Reviews (61)

Loneliness, Love, Solitude, Eternity
"The Ghost and Mrs Muir" is one of those extraodinary films that works on a deeply emotional level. One would think, "A romance between a woman and a ghost? How silly!" Well, that kind of reasoning does not apply here. Joseph Mankiewicz, along with splendid performances by Tierney, Harrison, Sanders, along with the rest of the cast (including a very young Natalie Wood) achieve a very moving, touching story about loneliness and unrequited love. Miss Tierney, one of my favorite actresses, portrays Lucy Muir-a young widow of strong character who moves into a haunted cottage by the sea, and develops a friendship/romance with the cottage's ghostly former owner, Captain Gregg, played with great charm and gusto by Rex Harrison. This "love that can never be" will only reach fruition when Lucy dies. Captain Gregg, knowing this, decides to leave Lucy, leaving her with no memory of him. After a disastrous affair with a philandering author, played by George Sanders in one of his signature "cad" roles, Mrs. Muir resolves to live her life companionless-until her true love comes to claim her in death. Lucy grows old and finally dies, Captain Gregg returns for her, and the two walk off together into the mists of eternity. This film has a very quiet charm-it never bashes you over the head with pathos-it just works its way into your heart. Even its humor is very subtle-not the thigh-slapping kind, but far more subtle. Add to this lovely photography, and, of course, Bernard Herrmann's remarkable score. Herrmann proclaimed this score his personal favorite, even jokingly referring to it as "my Max Steiner score". It is filled with great warmth and longing, and, even listening to it by itself without the images, brings tears to my eyes. It is very hard, in my opinion, to pull off romantic films without becoming maudlin and sappy. Happily, this gem of a film pulls it off beautifully. They certainly DON'T make them like this anymore!

A Little Gem
This is a fabulous film. The gorgeous Gene Tierney was born to play the widowed Lucy Muir--a young woman seeking personal fulfillment, as well as financial independence from her loathsome in-laws for herself and her young daughter, Anna (portrayed by Natalie Wood). While house hunting, she finds herself irresistibly drawn to a seaside dwelling considered uninhabitable by its agent and, after taking up residence, falls in love with the spectral former owner, Daniel Gregg (Rex Harrison), a full-of-himself sea captain who hasn't quite come to terms with his accidentally having taken his own life. After helping Lucy to acquire financial security, Gregg unselfishly opts to make the ultimate sacrifice for the sake of his soulmate: concerned that she feels divided between his world and that of the living, he suggests to her while she sleeps that her recollection of their association, if any, is a dream and so it is until the film's climax. This tender, perfectly-cast love story is presented without the slightest trace of mawkishness under Joseph L. Mankewicz' direction and the performances are all stellar--George Sanders as Lucy's caddish suitor is particularly entertaining. Bernard Herrmann's appropriately haunting soundtrack is justifiably famous--one can detect the direction he'll take in his future work--and is available on CD from Amazon. It's entertaining on its own and definitely worth having.
The DVD is mastered from a good print and has nice, crisp contrast; the audio is fine, too. I haven't watched the film with the commentary, but the extras are nice and include an A&E Biography segment of the life of Rex Harrison, a theatrical trailer, and a collection of stills. Viewers are offered a choice of Spanish or French dubbing, as well as Spanish or English subtitles, and the menus are easily navigable. This film spawned a short-lived, late-60's TV show starring Edward Mulhare and Hope Lange in the title roles, as well as a condensed, made-for-TV production on Fox's Hour of Stars in the late 50's that has only recently resurfaced--it stars Michael Wilding and Joan Fontaine.
Kudos to Fox for staying competitive with the likes of heavyweights such as Criterion and Kino in their treatment of the classics in their catalogue. They provide quality (including nice keep cases as opposed to Warner's crummy cardboard "snappers") at very attractive prices and are clearly attuned to the public's expectations unlike, for instance, Universal. Fox has made it very easy on the wallet to own some of the finest movies ever made. If you agree with me that they're doing a good job, drop them a line at FoxDrop@4icc.com to let them know.

Unexpectedly wonderful love story
On paper, the premise of the movie sounds ridiculous. A ghost and a woman falling in love with one another? But watch what happens and you'll totally be drawn in. After Lucy Muir moves with her young daughter and trusted servant to a seaside cottage, she discovers that it's haunted. However, she is so in love with the house - it suits her in a way she can't define - that she can't stand the thought of leaving. After the ghost, a sea captain named Daniel, fails to scare her away, they reach an agreement to live amicably with one another.

The conversations between the two are initially hilarious, but gain a strong emotional dimension as the prim Victorian woman and coarse sea captain get to know each other better. Their connection becomes so powerful, you almost forget at times that the captain is a spirit. However, as right as they are for one another, there is still that physical barrier between the living and the fleshless. What's also interesting about the film is its psychology. Daniel is Lucy's ideal man - is he really a ghost, or just the product of her overactive imagination? Regardless of what you think the answer is, the question becomes increasingly important during the second half of the movie, when Lucy is pursued by a flesh-and-blood man, a suave and oily writer, who is certainly not her ideal but makes her commitment to the sea captain waver.

As Lucy, Gene Tierney is wonderful - she is great in both the humorous scenes and the troubled, emotional ones. She makes Lucy come alive as the proper, well-bred lady who also has a quirky side to her, and a resilience not found in many women of the time. And Rex Harrison is marvelous as Daniel. Though I first cracked up when hearing his gruff, earthy voice, he quickly won me over. Especially memorable is his bedside monologue to Lucy, which will bring tears to your eyes.

An unusual film with spectacular music and cinematography
More of a romance and a mood piece than a ghost story, this lovely little one-of-a-kind work from Fox (of all studios) brought out the very best in most of the people concerned. The score by Bernard Herrmann, has been justly praised again and again, and its evocative and sophisticated (and extremely non-sugary) romanticism it rivals his later beautiful work for Hitchcock and Truffaut. The gorgeous cinematography (eloquently described on the commentary by Greg Kimball) is exceptional, with exceptional black and white tonalities and use of mise en scene. And Gene Tierney, that most beautiful and inconstant of Hollywood actresses, was never more up to a script than here: her manneredness never seemed more charming, and she is quite fine in her later scenes when she's asked to be her character in middle age (and then old age). Only Rex Harrison, in a barking performance as the dead Captain Gregg, doesn't seem up to standards of the others. The film has nice extras, especially in Kimball's very informative commentary, which gives fine background material about how things were filmed and how Fox operated.

Poodle rates this 5 wags of a tail
This great film touched me deeply.
I love everything about it.
Please do not forgett the tissues. ... Read more

Reviews (142)

Fasten your seatbelts, you're in for a bumpy ride!
Bette Davis is perfect as aging movie star who takes newcomer Anne Baxter under her wing. Little does Bette know that Anne is only too happy to walk all over Bette as the former climbs the ladder of success. -- This is Hollywood looking at Hollywood; with all it's glamour, back stabbing and the insatiable desire to be on top. The story line as well as the acting are dated, but even today you can have a grand 'ol time with this entertaining classic! Look for a young Marilyn Monroe in a bit part as a party guest!

Classic NY Theatre comedy
Biting, satiric comedy of the New York theater world. Bette Davis is aging stage actress Margo Channing who finds her career (and her romantic life) threatened when "adoring" fan Eve Harrington (Anne Baxter) worms her way into a job as Margo's assistant. Seems Eve has plans of her own for her future and they may include Margo's next stage role and her fiance. Incredibly witty script by director Joseph Mankiewicz is acted to the hilt by all, especially Davis and Baxter and, in standout supporting roles, George Sanders as a bitchy critic and Celeste Holm as Margo's loyal, long-suffering best friend.

Bette Davis, Bette Davis, oh why are you so great?
And god she is. The Best actress ever, in the best screenplay ever. If I had one thing to say about "All About Eve", it would probably be about Bette Davis. There's nothing else to say. If the film had been less witty, less wise, it would still be a classic because of her performance. She just put herself right on the showcase and and did it. She never wondered, or feared anything. She pushed everybody out to make her way, and changed herself into an instrument for Margo Channing. There's no doubt that Bette Davis was very like Margo Channing in real life. But that just adds to the character, she knew she was Margo Channing, and used it to push the boundaries further to what and actress could do, to what was the limit of what was tolerable or not. But she didn't mind that, and look how it paid off at the end. Never, and I insist on never, is there a moment in the film where you don't believe here. Not a second, not the blink of an eye. It is the perfect performance. And the movie has everything else as good as Bette Davis. When you think of Thelma Ritter, or Celeste Holm, or Marilyn Monroe, or George Sanders, or even Hugh Marlowe, in this picture, they're all astonishing. The dialogue is so brilliant you just can't help to wonder, how long can a writer take to write this? A month? A year? A decade? I don,t know, but it every word in it is placed there for a reason. That's "All About Eve". Every bit of it is carfully put in the perfect ensemble, surrounded by Bette Davis. And to say that Claudette Colbert was suppose to do it...

No good deed goes unpunished
"All About Eve" excels on so many levels it's hard to keep track of them all. It won eight Oscars and was nominated for 14 (a record that wasn't tied until "Titanic"). It has been called "The bitchiest film ever made." It's probably one of the most literate films ever made, too, with references to "paranoic outbursts," Fort Sumter and the dramatists Beaumont and Fletcher. (It's unlikely that its screenplay could be produced today.)

The story of how an innocent-seeming young ingenue slowly worms her way into an older actress's heart and takes her career away from her is now fifty years old but is as fresh as if it were filmed yesterday. The performances are outstanding across the board, and feature Bette Davis as star Margo Channing, Anne Baxter as usurper Eve Harrington, Celeste Holm as Eve's best friend, Thelma Ritter as Eve's live-in companion, and Marilyn Monroe in a small role as Miss Caswell, "a graduate of the Copacabana School of Dramatic Art." This is a film to treasure and to enjoy over and over.

There is also a brand-new book devoted to the movie: "All About 'All About Eve'" by Sam Staggs.

"You can always put THAT where your heart ought to be"
This film is an example of the superb writing talent that Hollywood boasted before the 80's and 90's (when American filmgoers became addicted to special effects and vulgar physical comedy). Whereas the film was one of the most successful of 1950, chances are today even with the Best Picture Oscar under its belt, 50% of Americans would probably lose interest halfway through. The casting is perfect - there was no better choice for Margo Channing than Bette Davis (by the way - stage actress Tallulah Bankhead thought the character was a sendup of herself, and granted, there are shades of Tallulah in Margo). And if I had one wish, it would be to have George Sanders's deep, snide voice - you can just hear the sarcasm dripping in every line he speaks. Some feel that "Sunset Boulevard" lost Best Picture to "Eve" because where the former directed its animosity toward Hollywood, the latter took exception with the theatre; yet after viewing the film several times, it becomes apparent that "Eve" aimed its barbs at all forms of media (stage, screen, television, and even newspapers - the party scene alone sufficiently skewers the glamorous yet empty side of Hollywood and television). It makes one think - just how real ARE these actors and actresses we see on the screen, and how exactly did they get where they are today? The acting business is certainly one of the most competitive, and I can't imagine they all got where they are by being sweet and gentle.

By far, the lion's share of praise belongs to Mankiewicz, who had just won an Oscar for "A Letter to Three Wives" and not only directed this masterpiece but WROTE it (and before simply dismissing such an accomplishment, I dare you to compare a script of this film to any of today's film scripts - 90% aren't NEARLY this tight or fluid). Just one thing - toward the end, what exactly happens to Thelma Ritter's character? She just kind of vanishes, and yet she's one of the most lovable characters in the film. I think it would have made a nice touch if Mankiewicz could have given her a chance to get a couple zingers in on Eve at the end, too. But that's light criticism - this film is one of the most flawless Hollywood films ever made and, if you haven't treated yourself to it, by all means, do so immediately. ... Read more

Reviews (11)

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all it's feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all its feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

MGM's Superb Version Of The Sir Walter Scott Classic
There have been many versions of Sir Walter Scott's classic 1819 swashbuckling story "Ivanhoe", over the years but few of them come near MGM's well crafted and rousing 1952 version that reteamed the two Taylors (Robert and Elizabeth), for the second time. This version benefits greatly from being filmed on location in England, taking full advantage of the nature terrain which gives this film such an authentic feel and flavour. It marked another late career triumph for veteran MGM star Robert Taylor who was fresh from appearing in the blockbuster "Quo Vadis", in Rome when MGM sent him this time to England to take the lead role of Sir Walter Scott's heroic character fighting injustice in the medieval England of Prince John. This film has everything the swashbuckler fan could ask for, daring sword play, a beautiful leading lady, wonderous recreations of 12th Century England, and stunning action sequences filmed on the largest outdoor Castle set ever constructed by MGM while it had a studio in England.

The adventure story of the dashing knight Wilfred of Ivanhoe who champions the cause of the absent King Richard the Lion Hearted while he is away with the crusades is well known to most school age children but this film version is no mere comic book characterisation. Robert Taylor found a real niche late in his career playing these hero's of early English history and in "Ivanhoe",he is perfectly cast as the dashing knight who not only fights the wrong doers trying to steal King Richard's throne, but finds time to romance two beautiful women in Saxon princess Lady Rowena (Joan Fontaine), and the lovely young Jewess Rebecca (Elizabeth Taylor). The opening of the film finds Richard's throne usurped by his younger brother the wicked Prince John (Guy Rolfe). While returning from the Crusades Ivanhoe discovers that King Richard far from being dead as his brother would have the country believe is actually being held for ransom in Austria. Returning to England Ivanhoe finds the Saxon's under siege from Prince John and on a visit where he attempts a reconciliation with his estranged father Cedric (Finlay Currie)he sees first hand the work of Prince John and his follower Sir Brian de Bois-Guilbert (George Sanders). After an attempt is made to rob one of his father' guests the elderly jew Issac of York (Felix Aylmer) Ivanhoe becomes acquainted with his beautiful daughter Rebecca who pledges her jewellery towards King Richard's ransom. Entering a jousting tournament hoping to win the prize money to free Richard, Ivanhoe comes up against his mortal enemy Sir Brian de Bois-Guilbert and is heavily wounded. He is taken to Rebecca's house to recover however Sir Brian not only seeks to destroy Ivanhoe but wants to take the lovely Rebecca as his own. In an attempt to flee Prince John's forces both lady Rowena and Rebecca are captured by Sir Brian who takes them to the Norman fortress where he imprisons both Isaac of York and Ivanhoe's father Cedric. Ivanhoe gives himself to Sir Brian in return for the other release but he is betrayed and imprisoned with the others. Sir Brian however hasn't counted on the Saxon's revenge and soon the castle is undersiege. Despite an attack which sees the castle taken by the Saxons Sir Brian manages to escape with Rebecca who is then put on trial for supposed witchcraft. When it looks like Rebecca will be burned as a witch Ivanhoe arrives to her defense and offers to settle the verdict by one to one combat with Sir Brian. During the fateful contest Sir Brian is killed and just in time King Richard arrives home to claim back his throne displace the usurper Prince John. The conclusion sees Ivanhoe reaffirm his commitment to the lady Rowena despite his obvious attraction to the younger Rebecca.

Nominated for an Academy Award in 1952 for Best Picture this was one of MGM's biggest productions for the year and no expense was spared on sets, colour photography and action sequences. Robert Taylor was so successul in this role that MGM assigned him to play Sir Lancelot in "Knights of the Round Table", the following year to be also directed by Richard Thorpe. Rarely has Elizabeth Taylor appeared more beautiful than as the young heroine Rebecca. Hers is an interesting role which thankfully presents a sympathetic jewish character into the story. Elizabeth herself never wanted to do this film and was always scathing of her own performance here passing the entire film off in interviews as "just a big medieval Western". That really doesn't do the film justice as it is first rate entertainment of the old school. George Sanders and Guy Rolfe make superb villians and Sanders indeed manages to breath extra dimension into what could have been simply a one dimensional villian with his playing opposite Elizabeth Taylor in particular. The spectacular jousting scenes and the siege of the Norman castle are sequences rarely bettered in these type of films and every effort was made to give the film the correct period feel. The costumes by Roger Furse and art direction supplied by Alfred Junge really enhance the atmosphere and authentic historical look of "Ivanhoe" making it one of the better thought out historical adventures from the 1950's decade.

First class entertainment is provided all the way by MGM's "Ivanhoe", and as an example of what the studio could produce even as it went into decline in the 1950's it is top rate. The two Taylor's would never appear together again on film but they make a most interesting screen team and "Ivanhoe", boasts the sort of supporting cast in Joan Fontaine, George Sanders , Emlyn Williams and Finlay Currie that makes me wonder where the equivalent talent is in Hollywood today. Enjoy Robert Taylor fighting evil in 12th Century England in this wonderful version of Sir Walter Scott's immortal "Ivanhoe".

Same Category as The Adventures of Robin Hood
Why is this movie not released on DVD???? Does the studio have any plans on releasing soon???

A Beautiful Movie
I saw this movie in 1952 when I was 7 years old. Years later I bought the Laser disc and am dismayed there is no DVD.There have been many swashbuckling movies but this is the best. It is a ripping good story, poignant as well. Beautifully filmed! Robert Taylor Joan Fontaine and Elizabeth Taylor are superb-as is George Sanders. I have shown this film over and over again to my children and they love it. It is romantic without being vulgar. It has plenty of action" without being gruesome. It has character. And lest I forget a wonderful musical score. ... Read more

Reviews (14)

Wonderful adventure, obscure Jules Verne
When this first came out I was around 3 years old! My memories were hazy but fortunately I was able to catch in on a reissue around 20 years later. The action set-pieces are nothing short of visually spectacular, as Disney was always on the cutting-edge, years ahead any other studio. One sequence in particular, when the characters cling for their lives to a piece of ice SLIDING down a mountainside following a landslide, I believe inspired a similar (if not as logical) scene in INDIANA JONES AND THE TEMPLE OF DOOM (Spielberg has long been a huge Disney fan!). My 2nd viewing revealed that, like some Roger Moore 007 films, the plot is strung along so thinly between action scenes at times it's hard to recall how and why the characters got where they are! And I'm not entirely sure, but based on a footnote in the Verne novel THE MYSTERIOUS ISLAND, I believe the book this is based on is actually titled "CAPTAIN GRANT'S CHILDREN". (Anyone who knows better, please let me know!)

Wonderful adventure, obscure Jules Verne
The action set-pieces in this are nothing short of visually spectacular, as Disney was always on the cutting-edge, years ahead any other studio. One sequence in particular, when the characters cling for their lives to a piece of ice SLIDING down a mountainside following a landslide, I believe inspired a similar (if not as logical) scene in INDIANA JONES AND THE TEMPLE OF DOOM (Spielberg has long been a huge Disney fan!). On the other hand, like some Roger Moore 007 films, the plot is strung along so thinly between action scenes at times it's hard to recall how and why the characters got where they are! I'm not entirely sure, but based on a footnote in the Verne novel THE MYSTERIOUS ISLAND, I believe the book this is based on is actually titled "CAPTAIN GRANT'S CHILDREN". (Anyone who knows better, please let me know!)

Great film!
While this movie is a bit hokey when compared with modern technology, It is a fun movie to watch with the whole family. I remember seeing it in the theater with my mother when I was young. It was so exciting, especially the night spent in the tree, and the journey through the ice caves, (I don't want to give to much away if you haven't watched it yet). It has something for everyone, action, adventure, suspense, romance, and music. Although a bit hokey, I would highly recommend it, just make sure you leave your expectations for high quality special effects at the door (remember, it was filmed in 1962). Lighten up, sit back and enjoy!

A Walt Disney/Jules Verne Story Worthy of any Collection
I concur that this account is based on the Jules Verne story titled "CAPTAIN GRANT'S CHILDREN". It is a beautiful mix of suspense, fantasy and charm that only Walt Disney himself could bring to the big screen. With majestic and divine photography, we can only hope that Disney Studios will not "Black Beard" the release and produce a cleaned and digitally restored DVD with the Original Aspect Ration preserved.

A Must-have Disney Adventure
For Disney Adventure, Jules Verne, and Hayley Mills collectors and completists, this one even qualifies as a disaster movie! It probably helped to inspire Spielberg & Lucas for the Indiana Jones movies! Although not a perfect film, Disney collectors must have this gem! Enjoy!! ... Read more

Amazon.com essential video

Disney's 1967 animated feature seems even more entertaining now than it did upon first release, with a hall-of-fame vocal performance by Phil Harris as Baloo, the genial bear friend of feral child Mowgli. Based on fiction by Rudyard Kipling, the film goes its own way as Disney animation will, but the strong characters and smart casting (George Sanders as the villainous tiger, Shere Khan) make it one of the studio's stronger feature-length cartoons. Songs include "The Bare Necessities" and "Trust in Me." --Tom Keogh ... Read more

Reviews (64)

A good movie with even better music
Mowgli was raised by wolves and now he's growing up in the jungle. He's been in the jungle all his life, so he doesn't know what it's like to even be around another person. But it's not as bad as it sounds, Mowgli has tons of great friends such as the hilarious Baloo the bear. But he also has a few enemies, mainly a gruesome tiger named Shere Khan, who doesn't like humans at all. It's up to Mowgli to survive in the wilderness, and with the aid of his friends, he'll have a good chance of not having to worry about Shere Khan. But will Mowgli ever find out what it's like to be around other people?

"The Jungle Book" is a good movie. It has good animation, it's entertaining with the animated drama and the hilarious antics of Baloo, and it has some of the best songs out of any of the Disney movies, such as "Bear Necessities." I recommend anybody who likes animated movies to take a walk in the jungle and give "The Jungle Book" a chance.

It's just a bare necessity!
The feature-length cartoons Disney continues to produce are fine films, but nowhere near as good as classics like The Jungle Book. Unburdened by the modern-day Disney habit of giving every film a heavy family-friendly moral message, the Jungle Book is just 100% pure fun, with a cool hero (Mowgli), entertaining friends (especially the bear Baloo) and some great villainous characters (most memorably Shere Khan the tiger). This movie was made years before Phil Collins or Elton John were drafted in as cartoon soundtrack composers, and the songs are just awesome - "The Bare Necessities", "I Wanna Be Like You" and Kaa the snake's hissed encouragement to "Trust in Me". Get this DVD while you can!

Contrasting review
I know how many people gave five star reviews on here. Mine is not a five star review. I am giving you my straight opinion on this movie.

One, I don't think this movie is fit for family viewing. Adults will not find it interesting or entertaining, and it hardly serves any purpose in teaching moral lessons to children. Two, this cartoon almost borders on animated pedophilia. It just looks sick and wrong, really, with this older, scary bear taking this young innocent away and teaching him his "bear ways."

This is not charming entertainment. This is a pain. If you want a charming, older Disney movie you should check out their animated version of Robin Hood. The music in Robin Hood is far better as well. I have always disliked "The Jungle Book."

To Run with the Wolves: A Girlhood Dream
I'm a little kid, don't remember exactly how old, elementary school age. My teenage cousin promises to take me to see *The Jungle Book*. She falls asleep. Minutes are ticking down to show time. I poke at her but she snoozes on. Elders tell me to leave her alone. I stand over her and glare, using my powers of mind control to will her awake. It works!

I was just desperate to see this movie. I loved all the Disney animals stories and *The Jungle Book* turned out to be my favorite. The lively songs, lush animation, compelling characters, and strong storyline left quite an impression on me. Can never forget the loving and gentle Bagheera, that kooky monkey, and Baloo, Baloo the lovable bear. Ooh, and that sinister Shere Khan striking fear in the hearts of all and the slithering sneaky snake always up to no good. The voices used are wonderful and fit the characters to perfection. I was in heaven, and it has stood the test of time by remaining one of my favorite animated films.

I just wanted so badly, just longed to be a girl version of Mowgli. Raised by wolves, living wild and free in the jungle, playing with the bears and apes. Climbing trees and swinging from vines. Yep, that was the life for me. I sobbed at the end, crying: No, Mowgli, don't leave your animal friends behind and live with people. You are making a big mistake! Would he return to his original home? I wondered, why of course he would!

As an adult, I understand Mowgli's decision to join the village and live with his own kind. The girl in me, though, still doesn't get it and yearns to run free.

jungle book
jungle book is an enjoyable and funny film it is wonderful for children and i thought it was good as well. ... Read more

Amazon.com

What's scarier than scary kids? Village of the Damned is the definitive scary-kid classic, a truly unsettling film drawn from John Wyndham's novel The Midwich Cuckoos. The brilliant opening sequence depicts the sudden and temporary paralysis of a small English hamlet, which is followed by the town's women becoming mysteriously pregnant. The spawn of this occurrence are a dozen eerie, blond-headed children, who are either gifted, evil, or "the world's new people." A splendid outing, not least in the way it catches parental anxiety about this small new stranger in one's home. (It was remade by John Carpenter in 1995.)

Children of the Damned follows up with a story about six more creepy kids, brought from all over the globe to huddle in a old church in London. An excellent opening half-hour gets bogged down in the movie's global-political ambitions (it's very much a cold war offering), but it has its share of shivery moments--the sight of the six youngsters striding down a London street as though they controlled the world is a chiller. But where's the blond hair? The two films are different in tone; Village feels like a fifties sci-fi offering, with an old-school star (George Sanders) and classical style; Children is a film of the sixties, with hipper techniques, urban setting, and young actors Ian Hendry and Alan Badel. But both have those damned kids. --Robert Horton ... Read more

Reviews (5)

invasion of the aryan children from outer-space
Truly this a classic of both science-fiction as well as horror.
Of course the horror is not the traditional bloodletting but rather psychological.It reads like a hitler youths takeover of a
typical english village "while everybody is asleep".these fatherless children all sport blond hair & blue eyes and definite
ideas about how things should run in the now quaranteed village.
They also seem to exhibit no distinct personnalities but more of a "group mind"(hence the fachism analogy)that has no problem crushing all dissidents , even their own parents.

On the technical side I have to again commend Warner for including it's sequel (children of the damned)on the disc , making it a great value.While the sequel suffers in comparison
to the original it's still worth seeing.
We as customers should support Warner & it's "double bill" DVD's
so that other companies might jump on the bandwaggon (so far only
MGM has released some interesting double bills)and increase the circulation of classic films on DVD.

A Different Type Of Village People!
Caught this flick by chance on TCM yesterday a.m. and watched it straight through (which was easy, considering it clocked in at a mere 77m). A truly creepy beginning leads to a disturbing middle which then leads to a shocking conclusion. All told a great sci-fi/horror flick without an ounce of blood (why horror? The scene where the kids will a guy to blow his head off with a shotgun is terrifying!). The eyes are creepy, the blonde wigs are creepy, heck, even the clothes the kids wear are creepy. A real great flick from the British school of cinema. Disturbing? You bet. But quite entertaining.

Classic British Science Fiction
This original black and white version of Village of the Damned is one of my all-time favorites. It stands head and shoulders above most of the other entries from this era by avoiding the pitfalls the others fell into.
The film is unrelenting in its bleakness, and there is not one second of humor to relieve the tension that slowly builds to the film's climax. Yet it is subtle and unpretentious, and the performances are understated and convincing. I consider this to be among the finest appearances by George Sanders; say what you will about him a person, he was perfect for the part of the father in Village.
This film is uncompromised by sentimentality, and there are no punches pulled in any scene, least of all the climax. That being said, the director never stoops to resorting to gore or gratuitous violence, but prepare yourself for a very unsettling experience.
Village of the Damned is far superior to its sequel (as is almost always the case) as it is to most other films of the same genre and period. It is also much better than the remake with Christopher Reeve, although the newer film is better than I expected.
If you're looking for a feel-good, lighthearted film watching experience, look elsewhere. But if you love well-made classic science fiction, this is one to add to your collection.

STILL HEAVY!!!
I remember my parents taking me to the village of the Damned when I was 8 or 9 years old and it totally freaked me out!! To make things worse, they took me back to see the sequel!! Spent the whole movie on the floor of the theater (Ha! Ha!)I saw the film recently and it stands up very well (much better than the colorized remake). The kids eyes are truly frightening!! The plot also stands up very well (at least the first of the two films). This film is as high a quality as, and is similar to, original episodes of the twilight zone. NOW: will they get around to releasing DAY OF THE TRIFFIDS on DVD?

Scared The Crap Outta Me!!!
First, let's do the math . . . it's May 26, 2004 and the DVD for this flick isn't coming out for another 2, 3 months or so. I haven't seen this movie in it's entirety since I saw it in a theatre in 1960 or 1961! (When I was 8 or 9 years old.) I can't recall much of the plot but it seems to me that it's a bit clumsy if not contrived. But the kids with the glowing eyes really freaked me out! Hokey by today's standards but very effective then. And there's that one scene where someone, a man I think, is threatening the kids and this little boy says to him, "Leave us alone! Leave us alone!" And then the glowing eyes thing starts! Very eerie. I'm gonna get the DVD just to see if my memory of this movie is justified! Bring it on! ... 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

Description

"Last night, I dreamt I went to Manderley again." Rebecca’s haunting opening line conjures the entirety of Hitchcock’s romantic, suspenseful, elegant film.A young woman (Joan Fontaine) believes her every dream has come true when her whirlwind romance with the dashing Maxim de Winter (Sir Laurence Olivier) culminates in marriage. But she soon realizes that Rebecca, the dead first Mrs. De Winter, haunts both the temperamental, brooding Maxim and the de Winter mansion, Manderley. In order for Maxim and the new Mrs. De Winter to have a future, Rebecca’s spell must be broken and the mystery of her violent death unraveled. The first collaboration between producer David O. Selznick and Hitchcock, Rebecca was adapted from Daphne du Maurier’s popular novel and won the 1940 Academy Awards for Best Picture and Best Cinematography (Black and White). ... Read more

Reviews (115)

Gothic Greatness
From the opening shots and line about dreaming of a visit to Manderly again, to the final shots of Mrs. Danvers and the flames, Alfred Hitchcock creates a dark, eerie atmosphere that will remain with the viewer every time you see the film. Although Rebecca is never seen, her presence is felt throughout the entire movie. Laurence Olivier, as the late Rebecca's tortured husband is good, although I think his moods and personal torture are played too strongly. Joan Fontaine, never an actress I have especially admired, is surprisingly excellent as Olivier's new, unnamed, naive wife, thrust into a world she is unprepared to deal with. But the greatest performance of the film belongs to Judith Anderson as Mrs. Danvers, Rebecca's housekeeper, and consequently, Fontaine's nemesis. With her daunting profile and posture, and her chilling delivery of lines, she creates one of the most memorable film characters I have ever seen. With its winding plot, terrific performances, and the direction of Alfred Hitchcock creating tension and atmosphere on a Gothic scale, Rebecca is one of the greater suspense films I have ever seen.

Classic Suspense
The Best Picture in 1940 and an adaptation of Daphne du Maurier's famous novel. It is not at all surprising this movie won two Academy Awards and nine other nominations. Through the masterful direction of Alfred Hitchcock, you will be kept in complete suspense. The newly restored version from the original negatives is presented full-frame and has been digitally mastered for optimum picture and sound. The result is a sumptuous black-and-white film that is better than I have ever seen it before. They do say this movie gets better each time you watch it, and I must agree.

The opening scenes convince you that this is going to be quite a forbidding story. A meandering path overgrown with foliage and a ghostly manor (Manderley) appears out of the Cornwall, England mist. The gothic quality is only the stage for a love story haunted by the memory of Rebecca. While this is mostly filled with suspense and mystery, there are a few moments of humor.

While a young woman (Joan Fontaine) is vacationing in the South of France as a ladies companion, she meets a wealthy widower Maxim de Winter (Lawrence Olivier). His wife, Rebecca is said to have died in a boating accident. They fall in love, marry and then he takes her home to Manderley. She is ill prepared for such a position in society and stumbles through her days trying to adapt as best she can.

"Rebecca" is the theme of this movie, yet the heroine is the second rather timid Mrs. de Winter when she rises to the occasion and takes on this ghost who haunts her husband. Mrs. Danvers (Judith Anderson) manages the manor and seeks to keep the first Mrs. de Winter's memory alive in an almost obsessive way. She is cold and has no regard for Maxim's new wife's feelings. Judith Anderson is just magnificent in her role and her character is in a way is Rebecca's ghost personified.

The conclusion is surprising as we find out how Maxim really feels and the story unfolds one detail at a time to finish with a satisfying conclusion. You will never once think these characters are actors, they are their characters from start to finish.

You must watch this movie in complete darkness with just a few candles burning for it to be just slightly scary. One of my all-time favorite movies. Definitely worth owning!

Yummy Classic Movie
I have seen all of Hitchcock's American work. If you are familiar with his movies, you probably agree that, with the exception of "Family Plot", his films are delicious brain food! Rebecca is a beautiful, mysterious and tragic piece. Olivier and Fontaine are at the peak of their talent and beauty. By the way, if you like Joan Fontaine in this film, her performance is equally good in Hitchcock's Suspicion, with Cary Grant. Why aren't most modern actors this good, hmmm? Hey Mr. Soderbergh, please don't remake this one! There's a reason why we call them 'Classic'.

A classic shines.
A stunning transfer from Criterion. "Rebecca" remains one of the finest films of the 1940's, and features Joan Fontaine as the second mistress of Manderley, forever living in the shadow of her mysterious predecessor. Lawrence Olivier is perhaps detached in his performance, but nevertheless embodies the master of Manderley as few others of his generation could. "Rebecca" also contains the paranoia, suspense, and dreamlike mood that would color much of director Alfred Hitchcock's later work. Criterion continues to put the major DVD distributors to shame with its transfers of old films, and once again proves that although higher in price, their DVD's are worth every penny.

"We can never go back to Manderley again"
Joan Fontaine laments as she opens the film, obviously several years removed from her time at the lush, oversized estate, which recalls "Tara" from Gone With the Wind as a residence which is actually also a character in the movie. People remember the houses from these two films almost more than the characters. No coincidence that both films were produced by the ridiculously meticulous David O. Selznick. GWtW was of course the most popular film of all time, so Selznick figured he had the right idea about how to make a film. Details, right down to the last corner.

Alfred Hitchcock had made a career in London making films with complete autonomy. He basically called all the shots. When he got to America, he signed a four movie deal with Selznick. Rebecca is the first and best of the three. (no, not a mistake, I'll explain later) Rebecca was the only film by Hitchcock to win best picture from the Academy, although Hitch did not win best director. The film was basically a tug of war between producer and director. Selznick wanted the book followed religiously, Hitch wanted to take the basic idea of the book and add his own touches. Selznick wouldn't allow it, so Hitch was forced to make the film exactly by the book.

The film stars Fontaine as an unnamed young woman who while working as a paid companion for the unbearable Mrs. Van Hopper (Florence Bates), she meets and falls in love with the brooding Maxim de Winter (Lawrence Olivier). They marry after a quick courtship and go "home" to Manderley, Olivier's mammoth estate. Fontaine is very young and has no idea what she is getting into, especially when it dawns on her that Olivier's late first wife, Rebecca, still dominates the house. Her stationery, napkins, and rituals are still present, and Fontaine feels she has no chance against this woman.

The other problem in the house is the housekeeper, Mrs. Danvers (Judith Anderson),who creeps around the house, showing up at any time to frighten Fontaine. She is still obsessed with Rebecca, still keeps Rebecca's old room the same way, hairbrush at the correct angle on the vanity. She makes Fontaine feel she will never measure up, will never be a great lady of Manderley, something that Mrs. Van Hopper tried to tell her as well. Everyone and everything in the house revolves around this dead Rebecca, so much so that Fontaine almost can't live through it.

Rebecca never appears in the film, yet it is amazing how much of a character she is. When Fontaine tries to dress up for a ball, Danvers suggests a portrait on the wall which is supposed to be a long dead relative of Maxims. Of course, when Fontaine wears the dress, she realizes from Maxim's reaction that the woman and the dress were Rebecca and that she just reminded him of her.

Eventually the film goes into Rebecca's death in some detail. We never know for sure that we know all the details of the death, but it doesn't really matter. By the end of the movie, all the major characters in the film will have been changed. Some will have been destroyed forever.

Criterion has done a great job with this film, giving us a great transfer, as always, along with a superb commentary. The second disc features trailers, interviews with Fontaine and Anderson, making of featurettes, examples of Selznick's letters and his attention to detail, and how maddening it got for the master.

By the way, Selznick got three films out of Hitchcock. They were Rebecca, Spellbound, and The Paradine Case. Well, he really got four, but he gave one of them to RKO studios because he was unhappy with the story and he thought it would interest no one. What was the film Selznick gave away? It was Hitch's best film of all time in my opinion--Notorious. What a waste it would have been had Selznick been allowed to ruin Hitch's masterpiece. ... Read more

Description

One of the most important science fiction films of all time, H.G. Wells's "Things to Come" opens prior to World War II and takes the viewer on a hundred-year time trip to 2036 A.D. when a man and a woman are rocketed to the moon. This inspired saga predicts television, jet planes and evil dictators. Featuring fabulous sets, a rich musical score and sweeping visual grandeur, "Things to Come" is a truly spectacular film event! Features a pristine new film-to-video transfer from original source materials. ... Read more

Amazon.com

True-blue Agatha Christie fans know better than anyone that the creator of Miss Marple and Hercule Poirot did not always write crime-solving procedurals. Endless Night, published in 1968, is a perfect example of the moody, psychological thriller Christie sometimes explored, particularly in the late years of her career. This 1972 adaptation, scripted and directed by seasoned British filmmaker Sidney Gilliat, is indeed a strange duck: a compelling tale of small, unsettling phenomena and events, but with no defining mystery, no apparent crime to pull the details together--not until quite late in the story, that is. Hayley Mills and Hywel Bennett, partnered together in several films (The Family Way, Twisted Nerve) during the 1960s and '70s, play an American heiress and an underemployed London chauffeur who marry and move into a dream house designed for them by a world-class architect (Per Oscarsson). In short order, things begin to get mighty weird. A crazy old woman stomps around the couple's property, whispering ambiguous warnings. The bride's nuisance of a sister (Britt Ekland) moves in, and a handful of disapproving relatives keep popping up to belittle the hero. Where this is all leading is entirely unexpected--Christie and Gilliat really have us falling without a parachute for a while--yet it's exciting and tragic all at once. Nice performances all around, with special admiration for Oscarsson's role as the dying architect. --Tom Keogh ... Read more

Amazon.com essential video

If you could choose only one Pink Panther movie, your best betwould be A Shot in the Dark--ironic, since it's the only entry in the series that doesn't mention the Pink Panther or even feature the cartoon cat in its opening credits. The title and basic plot are taken from the play by Harry Kurnitz, which in turn was adapted from the French stage comedy L'Idiote, but those plays were completely reconceived by director Blake Edwards, who cowrote the screenplay with William Peter Blatty (yes, the writer of The Exorcist!) and turned the film into a showcase for Peter Sellers and a nonstop parade of slapstick gags and pratfalls. This time Inspector Clouseau is accidentally assigned to track a gorgeous, high-profile murder suspect (Elke Sommer), who is connected to several Parisian murders by circumstantial evidence. Believing her to be innocent when all clues indicate otherwise, Clouseau captures his suspect and releases her several times, to the dismay of Chief Inspector Dreyfus (Herbert Lom), but the plot here is arguably beside the point. As a bumbling variation of Hercule Poirot, Sellers steals the show, refining Clouseau's persona--including his outrageous karate duels with his tenacious valet, Cato (Bert Kwouk)--and nonchalantly waltzing through a plot involving numerous disguises and at least a dozen murders. Some scenes are so funny that you could swear the actors are about to crack up laughing, so you laugh even harder when supporting players such as Graham Stark (as Clouseau's tolerant assistant, Hercule) hold a perfectly deadpan expression. Of all the Pink Panther movies, this is the one that fires on all pistons, with Edwards and Sellers in peak form, servicing a traditional farce that brought out the best in their inspired collaboration. --Jeff Shannon ... Read more

Reviews (39)

Great follow-up from the first!
"A Shot In The Dark" finds Peter Sellers' Inspector Clouseau on the case of a murder at the Chateau. Maria Gambrelli (Elke Sommer), a resider, is accused. Clouseau has fallen in love with her and is willing to free her of any charge by watching her every move and masquerading, which finds him going to the police station 4 times in a repeated paddy wagon sequence which is absolutely the cream of it all. Streaking through a nudist colony is another great sequence that is a quite a shocker on film. When the climax is about to occur, Clouseau questions a group of bickering people who've comitted dirty sinful deeds, plus Dreyfus (Herbert Lom) is out to eliminate Clouseau. He did, of course, fail to do so. The outcome is surprising. You'll have to see for yourself. It's not better than "The Pink Panther Strikes Again" as it is called by many the best. It comes close, though. This is the only Pink Panther movie that does not have the Pink Panther in the title and the theme song in the movie, but is definetly worth seeing. There's no question about it. You'll laugh so hard you'll fall. Don't fall to hard, otherwise you'll receive a "bemp" on the head!

"I Seem To Have Stabbed Myself With A Letter Opener."
This is one of the very rare films where the sequel is better than the original. This movie is absolutely a letter perfect comedy: suave yet silly; understated yet over the top; pompous yet reserved. You get the idea. A perfect film. I wouldn't change one thing about this movie, even if I could. Peter Sellers defines the bumbling Clouseau as an individual better here than in the original, and I think the supporting cast is stronger as well. Elke Sommer is perfect as the beautiful, naive murder suspect who Clouseau goes to any ends to defend, while George Sanders is wonderful as the great scoundrel millionaire, Benjamin Ballon. Introduced for the first time in the series are Bert Kwouk as Kato (later spelled 'Cato'), Graham Stark as Clouseau's (extremely) patient assistant, Hercule, and my favorite of all the Panther supporting characters, the great Herbert Lom as Inspector Dreyfus. Watching Lom go through the phases of psychosis in this film is one of the greatest experiences and delights a person can have as a movie viewer. (I particularly like his performance in the closing scene, and when reading the newspaper with trembling hands and twitching eye.)

The plot concerns Clouseau's infatuation with a wrongly accused murder suspect, and the chaos that develops from that unlikely situation. The film is filled with a degree of nuance seldom seen in a comedy, and is probably the best crafted of all the Panther films (although I have to admit that the way over the top "Pink Panther Strikes Again" is my personal favorite.) The physical comedy that Sellers could make totally natural (watch the "spinning globe" scene for an excellent example) is still unrivalled, and the nuanced interplay with other cast members is better than in any other comedy that I can think of (to see what I mean watch the "curved pool cue" scene and the interaction of both Monsieur Ballon and the butler.)

I highly recommend this film. The DVD print is good, though there are few extras (the original trailer is very amusing and a tad on the weird side.) It is slapstick, but it is very refined slapstick done by the master, Peter Sellers. If only they still made movies like this today. I give it five stars only because Amazon won't allow more!

Pretty funny, though I'm still not a big Clouseau fan
I gotta be honest: before watching this movie, I had seen clips of this and one or two other Inspector Clouseau movies on TV, and I've never really found him all that funny. I'd usually wince more often than I'd laugh at his idiotic physical behavior. Now that I've watched A SHOT IN THE DARK, though, I see a perspective of his classic comedy character that I didn't see in those short clips. I still can't say I'm a big fan of Clouseau, but, at the very least, A SHOT IN THE DARK made me laugh pretty heartily at times---more than I expected.

I dunno...I've just never truly responded to these films' brand of slapstick. Those constant falls and accidents of Clouseau's always seem to irritate me more than amuse me. I know Clouseau is stupid, but did he really need to be THIS stupid? That last sequence at the Ballon household, for instance, seems to go on forever because this cop carelessly keeps stepping on people's toes and falling down from couches and doors, etc etc. It's not funny; it's simply repetitive, and it annoyingly slows down the film at certain points.

Fortunately, Inspector Clouseau's idiocy isn't totally physical. There are, for instance, a few funny jokes involving Clouseau and his assistant Hercule. Clouseau recites all the facts of a case ("Facts, Hercule, facts!...Without them the science of criminal investigation is nothing more than a guessing game"), asks Hercule what he makes of the facts, and when Hercule responds with the most obvious conclusion to be drawn from them, Clouseau cries out "You idiot! Only an amateur detective would say something like that!" Amusing indeed. That's the kind of satirical humor I responded to most in A SHOT IN THE DARK, and there's enough of it that saves this movie from simply being asinine.

That, and some genuinely funny sequences: Clouseau's scenes with Cato, his inadvertently going undercover in a nudist colony, and the sequences involving the unlucky assassin. There is a brilliantly filmed sequence in the prologue, leading up to the movie's first murder; and the animated credits (without a pink panther in sight) is always fun to look at. Herbert Lom is also pretty funny as the increasingly crazy Inspector Dreyfus, who is slowly going mad b/c of the mess Clouseau is making of the Ballon case. As for Peter Sellers, he's admittedly very good in the role of the bumbling inspector, but his full comic brilliance can be glimpsed elsewhere (Kubrick's DR. STRANGELOVE, for example).

All the good elements help make A SHOT IN THE DARK a fairly entertaining, pretty funny time. To me, though, it is not the comedy classic everyone says it is. If you want to see truly funny exploits of an utterly incompetent cop, see Leslie Nielsen in the NAKED GUN movies. You'll laugh a lot longer and harder at Lt. Frank Drebin's brand of comic stupidity than you will at the occasionally irritating Inspector Clouseau here.

THE BEST OF THE PINK PANTHERS!!
THIS MOVIE IS THE VERY BEST OF THE WHOLE SERIES. IT HAS MANY GREAT LINES AND SLAPSTICK COMEDY.THIS IS HOW I WOULD RATE THE REST.
1. THE PINK PANTHER- GOOD MOVIE PROBABLY 31/2 STARS BUT SELLERS ISNT IN IT AS MUCH AND IT SEEMS TO ME THAT IT IS A LITTLE TOO SERIOUS IN PLACES.
2. A SHOT IN THE DARK- THE BEST. HILARIOUS.
3. RETURN OF THE PINK PANTHER- 2ND BEST. VERY FUNNY.
4. PINK PANTHER STRIKES AGAIN- THIS ONE IS PRETTY FUNNY BUT A LITTLE CORNY WITH A SUPERLASER KIND OF DEAL.
5.REVENGE OF THE PINK PANTHER-THE FINAL TRUE MOVIE WITH SELLERS. AND IT IS A GOOD ONE.
6. TRAIL OF THE PINK PANTHER- BAD MOVIE BUT.... I SORT OF ENJOYED IT BECAUSE IT SUMS THINGS UP A BIT IT PROBABLLY DOESNT GET QUITE AS BAD AS A RAP THAT IT DESERVES.
7.CURSE OF THE PINK PANTHER -THIS MOVIE IS NOT A BUNCH OF OUTTAKES LIKE THE PREVIOUS ONE. IT HAS AN AMERICAN DETECTIVE SEARCHING FOR THE INSPECTOR. NOT TERRIBLE BUT WAY BETTER THAN THE TRAIL AND THE SON OF THE PINK PANTHER.
8.THE SON OF THE PINK PANTHER- THIS MOVIE SHOULD NOT EVEN BE RELATED TO THE ORIGINALS. THE WORST. BELIEVE IT OR NOT THERE ARE SOME PEOPLE WHO ACTUALLY LIKE THIS ONE. IM NOT ONE OF THEM. SO TO SUM IT ALL UP, THIS IS THE ORDER FROM BEST TO WORST-SHOT IN THE DARK,RETURN OF THE PINK PANTHER, PINK PANTHER, REVENGE OF THE PINK PANTHER,PINK PANTHER STRIKES AGAIN, CURSE OF THE PINK PANTHER, TRAIL OF THE PINK PANTHER, AND FINALLY SON OF THE PINK PANTHER.

Brilliant
A chapter in the myriad of Pink Panther films, this film is one of the best crafted and most hillarious in the series. Unlike the other films in the series, this film does not focus as much on the Pink Panther as on The Svejk-like inspector Clouseau himself. Valuable to a fan of the series it takes the time to provide a deeper insight into the character of the infamous and clumsy inspector. Investigating a murder in the house of the multimillionaire leads Clouseau to brilliantly farcical adventure, unexpected romance as he tries to defend his lovely object of affection from false accusations and yet a more unexpected conclusion to his case.
Clouseau's developed persona and the mishaps attached to it may be the highlight's of the film, but they do not compensate for the 2-dimensionality of the rest of the characters. There is little to the films secondary protagonist, Maria Gambrelli, as her only feature is a magnificent talent to attract bad luck and being in the wrong place at the wrong time. Yes, having a well-developed character, Clouseau in this case, is very good, but it seems that there should be more Clouseau's in the film.
So, this dramatic production seems to have spread out a bit too thinly as it tries to focus on Clouseau, the case, and the sparked romance. If the director could perhaps chose a more defined focus, this film could have been improved greatly. Having said that, this film does a far better job in the field of comedy than most modern films that audaciously bear the title of "comedy". Highly recommended ... Read more

Description

Look out! The Living Dead motorcycle gang is on the rampage, wreaking havoc in their small English town. For gang leader Tom, however, mere earthly violence is not enough: he's obsessed with the occult and is convinced that he can kill himself and then return from the dead--with the help of a frog-worshipping cult and his seance-conducting mother (Beryl Reid). Remarkably, Tom succeeds and soon joins the ranks of the walking--and riding--dead! Now if he can only persuade his girlfriend and the rest of his gang to join him, but Mother and her diabolical butler Shadwell (George Sanders) may have other plans for the Living Dead, who are dangerously trespassing on uncharted spiritual grounds. "Psychomania" is a pre-punk, British horror cult classic featuring trashy violence, suburban witchcraft and some amazing motorcycle stunt sequences. Come and ride with The Living Dead--if you dare!

1.66:1 - Color - English - Mono - Add'l Language: Spanish ... Read more