sherman's wife, while Marilyn is delightful in her brilliant rapport with Ewell.

George Axelrod's long-running Broadway play was the basis of the film, but the all-powerful censorship board saw too many "vulgarities" in the play (where Sherman actually has an affair with the upstairs girl). In the film it is only toyed with. Walter Matthau was originally considered for the Sherman role, but Ewell fills the role of the everyman so perfectly that it is almost impossible to think of the film without him.

The DVD includes the "Backstory" making-of featurette, deleted scenes, restoration comparisons, trailer and gallery.

THE ULTIMATE MARILYN.....
This is the ultimate Monroe film. The one where she stands over a subway grating on a hot summer night to feel the rush of cool air from the trains passing beneath---the rush of air blowing the skirt of her sexy white halter dress up around her. But there's a movie that goes with this legendary image and it's a classic. Based on the adult Broadway play, "Itch" was watered down for the screen and stars Tom Ewell as the frustrated married man and Monroe as the Girl Upstairs. One hot New York summer, a man sends his wife and small son away for the summer---as all New York men do this time of the year according to Ewells' narration. He's left alone in their apartment to struggle with his vices---cigarettes and booze---when all of a sudden the Girl moves in sub-letting the apartment upstairs. She's a TV model and commercial actress and delightfully portrayed by Monroe. The homely and dumpy Ewell begins having steamy sex fantasies visualizing himself as a powerful lover irrestible to women. Monroe wants to be neighborly so she keeps inviting herself down to his flat frustrating the hopelessly timid Ewell. She doesn't realize her effect on him but he's got an air condtioner and it's hot upstairs. She's completely guileless. Monroe is perfect as the Girl and Ewell personifies the Everyman confronted with temptation when left to his own devices. Monroe is breathtaking in Technicolor and her performance speaks volumes about her comic potential. The subway grating scene caps her legend as a sex symbol but when you watch her performance here you see she was so much more than that.

The Seven Year Itch- One of the top ten Comedies ever
Nobody should die without seeing this masterpiece comedy at least 1 time.

There is no doubt that this film was influential to many other great comedy films. Ideas like the main character thinking out loud and narrating the movie was used in Ferris Bueller. Ideas like using the main characters fantasies for a laugh was used in the movie A christmas story. Ofcourse this films discussion of sexual tension between males and females has been used many times in movies like American Pie. Ofcourse by todays standards The seven year itch is a classy film compared to films like American Pie. The Seven year itch did it all and influenced some of the greatest comedies of my generation(80's to present).

casting=5 stars
ending=4.5 stars
Directing=5 stars
plot & storyline=5 stars
replay value=5 stars

OVERALL= 4.9 TOTAL STARS

DVD FEATURES: The Seven year itch has awesome DVD features. The AMC backstory explains how Tom Ewell was picked as the starring role, how the censors almost ruined the movie, and Joe Dimmagios reaction to his wife Marilyn Monroes controversial subway scene. Also included is 2 deleted scenes, restoration comparisons and previews for other Marilyn films...

The growing height of Marilyn's career
Too bad Marilyn Monroe didn't have kids, to carry on the legacy maybe, because she was something. This movie sure proves it. I think this movie shows Marilyn acting more comortably in front of the screen and I think this is when she began to become a Hollywood superstar. Everyone wanted to be like her. I think this movie is really funny and entertaining and is worth a rent, but GENTLEMEN PREFER BLONDES {1953} IS MY VERY FAVE, THAT'S HER SECOND OR THIRD MAYJOR HIT, THAT ONE PARTICULAR SPARKED HER CAREER AS WELL AS THE SEVENYEARITCH. SEE IT, YOU WON'T BE DISAPOINTED!

charming, funny and witty. a classic
ah ha, yes the famous sub-way scene. i don't know if the male viewers of america know how much that scene upset Marilyn Monroe because that is what American men and woman thought of her after this film. The 7 year itch is about more than that sub-way scene, so let's drop the obsession with it please. that aside, this is an excellent movie, one of the best comedies ever. tom ewell is hysterical, as is marilyn. a must see. a true classic. ... Read more

Amazon.com

That delightful couple from The Awful Truth, Cary Grant and Irene Dunne, revisit the world of marital confusion. Presuming his wife to be dead, Grant remarries--on the same day that his bedraggled spouse (that's Dunne) returns. Seems she's been stranded on a desert island for seven years (with strapping hunk Randolph Scott, too). The moment Cary spots his resurrected wife, as an elevator door slides shut, is one of the many funny gags in this comedy, and the final sequence is memorably wacky. Awful Truth director Leo McCarey prepared the film, but it was directed by author Garson Kanin. The two stars are so adept at farce, and so effortless in conveying their characters' mutual affection, that the movie triumphs over the whopper of a plot device. It was supposed to be remade as the ill-fated Marilyn Monroe film Something's Got to Give, and ended up Move Over, Darling with Doris Day. --Robert Horton ... Read more

Reviews (27)

VINTAGE SCREWBALL COMEDY...
This early nineteen forties film is a romantic and comedic farce. It centers on a married couple in which the wife was believed lost at sea and presumed dead. It turned out that she was marooned for seven years on a desert island with another man until finally rescued inadvertently. She arrives home on the morning in which her lawyer husband has had her declared dead and remarried another woman. Let the games begin!

Irene Dunne and Gary Grant are the star-crossed couple who find each other again. Cary Grant is excellent, while Ms. Dunne, who is usually sensational, palls a bit in her role, in part due to her difficulty in deciding what accent she should use when reciting her lines. She is still quite good in her role, however, due to her innate ability to charm the viewer. Gail Patrick is excellent as the second wife, giving an icy hauteur to her character. Randolph Scott is terrific as the hunky man with whom Irene Dunne was marooned. Ann Shoemaker is very good as the mother-in-law who warmly welcomes Irene Dunne back into the fold. Look for two absolutely marvelous performance by old time character actors, Donald MacBride, as the confused and outraged hotel manager, and Granville Bates, as the drolly funny judge. They practically steal the show.

The movie has its moments and can be quite funny, at times. The funniest moment is the pool scene in which Cary Grant views his rival for the first time. His reaction to his rival's attractiveness and athleticism at the pool is quite priceless. At other times, the scenes seem a bit forced. While this is not a bad vintage, screwball comedy, it is not the best. There are better ones out there, though those who enjoy vintage films should enjoy this one, whether in the original black and white or the colorized version. I myself prefer the 1963 remake titled "Move Over, Darling", starring James Garner and Doris Day in the lead roles.

I just love Carey Grant
Movies today just seem to a lot of "In your face" action, that is one of reasons that I so much enjoy older movies like "My Favorite Wife" with Carey Grant and Irene Dunne.
Lawyer Nick Arden (Carey Grant) is man with a serious problem. On the day that his first wife Ellen (Irene Dunne) was declared dead and he get remarried to Bianca (Gail Patrick), Ellen shows up a live and well after being stuck on a south pacific island for the last seven years. Needless to say comedy happens as Ellen tries to reclaim her husband and family.
Some viewers will relize that "Move over Darling" with Doris Day and James Garner is a remake of "My Favorite Wife" but let assure you "My Favorite Wife" is much better due the acting of both Dunne and Grant and should not be missed.

Amusing Farce.
Here is another fun DVD for fans of classic romantic comedies. I found it to be consistently amusing, although it is not in the same class as "Bringing Up Baby" or "The Philadelphia Story".

After seven years of grieving over the apparent loss of his wife in a shipwreck, Nick ( Cary Grant ) marries another woman, Bianca, ( Gail Patrick ), only to discover on his honeymoon that wife # 1--Ellen ( Irene Dunne ) is back, very much alive and kicking. Naturally, Ellen wants to pick up where she left off with her husband, as well as a young son and daughter. Nick is "dazed and confused"--as only Cary Grant can be--and makes the situation much worse through his reluctance to break the news to Bianca. At the same time, Nick discovers that his "first wife" spent the better part of the seven years on an island, alone with another man--a hunky, athletic guy named Burkett ( Randolph Scott ). How will this hilarious mess turn out ? Get the disc and see.

We have another superb comedic perfomance from Cary Grant. Irene Dunne is fine as Ellen, "returned from the dead" and determined, by any means, to win her husband back. Gail Patrick's performance is a nice contrast to her sudden "competition"--icy, haughty and seriously "not amused" !
Randolph Scott--usually quite stoic in his many westerns--seems to be having a ball here. In support, special kudos to scene-stealing Donald MacBride as the hotel clerk, who has to book separate suites for each of Cary's "women"--his incredulous face is priceless.

The DVD is black and white, and shows a fair bit of wear in places--not enough to spoil your fun though. Keep in mind, the film was made in 1940. The disc also includes a trailer for the film, a radio program with Ms. Dunne, and a funny short film starring humourist Robert Benchley on the perils of showing "Home Movies" to your "lucky" friends ! On the whole, a very nice package.

Bottom line--a witty script and a solid cast will give you a very pleasant hour and a half's entertainment. Good fun for fans of old-fashioned comedy.

I hate to say it...
...but this is a pretty weak movie. I'm a huge Cary Grant fan and think his charisma, versatility, and impeccable comic timing are justly legendary. My Favorite Wife just barely slides by on those strengths, along with Irene Dunne's charm. The writing is clunky, clumsy, and--worst of all--rarely particularly funny. The situations in this movie could have been flat-out hilarious but instead only manage to be mildly amusing. Unless you're a Grant completist, there's no rush to get this one. (Just wait until TCM inevitably airs it again.) There are many far funnier, better scripted and directed Grant comedies.

2.5 stars

BLACK & WHITE
Don't worry, I just bought it and the box says B&W/88 Mins. - that must mean Black & White. Fabulous movie! ... Read more

Description

In THE STOOGE, Bill Miller (Martin) has found modest success as a singer in the off-vaudeville circuit.Teaming up with a comic (Lewis) proves to be the best thing for Bill, as his routine becomes an instant success, but mainly because of the clown he takes on as his partner.Unable to admit it, Bill knows he owes his success to his sidekick, the stooge.Jerry Lewis calls this his favorite of the Martin & Lewis productions. ... Read more

Reviews (6)

Preferred other films of Martin and Lewis
I feel that their 3 best films were "Scared Stiff", At War With the Army" and "Living It Up. And of all 3 I think "Scared Stiff" is the best. I could watch this over and over and good songs in it. And another treat that adds to the film is Carmen Miranda. Even if the film is in black and white, it helps with the theme of the film. I recommend this film to everyone and is a must for any Martin and Lewis film. I saw this when I was a kid and those were the days when movies were movies and didn't have to worry about any ratings on it.

The greatest film either man has made...
On account if its steady storyline, memorable songs, sincere scenes and appropriate actors, "The Stooge" is probably the most effective movie that either Dean Martin or Jerry Lewis has ever appeared in as a team, and it is possibly the most effective of all films that Dean and Jerry have appeared in solo. In an interview, Jerry Lewis claimed that "The Stooge" was his favorite Martin and Lewis film, because it was "so close to home." The relationship between their characters in the film, including the hardships and tribulations of being a team and dealing with the division of public reception, credit and acknowledgement may possibly relate to that of their own personal partnership, which makes the already stimulating storyline and characters even more entertaining and moving. There are a few great M&L films, including "Scared Stiff" and "The Caddy", but on account of this indirect relation to their personal acquaintanceship, "The Stooge" definitely tops them all.

Who's Your Little "Whozit"?
My favorite Jerry Lewis movie of all time. I remember seeing it as a kid and somehow 30 years later while playing with my 2 year old son, I find myself singing what my son calls "The Whozit" song with the high pitched Jerry Lewis twang. He loves it. When I showed him the movie he said, "Daddy, man is sing YOUR whozit song".

By far Dean and Jerry's best
This is my personal favorite of the world's greatest comedy team.I have been watching their movies since I was 6 years old.I would give it 10 stars if it was allowed but 5 is the highest.If you are a fan of their work then this movie is a must.Enjoy!

We roll on the floor laughing 'til we're crying!
Jerry Lewis in one of his funniest movies ever! We first found this gem in the library with the classics, and just laughed so hard; our children love it too. The later Dean Martin/Jerry Lewis movies just don't hold a candle to this one. ... Read more

Description

Humphrey Bogart and Ida Lupino star in this tragic study of an American gangster whose hard-boiled persona finds itself at war with his compassionate side--a side that will ultimately be his downfall. ... Read more

Reviews (19)

Bogart and Lupino at their best
In HIGH SIERRA Humphrey Bogart plays professional criminal Roy Earle who is pardoned from prison because of the influence of a crime boss named Big Mac. Bogart is paid advance money to report to Big Mac in California. Mac is planning to use him to lead a small gang in pulling off a jewelry robbery at a swank resort hotel.

En route to California Bogart helps a distressed family he meets at the scene of a minor traffic accident. He is attracted to the granddaughter who is played by Joan Leslie. She has a deformed foot which Bogart arranges to have fixed by a surgeon in California. When he arrives at the hideout he finds two cheap crooks and a dance hall girl waiting for him. One of the hotel employees is also involved in the robbery scheme.

The suspense builds rapidly from this point on as we await the outcome of both the holdup and also the romances which are developing simultaneously between Bogart and the two women.

Ida Lupino gives a stellar performance as the former dance hall girl whose love for Bogart isn't really appreciated until it may be too late.

Bogart and Lupino are at their best in this film. A Strong supporting cast includes Arthur Kennedy, Alan Curtis, Henry Hull, Henry Travis, Jerome Cowan and Cornell Wilde. There is also a small dog in the cast who will win your admiration and break your heart. Raoul Walsh is known for his direction of many other fine movies including ROARING TWENTIES and THE STRAWBERRY BLONDE.

The Peaks of High Sierra Attract Clashing Personalities
HIGH SIERRA is a gangster film, but it is also much more than that. Prior to HIGH SIERRA'S release in 1941, star Humphrey Bogart, who plays Roy 'Mad Dog' Earle, had played a host of snarling hoodlums, most of whom were one-dimensional, but in Bogart's hands, he still managed to infuse each with a level of complexity that only he could deliver. But it took his Roy Earle role to finally establish what has since been copied many times by future cinema criminals, the man on the run who, despite his willingness to kill, still maintains a Hemingwayesque code of conduct that allows him to function as the moral center of the film.

Roy Earle is a life-long criminal, one who has spent years in prison, seeing up close the results of what happens to inmates who lack self-discipline and a moral code of conduct. For him, crime is not an end, nor are the ill-gotten gains. For him crime is the only response to a life that has denied him any other avenue. For life to have any meaning, he must adhere to a rigid code of conduct that is as every bit as moral (at least to him) as that which drives the very policemen who seek to apprehend him. Those who know him immediately recognize that in Earle, beats the heart and soul of a near-extinct species, one who is paradoxically a fearlessly moral gunman who will risk his own life for a cause or for a trusted friend. When Earle is released from prison, he is talking to a seriously ill cohort, Mac, who is planning one more high profile crime before he dies. Mac, who bemoans the lack of old style gangsters with class, tells Earle, "You know Roy, it is good to even talk to a guy like you." Mac has hired a pair of inexperienced thugs to help Earle, but Earle sees that they do not have what it takes to succeed in a life of crime. He expects them to screw up, and when they do, he shows no remorse at their demise. There are two subplots that suggest that Earle's code of conduct, while admirable in the larger sense, can sometimes cause him intense emotional pain when he feels betrayed by one whom he has allowed himself to grow close to. Ida Lupino is Marie, a female counterpart to Earle. She has had a rough adolescence, but sees in him her soulmate. She could be good for Roy, if only he would let her. Joan Leslie is Velma, a twenty-year old seemingly innocent girl-child, who represents everything that Roy thinks would elevate him from thug to respectability. Velma has a club-foot but is young and pretty, so Roy lends her the money for an operation. She repays him in a manner that surely ranks with the very worst sort of cinematic ingrates. It is painful to watch Velma show her true colors and see the crushing result on a man who thought that nothing could hurt him like that.

And in the background lie the high Sierras, a vast set of peaks that act as metaphorical magnets, attracting the interplay between decent but misguided types like Roy and Marie and the truly inhuman types like Velma and Roy's hapless colleagues. The clashing between Roy and the police is not just the literal gunplay between the forces of law and order and those of crime, but, in the film's final scenes of Roy at bay, suggest that a style of life and a code of conduct have been judged and found wanting. HIGH SIERRA is an unforgettable classic that makes us remember that morality and decency can be found even in the most unlikely of settings.

Bogart Breakout
This was the first of the George Raft reject parts that transformed Humphrey Bogart from James Cagney's second banana into...Bogart. The next two were "The Maltese Falcon" and "Casablanca". In "High Sierra" Bogart plays a sociopath bank heister who still has a shred of humanity left, something like Frankenstein's monster but not as bulky. The character originally was stitched together from a number of Public Enemies by novelist W. R. Burnett. Bogart's performance is completely un-maudlin and genuine and like all his best work continues to last as the modern touchstone of American film acting. Another great directing job by Raoul Walsh as well, a man who could handle about anything the studio threw his way.

"I wouldn't give you two cents for a dame without a temper."
High Sierra (1941) is considered by most to be Humphrey Bogart's first real, breakout role, playing a part that wasn't initially offered to him. Bogart, the fifth member of Warner Brothers famous 'Murderers Row', came into the role of Roy 'Mad Dog' Earle only after fellow 'Row' members Paul Muni and George Raft didn't accept the part, one disagreeing on the script and subsequent changes, and the other being talked out of taking the part by Bogart, respectively. Bogart, who hadn't quite reached the level of big name star by this point, as evident to second billing to costar Ida Lupino, wanted the role badly, as he knew the character of Earle was something he could really sink his teeth into, and showcase his talent to the world.

As I said, Bogart plays Roy 'Mad Dog' Earle, a convicted bank robber serving a lengthy prison term, a life sentence, if I'm not mistaken, who has just been released. We soon find that Roy's early release isn't due to parole for good behavior, but strings pulled by his old boss, Big Mac (Donald MacBride). Seems Big Mac has a score in California that he wants Roy in on, so Roy leaves the Midwest to make the connection.

Along the way, Roy has a chance meeting with Pa Goodhue (Henry Travers), a farmer who lost his farm, and is now traveling west with his wife and his clubfooted granddaughter Velma (Joan Leslie), who we will see again later.

On reaching the Sierra mountains, Roy meets with the other members of the criminal enterprise Big Mac has arranged, two younger, hot-tempered men, Babe and Red, who have a have a female companion, Marie, played by Ida Lupino. Roy objects to having a woman around, as it's just an unnecessary complication. Marie manages to get Roy to change his mind, as she despises the thought of having to return to her previous career of dancing in a two-bit hall with men for a quarter a dance. Soon Roy learns of the score, and things seem easy enough, but even the simplest plans can go awry.

Directed by actor/writer/director/producer Raoul Walsh, High Sierra is a rich, tense noir crime drama based on a novel by W.R. Burnett and adapted for the screen by Burnett and legendary director/actor/writer/producer John Huston. Bogart really adds depth to his character of Roy, presenting the duality of a seemingly cold-blooded killer who has a soft side. That certainly doesn't mean he's soft, especially when someone gets in the way of his plans. Presented is a character who knows his time is past, and is looking to make his way out, and having thoughts of a future that will never be...and then settling for less than he hoped for, not realizing that maybe that was even too much to hope for...the supporting cast was wonderful, but I found the sort of pseudo comic relief of the character Algernon, a black worker at the fishing camp Roy and his small gang hole up before the score, played by Willie Best, a bit awkward. At the time, it was probably more acceptable, but the stereotyping may chaff contemporary audiences. A minor point, but one I hope wouldn't sour potential viewers from seeking out this film. I just try to understand it for what it was and is, a form of ignorance that has, hopefully, long since past. Best to acknowledge it happened and move on. What I found really interesting was how the noir concept was flawlessly transplanted from dark city streets to the majestic Sierra mountains on the Neveda /California border. Another thing I really loved was the snappy exchanges and use of gangster colloquialisms. The dialogue zings along, just adding a real element of fun to the movie, despite the drama nature of the material.

The picture quality here is beautiful, and the audio sounds wonderful. I was also pleased to see an excellent featurette called "Curtains for Roy Earle", which talks about how Bogart got the role in the movie, his minor skirmish with the House Un-American Activities Committee (HUAC), and the film in general. Also included is a theatrical trailer for the film. If you're a fan of Humphrey Bogart, High Sierra is a must see film. If you like good movies in general, you won't be disappointed here. While the role of Roy 'Mad Dog' Earle may not be the one most remember Bogart for, it certainly confirmed his status as an actor in every sense of the word, and served well to showcase his talent and made him a star. Another film soon to follow, The Maltese Falcon (1941) took the star and made him a legend.

Cookieman108

The convergence of old ways and newly found self...
The callous Roy Earl (Humphrey Bogart), a skilled robber, is pardoned and released back into society from being locked up in a prison. Once outside Roy goes back to his old ways as an old friend is planning a new heist. However, age has caught up with Roy as he realizes that most of his friends have passed away and that most people in his trade are very young. This leads Roy to gently reaching out to a handicapped woman with whom he can empathize with and relate to, and helping her out of a battered situation. In addition, Roy forms a strong emotional bond with a dog, Pard, that seeks Roy's affectionate care. The question is if Roy can balance his old lifestyle with his newly discovered self as he is about to carry out a criminal plan. High Sierra is a terrific cinematic experience as it offers both suspense and human connections in a tragic story in which Bogart gives an outstanding performance. ... Read more

Amazon.com

Tait College football captain Tommy Marlowe (Peter Lawford) is used to getting any girl he wants. When new coed Pat McClellan (Patricia Marshall) arrives on campus sporting racy fashions and pseudo-French phrases, he decides he wants her. But Pat only has eyes for men with millions, so Tommy enlists sweet Connie Lane (June Allyson), Pat's sorority sister who is working her way through Tait as an assistant librarian, to help him learn French. Tommy falls for down-to-Earth Connie, who falls for him right back, but his ego gets in the way when Pat does a turnabout and decides she does want him after all.

Based on the Broadway play and 1930s musical, Good News is an enthusiastic, good-hearted romp through late-'20s college life. Broadway actress Joan McCracken as Connie's roommate Babe Doolittle exudes energy as she leads nearly all the musical numbers, particularly shining in "Good News" and "Pass the Peace Pipe." A young Mel Tormé sings a lovely reprise of "The Best Things in Life Are Free," and one of the signature songs, "The Varsity Drag," is led by Allyson and Lawford showcasing their dancing and singing talents (Lawford is a better hoofer than vocalist). Though the movie seems mainly constructed around the musical numbers, the writing is sharp and the cast members seems to be enjoying themselves. Director Charles Walters went on to direct Easter Parade and The Unsinkable Molly Brown, and screenwriters Betty Comden and Adolph Green would make their mark with, among others, On the Town and Singin' in the Rain. --Dana Van Nest ... Read more

Reviews (20)

Music, Dancing, and Pre-war Feminism
I discovered this toe-tapping musical by accident my freshmen year of college and I have never enjoyed another film quite so much! Made in the golden years of the MGM musical production frenzy, "Good News" is a shining star that, sadly, for years was forgotten.

"Good News" is the story of a senior at Tait college who works as the school librarian (June Allison). Having worked hard throughout her years at Tait, she has been largely ignored by the superficial fraternity boys. This changes when Tommy Marlow (Peter Lawford), captain of Tait's beloved football team, asks her for French lessons. The story is a little predictable, but if you watch a musical for a suspenseful plot, I think you are going to be continually disappointed.

The music numbers in this 1947 production are lively and brillantly written. You will find yourself humming such songs as "Lucky in Love" long after the show. Mel Torme plays a small role in the movie and treats us to a reprise of the ballad "The Best Things in Life are Free".

True to MGM's style the music is accentuated by stunning choreography. "Pass the Peace Pipe" and the "Varsity Drag", the show-stopping finale, are wonderful examples of this. Some may find, however, the pre-war treatment of Native American traditions in "Pass the Peacepipe" to be inappropriate in today's politically correct society. I personally found it to be a wonderful reminder of how far we have come in that arena.

What I love best about this musical is the strength given to June Allison's character in a time when women weren't given much credit for more than their pretty face and homemaking skills. In this movie, she is a smart, working woman, who, instead of wallowing in the fact she has no beau, betters herself. The sorority house relies on her for plumbing repair as well as smoothing over cat fights. Despite the wonderful music and dance numbers, this is what makes "Good News" really worth while. (How refreshing to see the smart girl get the boy! Especially the handsome Peter Lawford!)

What a treat this movie has been re-released!

Fast, breezy entertainment!
This version of "Good News" (there was a 1930 adaptation) takes the wonderful musical score (plus some interpolated standards), and folds it into a terrifically innocent, fast, and joyful plot about 1920s college kids, the big football game, and the brainy student (June allyson) who tutors, then falls in love with, the gridiron hero (Peter Lawford). There were greater musicals produced by MGM in the '40s and '50s than this one, but even the best of those ("The Band Wagon", "Singin' in the Rain") are hard pressed to match the sheer energy and sparkle of this "minor" MGM tuner. Everything about "Good News" works effortlessly, and the fun is amped up considerably by the straight-ahead kinetics of the numbers. From the title song (done on the front steps of the fictional Tait College), through the jazzy specialty "pass That Peace Pipe", on to the genuinely exciting finale to "The Varisty Drag", the arrangements have snap and drive, and the choreography is equal to the scoring in impact.

On DVD, the Technicolor picture is vibrant, sharp, and steady. The monophonic sound is fairly strong considering the age of the film; overall the presentation is top notch. The extras include two staggeringly campy musical excerpts from the 1930 version, featuring a pre-"Blondie" Penny Singleton scrunching up her face and pounding out the lumbering dance steps to horse-y versions of the title song and "The Varsity Drag". Very funny and a great complement to the exuberance of the 1947 version.

My favorite musical!
I love this musical, and definitely recommend it for any musical lovers!! "The Best Things in Life Are Free" and "Ladies' Man" are two of my favorite songs from this movie.

The best movie ever
This movie is one of my personal favorits of all time. It has great acting, wonderful songs/music, and very entertaning dance numbers. The first time I ever saw this movie on TV I ran to the nearest place to rent it. And soon after I got one of my own so I could watch it again and again. I strongly suggest you do the same! You won't regret it.

WHOLESOME ENTERTAINMENT
This lavish 1947 remake of the 1930 M-G-M film - which was priorly a 1927 Broadway musical - is still great fun to watch! Peter Lawford plays Tommy, the football hero, and pert, little June Allyson of the croaky voice plays Connie who's working her way through Tait College as a librarian. Patricia Marshall plays the school sexpot who has her heart set on Lawford but Tommy can't make his grades, so he must be tutored by Guess Who? Most every song is winning, the choreography is stunning and the old Technicolor (by Charles Schoenbaum) is brilliant. New songs which were added to the original score were PASS THAT PEACE PIPE & THE FRENCH LESSONS. ENJOY! ... Read more

Reviews (8)

You'll never get rich
The best of two pairings of Astaire and Hayworth on film. Though Astaire and Rogers claim primacy amongst dancing partners, it is hard to imagine any actress who generates more heat and incandescent charm onscreen than Hayworth. As lovely as he is talented, she holds her own surprisingly well in a film that finds Astaire spending most of his time in a stockade for going AWOL or somnabulent mishaps and mayhem. His centerpiece number "since I kissed my baby goodbye" by Cole Porter might be his greatest solo number of the 40's, beginning as a sly and ingenious bit of improvisation. The film also benefits from a superb supporting cast with Robert Benchley as Astaire's unctuous boss who attempts to pursue Hayworth while covering his adultery by passing off an unwilling (bold plot device for the breathing world) Astaire as her boyfriend. Astair e was eager to work with Hayworth due to his friendship with her father (a fellow choreographer) and it's not at all hard to discover why. A goofy mid-war comedy well worth using to stave off any rainy day.

Definitely worth a look or two
I'm one of those for whom a second tier Fred Astaire film is still more enjoyable than just about anything without him. And there is no question that Fred is at his best in this one. Unfortunately, he just isn't given first-rate musical material around which to wrap his massive dancing abilities. His partner is the extraordinarily capable Rita Hayworth, who spent her teenage years as her father's dance partner in the years when she was both abused by him and when she looked completely Hispanic (plastic surgery, skin lightening, and dying her hair transformed Rita Cansino into Rita Hayworth). They really do make a nice couple, though Fred had the rare ability to make almost anyone look like they were born to dance with him.

The plot is fairly silly, but anyone who loves thirties and forties movies knows when to cut a film a bit of slack. The cast is not outstanding beyond Fred and Rita, with the notable exception of Robert Benchley. This was actually a crucial point in Benchley's career. He had throughout the thirties maintained a dual movie career as the star of a string of hysterically funny one reelers, in which Benchley instructed the public on "How to" do things, such as "How to Vote" or "How to Read." He actually made one of the first talking shorts still to be seen occasionally, "The Sex Life of a Polyp" (1928, a short that obviously couldn't have been made after 1934 and the imposition of the Code). Benchley also made a host of appearances in rather unimportant films during the decade. Starting with Hitchcock's FOREIGN CORRESPONDENT, however, Benchley began appearing in much higher quality films, including such gems as THE MAJOR AND THE MINOR (in which he plays Ginger Rogers's nemesis) and I MARRIED A WITCH. Unfortunately, he died in 1945.

The film was also extremely crucial for the career of Fred Astaire. He had ended his mythic partnership with Ginger Rogers only two years earlier, and his two following films were both disappointments. SECOND CHORUS was probably the worst film in Astaire's career, and BROADWAY MELODY OF 1940, while containing many wonderful moments, teamed him with legendary tap dancer Eleanor Powell. Emending my statement above, these two did not mesh as dance partners. Powell was too individual a performer, and excelled as a solo dancer, not as part of a team. They also failed to generate any romantic chemistry. YOU'LL NEVER GET RICH, while not a massive success, nonetheless reestablished him as a romantic dance star, and made six more films before his "retirement" in 1946 (he broke it as a favor to Gene Kelly in 1948 when Kelly broke his leg and was unable to film EASTER PARADE--the film "unretired" Astaire and he went on to make ten more musicals before retiring as a dancer).

So, this won't be the greatest musical anyone has ever seen, but it certainly won't be the worst. No Astaire fan would dare to miss it.

BETTER LOOKING THAN A LOT OF COLUMBIA "CLASSICS"!
"You'll Never Get Rich" is the first of two musicals Fred Astaire made with Columbia's resident bombshell - Rita Hayworth and although it's light, breezy and brimming to the ceiling with comedy and music - ironically, there's not much for the lovely Ms. Hayworth to do, except tap one solo and dance all too briefly in a contrived song with Astaire. The plot focuses on Astaire's employer - Robert Benchley, whose roving eye gets him in perpetual hot water with his wife. Currently, his eye is on Sheila (Hayworth). But an unlikely affair begins, then stops, then starts up again when Sheila realizes she's falling in love - not with Benchley, but Astaire. How's it end? - with music, fun and good humor; all main staples of the Hollywood film musical at its zenith.
TRANSFER: Well, considering the pure garbage Columbia has been giving classic film buffs of late (Talk of the Town, You Can't Take It With You, The Awful Truth) this DVD is looking pretty snappy! The gray scale is accurately rendered - though several scenes look as though second or third generation film elements were used instead of an original camera negative. There is a definite grain structure to this presentation. Apart from that, the usual aliasing, edge enhancement and pixelization that has accompanied many Columbia titles is thankfully absent herein. The audio is MONO but very nicely balanced and - for its vintage - natural sounding.
EXTRAS: ONLY A COUPLE OF THEATRICAL TRAILERS!!!
BOTTOM LINE: The follow up to this movie (You Were Never Lovelier) is far more engaging musical entertainment but this film showcases Astaire's tapping at some of its very best and it's refreshing to see the lovely Ms. Hayworth in fine comedic and dancing form! Recommended.

The first A-H movie is worth a second look.
YNGR is the first of two films which paired Astaire and Hayworth as dancers, and I initially thought it was the lesser of the two pairings. But I have to admit this film- which puts its audience squarely into the start of World War II- is quite sharp, script-wise, and quite lyrical, music-wise. Astaire's dance director shows an early but distant attraction to chorus dancer Hayworth (and vice-versa), but is drafted into the Army (not to mention repeatedly banished to the guardhouse for various insubordinations) before they can live happily ever after. They were a sweet coupling (despite their 19-year age difference) and Hayworth, as others have mentioned, was quite a revelation as a tap and ballroom dancer. All of their dances are performances only, not love scenes (which are the duets I have always preferred), but they are sensational. The requisite 'big number' is the finale, the "Wedding Cake Walk" (you'll do a double-take at the last image of the tank-shaped wedding cake), and there is an ensemble dance at the start of the film called "Boogie Barcarolle." But two numbers stand out: Astaire's solo dance in the guardhouse, sung by a black jazz chorus (uncredited, but I believe called the Delta Rhythm Boys) and entitled "Since I Kissed My Baby Goodbye." It has a marvelous grace and elegance, not to mention a sensational vocal by lead Delta man Lucius Brooks. The other number is Astaire and Hayworth's dress rehearsal "So Near and Yet So Far," a stunning rhumba which shows off Hayworth in a sheer black gown and expands into intricate layers of choreography. This is one of the last films to show Ms. Hayworth as a brunette; shortly after this outing she began doing Technicolor films, and her tresses went red forever after. Their follow-up film, "You Were Never Lovelier," had more of the standard romantic shenanigans and more lyrical dance numbers, but this first one was more screwball comedy and, in a sense, more of a challenge to pull off. See. Buy.

A fun, fast-paced and slightly risque comedy
Fred Astaire meets the draft in this pre-war comedy, featuring Rita Hayworth as a chorine who capures his heart, although she naturally already has a beau, presenting Fred with a challenge he must overcome between stints in the stockade for going AWOL and various other infractions of military law. This tart, well-scripted comedy is a little light on the dancing, but features some of the best, briskest dialogue that came Astaire's way, and a fine supporting cast, including the famous Hollywood "double-talker," Cliff Nazarro, going through his routine in numerous scenes. Hayworth dazzles, as usual, and Fred is in top form. Cole Porter's compositions for this film are not his best work (in fact, I don't think a single tune stuck in my head after watching this one), but they don't detract from the overall charm of this super-fun, class act classic film. Definitely recommended! ... Read more

Reviews (1)

Two more samples of Bob Hope's best!
Yet another fine disc in the Bob Hope Tribute Collection offers up two more classic Hope films, along with trailers, production notes, and cast and crew bios.

In "Louisiana Purchase", Bob is the unwitting vicim of corrupt Louisiana politicians who stick him with the blame when a crusading senator from Washington comes to investigate. Bob has to finagle a way to deflect the senator from his witch hunt, and enlists the aid of a Viennese beauty played by Vera Zorina. The senator is wonderfully portrayed by Victor Moore, a pious Republican who longs for the Presidency.

Interesting to note here is the opening scene, which was shot in color, but on a set designed for black and white film. The producers did this on purpose, hoping to lead up to the spectacular color sequences later on in the picture, but seeing the gray/blue color scheme here is a fascinating look at how specific contrasts were achieved on the sets of all those black and white movies in order to make them appear more natural.

While "Louisiana Purchase" is pretty good, "Never Say Die" steals the show. Bob is a hypochondriac millionaire mistakenly given one month to live. Martha Raye teams with Bob again as the daughter of a Texas oil man who wants her to marry a cash-strapped prince. Unfortunately, she's in love with Andy Devine's character, Henry Munch, and runs away rather than marry the prince! Naturally, she runs into Bob, who's being hunted by a "black widow" delightfully played by Gale Sondergaard, who's husbands have a bad habit of always turning up dead. The one-liners (and the laughs) come fast and furious in this one!

If you look quick, you'll see Monty Woolley as Dr. Schmidt, the specialist who misdiagnoses Bob's condition. Film fans will fondly remember his later appearances in the classic Cary Grant picture "The Bishop's Wife", and "The Man Who Came to Dinner" with Bette Davis. ... Read more

Amazon.com essential video

This second Marx Brothers classic has Groucho playing Captain Spaulding(an inside joke pertaining to a renowned Hollywood drug pusher), whose song "Hooray for Captain Spaulding" became his signature anthem. Despite its staginess, it has some hilarious gags as the boys try to solve the mystery of a stolen painting among the high-society crowd. Some of the highlights include Groucho's African lecture about shooting an elephant in his pajamas, and a wacky card game between Harpo, Chico, and thealways-gullible Margaret Dumont. The musical interludes here don't seem asawkward as in later films. It's really quite charming watching Chico and Harpo show off their graceful talents. --Bill Desowitz ... Read more

Reviews (37)

Hooray For Animal Crackers
In 1930, one year after their successful debut film, "The Cocoanuts", the Marx Bros. gave us "Animal Crackers; their second film, and one of their best and funiest.

The film centers around the Rittenhouse mansion where a social gathering takes place to witness the unveiling of the painting "After the Hunt"; and without the Marx Bros. attending it would be a very dull exhibition indeed.

Groucho plays Captain Spaulding, the african explorer, just back from Africa, presumably, and invited by Mrs. Rittenhouse, played by Margeret Dumont. Chico plays Signor Emanuel Ravelli, the musiscian hired to play at the mansion. When he and Groucho meet, they go into a classic dialogue about how much Chico will be payed to play; and as it turns out, Chico would make more money not playing. Harpo plays the Professor; perhaps the first and truest "nuttiest professor". Zeppo plays Mr. Jamison, Grouchos secretary. He and Groucho have perhaps their best dialogue and funniest in this film which revolves around Zeppo writing a letter for Groucho in which Zeppo omits much of what Groucho says.

"Animal Crackers" is the Marx Bros. way of showing what snobs high society can be. The painting, "After the Hunt", is to be displayed by Rosco Chandler, played by Luois Sorin. As it turns out this particular painting has been copied by art students around the world, two of which are attending this social gathering, and, as a joke, they both switch their painting with the real one. One of the two fakes is a terrible reprodoction, while the other one is so good it might be better than the origonal.

The really good painting is switched by John Parker, played by Hal Thompson; a starving artist whose love interest, Arebella Rittenhouse - Mrs. Rittenhouse's daughter - played by Lillian Roth, intices him to make the switch.

After the switch, there is mayhem and chaos, most of which is created, delightedly, and hilariously so, by the Marx Bros. Groucho trades in his title of Captain, to "Inspection Scotland of Spaulding Yard", and he and Chico discuss who might have stolen the real painting, until they come to the conclusion it must have been perpetrated by a left handed moth.

There are so many highlights to this film, they cannot all be represented here; nor should they. However, the songs "Hello I Must be Going", and "Hooray For Captian Spaulding" are true classics, as well as the dialogues between the Marx Bros. previously mentioned. As well, Harpo dons is famous overcoat with seemingly bottomless pockets which he uses to stuff all the silverwear he has stolen, leading to the film's roarous ending.

I never tire of watching "Animal Crackers", nor any of the Marx Bros. films from "The Cocoanuts" to "A Day At the Races", and including "The Big Store". Their second film is indeed one of their best.

Excuse me, Mrs. Rittenhouse, but have you lost a fish?
Even more so than THE COCOANUTS, this second Marx Brothers film suffers from extremely stagey cinematography; worse still, the print and sound quality is often quite poor and some of the references (most notably Groucho's take on Eugene O'Neil's "Strange Interlude") are so firmly rooted in place and time that one would need be an adept of arcane trivia to grasp the joke. Even so, ANIMAL CRACKERS remains one of the Marx Brothers' most inspired feats of comic anarchy, setting the brothers loose to wreck havoc on a Long Island society house party, where they waste little time in lampooning social pretensions with incredible precision.

Although ingenue Lillian Roth's performance seems stylistically dated, the brothers are extremely well supported by the wonderful Margaret Dumont, and the film abounds in wildly hilarious scenes--most particularly the Bridge party--in which Dumont faces the full brunt of their ribal humor to outrageously funny effect. Other brilliant moments include Groucho's proposals ("Why, that's bigamy!"), Chico's turn at the piano (Chico: "I can't think of the ending." Groucho: "Funny, I can't think of anything else!") and the power failure ("Excuse me, Mrs. Rittenhouse, but have you lost a fish?") All in all, ANIMAL CRACKERS will be a real treat for Marx Brothers fans as well as casual viewers prepared to overlook the film's flaws, and it remains my favorite among their early films.

Dated Operetta-Style MarxxBrothers Comedy
Groucho Marx in one of the Marx Brothers' Classics, surrounded by the usual cast of High Society play-alongs, delivers what many consider their very best work. The lunacy begins when Groucho arrives back from an African Exploration, just in time to be the guest of honor at a Society Dinner Party. The craziness is fueled by some twists and turns about a valuable painting (which seems to be easily copied onto what appears like a roll of wall paper). The predictable plot keeps rolling along, while Groucho seems to consume 95% of the scipt with one-liners.

In 1930 this may have been a welcome distraction from Depression Era hum-drum life. I tried to find the same amusement a lifetime later, and can't agree with the critics. Aside from a few clever (even risque) jokes, I was missing the rolling-on-the-floor-with-laughter effect. Animal Crackers left me only with luke-warm feelings, while I found the "other" Marx Brothers Classic, "Duck Soup" hilarious. I would rather see "Duck Soup" 5 more times than view "Animal Crackers" ever again. Not a total loss of 1 1/2 time, but don't expect any "mirror scenes", because this one has none!***

No trains will be sold after the magazine leaves the depot..
Wow. There are actually some funny movies out there that DON'T include obscenities, naked people, or jokes about barfing!! This movie is worth buying for that fact alone. Why can't people make movies like this anymore? Why do we have to go back 70 years to find a movie with terrible film editing in order to get the best laughs? Well, it sure is worth it to me.
Anyway, I'll start off with what I didn't like about it, which really wasn't a lot. Mainly just the really bad sound quality, and terrible film editing. Also, the romantic sub-plot and song didn't really do much for me either. But fortunately, the Marx brothers can make up for anything.
This is the only one of their films that I've seen so far that included Zeppo, and I was kind of disappointed, since the only funny thing he said in the whole movie was "How do you spell 'semicolon'?" But the other boys were great. I didn't really care much for the part where Harpo was standing in his underwear shooting a cap gun at people, and I'm probably too young to understand all of Groucho's 'strange interludes', but other than that it was hilarious.
The things that got me laughing the hardest were the bridge game, looking for the 'flash', the expression on Chico's face when he realizes he doesn't remember the finish to his song, Harpo sneakily stealing the money from Roscoe W. Chandler, the whole 'left-handed moth' thing, the negotiation between Groucho & Chico about how much it costs for his band to play (or rather, not play), Chico telling Arabella that he couldn't take out the painting if it's not stealing...I could go on & on, would you like me to go on & on? Ok, I won't. But I'll leave you with the line that got me laughing the hardest, for some strange reason:
Groucho: (I'm paraphrasing here) "We need to find out the motive of the guys who swiped the painting."
Chico: "I got it - robbery!"

Have You Seen Your Marx?
Captain Spaulding`s on the case as he searches for a stolen painting! With non-stop humor,gags,and talk of marraige, this equils up to be one of the looneyest movies EVER! ... Read more

Amazon.com

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

Reviews (11)

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

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

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

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

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

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

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

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

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

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

This movie is not based on facts.

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

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

Description

The third and final entry in Hal Roach's famed "Topper" trilogy may very well be the best of the lot. Returning for their third portrayal of Mr. and Mrs. Cosmo Topper, Roland Young and Billie Burke are consistently upstaged by a sparkling new addition to the "Topper" troupe, Jack Benny's famed manservant, the loveable and irascible Eddie "Rochester" Anderson. This time around there is a "new" ghostly presence in the shapely form of Joan Blondell, who is unceremoniously dispatched by a cloaked knife murderer in a case of mistaken identity. Naturally, Joan floats over to the Topper's quiet abode and nags Cosmo into investigating her death. Back they come to the spooky scene of the crime, where Topper is accused of the murder by a houseful of creeps headed by ghoulmeister George Zucco. And who else should be the lead detective on the case, but the uproarious Donald McBride of "Room Service" fame, thoroughly bungling everything in sight! ... Read more

Reviews (16)

CHUCKLES AND LAUGHS!
This is the first Topper I've seen minus Cary Grant. But Joan Blondell holds her own and carries the day. There are constant laughs to be had here and frequent giggles, the biggest instigator of them being the briskly clever dialogue and the performance of Eddie (Rochester) Anderson, who for many years performed with Jack Benny. His terror at the "ghostly" goings on is replete with humor.

It is a pleasure to see a young Dennis O'Keefe acting opposite Carole Landis, sweet, beautiful and a fine actress (what a tragedy she committed suicide over an ill-fated love affair with the then married Rex Harrison - or should I say what a waste, since in this film she displayed such potential as an actress). And there is a wonderful, laugh till your sides split, performance by Billie Burke, who lets all the stops out in this one. She seems to relish her role and uses her up and down tremolo voice, sometimes raising it to a hilarious screech. This is definitely one of her best films.

Watch it and have fun! Because it's a fun movie at heart.

Topper's RETURNED!
And he's got a carload of women! Actually, not a carload ,just two... One of whom happens to be a ghost! She drags topper to an old creepy house to find out who killed her. The house happens to be full of all sorts of secret passages, and WEIRD personalities.And of course, Mrs. Topper suspects that the young lady who got Cosmo over here is 'the other woman'. This movie is truly funny, and it's backed up by Eddie, or Rochester, Jack Benny's Valet. A Must-See!

Wonderful!
I love this movie! I hadn't seen it in years, but remembered loving it, so today I watched it. I love it. It's funny, mysterious, and dramatic. Plus it's always nice to watch an oldie and realize how different they are from today's. I would definately reccomend this!!

A great old movie
Topper Returns is an example of how old Hollywood could do classic work, with a movie that isn't great, but exceedingly good, and at times downright hilarious. Roland Young, the woman who plays his wife (forgot her name) Joan Blondell and Eddie Anderson make this a comedy, albeit a black comedy with it's overtones of murder, worth buying. And don't forget, it was nominated for two Academy Awards. It's good viewing for Mom, Dad and kids who aren't really young.

Pure fluff
The story is wafer thin and it matters little. There is more crammed in this little unsung film than most comedies. Despite the racist undertones, Rochester shows why he was regarded as such a great comic actor. It is a pity he did not make more films as he seems the equal of Bob Hope as the scared driver of Topper.

Indeed the whole film is a battle between which lunatic can hold the camera for more than a few seconds. There is just too much going on. I particularly liked Topper's wife who was so dizzy and stole scene after scene. It is a who dunnit, but that really does not matter as it is all great fun.

Sit back and enjoy a piece of nonsense. ... Read more

Amazon.com

Rondo Hatton had appeared briefly in such Hollywood classics as The Hunchback of Notre Dame and The Ox-Bow Incident, but his later status as a cult icon is kept alive by his roles in low-budget B thrillers. His massive, misshapen head, gigantic hands, and towering presence were the result of acromegaly, a disease that causes bones to be enlarged and misproportioned. The Brute Man was Hatton's last film and only headlining role--he died soon after filming. He stars as the Creeper, a mysterious killer taking his revenge on those he holds responsible for the accident that disfigured him, but whose heart is softened by a blind girl who befriends him--kind of a twisted take on Beauty and the Beast. The slapdash production suffers from an underwritten script and lackluster performances, but director Jean Yarbrough manages to inject some mood and a little style into the production, and even pulls a few surprises out of the otherwise mundane script. Tom Neal, who appears as the Creeper's next target, made his cult reputation with Detour. Hatton was never much of an actor, but he makes a startling presence shuffling through fog-shrouded streets and ducking around corners, and even elicits a little sympathy for a character so filled with hate that he becomes the monster he resembles. --Sean Axmaker ... Read more

Reviews (3)

Rondo Hatton at his "best".
Rondo Hatton was a victim of acromegaly whose deformed face (and voice) were tastelessly exploited in several films of the Forties. This one has two distinctions -- it was Hatton's last film (he died before its release) and it was the only Universal horror film which Universal did not bother to release, but rather sold to the ultra-low budget studio PRC for release, altho the film still begins with the Universal logo. The plot involves a handsome college student whose face becomes deformed due to a laboratory accident. Since Hatton actually was handsome and athletic in his pre-acromegaly period, the film has a bizarre parallel with his own life. (But it is difficult to accept that this type of deformity could be caused by a splash of acid.) The nouveau ugly man becomes a brutal killer, proving it is possible to be grotesque on the outside and rotten on the inside, too. He befriends a young blind woman who believes blind people have good character judgment, yet she never suspects he is a brutal killer. This grim, depressing film is interesting in a perverse way.

And now, the DVD technical review
Another customer review very nicely covers the movie itself, so just let me chime in with a few quick words about the technical quality of the DVD release.

You might think that this disc would be grainy, or soft, or with poor contrast, particularly since it's from the legendary poverty row studio PRC, and a few other PRC videos are so-so. Truth is, although the film was released by PRC, it was produced by Universal Studios!

You'll be exceedingly happy to discover that the transfer to DVD is outstanding. Contrast is excellent, and the image is sharp and clean. This is a Criterion-level transfer here! Sound is nice and clean too. Of course, the disc hasn't anything in the way of extras. Running time is just about an hour, the case is a snapper.

If you're interested in the related films, this one is the last of the "Creeper" films. The Creeper is Rondo Hatton's "signature role" begun in 1944 in the Rathbone/Bruce Sherlock Holmes film PEARL OF DEATH, followed by 1946's HOUSE OF HORRORS, and finally THE BRUTE MAN (which was indeed Hatton's last film).

Below-par B thriller of historical interest only
The Brute Man was the last film of Rondo Hatton, an acromagly sufferer whose disfigured looks were exploited by Hollywood in a series of movies in which he played a psychopathic back-breaker called The Creeper (although none of the movies, including the Sherlock Holmes thriller Pearl of Death, has any link and were not part of any series).

This cheap PRC production has Hatton hunt down the people responsible for his disfigurement (an explosion in his college lab) and also murder various others who get in his way. The victims include a nosy shop assistant and a jeweller who insists that Hatton pay for a broach. Meantime, he falls in love with a blind woman but she eventually betrays him to the police and he tries to kill her too.

One of the amusing things about this movie is that there's supposed to be a huge Dragnet out for Hatton but he's always walking down the street openly despite his looks and appearance. He actually doesn't give a bad performance. Deapite his reputation as The Ugliest Man Alive his looks aren't really bad enough to warrant the screaming reaction he gets from some of his victims. Film is padded out by some silly footage involving the investigating police (at one point playing cards when the Commissioner comes in and then taunting him). A pretty silly script and a general lack of style. ... Read more

Amazon.com

In this sequel to 1941's Buck Privates, Bud and Lou are on theirway home from the war in Europe (having joined the Army by mistake in the first film). Lou is smuggling home Evey, an adorable French orphan. When Evey is discovered and scheduled for deportation, the only way Bud and Lou can keep her is to get real jobs, a real home, and a real wife.They seek out Evey's "Aunt" Sylvia for help, but first her fiancée needs some quick cash toget his midget-car racer ready for the big race.Of course, the whole thing ends with Lou in the car, leading the cops on a hilarious chase.And don't worry--Evey finds a real home with Sylvia.Buck Privates Come Home is one of those rare sequels that may be better than the original.It's got plenty of routines, sight gags, and action--and only one of those musical interludes that frustrate dyed-in-the-wool A&C fans.The following year, Bud and Lou would team up with the same director and writers to make the classic Abbott & Costello Meet Frankenstein. --Geof Miller ... Read more

Reviews (6)

Funny and Touching Film.
Bud and Lou return to the States and want to keep a young girl named Evie they adopted while in France, thus they enter world racing championship race to win a lot of money and become foster uncles to Evie. As expected things go wrong and Lou ends up in the race car, but in the end, things turn out all right. The useual laughs are also under-lined by some tender moments as Bud, Lou, and Evie slowly start to become a family.

This sequel is better
Buck Privates was very good but i think you will find this movie even better because its faster paced, good action, plenty of funny moments, and i believe it has better direction. I highly recommend this one. This is another Abbott and Costello film well worth watching. Not all of thier films are great but this one is so just enjoy it.

Abbott & Costello in top form
Another rare case of a sequel topping the original. There is some effective sentiment to go along with the clowning. Along with 'The Time of Their Lives' and 'Abbott & Costello Meet Frankenstein', this one ranks as one of the boys' best.

BUD AND LOU ARE AT AGAIN IN HILARIOUS SEQUEL
The ONLY SEQUEL to an A&C film and one of their BEST. The boys return from the war in Europe after having ACCIDENTLY enlisted in the Army in the first film. (One wonders how Abbott & Costello could have POSSIBILY taking part in WW II and having the Allies still win). The film begins with the classic "DRILL ROUTINE" from 'BUCK PRIVATES'. On the ship carrying the boys home, Lou tries to smuggle in a French war orphan named Evie. The ONLY way the comedy team can keep the girl is to get REAL JOBS, REAL MONEY, and a REAL WIFE. The boys gather together their old pals from their platoon and convince them to put up the money for Evie's "AUNT SYLVIA'S" fiance's midget car who is sure will win the big race. This investment pits "SLICKER & HERBIE" against their old nemesis "SGT. COLLINS" (The policeman who tried to arrest them in the first film for selling neckties without a license and who later became their Army sergeant.) The climatic chase seen is one of the highlights of this VERY FUNNY,HILARIOUS sequel to "BUCK PRIVATES" [NOTE: Shortly after the release of this film, Abbott & Costello were reunited with the SAME WRITERS and the SAME DIRECTOR, for what will be the BEST HORROR COMEDY ever filmed - " ABBOTT & COSTELLO MEET FRANKENSTEIN"]

not as innocent as buck privates//costello tries too hard
..good sequel /top of film is padded with original buck privates//segments of the film are too serious//costello is not as innocent /right//left sequence is funny//midget race car sequence is excellent. ... Read more

Amazon.com

Everybody does his or her bit for the war effort in this comedy thriller released in 1943, smack in the middle of World War II. Bob Hope stars as bumbling war correspondent Robert Kittredge, a man so inept that he misses the German invasion of Russia. "I wouldn't even trust you to cover a hole in the carpet!" screams his editor in chief, Mason (Donald MacBride, with the requisite steam coming out of his ears). Then, of course, Kittredge stumbles onto an evil Axis plot and ends up saving the world.

Dorothy Lamour--Hope and Bing Crosby's glamorous love interest in seven Road pictures--appears here sans sarong, playing an intrepid Lois Lane type. But Hope doesn't have to fight Crosby for her affections; "Der Bingle" makes only one brief vocal appearance, via a music box.Subtlety is not this movie's strong suit, and goofy gags abound from the start, with Hope skulking through a Russian hotel disguised as a Cossack to escape creditors. The Axis characters--Germans, Italians, and Japanese--arestereotypical villains all. An uncanny Mussolini look-alike has a blink-and-you'll-miss-it cameo in an airplane scene, and acclaimed director Otto Preminger proves he's a good sport with his portrayal of a wicked Nazi ringleader. It's all a fun romp, and an interesting look back at the kind of propaganda Hollywood once churned out to help keep the world safe for democracy. --Laura Mirsky ... Read more

Reviews (2)

Lovely Slice of the 1940's
I was born in 1952, but would come home from gradeschool to find 1940's movies being played on the local TV station. I fell in love with the strange world of the 1940's, which was so very different from the late 50's.

This movie is a delightful romp, as Bob Hope and Dorothy Lamore fight Nazi terrorists and spies in Washington DC who are planning to attack American cities enmass, poisoning the water, blowing up power stations, the type of thing the Bush Administration is always trying to scare us about. I suppose this shows my political bias, but at one point in the movie, a character says that she will no longer work with the Nazi's since she values the freedom in this country. My immediate thought that was with the Patriot Acts 1 and 2, it is from INTERNAL sources that we now have to worry about our freedom, whereas in the 1940's it was the external enemy that wanted to turn us into a police state.

Anyway, this movie is delightful in giving a slice of the popular culture at that time, the wonderful tailored clothes, bizarre women's hair styles, the GI Joe patriotism, and most importantly the laughs which haven't aged a day since 1942, all the way up to the hilarious conclusion when members of all branches of the military join Bob and Dorothy in saving the USA!

If you enjoy WW2 memorabilia, this movie may be a fun experience for you. If you are a baby boomer like me who was raised on such black/white movies on TV after school, it will be a nostalgic look back wards. This is the REAL THING, not some modern movie made to re-enact the WW2 days. In a wierd sense, this is a very sweet movie when Bob and Dorothy were young and vital, and the world was in great danger, and yet we all had time to laugh.

SIMPLY GREAT !
As a French (currently living in Switzerland), I have never had the opportunity to be that familiar with Bob Hope and his humor, therefore I bought this DVD at random...and I simply hit the ceiling ! First of all, on the technical point of view, the transfer is absolutely exceptional (when you'll watch the trailer, you shall see the difference !) , glorious black and white, great sound with lots of dubbing (Argh !) and subtitles.
The story is very light but amusing, typical of those WWII comedies and the lines of Hope...Mama mia ! you can die for them !
It is so hilarious that I already watched it twice in 3 months
So do not hesitate to purchase it , even if the price ... appears to me to be too excessive ... ... Read more