Reviews (30)

Hollywood Classic
This film starts with the 1685 Duke of Monmouth rebellion. The battle of Sedgemoor rages in the background as Errol Flynn's character is wrongly accused of supporting the rebels. King James II is portrayed as an arrogant prince, something which most Protestants of the day would have agreed with, and which Hollywood does not seem to deny. James, while detached, was not the cold hearted fool we see here. But this is only a minor point. The film has historic interest, portraying England as it does during the 1680s, the reign of James II before the advent of the Glorious Revolution which sees him removed in favor of William III of Orange and Queen Mary. The movie only touches on these political developments, but its interesting to see them as factors in the background.

The rest is pure Hollywood adventure with fiction playing havoc with fact! Still, the movie is so entertaining and classy that we don't mind a few historical gaffes. Flynn is elegant in his first major role, and Olivia Dehavland is strikingly beautiful. Hard to beleive she was only 18 when this film was made. The rest of the supporting cast may be a bit standard for a 1930s production, but they pull their weight well with all the cute touches of the day. The production value of the film appears more impressive than it actually was. The fast pace combined with clever plot makes for a classic of its kind. The French as perenial villins may strike a chord with today! For period swashbuckling, romance and class, you won't find better than here.

Blood! Blood! ......And A Film Legend Was Born
"Classic", is written all over this legendary Warner Brothers production from Hollywood's heyday in the 1930's. A fine literary source in the novel by Rafael Sabatini formed the basis for what was to become easily one of the best loved pirate tales ever filmed by a Hollywood Studio. Many (myself included) believe that "Captain Blood", is THE definitive swashbuckling adventure and contains everything to satisfy the pirate enthusiast, from a dashing leading man fighting for justice in a corrupt world,a beautiful damsel in distress to be rescued by the hero, lively swordplay, brilliantly staged sea battles, and the essential quota of villianous characters to add spice to the drama. "Captain Blood", was as well a "first", in many ways. Firstly it marked the breakthrough role for Tasmanian born Errol Flynn who was perfect for the role of Dr. Peter Blood, a man of good character wrongly condemmed to a life of slavery for helping tend the injuries of a rebel soldier in the corrupt England of James 2nd. Also this film marked the first teaming of Flynn with rising young actress Olivia de Havilland and the two went on to work beautifully together in eight films over the next seven years earning them immortality as one of filmdom's most unforgettable screen couples.

It's hard to imagine nowadays anyone but Errol Flynn in the role of Captain Blood but he was not even considered in the original casting of the film being an almost complete unknown at the time. Robert Donat was set to play the lead but had to withdraw due to illness and Jack Warner took a considerable gamble in casting the untried Australian actor in the lead of one of the studios biggest productions for the year. Once the decision was made however the rest as they say was film history as Errol Flynn swashed and buckled his way to Hollywood stardom in a stunning debut which helped make "Captain Blood", one of the years most successful films and helped gain it a nomination as Best Picture of the year. "Captain Blood", relates the story of Irish Doctor Peter Blood who is called out to tend the wounds of a rebel soldier fighting the corrupt governement of King James 2nd. Caught at the scene Peter is imprisoned as a rebel of the crown and in a sham court hearing is condemmed to a life of slavery in the infamous colony of Port Royal. Suffering brutality under the cruel Planatation owner Col. Bishop (Lionel Atwill in a masterfully evil role) Peter has the chance to escape when Port Royal is attacked by the Spanish. He forms a crew with his men and together they head out to sea on a stolen ship to become pirates with no country to call home. Very soon the name of "Captain Blood" is infamous throughout the Carribean and no ship Spanish, French, or English is safe from his looting. Making an uneasy alliance with French Pirate Capt. Levasseur(Basil Rathbone in a small but effective role) Peter finds his loyalties tested when Levasseur captures Arabella (de Havilland) the niece of Col. Bishop who Peter loves, as she returns to Port Royal with Lord Willoughby (Henry Stephenson). Fighting a duel to the death with Levasseur over Arabella's safety, Peter learns from Lord Willoughby the King James has been driven out of England and the new King William 3rd has not only pardoned Peter and his men but also offered them places in his navy. Returning to Port Royal the men find the port under attack from the Spanish and Captain Blood now fighting for King and Country in a exciting finale manages to defeat the Spanish invasion and save Port Royal from falling into enemy hands. For his great service to the crown King William then makes Peter the new govener of Port Royal much to the distress of his old enemy Col. Bishop but to the utter joy of Arabella who now plans to marry Peter at the happy conclusion.

Errol flynn had no peer when it came to these types of dashing adventure roles. His performance here and in such classics as "The Adventures of Robin Hood", and "The Sea Hawk", certainly saw him in his element being ideally cast. He teamed perfectly with Olivia de Havilland, he all bravado, masculinity and dashing energy, while she was the epitome of the demure refined young lady waiting for love. "Captain Blood", however is peopled with some other great acting talent that must not be forgotten under the bright light of Errol Flynn's screen charisma. Lionel Atwill excels as the cruel Col. Bishop in a tailor made role and character actors Donald Meek and especially George Hassell as the comical gout ridden Gov. Steed are both excellent in their smaller parts that help give "Captain Blood", some of its fine acting moments. Directed with usual high energy by Michael Curtiz, he manages to extract a marvellous performance out of the still largely inexperienced Flynn. Theirs was a definite hate relationship as the two loathed each other but by some miracle produced consistently excellent work together.The visuals of the film are first rate with the superbly staged sea battles unrivalled in their authentic look. Erich Wolfgang Korngold furnished another of his rousing musical scores that succeeds in really adding a high level of excitment to all the action secquences in "Captain Blood".

"Captain Blood", makes for ideal entertainment of the old fashioned kind and is a perfect example of Errol Flynn's great screen presence in a role idealy suited to him. Here we see him and Olivia de Havilland in the full bloom of their youthful vibrance in an exciting tale of adventure and romance,with good winning out over evil. It's Hollywood filmmaking of the old school and it is sure to leave you cheering as the good Captain romances his ladylove and fights against corruption and cruelty on the High Seas. Enjoy!

Simon Davis
Now that I have read Simon Davis' review, I dont have to watch the film?

Actually , I have seen the film a few times..and I can only add that Lionel Atwill pouts as well as any actor I have seen and Mr Rathbone begins his legacy as one of the great screen villians

CP

Shine on
Captain Blood is a great film, let alone a tremendous pirate film. There's something about the plot that has a certain resonance today as much as that of Robin Hood, namely that age-old sense of justice triumphing over rigid law and order, of robbing the rich to feed the poor. Yet Captain Blood is a little rougher edged, a little crueler in its machinations. Peter Blood (Flynn) is a well-meaning doctor who happens to aid the wrong side in one of Britain's innumerable civil wars, and is sentenced into slavery in the outer colonies along with a pack of other unfortunates. Right from the moment you see him level his icy gaze at the consumptive, soon-to-be dead Royal judge who passed the sentence, you know this party is just getting started.

Hollywood has used the 'good-man-wronged' scenario countless times since this movie, but rarely to such effect. Battered, beaten, but never broken, Dr. Peter Blood transforms into Captain Blood, the terror of the high seas that crushes his enemies without ever letting anyone affect his high-minded moral core. It was not his choice to become an outlaw, but if he has to become one, he will be the best one there ever was. Redemption, honor, and love all make their appearances in the fine script enacted by a worthy cast, but at every point Blood is a man in control of, and therefore responsible for, his own destiny. It's a great film and one you definitely should check out.

A great buccaneer epic.
I think that this is one of the greatest action - adventure films and perhaps the greatest adventure-epic film about pirates ,ever made in cinema's history. Adapted from Raffael Sabbatini's homonymous novel, "Captain Blood" introduced 26 years old Australian-born actor Errol Flynn, in Hollywood as a great star and it was the first of a movie-series that granted him the title of "swashbucklers's king".The film also created Flynn's image (solidified in the next years) as the dashing young romantic adventurer hero who always saves the day. Flynn plays the Irish doctor Peter Blood who becomes the handsome gentleman rogue pirate of the Caribbean with bravado and charisma ,appearing his great talent that made him a legend. But here we can locate some historical inaccuracy , (an inheritance of 19th century's romantic literature ) because the real pirates were quite repulsive, poor , illiterate and not fascinating and educated sea knights. The historical background on the contrary is quite accurate and very interesting. The film beggins in 1685 when Duke of Monmouth organised an unsuccessfull rebellion and portrays England during the 1680s, the reign of James II before the advent of the Glorious Revolution which sees him removed in favor of William III of Orange and Queen Mary. An other notable point is that the film portrays pro-catholic King James II as an evil and cruel tyrannical persona ,a fact that might be seen as a film's pro-protestant position on history, yet don't forget that this story is adapted from a novel and this was Sabbatini's view on historical facts.
Curtiz's direction is excellent and impressive,especially at the great terrific sea battle which is amazing. Olivia de Havilland is brilland and adorable as Flynn's sweet love interest ,with astonishing beauty. Even she is only 19 years old ,she plays her role with maturity and high professional capability. Basil Rathbone is perfect as the villain-fond of women French pirate Levasseur (and as swordfighter) using a peculiar french accent . Lionel Atwill as de Havilland's uncle is very convincing as a brutal plantation owner who finally reconciles with Captain Blood (Errol Flynn).You have also to notice the great performances by the actors who compose Captain Blood's crew. They're really charming.
A must-see high entertaining master piece epic. I give it all the stars I can . Enjoy it and love it. ... Read more

Reviews (22)

Rio Grande finest of much vaunted "Ford Cavalry Trilogy"
Rio Grande, shot in glorious black and white, is in a way the most colorful of the three cavalry movies that John Ford made with John Wayne. As in "She Wore a Yellow Ribbon" Wayne is in the starring role but a fetchingly mature Maureen O'Hara is able to hold her own with Wayne and become as powerful a figure in the story. Much of the fun of watching this picture is the on screen chemistry of Wayne and O'Hara, they are totally believable as lovers and as equals. It must be duly noted that they are supported by the John Ford stock company and they are seldom showcased as well as this. Of particular note are superb efforts by Harry Carey, and Ben Johnson who carry their parts in an easy and natural style, and Victor Mclaglen who reprises his Sgt. Quincanon from "She Wore a Yellow Ribbon". The DVD edition was digitized from the original negative and it is indeed beautiful. The soundtrack is also clear although a trifle shrill at times. Wayne, with mustache and crumpled hat never looked better, Victor Young's score is rousing, and Ford is at his sentimental and poignant best in this "must see" western classic.

A John Wayne Western Only A Woman Could Love
The director John Ford and the actor John Wayne made three of the most remarkable Westerns ever made. Critics refer to them as the "Calvary Trilogy and they center on the life and times of horse soldier Nathan Brittles, who "Never apologizes because it's a sign of weakness" but does manage to make amends to the wife he wronged (O'Hara) in spectacular style. The chemistry between Wayne and O'Hara is amazing, all the more so because they kiss only twice in the film. Both are middle-aged when they meet again, but communicate a passion and sexuality which puts any modern screen pairing in the shade. The film is remarkable because O'Hara is truly Wayne's equal, a feminist in hoop skirts and even more suprising, not the only one in the film. Rounding out the cast are Ford's "stock company" a group of some of the finest character actors ever to grace the screen. If you're female and you've never been able to get into Westerns, this is the one that will get you there. It's funny, touching and features a female lead who is far from passive and years ahead of her time.

THE TRILOGY'S SUNSET RIDE
RIO GRANDE nicely finishes off the John Ford Cavalry Trilogy. While not as intense as FORT APACHE, or touching as SHE WORE A YELLOW RIBBON, RIO GRANDE earns its stripes with the trademarks of the trilogy: luminous direction, straight forward story telling and solid work from The Duke, Maureen O'Hara and of course, Victor McLaglen, who steels the first 20 minutes of the film. "Welcome home, darling," he bows to O'Hara as she's escorted into the fort by The Duke, to which she replies: "I see you still have that ox with you." Pappy and The Duke have the regular Ford/Wayne troop still with them and it works. The Sons of the Pioneers offer a new song book, but the band still plays "The Girl I Left Behind Me" when the cavalry marches out. There's a lot to be said for the old ways.

A Trilogy Completed
This is the third of Ford's films which focus on the U.S. Cavalry and its violent encounters with the Apache. Wayne's role in each is quite different. He is a subordinate officer in Fort Apache, a commanding officer about to retire in She Wore a Yellow Ribbon, and again a commanding officer in this film but estranged from his wife Kathleen (Maureen O'Hara), and son Jeff (Claude Jarman, Jr.) among the men he commands. Lieutenant Kirby Yorke (Wayne) resembles Woodrow F. Call in Lonesome Dove (played by Tommy Lee Jones) who refuses to show any favoritism or even affection whatsoever to his son. (In fact, Call denies his fatherhood.) Of course, Ford ensures that husband and wife are reunited by the end of the film; also, that father and son become close after Trooper Yorke plays a key role in helping to rescue children captured by the Apache and thereby earns his commanding officer's (and father's) respect. A similar relationship exists in Red River except that the conflict is resolved without a brawl. Personally, I would have preferred less reliance on Irish ballads, the focus on Yorke's marital conflicts, and what I view as the macho element of which Ford was so fond. Nonetheless, Wayne's performance is outstanding and the sequence by which the children is rescued is brilliantly portrayed. In additional to much improved sound and image, this DVD version also offers several excellent supplementary features which include a scene-specific commentary with Maureen O'Hara, a mini-documentary "Along the Rio Grande with Maureen O'Hara," and "The Making of Rio Grande" hosted by Leonard Maltin.

John Ford's Triumphant Conclusion to Cavalry Trilogy!
'Rio Grande', the last of director John Ford's 'unofficial' Cavalry Trilogy, has often been unfairly judged the 'weakest' of the three westerns. Certainly, it lacks the poetic quality of 'She Wore a Yellow Ribbon', or the revisionist view of a thinly-disguised reworking of the events surrounding the death of George Armstrong Custer ('Fort Apache'), but for richness of detail, a sense of the camaraderie of cavalrymen, an 'adult' (in the best sense of the word) love story, and a symbolic 'rejoining' of North and South conclusion that may have you tapping your toe, 'Rio Grande' is hard to beat!

It is remarkable that 'Rio Grande' ever got to the screen; Ford hadn't planned to make it, but in order to get Republic Pictures to agree to his demands for 'The Quiet Man' (he wanted the film to be shot on location in Ireland, and in color), he had to agree to do a 'quickie' western that would turn a quick profit for the usually cash-strapped studio. This is, perhaps, a reason why the film is held in less esteem than it deserves. 'Rio Grande' may have not been born with high expectations, but with John Ford in the director's chair, and John Wayne and the Ford 'family' in the cast and crew, the potential for something 'special' was ALWAYS present!

A few bits of trivia to enhance your viewing pleasure: Yes, that IS Ken Curtis, singing with The Sons of the Pioneers, in the film...while uncredited, he made a favorable impression with Ford, and soon became a part of his 'family'...Ben Johnson, Harry Carey, Jr, and Claude Jarman, Jr, actually did their own stunts while performing the 'Roman Style' riding sequence (Carey said in interviews that they were all young, and didn't think about the danger of it; a production would lose their insurance if they 'allowed' three major performers to do something as risky, today!)...Did you know that O'Hara, playing Jarman's 'mother', was barely 14 years older than her 'son', and was only 29 at the time of the filming?...Harry Carey barely had any lines in the script; most of what you see in the film was ad-libbed!...the popular ditty, 'San Antoine', sung by Jarman, Carey, Johnson, and Curtis, was, in fact, written by Mrs. Roy Rogers, herself, Dale Evans!

Whether you're viewing 'Rio Grande' for the first time, or have sat through many viewings, the film has a richness and sense of nostalgia for a West that 'may never have existed, but SHOULD have'. It would be a proud addition to any collector's library! ... Read more

Reviews (28)

SAHARA, Bogart's Desert War Classic now on DVD !
It was 1943 and the United States was at war. Humphrey Bogart had just finished "Casablanca" (considered the #2nd greatest Movie of the last 100 years by the American Film Institute (AFI)1998) with Ingrid Bergman at Warner Brothers.

As the war effort continued Hollywood began to use the power of their stars with patriotic themes, against all odds stories to give Americans and the world hope for victory.

Warner Brothers having the greatest stable of stars lent the services of Humphrey Bogart to Columbia Pictures for the making of the Classic Desert War story "Sahara".

This movie had a great ensemble cast which included a very young Llyod Bridges, Bruce Bennett, J. Carrol Naish and Dan Duryea. Filmed in the Mojave Desert near the great Salton Sea in Southern California. The filmed was endorsed by the War Department and the extras were supplied by the United States Army (playing the Germans, Americans and Allies).

"SAHARA" became Columbia Pictures top grossing film of 1943 at a whopping $2.3 million and a very effective propaganda war vehicle.

Summary: Sgt Joe Gunn (Bogart) a WWII tank Commander and his crew (Bennett & Duryea) are surrounded by Germans in the Sahara desert. Their only escape is south into the desert with only their tank "Lullabelle". The race is against time, finding gas, water & their allies before the Germans find them.

This DVD quality is outstanding !! (remasterd video & audio.) FullScreen (before Widescreen) and Black/White presentation. Extras include a picture montage of original lobby poster art, trailers from other WWII movies and star film chronoligies.

This is a "WWII Sleeper Classic Bogart Film". Bogart is a master craftsman, an American Icon Hero. You become very attached to this cast of desert marooned characters in a grand story about unsummountable odds and the pure devoted attitude to succeed!! Enjoy.

Sahara: A Pre-Politically Correct Call For Multiculturalism
By 1943, the war in Europe had been going on for four years, and the United States had been involved for two. The war was far from being won, and Hollywood accordingly presented images of good old-fashioned American virtues of grit that sound increasingly quaint in the light of the modern tendency to downgrade the military. But in SAHARA, director Zoltan Korda involves the viewer directly in the war against fascism by presenting Humphrey Bogart as Sgt. Joe Gunn, in a role as memorable as any that he ever had. He, Dan Duryea, and Bruce Bennet are tankmen lost somewhere in the North African desert just before the battle of El Alemain. They seek to reenter the war and in doing so, pick up a number of equally lost fighters, two of whom are the enemy. J. Carrol Naish is Guiseppe, an Italian infantryman who has long since lost confidence in Mussolini. Kurt Krueger is a downed Luftwaffe pilot who is forced to ally himself with Guiseppe, a man who he is sure is not far elevated, racially speaking, over the Jews who were being tossed into crematoria. Bogart discovers an oasis that provides just enough water to keep his men alive. The plot complicates when an Afrika Korps battalion is short on water and attacks the oasis for its precious water.

SAHARA is typical of the war films of the time in that Hollywood knew that audiences would respond patriotically if the film combined crackling scenes of realistic combat with powerful and believable characters. Bogart as Joe Gunn more than delivers in nearly every scene in which he appears. His craggy face and gravel voice are totally convincing, especially in scenes like the one in which he responds to the not unreasonable question as to why they should risk their lives in battle when to run away seems the more prudent course. Bogie deadpans that delaying the Nazis at every step is the surest way to win the war. Director Korda makes sure that Bogart's tank crew is a multinational ethnic mix of Brits, French, Nigerian, and even Guiseppe, who in one stirring scene, repudiates his Italian Duce by telling Kurt Krueger, "Must I kiss the hand that beats me and lick the boot that kicks me? No! I'd rather stay in this miserable hole than to return to an Italy like that." SAHARA provided just the right note of infectious enthusiasm for a nation to rally around its military, even if today's peace-at-all-cost activists can't quite understand why.

Desert wartime conflict
The incomparable Humphrey Bogart is tough, gritty and determined as Sgt. Joe Gunn commander of the remainder of a U.S. tank crew retreating south from the Nazis into the Libyan desert. His crew including a young Dan Duryea and the veteran actor Bruce Bennett pick up a small group of Allied stragglers on the way. Running low on supplies and water they set out for a well marked on a map. They encounter a British Sudanese sergeant major played by Rex Ingram leading an Italian prisoner played by the versatile and Oscar nominated J. Carroll Naish. Finding the well to have dried up, the rag tag bunch is led by the beautifully spoken Ingram to a distant well by following an old caravan trail.

Little do they know but they are being pursued by a mechanized German battalion of about 500 men also desperate for water. Bogart and his group find a scant supply of water at the second well which is located amid some ruins deep in the desert. They ambush a German scouting party and learn of their quandry. They release prisoners with the false knowledge that there is plenty of water to be found to lure the battalion in. They decide to make a stand at the well to delay the Nazi troops while sending out Bennett in a captured Nazi vehicle for help.

Sahara is an excellent wartime movie which serves as a testimony to the resolve of our troops to defend their country and ideals in the face of deplorable circumstamces. Bogart is terrific as usual. J. Carroll Naish does a superb acting job playing the disillusioned Italian prisoner, a mechanic from Turin, Giuseppe.

Excellent
This little know Bogart movie was an astounding find for me. The story is based on a Soviet Photoplay article about a group of stranded soliers in the Sahara desert who make a stand against an approaching band of Germans during World War II. A bit heavy on the "why can't we just all get along" line (excluding the Germans, of course) but notable for its humanization of all the disparate people involved, their political beliefs and other religions. In addition, it is an entertaining story of clever manipulations by our heroes to assure their survival versus the overwhelming Germans. Has a great ending. Dan Duryea shines, as does Bogart.

A quest for water...
Sergeant Gunn (Humphrey Bogart) is the chief for an American tank in the war against the Nazi's during World War II. As they pull back they come across a group of soldiers consisting of a Frenchman, a South African, and four Brits. These soldiers join the Americans on their retreat, since it is easier to ride on a tank than walking and because they are low on water. As the party journeys deeper into the Sahara desert, they meet a Sudanese soldier who has an Italian prisoner. The Sudanese soldier is great help for the international group of armed forces, since he knows where there is water. The journey becomes a pilgrimage for water and it leads the men into a tough decision, which will most likely lead them to their death. Sahara is an interesting film, since it was filmed during the war and enhanced the support for soldiers that were fighting in World War II. In addition, it has some elements that offer some understanding for different cultures, which was needed in the time of war. Overall, the film offers an adventure for those who seek entertainment, which in the end provides the audience with a good cinematic experience. ... Read more

Amazon.com

The lavish 1948 production of Joan of Arc may not qualify as a great movie, but it scores a triumphant victory as a great DVD. Thanks to a stunning restoration by the renowned UCLA Film and Television Archive, this relic from Hollywood's golden age can now be appreciated in all its magnificent Technicolor glory, restored to its original theatrical length of 145 minutes after decades of truncated TV broadcasts. Under the direction of Victor Fleming (whose credits include Gone with the Wind and The Wizard of Oz), this is a stodgily respectable mini-epic, adapted from Maxwell Anderson's acclaimed play Joan of Lorraine and giving 33-year-old Ingrid Bergman one of her quirkiest star turns as the 19-year-old "Maid of Lorraine," destined by divinely inspired fate to rescue imperiled France from British occupation, and face trial on charges of witchcraft. Winner of three Oscars (for cinematography and costumes, and an honorary award to Producer Walter Wanger for boosting Hollywood's "moral stature") and five nominations (including acting nods for Bergman and José Ferrer, making his screen debut as the French Dauphin), the film suffers from an abundance of talky exposition and stage-bound incident, but the battle scenes are still rousing, Bergman glowing beatifically in polished armor and surrounded by a seasoned cast of studio-era character players in a rampant case of Hollywood anachronism (somehow, Ward Bond just doesn't belong in medieval France!). If you get bored during the slow parts, you can always marvel at the pristine restoration, full of heavenly sunbeams, masterful matte paintings, and enough colorful detail to make most 1948-vintage films pale by comparison. Frame by gorgeous frame, martyrdom never had a classier showcase. --Jeff Shannon ... Read more

Reviews (4)

A SUPERB REMASTERED ORIGINAL AND UNCUT!!!
For those who own or who have seen the "butchered" version of this 1948 classic, RUN, don't WALK to your nearest video store and get the newly restored, uncut version!!!

The art of film preservation has done a SPECTACULAR JOB on all counts!! The film is in its original 146 minute version and will disappoint no one. As one of the other reviews mentioned, this is THEEEE Joan of Arc movie of ALL Joan of Arc movies. No one can surpass Ingrid Bergman in her portrayal. This is the way movies were meant to be made.

Victor Fleming, who directed Gone With the Wind and The Wizard of Oz, directed this with equal finesse and this ranks among his finest work. He died shortly after the film's release. He would be proud to see that, now, with the original restored version, it has withstood the test of time just like "Wind" and "Oz".

The performances are stellar, the battle scenes terrific, the musical score outstanding and the cinematography in GLORIOUS TECHNICOLOR is unbelievable!!! This is film preservation at its very best, Hollywood movie making at its best!!!

Trust me....would that all films would have the happy ending of restoration and uncutting as this one has!!!

This is a true classic and I'd give it 20, 30 or 1000 stars!!!!!
They don't get much better than this!

The real thing!
If you have been disappointed by the 100 minute video of JOAN OF ARC in the past, you will be delighted with this original version. This is the same version that I saw in 1949, immaculate and with nothing added or subtracted.

Anyone who knows anything about Saint Joan of Arc is deeply disappointed by the 100 minute video version which cut many parts essential to understanding Joan's complicated story. The full length version fills us in on the historical background through clever dialogue, portrays faithfully scenes from the trial in Joan's own words and best of all draws us in to the exciting, courageous and saintly life of one of history's unique figures. The brilliant colors and exquisite costumes make the film a visual feast! Ingrid Bergman's captivating performance reflects the profound affection that the actrice felt for Saint Joan.

Beautiful Epic, Finally Available at Last!!!
First of all, let me begin by saying this is not "A" Joan of Arc movie, this is "THE" Joan of Arc movie--unexcelled and unsurpassed by any movie made before it or since. Millions of dollars and painstaking attention to detail were invested in this grand epic to ensure that it was truthful and true-to-life down to the minutest detail. The events, clothes, and portrayals were all garnered from the the current records and historians of the day (for example, we have the entire transcript of Joan's trial). Ingrid Bergman dutifully and extensively studied St. Joan in an attempt to accurately capture her mulit-dimentional personality--unlike modern portrayals which are either inconsistent with the historical records (showing Joan to be crazy) or flat, wooden, one-dimensional portrayals.
Fans of this movie will shudder to know that the studio almost destroyed this great film by butchering it to death. It was a misguided attempt to get more people to come to the theater to see it. There was nothing wrong with the film in it's original incarnation. It simply was released at a time when Ingrid Bergman was unpopular in the American press due to things in her personal life. The studio's cutting and re-editing of this film almost caused us to lose it in its original form for all time. Prints had to be brought in from overseas to restore it.
I know I've been waiting for years for this great classic to be restored and re-released and I'm finally glad it has been.

Restored epic tells Joan's story sincerely, honestly
This DVD hasn't been released yet, but from the details that are supplied it looks to be the complete theatrical roadshow version that has been unavailable in the US, at least, for 35 years or longer (I have faint memories of seeing this on TV, in two parts, in the Sixties). Finally! I understand that this has involved a major film restoration project and will hope that the technical results have been worth it, since this is the best English-language Joan of Arc film to have been made, still. (More recent films have been marred by slipshod performances, weak scripts, and dubious historical accuracy at best.) This movie has been previously released on home video in a criminally butchered 100-minute version and even that is long out of print.

This important movie belongs in the collection of anyone with a serious interest in learning something about the life and career of Jeanne d'Arc.

Update, May 21, 2004: The DVD is available now; I have viewed about half of this so far and can report that it is a spectacular job of film restoration. The colors are vivid and distinct, the image sharp, and the soundtrack clear and distinct even in its monophonic mix. This 56-year old Technicolor movie looks like it was released last week. All the fantastic detail work in the backgrounds, costumes, and matte paintings is clearly visible and Ingrid glows more beatifically than ever before. (She may not be the definitive screen Joan, but she was certainly one of the most sincere in her approach.) The DVD includes no special features but a box insert briefly describes the history of the film's production and restoration. A superb job for this deserving epic. ... Read more

Reviews (71)

Betty Hutton scores a triumph as Annie Oakley
At last the 1950 movie muscial "Annie Get Your Gun" is finally available for a whole new generation and fans who fondly recall seeing it years ago to experience the magic of America's greatest composer,Irving Berlin(who in addition to the great score of this film brought us"White Christmas", God Bless America" and hundreds of others)dynamic stars, Betty Hutton, Howard Keel and a first rate supporting cast perform in one of Hollywood's greatest and at the time most expensive musical. The technicolor has been preserved in such a manner that the colors are a joy to behold and the meticulous detail of the great photography of Charles Rosher and the costumes by Walter Plunkett("Gone With The Wind")and Helen Rose, who did the exquisite western costumes for Betty Hutton are truly a feast for the eye.This film showcases Betty Hutton at her best. She may not have "voice of the century" like Judy Galand who had to bow out of the role due to illness and other problems but she adds a tremendous gusto to the role plus an almost child like innocence to her early scenes as the backwoods, uneducated Annie. She is especially touching in several scenes in addition to her special gusto (toned down here from some of her earlier roles). Betty Hutton was one of the top stars in Hollywood when this film was released. That same year she made the cover of Time magazine and the film went on to be one of the top grossing movies that year. She went on to sing and dance with Fred Astaire in "Let's Dance" and then won the coveted starring role in Cecil B. DeMille's oscar winning film(for best picture of 1952)"The Greatest Show on Earth"in which she did most of her own stunts in her role as a trapeze performer in a circus.(both of these films are available on video Her last big film was "Somebody Loves Me" in 1952. She left Paramount Pictures due to a dispute over having her then husband direct her next film. She later made one more film in 1956(released in 1957 called "Spring Reunion" a small black and white film produce by Kirk Douglas'company co-starring Dana Andrews. Miss Hutton gave a sensitive performance in this drama about an unmarried career woman in her 30's ,lonely and living with her parents. Once the most popular girl in high school, she meets and old classmate at a reunion. The film gave Miss Hutton a chance to really show that she was a actress fo considerable depth. It is a small film but quite affecting. It is not available on videobut has been aired on TCM) Also in "Annie Get Your Gun", Howard Keel made his movie musical debut and it was an auspicious one indeed. The first of many great parts showcasing his magificient baritone voice, natural acting ability and his strong, handsome ,masculine prescence.Mr. Keel later reached his peak in MGM musicals in "Seven Brides for Seven Brothers" and especially "Kiss Me Kate" (both available on video and probably DVD)The theatrical version of "Annie Get Your Gun"had several songs that were not included in the film. One "I'm a Bad Bad Man" would have been fun to have had Mr. Keel perform and two sung by Annie were a ballad"I Got Lost In His Arms"(beautifully done recently by Bernadette Peters in the broadway revival) and the delightful "Moonshine Lullaby" sung by Annie to her little brother and 3 sisters with an assist by them . It would have been nice to have had Miss Hutton do these in the film. Most of her songs except "They Say It's Wonderful" are of the exuberant variety. She is a standout doing the show's greatest number "There' No Business Like Show Businesss" in which she sings with her co-stars, later a reprise by herself and a again with Mr. Keel. Before the film, it is enjoyable to see the original trailer(or coming attraction promotion) for the film, a short introduction and brief history of Annie Oakley and her various incarnations by broadway/television star, Susan Lucci. Shown are outakes made by Judy Garland before she was let go for the film. After the film 2 completed numbers by Miss Garland are shown. She appears rather tired in them but her voice is just great and fine natural acting ability is evident as always. Finally a lovely number that unfortunately was later deleted from the film before it was released is shown for the first time.It is called "Let's Go West Again" with Betty Hutton. It is a good number , beautifully shot, sung in a more low key manner by Miss Hutton. Another interesting sideline, some of the original lyrics by Mr. Berlin were considered a little too "racy" for movie censors in 1950. For example in "You Can't Get a Man With A Gun",The lyric "a man's love is mighty he'll even buy a nighty for a gal who he thinks is fun, but they don't make pajamas for pistol packing mamas" was altered for the movie to "a Tom, Dick or Harry will build a house for Carrie when the preacher has made them one" Although a minor complaint it did cause a few of the songs to lose a little of their "bite".The film won 2 Oscars for sound recording and musical adaptation and it is obvious by the smooth , clear arrangements which give great justice to Irving Berlin's genius as both a composer and lyricist. I highly recommend this film for the entire family, especially if you are tired of the current films that offer nothing more than extreme violence, car chases, boring performers, gimmicky special effects, blatant sexuality etc. run and get this film. Betty Hutton was recently interviewed by the brilliant Robert Osborne on TCM(the Turner Classic Movies cable channel) and if they see my review I want to say "Bravo" to both of you for an outstanding one hour conversation about Miss Hutton's life and career. I hope that Betty Hutton will continue to give future interviews and lectures . She is a remarkable "survivor"who gives so much of herself to her audience.It is not surprising that she got her start on the Broadway stage and after her movie career continued appearing all over The USA and Europe in concerts and and theatrical productions to sellout audiences until personal problems in the 1960's caused her to stop performing until she made a brief return to Broadway in 1980(filling in for Alice Ghostley) in the role of Miss Hannigan in "Annie" ( muscial based on Little orphan Annie)

Worth the wait?
Well, it`s here at last. The long-awaited VHS of this smash hit Broadway musical.
I remember seeing it at the movies when it came out and thinking - what went wrong?
The tunes are great - the start is excellent but there`s no heart.
It`s too clean I guess and one-dimensional. Poor Howard Keel has not got into his stride as a movie actor and his Frank Butler is stodgy and quite unpleasant.
Our girl, Betty does her nut as usual but as she gets prettier so does her character diminish and she too appears brash and unsympathetic.
Of course, the songs are block-busters but I really missed Moonshine Lullaby which would have gone a long way to redeem Betty Hutton`s portrayal of Annie Oakley.
My favourite line is when Chief Sitting Bull says:
"Keep bow tight, keep arrows sharp AND NO PUT MONEY IN SHOW BUSINESS."
Unfortunately the movie degenerates into montage sequences of little moment and a conclusion that depends on the woman being subservient to the man and 'letting him win'.
Based on a true story, it starts so well........but finishes like a damp squib.
In all fairness, Judy Garland couldn`t have cut it as Annie, as we see in a couple of her numbers before she was sacked from the production.

There Really Is No Businesss Like Show Business!
Annie Get Your Gun is my favort play.And now it is my favort movie. I loved being in that play even though i was only 11 years old i still loved doing it.As I got older I found out that there was a movie and when I got the movie I could not stop watching it, and now my future goal would Be Palying Annie Oakley. And I think Annie would be proud.

There Really Is No Businesss Like Show Business
Annie Get Your Gun is my favort play. I loved doing it even though i was only 11 years old is till loved doing it.As I got older I found out that there was a movie i could not stop watching it. And My Future goal in life would Be Palying Annie Oakley. And I think Annie would be proud.

One of the most fun films ever made!!
Betty Hutton is sooo good in this musical. Even in pigtails, freckles, and rags she's totally loveable and her backwoods accent is hysterical!!
Annie Oakley (Hutton) and Frank Butler(Howard Keel) are two of the best gunshots in the world, but Oakley, who doesn't know a thing about being a lady, falls hopelessly in love with the handsome Butler. After accepting an offer to work with Butler in Buffalo Bill's western show, Oakley takes pains to become a beautiful lady and win Butler's heart. Unfortunately for Oakley, Butler can't take her being a better shooter than him, so a big rivalry ensues and so does all the fun.
Most memorable performance is Hutton and Keel's adorable number with the song "Anything You Can Do."
The quality of this DVD is great. Picture's bright and clear, sound is excellent, and so are the extra features like Susan Lucci's intro and about four outtakes, two of which contain Judy Garland's only two finished performances. Enjoy!! ... Read more

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The greatness of John Garfield was that he was a tough guy who wasn't afraid to wear his sensitivity on his sleeve. What makes this such a great film is that director Jean Negulesco and his two writers (including Clifford Oddets) construct a complex web of ambiguity around Garfield's own torment. He's a violin virtuoso from the slums of New York who rises to the top with the assistance of socialite Joan Crawford (who was never better). There's a sexual intensity to his art that she wants to possess, and there's a vulnerability behind her lacerating façade that he wants to expose. They play each other like a couple of virtuosos, stripping each other's spirit away. What helps transcend this depression-era class struggle is its cool sophistication. It's a sublime noir about loneliness. Everyone knows his dream has hit a dead end, except Garfield. He refuses to give up, even after his soul is long gone. --Bill Desowitz ... Read more

Reviews (24)

Warning for those on the wagon ... Smoking & Drinking
This is a wonderful film but I wanted to warn viewers who are not supposed to be drinking alcohol or smoking:Joan Crawford is smoking and drinking in each and every scene!She never puts her glass down and always has smoke coming out of her.I have been on the wagon for smoking for 16 months now and I would not watch it.It's not fair for someone else to be smoking when I can't.Just a simple warning and I do not mean to denigrate the movie.I think Joan looks her best in this film, she is ultra glamourous and is dressed to kill in every scene.John Garfield did his finest work and his role is very believable.The violin music is great, too.5 stars but be warned, it makes one want a glass of bourbon and a Chesterfield filter tip in every scene.

Sublime Masterpiece of Film!
"Humoresque" is one of cinema's sublime masterpieces.It is the apex of what any art form can be.It has a rich, complex script; superb performances; gorgeous black and white photography; impeccable, beautifully drawn characters; believable emotion; glamour; and music -- music throughout that is close to heaven.The violin solos are played by Isaac Stern.Gritty Paul Borae (John Garfield - never better or sexier) overcomes his humble background in the slums of New York City (largely Eastern European then) to become a concert violinist, generously aided by his mercurial patron/love interest Mrs. Helen Wright (Joan Crawford).Every character is perfect, the script amazing, the dynamics between Garfield and Crawford complex and intense.And if you've never been a Crawford fan, this is the film that will leave no doubts as to why she was the star in MGM's galaxy for so many years.She is breathtakingly beautiful here and her performance is real and unaffected; it is in films like this at her peak that one sees why Crawford was Crawford.There are numerous dazzling close-ups where a range of emotion and story are conveyed on the faces without a single word.The exquisite ending reaches a crescendo as in the music.Unforgettable.Cinema at its most masterful.

Great On Many Levels
I've seen this movie at least a dozen times over the years and never tire of it. So rivetting is Garfield and Crawford's performances that even without the great music it would have still been a great tragic love story (and I'm not one who cares for this genre). The volatility between the two lovers is what makes this movie so great; perhaps because they're complete opposites, or perhaps because the relationship is illicit. No matter, the chemistry between Garfield and Crawford is difficult to deny.

Another point. As a violinist myself Garfield does the most believable job of ANY actor I've seen in ANY movie, and I've seen almost all, that actually appears to be playing, it's almost unbelievable.

Finally, Oscar Levant, who was a great pianist in his own right, especially as an interpreter of Gershwin, does a splendid job as the comic counterbalance to Garfield's brooding intensity, and thought he actually stole some of the scenes with his sarcastic wit.

This movie has it all: great music, great story, great acting. Truly one of my favorites from that era.

Smooth as a Stern Cadenza
An apex of studio movie-making. 40's soap opera simply doesn't come any slicker than this. The black and white photography is rich, glossy, and superb, the luminescent glow behind Crawford's close-ups almost transforming this middle-aged warhorse into a fallen madonna. The screenplay anticipates Garfield's role in "Body and Soul" as he claws his way up from poverty using a bowstring instead of fists. For a tough guy, we still believe in his poetic soul and no one from that era was better at combining the two. Then too, no film has communicated an on-screen classical score more effectively than this, as Crawford is alternately beguiled, seduced, and overwhelmed by pulsating strains from the great composers. And, of course, there's that all-time smashing finale so lushly romantic, I'm still picking seaweed from my hair. I'm glad the screenplay gives an obscure contract player like Ruth Nelson a chance to show her thespic talents. Her face-off with Crawford over the direction of Garfield's affections is an epic one, though she's probably a shade too aristocratic for the long-suffering motherly role. Moreover, there are the many memorable throw-away lines, one could expect from a stellar cast that includes Hollywood's master cynic, the mordant Oscar Levant. In fact, his self-effacing personality and casual witticisms are so distractively entertaining, they threaten to undo the entire melodrama. For fans of Levant, it's a showcase, and I wouldn't be surprised if many of those sarcasms were his own. (If only the writers could have dispensed with that dreary stereotype of the wholesome-girl-in-waiting, this time the fresh-faced Peggy Knudsen.) With this film, director Negulesco proves he could spread the soap suds as smoothly as a Douglas Sirk or a John M. Stahl. Without a doubt, this is the Hollywood dream-factory hitting on all eight cylinders in ways that just don't happen anymore.

Nothing Good Can Come Of This Relationship
In HUMORESQUE we see a dedicated young musician (John Garfield) meet a wealthy possessive woman (Joan Crawford) who takes an obsessive interest in him and his career as a violinist. We know that nothing good can come of this relationship and we are surely looking at a tragedy in the making. In spite of all the warning signs we feel compelled to watch this movie to the end.

The acting of both Garfield and Crawford is superb. The role of Helen Wright seems to be the perfect vehicle for Crawford. Oscar Levant excells as a pianist and Garfield's friend. The rest of the strong supporting cast includes J. Carrol Naish, Joan Chandler and Tom D'Andrea. Garfield's violin is played by Isaac Stern.

HUMORESQUE received an Oscar nomination in 1946 for Best Scoring of a Dramatic Picture. Jean Negulosco directed many other fine movies during his career including JOHNNY BELINDA, ROAD HOUSE and THREE COINS IN THE FOUNTAIN. ... Read more

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It's a flimsy excuse to romp through more than two dozen Irving Berlin songs, but Blue Skies is good fun nonetheless (and one of the top-grossing films of 1946). Bing Crosby is a restless nightclub entrepreneur, Fred Astaire his Broadway buddy, Joan Caulfield the woman they both want. Ignore the plot and enjoy the numbers, especially Astaire's marvelous "Puttin' on the Ritz," which is breathtaking even before multiple images of Fred are introduced dancing in a row (who needs CGI, anyway?). Bing and Fred flash great showbiz chutzpah in "A Couple of Song and Dance Men," which wonderfully captures the appeal of both stars:Fred's heavenly precision, and Bing's "can-you-believe-they're-payin'-me-for-this?" sense of play.

Bing Crosby founds the first white Dixieland band in Birth of the Blues, a tuneful turn-of-the-century tale--if highly suspect as musical history. Borrowing hot licks from black musicians (Eddie "Rochester" Anderson comments, "Our music sure has gone highbrow"), Bing and his players struggle to invade the straight-laced clubs, succeeding only after songbird Mary Martin joins the band. Martin, in one of her infrequent movie appearances, has fun with Der Bingle jazzing up "Wait Till the Sun Shines, Nellie," a highlight of this breezily enjoyable nonsense. --Robert Horton ... Read more

Reviews (6)

THE BEST AT THEIR BEST!
BLUE SKIES: Bing Crosby and Fred Astaire at their musical and "glorious technicolor" best, singing and dancing to a plethora of Irving Berlin classics. What could be better? Certainly not the insipid copycat F. Sinatra and G. Kelly MGM musicals made a few years later! The "originals" are usually better, and this is surely true in this case. Astaire's dancing to "Puttin On the Ritz" is sublime, and Bing's crooning of "All By Myself" and "You Keep Coming Back Like A Song" to Joan Caufield has, if you look closely, an added debt of feeling for a usual more stoic Bing. Why? It has recently been revealed that Bing and Joan Caufield were having an affair when the movie was made! A must for and any movie musical fan's collection.
BIRTH OF THE BLUES: Although a somewhat standard black & white movie musical typical of the late 1930s, the movie contains a bevy of standard songs and jazz numbers performed by a top notch cast. Moreover, the movie is "spiced" by a young Mary Martin. Bing and Mary's duet to "Wait Til The Sun Shines Nelly" is the highlight of the movie.
IN CONCLUSION, A GREAT AND A BONUS GOOD MOVIE FOR A LOW BARGAIN PRICE. A GREAT AND MUST BUY!

LACK LUSTER MOVIES IN GLORIOUS TRANSFERS
"Birth of the Blues" is the rather unispiring tale of a New Orleans musician who 'discovers' jazz. "Blue Skies" is the completely uninspired musical that mixes low melodrama with some incredibly awful tunes from Irving Berlin. Neither film can lay claim to any sort of greatness, although "Blue Skies" does contain three very dynamic performances. The first of these is Fred Astaire's brilliantly staged rendition of "Puttin' On The Ritz" in which he nimbly dances with 10 copies of himself, using the split screen process. The second musical number of merit is the Astaire/Crosby duet, "A Couple of Song And Dance Men" in which both performers lampoon the other's artistry through a series of skits. The final spark of greatness is "Running Around In Circles", a tender poignant ballad that is wholly wasted on the tripe of this movie's dead end plot.
TRANSFER: "Blue Skies" was shot in Technicolor, and although the original camera negative is nearly 70 years old, there is little in the way of age related artifacts to suggest that much time has passed. Colors are exceptionally bold, vibrant and well balanced. Black levels are...well, black and contrast and shadows are gorgeously rendered. There are no digital artifacts to worry about, although a bit of video noise is present. "Birth of the Blues" is somewhat more problematic. A B&W production, there is a visible grain structure evident throughout the film, as well as scratches and other age related artifacts. In a few scenes there is slight shimmering and edge enhancement. The audio for both movies is MONO but very nicely balanced.
EXTRAS: NONE! What were you expecting?
BOTTOM LINE: If you're a Bing Crosby or Fred Astaire fan than you might want to consider adding this DVD to your collection. While the film's are nothing to write home about, their transfer quality - particularly "Blue Skies" is worth taking a second look!

Blue Skies...smilin' at me...
-and I'm smilin' right back. Three cheers to "Universal" for doing this double feature justice. Both films look and sound wonderful, better than ever. Clearly done with care. "Birth of the Blues" is great fun, featuring excellent and exciting small group dixieland jazz playing. "Blue Skies" is a little hokey-but who cares? Great numbers with Bing and Fred.Not to crazy about leading lady Joan Caulfield though. I just wish they would have cast a girl with more charisma...like Rita Hayworth. Imagine, Fred and Rita dancing in technicolor...don't get me started. Of course, this film contains one of Fred Astaire's best routines-the amazing "Puttin' On The Ritz". Is there anyone on this earth who could rival Astaire's class, timing and smoothness factor in this number? No,there isn't!

Really blue "Blue Skies"
I, too, was hesitant to purchase this DVD (or any in the Universal series), both due to the low price and that it's a double feature. However, the quality of both the picture and sound is superb.

"Blue Skies" is a wonderful movie musical. While the plot may not glue you to the screen, it's not a bad story of boy meets girl, boy wins girl, boy loses girl, and boy wins girl back again. The Irving Berlin tunes selected are top notch, and actually enhanced my appreciation of a few of the songs. "A Couple Of Song & Dance Men" is great fun with Fred Astaire and Bing Crosby, and once again demonstrates that Crosby could succeed in dance numbers, as long as you aren't expecting perfection. "Puttin' On The Ritz" really led me to respecting Astaire's dancing far more than I did when I was young. He really could out-dance Gene Kelly! Billy DeWolfe really isn't so bad, in fact he has his moments as a second banana. If you like musicals and the technicolor look, it will be difficult for you not to enjoy this film!

"Birth of The Blues"...well, I'm glad it was part of a double bill and not the sole reason for the DVD. There are some mildly entertaining musical numbers and a few laughs.

REAL TREAT
I was a bit hesitant when ordering this item - it smelled pretty much of cheap production values and low quality. The happier I am to inform everybody that we are dealing with a double bill DVD that boosts high picture/sound quality. Sure, there are no extras, but two good and perfectly preserved films with about 50 good songs should be quite enough. Marvellously priced product, and I'm on my way to order more from the same series. ... Read more

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Barbara Stanwyck plays a hardened woman returning from big-city life to her northern fishing village in this 1952 film noir. After deciding to settle down, she marries a simple man (Paul Douglas) but is wooed by another (Robert Ryan), a circumstance that turns what had been her choice into her trap. Director Fritz Lang (Metropolis, M, The Big Heat), working from a Clifford Odets story, teases out his pet themes about human beings ensnared in fate by their own impulses and in search of redemption. This is not one of Lang's masterpieces, but it is very good in an Anna Christie way. Stanwyck and Ryan, two indispensable figures in the noir genre, are tough as nails. --Tom Keogh ... Read more

Reviews (12)

A moral fable!
In this affective triangle , this lowest micro cosmos illustrates the bitter portrait of many families in that age .

The gloomy memories of the WW2not only sealed the end of the cycle in many marriages . A great amount of widows who must face the real life , but many teenagers in the early forties who lost his father and had to work in search of new plans of life .

From North to South , from West to East or vice versa , the decade 1945-1955 was in general a decade characterized by a profound uncertainness , an unconscious fear by the ghosts of the Cold War and besides an age ofhopeless in every emotional corner .

Many women undertook the same attitude of May Doyle searching for new dreams and hopes of redemption .

May knew the real world and somehow she is always five steps ahead the rest of his two pretenders : the candid Jerry who symbolized the way of thinking of certain social levels and the cynical and rebel guy Earl who defied the Status Quo and besides had a bitter deception in his marriage life .

So we have the dramatis personae : two disturbedpeople who failed in their respective previous relationship and a gentile and kindly man who never abandoned his family , able to protect May for ever through the marriage .

In this order , the film will deal about the dense and troubled conceptions of the world and the life . Earl is not a good guy but somehow he has the experience and that is a very good point to May eyes who sees in Joe almost a protector instead a husband and a lover .

Earl means the risk and the adventure , but Jerry represents the security and the emotional equilibrium though without the taste of the risk .

The ambition and the crude vision of the life against the promise of a better tomorrow . She will bet for the last option and again this decision will lead her a decisive ethic crossroad .

Since some evident cuts we can appreciate by the hyper kinetic final the film gets what it planned .

A deep review of how to face with the life . Realize the parallel affective relationPeggy and Joe who will enter in the marriage circle and the last warning given for Joe : I am not a new dress you decide to leave and search it again . If you decide to marry me it will be for ever . The message can not be more evident .

With a modest scenario but plenty of talent Fritz Lang built a solid and complex melodrama if you decide to watch with the actual patterns ofbehaviour , but definitively consider this film as a moral fable and the historical time will be useless because it transcends the anecdote .

Solid performances of all the cast .

Barbara Stanwyck shines
Clash by Night reminded me why I think of Barbara Stanwyck as one of my favorite actresses. She stands out in this movie as the depressed, hard boiled Mae Doyle who returns to her small fishing hometown after hitting a rough patch in the city. She meets two potential suitors; the likeable Jerry who she sees as security and the tempermental Earl who she immediately takes a dislike to because he is so much like herself.
She settles for security, and then quickly gets bored. This is an interesting movie that explores adultry, the reasons behind it, the lives it destroys and the reprecussions. This movie really brings into mind the idea of you don't know what you have until it's suddenly gone.
As I said earlier, Barbara Stanwyck is beautiful and wonderful as Mae. Robert Ryan as Earl is Mae's equivalent, and he is also terrific.
Of course I'm sure most people who watch this movie watch it with the interest of Marilyn Monroe, who plays Mae's affable sister-in-law. Monroe is good (especially in the part when her husband tells her his thoughts on marriage) but it's Stanwyck who shines in this movie.

Stanwyck and Ryan are great together
"Clash By Night" is a great fifties movie. Barbara Stanwyck said in an interview once that she felt this movie came closest to exemplifying the European adult approach to movies made by adults, for adults. She was right. While the storyline might not be exactly great, Stanwyck and Robert Ryan are tough as nails and play their roles to perfection. This movie is so representative of the fifties dramas, it's a joy to watch. Great lines, great photography, great sets, and, of course, great acting, especially by Miss Stanwyck. See it, and be impressed.

"People have funny things swimming around inside them."
In the film "Clash By Night" Mae Doyle (Barbara Stanwyck) returns home after a ten-year absence to a small coastal fishing town in California. Her brother, Joe, doesn't ask too many questions--he can tell that she's down on her luck. Mae arrives with just a single suitcase and a large chip on her shoulder about life and men.

Joe's boss, Jerry D'Amato, shows interest in Mae. Jerry is a very solid character. He owns a fishing boat, and he takes care of his demented father and irresponsible Uncle Vince. Mae marries Jerry--making it clear that she does not love him--but that the relationship offers her security. After a year of marriage and a baby, Mae, who has long been attracted to Jerry's sleazy friend, Earl Pfeiffer (Robert Ryan), breaks out of her housewife routine and begins an affair with Earl.

"Clash by Night" is considered film noir, and you select this film based on that fact, you will be disappointed. "Clash By Night" is definitely more soap opera than film noir. The thing that prevents one from reaching for the nearest hankie is the performance of Barbara Stanwyck as hard-as-nails Mae Doyle D'Amato. Although her dilemma is clear--security vs. excitement, Stanwyck's hard-edged speeches eliminate the need for tears. It's difficult to even feel sorry for her husband, Jerry. He's a good man, but obviously out-of-his depth with Mae, and he goes into the marriage knowing she doesn't love him. Jerry is the sort of man other men like to make fun of. Jerry seems emasculated and this is largely due to Uncle Vince--an opportunist who blatantly uses Jerry.

Mae's attraction to Earl--even though he's exactly the sort of man she's trying to avoid--adds interest to the plot. Also, Marilyn Monroe stars as Peggy, the tomboy sweetheart of Joe Doyle. She works in the cannery, and the cannery represents the sum total of the career opportunities in town. Peg sympathizes with Mae, and it's curious to see a very young Monroe in the role of a tomboy and without that carefully developed blonde bombshell role.

"Clash by Night" is directed by Fritz Lang. It was filmed in Monterey, and fans of Barbara Stanwyck will find the film worth watching. Four stars for an unoriginal plot that's delivered with good acting and strong characters--displacedhuman

Cannery Noir
Although the emphasis here is on emotions rather than mayhem, fans of "Film Noir" will chew on Fritz Lang's "Clash By Night" with relish. What saves this film from becoming another weepy 50's melodrama are the cynical, tough-as-nails characters played by Barbara Stanwyck and Robert Ryan. They are the illicit lovers cuckolding hubby Paul Douglas' naive, easygoing Monterey Bay fisherman. Ryan brings a sweat-streaked, smouldering, "Streetcar Named Desire" intensity to all of his scenes with Stanwyck, who holds her own as a restless, world-weary housewife with a "been there done that" past. Stanwyck and Ryan play out thier furtive romantic scenes like rutting animals (this is pretty hot stuff by early 50's standards). Paul Douglas gives his career-best performance, particularly when he registers heartbreak, betrayal, and internal struggle between gentle demeanor and homicidal rage all in one pivotal scene("ANIMALS! That's what you are...ANIMALS...!")Marilyn Monroe is excellent in a small but memorable role as Stanwyck's tomboyish sister-in-law. What makes this film unique in the Noir canon is that while there is a fair amount of violence, none of it is fatal in the literal sense. The only fatalities here are the characters' hopes, dreams and faith in humanity-now THAT's what I call Noir! ... Read more

Description

Silent screen superstar Gloria Swanson (Queen Kelly) is an opera diva with a problem, she sings beautifully, but without passion. Is handsome Melvyn Douglas (The Old Dark House) the answer to her dreams, or just a giggolo? Directed by Mervyn LeRoy (Little Caesar), Swanson and newcomer Douglas are sexy and charming in this romantic comedy of misunderstandings and double entendres. "Tonight or Never" is a delightful and dazzling film from Hollywood's Golden Age. ... Read more

Reviews (5)

DEVOUTED CONSUMMATION!
A BRILIANT RESTORATION of this early-talkie gem! Nary a scratch or a hiss ~ and a word of advice - DON'T play these oldies through a hi-tech sound system - you'll just be disappopinted - use your standard TV audio - you won't be disappoinetd.

CONTRARY to an earlier review - Miss Swanson DOES NOT sing in this moving picture - she plays an Opera singer - without the required fire ["Tosca" being her tour-de force] and discovers ther equired passion through a liason with a dashing Mr. Melvin Douglas.

MIS SWANSON has never been lovelier [or intentionally funnier! Great comedic timing under Mervin le Roy's baton] - as for the gowns! SPLENDID CREATIONS BY CHANEL! This alone is worth the admission price. Make up is slightly harsh - but that was the period - numerous generous closeups of the famous [and perfect] Swanson figure! They certainly 'had faces' back then! [AND there's nothign wrong with Miss Swanson's voice - check out 'Sunset Boulevard'!!!]

Lots of tongue in cheek yuks [Miss Swanson vacates her hotel suite due to the 'noises' from the newly-weds next door].

This is a perfect product of "Movies - when Movies were Movies!"

Boris Karloff cameos as a waiter ........

Poor Little Gloria!
No wonder Gloria Swanson never succeeded in talkies. This movie would have wiped out the career of nearly any star--whether or not they could talk, sing or what. I gave up watching this after 45 minutes although I've always been obsessed with Gloria Swanson. You would think that as an opera singer, Gloria would at least have lip-synched some songs. Instead, the movie takes forever to get started. Clad in stunning Chanel gowns and jewels, Swanson looks fantastic. But she spends her time staring, staring, staring at the mysterious gigolo, Melvyn Douglas, who cruises her hotel. One glaring weakness, too, is Gloria's voice. It simply has no vibrancy or personality. Although she looks phenomenal, everytime Gloria opens her mouth, she loses her star charisma. The movie creeps along at a glacial pace. Gloria looks completely uncomfortable talking. I found this movie so depressing to watch--after reading about it for years--that I quickly put in my new DVD of "Frankenstein Meets the Wolf Man" and had a ball!

SWANSON & DOUGLAS.
Nella Vago is a young opera singer who is making her first major appearance at a Venetian opera house. The critics are less than enchanted, and her teacher remarks that she lacks the passion & fire which makes the difference between a singer and a diva. Gloria's voice takes on a newly-found timbre after an amourous affair with a handsome "gigolo" played by Fredric March...A fairly entertaining early talkie which was originally a stage play starring Melvyn Douglas and his wife, Helen Gahagan. The play was the last to be produced by Broadway legend David Belasco before his death. Note that Boris Karloff has a slyly engaging comedy part in this antique curio which continued to keep Swanson's fading career in the talkies on the down-side.

"Ah, those gigalos! How do they do it?"
This odd little curio was recently restored by UCLA, and it looks pretty great, particularlly in the opening Venice scenes. The story concerns a young opera singer (Gloria Swanson) whose singing is technically excellent but souless because she has never truly been in love. She begins to notice a handsome young man (Melvyn Douglas, in the film's best performance) hanging around outside her window night after night. Inquiring after him, she learns to her shock that he is living with an aging diva who apparently supports him and who claims to be his "Aunt". After much thought, Swanson decides she might as well experience love with a gigalo than with anybody, so she goes after him.

I actually mildly disliked this film up until the last three minutes, when suddenly a surprise twist almost completely redeemed it for me, and changed my perception of everything that had come before. Melvyn Douglas is wonderful in the role of the young man; he plays his scenes opposite Swanson with wit and flair. Swanson is solid, although a little old, in the role of the lovesick singer. The supporting cast is fine, and the gorgeous art-deco sets and beatiful cinematography of Venice are first-rate.

That being said , "Tonight or Never" has some pretty big flaws, the biggest of which is its overt talkiness. Adapted from a hit play of the twenties, it never quite opens up, and there are long scenes taking place in one room that empahasize the staginess.

For old movie fans, though, it is worth seeing at least once and for fans of classic actor Melvyn Douglas it's a must have.

Gloria Swanson as an opera singer who doesn't feel her songs
"Tonight or Never" is one of the ten best movies about opera ever made (there have been at least 10, right?). Gloria Swanson plays Nella Vago, a young singer who has a rather disappointing operatic debut in Venice. Her voice teacher, Rudig (Gerdinand Gottschalk), tell here that her voice lacks warmth and feeling. Meanwhile, a young man (Melyvn Douglas) is following her around everything. Nella returns home to Budapest, where she learns that a scout from the Metropolitan Opera has refused to sign her until she can truly feel her songs. Depressed, she goes to the apartment of the young man and makes love to him. The next night Nella stuns the audience with her emotional performance in "Tosca." But now she has to choose between a career and the man she loves. Swanson is pretty good in this early talkie, especially since she is dressed up in gowns by Coco Chanel. This 1931 film directed by Mervyn LeRoy was based on the play by Lili Hatvany and this would be a much better movie if it seemed less like a play. Two other interesting tidbits about "Tonight or Never": The cameraman was Gregg Toland ("Citizen Kane") and the waiter was Boris Karloff, in his first role after "Frankenstein." ... Read more

Amazon.com

The last and least memorable of John Ford's famous cavalry trilogy (following Fort Apache and She Wore a Yellow Ribbon), Rio Grande nonetheless has an interesting continuity about the gentlemanly rules of military conduct. Here the focus is on the family. While creating a heated controversy over his handling of the Apache war, John Wayne must also contend with disgruntled wife Maureen O'Hara and estranged son Claude Jarman Jr., a new recruit trying to earn his father's love and respect. Ford seems to suggest that there are two conflicting codes of honor in every cavalry officer's life, the personal as well as the professional, and that it takes an act of heroism to maintain both. It's fascinating to observe Wayne's progression throughout the trilogy, as his personal stakes intensify. Also, this is the first of five onscreen appearances between the Duke and O'Hara, each filled with a competitive spirit and stormy sexuality. --Bill Desowitz ... Read more

Reviews (1)

The series is charming
I enjoy all the Bulldog Drummond movies, no matter who is playing the lead, no matter who is playing the chief of police, Drummond's family friend. His butler Tenny is worth the price of any of these films.

This particular film shocked me in that it takes Drummond and his crew to Morocco, which is portrayed as a sophisticated locale, and very European. The European feel surprised me especially in comparison to other films made at this time which portray jungles with pitch black savages and rampaging wild animals.

If you are a fan of old black and white films, then you have probably heard of this series. I recommend this film for collectors. ... Read more

Amazon.com

During World War II, Jean Renoir fled Nazi-occupied France forAmerica and tried his hand at making Hollywood films. This period is generally (and unfairly) dismissed as fallow ground in Renoir's career, but even most of his critics agree that The Southerner is not just the best of his five American films, but a fine example of Renoir's humanistic vision. Transplanting the poetic realism of his French masterpieces of the 1930s to the rural American South, Renoir presents a year in the life of a family of migrant workers who decide to follow their dream of farming their own land. Hawk-eyed Zachary Scott gives the performance of his career as the easygoing but determined father who risks everything to give his family something to call their own, with J. Carroll Naish as his bitter, hostile neighbor. The seasonal structure and episodic nature of the film focuses on the hardships the family faces, finding the rhythm of life between setbacks and victories and the soul of his lovingly created characters through their bent but unbowed spirit. Renoir adapted George Perry Sessions's novel Hold Autumn in Your Hand with uncredited help from William Faulkner. This was Renoir's personal favorite of his American films and the only one to enjoy commercial success. --Sean Axmaker ... Read more

Description

Cult director Al Adamson brings The kings of horror together in one film - they meet in a fight of fright! Judith Fontaine (Regina Carrol) is looking for her sister Joanie, who has apparently disappeared into the hippie community of Venice, California. As it turns out, Joanie has become the victim of Groton (Lon Chaney Jr.), an axe-wielding homicidal maniac. Dr. Durray (J. Carrol Naish), the last of the Frankensteins' bloodline, is now running a house of horrors by the beach and has been performing experiments on Groton's victims. One night, Count Dracula (Zandor Vorkov) visits the doctor, showing him the original Frankenstein creation that was buried in a nearby graveyard. With Dracula's help, the doctor painstakingly revives Frankenstein, and uses it to take revenge on his professional rivals.This entry in Troma Team Video’s Al Adamson collection comes with a commentary track by producer Sam Sherman and a featurette "Producing Schlock." ... Read more