Description

John Huston won the Academy Award(R) for writing and directing this powerful saga that pits gold and greed in the wilds of Mexico and stars his father (Walter Huston) and Humphrey Bogart. Year: 1948 Director: John Huston Starring: Humphrey Bogart, Walter Huston, Tim Holt ... Read more

Reviews (77)

A BONA-FIDE CLASSIC STORY OF GREED AND BETRAYAL !
Here you have a trully great package: a top director (John Huston) and a top star (Bogart) with an great screenplay, music (by Max Steiner), great photography (by Ted McCord) and a top cast. The story revolves around a group of stray losers (stranded in a mexican town) who decide to join forces and go after the (gold) riches of the wild, lawless mexican lands. They are greedy Dobbs (Bogart), honest Curtin (Tim Holt) and wise old Howard (Walter Huston). But the gold fortune they gain from the mountain soon transforms their views and relationships as Dobbs quickly falls into paranoia.

This is a trully classic film which deserved a trully great DVD edition... and this is it!! A two-disc edition with everything you can dream of... A great documentary (The Story of TTOTSM) with Martin Scorsese (lots of and others), another documentary about John Huston, two great Bugs Bunny films (one is a funny spoof of this film), A Lux Radio Theater broadcast, a vast gallery of photos and publicity material, a dozen Bogart trailers, one short film, a newsreel... everything you need to reproduce a classic night at the movies back in 1948!!!!!!

Obviously, the film in this edition has flawless sound and image... and along with this incredible tray of extras, this is surely the DVD edition to buy.

It seems that Warner Home Video is commited to release deffinitive editions of some of its classics (Thanks, WHV!!). I bought this DVD in a box that contains also Yankee Doodle Dandy and The Adventures of Robin Hood (two other two-disc editions who got this first rate treatment).

A great buy for an affordable price! Check for the 3 film box containing The Treasure of the Sierra Madre, Yankee Dodle Dandy and The Adventures of Robin Hood.

John Huston appears briefly (and repeatedly) as the american in a white suit who gives Bogart a coin - surely, the greatest director-cameo I've ever seen in an american classic film.

Bogart gives outstanding performance in this classic film
"The Treasure of the Sierra Madre" won Oscars for best director (John Huston), best supporting actor (Walter Huston) and best screenplay (John Huston). The film was also nominated for best picture but unfortunately lost out to Laurence Olivier's "Hamlet". This was yet another marvellous performance by Humphrey Bogart in a difficult role and proves once again what an outstanding actor he can be when given the right material.

Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) are two Americans down on their luck in Tampico, Mexico, who manage to acquire a temporary job working for Pat McCormick (Barton MacLaine) but don't get paid for their efforts as McCormick does a disappearing act with the money. Dobbs and Curtin catch up with him later in a bar and after coming to blows manage to get the money that was owed to them. A young Mexican boy (Robert Blake) approaches Dobbs who reluctantly buys a lottery ticket from him. Dobbs and Curtin spend the night in a flop house where they meet Howard (Walter Huston), a grizzled old timer who tells them stories of the times he went prospecting for gold in the mountains. They are both quite interested in this but don't have the necessary funds to purchase the equipment they would need. Next day the young Mexican boy comes to find Dobbs to tell him that his ticket has won some money in the lottery. It is not a fortune but enough to invest in some tools and equipment so that Curtin and himself can team up with Howard to search for gold in the Sierra Madre mountains. Greed and distrust inevitably take hold of Dobbs and he gets increasingly suspicious of his two companions and becomes more and more paranoid as the days go by. He is sure that they want to steal his share of the gold which is just not so. A group of bandits led by Gold Hat (Alfonso Bedoya) come across their camp and try to rob them of the gold but with the help of James Cody (Bruce Bennett) they manage to fight them off.

Some favourite lines from the film:

Humphrey Bogart (to John Huston): "Hey, mister, will you stake a fellow American to a meal?".

Bogart (to Bruce Bennett): "Tonight you're our guest. Tomorrow morning look out - no trespassing around here, you know, beware of the dog - get it?".

Alfonso Bedoya (to Bogart): "Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinking badges".

Bogart (to Tim Holt): "Fred C. Dobbs don't say nothing he don't mean".

Writer/director John Huston played a cameo role at the start of the film as an American tourist ("White Suit") who Bogart approaches for money (three times!). Robert Blake was the small boy who sold Bogart the winning lottery ticket. Blake later went on to appear in many feature films such as "In Cold Blood", "Electra Glide in Blue", "Tell Them Willie Boy is Here", and also starred in the TV seies "Baretta".

This was a superlative performance by Humphrey Bogart - one of his best - and completely different to his smooth portrayal of Rick in "Casablanca". His character of Fred C. Dobbs was shifty and devious verging on paranoia and madness. The film has now rightly become a classic and is much admired by "movie buffs". Clive Roberts.

A must see classic movie with Bogie
The Treasure of the Sierra Madre is a classic movie that has to be watched by movie fans. Set in Mexico in 1926, the movie tells the story of two down and out Americans who have nothing to their name except their meager salaries. The two men, Dobbs and Curtin, decide to team up with a weathered, old prospector, Howard, to go prospecting for gold in the mountains of southern Mexico. Soon enough, the trio happens upon a mountain just full of gold waiting to be found. What follows is a condmenation of human greed and want of unlimited wealth and riches. The three men become suspicious of each other immediately, thinking that the other two might steal their share of the gold. At the same time, the three must deal with bandits who will stop at nothing to get their possessions. The ending does provide for a brief message of hope. Everything from the cinematography to the acting to the writing is great in this movie. Movie fans everywhere should see this classic movie.

Humphrey Bogart gives an excellent performance as Fred C. Dobbs, a wayward American who believes that the power of gold would never make him change his ways and beliefs. Watching Dobbs morph into a money hungry, paranoid man is frightening. Walter Huston, father of director John Huston, plays Howard, the grizzled old prospector who is the only calm one in the group. Tim Holt stars as Bob Curtin, Dobbs' partner and the moral leader of the trio. The movie also stars Bruce Bennett, Barton MacLane, Alfonso Bedoya, and Manuel Donde. Also look for a brief appearance from John Huston as a well-to-do American who gives Dobbs some money for a meal. The 2-Disc Special Edition offers a ton of great extras. If you're a fan of this classic movie, you will love these extras. For a classic movie, ranked #30 in the AFI Top 100, with great performances, an excellent script, and beautiful scenery, check out The Treasure of the Sierra Madre!

Classic depiction of greed wrapped in grand adventure tale
The beauty of this classic film is that, while it certainly is a shattering depiction of how greed destroys a man and depletes one's innocence, THE TREASURE OF THE SIERRA MADRE also works as an exciting adventure, with great-looking black-and-white scenery serving as perhaps a counterpoint to the darker things going on in the soul of Humphrey Bogart's Fred C. Dobbs. That a movie can be so entertaining yet so powerfully reflective of human nature is most likely what has allowed this film to live on ever since its release in 1948. Great entertainment that is also food for thought seems in such short supply in movies today that we really should treasure movies like this, especially when it's made this well.

Greeeeeed!!!
Greed wrecks Bogarts life.In the end I'm happy. Why? At least his two pals didn't die.The only one who suffered was himself. A ironic line of Bogart"My friends are coming behind me on horses" when he's faced by bandits after ditching his friends.In truth,his friends are riding on horses to get their gold back from him.They arrived too late.Chilling..... ... Read more

Reviews (28)

The man who invented big band!
"The Glenn Miller Story" can be enjoyed even by someone who's not a fan of big band or jazz music. It's for everyone especially music lovers of all tastes. Jimmy Stewart is cast superbly here and at times you're thinking you're watching the actual Glenn Miller himself and not the actor. The music of Glenn Miller is brought to life so magically with its captivating soundtrack filled with his most memorable tunes and melodies like "Chattanooga Choo-Choo" and the one everyone knows: "Moonlight Serenade." The colors on this film are vivid and make you wish you'd want to be there. It was indeed tragic to lose such a great musician all too soon. You still hear his music in movies, nightclubs, theaters and more. All in all, it is a neat movie to look at and to hear remembering the trombonist who became the leader of the band: Glenn Miller.

5 stars for the music.....as for the story.....well.......
This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

That Sound
This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

Evocative and Amazing
It happens every time. When you watch a film with James Stewart in it certain things happen.

The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing.

He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really.
Those who carp about accuracy should pick up a biography. Those who love the mystique will watch and enjoy the timeless Glenn Miller through James Stewart.

I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history.

Finally, I was not around during during the Miller era however,

after viewing this film .. " I was there"

C Pope

Another mistreatment of a classic
Let's clarify a couple of things.

First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such.

Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies".

Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history.

Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release.

The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie.

Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal.

As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more

Description

Sam Spade is caught in a frantic search for the jeweled falcon of Malta and his partner's killer.His pursuit leads him to a group of desperate individuals who also want the bird. ... Read more

Reviews (101)

One of the few movies that's as good as the book
John Huston's directorial debut nails every single possible angle for a great movie: a great hero in Humphrey Bogart's Sam Spade, here making a major transition from the gangster roles that made him famous; a great set of villains, from Sydney Greenstreet's ponderous Gutman to Peter Lorre's effeminate Joel Cairo to Elisha Cook's almost cartoonish gunman Wilmer; a great femme fatale in Mary Astor's Brigid O'Shaunessy; a great hunt, in the quest for the fabled Maltese Falcon. Shot scene for scene out of the novel (with some notable cuts of extraneous material, such as a long story Sam tells Brigid while they're waiting, and Gutman's daughter!), "The Maltese Falcon" is utterly clean, economical film-making with no fat whatsoever (except for Gutman, of course). The movie creates a tense atmosphere from its opening shots, with ironic humor simply acting as counterpoint throughout. The final scenes of revelation, where Sam explains to Brigid his personal code of honor, are as emotionally devastating today as they were fifty years ago. The last shots of the movie, as Brigid descends in the elevator quickly to her fate, while Sam takes the stairs, suggests each character is heading to their own private hell, even if at different speeds. A brilliant movie!

The Stuff That Dreams Are Made Of On DVD
Seldom has any novel been so successfully interpreted on screen: in approaching Dashiell Hammett's seminal private-eye novel, director John Huston not only stayed meticulously true to the plot, he also lifted great chunks on the novel's dialogue directly into the script--and then styled the pace, cinematography, and performances to reflect Hammett's stripped-for-action tone. And the result, to borrow a phrase from the film, is "the stuff that dreams are made of." THE MALTESE FALCON is a iconographic landmark in twentieth century cinema.

The story is well known. Private eyes Sam Spade and Miles Archer are employed by an attractive but decidedly questionable Brigid O'Shaughnessy to track down a man named Thursby--but within hours of taking the case both Miles Archer and Thursby are shot dead, and Spade finds himself embroiled in a search for a legendary lost treasure: the figure of a falcon, encrusted with jewels.

The cast is remarkable. Humphrey Bogart made a name for himself first on the stage and then in films with a series of memorable gangster roles, and was fresh from his great success in HIGH SIERRA; Sam Spade, which offered a new twist on his already established persona, was an inspired bit of casting. Mary Astor had been a great star in silent film, but the late twenties and early thirties found her dogged by scandal; perhaps deliberately playing on those memories, she brought a remarkable mixture of toughness, tarnish, and absolute believability to the role of the very, very dangerous Brigid. And the chemistry between Bogart and Astor is a remarkable thing, a simmering sexuality that more glossy casting could have never achieved.

The supporting cast is equally fine. Although a great star in Europe and the star of a number of 1930s films, Peter Lorre was still something of an unknown quanity in American film; Sidney Greenstreet was a minor stage actor with no screen experience; Elisha Cook was a well-liked but neglected character actor. But THE MALTESE FALCON would fix all three firmly in the public mind, and to some extent all three would continue to play variations of their FALCON roles for the rest of their lives.

FALCON is particularly noted as one of several films that craftily circumvented the notorious "Production Code" by effectively implying but never directly stating the various sexual relations between the characters. Spade has clearly had an affair with Archer's wife, Iva; Archer is clearly a man on the sexual make, and leaps at the chance to tail Brigid. Lorre's lines effectively expose Brigid as man-hungry, and the script and situations do everything but flatly state that Lorre's character is homosexual. Perhaps most startling is the implied sexual relationship between Sidney Greenstreet and the hoodlum Elisha Cook, and the concluding implication that Lorre may well replace Cook in Greenstreet's affections. Just as the plotlines swirl and twist, so do the layers of innuendo and the tangles of sexual uncertainty--all of it adding to the film's feel of uneasy decadence and grittiness.

The DVD bonuses are enjoyable but slight--two film trailers and a documentary that uses trailers to show how Warner Bros. marketed Bogart during the 1930s and 1940s. But even if it came without any bonuses the DVD would still be greatly welcomed: although it has not been restored in a computer-corrected sense, this is the finest print I have ever seen of the film, far superior to anything available on VHS. A great film, a true essential, and strongly, strongly recommended.

A Bogart classic

Director: John Huston
Format: Black & White
Studio: Warner Studios
Video Release Date: February 1, 2000

Cast:

Humphrey Bogart ... Private Detective Sam Spade
Mary Astor ... Brigid O'Shaughnessy
Gladys George ... Iva Archer
Peter Lorre ... Joel Cairo
Barton MacLane ... Det. Lt. Dundy
Lee Patrick ... Effie Perine
Sydney Greenstreet ... Kasper Gutman
Ward Bond ... Det. Tom Polhaus
Jerome Cowan ... Miles Archer
Elisha Cook Jr. ... Wilmer Cook
James Burke ... Luke
Murray Alper ... Frank Richman
John Hamilton ... Bryan
Charles Drake ... Reporter
Chester Gan ... Bit part
Creighton Hale ... Stenographer
Robert Homans ... Policeman
William Hopper ... Reporter
Walter Huston ... Capt. Jacobi
Hank Mann ... Reporter
Jack Mower ... Announcer
Emory Parnell ... Ship's mate

This is a cult classic Sam Spade (Humphrey Bogart) film. The cast included all-time greats Peter Lorre, Sidney Greestreet, Walter Huston, Ward Bond, and other veterans like Mary Astor and Jerome Cowan.

John Huston directed, and kept the tension high throughout.

This is a story about a statue of a falcon that the Knights Templar had made as a gift for the King of Spain in gratitude. It was lost in transit to the king. Crusted with jewels of immense value, but covered with black lacquer to disguise its worth, it was lost for centuries. This story is about the struggle between factions of villains to get the bird.

If you have never see Bogart in this movie, you have missed one which is partly responsible for his fame.

Joseph (Joe) Pierre

Sticking with my VHS copy for now
I would love to own a restored version of the Maltese Falcon on DVD, if it existed. I'll just stick with my 10 year old VHS tape for now. The film needs to be restored. Take a look at the way the second scene with Spade and Mrs. Archer ends. The film always seems broken at this spot, even when it runs on the movie channel.

Defining Bogart
Of all the movies and reviews of Humphrey Bogart, let this one stand and pronounce that the scene when he slaps Peter Lorre's face and tells him, "shut-up and like it..." is the defining moment in Bogart's career and especially this movie.

Well crafted, but a bit loose on plot developement, The Maltese Falcon is what too many mystery/suspense movies trying to live up to an assumed description of what a "noir" film is supposed to be about, pledge their loyalties.

Entertaining more than a fine film, The Maltese Falcon is a tour de force performance for Bogart. If you are a fan, then this is a must see. The camera work is also a good source for cameramen wannabes. ... Read more

Description

Two lookalike boys, one a poor street kid and the other a prince, exchange places to see what the other's life is like. ... Read more

Reviews (11)

Mark Twain, Warner Brothers' Style
I've never read Mark Twain's novel to be able to say how closely this movie follows to the original story. It certainly has the Warner Brothers' touch. Errol Flynn is his usual dashing, dauntless self, perfectly at home with a sword in hand. Claude Rain again is the cunning, cultured villain, and Alan Hale is a welcome face, although this time he is Flynn's foe instead of friend. As Prince Edward and his look alike beggar friend, the Mauch twins are occasionally annoying, but for the most part quite effective as the victims of a switch that learn to appreciate the other side of life. The story is fun and played with a lot of energy and humour. Don't assume that this is an Errol Flynn video, because he really isn't the star - the twins are the stars. However, there is enough of Flynn to keep his fans happy, and a good enough story and movie to keep everyone happy (including children).

CLASSIC TWAIN ADVENTURE - GREAT LOOKING TRANSFER!
The Prince & The Pauper is based on the much loved Mark Twain classic. In a nutshell, the plot centers around twins, one the spoiled heir to the English throne, a other a begger with a heart of gold. When the two accidentally cross paths they become best friends and secretly trade places, much to the chagrin of one of the king's advisors (Claude Rains) who is plotting to kill the heir and take over himself. Enter into this fray a fortune hunter (Errol Flynn) who vows to set everything right for king, country and a healthy financial reward. It all ends pleasantly enough in a sword and swashbuckling sort of way.
WARNER HOME VIDEO gives us a handsome looking transfer that is sure to please. The gray scale has been impeccibly balanced with solid blacks and very nice renderings of fine detail. Certain scenes exhibit a touch of edge enhancement and a hint of pixelization, but nothing that will distract from this visually stunning film adaptation. The sound elements are somewhat disappointing by contrast. The main title sequence in particular sounds as though the music track was discovered under a rock. Nevertheless, dialogue - for the most part - is presented at an adequate listening level with only the slightest of pops, scratches and hiss.
EXTRAS: An essay and theatrical trailer - BIG DEAL!
BOTTOM LINE: The Prince & The Pauper is a visually stunning movie that, although straying somewhat from Twain's original intent, is nevertheless faithful enough to remind us why his name continues to be among America's greatest literary talents. The transfer is solid. I recommend this DVD!

Errol Flynn in Support of Mauch Twins in Classic Twain Tale!
In 1937, the WB, capitalizing on Errol Flynn's spectacular performances in CAPTAIN BLOOD and THE CHARGE OF THE LIGHT BRIGADE, cast him in four films, with varying degrees of success. The best, by far, was William Keighley and William Dieterle's production of the Mark Twain classic, THE PRINCE AND THE PAUPER, where he supported new WB 'discoveries' Billy and Bobby Mauch, portraying London urchin Tom Canty and his look-alike, Prince Edward Tudor. The twins were gifted, young (12 at the time of the filming) actors, with a Freddie Bartholomew-like quality of engaging innocence, and they gave this version of the oft-filmed tale a sense of reality that split-screen performances by a single actor could never achieve.

The story is an engaging one, as young Canty, inspired by his mother and a local priest to dream of a finer life than his father, an ill-tempered beggar (Barton MacLane) could provide, sneaks onto the grounds of Buckingham Palace. There, he meets young Prince Edward, who is thrilled to meet a boy his own age...and, after cleaning him up a bit, is astonished to discover that the pair could pass as twins. Edward decides this is a golden opportunity to see what life outside the Palace is really like, so, against Canty's misgivings, the two exchange clothing, and the Prince leaves...creating far more of an uproar than either boy could ever imagine!

Canty is soon considered 'mad', as he insists he is not Edward, and the Prince, abused and ridiculed by Tom's father, is unceremoniously thrown off the Palace grounds when he attempts to return, by a disbelieving Captain of the Guards (Alan Hale, in the first of 12 films he'd make with his friend, Errol Flynn). The ambitious Earl of Hertford (the always brilliant Claude Rains) investigates Canty's claim, and realizes, after interviewing the Captain, that the boy is telling the truth, giving him a golden opportunity to seize power. Ordering the Captain to find and kill the Prince, the Earl then threatens to kill Canty if he doesn't obey his commands.

Things grow desperate for the young Prince, as he attempts to evade his murderous 'father' on the streets, until Miles Hendon (Flynn), a roguish but good-natured 'soldier-for-hire' comes to his aid. Offering his protection to the lad, Hendon thinks him a bit balmy, as well...until events (the child's obvious despair over the death of Henry VIII, the Palace search party, and a sword duel with the Captain, where Flynn KILLS Alan Hale!!!) convince him otherwise. Then it becomes a race against time to smuggle the real King into the Coronation, before Canty is crowned, and the Earl assumes "the Power behind the Throne".

Blessed with a gifted cast, including wonderful character actor Montagu Love as the dying Henry VIII, the film offers a truly exceptional film score by Erich Wolfgang Korngold (who would eventually expand the theme into a symphonic work). Audiences have always been surprised that Errol Flynn's role is not larger, but as a faithful Twain adaptation, the focus had to be on the two boys, and not on the impoverished soldier. Flynn had fun playing Hendon, and the Mauch twins were nothing less than superb as the leads.

With THE ADVENTURES OF ROBIN HOOD less than a year away, and Errol Flynn's star continuing to ascend, the WB had every reason to celebrate, and THE PRINCE AND THE PAUPER is a pleasure to watch, to this day!

Good film based on The Prince and the Pauper
I saw this move years ago and decided to watch it again after getting the part of Lady Jane Grey in a local production of Prince and the Pauper. I also bought the book and read it and I would say it is now a favorite! I'm not sure how but they were able to make an enjoyable movie based on a general outline but completely changing the story, but they did! I would recommend this movie but don't expect Mark Twain's The Prince and the Pauper.

The Mauch Twins are a delight.....!!!
I loved this movie as a kid and still do as an adult. The Mauch twins, Billy and Bobby are outstanding in every way. When they look into the camera and laugh as they do in several scenes, it is pure magic! This film is highly recommended to both young and old. Too bad "Warner Brothers" did not appreciate their talents and build future films around these extremely talented kids. They were as talented, if not more so,than any other young stars of the period. See for yourself and enjoy the film! ... 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

Reviews (11)

Light Comedy, One of My Favorites
Bette Davis plays Apple Annie, a bag lady who has, by correspondence, convinced her daughter that she is a wealthy socialite. Her daughter (Anne Margaret), who has grown up in Europe, is now on her way, with her fiancee (the son of a Spanish noble) and his family, for a visit, putting poor Apple Annie into crisis.

In steps Dave the Dude (Glen Ford), a small-time gangster wannabe with a big heart and a strong belief that Apple Annie's apples are his lucky charm and his ticket to the Big Time. Dave the Dude, his girlfriend (Hope Lange), and his henchmen (played by a cast of character actors half a mile long and featuring a young Peter Falk), step in to save the day, by transforming Apple Annie into Lady Manville. Unfortunately for Dave, the crux of Annie's transformation coincides with his making the Big Deal that will boost him into being a Big Time Gangster. He has to choose.

This is a somewhat over-acted but thoroughly charming movie that is loads of fun. I've never seen "Lady for a Day", which is this movie's predecessor and, according to many of my fellow reviewers, a superior movie. "Pocketful of Miracles" is such a favorite of mine that I'm not sure I want to risk seeing this supposedly better version of the story. Either way, "Pocketful of Miracles" will never be a disappointment to me and, I think, to many.

Charming, tender, funny, and very touching!
"Pocketful of Miracles" was Frank Capra's last motion picture he directed. For a last picture for him, I think it is quite a masterpiece. This is a remake of the 1933 movie "Lady For A Day" which Capra directed then. Bette Davis is wonderful as Apple Annie, a boozy street peddlar whose best customer is gangster leader Dave the Dude (Glenn Ford) who thinks her apples bring him luck. His flashy girlfriend Queenie Martin (Hope Lange) thinks otherwise, and the Dude can't keep her out of his hair. Peter Falk plays on his sidekicks named Joy Boy, and Mickey Shaugnessey (Elvis' costar in "Jailhouse Rock") plays the Dude's other sidekick and chauffeur Junior. They all help Apple Annie a.k.a. Mrs. E. Worthington Manville prepare for her daughter (Ann-Margret) to come from Spain to visit with a Spanish count (Arthur O'Connell) and his son (Peter Mann). They announce that she will marry the count's son, and will give a reception. The Dude, Queenie, Joy Boy, Junior, and Apple Annie's temporary "husband" Judge Blake painstakingly round up the gang members of the dude and Queenie's chorus girls to try to impersonate officials and attend the reception. Meanwhile, the police, the comissioner, the governor, and mayor are hot on the job to track down missing reporters kinapped by the Dude. (We all know even though their tied up, Dude's still kind-hearted underneath). They're in a jam, when Queenie's nightclub is surrounded by cops. Dude makes a deal with the comissioner. What ends up happening is, the governor and mayor get word and the people at the coincidental party for the mayor show up miraculously for Annie's reception. At the end, it shows, Louise (Ann-Margret), the count and son Carlos leaving to go back to Spain where the two will get married. This is a real fanciful scene there. It's a real great classic everyone will enjoy.

Enjoyable Film!
A fine film full of great performances and superb storytelling. Great for the collection! Grade: A+

GLOSSY BUT ENJOYABLE.
In 1961, Frank Capra decided to remake his 1933 film LADY FOR A DAY (based on Damon Runyon's MADAME LA GIMP); although it's enjoyable enough, it unfortunately pales when compared to the classic original version. Bette Davis was lured out of semi-retirement to play the gin-soaked apple peddlar, Annie, a destitute street person who learns that her Spanish convent-educated/raised daughter Louise (Ann-Margret) is planning to visit her. Annie's friends, Mobster Dave the Dude (Glenn Ford) and his blonde, brassy moll Queenie (Hope Lange) come to her rescue and transform the old girl into one Mrs. E. Worthington Manville, an elegant, wealthy dowager....Capra and Davis did NOT see eye to eye during the filming this rather dated (even in '61) and overblown fairy tale; it was Capra's swan song for the movies. Many critics felt that Davis's transformation from Apple Annie to the elegant Mrs. Manville wasn't convincing because it was done too quickly - I agree...Hope Lange does well as Queenie; her performance is sharp, honest and convincing as the moll with a heart of gold.

Dreams do come true.
A wonderful little Cinderella story. The cast works well together. Betty Davis is believeable as a Mother down on her luck. Frank Capra delivers another heartwarming tale. ... Read more

Description

In THREE VIOLENT PEOPLE, Charlton Heston plays straight-laced rancher Colt Saunders, an ex-Confederate cavalryman coping with the land-grabbing tax policies of a greedy Reconstruction leader.Unbeknownst to him, he’s married to a former dance hall girl named Lorna (Anne Baxter) who's determined to hide her shady past and keep him thinking she’s a lady. ... Read more

Reviews (3)

Three Violent People Applause
One of my favorite movies of all times! Looked everywhere for it, and finally found it! Absolutly one of a kind, and very creative in the way of westerns.

One of the best
This movie is very entertaining, though perhaps dated. I loved Anne Baxter's performance. It's a 50's post-civil war western drama (based on no historical fact whatsoever). I suspect it was made to cash in on Heston'spopularity. I absolutely loved it.

Pretty Good...
This was not one of Charlton Heston's most remembered or for that matter most enjoyed films as the critics say. Nevertheless, I woud say it has a somewhat interesting plot. This film was the one that Heston had madeimmediately shooting "The Ten Commandments" (1956). I guess hehad been quite exhausted after such an arduous shoot when making"Three Violent People". Yet the film is not very historicallyaccurate and the supporting actresses are played by Hollywood glamour girlssuch as Anne Baxter. I'm a man quite older than Mr. Heston, beingeighty-seven, and I remember seeing this film in my theatre for the firsttime in 1957 at about age 45. I had taught history prior to this for 22years and thought that this film only wanted to gross in money instead offollowing the books. Yet the effort Heston puts into this film is fine. I'msure this picture would've been more of a success if C.H. was allowed tochoose his own actors to play these parts. ... Read more

Description

Almost 50 years before "Jurassic Park..." an amateur photographer, his fiancee and their companions take a perilous journey to a place where dinosaurs, giant sloths and other prehistoric creatures thrive. Filmed in vibrant Cinecolor at a time when many movies were confined to black and white and featuring eye-popping special effects, "Unknown Island," directed by Jack Bernhard, offers a thrilling look at modern man's confrontation with the primordial past. Richard Denning, Virginia Grey, Barton MacLane, Dick Wessel, Dan White, Philip Reed. ... Read more

Amazon.com

Depression-era Hollywood produced a slew of movies about sympathetic criminals victimized by an unfeeling society. No other has the power of Fritz Lang's You Only Live Once, the director's second American film and a masterpiece of fatalism. Henry Fonda is the convict released to a new life (encouraged to go straight, he growls, "I will if they let me"--not a hopeful note); Sylvia Sidney is his new bride, convinced of his essential goodness. Their homely dreams are crushed by a hostile world, which Lang's scrupulously controlled direction turns into a series of dead ends. In particular, the last half of the picture--a prison break and cross-country ramble inspired by Bonnie and Clyde--is an exceptionally intense downward spiral, swift with predestined momentum. While Fonda and Sidney are unforgettable in their echt-Thirties forms, Lang is the star, proving the director of M and Metropolis had lost none of his edge. --Robert Horton ... Read more

Reviews (2)

Fine Later Lang
Fritz Lang's best films were already behind him when he arrived in Hollywood. He would not surpass the films he made in Germany, but his American films are almost always worth seeing and sometimes approach greatness. You Only Live Once is one such film. The story concerns sympathetic criminal Eddie (Henry Fonda) trying to go straight and the woman who has stayed by him, legal secretary Joan (Sylvia Sidney). Lang makes the audience root for Eddie, who is not a typical snarling thirties gangster, but a basically decent man who through bad luck and bad choices has found himself in a desperate situation. Fonda is perfect for this role, and gives a fine performance. Sidney is equally good as a woman fighting against friends, family and circumstances to stay with the man she loves. It is her performance which makes the film a terrific romance as well as a fine thriller.

The print on the Image DVD is fairly good. It shows quite a lot of wear and tear, but seems complete. There may be many scratches, but the black and white photography still looks stunning with good detail and clarity. The soundtrack unfortunately has a great deal of hiss and crackle. Occasionally this makes the dialogue quite hard to hear. Nevertheless the film is still perfectly watchable and the flaws present in the print and soundtrack did not spoil my enjoyment of what remains an excellent film. The DVD has no extras.

this may be fritz lang's best film
There may not be a more ironic scene in film than henry fonda's confrontation with the priest at prison's gate...or a more pungent line than his 'they made me a murderer'.....or a more fatalistic ending than you have here...the point is that the best ingredients of film noir are present in a film made 10 years before film noir's peak...that's how far ahead fritz lang's vision was...sure he went on to make 'the big heat' and scarlet street' among others...but 'you only live once' is his starkest glimpse at man's small place in a vast, oppressive society where good intentions are powerless. ... Read more

Reviews (2)

This movie has that illusive something
The story of how a hand full of heroes who blocked Sherman's march to the sea. Two friends from West Point find themselves on opposite sides in the war. The conflicts are not as cut and dry, as it would appear as two things come to mind while watching this movie. One is the basic conflict between friendship and loyalty to a cause; many times this is mistaken resulting in the balance of power changing. The second is a little more superficial but just as intriguing; both sides in the conflict must come up with ways to out gun the other side by using technology outside of its intended purpose. The use of a navel gun on a rail car is one. You will have to watch the movie to see the solution to extending the range of the smaller cannon. Other conditions call for more radical action.

Does the mission succeed and is it worth the price paid on both sides?

I can say the movie is worth the price of repeated viewing.

A B-movie epic worth seeing.
Director William Cameron Menzies, set designer for "Gone with the Wind" and the original "Invaders from Mars" (1953, which he also directed), keeps this modest Civil War story moving along nicely and with sufficient human-interest details. Guy Madison (TV's "Wild Bill Hickock") and James Craig are close friends who end up on the North and South sides, respectively, and who, not surprisingly, must fight one another in the movie's final reels, though they do so out of sight to one another. Come to think of it, we only see them together some two or three minutes at the start of this reasonably exciting B-epic that belies its budget, courtesy of Menzie's set designs, in spite of harsh early-fifties color and a less than liberal budget. Nothing profound, but this notable picture does convey some of the tragedy of friends and loved ones torn apart by the most horribly personal war in our history. ... Read more

Reviews (5)

Cagney is bad to the bone!
I've always loved watching film noirs & of course I'm a huge James Cagney fan. I must confess that when I bought this the other day I'd never even heard of it. Along with White Heat, Cagney proved he was truly a screen villian to be feared. He had already established his reputation with his great gangster roles of the 30's, but never did he play a more evil character than in Kiss Tomorrow Goodbye. A comparison to Al Pacino's "Tony Montana" character in Scarface is not far off, believe me! Other reviewers have gone over the plot, so I won't waste your time. Without a doubt this is one of Cagney's finest performances, & no Cagney fan should be without this classic or White Heat, his only other film noir role.

Cagney: A Hood Who Rules With Personality Not Logic
When James Cagney was offered the role of criminal Bruce Cutter in KISS TOMORROW GOODBYE, he thought that he had long since finished playing gangsters. He changed his mind though, and his role as the psychopathic killer was the last that he would play. What stamps his performance as the opportunistic killer in this film is that he hearkens back to the sort of prohibition type thugs that he immortalized in the 30's, but unlike those roles in which he combined immorality with a certain likeableness, here he is totally feral. More than a few supporting characters note that he insane with ambition.

KISS TOMORROW GOODBYE is not the kind of crime film in which believability ranks highly. The impetus of audience reaction is carried solely through the kinetic force of Cagney's over the top performance. From the opening scene in which he escapes a prison work farm with the help of girlfriend Holliday (Barbara Payton) to every scene that ought to drown in illogic, the flow of plot runs so smoothly that the audience can't help but overlook the extraordinary concatenation of coincidence. As soon as Cutter rolls into town, no cops recognize him, even when he strolls leisurely into and out of the town's police station. He pulls a stickup and when apprehended by the police, he is let go by a crooked cop (Ward Bond), who promptly implicates himself on a recording device. To further complicate matters, Cutter starts an affair with Margaret (Helena Carter), the daughter of the town's most powerful citizen. Considering that Cagney was 50 years old at the time, the implausibility of a pair of pretty twenty somethings falling for him is breathtaking. Finally, the blatant use of police corruption adds to the feeling that you have seen this movie at least 20 years before. Several critics have pointed to it by paying homage to its origins as a 30's type gangster B movie. This, I think, is being a little too kind. It is no such thing. Instead, it stands as the swan song of a gifted actor who tried once too often to reprise the role of a ruthless thug that made him famous in the first place.

Original Tough Guy
Cagney along with a fine cast of co-stars portrays a mentally disturbed, escaped convict with high aspirations. Betrayal, greed and unrestrained ambition are the key ingredients to this underated film noir masterpiece. The DVD plays clean and clear with good sound quality.

Tough Guy Cagney Does It Again
When socialite Margaret Dobson (Helena Carter)attempts to scare gangster Ralph Cotter ( James Cagney) with a high speed joy ride in her expensive convertible, Cagney's darting eyes and slight smile alerts viewers that this high society mistress has made a grave mistake. No celluloid dame ever put fear into the heart of a James Cagney character, and Cagney as escaped convict Ralph Cotter in Kiss Tomorrow Goodbye doesn't disappoint his male legion of fans. With the speedometer needle already bouncing at the 90 mph. mark, Cotter calmly places his shoe on top of Miss Dobson's foot and mashes the accelerator pedal down even further. In one of the most revealing female/male test of wills ever captured on screen, the two characters battle a mind game that Cotter eventually wins. Just when we thought we have seen every James Cagney gangster persona , scenes such as the convertible ride command our attention once again. Cagney is ruthless in Kiss Tomorrow Goodbye in which he portrays an escaped convict who courts two girlfriends, blackmails two police detectives, robs a supermarket payroll, murders three mob bagmen and pilfers the daily gambling bankroll. Although Cagney wasn't always amused at how studios continually pushed gangster scripts his way, he seems to have had fun in the role of Cotter. Especially when his other girlfriend Holiday (Barbara Payton)throws everything but the kitchen sink at him during an on screen spat. The film does contain flaws which challenge the believability of viewers, such as Cotter's miraculous escape from a chain gang, the use a dictaphone to frame a police inspector, and Cotter not being reckognized as an escaped convict. These shortcomings aside, Kiss Tomorrow Goodbye is watchable because of Cagney's commanding performance. Cagney leads the holdup of Hartford's Supermarket with coolness, his beating and disposal of a garage mechanic is violent, and his towel smacking of girfriend Holiday and her reaction are memorable. The film also boasts fine performances from Luther Adler, who plays shrewd and influential lawyer Cherokee Mandon. Ward Bond who portrays the corrupt police inspector, Weber. Barton Maclane who later gained TV fame as General Peterson on I Dream of Jeannie, also gives a fine supporting role as Weber's sidekick. Overall the film does make a statement about crime and corruption that slowly creeped back into America's consciousness after WWII. With graft, corruption, bribes, and scandals shocking the nation, filmmakers once again drew fine lines between crimminal characters and the characters that represented law and order. For fans of crime, noir, gangster, or just James Cagney, Kiss Tomorrow Goodbye is a great way to spend an hour and fifty minutes.

A misogynistic predator
James Cagney is ruthless as Ralph Cotter, a murderous crazed hood who blackmails cops and everyone else in his path after a break from chain gang.

Made after "White Heat," and while preparing dancing scenes for his next film "West Point Story," Cagney abhorred doing another gangster flick, but you can't tell it here. He throws himself into the role, and does the best with what he has.

Cagney is the whole show, and his evil is more pronounced than ever. Not only is he a murderous thug, but a sexual predator, seducing and coercing women to doing his bidding along the way.

Cagney -- a gentleman in real life -- played a lot of misogynistic characters, and he is no less in this -- savagely beating a moll with a rolled up, wet towel, then seducing her as she falls weeping and hysterical into his arms.

One could say, if you reviewed his gangster flicks as a whole, that Cagney hadn't made a whole lot of cinematic progress from grapefruit squashing and dragging chicks across the floor by the hair (as he did with Mae Clarke in previous films). Seen without that hindsight, he is brutal and effective.

While he played other bad guys in subsequent films, this is the last true gangster that he played, and he was relieved to call it quits.

It was poorly reviewed at the time -- a well made bomb -- but it's worth viewing for Cagney's savagery. You need to suspend belief just a little bit in certain scenes -- not a whole lot of visible planning goes into big stakes heists, so his gangster comes off more ruthless than smart. ... Read more

Reviews (1)

Nice A / B Package
This is another worthwhile release in the Roan Archival series. The A picture is a nice clean print of 20th Century Fox's The Gorilla (1939), an "old dark house" farce featuring the Ritz Brothers. There are some nice directorial touches by Allan Dwan and good performances from a solid cast that includes Bela Lugosi, Lionel Atwill, Joseph Calleia and Patsy Kelly. How much you enjoy it will depend on how you respond to the Ritz's, a slightly higher brow version of the Three Stooges. The B side of the disc is PRC's Nabonga (1944) with Buster Crabbe, Barton McLane and a very young Julie London. Produced by prolific low budget veterans Sig and Sam Neufeld, the film has all the disadvantages of a no budget jungle picture - cheap sets, potted plants, a familiar looking gorilla suit and grainy stock footage of people on safari and various jungle critters. On the plus side, Sam keeps the story moving, Crabbe and McLane turn in solid performances and London looks good in a sarong. However, it's easy to see why she never had much of a career on the screen. This is actually one of Sam Neufeld /Newfield's better B's - it has more action than you usually see in a PRC, some nice comic bits and a surprisingly modern portrayal of a black African servant. While tthe print is worn and a little ragged in spots, it is certainly watchable. ... Read more

Description

In the Marx Brothers' first feature film, Groucho portrays a hotel owner out to fleece everyone, from innocent bellboys to wealthy society types. Chico and Harpo are along for the ride as Groucho's accomplices. Featuring the music and lyrics of Irving Berlin. ... Read more

Reviews (27)

The Marxes Unleashed
Despite its technically inferior sound and variable print quality, "The Cocoanuts" (1929) remains a cinematic landmark. It was the first musical-comedy captured on film and, most importantly, introduced the Marx Brothers to the big screen. Though shot within the stage-bound confines of Paramount's Astoria studio, directors Robert Florey and Joseph Santley manage to incorporate stylish visual touches that complement the anarchic spirit of Groucho, Harpo, Chico and (briefly) Zeppo. As a result, "The Cocoanuts" lacks the stiffness and claustrophobia that plagued many 1929 talkies. Admittedly, there are a few slow stretches, since the filmmakers and performers hadn't quite mastered the pacing and timing of early sound comedy (notice the Groucho-Margaret Dumont exchanges). Still, the film moves at a pretty good clip (except for the forgettable musical interludes with Mary Eaton and Oscar Shaw) while showcasing some of the Marxes' best routines. Harpo, in particular, is brilliant and remarkably inventive throughout. Groucho has plenty of memorable dialogue, but his portrayal of Mr. Hammer is no match for Captain Spaulding or Rufus T. Firefly. Chico, of course, represents the ideal visual-verbal counterpart for Harpo and Groucho, even though his character is more belligerent than usual. And poor Zeppo would have better opportunities in his remaining film appearances. Flaws and all, "The Cocoanuts" survives as a fine introduction to Marxian madness.

Entertaining and Historically Significant
THE COCOANUTS is historically significant as one of the first all-talking, all-singing musical films. It's also significant for unleashing the Marx Brothers onto the movie going public. THE COCOANUTS gave filmgoers a taste of what had Broadway audiences rolling in the aisle and while the film suffers from the static production typical of early musicals, it remains very entertaining thanks to the brothers' anarchic comedy. Director Robert Florey did use some innovative camera shots to help overcome the staginess (i.e. part of Chico's piano solo is shot head-on through the raised piano lid; a novel touch at the time). For many years, THE COCOANUTS was only available in generally awful prints with muddy soundtracks; recently portions of the film in mint condition have come to light, so while it's not a complete restoration, the film looks and sounds better than it has in years. For all it's faults, including an oddly forgettable Irving Berlin score, THE COCOANUTS still provides plenty of laughs.

It's one of the best
First off, lets get some stuff straight. This is a great start for the Marx Brothers. Second, The sound can get bad but please still buy it. Third, Zeppo does not star in it. He's in it for like 4 minutes and then he doesn't say anything. After 10 minutes of the movie he turns into Harpo. Fourth, this can be interrupted by some dances.But this is an awsome movie, and I recommend it.

ON YOUR MARX,GET SET, STOP!
What I'm about to write applies to the first 5 Marx movies.I own them on VHS and borrowed the DVDs from our local library .The VHS versions are clearer,brighter,and show more picture.The sound is also of better quality on tape.As you know by now,no extras.The DVDs will receive one star less rating because of the lack of extras,poor picture and sound quality THE COCOANUTS 2 stars for DVD 3 stars for VHS.ANIMAL CRACKERS DVD;4 stars VHS;5 stars. MONKEY BUSINESS DVD;3 VHS;4. HORSE FEATHERS DVD;4 VHS;5.And DUCK SOUP DVD; 4 stars and of coarse VHS;5 stars.Don't get me wrong. The dvds aren't of such bad qaulity as other reviewers would lead you to believe,it's just that the VHS versions are better (MCA Universal) that is. If you have the cash and simply must have these reMARXable movies on dvd go ahead get the discs.I'm waiting for them to be reissued by MCA.This time correcting all the faults I mentioned with the current discs. I justa hope'a they put'a them'a out before they put'a me in'a da olda ladies home.

well it's my favorite
No kidding. I like the late-20s feel it has, the dancing, the slicked back hair... and the Marx Brothers, to me, are at their funniest, especially physically. I've watched it so many times I've lost count. I've memorized big chunks of the dialogue. Sure it's stagey, with its non-moving camera, but it also gives it the flavor of what it must have been like to see them on stage at that time.
"Horse Feathers" is a near second, though. ... Read more

Reviews (1)

BUSTER IS STILL THE BEST!
I am 26yrs.old and many people can't understand how someone my age could be a fanatic over NABONGA and all the great movies and serials with BUSTER CRABBE.This film is on of my favorite ''BUSTER''flicks becuase it's clean,very enjoyable for anyone of any age and you get to see CRABBE do some swimming.For those who don't know,CRABBE was an olympic swimmer.All in all this and evey other ''BUSTER''flick is worth spending money on. ... Read more

Description

Lawlessness runs rampant in Gene's hometown of Torpedo until themovie and radio cowboy returns as Honorary Sheriff for a Frontier Days celebration andcleans up the town! Featuring Jimmy Durante, Ann Miller (On the Town), and suchclassics like "We Never Dream the Same Dream Twice" and the title song, this musicalwas Gene's biggest theatrical production upon its release and remains one of his best- remembered big screen journeys! ... Read more