Amazon.com

A classic screwball comedy with a supernatural twist, Topper starsthe incomparable Cary Grant and sparkling Constance Bennett as George andMarion Kirby, a fun-loving couple who cap an evening of jazz and champagneby running their car into a tree. They return as ghosts with a mandate toliven up the straight-laced hen-pecked life of bank president Cosmo Topper(Roland Young), who's hungry for just such a shake-up. Before long he'sboozing, dancing, and getting into fights, all of which gives him a rakishreputation--much to the consternation of his wife (Billie Burke, bestknown as Glinda the Good Witch in The Wizard of Oz). The sequelreplaces Grant and Bennett with Joan Blondell, who can't quite compare,but she's charming in her own way. Topper Returns is a rambunctiousmurder mystery with some gorgeous sets and elegant cinematography--thesequence of Blondell's death and ghostly rise is dazzling. --BretFetzer ... Read more

Reviews (12)

Funny 1937 Original w/1941 sequel now on remastered DVD!!
ARTISAN Home Entertainment brings us a remastered DVD of Hal Roach Studios (who brought us Laurel & Hardy and the Little Rascals in 1920's through the 1930's on the side experimented with full length feature films,greater than 65 minutes in length) original 1937 Topper. In 1937 Hal Roach used trick photography, camera magic and ground breaking FX technology for the amazing ghost creations.

"Topper" with a Star studded cast Cary Grant as Millionaire George Kirby (at his comedic best), Constance Bennett as his wife Marion (a beautifully devine actress), Roland Young as their Banker Cosmo Topper (nominated for Best Supporting Actor as "Topper") and Billie Burke as Mrs. Topper (best known as Glenda the "Good Witch" from the 1939 "The Wizard of OZ"). Included is a very young song writer/singer Hoagy Carmichael.

This wonderfully remastered Black / White Standard Feature DVD is delightful. Worth the price of admission alone but the 1941 sequel "Topper Returns" is also included. Note: a very weak sequel but still a cute storyline featuring Roland & Burke in reprise. A double feature DVD with no extras.

Summary: The jet setting, ever partying Millionaire Kirby's die in an automobile accident on a late night country road. They enter a state of limbo (earthbound ghosts) until they perform a good deed. So they go about trying to free their banker "Topper" from his dull routine high collar lifestyle and make him a jet setting man of high society. This is a great story with ghosts, floating objects and Topper talking to himself. Mrs Topper has the hardest time trying to figure out whats happening to her timid obedient husband. Lots of laughs here. Enjoy.

Hilarious and utterly charming!
As a screwball comedy, Topper has it all: high spirits and hijinks, wonderful acting all around, sharp dialogue, deft physical comedy, and a theme lots of people can relate to. If you're in the mood for a screwball comedy that still has a real message, this is one to watch.

Topper Returns is like an episode of Scooby Doo come to life: spooky mansion, secret corridors, creepy servants, and a masked murderer on the loose. Mix in a hard-drinking ghost, a befuddled detective, a blonde bombshell, and Eddie "Rochester" Anderson of Jack Benny fame, then add a string of razor-sharp one-liners, double-takes, and pratfalls, and you get a recipe for hilarity. Billie Burke, as Topper's ditzy, jealous wife, is even funnier in this one than in the original: she takes blithe cluelessness to a new level!

The special effects in both films are suprisingly good for the era, and the beautiful DVD transfer really brings them to life. Great films!

Well worth the price
Although I don't think Topper with Cary Grant is as good as some of his other B&W comedies, "Bringing up Baby", "The Bachelor and Bobby Soxer" or even "Monkey Business", it is a good old B&W movie to watch. However, I think I like "Topper Returns" even better, "Topper" gets bettter as the movie nears the end, but "Topper Returns" seems to keep laughs coming throughout the picture. I find the scenes with "Rochester" from the old Jack Benny show most memorable, the comments he makes ( he has a very memorable voice) , the way he rolls his eyes and responds to the ghost extremely funny. "Topper Returns" has more people doing the funny scenes, little things throughout the movie.

The picture and sound quality on this DVD seems better on our Hitachi 57S700 better than "Topper Returns" by Alpha Video. We have one of our Dtivos getting every Cary Grant movie for the past few years but never seemed to get Topper. We were at a store and saw "Topper Returns" by Alpha Video. After buying this I decided to buy Topper/Topper Returns here on Amazon, just to get "Topper" with Cary Grant, and glad I did. Once again, for those of you that like old B&W comedies, this DVD is welll worth the Amazon price.

THIS TWOSOME TOPS OUT IN HILARITY!
"Topper" is the supernatural screwball comedy about a pair of fun-loving ghosts who wreak havoc on the life of henpecked banker, Cosmo Topper (Roland Young). Cary Grant and Constance Bennett simply glow as George and Marion Kirby, a couple of devil-may-care free spirits who accidentally kill themselves by wrapping their car around a tree. They return as a couple of blithe spirits, determined to introduce Cosmo to the good life. Billie Burke costars as Cosmo's stuffy and hilarious bubble-head wife. The sequel, "Topper Returns" uses this same premise but replaces Grant and Bennett with Joan Blondell. Although she's amply cast, she doesn't quite eclipse the memory the original. The engaging murder mystery plot of "Topper Returns" with its sumptuous setting and elegant cinematography compensate, particularly the surreal visual splendor of Blondell's haunting death and her ghostly reincarnation.
THE TRANSFER: "Topper" is a little bit worse for the wear than "Topper Returns". This is to be expected since, after years of being a late night television fav', the rights to this classic have fallen into public domain. MGM is credited with originally making this classic. The gray scale is a trifle underexposed on "Topper" well seemingly close to dead on in "Topper Returns." Age related artifacts are more heavy and noticeable on "Topper" as well. Over all, the image has a dated appearance but contrast and black levels are generally good on both movies. Edge enhancement is present slightly on "Topper" only. The audio is mono for both films. "Topper" suffers from slight hiss and popping but "Topper Returns" is generally more natural sounding on the ears.
EXTRAS: None.
BOTTOM LINE: "Topper" is an outstanding Cary Grant comedy with few equals - save "Bringing Up Baby." Perhaps one day we'll see the release of that classic on DVD!

clear DVD from Artisan
This is a good transfer indeed. I know Artisan is hit and miss. This DVD title is clear. The 1st Topper is always my favorite. Why? Cary Grant and Constance Bennett are in it. Wow she has a figure no man today would turn away. And I am a woman saying that.

The second movie has the couple that play the Toppers. But Not the Kirbys. (No Grant and Bennett). he Kirby's haven't been re cast, they aren't in it. It is still an interresting movie though. A comedy/murder movie.

At the price this DVD can be bought at it is a steal. A must get for your collection. ... Read more

Reviews (38)

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

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

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

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

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

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

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

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

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

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

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

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

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

A Really Good Movie
MY DARLING CLEMENTINE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

4 movies on 2 DVD's

1. Fighting Caravans (1931, run time 80 minutes) Also starring Lili Damita
A young frontiersman (Cooper) facing a misdemeanor jail term, talks French-born Felice (Damita) into posing as his wife to avoid being arrested.They join a wagon train headed West, and he is sole trail guide as they battle Indians and a villanous gun-runner.Their seesaw relationship provides an interesting love theme.Based on a Zane Grey novel.

2. A Farewell To Arms (1932, run time 83 minutes) Also starring Helen Hayes
Based on Ernest Hemingway's novel, this is a World War I love story about paramedic Lt. Henry (Cooper) and nurse Catherine Barkley (Hayes).This poignant, ill-fated romance takes place in Italy where the two fall in love and will stop at nothing to be together. Academy Award Nominations: Best Picture; Best Art Direction.

3. Meet John Doe (1941, run time 135 minutes) Also starring Barbara Stanwyck
A suicidal down-and-outer, "John Doe" (Cooper) is manipulated by an ambitious politician and a newspaper writer (Stanwyck).This Depression-era parable illustrates the decency of the common man triumphing over cynicism, big-money influence and power.Academy Award Nomination for Best Original Story.

4. Stolens Jools (1931, run time 20 minutes) Also starring Norma Shearer
This humorous story is an investigation of the theft of Norma Shearer's jewelry at a big, star-packed party.Party goers include Joan Crawford, Laurel & Hardy, "Gabby" Hayes, Buster Keaton, Maurice Chevalier, Irene Dunne, the list goes on and on. ... Read more

Amazon.com

Historically dubious but vigorously entertaining, Dark Command is the best of John Wayne's many movies for Republic (not counting Wayne's lovely producing debut Angel and the Badman and those two John Ford films). Set in "Bleeding Kansas" just before and during the Civil War, it highlights the romantic triangle of amiable but unschooled Texan Wayne, banker's daughter Claire Trevor, and schoolmaster Walter Pidgeon--just long enough for the earnest pedagogue to become embittered, turn into bushwhacker William Quantrill (here Cantrell), and start wreaking havoc in the Border States. This was Republic's first star vehicle for Wayne, following his breakthrough in Stagecoach (away from Republic), and it's an uncharacteristically impressive production: good writers working from a W.R. Burnett novel, Raoul Walsh brought in to direct, music by Victor Young, and strong costars and supporting cast (Marjorie Main, Porter Hall, Raymond Walburn--and Roy Rogers and Gabby Hayes!). Wayne himself is delightful. --Richard T. Jameson ... Read more

Reviews (1)

interesting and rare John Wayne movie
This Civil War era movie was very interesting as it tried to follow a generalized campaign of the very infamous Captain Quantrell, the Confederate leader of raiding party's into the North. This was not one of John Wayne's best pictures but it ranks up there as being rare and informative. A must see for true John Wayne fans. ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Description

Gary Cooper and Barbara Stanwyck star in Frank Capra's popular social commentary on the common man. Stanwyck is a newspaper reporter who sends a fake letter upon her firing, signing it John Doe. When the letter becomes a rallying cry for all the little people, Cooper, a man in need of money, agrees to impersonate the nonexistent person who claimed he'd commit suicide because of the problems of society. And thus, a political movement begins--but the newspaper publisher has a secret plan. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Reviews (2)

Series fans, add 1 *.Huntz Hall in drag is worth price alone
The East Side Kids series took a definite turn for the better when director William Beaudine joined it in 1943. CLANCY STREET BOYS is Beaudine's first, and also the first East Side escapade to be played strictly for laughs. To impress his father's old friend from Texas, Leo Gorcey has to pass off his rowdy pals as his siblings (including Huntz Hall in lipstick as sister "Annabelle," and African-American Ernie Morrison as a stepbrother!). Noah Beery and Lita Ward (the future Mrs. Gorcey) are enjoyable as Gorcey's fresh-from-Texas visitors, and Rick Vallin is personable as the heavy. (Vallin became one of producer Sam Katzman's favorite actors.) This was filmed on Katzman's usual how-low-can-we-go budget, which results in frequent ad libs and a relaxed atmosphere. An hour of fun for comedy fans, and series fans will really enjoy it. The print was frequently cut and recut by TV stations, so there are splices at scene changes. Except for a few momentary digital glitches, the image is surprisingly sharp and clear.

Antics galore!
If you grew up watching the East Side Kids/Bowery Boys, you'll love this film. Muggs and the gang are always at their hysterical best. It's just as much fun to watch them now at age 51 than when I was 10. This is a keeper! ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Reviews (10)

Three times the Bela for Your Buck!
Man, there is just something about this cheap little flick. And that something is Bela Lugosi. Although he is essenially one character, that character plays 3 roles in the film. Part of the low-brow charm of BOWERY is that, at times, you feel like you're watching 3 different films. With that lean 61-minute running time, the action comes fast and the body count rises rapidly.

Bela certainly made better poverty-row films (Devil Bat, Invisible Ghost), but BOWERY is still pretty entertaining.

This is the 2nd release by the Lugosi Estate, and it's a keeper. The picture and sound quality are mostly top-notch (some of the exterior night scenes are pretty murky, but they probably didn't look that great to begin with). There's another audio commentary track by Bela Lugosi Jr. and genre critic Ted Newsome. You won't learn much about the movie, but Bela Jr. does have some great memories of his father to share. You also get another fun radio play starring Bela Sr., and 2 trailers for other Lugosi flicks.

All in all, a must-have for Lugosi fans. Let's hope his estate will make good on Bela Jr.'s promise to keep 'em coming.

Surprisingly Good Flick from Monogram!
Monogram Pictures were poverty-row quality, but here, as in a few other Lugosi movies, they make the most of their limited resources and even make a virtue out of them. I don't remember any other movie that captured the seedy, dusty atmosphere of the Bowery as this one. The plot is actually a very interesting one, with a psychology professor masquerading at night as a mission proprietor to front his third line, robbery and murder. Lugosi, in my opinion a vastly underrated and stereotyped actor, does a wonderful job in differentiating the three personae of Professor Brenner (aka Karl Wagner). His tenderness and affection for his wife are very convincingly portrayed; the only real and unexpected jolt is his murdering her in order to prevent the police from discovering his double life. Here is an example of the film's being a bit too short and not being able to fully deliniate the contradictions of the main character; otherwise, this is one of the most interesting interpretations that Bela Lugosi achieved onscreen. The ending is really frightening, as it is suddenly and swiftly presented to the viewer.

What's that smell in the basement?
Bowery at Midnight (1942) stars Bela Lugosi in one of his many 'poverty row' films, a time when Lugosi was on the outs with the major studios and subsequently worked with independent studios like Monogram and PRC. Directed by Wallace Fox (the back of the box mistakenly says Wallace 'Cox'), most known for his westerns, who also directed another one of Lugosi's low-end films called The Corpse Vanishes (1942).

Bela plays three roles in this film, a kindly soup kitchen operator on skid row, a psychology professor and loving husband, and finally a vicious crime lord (I kept wondering when this character found time to sleep).

Basically the plot runs that Bela runs a soup kitchen, enlisting the aid of various criminal elements that pass through to perform heists, jobs, scores, whatever, while maintaining a secret life as a educator...once an individual outlives his usefulness in Lugosi's crime organization, that individual is then eliminated, keeping turnover high and costs down. This also helped to keep Lugosi's activities secret. Also, if a henchman exhibited the slightest bit of treachery, he was gone...like all the way gone, if you know what I mean (I love how they would bury these poor fellows in the basement, and then put markers with their names, no less, showing where each one rested. Not the smartest move, in my opinion, but whatever). And that soup kitchen/criminal lair...I haven't seen that many secret doors in like...well...ever. How in the heck did they keep track of all of them?

Anyway, one of Bela's students, who is involved with Bela's female assistant at the soup kitchen, decides to do a paper on transients, unaware that his teacher is also the man in charge of the soup kitchen. He finds himself in dire trouble as he stumbles across Bela's alter ego, and soon the police are involved. There was an actor in the movie, Dave O'Brien, who plays a detective, which I recognized from somewhere, but couldn't place until I finally remembered he was also in the movie 'Reefer Madness' aka 'Tell Your Children' (1938).

Soon Bela's worlds begin to collide as the police close in, and he meets a suitable fate involving recently deceased criminals resurrected from the dead?! This movie has everything. For a cheapie little movie, I found much to like with the sets and decor. The makers of this movie may not have had much, but what they had, they used very well. A fine example of making the best of what you've got. Oh, and keep an eye out. About 17 minutes into the movie, you may notice a movie poster for one of Lugosi's other poverty row movies, made within the same year. The hour run time serves nicely to keep things moving as the pace rarely slows down.

This disc was released by Lugosi's Estate, and has many worthwhile features including a digitally remastered picture from 35mm film elements, commentary by film historian Ted Newsom and Bela Lugosi, Jr., a photo gallery, some trailers featuring Lugosi's other poverty row releases including one with the Bowery Boys, a wonderful mini movie poster insert, and there is even a radio episode called "Gasoline Cocktail" from some old time radio crime show. If you are interested in getting this movie on DVD, this is the one to get, rather than some of those cheaper releases floating around.

Cookieman108

Good Script . . . Excellent Bela
One item few fans know about Bela Lugosi is that, in his spare time, he was an excellent gourmet cook. Give him a few ingredients, a little time, and he could give the Iron Chef a run for his money. This philosophy also influenced Lugosi's films. Quite often he was called upon to make a decent meal from scattered leftovers. Sometimes his main ingredient would be a portion of ham, depending on the film involved. But, give him a good script and he shone like the sun breaking through on a cloudy day.

"Bowery at Midnight" gives Lugosi a chance to stretch his acting legs. He plays a character who uses three different guises during the course of the film. By day he is a respected professor of criminal psychology as the City University. In his spare time, he is a kindly do-gooder who runs a soup kitchen in the Bowery. But we soon learn this is a cover for his real persona, a snarling, ruthless crime boss who mistreats everyone who had the bad fortune to work for him. Work for this Lugosi at your own peril, for when he has decided you have lost your usefulness, he tosses you to his henchman doctor for disposal. Unknown to Bela, the doc, whom he has also badly misterated, gets revenge by transforming them into zombie-like creatures and keeps them in the mission's basement. When the police catch on, Bela goes to his mistreated employee for help and a place to hide. The doc is more than happy to oblige, leading Bela down the steps to the basement - and his doom at the hands of those he had previously cast aside.

Given the 61 minute running time, the script has to sacrifice characterization for action, but it keeps its continuity quite well and makes sense throughout the film. It's actually fun to see Lugosi in three different characters, going from the pompous, elitist professor of criminology to the kindly, caring social worker to the thoroughly nasty gang boss.

This is the second DVD in the "Bela Lugosi Presents" series and like the first, "The Devil Bat," it is loaded with wonderful extras. First, the picture quality is excellent, as it digitally remastered from a 35mm print. You will not find this quality in other DVD versions of this movie. Secondly, the commentary by Ted Newsom and Bela Lugosi, Jr., serves to enhance the viewing experience by filling us in on behind the scenes information on both the film and Bela's private life. A rare photo and poster gallery is included, as well as a collectable movie poster insert, giving a flavor of the times to the viewer. As if that wasn't enough, a few Lugosi trailers are thrown in as is, as an extra bonus, "Gasoline Cocktail," a radio drama starring none other than Bela himself. If you think his voice is exceptional in the movies, wait until you hear it on radio. Simply fabulous for Bela fans, and cinema fans in general.

I can only hope that Ted Newsom and Bela Lugosi, Jr. do not stop here. Having whetted our appetites with this feast for eyes and ears, we impatiently look forward to their next offering.

EXTRAS EXTRAS!!! READ ALL ABOUT IT!!!
Finally a series of Lugosi films put out by the Bela Lugosi Estate. With commentary from Bela Jr and Ted Newsom, a crystal clear stills, lobby card and poster section from the Borst Archive. Perfectly designed and animated motion menus. Also added are some bonus trailers and a complete radio program. This is THE version to buy, quality is SUPERIOR!!! ... Read more

Description

195 minute double feature film DVD. ... Read more

Reviews (2)

COOPER - AN AMERICAN ICON
For people who love to watch great acting go no further than Meet John Doe and its star Gary Cooper. His style is almost perfect... he is the "everyman" in the USA and he was able to play... not the glamorous Movie Star that he was... he played the Average Guy... he did it here, he did it in Sergeant York and he did it in A Farewell to Arms.

This DVD was nicely done by Marengo Films and well worth the money.

I'm Betting that Amazon's Release Date is 2001
Two great movies for an excellent price. Though some might not like the quality of DVD reproduction, I point out that it is better than my VHS copies which look cartoonish from their afforable, early reproduction. With that having been said. Enjoy MEET JOHN DOE: Gary Cooper is a tossed-away citizen who is chosen by a reporter (Barbara Stanwyck) to man the soapbox on a charity campaign. FAREWELL TO ARMS 1932 film of an American soldier (Gary Cooper) falling in love with his British nurse (Helen Hayes) during WWI. Based on Ernest Hemingway novel. ... Read more

Reviews (1)

It smells like a hun
Tigers are running amok in the jungles of Damang, disrupting Allied communications and killing local natives. Frank (Bring 'Em Back Alive) Buck is called in to rescue the situation.
On his arrival at the MacCardle Rubber Plantation Buck discovers the natives chanting about 'chindags' - evil humans who assume the form wild animals, in this case tigers. After a little investigation Buck concludes "The japs, or the 'monkey people,' as they call 'em, have possessed the souls of the tigers."
TIGER FANGS was directed by Sam Newfield, who is probably most famous for THE TERROR OF TINY TOWN (1938), a western with an all-midget cast. Apparently he worked pretty fast; TIGER FANGS is one of sixteen movies he directed in 1943. Frank Buck is a credible actor, although it had to be because of his fame as a animal collector that he's in this one. Another kinda recognizable face is that of Duncan Renaldo, who played the Cisco Kid in movies and on television in the late '40s and early '50s.
TIGER FANGS is an entertaining little movie with the good guys triumphant in the end. Buck had a reputation for treating his animals humanely, so parents won't have to worry about scenes of animal abuse or mistreatment. There are some racists attitudes, like the above quote, that might make this one unsuitable for children in some households. ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Reviews (1)

GABLE'S TALKIE DEBUT
Cash and Jeff come across an abandoned baby in the Painted Desert; both want the baby, but Cash claims it as his own. Over the years, the former pals display animosity in an ongoing dispute over cattle, mining and water rights. Meanwhile, the baby boy, Bill grows into a strapping young man........The real star of this Pathe antique is the beautiful scenery. The photography is beautiful in this slightly stiff production which is mainly notable for Gable's talkie debut as bad guy, Brett (who blows up Boyd's mine!) The now rarely-seen Helen Twelvetrees (yes, that was her REAL married name) plays Mary Ellen Cameron. ... Read more