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French playwright Jean Anouilh's modernized version of the classic Greektragedy Antigone sets the story in the sleek palace of a fasciststate ruled by Creon (veteran stage actor Fritz Weaver). His nieceAntigone (Geneviève Bujold, Dead Ringers) is horrified by Creon's order that the body of her brother--who led a rebellion against the state--be left on the battlefield to rot. When she violates the edict,guards haul her before Creon, who struggles to convince her that hisreasons are honorable, despite the ugly consequences, but Antigone remains steadfast, even though her death will result. The great strength ofAntigone is that there is no easy solution to the conflict, which leads to disaster for everyone involved. Bujold glows as the obsessed,martyrlike Antigone; Weaver brings passion to Creon's mixture of reason and tyranny; and Stacy Keach (Fat City) plays the narrating Chorus with a weary, ironic detachment. --Bret Fetzer ... Read more

Reviews (2)

An eloquent, exciting performance of a powerful play.
Genevieve Bujold as Antigone is splendid; Fritz Weaver as Creon, even better. Anouilh's version of Antigone is longer than Sophocles', allocating far more time to the confrontation between the heroine and the king. Bujold has fine moments in this scene, but Weaver's acting skill and stage presence are completely, masterfully at home. What a shame that most of his video work has been with scripts which, compared with this, were poor stuff!

Before the struggle with Creon, there is a love scene between Antigone and her fiance, Haemon. James Naughton's handsome, well dressed, thoroughly decent, college-boy Haemon, is the sturdy male partner, with and around whom Bujold dances in words and movement. Beautifully and affectingly. Stacy Keach as Chorus, Aline Macmahon as the nurse, Louis Zorich as Jonas (the first guard) and Peter Brandon as the messenger suit the performance well and contribute to its excellence.

Jean Anouilh wrote in French. The translation used in this performance is Lewis Galantiere's "adaptation." It was used for the American premiere, New York City 1946, starring Katherine Cornell as Antigone and Cedric Hardwicke as Creon. Galantiere writes beautifully, but so does Anouilh, whom it's a shame to adapt when you can stay true to the original. Often, this production seems to agree, restoring some of the adapter's cuts and deleting various additions and emendations.

Galantiere's understanding of the heroine's motives differs from Anouilh's in important respects. At the beginning of the play, Galantiere has Chorus, when introducing Antigone, assert that she is "on the side of the gods against the tyrant, of Man against the State." That may be how many people, vaguely remembering Sophocles, think of the character. But the take is Galantiere's, not corresponding to anything in the speech at hand, and not consistent with the development of the play.

Anouilh's Antigone does not invoke the gods, the common people, mankind or humanity, or define what she opposes as tyranny or the state. Early in their confrontation, Creon asks Antigone why she tried to bury her brother, Polynices. She replies that she "owed it to him. . . Those who are not buried wander eternally and find no rest." She feels sure that what she did was right, but does not elaborate. One can tell little concerning her notions of an afterlife, and nothing concerning her belief in any gods.

Creon asks whether she really believes that the dead wander as shades if not properly buried, and reminds her that burial ceremonies are often wretchedly performed by the priests, an insult to the dead and their mourners. Then, in a passage omitted by Galantiere but restored in this production, Creon says: "And you still insist on being put to death, merely because I refuse to let your brother go out with that grotesque passport, which you would have been the first to be embarrassed by if I'd allowed it. The whole thing is absurd." She replies, "Yes, it's absurd." Then, for whom did she disobey the law? "For nobody," she replies. "For myself. For me."

Antigone had not seen Polynices, since he left home eight years ago, when she was only 12. Much of that time, Creon (honestly?) informs her, Polynices and her other brother, Eteocles, had spent plotting and attempting the assassination of her father, Oedipus. She is staggered by these charges, but finds a stance, in opposition to the kind of life that Creon exemplifies. To obtain happiness he must continually compromise, doing what he despises, saying Yes to what he hates. On the contrary, she insists, it is better to say No to what you would rather not do, even if you must die for it.

This is her position at the end of the confrontation with Creon. In the last scene, as Jonas takes her to the tomb where she is to be buried alive, she dictates a letter to Haemon: "My darling, I wanted to die, and maybe you won't love me any more. Creon was right. It is terrible to die. And I don't even know what I'm dying for." The last three sentences were omitted by Galantiere, but restored in this production. To make sure that they register with the audience, they occur twice, dictated by Antigone and repeated by Jonas.

Was Galantiere's version commissioned by the Broadway producers? Was he asked to soften the radical, existential despair in Anouilh's play?

On another issue, the Chorus says some fascinating things about tragedy, which seem partly contradicted by the play. His ruminations occur shortly before the confrontation between Antigone and Creon. For example: "Tragedy is restful; and the reason is that hope, that foul, deceitful thing, has no part in it. There isn't any hope. You're trapped. ... In melodrama, you argue and struggle in the hope of escape." But in tragedy, you "shout" to express what you are.

The point does fit Antigone's behavior. She has no hope of escaping death and does not try. But Creon argues and struggles with Antigone, hoping to change the outcome. So does Ismene. Haemon argues and struggles with his father. Even the Chorus gets into the argument, with suggestions to Creon on how to prevent the catastrophe. Should we treat the Chorus' aphorisms as evidence that sometimes he (or the playwright?) doesn't know what he's talking about?

Should the audience respond to tragedy as if there were no hope? Thanks to their myths, the Greek audience knew how Antigone was going to end. Thanks to Sophocles, so do we. But while experiencing the play I seem to suspend this knowledge, hoping against hope that a decent way out exists, even if the characters don't quite manage to see or take it. (...)

It's Not Perfect, but Genevieve Bujold is Excellent
I first saw this production of "Antigone" on a scratchy VHS recording back in 1979. I was a freshman in high school, and the show, especially Genevieve Bujold's performance, made a tremendous impression on me. I had hardly dared hope that it would one day be released on DVD.

It's not quite as perfect as I remember it -- but well worth seeing. Bujold is excellent: her "dark, tense, serious girl" is a near-perfect portrayal of Anouilh's heroine, even if she goes into an excess of hysteria near the end of her confrontation with Creon. She is passionate, stubborn, and vulnerable even in her unwillingness to yield. Fritz Weaver is a fine actor, but his performance was undercut by a terrible hair and makeup job that made him look more like someone who lives in an attic than a king who is supremely conscious of public image. He does, however, manage to make Creon "the most persuasive of tyrants." Stacy Keach does a fine, understated job as the detached, cynical Chorus. The rest of the cast: Haemon, Ismene, the Guard, the Messenger, the Nurse, are competent but not anywhere near the same caliber as the leads, which is unfortunate. It would be nice to one day see a Haemon who actually seems as if he was capable of winning the love of a fierce and passionate creature like Antigone, or an Ismene who was as much a princess as a rationalizing, fearful nay-sayer, or a Guard who seemed genuinely dangerous.

Before the performance, there is a disclaimer about this DVD edition betraying the limitations of the original recording, and it is indeed an issue. The picture is sometimes blurred or scratchy, and the sound is out of balance in places -- particularly at the beginning, when the piano solo is intrusive under the Chorus's introduction. But I'd be very surprised if there were a better edition available.

All in all, this is a flawed production and a flawed recording, but the performances of the leads, especially Bujold, and Jean Anouilh's marvelous script make it well worth seeing. ... Read more

Reviews (16)

Judy Garland's last, and perhaps best, film
Yes, you read that title right. I think "I Could Go On Singing" is greatly underrated. I actually consider it better than the excellent "A Star Is Born," which frankly -- George Cukor, forgive me -- needed some of the cuts it got.

In the semi-autobiographical role of Jenny Bowman, Garland gives an amazingly vulnerable and vital performance. She's in great vocal and physical form for the musical numbers, and although she doesn't look her best (you'd swear she was 10 years older than her actual age), she's fully engaged dramatically as well. Her hospital scene with Dirk Bogarde, where she talks about the life of a performer, has so much subtle shifting between emotions that it takes one's breath away. That alone should have earned her an Academy Award for this performance.

But the film offers even more than that. It's extremely well directed by Ronald Neame. The musical numbers boast very creative camerawork that considerably heightens the excitement -- "It Never Was You" is a case in point. They are the closest we have to seeing Judy Garland "in concert" in a movie (it can be argued that her TV series did the same on the smaller screen).

And the supporting performances are very fine. Bogarde, always an excellent actor, holds his own against the force of nature that is Garland by playing ying to her yang. The other actors are equally good. The script, too, is solid, and it refuses to take the easy "happy ending" route at the end, to its credit.

Unfortunately, MGM has released this movie with minimal care. The image transfer should have been much better (the reds, in particular, are highly unstable). As another reviewer mentioned, the DVD should have been anamorphic (enhanced for widescreen television). This film also deserved a commentary track and other extras, and there are none here. But, that said, this bare-bones DVD is inexpensive, so don't hesitate to buy it. Perhaps if MGM sees a high demand for this title, it will release a Special Edition in the future -- not likely, I know, but we can always hope.

Judy went out with a Bang!
This is probably in my top five favorite Judy movies! She is and always will be the greatest entertainer who ever lived. This film shows that Judy was an amazing actress! In the early MGM days, she made some fabulous films, but they never gave her the chance to play a dramatic role she deserved. I think another reason Judy was so amazing in this film is that she practically lived the life of Jenny Bowman. I also love the plot, Judy is kind of an Auntie Mame charecter, anyone who's seen the film knows what I'm talking about. It's a great movie for anyone who likes Judy, drama, or just a damned good film! What's also interesting is that in the hospitol scene (which I'm sure most of you know) Judy helped write a great deal of the dialogue. I'm glad they finally gave us a dvd of this film. I've been waiting forever! I actually paid $80 for a vhs copy of it a few years ago! But of course I still bought the dvd lol, after all, IT'S JUDY!

Judys last is her best
Judy is without a doubt at her best in her last movie role. She plays the title role with such pazazz that you would think its her life shes playing. A big plus is all the songs she sings are from one of her concerts. A must have for any Judy fan!!!!!!!

CLASSIC GARLAND TOUR-DE-FORCE!!! BRAVO JUDY!!!
By the time Judy Garland filmed her final classic "I Could Go On Singing", she knew how to act and pull out all the stops better than anyone and was in superb voice giving many of the most powerful film vocal performances ever in this sadly overlooked brilliant motion picture that has for years been one of my favorites!!! Judy looked sophiscated and every inch the superstar that she was and had a great supporting cast who were all perfectly cast including an engaging performance from Jack Klugman as her fiesty manager. Musical numbers filmed before a live audience added so much excitement to Judy's magnificent performances and the electricity of Judy's preparation moments before her entrance before the audience are incredible to experience!! Garland was the most soulful performer around and this performance should have been nominated for an Academy Award just as Miss Garland should have won Best Actress for the classic "A Star Is Born" but that is a totally different story that is one of the legendary "Oscar Blew Stories"! I was in High School when this classic came out and played at the Chinese Theatre on Hollywood Blvd. and people wildly applauded after the musical numbers and I have only witnessed this in the musical films of Judy, Barbra, and Liza!! The power of Judy's performances of the riviting "By Myself" which is a powerful vocal masterpiece and the stunning "Hello Bluebird" are among the all time top performances ever in motion picture history. The quite and haunting "It Never Was You" which has Judy just with a piano is a masterful live take that is Judy at her sublime best and again incredibly riviting on the great title song "I Could Go On Singing" and you just wish she would have! Dramatic scenes are intense and try not to be incredibly moved when you watch the brilliant interplay between Judy and Dirk during the amazing hospital scene!! Throughout Judy is at a dramatic peak playing out each scene with her "Son" and his "Dad" with remarkable depth and sensitivity. Thankfully this movie has been preserved first with its VHS release and now on DVD for anyone wanting to enjoy the best entertainer of the century giving one of the greatest performances of her incredible lifetime!! Bravo Judy!!! I am happy that this classic Legend happened in my lifetime...Enjoy!!!!!!

Garland Shines In Simple Story
Where does Jenny Bowman end and Judy Garland begin? That is the question one asks when viewing her last completed film, "I Could Go On Singing." It is a modest little film with a weak story about a singing mega-star who tries to reconnect with her child some fourteen years after giving him up to his English father.
Dirk Bogarde gives a solid and thankless performance as Jenny's lost love and father of her son. He seems to be present only to give Miss Garland something to rail against. Gregory Phillips plays the young son with charm and genuine gentleness. Jack Klugmann is the irascible manager to Jenny during her tour. The ever wise and understanding Aline MacMahon presents the ever wise and understanding Ida, assistant and soggy shoulder to Jenny.
What holds this film together is the incomparable talent and presence of Judy Garland. She gives it her all and shows us something of what the mythmakers might call "a glimpse of the really Judy Garland" in several scenes. In particular the scene in the hospital room with Dirk Bogarde seems to slide from fiction to a revelation by Miss Garland of what it cost her each time she walks out on a stage to sing. There is no doubt that we get to see Miss Garland at the peak of her performing style both as an actress and a singer. For this reason she raises the film to the level of beyond what could be expected of a lesser talent. The concert segments of the film are particular highlight and have a wonderful documentary feel to them. We are given a view of her transformation just before going on stage at which point Miss Garland sings at the top of her form and is both stunningly powerful and touchingly vulnerable. The highlights are "So Long Bluebird" and "By My Self".
The DVD is picture is fine despite a few odd lights that pop up from time to time. The monophonic sound is clear and clean giving a wonderful fullness to the songs. And the DVD can be viewed in either widescreen or full screen.
This film is well worth adding to your library and is a fitting end to Judy Garland's fine film career. ... Read more

Amazon.com

Only John Ford excelled Anthony Mann as a purveyor of eye-fillingWesternimagery, and Mann's best films are second to no one's when it comes to thefusion of dynamic action, rugged landscapes, and fierce psychologicalintensity.The Man from Laramie is the last of five remarkableWesterns the director made with James Stewart (starting with Winchester'73 and peaking with The Naked Spur).This collaboration marked virtually a whole new career for Stewart, whose characters are all haunted bythe past and driven by obsession--here, to find whoever set hiscavalry-officer brother in the path of warlike Indians.

The Man from Laramie aspires to an epic grandeur beyond itspredecessors.It's the only one in CinemaScope, and Stewart's personal questis subsumed in a larger drama--nothing less than a sagebrush version of King Lear, with a range baron on the verge of blindness (Donald Crisp), hisweak and therefore vicious son (Alex Nicol), and another, apparently moresolid "son," his Edmund-like foreman (Arthur Kennedy). There are a few too many subsidiary characters, and the reach for thematic complexityoccasionally diminishes the impact.But no one will ever forget the scene onthe salt flats between Nicol and Stewart--climaxing in the single mostshocking act of violence in '50s cinema--or the final, mountaintopconfrontation.

For decades, the film has been seen only in washed-out, pan-and-scan videos, with the characters playing visual hopscotch from one panel of the original composition to another.It's great to have this glorious DVD--razor-sharp, fully saturated (or as saturated as '50s Eastmancolor could be), andbreathtaking in its CinemaScope sweep. --Richard T. Jameson ... Read more

Reviews (15)

I don't come from anywhere...
Some men arrive with provisions for a store, most of them will return from whence they came. One man, portrayed by James Stewart, may have come from Laramie but its not his home and does not intend to return until he finds out who supplied the rifles to the Apache - rifles which were used to kill a cavalry troop, among them his brother.

His quest brings him into conflict with a local landowner who has dreamt that a man would one day come to kill his son. Is it the man from Laramie?

James Stewart and Anthony Mann made some great films together - this was the last, and by no means the least. I have said it before and I'll say it again - James Stewart was the finest actor ever and this film features another fine performance.

The DVD transfer (anamorphic) is excellent - picture quality and sound are excellent. My only complaint is the lack of features. Trailers for the other Stewart/Mann films at least would have been a worthy addition.

A GREEK TRAGEDY IN THE DESERT
Director Anthony Mann's THE MAN FROM LARAMIE is a movie lover's dream. It's a western shot in the beautiful deserts of New Mexico with enough action to keep your mind occupied while your eyes wander through the landscapes. James Stewart, Arthur Kennedy and Donald Crisp are at their best and the rest of the cast gives a great performance.

Some of the reviewers have already noted the shakespearian flavour of the story so I'm rather going to underline other evident references. OK ! So, in THE MAN OF LARAMIE, we have an old man with a recurrent dream, a dream announcing that a stranger will come and murder his son. When Alec announces to Vic that he's becoming blind, we cannot have any doubts more : we are witnessing another variation of the myth of Oedipus. From this moment on, you're going to have a subtle pleasure to read THE MAN FROM LARAMIE with a pair of freudian glasses ! Let's observe these brothers ( Vic HansBRO ) fight for the love of their old father, let's mourn the disappearance of Alec's wife who created a monster out of her son in order to hurt her macho husband, etc..

Images and sound (stereo) are OUTSTANDING. For once, a production company has forgotten the usual economic laws and takes advantage of the real possibilities of a DVD by presenting 4 or five different subtitles. Thank you Columbia !

A DVD for your library.

Another great James Stewart western
This collaboration between director Anthony Mann and actor James Stewart is another dark character study as Stewart once again is a cowboy on the vengeance trail as he heads for a dusty New Mexico town in search of gun-runners who supplied rifles to the Apaches who wiped out a cavalry troop that included his younger brother. The town of Coronado and the surrounding territory are controlled by a cattle baron who owns the Barb ranch and doesn't take kindly to outsiders meddling in the town's affairs. Rancher Alec Waggoman's neurotic son Dave and tough but high-strung ranch foreman Vic Hansbro resent Will Lockhart's determination to uncover the mystery of Apaches acquiring rifles and why the massacre just happened to take place on Waggoman's land. The film has a few touches of extreme violence without being graphic and Stewart's straight-shooting Lockhart is likeable and believable. The picture's romantic angle is more implied than stated between Lockhart and Barbara Waggoman and is realistic in the way it unfolds during Lockhart's investigation in Coronado. A great cast of supporting actors was assembled for this movie and makes this star western even more enjoyable.

poor colorization
Originally saw this film in Black and White. This colorized version is poor at the best; spend the time and effort to find the B/W; the hokie-ness detracts from the movie itself.

Deserves more attention
Hard to believe I missed this jewel before. Just an outstanding collaboration by Stewart/Mann. I really don't see the brutality here that so many people are quick to scream these days, and who cares about King Lear? This is just a great Western in the classic sense. Jimmy Stewart was always his best in the "I'm gonna get you sucka'" role and he is terrific here. The story outweighs some casting issues but you won't care. Cathy O'Donnell is exactly like Stewart describes her..."beautiful", a fragile genuine treasure.

The DVD transfer is nothing but spectacular. I've never seen colors like this anywhere and there's plenty of scenery to "wow" at. Amazing actually but that's an Anthony Mann trademark. Just jumped into my top five all time list. 5 mules, still standing. ... Read more

Description

This madcap, yet heartfelt comedy about success and failure is built on wonderfully ridiculous situations and uproarious dialogue. Stars Aline MacMahon (Dragon Seed)and Barbara Barrie (Breaking Away), as well as David Hedison (The Fly, "Voyage to the Bottom of the Sea")and Susan Anspach (Five Easy Pieces). By Oliver Halley ... Read more

Reviews (1)

Hedison is great but the play is not
I enjoyed David Hedison's outstanding performance, and of course, he's a dream to look at.
But, the play was difficult for me to follow. It was supposed to be a comedy and a lot of it was, but I couldn't understand all of it except the story premise about a married woman having an affair (with lover Hedison)while still jealous of her husband's possible infidelity.
I'd say all Hedison fans should buy this dvd, as I said he was wonderful, and had quite a flair for comedy, but the story itself tried to hard and just wasn't very good. ... Read more