Description

Cary Grant is hilarious as a successful New York advertising executive who wants to escape the confines of his family's tiny midtown apartment.So he designs his dream home in the suburbs and discovers the project wasn't as easy as it seemed.The house gets larger.The bills get bigger.The problems just won't go away.Eventually, the whole affair becomes a nightmare-a very funny nightmare-that left audiences laughing in 1948 and will have you in stitches, too.This is the comedic masterpiece that inspired the popular 1987 movie "The Money Pit."It's an adventure in homeowning that strikes a familiar chord with everyone who's ever bought a house.Year: 1948Director: H.C. PotterStarring:Cary Grant, Myrna Loy, Melvyn Douglas ... Read more

Reviews (51)

Very funny...
Often imitated but never quite surpassed, Mr. Blandings Builds His Dream House is a classic comedy about a topic still as current now as it was in the 1940s. Silly but very funny, this movie is really great - featuring the ever hilarious Cary Grant, and Myrna Loy.

Essentially, Mr. Blandings Builds His Dream House is about a family that decides to move to the country and get away from the overcrowding in the apartment. Instead of making life easier, however, their decision to move causes disaster after disaster. This movie is a hilarious example of how whatever can go wrong will!

Although the topic could have easily degenerated into stupidity, the script, the directing and, most of all, the cast, turn the movie into a classic. The script is witty and very funny, and it is directed with style - but mainly, Cary Grant is terrific! His double takes and reactions will never be equalled...any scene that he is in in pretty much guaranteed to be hysterical. Myrna Loy does a good job of cooling balancing Grant's screwball character, and the supporting cast is good as well.

Anyhow, this is a funny movie for the whole family - it is highly recommended!

Been There, Done That
Cary Grant and Myrna Loy have a very comfortable chemistry together in this comedy about a couple that decides to get out of their cramped city apartment and move out into the country. Through stubborness and sheer ignorance, they end up making a number of expensive errors as they attempt to build their dream house. The story is narrated by their friend and lawyer Bill, well played by Melvyn Douglas, a cynical man who learns it's easier to just let them make their mistakes. Grant is the perfect actor to express the exasperation of the whole process. The man had amazing comedic timing, deceptively making it look easy. The script hits all of the potential problems with building, and the film is smoothly produced. This is the kind of comedy that will appeal to most people, because almost everyone has had the opportunity to experience the joy that is remodelling, landscaping, decorating, or building. There's something in here for everyone to appreciate.

Great movie but...
We were very anxious to get this classic CG movie. but the movie was in black and white. not color as advertized.

The original is the best
"The Money Pit" was based on this movie, but Cary Grant, Myrna Loy and Melvyn Douglas cannot be replaced, even by the talented Tom Hanks.This movie is a classic that is the equal to all the great romantic comedies of our day, including "Sleepless in Seattle", and "You've Got Mail".This movie was made just after the 2nd world war, millions were chasing the American dream of a new home, the baby boomers were on the way, and many must have been inspired by this movie to go after that dream with your heart and not your head.

Grant + Loy = Cinema Magic !
What a wonderful DVD to add to your classic comedy collection ! "Mr. Blandings Builds His Dream House" ( "Mr. Blandings" ) was a very timely comedy in the late 1940s, when many young couples were looking to buy a home. When you buy that first house--be it new or "previously enjoyed"--it's amazing sometimes how many unforeseen problems can arise that result in more and more bills ! I'm sure that, even today, many of us can identify with the hurdles faced by the couple in "Mr. Blandings".

Cary Grant stars as advertising whiz, Jim Blandings. He lives in a cramped New York apartment with his wife ( marvellous Myrna Loy ),two young daughters, and live-in maid ( Louise Beavers ). Tired of battling for time in the bathroom, closet space, privacy etc., he decides to look into acquiring a house, preferably out in the country, away from the Manhattan rat race.
He and his wife are shown an old house in the beautiful Connecticut countryside--and--definitely throwing caution to the wind--and--without consulting his best friend/lawyer ( a droll, sardonic Melvyn Douglas )--they buy the place. It would be unfair to reveal more of the plot--let's just say that the house can be described as a "fixer-upper" !

This is a perfect role for Cary Grant--he is, as ever, suave, charming and funny, as well as embarrassed, befuddled and frustrated when facing one problem after another. His reactions, double-takes and expressions of incredulity are priceless. As Mrs. Blandings, Myrna Loy again proves that she is one of the great leading ladies of film--witty, sophisticated, smart and beautiful--her character is a full partner to her husband, rather than just a "rose in his lapel". By all accounts, Ms. Loy would not have had it any other way.
Melvyn Douglas also registers as the Blandings' lawyer, who--just to spice things up even more--was one of Mrs. Blandings old beaux from her college days. Supporting players are all fine, including "B" movie stalwart, Nestor Paiva, and--soon to be the screen's next Tarzan--Lex Barker.

The DVD exhibits a clear B & W image. Extras include quite a few trailers for other Cary Grant films, two radio shows with Cary, and a delightful, colour Tex Avery cartoon, "House of Tomorrow".

So--take a witty script--sharp direction--add Cary Grant, Myrna Loy and Melvyn Douglas--and you have a real winner. Highly recommended ! ... Read more

Description

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

Reviews (101)

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

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

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

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

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

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

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

A Bogart classic

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

Cast:

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

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

John Huston directed, and kept the tension high throughout.

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

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

Joseph (Joe) Pierre

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

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

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

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

Reviews (15)

One Of Hitchcock's Best
"Foreign Correspondent" was Alfred Hitchcock's second American feature made in 1940, the same year as his first feature "Rebecca", and surprisingly both were up for "best picture". In fact "Foreign Correspodent" was nominated for 6 Oscars. But even so, the movie is rarely regarded as one of Hitchcock's best, and that's a shame. "Foreign Correspondent" ranks up there with the best Hitchcock films such as "Rear Window", "Psycho", and "Vertigo". The "master of suspense" displays all the talents that have made him one of the finest film-makers of all-time (at least in my opinion).

"Foreign Correspondent" has Joel McCrea as John Jones, an American reporter sent over to Europe to cover the beginnings of WW2. And, as you can probably guess, Jones will stumble upon a big story and soon become a man who knows too much.

Van Meer, a man Jones was sent to interview (Albert Basserman, in an Oscar nominated performance) is on a council to prevent WW2, but he is soon murdered, or is he? He was the only person who knew of a secret clause that was to be written in a peace treaty.

A lot of people speak highly of the assination scene with the umbrellas, and Edmund Gwenn's scene on top of the tower. Most of you will know Gwenn as Santa Clause in "Miracle on 34th Street". But I have to admit some of my favorite scenes deal with the more comedic aspects of the film such as Robert Benchley's scenes, as an on-the-wagon reporter just yearning for one more drink, who has no idea what is going on around him. I also enjoy a scene dealing with George Sanders (Scott ffolliott) as he explains why he his name is spelled with two lower case "f's", McCrea responds with "How do you pronouce it? With a stutter?"

I've always felt Hitchcock's early work sometimes allowed the dry wit to get into the way of his movies. They could be seen as comedy\mystery movies in the vain of "The Thin Man" series. But in "Foreign Correspondent" I absolutely didn't mind. I enjoyed it greatly. Benchley was actually allowed to write his own lines and Ben Hechet, who helped co-write (he wrote the play "The Front Page", as well as two other Hitchcock movies, "Notorious" and "Spellbound") are without doubt why this movie actually does make us laugh. Benchley really is a highlight for me. Please pay attention to his dialogue. It's a shame so many people don't remember him nowadays.

And, there's more more thing I feel the need to comment on. What an amazing cast this film has. I've mentioned some of them already, McCrea, Sanders, and Benchley, but Herbert Marshall is also in this movie as Stephen Fisher, Van Meer's partner. Everyone does a wonderful job.

Bottom-line: Sadly not as popular as some of Hitchcock's other films, but, it deserves to be. It really is one of his best works. Great moments of suspense and wit.

Hitchcock at the top of his game
Despite being nominated for six Academy Awards, including best picture, Alfred Hitchcock's second American film, "Foreign Correspondent," has received little notice through the years. Critics gush, and rightly so, over "Rear Window" and "Vertigo" but scarcely breathe a word about this masterpiece. Released in 1940, the same year as "Rebecca," it has been left to languish in the graveyard of late night television where its very lack of promotion no doubt leads many a Hitchcock fan to believe it must be one of the master's lesser films, something on the order of "The Paradine Case" or "Under Capricorn."

"Foreign Correspondent" is, in fact, one of the director's greatest films, every bit as good as "The 39 Steps," "North by Northwest" and other famous Hitchcock classics and far superior to "Rebecca," a film that Hitchcock himself described as belonging more to Selznick than to him. The Master of Suspense's trademark touches are very evident in this exciting suspense adventure in which Joel McCrea (chosen after Gary Cooper passed on the project), a lightweight reporter for a New York newspaper, is given a plum assignment that leads him into international intrigue involving a kidnapped scientist.

Hitchcock may have been disappointed in McCrea (labelling him "too easygoing") but the often underrated actor is excellent and is aided by one of Hitchcock's most perfect casts. As fellow reporters, George Sanders provides plenty of world-weary wit and the great Robert Benchley, who also wrote some of his own dialogue, adds a light touch in what is otherwise a fairly grim thriller. Herbert Marshall is on hand as the elegant villain, and Edmund Gwenn who would define "warm and cuddly" as Santa Claus in "Miracle on 34th Street" a few years later, exudes evil as an assassin.

There are many standout scenes, all every bit as imaginative as the cropduster attack on Cary Grant in "North by Northwest" or the shower murder in "Psycho." Note the ominous mood in the windmill where the kidnapped scientist is held captive, or the plane's plunge into the ocean just before the finale. The moment when the aged scientist (perfectly embodied by Albert Basserman, an Oscar nominee for his role) is tortured in a hotel room while a helpless Sanders looks on can make you squirm more than anything in "The Birds."

In short, this is Hitchcock at the very top of his game. The only thing "Foreign Correspondent" lacks is the acclaim and notoriety it deserves.

Good.
'Foreign Correspondent' is yet another fantasic mystery from Alfred Hitchcock. Although I don't remember the storyline too much, I remember liking it enough to give it a four-star review.

Not a Bad Propaganda Film
Released in 1940 by the Master of Suspense, Alfred Hitchcock, this movie (although somewhat fictitiously) explains the beginning of World War II. This is one of Hitchcock's spy thrillers, complete with his man-in-the-middle and MacGuffin storylines.
Huntley Haverstock (Joel McCrea) is a newspaper reporter from New York who is sent to Europe to meet with the Dutch Professor Van Meer, who holds a secret clause in a peace treaty that may avert the coming war. After witnessing Van Meer's death, Haverstock becomes embroiled in an elaborate scenario in which the Nazis play a pivotal role.
In Haverstock's adventure, he meets up with the lovely Carol Fisher (Laraine Day)and her father, Stephen Fisher (Herbert Marshall). Are the Fishers really who they say they are?
The movie has many plot twists and exciting sequences that have become so memorable in Hitchcock lore.
The scene with the windmill's blades rotating backward has become classic, as well as the bobbing umbrellas in the rain as the murderer of Van Meer escapes through them. And also watch for the spectacular plane crash at the end of the film.
And who can forget seeing Edmund Gwenn, the man known forever to film buffs as Santa Claus from Miracle on 34th Street, playing here the sinister hit man, Rowley.
Clearly a great storyline, Foreign Correspondent is a must-see for any Hitchcock fan. This was his second film he made in America after David Selznick brought him over from England, and probably the best piece of propaganda to get the American public more interested in war looming on the horizon.

Another Hitchcock classic!
This movie is great. It deserves five stars. This movie is a wonderful drama and chase movie. Only the Master of Suspense could only direct such a great film. See it! ... Read more

Amazon.com

A great star and a great composer can make a Broadway musical into a smash, as Ethel Merman and Irving Berlin proved with Call Me Madam. Not a bad place to start with a movie, either, and the 1953 film of the show has both Merman and Berlin represented in brassy fashion. Granted, Merman's platinum-throated talents were best suited to the stage, and the production overall has that dutiful, stodgy tone of so many Fox musicals. Extra points for the suavity of George Sanders (he's Merman's love interest in tiny Lichtenburg, where the lady has been appointed U.S. ambassador), and for the dancing of Vera-Ellen and Donald O'Connor. A year after crashing through the wall in Singin' in the Rain, O'Connor has a similar solo athletic workout to "What Chance Have I with Love." High point:Merman and O'Connor trading verses on "You're Just in Love," the best tune in a bouncy score. --Robert Horton ... Read more

Reviews (11)

great film with less than great transfer to DVD
The four stars are for the movie, which it's great to have on DVD - Merman given a chance to recreate one of her Broadway triumphs, a witty script, good songs and terrific dancing by Donald O'Connor and Vera-Ellen. However...as other customers have pointed out, the colour and sound restoration could have been better, plus there is a strange glitch that no-one seems to have noticed - Fox have missed the first two notes of the credit title music! I compared it to my old VHS to make sure I wasn't imagining things. All in all, though it is definitely worth buying for the pleasures of the film overall, one hopes that Fox will do it properly at a later date.

Fun movie, shoddy transfer. Very disappointed in Fox!
I love CALL ME MADAM, and I love Ethel Merman's performance in it. The lack of home video availability for this title drove fans nuts for years, and finally Fox has released it on DVD, and the results are...welll..underwhelming.

Don't get me wrong. The film holds up very well. It's one of the better Fox musicals, buoyed by terrific performances, a sprightly script, and great Irving Berlin songs.

However, the treatment the film has been given for DVD leaves a great deal to be desired. The image is OK, but not great. Compare this to Warner's stellar ANNIE GET YOUR GUN (which was also not available for years) and you'll see the difference. Even worse is the sound. It sounds scratchy, tinny and distorted. Both the supposed "stereo" track and mono track are very poor in quality. These technical aspects really detract from the viewing experience.

Last, but not least is the dull and pompous commentary by musical theater "expert" Miles Krueger. It's like listening to a boring college professor, and would be an ideal substitute for Ambien as a sleeping aid.

Maybe Fox will decide to revisit this title someday and give it a full-blown restoration. Until then, hard-core fans will have to be content with this sorry excuse for a DVD release.

La Merman Shines in a Text-Book Example of Movie Musicals
I wish that more movie musicals were done like this...

Okay, okay... I'll be the first to admit: the show is DATED. (In fact, had it not been for Miles Kreuger's commentary, I would NEVER have understood the phonecalls from Harry Truman.) I am also not a huge fan of the stage score or of Irving Berlin's score (with the exception of a handful of songs). BUT--I bought this DVD for basically one reason: the presence of the incomparable La Merman. She is wonderful, and one can only wish after watching this that she had done the film version of GYPSY.

Any way, the film is very faithful to the original, which is admirable for a film musical, ESPECIALLY in that time period. (CHICAGO was particularly good about this, as well.) Pratically all of the songs from the stage score are kept intact -- even the inane "Dance to the Music of the Ocarina," whish is, however, staged as a lovely dance routine. Insanely, the film cuts "They Like Ike," which was one of the biggest show-stoppers (after "You're Just in Love") in the original stage incarnation.

Merman gives a spectacular performance: those big eyes and that BIG voice. Amazing. Donald O'Connor is utterly charming, as usual, and finds the perfect foil in Vera-Ellen. (Kreuger makes a fine point when he discusses why they dance so well together: her ballet-trained movements nicely compliment his vaudevillian-hoofer training. Just watch and see.) O'Connor and Merman are great in "You're Just in Love." George Sanders plays a very striking Cosmo, and it is easy to see Merman's attraction to him. Incidentally, Merman's figure looks GREAT in this film (when you can stand next to super-petite Vera-Ellen and not look huge, that's always a testament to something) and she is always costumed exquisitely by Irene Sharaff.

Kreuger's commentary will not be for everyone, but I myself enjoyed it. Be forewarned, a good deal of it is focused on the bit players, and is generally a variation on the following: "The actor in grey on the right is Bilbo Baggins, who appeared in over 500 films with the studio, usually playing a Nazi sergeant or drunken cowboy. He's most remembered for his cameo in CASABLANCA where he steps on Humphrey Bogart's foot without saying 'excuse me,' etc." While this got tedious at times, I appreciated that he was recognizing these vetran actors, who did indeed have a large body of work: however, most just won't care. He also gives some helpful set up into the story of Perle Mesta and her trip to Luxembourg for President Truman.

Anyway, not a great musical, but watch it for Ethel perfoming the hell out of great songs with a wonderful supporting cast, in a film that should be mimiced closely by those attempting to mave film musicals today.

What has happened to the colour?
After waiting so long for this title to get a DVD or Video release, I was amazed to see that the original 3 strip technicolor has not been re-mastered for the DVD release. There seems to be a lack of yellow and all the cast have pink faces instead of flesh tones. As the film has recently played on cable television here in a near perfect color corrected version, I cannot understand why Fox have not taken more care in their DVD transfer. All the extras including trailers have this sub-standard look. Apart from this point, it is still a great film and a must for devotees of top Hollywood musicals if you haven't seen it.

Donald O'Connor and Ethel Merman...Great Chemistry!
This is the kind of quality film I'd kept hoping to see Donald O'Connor in after his bravura performance in "Singin' In The Rain." In whatever vehicle Donald appeared, whether it was his movies as a child or teenager, or as an adult, he always shone brightly ("A glittering, glowing star in the cinema firmament," to quote Lina Lamont!), even if the material was not top notch -- and unfortunately, much of his material was beneath his great skill. In "Singin' in the Rain" he proved he was worthy of great "A" material -- and he proves it again here. At the risk of gushing too much, a documentary on O'Connor says that his name spelled backwards was Talent! Amen to that. Here, he proves it. One is tempted to irreverantly murmer, "Fred and Ginger WHO?" when he and Vera-Ellen dance together. And O'Connor and Ethel Merman are absolutely wonderful together, too. The duet they perform, "You're Just In Love" is already being worn thin on my DVD from repeated viewing! Ethel Merman is an acquired taste, usually, but in this film she's just plain fun from beginning to end. Funny note: Donald O'Connor had to wear ear plugs during this scene and others with Merman because of her sterophonic lungs! Great movie, well worth the long wait for its release...don't miss it! ... Read more

Amazon.com

The show that first defined the Broadway musical has never come to thescreen intact, despite three tries. But take this splashy 1951 MGM extravaganzaon its own terms, and it boggles the eyes. Not to mention the ears:The Kern-Hammerstein score includes some staples of the American songbook, such as "MakeBelieve," "After the Ball," and "Can't Help Lovin' That Man." Perhaps ariverboat gambler is almost too-easy casting for Howard Keel, and KathrynGrayson is overly twittery, which may be why the film's middle sags when theytake center stage. But any time the uncannily beautiful Ava Gardner smolders, alush tragic undertone takes over (even if the most interesting parts of herstory seem to take place offscreen). The physical production is extraordinary: the busy riverside setting, the outrageous color design, and best of all an "OldMan River" (sung by William Warfield) staged in the mists of morning. -- Robert Horton ... Read more

Reviews (22)

Close, but no cigar
I have seen both this film and its 1936 predecessor of the same name, and a number of film critics and viewers believe the remake to be inferior--I suppose it's because this one seems to lack the freshness, spunk, and level of poignancy. Also, in the earlier version you had greats such as Irene Dunne, Paul Robeson and Helen Morgan who can never be outdone. However, this later film has a power and charm all its own. "Show Boat" is a lavish technicolor extravaganza about the life and times aboard a Mississippi riverboat. Howard Keel with his deep, rich baritone is perfect as the reckless and restless gambler Gaylord Ravenal, as is lovely Kathryn Grayson with her delightful coloratura soprano voice, as Magnolia Hawks, the sheltered good girl who falls for Gaylord like a ton of bricks, only to be brought (unintended) heartbreak and despair by him. However, the one who steals the show by far is gorgeous Ava Gardner as Julie Laverne (cast among much indignant hullaballo as replacement for an ill Judy Garland), the mulatto conflicted between two worlds. In previous films she was for the most part wasted in, one never really got a glimmer as to her abilities (an exception being "The Killers"), but in this film Gardner is amazing as she displays the emotional range and depths she was fully capable of when given the chance. Her performance here is heartbreaking and utterly poignant, especially when she sings (it's dubbed, but that hardly matters) "Can't Help Lovin' That Man of Mine" in a period of content and romantic bliss, and "Bill," by which time her character is in a heartbroken, destructive decline--those are scenes not soon to be forgotten. The story appropriately ends with the haunting image of Gardner/Julie's haggard yet breathtaking face emerging from the shadows as she bids a distant farewell to the showboat. Go and watch this film if you love MGM musicals--it's one of their best with sumptious color, fine performances, and plenty of memorable songs.

I LOVE THIS MOVIE, AND SO WILL YOU
So what if this isn't very faithful scriptwise. The story they did have, plus the music, plus the singing, kept me glued to my seat, unable to take my eyes off it. Not since West Side Story has a movie musical had this effect on me. I suppose that if you grew up seeing the stage play, you might be taken aback by the cuts, but how many of you would really be willing to sit and watch a movie for the four hours that the original play takes? You can't even sit through Gone With the Wind without taking a little "intermission." The singing is incredible. I love to hear Kathryn Grayson hit those oh-so-high notes, and I love to hear Howard Keel, well, anytime. After hearing the soundtrack I was kind of mad that they didn't let Ava Gardner do her own singing, but her wonderful performance makes you forget about it. One reason I am glad they changed the story for the movie is when we see Julie at the very end. It's the kind of bittersweet finishing touch that gets ya choked up no matter how many times you see it. So buy this movie, gosh darnit, and be prepared to sit back and enjoy a cinematic masterpiece.

OL' MAN RIVER KEEPS ON ROLLIN' ON DVD
"Show Boat" was Jerome Kern's immortal gift to the Broadway stage. An instant hit upon its initial release, the movies just couldn't wait to capitalize on its success. The plot concerns a river boat performer who just happens to be mulato(Ava Gardner in this version) (a big "No, No" in the old south and it gets her broomed). On board is also Magnolia (Kathryn Grayson), a naive child who discovers her own heart break when she marries gambling scallywag, Gaylord Ravenal (Howard Keel). This version of the stage play tempers the racial undertones with more baritone and schmaltz than was previously showcased or, for that matter, necessary. Nevertheless, the results a la MGM's sterling production values, is astoundingly beautiful. Marge & Gower Champion, Joe E. Brown and Agnes Moorehead also headline.
TRANSFER: VERY NICE! A clean, bright, bold and beautiful print that is long on quality and short on digital anomalies. Blacks are solid and deep. Colors are rich and vibrant. Very few scenes illustrate that the original film elements are sixty years old. Though there is some minor pixelization and edge enhancement neither distract from your viewing enjoyment. The audio is mono but remarkably well balanced.
EXTRAS: Sorry. Not a one!
Bottom Line: Must have!

Does anyone have a torpedo handy?
Oh, oh Kathryn Grayson--you are so far from anything resembling the character of Magnolia, it is almost comical (I can't write her off totally as a movie star, because she was actually good once...ONCE: in "Kiss Me Kate"). Anyway, onto this turkey. Like almost all 1950s musicals from MGM, it is colorful nothingness. There is no edge, no wit, plenty of misguided "style" and heaps of artificiality. There is not once convincing moment in this film, all it has going for it is beautiful color (and this DVD is indeed a wonderful transfer). Lets not forget that the 1936 version--with its to-die-for cast--was withdrawn from circulation for decades because MGM wanted this to be the ONLY version available. Perish the thought! Even the small Show Boat sequence in the film "Till The Clouds Roll By" is more memorable than this.

Show Boat(1951)
Excellent Service, excellent condition, just as promised.Thank you VERY much! ... Read more

Reviews (4)

What A Combination
This is one of my favorite Sinatra films. It has quite a cast of charater Sinatra,Robinson and Capra. This group have all made some very good movie's and they all have a distinct style with there film's. Put this combination toghter and they all play off each other well. Sinatra play's a dreamer and on the verge of losing everything except that he has a son that will stick by him no matter what. Robinson is the older brother who is very set in his ways. He visit his younger brother and there take on life are about as different as brother can be. I wish ther were some extra's; I feel this film has alway's been a little overlook when people talk about Sinatra film's. But for the price it is a nice feel good movie to add to the collection.

The Great Irony Of Hole In The Head
The irony that seems to be lost on everyone in this movie is Sinatra's grand get-rich-quick scheme. He's got this crazy idea about building a Disney Land in Florida. You remember the great scene at the dog track with Keenan Winn where he lays out the plan..."Sure, we pick up the land for a song and we're in business". Keep in mind this is 1959 and even Walt himself probably hadn't thought about picking up all that property dirt cheap and developing the world's largest theme park...Then again maybe Walt saw Hole In The Head.

AKA Frankie Screws Up Again........
Sinatra is such a dufus in this movie. He gives up the beautiful, kooky goddess Shirl (Carolyn Jones) just so he can play house with a red-head chick. Besides that disappointment, this is a wonderful film. Not to mention you get a fabulous performance of the song about the ant & the rubber tree that just sticks in your head.....years later. A definate must see for any Carolyn Jones fan. My favorite part is when she's out surfing and comes from the water all salty. Two thumbs up

A Hole in The Head (Frank Sinatra)
Send me an email if you need this movie. I have a couple ... Read more

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In this convoluted Western mystery, "tall in the saddle" is more of a genealogical clue than an accurate index of the hero's behavior. John Wayne has come to town, so he says, to work for a local rancher--who was murdered shortly after sending for him. Prime villain would appear to be Ward Bond, exuding oiliness as the local judge, who doesn't seem to be a real judge. Paul Fix (who cowrote the screenplay) and Harry Woods supply the thuggery. But mostly it's women that Wayne has trouble with: the dead man's genteel niece (Audrey Long) and her virago of a duenna (Elisabeth Risdon), and especially Ella Raines, who dresses like a man (well, a very pretty boy), runs the neighboring ranch, and falls into instant love-hate with Wayne. (This was Raines's glory period--within a few months in 1943-44 she was breathtakingly lovely in Corvette K-225, Hail the Conquering Hero, and Phantom Lady--but alas, here she's mostly just shrill.)

As run-of-the-mill Wayne Westerns go, this RKO picture is a bit upscale from the fare at Republic, if also less robust. Edwin L. Marin's direction is undistinguished, but the RKO craftsmanship is handsome as usual, and it must have been nice to work from a coherent screenplay for a change. Gabby Hayes is around to discuss sexual politics with Duke. For some reason the veteran character actor Frank Puglia goes uncredited as Raines's enigmatic servant, who seems to have wandered in from a Val Lewton production. --Richard T. Jameson ... Read more

Reviews (8)

A"A Fast-Paced Entertaining Western"

My DVD shelf is sagging with all the John Wayne movies on it, but when this was recently released I had to add it to the others.

When this movie was originally released I was going on 1 year of age. With all the westerns I saw growing up in the 1950s, I don't recall ever seeing this one until a decade ago on TNT's ole 4:00 p.m. daily westerns. I immediately went out and bought the VHS and viewed it many times over. As soon as my wife and I got home with the DVD a few days back we immediately viewed it, too. She is not much for westerns, but her comment after viewing TALL IN THE SADDLE for the first time was that it was a very good movie.

I'm partial to some of the earlier John Wayne movies before he became a 'household name', one in particular: BLUE STEEL. And I rate this movie, TALL IN THE SADDLE, just as good. I would give both BLUE STEEL and TALL IN THE SADDLE more than 5-stars if possible.

TALL IN THE SADDLE was made at a time when directors and actors knew how to make westerns, and this movie just has the feel of a very good one. Its excellence approaches STAGECOACH, an earlier John Wayne movie, that just barely surpasses both BLUE STEEL and TALL IN THE SADDLE.

So, if you like John Wayne westerns or just westerns in general, you can do no better than this one.

And George "Gabby" Hayes is at his best here, too. This is the first time I ever saw Ella Raines in a movie, and what an introduction to her. She is sensational as a gun-totin' woman of the range.

Another item not to go unnoticed in this flick is the appearance of Raymond Hatton in the role a drunken friend of Gabby Hayes. If you look up Raymond Hatton you will see that he made more westerns than any other actor, and at one time was a box office draw right along side Bob Steele and Hoot Gibson. Another outstanding item in this movie is that of Paul Fix, long a John Wayne friend; Fix wrote the screen play for TALL IN THE SADDLE, and anyone familiar with the 1950s Rifleman on TV will certainly remember Mr. Paul Fix.

Enough of all this, go watch this sensational western picture from long ago, when they still knew how to make them.

A Fun Western
RKO pulled out all the stops for this beautifully filmed western.An attractive cast, which includes John Wayne and Ella Rains, a well written story, and good direction from Edwin L. Marin make this a very entertaining film. It is simply a good old-fashioned western. You don't have to worry about all that John Ford sybolism that makes your head hurt on this one. All you have to do is sit back and enjoy.

Rocklin (John Wayne) has come to town to work for Red Cardell, only to find he has been murdered. The KC Ranch has been inherited by beautiful easterner Clara Cardell (Audrey Long).The sweet Clara is attracted to Wayne and wants him to come work for her, but since her mother is an absolute terror and Rocklin and his new found sidekick, freight driver Dave (Gabby Hays), both have a little "problem" with women, he passes on their job offer.

He gets hired by another prominent outfit and as it turns out, this one is run by a woman as well. Ella Rains is Arly Harolday, a gorgeous spitfire and cowgirl deluxe. Sparks fly and she falls for Rocklin while he begins to dig a little deeper into the crooked goings on. Rocklin has a secret reason for poking around that won't be revealed until the last moment.

This one is a lot of fun to watch, and when you are in the mood for an old-fashioned western with a good story and some nice scenery, this is the one you want, right here.

Overlooked Classic
Considering all of the John Wayne movies on DVD, why has this one failed to make the cut. It is a classic in the vein of the Fighting Kentuckian and Dakota alas without Vera Ralston but Ella Raines is great in her own right.Ward Bond is the heavy again and he does it with gusto.Personally, I have always liked this early classic and would buy it in a minute if it came out on DVD.I grew up on John Wayne and certainly like most of his early movies.If I had my choice between this one and Chisum, I would take this one in a flash.If you liked Angel and the Badman, you will like this one.

A Gabby Showcase
Enjoyable Western that even non-Wayne fans should find entertaining. Film blends equal parts mystery, bravado, romance, and humor in fairly smooth fashion. Mystery plot comes from actor-writer Paul Fix, comic relief from incomparable Gabby Hayes, while convincing bravado is supplied by you-know-who. Still and all, this is a Gabby Hayes showcase, and I would think a high point of his career (he had just left the Hopalong series). In fact, the first ten minutes are among the funniest and most satisfying of any Western on record: the chemistry between Hayes and Wayne is simply terrific and easily tops that between Wayne and his two leading ladies. This is a fine "buddy" picture, even if the participants are wildly unequal in age and skills. My one complaint -- special effects and art direction. Scenic shots from Sedona, AR, simply do not blend well with pedestrian shots from the San Fernando Valley, while shoddy process photography and occasional cheapjack sets alsomar final result. ApparentlyWayne still did not command a class A budget. Too bad. Still and all, fans of the Duke and those of all tastes could do a lot worse.

John wayne's legacy starts to bloom
I love the chemistry between the Duke and George "Gabby" Hayes. I noticed it while watching the "B" westerns of The Duke's early movie career. Paul Fix wrote the screen play and is also credited for giving John Wayne his famous walk. In this movie, The Duke is a Man's man. He had that great charisma that is lacking in so many "stars" today. The story is simple and yet, it's a good one. the classic format of good vs. evil and no one could pull it off better than John Wayne! I also enjoyed watching Ward Bond play the corrupt judge. In my opinion; He is one of the greatest character actors in movie history. He and John wayne played so well off of each other. Even though the movie isn't considered a classic, It is well worth watching and it is also very much worth owning. Trust me; this is one for your collection! ... Read more

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The Band Wagon (1953) marked the culmination of a series of near-autobiographical pictures Fred Astaire made for MGM following his return from premature retirement in the late '40s. Astaire plays Tony Hunter, a fading film star (his big hit: Flying Down to Panama) who decides to return to his former glory, the Broadway stage. (In 1931, Astaire had starred on Broadway with sister Adele in The Band Wagon, a revue that lent some of its songs to this film.) His playwright-songwriter friends (Nanette Fabray and Oscar Levant) hook him up with Broadway's hottest director, Jeffrey Cordova (a nicely hammy Jack Buchanan), who proves that the "new" theater traditions can be an awkward fit with the old. Hunter also finds himself at odds with his prima ballerina leading lady (Cyd Charisse), one of his chief worries being that she seems a little tall. Along the way, producer Arthur Freed, director Vincente Minnelli, choreographer Michael Kidd, and songwriters Howard Dietz and Arthur Schwartz treat us to some quintessential MGM numbers: Astaire's solo ode "By Myself," the flashy arcade romp "A Shine on Your Shoes," Astaire and Charisse's romantic duet "Dancing in the Dark," the faux-German drinking song "I Love Louisa," the manic trio "Triplets" (with Astaire, Fabray, and Buchanan in matching baby outfits), the Mickey Spillane-esque "Girl Hunt Ballet," and the classic show-biz anthem "That's Entertainment." Even if its ending and obligatory romance fall a little flat, The Band Wagon is one of the classic backstage musicals, a grandiose MGM spectacle that also manages to poke some fun at how grandiose MGM pictures had become. --David Horiuchi ... Read more

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Cary Grant is, irrefutably, the greatest movie star of all time. Forevidence, take a look at Once Upon a Time, an airy soufflé of a movieabout a once-hot Broadway producer named Jerry Flynn (Grant), now on a coldstreak, who discovers a young orphan boy with a dancing caterpillar. Convincedthis will save his theater from being reclaimed by the bank, Flynn skillfullyturns the caterpillar into a media sensation and becomes a substitute father forthe boy--but he plans to sell the caterpillar to the highest bidder, even thoughhe promised the boy that he wouldn't. The surprise in the movie is not howimpossibly charming Grant is, but how willing he was to take chances; Flynnbecomes more of a villain than you'd ever expect before he sees the right path,and Grant doesn't shy away from it. A slight movie, but a superb performance.--Bret Fetzer ... Read more

Reviews (3)

RIDICULOUS PLOT THAT STRANGELY WORKS!
Cary Grant had the uncanny knack for making even the most hollow of plots seem like high art. Consider the irrefutably light-hearted "Once Upon A Time" in which Grant is Jerry Flynn - a has-been Broadway producer who discovers an orphan with a dancing caterpillar. Flynn's savvy for creating a media event, turns the caterpillar into an off Broadway sensation. But when Jerry decides to sell his investment to the highest bidder, he must choose between fame and fortune and the respect and genuine love that the orphan has developed for him. The genuine surprise in this film is not how irrepressibly charming Grant is, but how willingly he steps into the unbecoming role of the villain who eventually chooses goodness over celebrity - a subtle bit of advice that most stars of today would do well to heed. "Once Upon A Time" is not high art, but it remains an enjoyable movie helmed by a finely wrought performance.
THE TRANSFER: Relatively clean for Columbia Tri-Star. The gray scale has been nicely balanced with solid blacks and nicely rendered contrast levels. There's a lot of age related artifacts for a picture that is inconsistent and not very smooth. However, once you've accepted these shortcomings, the film becomes reasonably enjoyable to view. Fine details are nicely rendered. There are no digital anomalies. The audio is mono but very well represented.
EXTRAS: Nothing of merit.
BOTTOM LINE: "Once Upon A Time" offers the chance to appreciate Cary Grant at his most subtly challenging and engagingly.

Loved watching this fairy tale again!!
I watched this film a long time ago, when I was a kid, and now being 35 years old, it made just the same effect on me, I was thrilled all the same. It is an innocent, naive little story from another time, that makes you feel like a child all over again!!

Grant's performance is excellent, as the cynical and self centered (at first) producer who, by chance, meets this little kid who states he owns a dancing caterpillar!! This child actor, Ted Donaldson, is absolutely believable as the kid, and gives a heart-wrenching performance, like an old pro.

James Gleason, once more, is all right as Grant's pal, and Janet Blair, a beautiful, lesser known actress from the '40s, is very good as the kid's elder sister, and besides, she's pretty, sexy and has a beautiful voice.

Apart from a couple of trailers, the dvd edition hasn't got any bonuses at all, and the picture quality is OK, but not as good as that of another Columbia Classic releases, but nevertheless, if you're a classic film buff, and you still got a kid's heart, hidden there inside, this movie belongs to your dvd collection.

Better than anticipated, but subtle.
Subtly effective fantasy drama - you never see the dancing caterpillar in the box, but the movie is about the people and how they react to the simple, almost insignificant miracle, and the relationship between the sneaky showman (unusually cynical role for Grant) and the boy who owns the caterpillar. Their relationship is wonderful except for one thing: Grant is trying to steal the boy's pet and sell it to Walt Disney, though he promised he wouldn't. For a mild, subtle story, the surprise ending is surprisingly satisfying. The DVD quality is fine. ... Read more

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"I've got that nice, tired old feeling," says Pa Frake near the end ofthe gentle, sunny 1945 film, State Fair.The Rodgers and Hammerstein music, commissioned while Oklahoma was still making musical-theater history, feels tired too, like the result of a hastily written score. The state of Iowa just can't seem to inspire the same quality music as its more memorable, southern cousin.Remember that State Fair gem "All I Owe Iowa"?Still, it is R and H, and "It Might as Well Be Spring" is here as well as some other decent ditties.There's a country-mouse feeling as the Frake family journeys to the big city for the annual harvest celebration.Young daughter Margy (Jeanne Crain) has her eye on something more exciting than her bore of a fiancé, while her brother meets a lovely big-band singer with a secret.But the bucolic, Old Farmer's Almanac feel is genuine, and it's most obviously a picture of a bygone era when someone expostulates gleefully, "You're gonna be the wife of a journalist!" Not a "don't miss" but not a dismiss either.The DVD features include a vintage trailer for the film and production notes, which do add to the experience. --Keith Simanton ... Read more

Reviews (19)

A beautiful film musical!
I really loved this movie. It has auch beautiful songs and is a great romance story as well. I highly recommend it. It's a movie the entire family can watch.

A grand night
This was the first movie I ever saw, at the age of four at the Victory Theatre in Wellston, Missouri (The Victory, a new name for the Mikado, dumped when World War II broke out for obvious reasons). During "It Might As Well Be Spring" I was horribly worried Jeanne Crain was going to fall out of the windowsill of her second story bedroom window. I was so relieved when the song was over. This is a colorful, sweet film, though it does demonstrate as so often was demonstrated that only M-G-M could make M-G-M musicals. Jeanne Crain, the mother of many, always seemed to be acting with her mind on what the kids would have for dinner that evening, but she was lovely, so totally natural (my favorite Jeanne Crain film is the totally forgotten "Take Care Of My Little Girl," about college sorority life). Poor Dick Haymes is totally out of his element, though a wonderful singer. Vivian Blaine pretty much steals the show. She should have enjoyed a much bigger movie career; it's Broadway that won her heart. I love the roller coaster scenes. The coaster in the closeups is not the coaster in the far shots. The studio had a limited budget and, because of World War II, even more limited resources to build the darned sets with. "State Fair" has a lot of pasted-together elements, consequently, but if you don't look close (so much doesn't match from shot to shot and the big, overall shots of the Fair clearly are shooting a miniature that if you think too much doesn't make any sense at all) you'll feel you are at the State Fair.

Isn't the film kinda fun?
This is a better film for families to see, despite the kissing. It is better than Carousel(a nightmare,) but not as good as Chicago. The first time I saw it, it was fast, but now that I almost know it by heart, truthfully, it is going slower despite the running time being 100 minutes. Overall, an entertaing yet so-so film.

A kinder, gentler era
This movie is pure delight. Yes, it has some of the corniest moments ever put on film -- but isn't that part of the charm of these old movies? The music is lovely (I just can't agree with those critics who call it weak), and even though Jeanne Crain and Dick Haymes look far too worldly and sophisticated to be smalltown Iowa farm kids, the movie has a colorful and homey feeling to it. It is about a time when people got excited about spending three days at a county fair, riding on ferris wheels and eating candy apples. Our world may be a lot more sophisticated and technologically savvy nowadays, but I can't help thinking that we've lost a lot of the fun that our grandparents had. This movie brings it back. Enjoy!

Don't forget Vivian Blaine
Unlike Jeanne Crain's, Vivian Blaine's singing voice is her own and she outclasses everyone in the film. Compare her magnetism and composure to her partner, Dick Haymes, in their duet "Isn't it Kinda Fun." Real talent shines through and Vivian's delivery of a song is the only thing in this movie that doesn't seem naive, contrived, and dated. And to the reviewer who told us to "listen for Harry Morgan's voice over as the barker," look closely: that's no voice over... that young face IS the young Harry (billed as Henry Morgan). ... Read more

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The Band Wagon (1953) marked the culmination of a series of near-autobiographical pictures Fred Astaire made for MGM following his return from premature retirement in the late '40s. Astaire plays Tony Hunter, a fading film star (his big hit: Flying Down to Panama) who decides to return to his former glory, the Broadway stage. (In 1931, Astaire had starred on Broadway with sister Adele in The Band Wagon, a revue that lent some of its songs to this film.) His playwright-songwriter friends (Nanette Fabray and Oscar Levant) hook him up with Broadway's hottest director, Jeffrey Cordova (a nicely hammy Jack Buchanan), who proves that the "new" theater traditions can be an awkward fit with the old. Hunter also finds himself at odds with his prima ballerina leading lady (Cyd Charisse), one of his chief worries being that she seems a little tall. Along the way, producer Arthur Freed, director Vincente Minnelli, choreographer Michael Kidd, and songwriters Howard Dietz and Arthur Schwartz treat us to some quintessential MGM numbers: Astaire's solo ode "By Myself," the flashy arcade romp "A Shine on Your Shoes," Astaire and Charisse's romantic duet "Dancing in the Dark," the faux-German drinking song "I Love Louisa," the manic trio "Triplets" (with Astaire, Fabray, and Buchanan in matching baby outfits), the Mickey Spillane-esque "Girl Hunt Ballet," and the classic show-biz anthem "That's Entertainment." Even if its ending and obligatory romance fall a little flat, The Band Wagon is one of the classic backstage musicals, a grandiose MGM spectacle that also manages to poke some fun at how grandiose MGM pictures had become. --David Horiuchi ... Read more

Reviews (46)

If for nothing else, for the sublime "Dancing In The Dark."
There are many shimmering moments in Bandwagon: Fred Astaire (playing a role close to his own life story; he was 53 at the time), the acidic wit of Oscar Levant ('that'll keep 'em laughing!!') tempered by the sunny Nanette Fabray and musical numbers including "Shine on Your Shoes," "I Guess I'll Have To Change My Plan," and a clever novelty trio called "Triplets." But the musical sequence that stands out the most is the one which has no vocal, no dialog, and gently advances the movie's plot of whether or not oil-and-water dancers Astaire and Cyd Charisse can actually perform together- when he thinks she's too tall and she thinks he's too old. Against a Central Park twilight, the film shows its heroes enjoy a hushed walk through a park (only an instrumental refrain of 'High and Low' is heard), after which they step into an empty courtyard (he in a pastel linen suit and spectator shoes, she in a flared white dress and ballet flats; a necessity to keep her from being taller than him on film) and into the pas-de-deux of "Dancing In The Dark." It's an exquisite sequence, which at times resembles courtship, foreplay, and ultimately a romantic climax- all done in dance. It ends, just as smoothly as it began, with the two leads spinning up a flight of stairs and mounting a hansom cab, without a single hair out of place. Now THAT's entertainment.

For song & dance fans only
"The Band Wagon" is one of the NY Times' "1000 Best Films Ever Made," and I've seen about 300 of them.You may be a big fan of the traditional Hollywood musical, and if so, this is your kind of film.Personally the list of such films I've enjoyed is quite short, and it doesn't include "The Band Wagon."This makes me sad, having just enjoyed Fred & Ginger's 1936 classic "Swing Time" from the NY Times list.However, where that film and Gene Kelly's "Singin' In the Rain" excel by sparkling between the song & dance numbers, "The Band Wagon" lags.It's a shame, because there are a couple of brilliant moments here, the sparkling "Shoe Shine" dance on a set representing 42nd Street and a lovely number with Cyd Charisse to "Dancing In the Dark."Other than that, and other than Jack Buchanan's comical turn as a Master Thespian, the whole thing just leaves me flat, especially the blah romance and idiotically cornball ending.Give me "Fiddler On the Roof" or those named above any day over this!

I Know, I Know...
...this is one of the greatest musical films ever made.But I just can't warm up to it the way I do to "Singing in the Rain" or "Seven Brides for Seven Brothers."The Dietz and Schwartz songs are marvelous, and Michael Kidd has done a great job with a number of them (particularly "Dancing in the Dark" and The Girl Hunt Ballet," admittedly two classic film/dance sequences), but the human story of "The Band Wagon" leaves me cold.Astaire is less convincing as a romantic lead than in his earlier films, and I find Levant and Fabray more annoying than fun.And there's an odd, fake showbiz veneer to the whole thing that reduces the characters to archtypes and prevents our getting close to or caring about any of them.OK, it's only a movie, but the best of the Hollywood musicals engage our hearts as well as our tapping toes.(Think about how much your heart aches along with Judy Garland's in "Meet Me in St. Louis" or "In the Good Old Summertime.")For me, "The Band Wagon" never goes that extra step.

Phenomenal Dancing Elevates Standard Backstage Plot
All the elements of a great musical seem to be evident in this 1953 movie, but for some reason, it just doesn't gel as well as other MGM musical classics of the era such as the Hollywood talkie-craze satire, "Singin' in the Rain", or even the lightweight expatriate romance, "An American in Paris". Directed by the masterful Vincente Minnelli, the movie centers on a fading star named Tony Hunter, a once protean movie star dancer trying to make a comeback on Broadway in a misbegotten musical production of "Faust". That he is portrayed by the legendary Fred Astaire goes a long way to make this a wonderful viewing experience. His singing, especially his rendition of the melancholy "By Myself", is charming and relaxed, and his dancing is beyond dazzling.

The problem is that Astaire is called upon to play a temperamental has-been, but his dapper elegance seems at odds with the requisite edge to make him entirely convincing in the role. The other problem is his leading lady, Cyd Charisse, a phenomenal dancer but a blank slate as an actress.As a star ballerina looking for a broader audience, she makes line readings sound like Sunday school recitals. The supposed fight between their characters once they are introduced never seems more than a contrived plot device. However, when they dance together, nothing else matters. Two of their numbers are classics of the genre - the conciliatory and stunning "Dancing in the Dark" pas de deux on the MGM-only Central Park set (mimicked memorably to comic effect by Steve Martin and Gilda Radner on a "Saturday Night Live" skit years later) and the long, Mickey Spillane-inspired "Girl Hunt" ballet sequence toward the end with Astaire as a private eye and Charisse a slinky femme fatale. Astaire also has a wonderful number near the beginning, "Shine on Your Shoes," where he dances with an effortless partner in Leroy Daniels, a real shoeshine man who sang and danced as he worked and the inspiration for the number. These three numbers make the movie worthwhile to see.

The remainder of the film is about that would-be "Faust" musical and all the stages of writing, casting, production, choreography and rehearsals, including failure on the road, that finally make it a Broadway hit though in a completely altered format. Some of this is sharp and clever, while the rest is just tired and clichéd, especially in the often forced banter between the unctuous Nanette Fabray and the eternally dour Oscar Levant, who are acting the parts of the screenwriter duo of Betty Comden and Adolph Green. In properly pompous fashion, British stage star Jack Buchanan plays Jeffrey Cordova, the musical's director-producer-star with enough artistic pretensions to make Andrew Lloyd Weber blush. I don't feel the other famous musical numbers have aged well - the oddly discomforting "Triplets" number with Astaire, Fabray and Buchanan prancing on their hidden knees and the ending "That's Entertainment" seems bereft of true energy. I can only guess that the fluctuating tone of "The Band Wagon" may be a case of a veteran filmmaker who is too familiar with the musical genre and defaults to by-the-numbers direction when not inspired. Compare this to the frenetic energy and youthful casting of "Singin' in the Rain" where you have a fresh newcomer named Stanley Donen out to set the world on fire. See this movie for the unparalleled dancing but be aware that the acting by the two leads and the backstage plot do not match up to the magical dance interludes.

The new two-disc DVD set includes several extras. Liza Minnelli and singer Michael Feinstein provide overly effusive and not always relevant commentary on an alternate track, and there are trailers for eight of Astaire's movies also on the first disc. On the second disc, there is a new 35-minute, making-of documentary with the surviving cast members (including Charisse and Fabray), as well as the Vincente Minnelli installment of "The Men Who Made the Movies" series produced by film critic Richard Schickel. Also of interest is a deleted number - which has already shown up before in "That's Entertainment Part III" - with Cyd Charisse lip-syncing to India Adams' voice and dancing as a mulatto in "Two-Faced Woman". It was understandably cut but recycled for Joan Crawford looking even more foolish in "tanned" make-up in her musical drama, "Torch Song".

The man with the charm! The woman with beautiful legs!
Warner Brothers has done it again!They last of the true hollywood musicals has been released in a gorgeous 2-disc special edition!Packed with tons of features! Vincente Minnelli has directed a great movie filled with music and great actors! Cyd Charisse gives us one of her best performances!Of course, the ever suave Fred Astaire never fails to leave me in awe!This is the first time that Cyd Charisse and Fred Astaire team up!This would lead to good performances from thid duo in Silk Stockings!This movie never fails to grab your attention! ... Read more

Reviews (1)

Two more samples of Bob Hope's best!
Yet another fine disc in the Bob Hope Tribute Collection offers up two more classic Hope films, along with trailers, production notes, and cast and crew bios.

In "Louisiana Purchase", Bob is the unwitting vicim of corrupt Louisiana politicians who stick him with the blame when a crusading senator from Washington comes to investigate. Bob has to finagle a way to deflect the senator from his witch hunt, and enlists the aid of a Viennese beauty played by Vera Zorina. The senator is wonderfully portrayed by Victor Moore, a pious Republican who longs for the Presidency.

Interesting to note here is the opening scene, which was shot in color, but on a set designed for black and white film. The producers did this on purpose, hoping to lead up to the spectacular color sequences later on in the picture, but seeing the gray/blue color scheme here is a fascinating look at how specific contrasts were achieved on the sets of all those black and white movies in order to make them appear more natural.

While "Louisiana Purchase" is pretty good, "Never Say Die" steals the show. Bob is a hypochondriac millionaire mistakenly given one month to live. Martha Raye teams with Bob again as the daughter of a Texas oil man who wants her to marry a cash-strapped prince. Unfortunately, she's in love with Andy Devine's character, Henry Munch, and runs away rather than marry the prince! Naturally, she runs into Bob, who's being hunted by a "black widow" delightfully played by Gale Sondergaard, who's husbands have a bad habit of always turning up dead. The one-liners (and the laughs) come fast and furious in this one!

If you look quick, you'll see Monty Woolley as Dr. Schmidt, the specialist who misdiagnoses Bob's condition. Film fans will fondly remember his later appearances in the classic Cary Grant picture "The Bishop's Wife", and "The Man Who Came to Dinner" with Bette Davis. ... Read more

Reviews (4)

An all-star five-star western movie
Growing up watching the cowboy movie stars I found this movie one of the best. It had an excellent plot with great stars including those who had guest appearances. I miss all of these stars and I am grateful to be able to see them on video in my own home.

One of the best
This is Roy at his heroic and charming best. Add the very versatile Jack Holt in one of his final films, Rocky Lane, Gordon Jones, and some of the great movie cowboy white and black hats of the 30's and 40's, along with Foy Willing and Riders of the Purple Sage for music, and you have plenty of action, comedy and music to go along with an OK plot. Some of the Tru-Color shots of the scenery are spectacular. Rex once told me he flew in from a road-tour and worked on the film for two days and flew back to continue his road show, and enjoyed working with Roy, one of his dearest friends. This is one of the better 'oaters' with plenty of action, music, and 'surprise' guest stars. A 'must' for fans of Roy, Rex, Rocky, Jack, and the genre!

Those Old Republic Studio Westerns! - Bring 'Em Back
If you were (are) a fan of the old westerns, and Roy Rogers in particular, you'll enjoy this movie. The plots OK - what's fun is seeing so many of the Republic Studio western heroes - Roy, Rocky Lane, Rex Allen, Bob Livingston - even some of the bad guys. I own this VHS tape, among many others, and consider it to be vintage Roy Rogers. Its well worth having.

They don't make great classic movies like this any more !!!
Trail Of Robin Hood is a great movie with Roy Rogers and my favorite actresses is Penny Edwards. I feel all these movies need to come out into theatres again so people can take a step back in time to remember and see the greatest actors & actresses in the world. ... Read more

Reviews (22)

Close, but no cigar
I have seen both this film and its 1936 predecessor of the same name, and a number of film critics and viewers believe the remake to be inferior--I suppose it's because this one seems to lack the freshness, spunk, and level of poignancy. Also, in the earlier version you had greats such as Irene Dunne, Paul Robeson and Helen Morgan who can never be outdone. However, this later film has a power and charm all its own. "Show Boat" is a lavish technicolor extravaganza about the life and times aboard a Mississippi riverboat. Howard Keel with his deep, rich baritone is perfect as the reckless and restless gambler Gaylord Ravenal, as is lovely Kathryn Grayson with her delightful coloratura soprano voice, as Magnolia Hawks, the sheltered good girl who falls for Gaylord like a ton of bricks, only to be brought (unintended) heartbreak and despair by him. However, the one who steals the show by far is gorgeous Ava Gardner as Julie Laverne (cast among much indignant hullaballo as replacement for an ill Judy Garland), the mulatto conflicted between two worlds. In previous films she was for the most part wasted in, one never