Reviews (38)

Nero!!...Brutus!!....Stop that making that noise in there!!!
The Rescuers is one of my all-time favorite Disney films to watch. I saw this movie when I was 6 years old and now that I'm 21, I still love this movie.
The story begins when a little girl named Penny is kidnapped by a evil woman named Madame Medusa who forces Penny to search and find a large diamond called the Devil's Eye, thats hidden in a underground cove called Devils Bayou. Penny, however, manages to send messages in bottles to get help from the outside, and the R.A.S. Rescue Aid Society, the secret organization that's composed of mice from around the world answer Penny's call for help and they send two mice Bernard, who's the janitor, and a agent from Hungray named Miss Bianca. The only way to get to Devil's Bayou is the Albatross Air Service that's ran by Orville, a bumbling, wise-cracking albatross who's the pilot, flight annoucer, and the plane.
When they do get to Devil's Bayou, Bernard and Bianca witness a escape attempt made by Penny, who get snatched by Medusa's two bumbling pet alligators, Nero and Brutus.
My favorite scene is where Nero and Brutus are trying to catch Bernard and Bianca when they're trapped in a pipe organ, and while Nero is playing the organ, Brutus trys to catch them when the air comes up through the pipes.
If you want a good family classic to watch, give The Rescuers a try, I love it.

I didn't know
I didn't know that Disney was planning are releasing this movie on dvd, until today. And I watched this movie tonight. I had a vhs copy of this movie around. And I think this was the first Disney movie to have a sequel, and this movie was out about 13 years, before the sequel to this movie was made. It tells a story about 2 mice, 1 a janitor and the other a lady on a mission to save a young girl named Penny that was kidnapped from an orphanage. As the movie opened, Penny (Michelle Stacey) drops a bottle that is a cry for help, and the bottle finds its way to New York, where a couple of mice discovers it, and the Recure Aid Soceity calls to order, a meeting. A janitor mouse named Bernard (Bob Newhart) brings ladder (that is really a comb), cames the comb, and goes inside, manges to get the message out of the bottle, but keeps falling back to the bottom of the bottle. The message is all watered out, and a mouse named Miss Bianca (Eva Gabor) manges to make out some of the message, including Penny's name. Miss Bianca decides to ask to take the misiion, even though Bernarnd doesn't think it is a good idea for Miss Bianca to go alone. So the chairmouse, decides for Miss Bianca to selct a co-agent to go with her, and she has a lot of vanletters, which makes it hard for her to chose, and she picks Bertand.

Theatre Gem
I remember my parents taking me to see this gem of a film in the theatre. I was captivated by the cute girl Penny and the two mean gators. This film was a fun Disney film. It seemed weird when they released "Resuers Down Under" WAY before this one?!?!? But now you can complete or expand your Disney collection with this piece of Disney Gold!

Cool film!
Although this film doesn't particularly follow the same story line as the forgotten Margery Sharp classic, I have to admit that the film is better in it's own way. To start, in the book, the rescuers, janitor Bernard, Lady Miss Bianca and sailor mouse Nils go into the Black Castle to rescue a Norweian poet, but this is just some no-one who you really don't get to know that well, since he comes at the end of the book and barely even speaks, you can't feel for the character, however, Penny is filled with charming personality, and you learn to love her as you watch the film. Nils was a very charming little mouse in the book, too bad he wasn't in Disney's film. Then Madame Medusa is a great villain compared to the boring jailers and gate keepers in the book, since they do nothing to stop the young poet from scaping. In Disney's film, Madame Medusa has held Panny captive for months because she needs her to find the world's largest diamond, and the rescuers are flying into a journey to her rescue. Lovable film, pretty disappointing DVD, hopefully Disney will give us another, better edition.

There unconfirmed rumors that a new sequel, The Rescuers III: Journey to the Black Castle is in the works, and this time, little cute Nils would be joining us, I would loooove to see that!

R-E-S-C-U-E, Rescue Aid Society....
When a young girl's plea for help it found via bottle in the ocean, Miss Bianca of the Rescue Aid Society, along with her partner Bernard, go on an action packed adventure to rescue her.

Young Penny had disappeared from Morningside Orphange one day and no one has seen her since. With a tip from the Orphange's wise old cat, the two mice track down a pawn shop run by Madame Medusa. She is the one, along with her goofy sidekick Snoops, who kidnapped Penny and is holding her hostage deep in the bayou on a rundown Riverboat. Time after time Penny attempted to escape, only to be tracked down and brought back to her prison by Medusa's two pet crocodiles. The only reason Medusa is holding Penny hostage is because Penny is the only person small enough to fit down into the cave where Medusa's greatest desire, the Devil's Eye diamond, is at.

With the help of Miss Bianca, Bernard and some of the swamp's resident critters, Penny manages to bring Medusa her coveted diamond, outsmart her crocodiles and escape back to the orphanage and, ultimitly, unite Penny with the family she so yearned for.

A touching tale. I can see why this is considered a classic! ... Read more

Amazon.com

Picture if you will two cousins, Charlie (Mickey Rourke) and Paulie (Eric Roberts), prowling the mean streets of New York's Little Italy. Charlie is reasonably put-together, a maitre d' at a chic café who aspires to running his own restaurant someday. Paulie is an incurable flake who can't resist a temptation or a goofball scheme, couldn't tell the truth to save his soul, and keeps splashing Charlie with the street slop of his slewing trajectory through life. This includes drawing him into the circles of Mob crime, most especially Paulie's boss, that supreme sleazebag "Bedbug Eddie" (Burt Young).

Michael Cimino is said to have had a hand in this movie, though the credited director is Stuart Rosenberg--an impersonal craftsman often hired in midshoot after the star and a more volatile director had parted company. This helps account for the picture's overall lack of rhythm and its wavering between overemphatic, Ethnic-with-a-capital-E idiosyncrasy, and low-key befuddlement. Still, it has its charms, most of them deriving from a terrific cast. At the time it came out, in the summer of 1984, Rourke and Roberts were both exciting, unpredictable talents; Roberts in particular had an amazing talent for being somebody brand new--psychologically, even physically--in every film he made. But even though they're hitting on all cylinders, the boys are quietly upstaged by some redoubtable old pros: the great Kenneth McMillan, the ineffable M. Emmet Walsh, and--scoring her umpteenth Oscar® nomination as the mother of an ill-fated cop--Miss Geraldine Page. --Richard T. Jameson ... Read more

Reviews (24)

A Little Swagger with your Pasta
"Chimes, Charlie, chimes..." The Pope of Greenwich Village was one of the great films of 1984 and offers a visually and thematically telling portrait of two small-time hustlers in Little Italy. Charlie, portrayed brilliantly by Mickey Rourke in his finest performance, is wed, in a brotherly sense, to his second cousin, Paulie, played with equal bravado by Eric Roberts. It is an Italian/NYC version of Of Mice and Men and proves that blood is thicker than water, and even a little thicker than a nice hot cup of laced espresso. Pay particular attention to the wonderful work of Burt Young as Bedbug Eddy -- a local boss that causes Charile and Paulie (not to mention Paulie's "thummmmb") a great deal of grief. Certain lines by Eric Roberts are unforgettable, Rourke's swagger is unparalleled, and great tracks ranging from Frank Sinatra to Mink deVille offer the wonderful back drop of the Village and equal dose of acoustic power. It is a New York movie, it is an Italian-American morality tale -- it's tough and gritty and damn good. Leave the gun, take the canolis...and the movie. -- Mr. Zelig

So Cool
How cool was Mickey Roarke? Check this film out and see for yourself. I love this movie. Micky plays Charlie a small time hood tryin to go straight in New Yorks little Italy, No matter how hard he tries he just can't escape the neighborhood or his Lowlife cousin Paulie,wonderfully acted by Eric Roberts. Yes at one time he could act too (See Star 80). Rounding out the cast are Geraldine Paige, Daryl Hannah and Kenneth McMillon, But the movie belongs to Rourke it was a springboard to things that never were to be. To bad.

one of the best mob flicks
This movie is chock full of stars. The one who is amazing is Tony Musante, Paulie's uncle. Take a look at a 1967 flick called the incident and he will show you what method acting is all about. His character in that flick is better than any in "the POPE" not to put down "the POPE" of course. Too bad they gave him this small role, cauz he was the original bad boy. Anyway, the pope is awesome, Roberts and Rourke are incedible and the flick is a classic. DONT FORGET MUSANTE IN THE INCIDENT.

An overlooked gem
Released at a time when comedies were measured by the number of exposed women's breasts or the quality of vomiting scenes, THE POPE OF GREENWICH VILLAGE was a refreshing movie that had actual character development and humor based on wit, not bodily functions. Paulie and Charlie (Rourke and Roberts) play two citizens of Little Italy that are on the criminal fringe, although they themselves are not criminals. But as they look around them, the criminals of the street are getting richer and the yuppies of the 80s even richer than that. When they are approached by Barney, a locksmith losing his sight (wonderfully portrayed by Kenneth McMillan) who has a plan for a quick score, the two fall in. Once they do, the pasta goes flying.

I won't go further into the plot. There are some great supporting performances here: Geraldine Page, Burt Young, Tony Musante, Phillip Bosco, and even Daryl Hannah. The direction is top notch. Check out this little period piece of a neighborhood that is rapidly disappearing.

Rourke's breakthrough performance!
"The Pope of Greenwich Village" could be considered Mickey Rourke's Swan Song. Rourke delivers a stellar performance laced with a brooding subtlety that prompts comparisons with Brando and McQueen. Eric Roberts, who is a seriously underrated talent of film, also offers an admirable performance. In contrast to Rourke, Roberts brings a comic element to the film. As a result, some scenes oscillate between compelling drama and off-beat comedy. There is an undeniable chemistry between these two actors and, hopefully, their work will be recognized in the future. Given their ostracism from the elitist enclaves of Hollywood, however, that does not seem likely. ... Read more

Reviews (40)

delightful Disney musical
Fred MacMurray, Tommy Steele, Lesley Ann Warren and John Davidson star in the classic Disney musical THE HAPPIEST MILLIONAIRE, a delightful story centering on the Biddle family of Philadelphia.

Cordy Biddle (Lesley Ann Warren) becomes engaged to Angie Duke (John Davidson). When this should be a happy occasion, Angie's snooty mother (Geraldine Page) still ensures that Angie hangs onto her apron strings. Cordy's mother (Greer Garson) tries to sort things out while Aunt Mary (Gladys Cooper) engages in some bitchy repartee with Mrs Duke!

The entire production is flawless, and while Leonard Maltin has criticised this film for being too long, I think the time flies by.

The Sherman brothers songs are strong throughout, and the supporting cast, including a very young Joyce Bulifant, are wonderful.

Highly recommended.

lavish disney production does not equal the sum of its parts
THE HAPPIEST MILLIONAIRE is the last live production that Walt Disney oversaw before his death. The movie is an attempt to emulaite the big blockbuster reserved seat movie musicals popular following the SOUND OF MUSIC's success during 1960s and also to duplicate MARY POPPINS success. The production is lavish in terms of settings and costumes; with a great cast led by Fred MacMurray and Greer Garson; The songs by the Sherman brothers are likeable and not as bad as critics would have you believe; there are some great dance sequences. Unfortunatly, the plot is such a simple trifle which goes on and on for 164 minutes(in the restored version)that the movie eventually becomes a bloated, overlong bore. Its too bad because all the right ingrediants are there except a good story and script. The new DVD finally restores the movie to its original roadshow lenght. MILLIONAIRE was cut by 20 minutes following its premiere engagements.In fact the print which opened at Radio City Music Hall in NYC was already cut. The colors are excellent, the stero sound is good and the source materials are generally in good shape (a few markings here and there are not worth complaing about). This movie is now more a curiousity of its era and the wanning days of Disney's regime. It is certainly worth a look and may appeal to non-discriminating fans of musical movies.

NOT THE HAPPIEST, BUT CERTAINLY THE MOST TYPICAL FROM DISNEY
Walt Disney's was a visionary film pioneer; he took the fledgling craft of animation and transformed it into an art form of the highest order, and, in the process, altered our collective perception of what childhood is all about. However, occasionally that vision was marred by Disney's own lack of foresight into changing audience tastes. By the end of the 1950s the Walt Disney Studios had incurred huge expenses on Disney's foray into live action films, the birth of his theme park - Disneyland - and the lack luster box office response to his most recent and most expensive animated feature - Sleeping Beauty. Though the old master was set to recoup his losses, the sumptuously mounted, though often dismal, The Happiest Millionaire (released the year after Disney's death) was the personal and financial failure that rounded out Disney's tenure as the mogul of one of Hollywood's great cinema dream factories.

Throughout the 1950s and 60s road show engagements for movies of distinction were quite common. Road shows were designed to elevate movies to the lofty ambitions of live theater. They usually began with a lush orchestrated prelude, included an intermission half way through, and exit music to escort audiences out of the theater after the final credit sequence. One often dressed up for this sort of premiere event, certainly paid extra to attend and was often provided with a printed program as a keep sake from the occasion. Disney had attempted the road show only once before, on Fantasia (1940) and the result had been an unqualified financial disaster. What a pity then, that The Happiest Millionaire - what should have been an eighty-minute tune-filled - if antiseptic and sexless - melodrama, is over inflated into a gargantuan three hours spectacle that, quite simply, fails to dazzle.

The plot is a fictionalized account of real life circumstances that concern an eccentric Philadelphia millionaire, Anthony J. Drexel Biddle (Fred MacMurray). He runs a combination Bible and physical fitness college of sorts, loves boxing and keeps alligators in a solarium adjacent his dining room. When immigrant John Lawless (Tommy Steele) becomes Biddle's new butler he does indeed find his new surroundings rather odd. Not that Lawless isn't odd himself - it's just that, unlike Biddle's quirkiness, which can be grating to the point of distraction, Lawless becomes a genuinely loveable reprobate of congenial good humor, thanks to Tommy Steele's remarkable performance. The plot is thread bare to the point of nonexistent. It concerns Biddle's only daughter, Cordelia (Lesley Ann Warren). She's a sort of tomboy desperate to be feminine and sent off to a lady's finishing school where she meets and becomes engaged to New Yorker Angie Duke (John Davidson). Mrs. Duke (Geraldine Page) is social snob but Angie doesn't share her values. He wants to forgo the family business and build automobiles in Detroit. True to Disney form, everything does indeed work out in the end with Angie and Cordelia driving off toward an unintentionally apocalyptic matte painting that depicts the Motor City as something of a cross between Blade Runner and Mary Poppins, a glowering jungle of towering chimneys blackening the skies with the aftershocks of modernity.

Plot construction is problematic; As Cordelia's mother, Greer Garson is given extremely little to do. One of Disney's good luck charms - Hemione Baddeley has even less of a say. Equally curious is the fact that after the film takes great pains to introduce the Biddle two sons Tony and Livingston (Paul Petersen and Eddie Hodges) - even giving them a song - it suddenly loses interest in their character development by sending them off to school where, as an audience, we forget that they ever existed.

Of course, the plot - such as it is - would be largely forgivable if Disney's resident song writers, the Sherman Brothers had come up with a score worthy of their best endeavors. Tommy Steele opens the show with a bang with, Fortuosity, but the rest of the score does not live up to expectations and, in spots, is painfully sweet and cuddly. Valentine Candy or Boxing Gloves is so coy one wishes for the elegant Tommy Steele to burst into the room and tap dance its treacle into silence. All in all, Steele is remarkably well served by the score, belting out I'll Always Be Irish and several other songs with such austerity and charm that he easily dismisses the awkward lyrics. His choreography by Mark Breaux and Dee Dee Wood showcase Steele's finer points, particularly in the barroom number that closes the second half of the show. Unfortunately, there are no memorable showstoppers that leave one with a sudden urge to run out and buy the soundtrack or even leave the theater humming.

THE TRANSFER: This re-released DVD of The Happiest Millionaire is about as dismal as the film itself. Everything's present: the Overture, Entr'acte and Exit music, but the transfer is not enhanced for widescreen televisions. Unlike the previously available DVD from Anchor Bay, colors seem somewhat more dated this time around and fine details breaks apart with a considerable amount of pixelization and edge enhancement, especially when viewed on a larger monitor. There are also several cases where mis-registration of the camera negative results in an excessively blurry print - something else absent on Anchor Bay's version. This DVD compresses the entire running time on one side of the disc, which I suspect is the biggest problem. There are no extras, not even the trailer.

BOTTOM LINE: Get the Anchor Bay version instead!

Best Musical Ever!!
This is my favorite movie of all time! I used to rent it over and over when I was in high school. I love the music, the story, the characters, everything. It is funny and wonderful! I loved the fact that Cordelia never could make it past a first date, because she always "knocked out" literally, all of her dates! The alligators and the butler from Ireland make for some hilarious scenes also. Don't wait, get the DVD. You'll love it!!

Fun and silly
I remember catching this on the Disney channel back in the 80s and LOVED it! It was fun and just down right silly. I loved the music and a woman I had NEVER seen before and fell in love with, Lesley Ann Warren. I soon began to always remember this film due to her. I also really enjoyed most of Fred MacMurray's films from this time period also. A time that films were fun and innocent, or at least MORE innocent then the films now. ... Read more

Description

A "richly textured" (Leonard Maltin) and triumphant tale of an elderly woman's journey home, The Trip to Bountiful stars Geraldine Page in "the performance of a lifetime" (Variety) – and a role that won* her an Academy Award®. "Funny, adventurous, suspenseful…but ultimately uplifting as a demonstration of the human spirit" (Los Angeles Times), The Trip to Bountiful is "perfect on just about every level" (Boxoffice)! Carrie Watts (Page) is an elderly woman with a weak heart – but of strong determination. Trapped in a tiny apartment under the care of her cowardly son and his shrewish wife, Carrie is determined to escape and return to her girlhood home. Seizing her chance – and her meager Social Security check – Carrie sets out on an unforgettable quest to make peace with her past…and the secrets of her heart that draw her ever homeward. ... Read more

Reviews (38)

Long Overdue Gem with A Few Quibbles
It's easy to see by some of these older reviews that this is a long-awaited release. I've had the VHS for years and I was happy to see the DVD available, and at a cheap price. Unfortunately, that price also meant that I wasn't going to see the extras that I have now come to expect from all DVDs.

Geraldine Page won the Oscar for her role here, and she was up against Whoopi Goldberg's powerful performance in The Color Purple. They had it in for Spielberg, anyway, but at least you could say that Ms. Page's win was not a sympathy vote. She was brilliant as Carrie Watts. Fans of Bette Midler may recognize John Heard, who plays Carrie's impotent but sympathetic son as CeCe Bloom's husband in the film classic, "Beaches", which has also been re-released on DVD.

I think a word or two has to be said about the haunting theme song, "Softly and Tenderly", sung so beautifully by gospel legend Cynthia Clawson. It appears on her album "Immortal", which by now may be available on CD from her website. But every time I drive to Texas and see the bluebonnets by the side of the road, I think of Ms. Clawson's beautiful voice. My wish for this DVD would have been for them to explain, in the relatively short "making-of" documentary, the music choices and how this song and this singer came to be chosen. It was an excellent decision, however it came about.

The quality of the DVD was not quite up to standard in my opinion. It looks as if they just recorded it straight off the tape without any cleanup, colors seem dark and muddied in places. I had hoped this classic film would have been treated with better respect when it came time to digitize it. That having been said, four stars is a good score, and it's better to have it in digital form than not at all, even though I think I'll be hanging on to my VHS version.

If there are any youngsters (under 30) who haven't seen this film or who were very young when this came out but love their grandmother or great-grandmother, they are in for a treat. Maybe they will come to view aging people with a little more compassion if they haven't been before now. That alone could be the best thing that can come from the re-release of this wonderful film.

An American treasure...on an excellent DVD
This wonderfully heart-warming movie is finally on DVD. Based on the 50 year old play by Horton Foote, it tells of an elderly woman's quest to return one last time to her childhood home. Knowing her life is coming to a close, she gets on a Greyhound bus heading for a town (Bountiful, Texas) that no longer exists. Chased by her weakling of a son (John Heard) and his shrewish wife (Carlin Glynn), accompanied along the way by a gentle and kindly young lady (the lovely Rebecca De Mornay), who acts almost like her guardian angel, and framed at beginning and end by Cynthia Clawson's rendition of the hymn "Softly and Tenderly", "Trip to Bountiful" is truly an American classic. Geraldine Page deservedly won an Academy Award for this at the end of a long and illustrious career.

MGM has released this on a double-sided DVD with the original 1.85:1 theatrical version (anamorphic) on one side and a fullscreen version (either open-matte or extracted from a super35) on the other. Picture quality is excellent with rich, natural colors and good black levels. There is very little dirt, the picture looks quite immaculate. Sound is the original 2.0 Mono but with excellent fidelity. My only disappointment is that this would have been the perfect opportunity to release a Special 20th Anniversary Edition. But I suppose MGM figured there would be no market for that. Shame. Still, we do have a 22 minute, brand new documentary entitled "Return to Bountiful" and the original theatrical trailer. All in all, no regrets buying this one. A true American treasure.

A Brilliant Film FINALLY on DVD!!!
I just finished viewing The Trip To Bountiful on DVD. Finally. It took far too long for this American classic to reach DVD. I have seen the film many times before in the theatre and on VHS and I am still completely transfixed by it every time I see it. It is a remarkable achievement. Geraldine Page literally takes your breath away with her performance. John Heard as her son, Ludie, is mesmerizing. I believe that the film is a story about the longing each and every one of us have in our hearts for a better place, a safer place, a more secure place - a home remembered. There is something absolutely primal about the story as the viewer sits literally on the edge of their seat wanting so very much for Mrs. Watts to complete her journey. The film is beautifully and simply shot, the music is perfect and the performances amazing. The Trip to Bountiful has been one of my favorite films for 20 years now. I am so excited to own it now on DVD.

Journey ...
I waited and waited and waited for this movie to be released on DVD because I refuse to buy VHSs.Fortunately for me I own a multi-region DVD player, so I bought this movie on Region 2 at the end of February, long before it's Region 1 release-date.

Not much to say about this good little movie.Geraldine Page is just heartbreaking, and you'll find yourself crying right along with her in some scenes (I sure did).

Well-worth the wait.

What a Trip!
Let me just say that I agree with every single one of the 5 star ratings.I too have been waiting so long for this treasure to be released on DVD.Although I had seen Geraldine Page in a few movies here and there (scared me as a child in 'Whatever Happened to Aunt Alice'), this movie really opened my eyes to one of the greatest actresses of all time.I read 'flawless' in a number of the other reviews and that is truly how to discribe her performance in this film.Great supporting cast too.I grew up in a lot of different areas of the country and totally identified with Carrie Watts and her desire to return home.So glad to see this finally released on DVD (widescreen!). ... Read more

Reviews (28)

No spaghetti, but lots of sauce in this Eastwood western!
Clint Eastwood gives a rare "arthouse" performance in this decidedly off-beat Civil War tale. Clint is the wily fox trapped in the proverbial henhouse as a wounded Union soldier discovered in the woods and nursed back to health by the members of a Southern girls' school. Director Don Siegel (who played Scorcese to Eastwood's DeNiro in a series of 70's collaborations) was not usually associated with making "art" movies, but this one came the closest. Mostly somber and Gothic in tone, with a dash of black comedy thrown in (especially in the scenes where Eastwood gleefully manipulates and seduces various teachers and students). Of course, the chauvinistic soldier eventually gets his due (Stephen King style), but it's an interesting ride along the way. Geraldine Page leads the excellent supporting cast in top form. The depiction of the girls' mass sexual panic amid a claustrophobic, fever dream atmosphere recalls films like "Picnic At Hanging Rock" or "Black Narcissus". Eastwood's boldest performance features a scene in the opening moments that very few "movie stars" would even touch...where he kisses a 12 year old girl in a somewhat lustful manner; repellent behavior, yes, but essential to establishing the character. In other words, don't expect another typical Eastwood shoot-'em up!

Deeper, Darker American Gothic
During the American civil war, wounded Yankee soldier, John McBurney is rescued on the verge of death by a teenage girl from a Confederate boarding school. She manages to get him back to the school, and at first the all-female staff and pupils are scared. As he starts to recover, one by one he seduces the sexually repressed women and the atmosphere becomes filled with jealousy, deceit and brutal revenge.

Eccentric, offbeat melodrama combining the conventions of both Western and Grand Guignol chiller, and directed as if it were an art movie, this is one of Eastwood and Siegel's strangest collaborations. Beautifully shot (especially the nightmarishly skewed first person camera perspective of that famous amputation scene, and chiaroscuro lighting effects [such deep, dark shadows]}, carefully paced, this is a haunting, elegant work that seems to have influenced the much later - and inferior - Misery.

No disc extras as such, but excellent production notes, and a crystal-clear transfer with well-preserved colour separation make this an essential DVD purchase.

Now pass the mushrooms...

Don delivers another caustic comedy with a few moral lessons
Interesting and unusual, if not unsettling, this is a fine comedy in a fine setting (the South) that shows that everything has a price and a finality. The hero-protagonist (a wounded, recovering Confederate soldier), finds himself as the only male in a purely female environment, and is almost compelled (by desire, by necessity?) to use his charm in order to survive in a (politically/sexually?) rather hostile/agressive environment (a house in the deep South inhabited solely by women, in the midst of the Secession War). By doing such, he somehow tries to use behaviour (seduction) and tactics (outright lies) that are usually the apanage and panacee of females, and gets thereby rather badly burned, as it finally turns out. For this kind of a game, it appears, the female is far better equipped than the male (no real king bees, just queen bees? well, maybe...)

Well, you are left pondering, what chance does a single good-looking female in a purely male environment have? Every single one, probably. And what does a single good-looking male in a purely female environment have? In the end result, not a single one, it appears. As it often turns out, at least in this vitriolic comedy of seduction, females tend to act and react in an almost concerted instinctive behaviour, bound by either common desires or common interests, in an almost lemming-like fashion. In the end, if not outright misogynistic, this movie makes you wonder whether males and females belong to the same biological specie. Mind tickling and interesting, I'd recommend this intelligent movie to anyone who likes Eastwood as an actor, but is not the kind of guy to feed exclusively on Spaghettis dished out with ample Tomato Sauce servings.

Bayou Brothel
THE BEGUILED is a Clint Eastwood film you seldom hear about, and it really isn't worth seeing. It involves Eastwood playing an injured Union soldier who is wounded in the south and taken up by an all-girls boaring school. Instead of turning him over to the Confedrates, they decide to nurse him to health, andf the result is all the women literally fightin over him.

Directed by the late, great Don Siegel, THE BEGUILED is a type of movie I have never seen before. It involves Eastwood being the victim and the antagonist at the same time. Having mutiple affairs in the boarding school eventually leads to intense conflicts which results in the women plotting to kill him. The sad ending coupled with the bizarre plot are the reasons why this is not of Eastwood's better films. He does give a good performance as John McBurney, and the agony he suffers after his leg is amputated will really shake Eastwood fans.

A Journey Into The Darkness of The Human Soul
The Beguiled is one of the most beautiful films I have ever seen,contributing to my early love of cinema,and sadly remaining underrated to this day.
While it is hard to pigeonhole the film into one specific genre, be it a thriller or a psychological drama,it is one of the very few films that without the use of blood and gore,manages to be very disturbing and violent.A raw and primitive violence that is directed more at the viewer's mind and psyche.
Don Siegel is one of the best American directors,who like Sam Peckinpah,understood the meaning of this violence and did not shy away from showing it without tantalizing the 'voyeur' in his audience.
His collaboration with Clint Eastwood is one of the most successful in cinema..(Dirty Harry, Coogan's Bluff, Escape from Alcatraz, Two Mules for Sister Sarah)..And with the Beguiled he managed to direct an original film that had the best performances his star had to date,(a transitional role in Eastwood's career, in between the westerns of Leone, and the toughness of Harry Calahan.)
The whole mood of the film has this creepy and sinsiter atmosphere that appears quite subtle on the surface,yet as your delve deeper,it slowly unleashes much darker and well hidden forces.
It is the story of a wounded Yanky soldier(Clint Eastwood)evading capture in the south during the civil war,finds refuge in an all girl boarding school.The headmistress (the geart Geraldine Page)takes him in and provides him with a sanctuary and care that befits her Christian duties and sensibilities.Yet this stranger awakens many feelings in the house: curiosity,jealousy,sexual fantasies, up to the will and determination to murder.
The increased confidence of the recuperating soldier in manipulating the sexual vulnerablity of these girls and their headmistress,goes hand in hand with the change that occur within them,from gentle and virtuous to cold and calculating.
I liked the fact that the contrast between the raging war outside and the serene and peaceful sanctuary inside turns to be only an illusion.
I liked too the fact that despite the rift that the soldier caused directly and indirectly among the girls,they at the end link their fates and bond together,like they carefully did in the face of war, even if this means getting rid of the 'disturbance' that turned their world upside down.
I also loved the fact that ultimately the message of the film is about what a person is capable of doing in certain circumstances, and how a ideal world can hide many deep hidden frustrations that,pushing the right buttons, can be as menacing and deadly as any war.
What is quite interesting too, is how a deeply religious environment and person, can also hide strong sexual desires and energy that are truly haunting.One particularily powerful scene, among many, is the sexual threesome dream that Page has,an unrestrained and perverse passion mixed with religious guilt: an explosive mixture.
The Beguiled reflects a time when directors had the artistic freedom and clout to make the film they wanted.The original script had a happy ending, but Siegel opted to change it to its darker conclusion, something very few studios would allow these days.
The Beguiled is a powerful movie that on no accounts should be missed.A journey into the darkest recesses of the human soul that you will not easily forget. ... Read more

Amazon.com

Nathanael West's The Day of the Locust is by consensus the great Hollywood novel, a poison-pen letter aimed squarely at the tinsel heart of the movie biz. Only in the 1970s could Hollywood actually hazard a film of this story, and the result is suitably corrosive. William Atherton is the observer Tod, Karen Black the blond starlet Faye, and Donald Sutherland the hulking Homer--but they are easily out-acted by the colorful supporting cast. In particular, Burgess Meredith's exhausted showbizzy salesman and Billy Barty's strutting dwarf are superbly crafted gargoyles in this Hollywood wax museum. Director John Schlesinger piles on the rancid atmosphere and rampant hypocrisy until the movie fairly drowns in its own grotesque vision. Long before the climactic apocalyptic riot, the film has torn itself up. There's no substitute for West's wicked prose, so the adaptation comes across as a literal-minded screech rather than a true bonfire of the vanities. --Robert Horton ... Read more

Reviews (17)

You're in the movie now.
A naive young art director played by William Atherton takes a job in a Hollywood studio in the 1930s and sinks into a bleak nightmare of crushed hopes and failed dreams. Nathanael West's novel reaches the screen with none of its impact diminished. Donald Sutherland's performance as a simple Midwesterner who falls in love with a venal bit player (Karen Black) is astonishingly good. Burgess Meredith is also good as Black's father, an ex-vaundevillian who struggles to make a living as a door-to-door salesman. Disturbing and fascinating, the film is brilliantly photographed by the great Conrad Hall and amply directed by John Schlesinger. It's a shame more people don't know about this film, and it's a shame that it hasn't yet been released on DVD.

unknown and neglected masterpiece
the day of the locust is a fascinating look at the people who go to hollywood and dont make it. it is brilliantly directed by the great john schlesinger ( midnight cowboy) but it was hated by the hollywood community itself for showing the seamy side of hollywood. when the acadamy awards presented the nominations that year this film was nominated for only one category (burgess merideth in a supporting actor role). the movie was clearly snubbed because it dared to show hollywood in this light and what a horrible light indeed. witness the disaster that takes place on a stage set that collapses because of shody materials or the incredible ending thats is one of the most night marish sequences ever filmed. richard atherton whom i thought would be a super star after this role is great as the new comer to hollywood who wants to be a set designer. he falls for a ditzy blond played very well by karen black whos carachter is so despicable and hatefull that we dont wether to be sorry for her or just hate her. donald sutherland is magnificent as the shy almost retarded rich man who holds in so much of his hate that your just waiting for it to explode ( of course it does). each scene unfolds so brilliantly under the direction of schlesinger that i would recommend it alone as a directors training guide on " how to direct a movie". why this film is not on dvd is beyond me. the film is a dark,brooding sad and powerfull story on human failure and dreams that can go wrong. it reminds me of something eric von stroheim would have done. in fact it is very much like his silent masterpiece GREED filmed in 1924. i have this movie on vhs but i cant wait for a dvd

Amazing film ..lousy and i do mean LOUSY DVD!
Oh my god the picture quality on this classic film is just horrible.
There is so much grain through out this film that I thought I was loosing my eye site. My VHS copy looks better!

There aren't any extra features on this dvd as well as 90% of Paramount home video's older films.

I am never buying another DVD from Paramount until they shape up with their releases.
:(

A movie like this deserves better treatment ...I feel robbed.

THE MECCA OF BROKEN DREAMS....
In the 1970's, a slew of films set in the 30's came out---evidently a vogue at the time. Two stand out in my mind. "They Shoot Horses Don't They?" and "Day of the Locust". "Locust" is a particularly corrosive portrait of 30's Hollywood based on the Nathaniel West novel. A young artist (William Atherton) comes to Hollywood and finds success as a scenarist for Paramount. He watches as people sell their souls for the Dream (whatever it is to them) and finally sees Hollywood turn into Hell. "Day of the Locust" won Oscars for Burgess Meredith (as a washed up vaudvillian) and the cinematography. But I thought John Schlesinger should have won for director as well. He paints such a nightmarish picture of a debauched and decadent 1930's Hollywood that you can almost smell and taste it. Donald Sutherland also should have won for his portrayel of Homer Simpson (yes, that's the name), a frighteningly insecure simpleton who becomes Karen Black's benefactor and lives to regret it. He's also the catalyst for the horrifying climax. Black is excellent as Faye Greener (the daughter of Meredith's character)---a callous, hopelessly star struck extra in films using anyone to get ahead...or to just buy her a Dream. Many familiar faces populate the film including Natalie Schafer as a Madam, Geraldine Page as Big Sister (an Aimee McPherson type evangelist), 70's disco artist Paul Jabara as a drag entertainer performing the Dietrich song "Hot Voodoo" and Billy Barty as...a midget. Atherton is superb as the artist and should have been a bigger star after this. Many disturbing images are here including a disgusting cock fight and the brutal murder of a child but even these upsetting scenes contribute to the fabric of the film...their impact is intentional. The DVD print is beautiful, you can see how this won for cinematography. The film is a bit long (144 min.) but not a scene is wasted. Highly recommended viewing all the way.

This movie will tear you up...
If you are an avid movie fan, then you probably know how it is to no longer have the ability to be tremendously affected by great movies, although you can still recognize their greatness. An example would be All About Eve. I have overwhelming respect for this film, but it has always left me relatively unmoved. Another example would be Dogville. I definitely could not bring myself to say that about The Day of the Locust, which is a massive artistic achievement, which speaks the truth, and speaks it directly to the heart. Truth is so rare today that when it hits you, it hits hard, and that is exactly what this film has to offer.

The Day of the Locust is inherently ambitious, and that is commendable regardless of how effective the final piece is. It is fortunate that all the artistic elements combined so seemlessly and movingly. The film, although it may not be readily apparent, is extremely well casted. Karen Black gives a career-best performance as Faye Greener, a creature so messed up inside that it is easy to love her in spite of her flaws, and that was just the mistake Todd (Donald Sutherland) made. In an ideal world, people meet and fall in love. But this is the dark, seamy, loveless side of Hollywood and the ability to love is all but forgotten (one could see parallels in our world today, that our world has in fact fallen prey to these loveless creatures, making the film ever more relavent), except in the heart of Todd who seems to be the hero of this rather tragic film.

There are many, many moments and lines that will make a kind of jarring imprint on your memory. One of the most horrific, nightmarish scenes occurs at the end of the film, when Faye is finally burned from Todd's memory forever, but, as we soon find, that loss is not too much of a bother for Faye...and that may just be the one great flaw of her character, and of Hollywood. There are no emotional attachments. There is no sincerity or truth. It is an illusion, a fantasy. Faye's heart was part of the illusion, for where it should have been was just empty space, compensated by an appearance that was all flashy and tinsel.

Sorry that is the best I can do to describe a film that defies accurate description or criticism--masterpieces always do, except by masterful writers. The DVD quality? Well, there are no extra features to speak of, but for the price I am very satisfied. The picture and sound quality are both excellent, and that is all that really matters.

Like another reviewer said, seeing this movie will leave you as emotional wreckage and you would be well-advised to take a day off to think about it. However, I disagree with the reviewer who urged depressed people not to see this. On the contrary, that this movie is depressing is only consequently, for it provides truth and, maybe if you look deep enough, answers. ... Read more

Reviews (17)

Ultimate Camp Classic is an enormous unheralded gem
campy thriller, brilliantly acted by its main protagonists. The fantastic Geraldine Page stars as a psychotic widow with a penchant for growing the very sturdiest and handsome of Pine trees - her secret is human fertiliser in the form of a series of butchered companions. Slowly suspicion rises and a friend of one of the deceased, now fertiliser fodder, begins to catch on to Page's dastardly deeds. Geraldine Page delivers a tour de force performance as Claire Marrable - oozing a charming menace and evil with every breath. Yet there are severe undertones of humour and one senses that the actors involved would have a good cackle after every take. Page's performance rates with the most vintage camp EVER. She obviously relished and thoroughly enjoyed the role. Ruth Gordon, best remembered from the wonderful Harold and Maude, delivers a typically feisty and spunky performance as the Aunt Alice of the title. It is vintage stuff and works equally successfully as a taut thriller but best of all as the blackest and most wicked of comedies. Please also appreciate the totally schizo music score that is so appropriate for the film. A gem from director Robert Aldrich who gave us another cult favourite, Whatever Happened to Baby Jane

Page and Gordon sparkle in witty, melodramatic thriller
In the early 1960s director Robert Aldrich teamed aging stars Bette Davis and Joan Crawford in a suspense thriller called "Whatever Happened to Baby Jane?" The movie was a smash hit. Two or three years later he brought the two actresses back for "Hush, Hush, Sweet Charlotte". Crawford dropped out and was replaced by Olivia De Havilland. Again, Aldrich struck pay dirt. In 1969 his production company made yet another such movie, "Whatever Happened to Aunt Alice?", starring Geraldine Page and Ruth Gordon. This was directed by Lee H. Katzin. I don't think it was as successful at the boxoffice, but the important thing is that Alice is almost as much fun as Jane and Charlotte.

Page plays Claire, a woman of sixty or so. In the opening scenes she finds out that her recently deceased husband left her with virtually nothing. Furious because her grand lifestyle has ended, Claire moves to the American Southwest, where she cooks up a scheme. She hires timid little old lady housekeepers and, over time, convinces them that she can make them a lot of money in the stock market. Once an unsuspecting employee turns over her life savings, Claire kills her and buries her in her garden, marking each grave with a new pine tree. Soon the yard is filled with trees. One day a new housekeeper named Alice [Ruth Gordon] shows up. Alice, however, has an ulterior motive. One of the women was her friend, and Alice suspects that Claire is responsible for her disappearance. Thus begins a grand game of cat and mouse.

Unlike Davis and Crawford, Page and Gordon were not movie stars fallen on hard times. They were great character actresses with extensive stage experience. Both had had an occasional starring role in films but had played mostly supporting roles over the years. They were older but hardly faded. If anything, they were at the height of their popularity when they made "Alice". They are the reason the movie, otherwise an outlandish melodrama, is still worth seeing. Gordon is outrageous fun as Alice, playing the part with true professionalism, yet barely able to conceal her glee and amusement at being in such a movie. But it is Page who dominates throughout. Her Claire is both hilarious and sad. Sometimes she stalks, sometimes she slithers through the movie, reminding one of a cross between a leopard and a cobra. She's obviously having a grand time.

Other Geraldine Page movies I particularly like are "Summer and Smoke", "The Trip to Bountiful" and "Sweet Bird of Youth". Great Ruth Gordon movies include "Harold and Maude", "Where's Poppa?" and, of course, "Rosemary's Baby".

Devilish fun!
Claire Marrable, a destitute widow, finds a way to keep herself living the good life by hiring a series of housekeepers whom she eventually murders, steals their life savings and buries them in her desert pine tree garden. An incredibly fun movie which derives pleasure from the lead actors. Geraldine Page (as Mrs. Marrable) and Ruth Gordon (as Alice Dimmock, the latest housekeeper who is actually trying to find out what happened to her friend who mysteriously vanished while working for Marrable) chew the scenery to the hilt and it is so much fun watching the interactions between the two. Watch Page's reaction when Gordon tells her the amount in her savings account - priceless! The film as a whole suffers somewhat from some dull supporting characters and a dreary romantic sub-plot involving Gordon's nephew and Page's neighbor. Still worth it for the acting dynamo of Page and Gordon and even Mildred Dunnock manages some nice moments in her few scenes. And you'll never forget the frenetic zither music score!

The quality of the dvd is very good. The picture is sharp and the colors are strong. The only extra feature is a trailer for the film which delivers the memorable tag-line - "Whatever happened to Aunt Alice is more terrifying than what happened to Baby Jane"!

Sheer brilliance
They do not make movies like this anymore. Geraldine Page plays a nutcase hell bent on murdering every housekeeper that comes to work for her. What makes it so memorable is how she discards of the bodies (I won't give anything away here). Also adding effect is the spectacular music. Ruth Gordon joins the cast as a housekeeper trying to catch her out. Bad move Ruth.
While this film might seem dated to many, no moviegoer can argue the brilliant acting and suspense. An all round favourite.

my take on WHATEVER HAPPENED TO AUNT ALICE
I LOVE THIS MOVIE, IT IS HIGH CAMP, FUNNY AND BLACKLY HORRIFYING ALL AT THE SAME TIME. BOTH GERALDINE PAGE AND RUTH GORDON HAVE FUN WITH THEIR ROLES, ESPECIALLY THE FORMER, USING HER FACIAL EXPRESSIONS TO THE HILT, ROLLING HER EYES AND INFLECTING A SARCASTIC TONE INTO HER VOICE. RUTH GORDON, IF MORE RESERVED, IS JUST AS GOOD, AND VERY DIFFERENT THAN IN ROSEMARY'S BABY, SHE SEEMS REFRESHINGLY SANE IN THIS. THE PLOT MOVES ALONG AT A FAST BUT ENJOYABLE SPEED, WITH ONE OR TWO RED HERRINGS A LONG THE WAY. IF YOU LIKE PSYCHOLOGICAL THRILLERS, A WITTY SCRIPT AND GOOD ACTING, I HIGHLY RECOMMEND THIS ONE. I RECOND HITCHOCK WOULD HAVE ENJOYED IT TOO. ... Read more

Reviews (1)

Absolutely Hysterical! Many famous stars!
If you are looking for a good laugh, get this movie! An oldie, I've been looking for it on cable for 10+ years. Beverly D'Angelo, Beau Bridges, William Devane, Jessica Tandy, Hume Chroyn, David (?) (the guy who played "Sledgehammer") and other character actors you'll recoznize. One of the funniest scenes has George Dzunda smelling women's panties. ... Read more

Reviews (2)

A minor masterpiece...
Cliff Robertson has always been one of the hugely underrated actors of stage, TV & film. Anyone who saw his original performance in Days of Wine & Roses on Playhouse 90(with Piper Laurie) or saw him doing Tennessee Williams on Broadway knows that this is someone who for whatever reasons missed out on the major stardom that was his natural due. J.W. Coop is one more surprise from Mr. Robertson. This movie is the closest approximation I've ever seen on the screen to a Hemingway story. It's full of the rich true details of place and incident, and the aching pain of the fighter/cowboy/soldier/man rubbing up against life, trying to make some kind of mark, some kind of sense, before his end comes, & it always comes too soon for these guys.

COOP? How do you spell that?
Growing up in the Mid_West, the concept of "art' film was quite foreign to me in 1971. The first time I saw J.W. Coop, it struck me like a thunderbolt. Lots of ambin' around, reaction shots, quiet confidence, pseudo-documentary style, unspoken sub text...WOW.

A labor love for Cliff Robertson, JW COOP is an indie-like movie developed in the 1970's studio system, where titles like POSEIDON ADVENTURE and TOWERING INFERNO were the only things that made sense at the time.

As a result, studio-type compromises are evident throughout--Christina Ferrare is atrocious as the hippie-chick who interjects JW's dust covered mind-set to the present. I'm certain the original script-by Gary Cartwright and the ingenious Bud Shrake was likely funnier...and edgier.

What's left is still engaging, and the rest of the supporting cast is solid, the story interesting--spiced with wonderful little vignettes throughout. I highly recommend. ... Read more

Reviews (30)

He knows women so well; too bad they hate him.
Woody Allen probably knew that Interiors would be panned by his most loyal fans, his most ardent critics (Pauline Kael), and even the always honorable motion picture industry. How he managed to ignore what might have been insurmountable difficulties for another is a feat of no small measure; how he managed to craft this dramatic gem is "an impossibility commensurate with two like snowflakes" (from Woody's Getting Even). Mary Beth Hurt shines as Joey, a passionate but ambivalent actress-photographer-copywriter, who cannot transcend her pressing responsibility as daughter to a delusional and depressed woman, Eve (Geraldine Page). She has two sisters (a theme to be further explored in Allen's later Hannah and her Sisters), one of whom is fairly irrelevant and indifferent to her life (the only underdeveloped character in the film), the TV actress Flynn. The other sister Renata (Diane Keaton) is a highly successful poet who has distanced herself from Joey while she deals with complex emotional issues stemming from an abusive, alcoholic husband (Richard Jordan) and her own artistic "paralysis." Woody weaves the stories together with dignity and grace, and Gordon Willis' superlative cinematography pays homage to Bergman's Sven Nyqvist (the beachwalking scene could be Persona in color) while infusing his own creative vision into each shot. Woody's comic flair is nonpareil, and his unique cinematic concept is timeless and powerful. With Interiors, Woody indelibly makes his mark as one of the finest dramatists of the 20th century as well.

Not the best Allen film around, but still interesting!
Woody Allen follows in the steps on Ingmar Bergman in filming the falling apart of women and sisters. The sisters are all very much different from each other. Joey [played by Mary Beth Hurt in a performace that makes me want to gag.] is the sister who can not find herself, even though we're told she has so many talents. You just feel like smaking her and saying, "Hey, there's people who have it a lot rougher than you out in the world." The two best things about this film are Geraldine Page and Maureen Stapleton, who were both nominated for Oscars. Stapleton plays the fathers new love interest who isn't like by the whole family, but ends up winning them over. Page brilliantly plays the fragile and distraught mother who is on the verge of suicide. The ending scenes are unavoidable as the story progresses. A great film to watch if your a fan of Allen's or Bergman's. It's also a great film to watch if your a fan of Geraldine Pages.
5 1978 ACADEMY AWARD NOMINATIONS:
BEST ACTRESS-GERALDINE PAGE
BEST SUPPORTING ACTRESS-MAUREEN STAPLETON
BEST DIRECTOR-WOODY ALLEN
BEST ORIGINAL SCREENPLAY-WOODY ALLEN
BEST ART DIRECTION

visceral and subdued
This emotional film may appeal to refugees from nauseating and intelligence-insulting Hollywood tear-jerkers. The film exposes expression and suppression of emotion in the educated upper middle class family of origin. The emotional tension rises higher and breaks down more hysterically than in his films that address marriage and the sexual relationship.

Modern interiors gut-hardeningly frame the confrontations and evasions. The interiors on their own would make it worth watching.

A Film That Deserves A Place In Every Art Collection
Revisiting INTERIORS written and directed by Woody Allen in 1978 it becomes apparent that this is one of the most important American films made. In this time of video art and digital manipulation of images, both in real time and in fixed entities, INTERIORS exemplifies the finest in what film can achieve. Without manipulation of scenery, without (gratefully) a senses-asaulting musical score, without GIMMICKRY - here is a film of brilliant writing, stunningly and beautifully subtle sets and costumes, and acting of the first degree. The angst so present in our society's family relationships is gently observed and explored and the results are a paean of understated simplicity and pain. It is difficult to single out any of the outstanding cast as 'best' and that is yet another proof of ensemble acting and directing at a zenith. Yes, it is unimaginable to leave behind the characters created by Geraldine Page, H.G. Marshall, Diane Keaton, and Maureen Stapleton, but again this is an indicator of how well and cohesive the experience provided by this movie is.

I have never been a Woody Allen fan: I find his comedies overwrought, self-absorbed, and frustratingly tedious. Seeing INTERIORS on a DVD, in the quiet of home, has altered my respect for this man. A dazzingly brilliant, thoughtful, elegy of a film.

Allen's Bergman homage
Woody Allen threw the film world a curveball in 1978 when he released not only his first straight dramatic film, but also the first film he directed that he didn't appear in. Although the film confused and possibly enraged some fans, it holds up today as, in my opinion, one of his most strikingly daring films.

It's obvious to anyone watching "Interiors" that this is an homage to Allen's favorite director, the great Ingmar Bergman. The quiet, the seriousness, the dysfunction -- it's "Cries and Whispers" for the Manhattan intelligentsia. While the film obviously pays tribute to Bergman, it's no mere copy. It has a life and style of its own, mainly due to the performances.

The film deals with a wealthy, successful man (E.G. Marshall) who decides to separate from his unstable wife (Geraldine Page). The wife is thrown into depression and suicide attempts. Her three daughters are there to help, but can only do so much. Diane Keaton plays the stable, earthy Renata. Her husband is a failed writer and an alcoholic (played by Richard Jordan). Joey (Mary Beth Hurt) is the neurotic, stuffy, moody one who can't seem to find happiness in any profession she attempts. Her husband is played by Sam Waterston, and he's probably the one normal person in the whole film. The third daughter, Flynn, is played by Kristin Griffith as a TV-movie actress whose films are always panned by her family, both in and out of her presence. Maureen Stapleton plays the role of Pearl, the feisty woman Marshall begins dating soon after his separation. His children are surprised that he wants to remarry so soon, and Joey shows open contempt for his choice of a new wife.

This is not "Bananas," "Sleeper," or even "Annie Hall." This is Woody Allen showing the dark recesses of family dysfunction. Geraldine Page is simply outstanding as the mentally unstable middle-aged woman. The scene where she "prepares" for her first suicide attempt is extremely dark and sad. Her final "beach" scene is beautifully shot. The rest of the cast does a great job, but she is head and shoulders above the rest.

It's interesting to see Allen stretch out with this style of filmmaking, and I think it works very well. He has obviously studied Bergman's works carefully. This is no mere copy, it's a beautiful homage.

The picture quality is good but not excellent for a DVD transfer. And as with all of Allen's discs, there's really not much in the area of extras -- just a trailer. But this is definitely a film to check out. ... Read more

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Reportedly the last feature to be personally shepherded by Walt Disney himself, The Happiest Millionaire is a stubbornly old-fashioned musical intended to build on the success of Mary Poppins, relying on songs and score from Richard M. and Robert B. Sherman, the studio's resident songwriting team responsible for the hits of Poppins. Despite that pedigree, and a cast headlined by Fred MacMurray, Greer Garson, Tommy Steele, Geraldine Page, and, in their screen debuts, Lesley Anne Warren and John Davidson, the would-be successor wound up a white elephant.

Released in 1967, a watershed year for youth culture and social upheaval, The Happiest Millionaire romanticizes Philadelphia's upper crust circa 1916. Its title character, Anthony J. Drexel Biddle (MacMurray), is a militant industrialist urging America's mobilization against Germany, and noteworthy for an eccentric lifestyle that includes his own bible study classes, martial arts training, and (in a lone nod toward any remotely modern social values) a readiness to empower his lovely, headstrong daughter, Cordelia (Warren).

Under Norman Tokar's busy but routine direction, the project does muster moments of charm, and packs its story line with enough twists to partly explain its excessive 144-minute length. But the unintended irony of paeans to capitalism and conservative politics in an era of Sgt. Pepper isn't masked by the Shermans' music, which is eminently forgettable, despite the game mugging of Tommy Steele as an immigrant Irish butler. Equally game is MacMurray, but as a singer, he's no Rex Harrison. --SamSutherland ... Read more

Reviews (40)

delightful Disney musical
Fred MacMurray, Tommy Steele, Lesley Ann Warren and John Davidson star in the classic Disney musical THE HAPPIEST MILLIONAIRE, a delightful story centering on the Biddle family of Philadelphia.

Cordy Biddle (Lesley Ann Warren) becomes engaged to Angie Duke (John Davidson). When this should be a happy occasion, Angie's snooty mother (Geraldine Page) still ensures that Angie hangs onto her apron strings. Cordy's mother (Greer Garson) tries to sort things out while Aunt Mary (Gladys Cooper) engages in some bitchy repartee with Mrs Duke!

The entire production is flawless, and while Leonard Maltin has criticised this film for being too long, I think the time flies by.

The Sherman brothers songs are strong throughout, and the supporting cast, including a very young Joyce Bulifant, are wonderful.

Highly recommended.

lavish disney production does not equal the sum of its parts
THE HAPPIEST MILLIONAIRE is the last live production that Walt Disney oversaw before his death. The movie is an attempt to emulaite the big blockbuster reserved seat movie musicals popular following the SOUND OF MUSIC's success during 1960s and also to duplicate MARY POPPINS success. The production is lavish in terms of settings and costumes; with a great cast led by Fred MacMurray and Greer Garson; The songs by the Sherman brothers are likeable and not as bad as critics would have you believe; there are some great dance sequences. Unfortunatly, the plot is such a simple trifle which goes on and on for 164 minutes(in the restored version)that the movie eventually becomes a bloated, overlong bore. Its too bad because all the right ingrediants are there except a good story and script. The new DVD finally restores the movie to its original roadshow lenght. MILLIONAIRE was cut by 20 minutes following its premiere engagements.In fact the print which opened at Radio City Music Hall in NYC was already cut. The colors are excellent, the stero sound is good and the source materials are generally in good shape (a few markings here and there are not worth complaing about). This movie is now more a curiousity of its era and the wanning days of Disney's regime. It is certainly worth a look and may appeal to non-discriminating fans of musical movies.

NOT THE HAPPIEST, BUT CERTAINLY THE MOST TYPICAL FROM DISNEY
Walt Disney's was a visionary film pioneer; he took the fledgling craft of animation and transformed it into an art form of the highest order, and, in the process, altered our collective perception of what childhood is all about. However, occasionally that vision was marred by Disney's own lack of foresight into changing audience tastes. By the end of the 1950s the Walt Disney Studios had incurred huge expenses on Disney's foray into live action films, the birth of his theme park - Disneyland - and the lack luster box office response to his most recent and most expensive animated feature - Sleeping Beauty. Though the old master was set to recoup his losses, the sumptuously mounted, though often dismal, The Happiest Millionaire (released the year after Disney's death) was the personal and financial failure that rounded out Disney's tenure as the mogul of one of Hollywood's great cinema dream factories.

Throughout the 1950s and 60s road show engagements for movies of distinction were quite common. Road shows were designed to elevate movies to the lofty ambitions of live theater. They usually began with a lush orchestrated prelude, included an intermission half way through, and exit music to escort audiences out of the theater after the final credit sequence. One often dressed up for this sort of premiere event, certainly paid extra to attend and was often provided with a printed program as a keep sake from the occasion. Disney had attempted the road show only once before, on Fantasia (1940) and the result had been an unqualified financial disaster. What a pity then, that The Happiest Millionaire - what should have been an eighty-minute tune-filled - if antiseptic and sexless - melodrama, is over inflated into a gargantuan three hours spectacle that, quite simply, fails to dazzle.

The plot is a fictionalized account of real life circumstances that concern an eccentric Philadelphia millionaire, Anthony J. Drexel Biddle (Fred MacMurray). He runs a combination Bible and physical fitness college of sorts, loves boxing and keeps alligators in a solarium adjacent his dining room. When immigrant John Lawless (Tommy Steele) becomes Biddle's new butler he does indeed find his new surroundings rather odd. Not that Lawless isn't odd himself - it's just that, unlike Biddle's quirkiness, which can be grating to the point of distraction, Lawless becomes a genuinely loveable reprobate of congenial good humor, thanks to Tommy Steele's remarkable performance. The plot is thread bare to the point of nonexistent. It concerns Biddle's only daughter, Cordelia (Lesley Ann Warren). She's a sort of tomboy desperate to be feminine and sent off to a lady's finishing school where she meets and becomes engaged to New Yorker Angie Duke (John Davidson). Mrs. Duke (Geraldine Page) is social snob but Angie doesn't share her values. He wants to forgo the family business and build automobiles in Detroit. True to Disney form, everything does indeed work out in the end with Angie and Cordelia driving off toward an unintentionally apocalyptic matte painting that depicts the Motor City as something of a cross between Blade Runner and Mary Poppins, a glowering jungle of towering chimneys blackening the skies with the aftershocks of modernity.

Plot construction is problematic; As Cordelia's mother, Greer Garson is given extremely little to do. One of Disney's good luck charms - Hemione Baddeley has even less of a say. Equally curious is the fact that after the film takes great pains to introduce the Biddle two sons Tony and Livingston (Paul Petersen and Eddie Hodges) - even giving them a song - it suddenly loses interest in their character development by sending them off to school where, as an audience, we forget that they ever existed.

Of course, the plot - such as it is - would be largely forgivable if Disney's resident song writers, the Sherman Brothers had come up with a score worthy of their best endeavors. Tommy Steele opens the show with a bang with, Fortuosity, but the rest of the score does not live up to expectations and, in spots, is painfully sweet and cuddly. Valentine Candy or Boxing Gloves is so coy one wishes for the elegant Tommy Steele to burst into the room and tap dance its treacle into silence. All in all, Steele is remarkably well served by the score, belting out I'll Always Be Irish and several other songs with such austerity and charm that he easily dismisses the awkward lyrics. His choreography by Mark Breaux and Dee Dee Wood showcase Steele's finer points, particularly in the barroom number that closes the second half of the show. Unfortunately, there are no memorable showstoppers that leave one with a sudden urge to run out and buy the soundtrack or even leave the theater humming.

THE TRANSFER: This re-released DVD of The Happiest Millionaire is about as dismal as the film itself. Everything's present: the Overture, Entr'acte and Exit music, but the transfer is not enhanced for widescreen televisions. Unlike the previously available DVD from Anchor Bay, colors seem somewhat more dated this time around and fine details breaks apart with a considerable amount of pixelization and edge enhancement, especially when viewed on a larger monitor. There are also several cases where mis-registration of the camera negative results in an excessively blurry print - something else absent on Anchor Bay's version. This DVD compresses the entire running time on one side of the disc, which I suspect is the biggest problem. There are no extras, not even the trailer.

BOTTOM LINE: Get the Anchor Bay version instead!

Best Musical Ever!!
This is my favorite movie of all time! I used to rent it over and over when I was in high school. I love the music, the story, the characters, everything. It is funny and wonderful! I loved the fact that Cordelia never could make it past a first date, because she always "knocked out" literally, all of her dates! The alligators and the butler from Ireland make for some hilarious scenes also. Don't wait, get the DVD. You'll love it!!

Fun and silly
I remember catching this on the Disney channel back in the 80s and LOVED it! It was fun and just down right silly. I loved the music and a woman I had NEVER seen before and fell in love with, Lesley Ann Warren. I soon began to always remember this film due to her. I also really enjoyed most of Fred MacMurray's films from this time period also. A time that films were fun and innocent, or at least MORE innocent then the films now. ... Read more

Reviews (17)

Ultimate Camp Classic is an enormous unheralded gem
campy thriller, brilliantly acted by its main protagonists. The fantastic Geraldine Page stars as a psychotic widow with a penchant for growing the very sturdiest and handsome of Pine trees - her secret is human fertiliser in the form of a series of butchered companions. Slowly suspicion rises and a friend of one of the deceased, now fertiliser fodder, begins to catch on to Page's dastardly deeds. Geraldine Page delivers a tour de force performance as Claire Marrable - oozing a charming menace and evil with every breath. Yet there are severe undertones of humour and one senses that the actors involved would have a good cackle after every take. Page's performance rates with the most vintage camp EVER. She obviously relished and thoroughly enjoyed the role. Ruth Gordon, best remembered from the wonderful Harold and Maude, delivers a typically feisty and spunky performance as the Aunt Alice of the title. It is vintage stuff and works equally successfully as a taut thriller but best of all as the blackest and most wicked of comedies. Please also appreciate the totally schizo music score that is so appropriate for the film. A gem from director Robert Aldrich who gave us another cult favourite, Whatever Happened to Baby Jane

Page and Gordon sparkle in witty, melodramatic thriller
In the early 1960s director Robert Aldrich teamed aging stars Bette Davis and Joan Crawford in a suspense thriller called "Whatever Happened to Baby Jane?" The movie was a smash hit. Two or three years later he brought the two actresses back for "Hush, Hush, Sweet Charlotte". Crawford dropped out and was replaced by Olivia De Havilland. Again, Aldrich struck pay dirt. In 1969 his production company made yet another such movie, "Whatever Happened to Aunt Alice?", starring Geraldine Page and Ruth Gordon. This was directed by Lee H. Katzin. I don't think it was as successful at the boxoffice, but the important thing is that Alice is almost as much fun as Jane and Charlotte.

Page plays Claire, a woman of sixty or so. In the opening scenes she finds out that her recently deceased husband left her with virtually nothing. Furious because her grand lifestyle has ended, Claire moves to the American Southwest, where she cooks up a scheme. She hires timid little old lady housekeepers and, over time, convinces them that she can make them a lot of money in the stock market. Once an unsuspecting employee turns over her life savings, Claire kills her and buries her in her garden, marking each grave with a new pine tree. Soon the yard is filled with trees. One day a new housekeeper named Alice [Ruth Gordon] shows up. Alice, however, has an ulterior motive. One of the women was her friend, and Alice suspects that Claire is responsible for her disappearance. Thus begins a grand game of cat and mouse.

Unlike Davis and Crawford, Page and Gordon were not movie stars fallen on hard times. They were great character actresses with extensive stage experience. Both had had an occasional starring role in films but had played mostly supporting roles over the years. They were older but hardly faded. If anything, they were at the height of their popularity when they made "Alice". They are the reason the movie, otherwise an outlandish melodrama, is still worth seeing. Gordon is outrageous fun as Alice, playing the part with true professionalism, yet barely able to conceal her glee and amusement at being in such a movie. But it is Page who dominates throughout. Her Claire is both hilarious and sad. Sometimes she stalks, sometimes she slithers through the movie, reminding one of a cross between a leopard and a cobra. She's obviously having a grand time.

Other Geraldine Page movies I particularly like are "Summer and Smoke", "The Trip to Bountiful" and "Sweet Bird of Youth". Great Ruth Gordon movies include "Harold and Maude", "Where's Poppa?" and, of course, "Rosemary's Baby".

Devilish fun!
Claire Marrable, a destitute widow, finds a way to keep herself living the good life by hiring a series of housekeepers whom she eventually murders, steals their life savings and buries them in her desert pine tree garden. An incredibly fun movie which derives pleasure from the lead actors. Geraldine Page (as Mrs. Marrable) and Ruth Gordon (as Alice Dimmock, the latest housekeeper who is actually trying to find out what happened to her friend who mysteriously vanished while working for Marrable) chew the scenery to the hilt and it is so much fun watching the interactions between the two. Watch Page's reaction when Gordon tells her the amount in her savings account - priceless! The film as a whole suffers somewhat from some dull supporting characters and a dreary romantic sub-plot involving Gordon's nephew and Page's neighbor. Still worth it for the acting dynamo of Page and Gordon and even Mildred Dunnock manages some nice moments in her few scenes. And you'll never forget the frenetic zither music score!

The quality of the dvd is very good. The picture is sharp and the colors are strong. The only extra feature is a trailer for the film which delivers the memorable tag-line - "Whatever happened to Aunt Alice is more terrifying than what happened to Baby Jane"!

Sheer brilliance
They do not make movies like this anymore. Geraldine Page plays a nutcase hell bent on murdering every housekeeper that comes to work for her. What makes it so memorable is how she discards of the bodies (I won't give anything away here). Also adding effect is the spectacular music. Ruth Gordon joins the cast as a housekeeper trying to catch her out. Bad move Ruth.
While this film might seem dated to many, no moviegoer can argue the brilliant acting and suspense. An all round favourite.

my take on WHATEVER HAPPENED TO AUNT ALICE
I LOVE THIS MOVIE, IT IS HIGH CAMP, FUNNY AND BLACKLY HORRIFYING ALL AT THE SAME TIME. BOTH GERALDINE PAGE AND RUTH GORDON HAVE FUN WITH THEIR ROLES, ESPECIALLY THE FORMER, USING HER FACIAL EXPRESSIONS TO THE HILT, ROLLING HER EYES AND INFLECTING A SARCASTIC TONE INTO HER VOICE. RUTH GORDON, IF MORE RESERVED, IS JUST AS GOOD, AND VERY DIFFERENT THAN IN ROSEMARY'S BABY, SHE SEEMS REFRESHINGLY SANE IN THIS. THE PLOT MOVES ALONG AT A FAST BUT ENJOYABLE SPEED, WITH ONE OR TWO RED HERRINGS A LONG THE WAY. IF YOU LIKE PSYCHOLOGICAL THRILLERS, A WITTY SCRIPT AND GOOD ACTING, I HIGHLY RECOMMEND THIS ONE. I RECOND HITCHOCK WOULD HAVE ENJOYED IT TOO. ... Read more

Reviews (2)