Description

The is the year 2022. Overcrowding, pollution, and resource depletion have reduced society's leaders to finding food for the teeming masses. The answer is Soylent Green -- an artificial nourishment whose actual ingredients are not known by the public. Thorn is the tough homicide detective who stumbles onto the secret so terrifying no one would dare believe him. ... Read more

Reviews (97)

3 1/2 stars for sharply written and directed sf classic
THe 70's were a strange time for science fiction films. There were a number of minor classics (Westworld, the absurd and pretentious Zardoz, Logan's Run) and major space operas (Star Wars)that dominated the scene. While none of these films were perfect, Soylent Green was one of the outstanding efforts from the era. Although it's a flawed minor masterpiece, the strong performances from Heston, Robinson, Leigh Taylor-Young and Chuck Conners help the film continue to shine. All the actors benefit from the assured direction of veteran Richard Fleischer. The film was produced during one of MGM's bleakest periods and, in turn, has a rather bleak out look about the future.

Set nearly twenty years from now, humanity has used up most of our resources and spoiled the planet. There isn't enough to eat and there's even less space to live in; the cities are crowded with street people everywhere. The middle class is virtually extinct and only the wealthy have lives approaching the comfort to which we've become accustomed.

A executive with a major food corporation is murdered. The company produces a variety of pre-processed foods that are popular among the general population. Fresh fruit and foods are almost as extinct as many of the species that have disappeared from our overburdened, overdeveloped planet. Charleton Heston plays Detective Thorn who is investigating the murder. In the process, his life is threatened and he comes into major conflict with the police force about his methods. What Heston's character discovers about the food maker could unravel the fabric of the comfortable society that runs the world.

Soylent Green is based on Harry Harrison's fine novel Make Room, Make Room!. The adaption incorporates a lot of common themes from films during the 70's particularly the issue of the ecology. That isn't to say this film is obsessed with issues. While there are a number of importance observations, all of them are well integrated into this sharply written science fiction murder mystery. The direction by Richard Fleischer (Fantastic Voyage, 20,000 Leages Under the Sea, Treasure Island)isn't as stylized as one would expect but he does manage to get the most out of the material. The director's commentary is often wry and observant--a rarity now on most DVDs.

This was Edward G. Robinson's last film and his 101st. A talented, popular actor often misused by Hollywood, Robinson gives a startling fresh and powerful performance as Heston's roommate and assistant Sol. His final scene in the film is both powerful and gives Heston's character the faith to carry on his investigation. The dinner scene between Heston and Robinson (which was ad libbed) is terrific and much of the dialog and banter between the two actors is both funny and touching.

The DVD looks terrific particularly after all the poor prints that have circulated on television. Yes, there's analog artifacts but this is probably about as pristine a print as were likely to see. The transfer is vivid and well balanced. The sound is fairly strong given the fact that this was pre-THX and stereo. The DVD includes a couple of short featurettes about Heston and the making of the film. Robinson also gets due notice. A vintage theatrical trailer is also included.

Soylent Green's importance in science fiction cannot be underestimated. There were a number of bad films produced after 2001 and Planet of the Apes (including many of the sequels to the original Apes film)that had cheapened the luster these two fine films had temporarily given to science fiction. Soylent Green is a somber, powerful film. It's also an entertaining mystery. After this the genre would fall back into decline (although there were a few highlights) until the success of Star Wars in 1977. Thoughtful, impactful science fiction films were rare during the 70's. Although Soylent Green hasn't aged as well as one would expect, it's intent and the power of the performances, script and direction still make it a potent look into the future.

'Soylent Green' still nourishing after all this time!
If there was ever such a thing as 'sci-fi-noir', this is it. This wonderful, pessimistic, science fiction flick works as a cautionary tale, an action-mystery and a love story to boot. Charlton Heston fans will love it! It's 'Taylor-made' for the big guy (pardon the 'apes' pun). Heston excells at playing the cynical, tough yet decent sort; here a cop who's trying to unearth a cover-up reaching into the very top of government and industry. The movie is paced well and allows us to experience the gritty, sooty, reality of an exhausted, failing industrial society in the all too near future. The story line is supported by wonderful supporting performances by notable actors like Leigh Taylor-Young, Brock Peters, Chuck Connors, Joseph Cotten, and the great Edward G. Robinson, in what I believe is his last move. Unlike some 70's science fiction movies, the premise of 'Soylent Green' has not proved dated. It's as frightening and riviting today as it was when it was filmed nearly three decades ago. It's also poignant. The scene where Sol Roth (Edward G. Robinson) weeps out of sadness as the delighted Thorn (Heston) tasts the first real food he's ever eaten, is pristine, pure, gut-level story telling. Thorn's ultimate abandonment of his love interest, (Leigh-Taylor Young) to her unhappy fate is in keeping with the film's hard edge. Ultimately Thorn and Roth uncover a secret best left hidden. This movie never flinches. It's not as well known as Heston's other science fiction classic, 'Planet of the Apes' but 'Soylent Green' is great entertainment and perhaps the most underrated science fiction movie of the 1970's!

"Sorry We Went" Green
My wife and I saw this film in his initial theater release, expecting a good couple of hours entertainment, because of our faith in Charlton Heston. Bad move! Though it did depict rather well a bleak Malthusian future, its focus was entirely on efforts to obtain the wondrous Soylent Green as food, since it was so much superior to the other 2 colors. Alas, as soon as we had guessed the "shocking" source of the Green, there was nothing more to this one-trick-pony of a movie.

A nightmare every time closer
In 2022 the population's growth may reach eight billions people So the awful warning call given by Aldous Huxley ( A new visit for a brave new world) , George Orwell (Animal's farm or 1984) will suppose several restrictions about the free circulation vehicles and also an estimated amount of liters of water by each one of us.
This film is a very clever scifi story about a overcrowded world, where the reduced free spaces of the world we know actually , may be more narrow.
The story holds a deep reflection about the effects of a claustrophobic world, the lack of certain benefits you assumed almost naturally till now.
This movie shows us about a reality not so far. This work was the last appearance of Edward G. Robinson; thanks to Heston efforts for including him in that role. The last sequence in which you watch the ancient world like it was; it depicts a bucolic landscape; and the Pastoral Symphony works out perfectly with this goal. You may feel it something tearful, but the remarkable point is the hidden message. Still we are on time to avoid it. But who'll take this dangerous flag?
This film was released just one year after since Roma's club establihment, in 1972. In that age I had the opportunity of reading that fundamental work of Barry Commoner titled The circle that it closes.Watch for this one. Because with these raising reflections about the enviroment concern around the world made it possible, by instance, avoid to throw several hazardous weapons over Vietnam, whose direct and collateral effects had not studied enough. Chernobyl was just only fourteen years before and Long island twelve years.
Only with this long introduction you'll be capable of understand why this film,together with Farenheit 451, Capricorn one, The Omega man, Zardoz, The planet of the apes , 2001 and Solaris were made between 1967 and 1972. We are taking about movies of film makers so distant in style and view directorial as Kubrick , Tarkovski, Truffaut, Schafner ,Hyams and Boorman, but surrounded by that cloudy atmosphere who involved the world in those days.
A must for you to watch. It will let you thinking for a long, long time.

An Underrated SF Thriller
I just rediscovered this classic movie on DVD recently. It is an extraordinary and haunting film with a powerful message. The performance by Edward G. Robinson is moving, and it's almost obligatory to say that Charles Heston chews up the scenery (as usual).

Some of the reviewers here have bemoaned the fact that there are so many 70s-type vehicles in the world of Soylent Green, which detracts from its setting in the year 2022. Nothing could be further from the truth. I remember watching this film in 1973 and was very conscious of that fact that it was projecting what NYC might look like 49 years from then. Why so? Read on.

Not to state the obvious, but this is a film about a dystopian future. The planet is overpopulated and running out of resources. All of the major oil fields on earth have passed peak production (our experts tell us that the last major fields in Saudi Arabia and Iraq will reach peak production in just a few years from now). Most of the automobiles are old and broken down. Infrastructure is decaying. Even in 2004, here and now, you can see this process beginning. In many parts of the city where I live, people are driving vehicles manufactured from the 1960s, 1970s, and 1980s. Things are run down. People are working harder and making less money. Richard Fleischer's vision of the future is brilliant and spot on.

So what about the cheesy 70s background music, you say? All I can say is that by 2022 there might very well be a 70s renaissance, because by then people will have realized how good things were in the 1970s. Look at us in 2004, we're still playing Beatles music, and it is quite likely that the music industry will dramatically change or won't even exist by 2022.

And finally, to underscore the scope and brilliance of this film, just do some investigative research into today's Monsanto Corporation and see if you can't find an overwhelming parallel with the Soylent Corporation depicted in the film, whose aim was to control the world's food supply.

And who knows, by the year 2022, food processing and Chicken McNuggets will be so pervasive that NOBODY will know where their food really comes from. What a chilling thought.

I wish that every person on this planet owned this DVD. It's not just a great Heston film, or a brilliant science fiction thriller, it's an important film for all of mankind...because it's still not too late.

p.s. the amazing quality and sharpness of the images in this film are astounding. This is the film that I saw in 1973. All other versions have been muddy and dark. Another outstanding transfer!! ... Read more

Reviews (169)

Beautifully Boxed 40 th Anniversary Edition
This was Cecil B. De Mille's last film as a director. De Mille's old-fashioned style of filmmaking and story telling is elegant, larger-than-life and rather elegiac and exactly suited for the enormous task of bringing this spectacle to the screen. Charlton Heston gives an excellent and powerfully dramatic performance as Moses. Yul Brynner, who approaches his role with style and confidence, is the prince who outmaneuvers Moses to the Egyptian throne in one of the best performances of his career. Supporting Heston and Brynner is a diverse and powerful cast of actors and performers. John Derek is memorable as Joshua the stone cutter. Anne Baxter is Nefretiri who yearns for the love of Moses. Cedric Hardwicke is an agreeable and levelheaded Pharaoh Sethi. Edward G. Robinson is the traitor to his people memorable for constructing the false idol golden calf. Vincent Price is the villainous and diabolically likable Baka. The beautiful Debra Paget is Baka's slave girl Lilia. Yvonne De Carlo gives a very thoughtful performance as Sephora, Moses' earthly love. John Carradine is Aaron. Woody Strode can be seen as the King of Ethiopia. Laboriously produced, Cecil B. De Mille's THE TEN COMMANDMENTS looks as though it was filmed and acted in a style more suitable to the early days of Hollywood. But that is a very positive quality. The film takes biblical events and turns them into Hollywood's version of history quite effectively. This style of filmmaking brings the larger-than-life scope of the Old Testament to the screen preserving the mystery and awesome power of the concept of a monotheistic divinity. One very effective feature of this film that reinforces this concept are the unearthly looking special effects, which are so eerily disturbing and beyond our comprehension that they truly approach a successful vision of the universal power of God. These distinctively unique special effects by the innovative John P. Fulton are essential to the telling of this story. Elmer Bernstein's rousing and inspirational score is brilliantly moving as it reinforces the vision that De Mille has created. Interestingly, in the earlier parts of this film De Mille shows us the construction of an Egyptian empire. We are witness to and experience the ingenuity of man to engineer and create such mammoth structures. But De Mille through the use of these special effects wipes all this out and shows the futility of man's efforts to subjugate other men when divine intervention prevails. This is such a brilliantly visual film that it still evokes awe and wonder to this day. This 40th Anniversary boxed set handsomely holds the restored and widescreen version of this epic film.

"His god IS God!"
That's the last line Yul Brynner utters in "The Ten Commandments", and for me, that is really the end of the film; the whole rest of the Wandering in the Desert isn't all that interesting, compared with what had gone before. You might wonder why then a five-star rating, but that's how much fun I find all the "Egyptian" characters in the movie. They certainly have all the best parts: Sir Cedric Hardwicke as Pharoah Seti; Yul Brynner as Ramses, heir presumptive; Anne Baxter as Neferteri, the throne princess destined to marry solely a Pharoah; Dame Judith Anderson as the Memnet, Egyptian slave in on a big secret; Vincent Price as Baka, the Master Builder of Seti's treasure city. Throw in Edward G. Robinson as Dathan; even though he's a Hebrew overseer, he spends most of his time among the Egyptians. Star Charlton Heston as Moses is actually kind of boring--he's one-dimensional and has no character development. But every time one of those "Egyptians" comes along on camera--pow!--you've got some wonderful scenery chewing. Check out the great special effects, too.

Good but not great edition of a classic
I already had "The Ten Commandments" on DVD, but with almost no extras and no commentary, it wasn't all that satisfying. This new Collector's Edition is easily worth its low price, to me, even as a replacement. The colors are breathtaking, Elmer Bernstein's store is still luscious, and it's probably as close to what DeMille intended as you'll get on a screen smaller than twenty feet.

I enjoyed Katherine Orrison's commentary track quite a bit (and have put her book on the movie on my wish list), although much more about the movie than some of her amateur theological comments. After spending so much time with Henry Wilcoxon, DeMille's right-hand man on this and many other movies, she has anecdotes and understanding that help you understand how the film was made. I had no idea it took five full years to make, or how some of the seemingly-odd decisions were made or even how some of the effects were created.

The other extras are a bit disappointing. The six-part documentary (complete with titles in Paramount's "Star Trek" font because they can't recreate the hand-lettering of the movie's titles, over leather that shows up in richer color than I've ever seen it) doesn't offer nearly as much as AMC's "Cecil B. DeMIlle" biography from earlier in 2004. That special included pre-matte shots of the parting of the Red Sea - the actual water in the tank, including the sides of the parted Red Sea, and how it was created. Paramount may not own that documentary, but some of that footage should have been on this disc. Without it, there are still some good interviews, but not enough behind-the-scenes footage that we now know exists.

If you like "The Ten Commandments" and don't have it on DVD, this is for you. If you have the older version but like it a lot, this one's also for you - but get the Cecil B. DeMille biography when it comes out on DVD, too.

An enduring film classic
Cecil B. DeMille's wonderful epic is a film for the ages. The entire cast is excellent, beginning with Charlton Heston's devoted and obedient Moses who lives only to serve the Lord and deliver his people from Pharoah's bondage; Yul Brynner's excellent reading as the fierce, stubborn Rameses who witnesses God's miracle from a hill overlooking the Red Sea; Anne Baxter whose love and desire for Moses was so intense and consuming that she killed for him; Sir Cedric Hardwicke's poignant Sethi who tries to forget Moses but never loses his love for his adopted son; the massive exodus of the Hebrews from Egypt to freedom; the exciting pursuit by Rameses' charioteers and soldiers of Moses and the Hebrews that culminates in the memorable Red Sea escape and the destruction of the Egyptians, with Rameses left alone to realize that Moses' God is God.

Great Film STILL Short Changed
I wonder why this edition wasn't held for the C.B. DeMille bio that Turner just produced. Instead we get a lot of anecdotes from Orrison, whom made an inaccurate statement that Brenner and Heston were about the same age. This is wrong, Brenner was in fact 9 years older than Heston. Also, her commentary really spotlighted an actor named Clint Walker who was just an extra. This was a definite who cares moment, like many within her commentary.

C.B. DeMille was the star along with Heston, Brenner and Baxter. There should have been more attention given to the 'stars'.

Why was I surprised that the packaging was 'downgraded'. You actually have to remove 'the first' disc to get to the second disc and no chapter card insert. It takes too much time to sum up this mess. Lets just hope that Warners will get the next edition right. This one needs work - except for the transfer that is which was fine the first time around without the ho hum 'extras'. ... Read more

Reviews (27)

"A Bad Little Girl Named Melba Niles"
Poker is the setting and the power of corruption is the theme of The Cincinnati Kid.The two protagonists in the poker match are The Kid (Eric Stoner, played by Steve McQueen) and The Man Himself (Lancey Howard, played by Edward G. Robinson); youthful, exuberant, but inexperienced and innocent challenger vs. the accomplished, dedicated, wise yet dessicated champion.

The primary vector of corruption is Melba Niles (played by Ann-Margret) in a remarkable role.At the outset her husband (The Shooter, played by Karl Malden) complains that she cheats at everything as she puts together a jigsaw puzzle by trimming the wrong pieces with manicure scissors. Her influence despoils everything it touches:Shooter's "reputation is the one of the few stable things in a world of crumbling values" at the start of the movie; he's the only dealer everyone can trust.By the end of the movie his reputation is in tatters, giving "an occasional helpful card" to The Kid at the whim of Slade (Rip Torn) who threatens to expose Melba's past.The portrayal of Shooter's descent is well done; Melba laughs and mocks as he wrestles with his conscience ("I'll only help him if he really needs it.He might not need any help at all.").

In an early scene Christian (The Kid's girl, played by Tuesday Weld) and Melba go to the movies.As Christian describes the movie to the Kid, she is puzzled that people in the movie "valued their lives more than their honor".The Kid explains (as to a naive child): "Well, yeah.What good is honor if you are dead?"At some level the movie "The Cincinnati Kid" seems to ask the obverse question "What good is your life if you don't have your honor?"

Later, Melba asks the Kid (with Christian present) about the upcoming game with Lancey; Christian didn't know about this major event in the Kid's life and she goes home to her parents feeling hurt, thinking that she doesn't have The Kid's confidence, that he doesn't even tell her about it.The Kid ends up thinking that maybe she doesn't love him anymore.

During Christian's absence Melba tries to seduce the Kid, and at first the Kid can resist her, recognizing Melba's corrupting influence and not wanting to cuckold his friend The Shooter.But because of the confluence of circumstances (Shooter's dishonesty and Christian's indifference) he succumbs to her.As you might expect, the Kid pays a heavy price for this weakness.

Other attractions are the snappy dialog, and the final showdown between the Kid and the Man is a classic scene not to be missed.

this is one of my favorites!
every time this movie comes on TCM, i have to look at it. the stud poker scenes are intense. Steve McQueen and Edward G. are suberb. i just love it! and the title song sung by the Great Ray Charles is a treat. i just love it. Worth ordering and adding to my collection.

I miss about the few seconds on New Orleans Jass
Please, please please release a DVD. Sometimes this great
movie is still shown in German TV, but too seldom. And I'm
hungry for the few moments of New Orleans Jazz (perhaps Geo Lewis?). 4stars of because there is no DVD

The arrogance disciple against the experience master!
This is a cult film all the way and certainly one of my favorite issues of Norman Jewison. Few times before or since this picture have ever been such adrenaline confrontation and dramatic tension in any card game .
Edward G. Robinson is the old master and Mc Queen the young man , capable to conquer the world just in one gamble . In the middle of the great depression this movie has had too many similar works through the years, but this is the definitive to date .
The supreme Goddess of the middle sixties Ann Margret and the masterful hand of Jewison makes of it a fundamental CD for your personal collection.

Don't waste your gambling money on this stinker
There is a reason this film (and I use that term loosely) has not been released on DVD.. I am a huge Steve McQeen fan, but this is a terrible movie... Poor Ann-Margaret..no wonder she never really was taken seriously as an actress.. This movie reminded me more a musical, without the music.. (Think "Showboat").. cheesey lines, uneven editing, hey the list goes on and on.. I know, the current poker craze has everyone jumping on anything having to do with the game.. but save your money.. this movie stinks.. ... Read more

Reviews (34)

Gangsters. A hurricane. Danger. Fine acting. Wonderful!
I've heard a lot about this 1948 film and had never seen it. I sure was in for a treat. Filmed in black and white, the tension starts right at the beginning and doesn't let up till it runs its full 101 minutes. It's the story of an ex-GI who visits a Florida Keys hotel run by the father and widow of a former buddy who was killed in action. The hotel, however, has been taken over by gangsters. And there's a hurricane brewing. Add some great directing by John Huston from a play written by Maxwell Anderson. Then throw in the stars of the day. What a mix! What a film!

I'm not a big Humphrey Bogart fan. I usually find him stiff and wooden. But he's better in this film, showing real emotion and animation on his face. Maybe it's because his leading lady is Lauren Bacall, cast as the widow. She fresh and young and beautiful and there is real chemistry between them. And then there is Edward G. Robinson. His gangster screen presence sure is real. He's the best of the best in this kind of role. All the performances were great but Lionel Barrymore, cast as the crippled owner of the hotel, is one of the best actors I've ever seen. With all this talent and terrific screenplay, though, the only academy award winner in the lot was Clare Trevor. She's cast as the gangster's girlfriend, aging and alcoholic. There's one scene in which she's forced to sing in order to get a drink. She's lost her voice but she pushes through the song as her small audience exchange knowing looks between them. It was more than an outstanding performance; it was absolutely sensational.

And then there's the hurricane. And a scene on a boat. All this was done so well that I didn't miss any high-tech special effects. The mood was set. The danger was there. There's even a great theme about good and evil and willing to put your life on the line. And it was all combined perfectly with the screenplay, the directing and some of the best acting to come out of that era.

I give this film one of my highest recommendations. It's a real treat. And a classic that has not only stood the test of time, but has aged like fine wine. Don't miss it.

BARE KNUCKLED BOGART & RUTHLESS ROBINSON
"Key Largo" is the exciting suspense/drama directed by the legendary John Huston. It features Bogie at his care worn, worldly best and pits him against the best mug since Cagney - Edward G. Robinson. Plot wise: when a retired war hero comes to tell the father of a slain soldier about his son's final days, he discovers that the hotel they are staying in has been over run by gangsters during one of the worst hurricanes to ever hit the Florida coast. This film costars Lauren Bacall and the fantastic Lionel Barrymore.
Warner Home Video's DVD is looking pretty darn good. The gray scale of this black and white movie is well represented and the blacks are definitely black. Shadow delineation and contrast levels are superb with fine detail promenantly evident throughout. Fine details occasionally shimmer and there is some minor edge enhancement but nothing that will terribly distract from your viewing experience. The audio is mono and, although at times strident, is well represented throughout. We get no extras on this disc, a real shame.

Edward G. Robinson at this best
Key Largo is just one of John Huston's many memorable films that somehow always seem to transcend the intention--the Hollywood intention being to make a few bucks--and to this day still plays very well and indeed appears as something close to a work of art. It features what I think is one of Edward G. Robinson's finest performances as Johnny Rocco, a sociopathic gangster holding the off-season personnel of a seaside hotel hostage as he concludes a counterfeit money deal.

The story begins as Major Frank McCloud (Humphrey Bogart) pays a visit to the family of one of his G.I. buddies who was killed in Italy during WWII. He finds the welcome from the hotel's only "guests" chilly except for Gaye Dawn (a funny and perhaps prescient Hollywood stage name) played by Claire Trevor who is drunk and befriends him. After a bit McCloud discovers that the hotel's owner Nora Temple (Lauren Bacall) and her invalid father-in-law James Temple (Lionel Barrymore) have been tricked into allowing Rocco's gang to stay and now, as a tropical storm begins to blow, are being held at gunpoint. McCloud's delicate task is to keep the megalomaniac and murderous personality of Rocco under some control so that he doesn't murder everyone.

Note that this is a splendid cast, and they all do a good job. Note too that Huston adapted this from a play by the versatile American playwright Maxwell Anderson. So the ingredients for a good film are clearly in place; and aside from some self-conscious mishmash with the Seminoles of Florida, this is a success. Anderson's desire to explore the psychopathic personality (some years later he adapted William March's novel The Bad Seed into a stage play) finds realization in Huston's direction and especially in Robinson's indelible performance. The utter disregard for the lives of others and the obsessive love of self that characterize the sociopath reek from the snares and callous laughter of the very sick Johnny Rocco. I especially liked the crazed and thrilled grin on his face when he emerges from the hold of the boat in the climactic scene, gun in hand, imagining that he has once again fooled his adversaries and is about to delightfully shoot Humphrey Bogart to death. What I loved about this scene was that Huston did not think it necessary to contrive a fight in which the good guy (Bogart) beats the bad guy by fighting fair. What happens is exactly what should happen, and without regard for the fine points of Marquis of Queensberry-type rules. Also good is Rocco beginning to sweat in fear of his life as the storm moves in while Bogey gives us his famous laugh and grin as he assesses the essential cowardice of the petty gangster.

Lauren Bacall, in one of her more modest roles, does a lot without saying much, and Lionel Barrymore is very good as the cantankerous old guy in a wheelchair. Claire Trevor actually won an Academy Award as Best Supporting Actress for her work, and she was good as the alcoholic moll with a heart of gold. Robinson won nothing, but he really dominated the picture and demonstrated why he was one of Hollywood's greatest stars.

Bottom line: watch this to see the gangster yarn meld into film noir with overtones of the psychoanalytical drama that characterized many of the black and white Hollywood films of the forties and early fifties.

Not the Best, But Good
I ordered the DVD of this film to replace my old VHS. First, the DVD quality is excellent, though I was never able to access the 'special features'. On my player, the movie just starts. As a fan of the Bogarts, I enjoy this movie like their others. However, I've always felt the parts for both Bacall and Lionel Barrymore were somehow, wrong. Bacall seems almost like she's on Prozac, so restrained is her performance. So many of Barrymore's movements and body language seem more suited to the stage than a movie--just a little too theatrical. However, I've never seen EG Robinson do better, and his toadies all give superlative performances. Claire Trevor deserved her Oscar for this movie, she's that good. Overall, it's still a movie worth having for any fan of the classics. I just don't think it's their best.

The calm before the storm...
Frank (Humphrey Bogart) travels to Key Largo to visits James Temple (Lionel Barrymore), the father of a dead friend who was killed in action during World War II. When Frank steps off the bus he is received by some hostile strangers. It appears that these strangers are from Chicago and are renting the Temple's hotel for the week and they do not expect any visitors. Nonetheless, Frank is warmly greeted by James and his daughter-in-law, Nora Temple (Lauren Bacall), whom he helps prepare for an incoming hurricane. However, it seems that there is something much more sinister lurking in the shadows than the approaching tempest that is over the dark waters of the Atlantic. The beginning obviously displays the calm before the storm, pun intended, as the two threatening elements in the film draw nearer. This sets up a suspenseful atmosphere that begins from the initial scene and lasts until the last scene. Huston was very well aware of what he was doing when he directed this film noir as it offers a good cinematic experience. ... 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

Description

An insurance claims manager gets a familiar feeling of foul play while investigating the death of a man whose wife just had him sign a double-indemnity policy through her insurance agent and lover. ... Read more

Reviews (80)

"I never knew that murder could smell like honeysuckle."
Double Indemnity is a superb story about an insurance salesman who gets involved with a woman married to a husband she doesn't care for. The murder of her husband is planned perfectly and brilliantly, but it all comes crashing down. The cause was due to themselves (Plot details).

Although it received a total of six Oscar nominations (With no wins), none of the nominations went to Fred MacMurray as Walter Neff ("Insurance salesman, age 35"). Neff is very successful at what he does (He's been at it for eleven years). He visits the home of Mr. Dietrichson to renew automobile insurance but soon finds himself falling in love with his wife Phyllis Dietrichson (Barbara Stanwyck), who convinces Walter to have Mr. Dietrichson sign an accident insurance without his knowing it so he can be killed. But it's the Double Indemnity clause that gets them really involved, since they will get double the pay.

Stanwyck provided, for me, a superb performance as the cold, calculating Mrs. Dietrichson, who used Neff so she could get rid of her husband and collect up some money. Meanwhile, Walter finds himself getting involved with her step-daughter Lola. He discovers from Lola that her ex-boyfriend has been seeing Phyllis, suggesting perhaps that Phyllis has plans for him.

One of the most memorable performances in the movie is Edward G. Robinson's Barton Keyes, the claims manager, a brilliant fellow who is by hunches when a claim doesn't seem right. He's the one who figures out that the Dietrichson claim doesn't seem right, but can't quite figure out who assisted. In fact, most of the safeguards put into the plot by Neff were done so to prevent Keyes getting any major suspicions. "I did it for the money and for a woman. I didn't get the money and I didn't get the woman". These words said by Neff form a sense of irony. The murder fell apart not because of the authorities, who were too dumb to figure it all out, but because of themselves. Murder's never perfect.

A film noir masterpiece...
Double Indemnity is a film noir masterpiece - chilling, dark, and very suspenseful. It features a great script with many memorable lines (for instance - "But I was wrong. You're not smarter, you're just a little taller."), an interesting plot with many good twists, and fantastic performances from two classic stars (especially Stanwyck, who won an Oscar for her portrayal of the evil wife).

Basically, Double Indemnity is about a less-than-brilliant insurance salesman, Walter Neff(Fred MacMurray), who falls for a beautiful married woman (Barbara Stanwyck) who wants to use him to get rid of her husband for the insurance money (hence the title, Double Indemnity). Although he resists her at first, Neff soon falls for the scheming woman and decides to help her plan the perfect murder. The movie itself starts after the murder has been completed with Neff leaving a message for his boss confessing what occurred and then goes back in time to the beginning of the scheme.

Double Indemnity is a great film - the idea behind it, interesting in itself, was brilliantly executed by the legendary director Billy Wilder. Consequently, Indemnity is a true film noir classic and must-see!

STANWYCK AND MACMURRAY WERE OSCAR ROBBED
Yes, they deserved the 1944 Academy Award. Both of them. They were robbed. Perhaps its because they played murderers and MacMurray was caught in Stanwyck's spider web. The movie was released during the prime war years (1944) and Hollywood chose to go the sentimental route with "GOING MY WAY". But Ingrid Bergman's performance in "Gaslight" in no way comes close to touching Stanwyck's bravura in "Double Indemnity". It was a close race between them but Bergman won out (inexplicably because her performance in Gaslight is overwrought and over the top). Stanwyck's evil restraint with one look that could burn a house down. And that wig!! That awful unflattering wig on her! Maybe that's why she didn't win?????

Possibly the Best Noir Film of the Era
Starting with an amazing cast and a great plot, this film lives up to anyone's expectations. Life insurance agent falls into the clutches of a woman looking to collect a double indemnity on her husband's death benefits because he died accidentally. One problem - her husband is not dead yet. By ensnaring the insurance agent into a plot to kill the woman's husband and making it look like an accident, everything is in place. I don't want to give much more away, but, even if you are not a film noir fan, you will find this to be a tightly written, wonderfully acted drama. This classic is well worth owning.

GREAT FILM - TERRIBLE, TERRIBLE DVD TRANSFER
Do not purchase this DVD release. Its transfer to DVD is truly horrendous.

Wait for some other distributor to release it.

Wonderful film. Totally botched DVD release.

Wait for it... ... Read more

Amazon.com

Whodunnit? That's the question Jack Albany hopes to expose in Disney's 1968 madcap comedy Never a Dull Moment, starring Dick Van Dyke. Albany, a struggling actor in New York, is mistaken for infamous West Coast gangster Ace Williams and whisked to the mansion of mob boss Leo Smooth to be hired as lead mobster in an art museum robbery. Joining the company of a motley group of operators, Albany realizes that his only chances for survival depend on performing the acting job of his life: impersonating a dangerous killer. Things get dicey when the real Ace Williams shows up, since one of this pair of aces is about to be discarded as a joker. Albany's only hope for escape is to convince an innocent art teacher (Dorothy Provine) to become his ally. Combining Van Dyke's physical comedy with a stellar supporting cast (Henry Silva, Slim Pickens, and Jack Elam) make this lesser-known Disney film a delightful family jaunt. (Ages 8 and older) --Lynn Gibson ... Read more

Reviews (2)

Dick Van Dyke at his best !
Dick Van Dyke plays an actor who gets mistaken for a gangster. And they want him to help them steal a painting, He try's escaping from the big house but something always goes wrong. He gets in to more trouble when the real gangster that he is supposed to be, turns up!

Watching Dick Van Dyke playing a gangster is VERY funny. A film not to be missed!

Fun Live Action Disney
Well, in the hit and miss world of Disney live action DVD releases, it looks like we lucked out on this one. The ever so king of physical comedy, Dick Van Dyke, is presented here in this delightful comedy in its original aspect ratio of 1.75:1. As one viewer stated, buying Disney live action DVD's is like rolling dice. Looks like we have a winner on this one. Van Dyke scores a hit with his performance along with a delightful support cast of quality actors; Edward G. Robinson, Dorothy Provine, Jack Elam, Henry Silva and Slim Pickens along with several recognizable character actors.

This DVD one not to be missed. But keep boycotting the "Black Bearded" releases and reward Disney when they bow to the wishes of the consumer. ... Read more

Amazon.com

Attempting to do for Westerns what his Guns of Navarone had done for World War II action epics, director J. Lee Thompson crafted Mackenna's Gold as a lavish, absurdly ambitious variation on Erich Von Stroheim's Greed, resulting in a last-gasp Western so eager to encompass the genre's traditions that it turns into a big, silly, wildly entertaining mess. Gregory Peck surely had more serious intentions when he signed on, and he brings prestigious gravitas to his glum role as Marshall Mackenna, who gets shanghaied into searching for the gold-filled canyon of an elusive Apache legend. The rest of the 1969 film labors to undermine Peck's respectable demeanor; how else to explain Omar Sharif as a Mexican villain, Julie Newmar as a hot-blooded Apache temptress (with underwater nude scenes that were celebrated in Playboy magazine), and a jaw-dropping finale that's so ridiculous it's impressive in spite of itself?

Formerly blacklisted screenwriter Carl Foreman and composer Dimitri Tiomkin joined up to coproduce the film, and one can only imagine how Anthony Mann or Howard Hawks might've handled Foreman's sensible script. Thompson goes for scenic splendor, heavy action, and heavier emotions, casting everything at a fever pitch that's wildly enjoyable without betraying his "serious" intentions. A stable of Hollywood veterans (Eli Wallach, Raymond Massey, Edward G. Robinson, and others) appear in lively supporting roles--they're all dispatched in a garish Apache ambush--and Camilla Sparv is an ingénue with plenty of fighting attitude. Gold fever reaches its peak, along with some awesome special effects, and divine intervention reaches new heights of intensity. Top it off with José Feliciano's theme song, and you'll be in zany Western heaven. --Jeff Shannon ... Read more

Reviews (14)

An action-packed western, but not for kids. . .
Mackenna's Gold seemingly has it all; an outstanding cast, magnificent scenery, breath-taking action and a haunting soundtrack. Unfortunately, the plot is so convoluted it makes a pretzel look like a straight line.

Gregory Peck and Omar Shariff are the headliners, as their personal battle provides the major subplot to the search for a valley of gold called "The Lost Adams." They are almost too ably assisted by a stellar supporting cast including Telly Savalas, Richard Kiel and Julie Newmar.

The basic plot is typical of many westerns; disparate characters setting aside their differences to search for riches. However, there are so many characters, so many sub-plots and so many twists, turns, and double-crosses that a moment's inattention can cause the viewer to lose track of what is happening. This can be a very enjoyable film to watch, but it does require some effort on the part of the audience.

The movie is very violent and contains a good deal of adult content. Parents are cautioned to take a good look before letting younger children watch.

Mackenna's Gold may be a bit too long, too complicated and too violent, but it successfully provides a mature variation on the classic horse opera and will be a welcome change of pace for fans of the genre.

A fantasy western about gold fever and greed.
This is one of those odd Hollywood westerns that almost fits into the "science fiction" category. I like everything Gregory Peck has ever done... so I enjoyed the movie. I also liked the music if not the lyrics (Old Turkey Buzzard). The plot doesn't make much sense and could've been better. But this odd movie still qualifies as a classic in my mind.

The only movie ever produced about the Lost Adams Diggings
And it's a good one. The movie doesn't stick strictly by any version of the legend. It varies from the McKenna account as much as it strays from all the others. Still, Edward G. Robinson plays a great Adams. For me the most memorable scene has most of the characters sitting around a camp fire. One of them recognizes Adams as 'The Adams', and they all persuade him to tell the story of how he came to find the gold, how the massacre happened, and how it was lost. A great scene, even if it weren't about the Lost Adams Diggings legend. Adams sat around a lot of camp fires in the 1870s and told that story, probably about the way Edward G. Robinson tells it in the movie.
The final episode is pure fabrication, but spectacular enough to make up for it. This one's a winner and you don't need to care or know about the Adams legend of lost gold to appreciate it.

The McKenna version of the legend actually centers on Jacob Snively, the German or Duchman in Adams' tale. Snively fought at San Jacinto, served as Paymaster General for the Republic of Texas, raided commerce on the Santa Fe Trail as a 'land privateer' for the Republic and drifted west in 1849. The German found his talent by striking gold and starting several gold rushes in Arizona and New Mexico. (Snively was killed by Apaches in 1871) J. Frank Dobie's book combines several conflicting accounts given by Adams. John Brewer's story, (another survivor) varies considerably from the other accounts.

Ultimate Movie Marvel
Although, it has been trashed in the West, it was one of the biggest hits in India in those days. Movie audiences still feel its magic as one of the finest epic tales. And, I have not seen any other movie as many times as this. Every now and then, its re-release in the local movie theater sees it run for atleast 6-8 weeks.

There is a gorgeous charm that emanates from this movie. And that is reflected by the Grand Canyon, Colrado river, those Apache Indians, the haunting music,J.Lee Thompson, Tell Savalas, Omar Shariff and my man Gregory Peck. May His Soul Rest in Peace.

A Golden Classic
One of my all time favorites I was really glad when it was released on dvd. This western has it all. Lots of action, big name stars, and gorgeous scenery. This movie is why I bought a big screen (55inch) tv. You just can't appreciate this kind of cinematic splendor on a 27 inch screen. The opening sequence is terrific. The gunfight between Gregory Peck and the old indian chief is awsome in surround sound making the richoteing bullets bouncing off the canyon walls puts you right in the middle of the action. Omar Sharif pulls it off rather well as a mexican bandit. Gregory Peck...well shucks he's good here to as the marshal shanghaid to lead a band of misfits and cutthroats to an unbelievable valley of gold.
If there's anything for me to critize I guess it would be some of the hokey special effects. I still laugh every time I see the obvious models used in the near death scene on the creaky bridge. Still I can overlook some minor faults in such a great western. Not perfect yet few movies are. I give it 5 stars for sheer entertainment.
One other bit of critique is to the 5.0 soundtrack. Why leave out the subwoofer? It would have been great in the final earthquake sequence. ... Read more

Reviews (2)

High Crime in Rio worth a look
This film is a solid sixties style tour in every aspect. It is a model of a "Mission Impossible' adventure and resembles an early James Bond flick *(Thunderball) in the carnival scenes and LARGO (minus the eye patch and Spectre ring) is even in THIS picture! A professor (Edward G. Robinson) plans a jewel heist and has four experts handle the theft. All of this takes place in Rio during 'Carnival' and we are shown how professionals work together to obtain the goal. A Playboy, A Safecracker, An Electronics Expert and A Military Enforcer work as the team. There is tension and struggle here that will keep you interested and the melody of the Carnival will remain with you long after the picture is over. A neat little plot twist is included in the ending scene in Rome. Well worth the viewing, not the greatest epic ever made but certainly entertaining.

Haunting Moods
Without re-hashing the synopsis of this classic heist thriller shown above, let me say I really loved two things about this DVD: being in Rio De Janeiro in the mid 60's, and the incredible haunting music by Ennio Morricone. His soundtrack is as good or better than any other movie he scored. There is some great, haunting bossa nova music in this caper. This movie was virtually impossible to find on video. Now you can view in the clarity of DVD. This movie is worth having if you love Brazil, and want to hear some classic moody 60's music. ... Read more

Description

4 movies on 2 DVD's

1. Fighting Caravans (1931, run time 80 minutes) Also starring Lili Damita
A young frontiersman (Cooper) facing a misdemeanor jail term, talks French-born Felice (Damita) into posing as his wife to avoid being arrested.They join a wagon train headed West, and he is sole trail guide as they battle Indians and a villanous gun-runner.Their seesaw relationship provides an interesting love theme.Based on a Zane Grey novel.

2. A Farewell To Arms (1932, run time 83 minutes) Also starring Helen Hayes
Based on Ernest Hemingway's novel, this is a World War I love story about paramedic Lt. Henry (Cooper) and nurse Catherine Barkley (Hayes).This poignant, ill-fated romance takes place in Italy where the two fall in love and will stop at nothing to be together. Academy Award Nominations: Best Picture; Best Art Direction.

3. Meet John Doe (1941, run time 135 minutes) Also starring Barbara Stanwyck
A suicidal down-and-outer, "John Doe" (Cooper) is manipulated by an ambitious politician and a newspaper writer (Stanwyck).This Depression-era parable illustrates the decency of the common man triumphing over cynicism, big-money influence and power.Academy Award Nomination for Best Original Story.

4. Stolens Jools (1931, run time 20 minutes) Also starring Norma Shearer
This humorous story is an investigation of the theft of Norma Shearer's jewelry at a big, star-packed party.Party goers include Joan Crawford, Laurel & Hardy, "Gabby" Hayes, Buster Keaton, Maurice Chevalier, Irene Dunne, the list goes on and on. ... Read more

Amazon.com

In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931.Renoir brought to the sordid tale all the color and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G. Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. But this time around, all three characters have moved several notches down the ethical scale. Robinson, who in the earlier film played a college professor who kills by accident, here becomes a downtrodden clerk with a nagging, shrewish wife and unfilled ambitions as an artist, a man who murders in a jealous rage. Bennett is a mercenary vamp, none too bright, and Duryea brutal and heartless. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant and ice-cold.

When it was made the film hit censorship problems, since at the time it was unacceptable to show a murder going unpunished. Lang went out of his way to show the killer plunged into the mental hell of his own guilt, but for some authorities this still wasn't enough, and the film was banned in New York State for being "immoral, indecent and corrupt." Not that this did its box-office returns any harm at all. --Philip Kemp ... Read more

Reviews (17)

It takes a Village.
Greenwich Village, that is, which we learn was home to "hop-heads" and "long-hairs" in 1945 (!) Fritz Lang's masterpiece tells the story of a middle-aged bank clerk (Edward G. Robinson, dependably brilliant) who escapes the dreariness of his job and his marriage to a harpy by spending his Sundays indulging his only hobby: painting. His life gets considerably more exciting when he runs across Joan Bennett, a con-artist and tramp who -- with the help of her pimp, the always-amusing Dan Duryea -- proceeds to slowly drain his financial wherewithal. Of course, the greatest irony is that Robinson has conned the con-artists: they think he's a wealthy artist because, in his attempt to impress Bennett, he neglected to mention that he's a just a lowly bank cashier. The movie shows us a dizzying amount of untruths, scams, cons, misperceptions . . . nothing is what it seems. Truth is relative, baby. While Lang has a lot of fun with all the illusions, he also dedicates himself to the principle that no good -- or bad -- deed goes unpunished, and that great noir principle, the inescapability from Fate, starts weighing more and more heavily on our characters as they perambulate through their sundry fictions and cons. -- For the sake of historical interest, it should be noted that *Scarlet Street* is an American remake of Jean Renoir's excellent *La Chienne*. (This story was based on a French novel; hence the concern with painting. Needless to say, the story migrated easily to Greenwich Village during the budding of the beatnik movement.) Renoir, in his film, spends a considerable amount of time building up the characterizations -- at the expense of the plot, to some degree. Lang, however, correctly understood that these characters are not as inherently interesting as the situation itself, with its myriad variations on the theme of Reality and (or versus) Illusion. As a result, Lang's movie is rather more suspenseful than Renoir's. Also of note: *Scarlet Street* is a follow-up of sorts to Lang's previous movie, *The Woman in the Window*, which featured the same cast (Robinson, Bennett, and Duryea)! It's a masterpiece, too. [A special word of congratulations must go to "Alpha Video": Congratulations on crafting the ugliest-looking and poorest-sounding DVD I have ever seen or heard. It's a great thing, when masterpieces in the Public Domain can be snatched up by any unscrupulous producer. Simply burn an old magnetic-tape version onto a digital disc, press a few thousand copies, and voila! -- Instant profit. Bravo!]

IRONIC FILM NOIR
Fritz Lang directed this American version of Renoir's LA CHIENNE; in the American setting it's a sordid, lowlife melodrama about illicit love, and it never takes root - it's one of Lang's best American movies. This film was originally banned in New York State - that is, denied a license - as "immoral, indecent, corrupt, and tending to incite crime" - a judgement which seemed off the wall even in 1946! Eddie Robinson is a frustrated, grey - haired cashier married to a nag (Rosalind Ivan); his only pleasure is in painting on Sundays. He falls for a tart (Joan Bennett) and sets her up in a Greenwich Village apartment, on stolen money. Bennett happens to be in love with a low-life lout (Dan Duryea), who beats her...........The script, by Dudley Nichols, is rather heavy-handed, and Lang's emphatic style pounds home the ironies and the murder-plot devices. Robinson's paintings were actually done by John Decker. There is a unique twist in this lurid little thriller; it was the first film to show the culprit unpunished for his crime (although he shows remorse).

The sin hurts much more in the memory than in the flesh!
Robinson is a person without collective importance ; a looser , a henpecked man . He has only a hobby: painting . In that world he gives wings to his fantasy , and those dreams become his identity signal . The unhappiness and the loneliness are his real beloved friends . Suddenly this fantasy world will open widely when his alter ego is pulled into world of crime by Joan Bennet and his manipulative boyfriend Duyrea. He falls in love with Joan very soon he'll discover a shock revelation: the first husband of his wife is still alive , so he thinks at last the happiness knocked the door of his destiny but ...
Only the fertile imagination of Fritz Lang could give this melodramatic plot a touch of genius . Once more , we should remember that Lang was one of the greatest directors in the cinema story . Since he left Germany after finnishing The testament of Dr. Mabuse ; he decided to work in United States and he'll find out in the film noir the perfect vehicle to express the dark shadows and the haunting ghosts that will appear unavoidable in the mind .
And being Lang one of the most remarkable sons of the german expressionism , to face that challenge was perfectly adequate to his skills and abilities .
If you're a hard fan of the film noir ; you find in this genre that the hell is in your mind , the guilty has no ending and nobody deserves a bit of trust . The love , under these circunstances is unable of growing up and the road for the weakness , the evilness and the cruelty are clear to shine .
In my personal selection of unforgettable Lang's films' american stage, I find several that form part of the top list : Fury , You only live once ; The Woman in the window , Big heat and Clash by night.
So don't doubt even a second about this film . It deserves an important place in your private selection.

A worthy Fritz Lang film all round
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: *** /**** Sound: ** /**** Plot: ***1/2 /**** Acting: ***1/2 /**** Cinematography: ***1/2 /**** Direction: ***1/2 /****

The first time I watched this film the whole effect did not set in until a few days later and it began tugging at me in the back of my mind (as do a lot of Fritz Lang films, at least, for me). There is much more to this film than a simple "film noir" although it is noir indeed.

You start to sympathize with Christopher Cross (Edward G. Robinson) because he is a true artist - he thinks of the world philosophically and poetically (as many artist do). To create art you must almost make yourself oblivious to the everyday machinations of the world, almost to the point of innocence, and Edward G. Robinson's character portrays the artist in this exact manner.

All he wants to do is paint but all his life he has been told what a failure he is and so he is nearly ashamed of his art and hides it from people but like any true artist he can not stop his love of art and so he hides in the bathroom like a prisoner to paint in solitude.

I love the scene where he finally shows one of his paintings of a flower that Joan Bennett gave him to an acquaintance who looks at the painting in total surprise and asks "Where did you find a flower such as this?" and Edward G. Robinson points to the flower in the glass sitting upon the bathroom sink and the acquaintance looks at him dumbfounded, points to the painting and asks "THIS? is what you see when you look at that?" - Edward G. Robinson nods and gives him a look that seems to say "You mean, you don't see it this way?" - it's a PERFECT scene expressing the inner feelings of an artist (any kind of artist).

Joan Bennett plays the scheming femme-fatale to perfection and you hate her guts. Dan Duryea also encourages Joan Bennett's character well as a two-bit thief who really needs, and deserves, to have his head kicked in.

Whoever did the actual paintings for this film did a great job as they are very surrealistic, modern-art and quite representative of Christopher Cross's psychic innerself.

If you're expecting the quality of a Criterion Collection DVD you will be disappointed, but if you have patience you will enjoy this top-notch film by a great director.

"They'll be masterpieces."
In "Scarlet Street" mild-mannered bank cashier Chris Cross (Edward G Robinson) dreams of being a great painter one day. His nagging wife ridicules his hobby and constantly humiliates him. Then one day Chris meets a young woman named Kitty (Joan Bennett). He thinks she's being mugged, but she's really a 'working girl' squabbling with her slimy boyfriend, Johnny (Dan Duryea). Chris and Kitty strike up a conversation, and soon Kitty and Johnny are ready to use Chris for whatever money they can get out of him.

Chris seems to be just too nice for his own good. He's a reliable, largely underappreciated employee who plugs away daily at his desk. But painting is one thing he's passionate about, and it saves him from the sheer boredom of mediocrity. He's a rather unhappy character--first his impossible wife is kicking him around, and it doesn't take long for Kitty to sink her materialistic little hooks into Chris too. As events take place within the film, the strength and weaknesses of Chris Cross are explored. Will he exploit opportunities or is he destined to always be a slave to his character flaws? Many marvelous little touches raise this film above the average and make it memorable. I'd never heard of this film until recently when I came across the title in a book about film noir. As a fan of director, Fritz Lang's films, I sought out this film. The plot is extremely clever--full of unpredictable twists and turns. Kitty deceives Chris, but he is guilty of his own sort of deception.

The DVD quality is not great, but I am not downgrading the film for that. The DVD is produced by Alpha video at a very reasonable price. The film is not re-mastered at all, and there are no extra features. At some points during the film, a thin vertical line was visible, and the sound quality varied (seems to get louder), plus there were some crackles. The black and white picture is grainy at times. All of these defects, however, did not interfere with my ability to watch and enjoy the film. It's about the same quality as a television version of the film. If you enjoyed "Woman in the Window" (a much more famous Fritz Lang/Edgar G Robinson/Joan Bennett film) you should enjoy this one too--displacedhuman ... Read more

Reviews (18)

A Neglected Masterpiece!
I first saw this film on the late show back in the 50's when I was a mere child. It scared the pants off me then, and pretty much does the same now. This is what I call staying power. Too bad more people aren't aware of this film. The sad thing about the presentation of this film (I have both the VHS & DVD) is that the sound recording needs definite restorative work. This would really be disturbing if the film itself wasn't so compelling. The production values as well as the production team are all A-List, from the fine direction of Delmer Daves to the outstanding mood-setting score of Max Steiner to the casting of pro stars like Edward G. Robinson & Judith Anderson sharing the screen with teen magazine heart-throbs Rory Calhoun and Julie London. Lon McCallister is fine in what is really the lead role, and a very fine performance by young Allene Roberts (whatever happened to her!). The DVD is pretty much of the bargain-bin variety, though there are a couple of little extras on it...most notably explaining that Robinson's career came to a standstill after this film because of the Hollywood blacklist. The suspense factor is among the highest I can recall (EVER!); the script is literate and clever; characters are well-defined; and the creepy mood is consistant. See this film and tell all your friends; you will NOT be disappointed.

Worth seeing for all kinds of reasons.
Ooh, fun! Like film noir? Don't miss this, if only because of Edward G., and just so you can say you saw it. If Disney couyld make a good film noir back in the 40's, this might have been it. And that's a compliment. Hitchcock wouldn't have done this:L it's too moody and down-home. It's different. Ma and Pa Kettle quit foolin' around, lose a few years, and go out to find a few corpses.

1. See if you can guess my favorite shot ( with Aileen Roberts, alone)

2. See Judith Anderson in something besides REBECCA: "Every living soul has their Oxhead Woods..."

3. See Edward G. in a lesser known film, and still doing an excellent job ("...it can still be you and me, Jeannie...")

4. See Julie London. Sassy and delinquent here: "A fine swimming date we had, I don't think!" "I'm not gonna give you any kisses...I want you to miss 'em..." Gorgeous and talented, you could also sense the Hollywood ambition exuding from her during this film...no?

5. Rory Calhoun. A good job. Not given TOO much to do here except drink, hunt, beat up Lon McAllister and grab Julie London, he does it well: "Because it'll be a prettier bond if you buy it for me..."

If this is a piece of American candy, it's still a good piece--and more complex than you'd expect. (Probably moreso than I am capable of revealing here.)

Don't just leave it for the kids. In fact, it may scare the hell out of them. Ultimately, I believe there are aspects of this film that are of more than average, 'happy-day' depth.

Buy it. A true noir fan, you'll watch it more than once.

Should be restored but...
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: ** /**** Sound: *1/2 /**** Plot: *** /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

This is not a great film but very eerie, strange, nearly on par with something like "Carnival Of Souls" or "Incubus".

Rory Calhoun and Lon McCallister are solid in their roles. Arlene Roberts is good but does not come close to the sexiness of Julie London. Edward G. Robinson creates the mystery and suspense while his sister (in the film), Judith Anderson (Mrs. Danvers in "REBECCA") enhances and intensifies Robinson's esoteric character.

Granted, the film transfer is quite soft and glowing and the sound hisses throughout, however, it is still quite interesting to view and, due to the digital transfer process, the sound is stabilized.

Until/if a restoration is ever available this is the best we'll see but, in my opinion, is worth the low asking price - if you are expecting the quality of a Criterion Collection DVD you will be disappointed.

Brilliant Offbeat Daves Film, Horrible Print for DVD
As with many of Delmer Daves' films, The Red House shows originality, flair, and an intense weaving of landscape, theme, and character (rare among American directors working in the studios). He consistently achieves moments of great subtlety. In addition, Lon McCallister and Allene Roberts deliver striking performances under Daves' sensitive direction. It's no surprise that Scorcese noted this film in his "Personal Journey Through American Movies". Unfortunately, the print of the film used for the DVD is HORRIBLE -- there have to be better prints out there of this film!

A Long Lost Classic!!
Edward G. Robinson is fantastic as the man with the dark secret, in this excellent thriller! I bought it expecting to be either bored or amused. Instead, I was pleasantly surprised! The Red House is actually pretty creepy. Robinson plays a farmer who is not what he appears to be. There's a red house in the woods where something terrible happened many years earlier. His daughter (Arlene Roberts), and his sister (the magnificent Judith "Mrs. Danvers" Anderson) live with him. A boy comes to help out on the farm and the web of mystery slowly unravels. I highly recommend this for anyone who loves thrillers, chillers, or just plain good movies... ... Read more

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There isn't much to connect these two features beyond the general umbrella of film noir and the presence of Loretta Young (hardly a noir icon), but the Roan Group's collection features excellent prints of both of these often poorly represented classics. The clean, sharp pictures and clear sound show these two films off at their best.

The legendary story that hovers over Orson Welles's The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to E.G. Robinson, who is marvelous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget, and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles the director is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-levelNazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of film is a well-designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village.

In Cause for Alarm, Loretta Young is an elegantly tailored happy homemaker caring for her invalid husband (Barry Sullivan), a former pilot suffering from a mysterious heart disease that has driven him to almost complete madness. Convinced his wife and his doctor are in collusion to kill him, he's carefully recorded the "evidence" of their crime in a letter to the district attorney and prepares to turn the tables on them, but even his own sudden death can't stop the chain of events that plunges his wife into a waking nightmare. An unusual entry into the film noir school of paranoia, Tay Garnett's melodramatic thriller trades the dark alleys and long shadows of urban menace for the sunny, tree-lined streets of middle-class domesticity. Young, so often cool, calm, and carefully coifed in her studio roles, beautifully evokes the American Dream as the dutiful wife who collapses into a state of hysterical desperation. Spinning a web of lies toretrieve the damning letter, her world falls apart around her as she unwittingly sinks herself deeper into a morass of suspicion and circumstantial evidence. Though this is less slick and stylish than his claim to film noir fame The Postman Always Rings Twice, Garnett spins a simple premise into a tense, terrifying ordeal, and Young's deadened narration adds an eerie mood of doom to the suburban setting. --Sean Axmaker ... Read more

Reviews (2)

Noir fans won't be dissapointed
This is a great buy for fans of film noir, and/or the actress Loretta Young (I'm both) On one side you have Orson Welles "The Stranger", the movie he made to prove he could work within the studio system without problems. The film was still cut, Welles version was over 2 hours long and the version released in the US was 85 minutes long, and the international release was 95 minutes. This DVD contains the 95 minute version, the cut scenes are thought to be lost. Even with the alterations this is still a terrific film with beautiful photography, tension and great performances all around.

On the other side is Cause for Alarm!, from the director of "The Postman Always Rings Twice". Even with a low budget and simple storyline this manages to be both tense and interesting. It's not a classic but definitely deserves attention from movie lovers. In both films Loretta Young plays a woman who is both scared but strong incredibly well.

The Roan Group did a very good job with the transfers, especially at this price. There are still scratches and grain, but it's nothing distracting. This set is a worthy purchase for noir and classic film fans and shouldn't be overlooked.

Roan DVD is 95 min version, not 85 minutes.
The Roan Group DVD, "Film Noir #1: The Stranger/Cause for Alarm" has the 95 minute version of the Stranger. Great transfer and a great film. You also get Loretta Young in "Cause for Alarm" on the other side. Watta deal! ... Read more

Reviews (9)

Little Story
This is a fairly decent performance by Edward G. Robinson and the rest the cast but the story is not that compelling and the sets, music, and direction don't stand out. I recommend "Key Largo" over this one. Both Edward G. Robinson and Humphrey Bogart put in great performances. Not only that you have a better story, music, and direction. Besides you can get "Key Largo" on DVD for less than this movie.

Even fans of this movie should consider the fact it is expensive for VHS. I wouldn't buy "Little Caesar" on VHS anyway, I would wait for it on DVD if you like it.