Reviews (52)

One of the few movies that the whole family really can enjoy
Oh why cant they make movies like this anymore? This is a wonderful movie and really does deserve to be called a movie that "the whole family can enjoy". This one has it all, comedy, drama, chills, suspence, singing, the whole shebang and not one wisecracking kid to be found. Not only does it feature a young suave Sean Connery but also the beautiful Janet Munro in one of the few films that she made. This movie is filled with myths and legends of Ireland and the special effects stand up to anything being made today and this one was filmed over 40 years ago! You will love this one!

Darby O'Gill and the Little People
Great Disney flick. Its a hoot seeing Sean Connery in his twenties. Nice family movie. I love the old Irish legends, especially the Banshee and the Coach d'Bower. Albert Sharpe does a great job as Darby. The cinematography is beautiful. My grand kids love this movie. They are 9 and 3. Its something they can watch together.

Full screen but not a total loss...
It is true that this release will be "full screen", however I believe it is an open matte full screen vs. a pan-and-scan, meaning you will get the full image as seen in theaters, plus a little extra top and bottom. It is also quite possible the director framed his shots with the full-frame in mind, knowing it would be exhibited that way in some venues. More importantly, the TV Special "I Captured the King of the Lephrecauns" is listed as an extra feature. Whether we'll be getting the show in its entirety or merely some clips is yet to be seen, but this show was just as entertaining and important as the feature it supports and I hope they have the common sense to include the full hour program.

I love this movie...
...and I generally dislike Disney films!

This dates from the time when Disney wasn't afraid to be dark and eerie. The story balances whimsy with supernatural terrors and is appropriate for both Halloween and St. Patrick's Day.

This film lovingly depicts an Ireland of times gone by, and perhaps an Ireland that never truly was. Nevertheless, the culture is saturated in fairy-tales and ghost stories, and everyone seems to believe.

A love letter to simple village life, and to the power of storytelling, and the Emerald Isle's vibrant and exuberant folklore. Well-acted (except for Janet Munro, who seems to always be reading cue cards), lushly photographed, and the special effects hold up VERY well in these days of overly obvious CGI. If you're Irish, or just enjoy a good fairy tale, or a good ghost story, then this is for you. Not to be missed!

Classic Live-Action Disney Mutilation!
Alas, one of Walt Disney's most personal pet projects, and I might add one of the best special effects motion pictures ever made without cheesy CGI assistance, Disney has chosen to "Blackbeard" another brilliant live-action Disney classic. Disney has chosen to maliciously release this wonderful film in Full Screen Format robbing the viewer the beautiful verdant scenery of Ireland. Why Disney continues to torture the consumer is completely illogical. Why an enjoyable but mediocre release of "Now You See Him, Now You Don't" receives an OAR release over "Darby" is beyond comprehension. Just keep boycotting these releases until Eisner is history. ... Read more

Reviews (23)

Swab the deck, me matey!
The Disney studios first official full length, live-action feature, TREASURE ISLAND is good fun. Although it lacks the slick story-telling flair of recent family films, the story, based on Robert Louis Stevenson's classic novel, is precise and fluid. Robert Newton chews up the scenery as Long John Silver, paving the way for many lovable villains. Bobby Driscoll (Song of the South) plays the brave little Jim Hawkins (or "Jim Harkins" if you speak pirate) who gets involved in a treasure seeking adventure of good vs. evil. In the end, like the viewers of the video, the line between the two is not so well defined. That is a clever twist, especially for a Disney family film. The VHS format already shows some deterioration after a few viewings so I look forward to a DVD release but in the meantime. Yo ho yo ho, A Pirate's Life for Me!

All Aboard With Long John Silver
Jim Hawkins is a tavern owner's son who acquires a map showing the location of buried treasure. He shows it to an adventurous squire who recognizes its value and outfits the good ship Hispaniola to set off in search of the prize. The squire hires Jim as a cabin boy and persuades his own physician to join the crew as ship's doctor. The gullible squire's first big mistake is to sign up a rascal named Long John Silver as ship's cook. His second mistake is to allow Silver a chance to recruit some of his old shipmates from his pirate days as members of the Hispaniola's crew.

TREASURE ISLAND is an excellent movie with plenty of realistic action and convincing settings. Robert Newton is brilliant as Long John Silver and Bobby Driscoll shines as young Jim Hawkins. A strong supporting cast includes Basil Sydney, Denis O'Dea, Ralph Truman, Walter Fitzgerald, Finlay Currie and Geoffrey Wilkinson.

Director Byron Haskins also directed THE WAR OF THE WORLDS.

Old memories
Emotions ran high when I saw this movie again after more than 50 years. It was as exciting now as when I was a young child. Robert Newton's performance is a classic. After half a century, he is still the baddest (best) pirate ever.

"The Disney Version" is better than the novel.
Don't believe it? Read the book. The reviewer who said "...every screen production I have seen comes across as a cartoon or at best, 'an animated feature'," wasn't paying attention.

Robert Louis Stevenson's pirate story _is_ a children's fantasy. (Stevenson - whose grandson would later become one of Disney's "house directors" -- says as much in the book's introduction.) The principal characters are well-drawn and believable, but the story is 98% adventure. There is no _dramatic_ thrust to events. And it's told from the view of a 20-year-older Jim Hawkins, which tips off the reader that Jim is never in any real danger.

The emotional focus of the story is Jim's attraction to / repulsion by Long John Silver. In the novel, the adult Jim briefly acknowledges that he was attracted to Long John Silver as a surrogate for his recently deceased father, but turned away, because Silver is plainly untrustworthy. Stevenson fails to develop the relationship any further.

Not the screenwriters -- they bring it front and center. The story is now properly focused where it should be -- can Jim _really_ trust Long John Silver?

Silver is also worried about Jim, who plainly doesn't need "Piracy for Dummies" to recognize Silver is not altogether on the up-and-up. In a scene not in the book, Long John attempts to sweet-talk Jim -- one might even call it a seduction -- ending with the presentation of his parrot as a gift. The effect is subtly erotic -- especially as the gift comes from someone with such an obviously phallic name. (One is tempted to think Stevenson's name choice was deliberate -- he must have known how cabin boys were "mistreated.") And though Silver is married in the novel (to an unseen wife), the movie leaves his marital status unstated.

Long John Silver is a morally ambiguous character, and the film plays up this ambiguity. Silver alternates between protecting and threatening Jim, and you believe his sincerity in both instances. At the end, Jim is forced into deciding whether he should let Long John escape or be turned over to justice, completing the film with a solid dramatic "bang!" (The novel simply peters out -- Silver is taken captive, later wandering off with some of the loot.)

Robert Newton's interpretation of Long John Silver has always been controversial. There's no question it's totally "over the top." But that's how we expect pirates to behave, and it's how Stevenson wrote the character. I've seen "Treasure Island" several times -- Newton isn't simply chewing the scenery. His is a conscious interpretation, and he's in full control at all times. It's a great performance.

Arr, maties! Climb abord for a rip-roaring adventure!
The first time we watched this movie I watched it for about five minutes before walking away, because it wasn't interesting to me at the time. But when I caught the last twenty minutes of it, I decided that it was interesting after all and watched it from the beginning again.

I loved it! Bobby Driscoll was wonderful as Jim Hawkins, and Robert Newton gave the performance of his life as Long John Silver. The rest of the cast was also tremendous.

I had tried reading the book before, but it hadn't been interesting to me, and I ditched it before I was halfway done. Now, because of this movie, I think I'll dust it off and have a go at it. Who knows, I might even like it enough to review it! :) ... Read more

Amazon.com essential video

A neatly enjoyable thriller in the pseudo-Hitchcock mode, Niagara offers great fun on a variety of levels. It has film noir themes (albeit in Technicolor), oodles of location shooting, and Freudian symbolism run amok. And, of course, it has Marilyn Monroe as an unbelievably ripe femme fatale: married to unstable hubby Joseph Cotten and stuck in a cabin at Niagara Falls, she plots a watery escape. Jean Peters (a future Mrs. Howard Hughes) and froggy husband Casey Adams are dragged into the intrigue during their delayed honeymoon. Veteran open-air director Henry Hathaway squeezes the most out of the spectacular scenery and the nail-biting climax, slowing down only for traveloguey interludes; the dialogue, pretty racy for 1953, comes from the civilized pen of producer-writer Charles Brackett (Billy Wilder's longtime partner). The baby-doll murmuring and lazy lounging in motel bed sheets is, well, all Marilyn. --Robert Horton ... Read more

Reviews (42)

"Film Noir, Meet Marilyn Monroe."
Marilyn Monroe was so good at playing the ditzy, sexy blond in upbeat comedies she became typecast in those sorts of roles. Niagara was one of her rare opportunities to show she was a fine dramatic actress, as well.

This is the story of two couples. Ray Cutler (Casey Adams) and wife Polly (Jean Peters) are taking their three-years-delayed honeymoon. George Loomis (Joseph Cotten) is a stressed-out, failed businessman and war veteran, his wife Rose (Monroe), the ex-barmaid plotting with a secret lover to kill her husband. All four characters wind up at the same hotel bordering Niagara Falls.

Things go wrong for Rose when George, proving surprisingly resilient, overcomes the lover, killing him instead, and, realizing his wife set him up, fakes his own death and begins stalking her. The Cutlers, especially Polly, are drawn into the drama when George, post-murder attempt, not realizing the Cutlers have been moved into his and Rose's old cabin, breaks in, intending to stab Rose, surprising Polly instead. Now Polly knows George is alive, but due to her overbearing, not-terribly-bright husband's interference, can't convince anyone else, specifically the police, of that fact.

Jean Peters and Joseph Cotten turn in respectable performances. Casey Adams is irritating - of course, that might be because his character is a moron. For pure movie magic, Niagara belongs to Marilyn. Whenever she's on-screen, the camera loves her. The standout scene has her in a killer, shocking pink dress that does an outstanding job of emphasizing what she has so much of. When Ray sees Rose, he asks Polly (a fresh-faced girl next door type if ever there was one), "Why don't you ever get a dress like that?" Her answer: "Listen, for a dress like that you've gotta start laying plans when you're about 13." Rose has a kid at a party play a record of her favorite song ("Kiss"), then begins singing along. The look on her face then, dreamy, yearning, is mesmerizing. We get the feeling, way before we meet the lover, or even know he exists, it's not thoughts of her husband motivating that look.

Marilyn must've had a ball making Niagara. No one else has ever looked so good just lounging in bed. And when she believes her husband is dead, Rose's look of wicked delight - she has to hide her desire to laugh out loud in front of the Cutlers - is priceless. Rose is beautiful, scheming, deceitful, manipulative, cruel, sultry, and yet, paradoxically, has a sort of little girl innocence that makes you root for her to succeed in offing George - who's a serious whiner, anyway - and live happily ever after with her unnamed lover.

The only problems I had with this movie were: (a) We're never given a compelling reason why Rose plots to murder George. Sure, she wants to be free to be with her lover, but why not simply get a divorce? The motivation of a fat insurance policy, or that her husband would kill her if she tried to leave (difficult to believe in any event - he's pretty pathetic to start with), or any one of several other motives never established, would've gone a long way toward having the basic plot make sense. (b) A key scene has Rose and George locked inside a major tourist attraction after closing hours - which means the employees locked up the building without first checking to see whether anyone was still inside. Not likely.

Joe MacDonald's cinematography is excellent, the scenery - both Niagara Falls and Marilyn - stunning, and director Henry Hathaway makes the most of both. Niagara has been restored as part of the "Marilyn Monroe: The Diamond Collection" DVD project, its colors vibrant and alive. It's deserving of this treatment, if only for Marilyn Monroe as Rose Loomis, and that it proves film noir in bright, brassy Technicolor really can work.

MARILYN IN HER PRIME....
This isn't the ultimate Marilyn movie ("The Seven Year Itch" holds that honor) but it's a prime look at Monroe in an unusual role as a scheming man-trap out to kill her husband (Joseph Cotton, who's excellent). She's the whole show and I wish she could have done more films like this that put her in off-beat situations giving her a chance to stretch as an actress. She's gorgeous in Technicolor and a believable vixen/victim when her plan backfires leaving her to be stalked by Cotton. You feel sorry for her at this point. Jean Peters is good as a sympathetic neighbor but Casey Adams (as Peters' husband) is woefully miscast and clearly out of his league here. He nearly sinks the whole film as a co-star and there's way too much of him in the film. But that's the only complaint. Otherwise, Monroe keeps us glued to the screen when she appears and we root for her no matter what she's up to. There's beautiful Niagara scenery and a great scene where she appears at an outdoor party in a sexy red dress and requests a sexy song to be played. She then proceeds to sing along with the record as she closes her eyes obviously thinking of her lover. The song "Kiss" later is reprised as the lovers' theme song and figures in an unusual plot to lure Monroe to Cotton---whom she thinks has been killed by the lover as part of their plan. Marilyn shows here what she had to become the icon she is now. This movie nicely represents the reasons people fell in love with her. How right they were.

Marilyn Monroe in her first Technicolor starring role!
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This is Marilyn Monroe's first starring role in a glorious Technicolor production. The technicolor film process seems a perfect match for Monroe; her ruby red lips and golden blonde hair are dazzling, and her skin tones are magnificent.

The plot puts Monroe in a dramatic role that allows her to chew up every scene. It's also the only film in her career (fortunately!) in which Monroe's character dies.

Niagara Falls are the spendiforous background in this drama, and Marilyn Monroe proves that she is probably the only star in cinema history that can eclipse such a natural phenomenon.

Marilyn absolutely sizzles on the screen when she performs her sensual rendition of the siren song "Kiss", wearing a dress "cut so low in front you can see her kneecaps" (as stated in the script). Indeed, "a girl has to start making plans when she's thirteen to wear a dress like that!" (Also from the script.)

Enjoy the magic of Marilyn Monroe in dazzling Technicolor in this great movie.

MMMmmmmmmarvelous Marilyn!

Marilyn and Jean and Niagara- what a treat!
All reviews of this movie center on Monroe and her protuberant curves - and I agree, she and her instant fame deserve some of the credit. BUT Niagara Falls and Jean Peters also deserve some special mention here. Whereas Marilyn is sexy in most her scenes, Peters is charming, a good actress and quite beautiful...and then there is Niagara Falls. This torrent of water never looked better.
The acting. Marilyn in her first film as a "star" does okay - but as far as good acting is concerned it is Peters and Joseph Cotten that deserve better credit. Then I do agree with some reviews that Cassey Adams (aka Max Shoewalter) is miscast and a bit over the top in his acting. This role was to be played by another Fox contract player (I think Jeffrey Hunter) but Fox weanted someone funny in the role (big mistake!). And the role of Marilyn's lover was actually offered (enlarged, of course) to Tony Curtis.
The movie originally was planned for Anne Baxter in Peters's role and the role of Marilyn ironically was to be played by Peters. When Baxter got pregnant by her husband, Peters took over her role and Marilyn...well she became a "star". Even the movie's title song (which was to be "Night and Day") was changed for a song Marilyn portrayed in the movie -titled "Kiss". At any rate, it certainly is because of Marilyn that this has become a cult movie and a classic - But Peters, Cotten and Niagara Falls did help a lot in getting NIAGARA to achieve this status .

Sensual, unforgettable Monroe. Made her a star.
One of the best projects Marilyn was associated with. I didn't like Niagara the first time i saw it, because i thought Marilyn was only good for comedy. But this role as the sensual, unfaithful wife of Joseph Cotton's (superbly performed) troubled war veteran is one of her most memorable roles. Pleanty of indelible Marilyn images come from here: Marilyn lying seemingly naked with legs apart under bed in hotel room, purple dress standing against cabin in grammophone scene, and the entire grammophone scene. Pleanty of location shooting made good use of the beautiful location, and the motif of the song the lovers sing to each other is a beautiful touch. The suspense develops well, but i suppose it depends on what you're expecting. I found it a great sensual thriller, but this movie lives and dies with Monroe. She is captivating in every scene, and looks stunning. The belltower climax of the movie is very fine indeed, one of the best scenes she ever played in. Nods to director Hathaway for camera placement in this scene.

Best line:

(Monroe has just done a sensual walk to the grammophone and had them put it on, then had a virtual standing orgasm listening to it, and spent an entire minute of close-up singing along to it, and the happy-go-lucky honeymooner character says to her)

Honeymooner: You seem to really like this song, Mrs Loomis."

Marilyn: "There isn't any other song," she says. But its all in her face - it always was. One of the best moments in her career. ... Read more

Amazon.com

With the long-take experiment of Rope still fresh in his mind, Alfred Hitchcock turned his attention to romantic melodrama:Under Capricorn, a novel of 1830s Australia. Having little of the usual suspense to rely on, Hitchcock used the elegant long-take method to draw out Ingrid Bergman's harrowing performance. As a fallen aristocrat who married a former stable boy (Joseph Cotten) and moved Down Under, Bergman gives a fine portrayal of a woman hemmed in by a sour marriage and a guilty secret. The actress also felt hemmed in by Hitch's elaborate camera movements; she hated them. This expensive picture flopped on its first release, but it has a hypnotic flow despite a tendency toward talkiness. Hitchcock fans will recognize, beyond the details of plot, a couple of the director's key motifs:the jaundiced view of marriage, and the anxieties underlying social status. And, of course, the worship of an actress. --Robert Horton ... Read more

Amazon.com

Film noir is a term usually associated with American films of the 1940s and 1950s, but this British classic from 1947 fits the definition in almost every respect. It's one of the milestone films of its era, highlighted by what is arguably the best performance in the illustrious career of James Mason, here playing the leader of an underground Irish rebel organization who is seriously wounded when a payroll heist goes sour. Left for dead by his accomplices on the streets of Belfast, he's forced to hide wherever he can find shelter and refuge, and as his gunshot wound gradually drains his life away, his lover (Kathleen Ryan) struggles to locate him before it's too late. Although the IRA and Belfast are never mentioned by name, this film was a daring and morally complex examination of Northern Ireland's "troubles," and its compelling tragedy hasn't lost any of its impact. A study of conscience in crisis and the bitter aftermath of terrorism, this was one of the first films to address IRA activities on intimately human terms. Political potency is there for those who seek it, but the film is equally invigorating as a riveting story of a tragic figure on the run from the law, forced to confront the wrath of his own beliefs in the last hours of his life. It was this brilliant, unforgettable film that established the directorial prowess of Carol Reed, whose next two films (The Fallen Idol and The Third Man) were equally extraordinary. --Jeff Shannon ... Read more

Reviews (12)

an unlikely fantasy
ODD MAN OUT portrays life in an unnamed city in Northern Ireland via the unlikely narrative structure of the episodic fantasy--that is, in the tradition of ALICE IN WONDERLAND and THE WIZARD OF OZ; it is quite possible, in fact, that it influenced the Jim Jarmusch film DEAD MAN. James Mason plays Johnny McQueen, an Irish freedom fighter who is seriously wounded early in the film. As he wanders about the city in delirium, Johnny becomes a sort of talisman sought after by several eccentric characters for their own purposes, and he is reduced (or is it, elevated?) to the status of fatalistic symbol. The film presents us with an unlikely, outrageous, and irresistible portrait of an Ulster community, filmed by Carol Reed with delicious visual style. Every frame bursts with some brilliant image--the contrast of light and shadow, stunning camera angles, ingenious special effects, and snow in the night. In my opinion, the film rates slightly above Reeds THE THIRD MAN and slightly below his underappreciated THE FALLEN IDOL.

Carol Reed's Masterpiece, Mason's Career Surge
Belfast is a city of two faces. One city consists of bustling streets and energetic people with ready smiles. The other was that presented in this gripping film, that which the world media has focused on with increasing attention with the passage of time, the city of conflict where tensions accelerate to the boiling point and explode into violence.

"Odd Man Out" is a 1947 release which represents Carol Reed's first of three successively acclaimed international masterpieces. It was followed by "The Fallen Idol" with Ralph Richardson and Michelle Morgan and "The Third Man" with Joseph Cotten, Alida Valli and the moving appearance in the last thirty minutes by Orson Welles. James Mason was also greatly assisted career-wise in his sensitive role as a young Nationalist underground leader living the last day of his life in a state of excruciating pain. Mason had earlier come to prominence in the 1945 release "The Seventh Veil" with Ann Todd. This role completed his momentum swing into the top ranks of international cinema stardom.

"Odd Man Out" and "The Third Man" have been selected as representative of British film noir at its finest. Reed uses shadows to compelling effect, while Robert Krasker, who would win an Oscar for Cinematography in "The Third Man," handled the camera with equally consummate skill in "Odd Man Out." The Reed-Krasker team present compelling silhouettes of characters who cross the path of Mason, whose face reveals the requisite painful sensitivity as underground gang leader Johnny McQueen.

The film begins with the clock in the main square striking noon and ends at the ring of midnight. Mason, despite the urgings of his faithful girlfriend Kathleen Ryan and members of his gang, decides to participate in the holdup of a mill, from which the underground group hopes to obtain funds to live and continue pursuing political objectives.

Ryan knows Mason's condition well. Since his escape from prison he has been confined to the same residence for six months, prompting her to intercede in an effort to let subordinates carry out the job without him, but Mason remains stubbornly in charge. The robbery is a directive from the very top of the organization and he intends to personally direct it, he emphatically tells a subordinate.

On the ride to the mill a haziness is visible, a clever camera ploy indicating that Mason is subject to blurred vision and potential fainting spells. The robbery is staged in silence, after which, on the way out, Mason becomes groggy. While his subordinates wait in the car for him, Mason's delay costs him as a guard surfaces from the street. In the ensuing confrontation Mason kills his adversary, but is shot in the arm in turn by the dying guard.

The group is able to pull Mason back into their car, but as it negotiates a rapid turn at a nearby corner he falls out. From that point, to the end of the film, Mason is reduced to wandering. He walks in rain and snow. His future is subject to potential barter by local dealmaker Cyril Cusack, who tries to obtain money from the poor parish priest, Father Tom, played by W.G. Fay, in exchange with providing information on Mason's whereabouts.

At one point Mason is taken inside a residence and ministered to by two women. When the husband of one of the women comes home and learns that they have Mason, then wanted for murder, in their midst, he demands that he be put out into the street. When he sees the emaciated Mason with his sensitive expression, however, he weakens to the point of giving him a generous shot of whiskey before the dying man staggers back onto the street.

One of the dramatic high points of the film is the stirring performance rendered by Robert Newton, who plays a crazed painter. When a badly weakened Mason arrives at the local pub the proprietor uses Newton to dispose of the underground political leader wanted for murder. He knows that if word gets around that he threw Mason back onto the street that he is in for trouble from Mason's loyal followers. Since the wild Newton had previously caused damage in the pub, the proprietor informs him that he will call the police if he will not get rid of the dying man. Newton takes him to his flat, where he delightfully begins painting him, longing to create an enduring work of a man in the final throes of death.

Before the film ends the loving Ryan, who does not want to continue her existence on earth without Mason, figures out a way to end his misery and hers at the same time. When the police, with the omnipresent Cusack and the local priest trailing along, finally reach Mason, Ryan fires a shot, provoking the police to fire back. Ryan and Mason are both killed instantly.

This is a film that presents struggle and conflict in a city plagued by religious strife through the prism of one man and his last painful day on earth as he interacts with those around him. These are the shadowy sketches of people reacting to conflict in their quest to endure. The novel by F.L. Green was brought to the screen with full force fidelity by the novelist and R.C. Sherriff. It is a film whose message has only broadened with the passage of time and the ongoing efforts to achieve peace in Northern Ireland. The suffering of Belfastians in their strife was vividly presented with laudable good taste, with the minimum of violence, and the maximum of stirring passion. It represents a jewel from one of the cinema's true geniuses, Carol Reed, operating at the top of his form.

an extraordianry charactor actor
long after his death james mason remains one of the most extraordinary actors to have graced the screen. he posessed a beautiful, intelligent voice and is in a small league of such actors which would include edward g robinson, orson welles, ian holm, alec guinness, ralph richardson and a few others.
this film is a staple in his marvellous career and the film itself has an intensity that matches the acting of mason and reed's direction took full advantage of the powerhouse actor he had aquired.
dont hesitate

Caro Reed's jewel 's crown
In this movie Carol Reed goes far beyond all his works, The third man, the fallen idol to name the most relevant.
What Reed depicts in this film is to ,ake a sociological surgeon about Ulster comunnity and through the dramatical fact of our wounded man, played superbly by James Mason, the script is consistent without melodramatic holes, so you gradually feel the tension and the predictable climax . But the storytelling is incredible, the scene in the bar and the effect of the beer's drop still remains in my mind. You may consider it like the most important political film made in U.K. till that moment.
Don't miss under any pretext watching this movie. It will surpass all your expectations.

Great Movie: Limited DVD
Well I am not going to delve into facts expressed more eloquently by all those that preceeded me. Suffice to say that the movie is fantastic, so much so that 25 years since I last saw it i had to hunt it down on DVD.

It is the DVD itself that was a bit surprising, it starts right into the movie and the menu button will give you a list of chapter/scenes that you can jump to, in a rather primative format.

That's why my review rates this as a 3 star product but in reality the movie itself is a nona-fide 5 star+ winner. Just would have liked to see more. I don't know if movies of that era showed closing credits because a lot from Britain had them at the start. Having said that the dvd ends with the words "the end".

So once again great movie, would have liked to have seen a bit more effort on the dvd, star bios, trailers, awards etc

Dean ... Read more