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 (16)

Mirale of the White Stallions
I am a ridding instuctor and have been searching for this video to show my students. It is a wonderful way for them to see some of the greatest riding in the world in a story every horse lover should know! These precious animals are braught to such vibrant and beautiful light by Disney in this movie. A REAL MUST SEE!!!

White Stallions Dancing
I have been trying to track down this movie for a long time. It was a movie from my childhood and I loved it dearly, I simply could not remember its title. I remember the heroics of the rescuers and the beauty of the Lipizanner horses. This is a movie that would still entrance all viewers, but especially those with a passion and love of horses. I wish Disney would release this on video for the children of today and tomorrow. This movie reminds us that war is not just about people but treasures and animals as well.

Miracle of the White Stallions
"Don't give a hoot about Joe Public" seems to be the mantra these days at Disney when it excitedly releases classics on DVD.

Why don't they take a little more care and issue these films in widescreen format in the way they were supposed to be seen. Its just another way the public has been hoodwinked by a greedy mouse. I wouldn't purchase any of these "new" re-releases until they put product of an acceptable - as opposed to half-assed - quality. Shame on you!

Again, the "new" Disney shows no respect for their heritage
No wonder the company is about to be taken over and broken up -- DVD was introduced to be an alternative to video, to offer more than video: better picture, more extras, and most importantly, more picture. Letterboxing. Widescreen. The complete image. So what does Disney do? They take some of their most beloved live-action films such as this one, and dump it on DVD in full-frame editions. It's a crime against these wonderful films, films that are a credit to the "old Disney" -- the wonderful, family-friendly Disney. And what, exactly is the point of pan-and-scan? Who isn't used to widescreen DVDs yet? Why should I waste my money replacing my old Disney videos with the same crappy full screen image as before? Disney just doesn't get it, and their sales show it.

THE DVD VERSION
Several of the reviews on this site ask the Disney studio to release this film on DVD. Well, they have and this review refers to the DVD version.

I have been familiar with this movie since I worked at the Disney studio in 16mm film distribution in the 1970s (about 7 years before the VHS blockbuster years began), and am familiar with the original negatives. In what I am finding to be typical of the Disney folks, this film is presented in a 'full frame' version, rather than a WIDESCREEN version. The film was shot for a 1:85x1 projected ratio (known as Academy Flat) which presents the picture in a slight retangular format. However, a full frame, 4x3 video transfer of such a negative isn't all that bad, although it would have distinguised it from the normal VHS format.

Also, I am very surprised that the Disney people didn't make an effort to 'clean up' the original negative, which contains a great amount of negative dirt and scratches. The DVD does preserve the original look to the film (color and tint), but there has been so much technology invented to digitally reproduce an almost flawless image, that I am surprised it isn't been used. It is one of trhe major reasons that people have switched to DVD.

Also, look for a mistake in the original negative. Just after the horses board the train, there are reddish, flash frames (possibly an overexposure to the camera original negative) which could easily have been removed digitally.

A few "extras" would have been nice, such as behind-the-scenes material. This stinginess is becomming something notorious with recent Disney DVD releases. Walt Disney shot tons of background footage for every movie he made, and this is stored in the studio vaults. I've seen it in 16mm, although it was shot on 35mm.. You can ignore the lack of a WIDESCREEN image if the DVD contained these precious extras. Otherwise, it's just a transfer of the old VHS image. What's the point of that?

As far as Robert Taylor's performance, far from being 'wooden' (as one reviewer wrote) I agree with another reviewer who said that he was protraying a real man (who was also alive at the time and a hero in Europe), and the script and direction decided to present a truthful, realistic portrrait of him. Don't forget that this movie, and many others (BALLERINA, HORSE WITHOUT A HEAD, ALMOST ANGELS) were shot in Europe after World War II. They were made chiefly for a European theatrical audience and were intened for an American TV audience on THE WONDERFUL WORLD OF DISNEY. So, you'll find a different style of acting and presentation: a bit slow for us, but perfect for their intended audience. ... Read more

Description

Historical drama exposing the famous love triangle in King Arthur's Court. ... Read more

Reviews (13)

Exciting and Lush Arthur Tale
1953's KNIGHTS OF THE ROUND TABLE was MGM's first wide-screen motion picture (filmed in CinemaScope in England). What the film lacks in scripting is made up by spectacular and brilliant cinematography by Freddie Young, colorful art designs by Alfred Junge and Hans Peters and an exciting score composed by Miklos Rozsa (a prelude to his majestic EL CID score). Robert Taylor looks good as Sir Lancelot of the Lake. Mel Ferrer is King Arthur. Ava Gardner is Queen Guinevere. (Sir) Stanley Baker comes off best as Sir Modred who plots to undermine King Arthur. There are large-scale battles and much swordplay throughout the adventure. The sword fight between Sir Lancelot and King Arthur is well filmed and the most dramatic which sets the stage for the relationship between these two men. There is another sword fight later in the film between Sir Lancelot and Sir Modred's men. This is a well-staged and choreographed duel which takes place on the steps outside Lancelot's quarters in the castle. Despite all this swordplay the story is somewhat static and does not really evoke that much emotion from the viewer. However director Richard Thorpe is successful in conveying Guinevere's love, through a restrained but effective performance by Ava Gardner, for Sir Lancelot. Ultimately it is a solid film in the old Hollywood traditions of storytelling.

GENERALLY STILTED PRODUCTION - NICE LOOKING DVD
"Knights of the Round Table" was MGM's first feature in the newly christened widescreen format of Cinemascope and the studio's inexperience with a 2:35:1 aspect ratio, in retrospect, is rather obvious. The audience is treated to drawn out battle scenes (that are thrilling) and lavish spectacle. But the whole look and feel of the film is very theatrical, like Shakespeare on stage. Robert Taylor, usually so natural, is uncomfortably stiff as Lancelot, while Mel Ferrer fairs slightly better as King Arthur. Ava Gardner is wasted as Gueneviere. Sets and rear projection are glaringly obvious. Over all, for its historical context in the early days of widescreen film, more than entertainment value, "Knights" is a worthwhile movie.
Warner Home Video has given us a generally good looking print. No attempt has been made to remove age related artifacts from the negative. Overall, the quality of the transfer is very smooth though, at times, it can seem somewhat digitally harsh. Exterior footage tends to suffer from a considerable amount of film grain while interiors are well balanced. Black levels are perhaps a bit weak and fine details are lost in the darker scenes. Close ups look gorgeous. Long shots suffer from pixelization. Fades between scenes tend to suffer from a sudden grainy quality that is customary for all Cinemascope film stock of this period. The audio is stereo surround and amply provided for considering the limitations in the original recording.

EXTRAS: Mel Ferrer comments on the film's production. There's a featurette movietone trailer and the film's original theatrical trailer too.
OVER ALL: Not a bad movie but an incredibly dated one, "Knights of the Round Table" nevertheless offers up a good example of vintage Cinemascope film making from the 1950's.

Calvary Charges, Fierce Battles and Pageantry
KNIGHTS OF THE ROUND TABLE is a movie about the classic tale of King Arthur, Sir Lancelot and Guinevere. Lancelot's ill-fated love for Guinevere is played out against a background of cavalry charges, fierce battles and pageantry. The plot is amplified by the rivalry between Lancelot and Mordred as well as Sir Percival's quest for the Holy Grail. Merlin appears in the film as an advisor to Arthur and Lancelot's wife dies while giving birth to the future Sir Gallahad.

Robert Taylor as Lancelot and Mel Ferrer as Arthur are both superb. Ava Gardner makes a beautiful Guinevere but her acting seems to be a little flat. The strong supporting cast includes Stanley Blake, Felix Aylmer and Robert Urguhart.

KNIGHTS OF THE ROUND TABLE received Academy Award nominations for Best Color, Art Direction and Sound. The main competition for Oscars in 1953 came from STALAG 17, ROMAN HOLIDAY and FROM HERE TO ETERNITY.

Richard Thorpe also directed Robert Taylor in IVANHOE in 1952.

The Age of Chivalry
A very enjoyable movie about the legend of King Arthur, Lancelot and Guinevere. Robert Taylor is perfect as Lancelot... noble and chivalrous, although human at the same time. Colorful and full of heraldry, if you like stories of the age of chivalry, you'll enjoy this.

Knight of the Round Table
I've always like a Robert Taylor movie. It's one of those movies, you could add to your video collection, and watch it again periodically. ... Read more

Amazon.com

Tay Garnett was a hard-nosed, job-of-all-work director who moved from studioto studio and genre to genre throughout the golden age of Hollywood.Henever achieved the status, let alone the distinctive signature, of a Howard Hawks or Raoul Walsh; still, with talent, brashness, and cojones to spare,he was responsible for a slew of cheerfully vulgar entertainments, andseveral genuinely fine films.

Bataan may well be the best. Certainly it's one of the strongest Hollywoodsalutes to the war effort while World War II was still raging. In hisgrittiest roleto date, Robert Taylor (sans mustache) plays a U.S. Army sergeant fighting arear-guard action in the Philippine jungle, covering Douglas MacArthur'sretreat.His platoon is the usual wartime study in democratic motley:veterans (Lloyd Nolan, Thomas Mitchell, Tom Dugan) thrown together with greenrecruits (Robert Walker, Barry Nelson), a Latino (Desi Arnaz), a black(Kenneth Spencer), not to mention a couple of stalwart Filipinos (RoqueEspiritu, J. Alex Havier), and several officer types (George Murphy, LeeBowman) with sense enough to defer to the sergeant's judgment. As in JohnFord's desert classic The Lost Patrol, the group is whittled down throughmisadventure, disease, and skirmishes with the ever-advancing Japanese, tillonly a handful remain for a still-shattering last stand.

Bataan was made at MGM, and the principal setting, a jungle clearing overlooking a strategic bridge, stinks of the soundstage.In other respects,however, Garnett manages to introduce shocking, un-Metro-like realism intothe proceedings.In an early scene of bombardment, a GI, blinded, crawls outof the wreckage of a field hospital only to have a smoking roofbeam crush hisbandaged skull.There's nothing cosmetic about the wounds in this movie;they hurt and they bleed, and people get them during the most gruesomehand-to-hand combat in any '40s war movie. --Richard T. Jameson ... Read more

Reviews (15)

Interesting Portrayal of Men in War
Released in 1943 this is an attempt to show the American public what we were fighting for and what our men were up against during WWII in the Pacific. They not only fought the Japanese but the elements and each other in a hostile environment. From a technical standpoint cinematographer Sidney Wagner and art designer Cedric Gibbons put together a hellish vision of war in the jungle. The cast is first rate with Robert Taylor as Sergeant Bill Dane incharge of the defenders. George Murphy is very good as the pensive Lt. Steve Bentley. Thomas Mitchell, Lloyd Nolan, Robert Walker, Desi Arnaz (in a good performance) and Barry Nelson are among the other defenders left on Bataan. The strangest relationship in this film is between Robert Taylor and Lloyd Nolan. Taylor recognizes Nolan as someone else he once knew. Nolan makes every attempt to undermine Taylor's command. Nolan fights hard but it never seems for any higher aspirations such as duty, honor and country. This was a strange portrayal in a film meant to expound those very qualities.

Bataan: The 'Good' War
When the Japanese attacked Pearl Harbor on December 7, 1941, Americans then reacted much the same as they did on September 11, 2001, when Saudi terrorists crashed two jet planes into the WTC. Shock was quickly followed by anger, and then to a call for action. By the start of 1942, Hollywood heard this clarion call, and for the next four years dutifully cranked out one patriotic war movie after another. BATAAN was one of the first and the best. Director Tay Garnett boiled the movie down to an us versus them level. On the us side were a number of well-known American actors led by the then megastar Robert Taylor, and capably backed up by LLoyd Nolan, Thomas Mitchell, Desi Arnaz, and Robert Walker. The Japanese were shown as nameless, faceless, buck-toothed, slanty-eyed devils who refused to attack unless possessing numerical superiority. Much of the film plays out as an updated version of the earlier THE LOST PATROL. In this latter film, the good guys (Brits) are picked off one at a time by nameless, faceless, towel-headed Arab cowards who refused to attack unless possessing numerical superiority. In both films, the heroes are led by crusty yet heroic leaders who command a motley group of assorted ethnic types. One by one,the Americans die. With each death, the audience could feel both sadness and anger. This movie shows the horrors of jungle warfare in a way that Hollywood had never approached. Director Garnett kept the audience involved by switching from scenes of gripping combat to vignettes of personal drama. Desi Arnaz plays the ethnic jitterbug who dreams only of returning to his beloved Brooklyn. Robert Walker is the archetypal kid whose greatest fear is that he won't be able to send a letter home to his parents. Probably the most interesting of these subplots was the one involving LLoyd Nolan and Robert Taylor. Little by little the audience learns that Taylor as a military policeman years earlier was in charge of escorting a criminal to prison for execution. There was a train wreck, and the handcuffed prisoner wriggles free. (Sound like Dr. Richard Kimble?) Taylor spends years tracking him down only to find that this very fugitive is one of the Americans under his command. Taylor slyly lets Nolan know that he knows who Nolan is, but before Taylor can arrest him, Nolan is stabbed in the back by one of the cowardly Japs who had been playing dead. Nolan's last words to Taylor are, "For just one second,I thought it was you who stuck the shiv in my back." Taylor, alone, fights on, blasting his heavy machine gun directly into the camera, shouting, "Here I am! I'll never leave."
BATAAN accomplished its goal of getting Americans involved on many levels, not the least of which was to stir up hatred against a clearly recognizable enemy. With the Japanese now our friends, a contemporary viewing leaves the audience trying to see past the dated enemy while still recognizing that every era has its war and each war its recognizable enemy. This BATAAN manages to do as well as Spielberg did sixty years later with SAVING PRIVATE RYAN.

Average War Film
Pretty good. Fairly forgotten 60 years later. Cliched and macho but interesting as indicative of typical wartime propaganda. A platoon of soldiers must make a last stand to allow others to escape. Almost no effort is made to explain what is actually going on in terms of the larger picture and why they are being called upon to make this sacrifice. These men are just "doing their duty". They are,of course, whittled down to the last man. Worth a viewing.

Gritty, Violent, and Remarkable
As wartime propaganda, "Bataan" is brilliant--watching it, you may be filled with a seething hostility toward the Japanese that hasn't been felt since Reagan's 1980s. But what's more remarkable is that this gritty, often racist Robert Taylor vehicle is pretty solid as a movie, too. Filmed on an atmospheric soundstage that doubles for the jungle, its moody production practically oozes menace and rivals the Universal "monster movies" of the 1930s. (Watch it at night with the lights off for the full effect.) Often dubbed a remake of John Ford's "The Lost Patrol," "Bataan" has as much in common with any number of last-stand movies . . . as well as later slashfests like "Friday, the 13th," where each character's inevitable demise is more gruesome than the last. In that respect, "Bataan" is again remarkable, as the violence is graphic and shocking, particularly for the period in which the film was made. The cast of many familiar faces, including Desi Arnez, Barry Nelson, Lloyd Nolan, and Robert Walker, also deliver the emotional goods, keeping us caring about what happens next to these doomed men, a quality more recent films generally lack. If you're expecting the technoglitz excess of "Black Hawk Down," you'll probably be disappointed by "Bataan." But if you want to see a Hollywood depiction of war as a silvery nightmare, this may well be the one movie to watch.

Hollywood document
Filmed at the time, this is the closest you will get to experiencing World War 2. Watch this film and youll see why Americans fight, and why the U.S. must win every war at all costs. ... Read more

Description

High-spirited sequel to The Trouble with Angels, starring Rosalind Russell reprising her role. Stella Stevens stars as a modern nun who convinces the Reverend Mother to take the girls on an unforgettable bus trip to a California peace rally. All-star cast: Rosalind Russell, Stella Stevens, Susan St. James, Van Johnson and Milton Berle. ... Read more

Reviews (23)

Where Angels Go, Boredom Follows
Although this sequel to THE TROUBLE WITH ANGELS offers Rosalind Russell reprising her role as the Mother Superior of St. Francis and head of the convent's girls school, WHERE ANGELS GO TROUBLE FOLLOWS is a dismal sequel in which the girls make a cross-country outting--and in addition to playing pranks and flirting with boys also find themselves threatened by various unsavory characters they encounter along the way; meanwhile, the conservative Rosalind Russell strives to check the excesses of the ultra-liberal Sister George (played very stridently by Stella Stevens), whose determination to modernize the Holy Orders seems less progressive than just down right obnoxious.

Unlike its predecessor, the movie never strikes a good balance between comic and dramatic elements and the production values seem more akin to a television movie-of-the-week effort than a big-screen production. Russell is the saving grace of the film, a very young Susan St. James proves very attractive, and several supporting performances (including Binnie Barnes) are quite engaging--but they cannot overcome this film's many inadequacies. Miss it.

Pan and scan attrocity
This is one of my favorite movies of all time, and I anxiously awaited its release on DVD. It looks like I will have to wait a while longer until they decide to give us the movie the way it was meant to be seen....in widescreen.

Come on Columbia Home Video, do justice to this and its sister movie "The Trouble With Angels" and release them in "widescreen"!!!! These are such great, vastly underrated movies, it appears even Columbia doesn't think enough of them that they would give them this shabby treatment.

If you get a chance to see them (on Turner Classics), they are WONDERFUL movies....but wait to buy the DVD. Don't buy into these pan and scan attrocities that the movie companies seem determined to thrust upon us.

Sequel lacks the charm of the first movie
I recently acquired a copy of "Where Angels Go, Trouble Follows." Being a fan of "The Trouble with Angels," I was intrigued by the notion that someone had made a thitherto-unknown-to-me sequel to it; however, watching it was a disappointing experience to say the least. Rosalind Russell reprises her role as Mother Superior, and--in contrast with the first movie--is easily the most sympathetic character in the film. The activist nun, Sister George (played by Stella Stevens), comes off as a caustic, spoiled little brat, as does Susan St. James's Rosabelle character. Marvel Ann (again played by Barbara Hunter) inspires less antipathy this time around, but only because she was such a curmudgeon in the first movie. Finally, the bit players brought in to lend the film more star power (e.g., Arthur Godfrey, Van Johnson, and Milton Berle) are given painfully stupid roles.

Thus there are no memorable characters, and the basic premise of the movie--the St. Francis girls' hitting the road to participate in a youth rally of some kind--is eminently forgettable. Even the theme song, penned by Boyce and Hart and sung poorly by other people, is extremely annoying.

I will say, however, that it's interesting to see what Hollywood thought was "hip" or "with it" in 1968. The film definitely has historical intrigue from that standpoint.

Now How About a Widescreen DVD?
Wear Angels Go Trouble Follows may not as good as The Trouble with Angels but I do think it's a good movie and I enjoyed it and thought Rosalind Russell and Stella Stevens were really good though I wish Hayley Mills and the actress who played her friend were in this too reprising their rolls from the first movie. I would like to own this and also The Trouble with Angels on DVD but I don't want to buy edited pan and scan DVDs, I will just wait until widescreen DVDs are released and until than I will just tape the movies from that classic movie network that shows them in widescreen.

Pan & Scan DVD - how disappointing!
Rosalind Russell is without doubt my favourite actress. What a versatile performer and genuinely good person she was. Roz appeared in many great films (she made 51 films in total), of which only a handful is available on DVD. These include "Auntie Mame", "His Girl Friday" and "Picnic". So, when the release of this delightful film and the film of which this is the sequel, "The Trouble With Angels", was announced as coming soon on DVD I was ecstatic. Coming from Columbia Home Video (who released both "Picnic" and "His Girl Friday") I expected the very best in preparation and presentation.
What a disappointment to learn that both films are to be released in pan and scan versions only. My question is...WHY??? In this day and age where widescreen televisions are so popular and where we have come to expect fully restored versions with plenty of bonus features on DVD Columbia offers what is essentially only part of each film. And, at full price! Additionally, "The Trouble With Angels" is regularly shown on cable TV in a widescreen print so one is available! Roz deserves much better!
I for one will not be purchasing this release. My advice: don't buy only part of this film. Columbia Home Video, if you read this review, do right by Roz and release both these films in their entirety! ... Read more

Amazon.com

D-Day the Sixth of June is a misleading title for a very tame wartime romance with barely 10 minutes of combat in the last reel. What we mostly get is a year's worth of flashbacks depicting the reluctant, London-based affair of a married U.S. staff officer (Robert Taylor) and a British Red Cross worker (Dana Wynter) whose commando suitor (Richard Todd) is fighting in Africa. To be sure, the emotional desperation and embattled decency of good people in time of war is as worthy of film treatment as any military campaign, and the script works preinvasion Anglo-American tensions into the story. But the CinemaScope production is utterly formulaic, with leaden direction by Henry Koster. Wynter's porcelain beauty apparently didn't permit changes of expression, and Taylor looks about 15 years past his prime. On the plus side, the DVD serves up Lee Garmes's pleasantly pastel Deluxe Color with commendable crispness. --Richard T. Jameson ... Read more

Reviews (5)

Drivel
Yes, the title "D-Day the Sixth of June" is irritatingly misleading. This movie spends most of its time chronicling the tawdry tale of a married U.S. military officer who has an affair with a British USO-type woman who is engaged to be married to a courageous British officer. The battle scenes are sporadic, and the story creaks along slowly. The handsome Robert Taylor and the beautiful Dana Wynter are basically wasted because their roles are so unsympathetic. The characters that they portray have few qualms about cheating on their loved ones.

The movie also is not helped by a repetitious, sappy musical score that includes the sentimental song "You'll Never Know (How Much I Love You)" which accompanies the illicit lovers as they unapologetically indulge in their affair.

"D-Day the Sixth of June" is strictly for diehard fans of Taylor or Wynter. And perhaps not even those fans will be able to swallow this drivel.

Don't waste your time
Michael Bay must have studied this film before he made his own execrable "Pearl Harbor." In both cases, the filmmakers cynically titled their product after a famous WWII battle although they were really more interested in developing a dull, cliched love triangle than honestly confronting and exploring the meaning, experience, and drama of a significant historical event. At least, Bay relieved the tedium with some action. "D-Day" director Henry Koster doesn't address the actual invasion until the final ten minutes or so of this overlong film, and by then it is far too little far too late. Robert Taylor, Dana Wynter, and Richard Todd deliver their performances with all the animation of store-front mannequins. Taylor is far too old for this role, but Wynter, at least, is very nice to look at.

Is This a War Movie or A Love Story??!
Disapointing. I was looking forward to a good action movie, but most of the movie is a love story, and the movie only gets to D-Day at the very end. The title is misleading.

Formulaic love triangle amid wartorn London
The title of this movie is deceptive advertising, the war is a backdrop to a very predictable love triangle. There is about 15 minutes of decent action which recreates (but does not credit)the Point du Hoc battle. Robert Tayor is sincere but 10 years to old to be a Captain leading troops in 1946. Dana Wynter is pretty enough to inspire two manly suitors but oddly doesn't seem to have any real passionate feelings for either. The brit commando third of this triangle is likable but out of the picture for all but a few minutes at the beginning and at the end. In short, a chic flic spun with a not very compelling tried and true wartime love triangle. Solid actors try but fail with mediocre material.

Formula '50's romance/adventure
If you're expecting anything like "Saving Private Ryan" or "The Longest Day," you've come to the wrong film. This film focuses primarily on the love interests of Todd and Taylor for Dana Wynter (a rather lovely Dana at That). The second world war focuses primarily as a backdrop.

The film takes place in England and the English are stereotyped as American loathers and ingrates. This is admittedly hard for the viewer to stomach. We are also treated to a mundane script which doesn't give the good ol' boys (Richard Todd, Robert Taylor, Jerry Paris) much to chew on.

The film redeems itself somewhat in the end with an excellent although short pre-invasion landing on one of Normandy's beaches by American and British troops. The battle sequences are effective and very convincing as the group attempts to knock out a bunker complex.

In true Hollywood fashion, the film concludes with Dana Wynter fading into the sunset, having lost both her loves, one at the Normandy landing, the other through mutual self-righteousness. There's nothing to sink your teeth into here, but if you like candy coated versions of war, this is a good place to start. ... Read more

Reviews (8)

DVD Box set Please!
when are the powers that be going to get their act together and issue this great series in a deluxe box set-the three TE films as well as That's Dancing. As long as they give it the treatment it deserves, and re-master it properly.

Leave u singing and tapping all night
I love show tunes and broadway. This is a really fun movie. If u have part 1 or 3, u may get some repeated clips. Astaire and Kelly host this and even though it is sometimes chessy, its fun

That's Really Entertainment!
I found this movie to be great! The 'That's Entertainment' series get better by each movie. They have unique clips in them that are just as good as buying the different tapes because they show the best of the best! I would recommend this to anyone!

TOUPEES UNTD!
Are we really supposed to believe that Fred Astaire had MORE hair when he was 80 than when he was 20? Apart from that it shows how talented Fred and Gene were even though they were collecting their pension!

Much of the dialogue given to the pair is VERY corny but their annecdotes are very sweet [the one about Judy Garland singing Have urself a merry little xmas for example]

It does drag on a bit sometimes notably the non-musical bits but the affection in their voices shows what they think or dont think of certain stars.

I really liked the singing the credits and opening sequence is amazing.

Great Clips, Lousy Organization, Rotten Editing
Like its predecessor, THAT'S ENTERTAINMENT II offers two hours of film clips from memorable MGM movies featuring the likes of Judy Garland, Bing Crosby, Lena Horne, Louis Armstrong, and Doris Day. Unlike its predecessor, which organized the film clips into thematic sequences introduced by different MGM stars, THAT'S ENTERTAINMENT just throws the clips out willynilly without much rhyme or reason--and saddles narrators Fred Astaire and Gene Kelly with some of the clunkiest, corniest material imaginable. In consequence, it lacks the cohesion and the excitement of the original.

But it still has its charms. Many of the individual clips are knock-outs: Ethel Waters performing "Taking a Chance on Love" from CABIN IN THE SKY, Bobby Van doing the famous "hop dance" from SMALL TOWN GIRL, Judy Garland belting out "I Got Rythmn" from GIRL CRAZY. In addition to such musical treats, the film also offers a look at the Marx Brothers with the famous "State Room Scene" from A NIGHT AT THE OPERA, a sequence of famous lines from famous films (such as Garbo's "I want to be alone"), and an extended tribute to Spenser Tracy and Katherine Hepburn. Most viewers will probably feel the film drags due to the uneven way in which the scenes are introduced and edited together, but just about every one will find plenty to enjoy. Recommended with reservations. ... Read more

Description

By the age of seventeen, Mary Pickford had become the first actress to achieve international superstardom. By the time she was thirty, she was the first and only woman ever to own a major movie studio, the only woman to be the highest-paid actor in Hollywood and the first actress to have complete control in making her films. With comedic talents equal to Keaton, Lloyd or Chaplin, the tragic range of Gish and Swanson and business acumen to rival any Hollywood mogul, Mary Pickford was the consummate movie star of the 20th Century. "Mary Pickford: A Life on Film" is the definitive documentary on the most powerful woman in the history of cinema. Hosted and narrated by Whoopi Goldberg. ... Read more

Reviews (27)

A Real Christian Movie For Once
Quo Vadis is a movie Ive seen many times and never tire watching. It has beautiful and panoramic scenes making it worthy of an epic. I loved Ustinov playing the evil demonic Nero and Laffan playing Nero's Empress wife. Truely I rarely see such great acting in our films of today.
The greatest attributes of the film are the colliseum scenes in which the Christians are slaughtered for falsley being blamed for the burning of Rome. Nero was fully responsible for this horrid act. The scenes of Nero's court are entertaining and funny to see. Watching all of Nero's men cowtowing to their emperor and at the same time showing contempt for Nero's actions.
The sets are great for 1951 standards and even by todays standards. The Roman Legion formations and custumes were excellent. Taylor's acting is medicore but sufficient and Debra Kerr is a beautiful woman who portrays the poor Christian slave convincingly. It is so so convincing, you would think she was a devout Christian in her private life to her credit as an actress. Also the costumes deserve a five star rating!
The only negative thoughts to the film are the historial accuracies which reveal how short of time the Christian persecution lasted. It didn't end with the end of Nero. Don't let this keep you from buying a great film which does show some Roman and early Christian history and how Roman society existed during Nero's rule. I can't wait for the DVD production of this film. I only wish Hollywood would show films of this quality.

The biggest of the spectacle movies!
Quo Vadis is a shining example of Hollywood at it's best, for a change! Big cast, big budget and a big plot set in Nero's Rome. Robert Taylor turns in one of his finest performances as Marcus Vinicus, an arrogant Roman commander who slowly finds his way of life and love being changed by a shy Christian girl, Deborah Kerr. Kerr is bewitching as the innocent in a debauched Rome and Peter Ustinov is chilling as the nutty but deadly Nero. All I can say is, if you buy this movie, you'll never regret it.

A musical review.......
Miklos Rozsa did a terrific job in composing the music for this movie. The great passion and emotion he can communicate is unsurpassed. In my opinion as a freelance composer it was very difficult to write the music for this tremendous film. It requiered a kind of kaleidoscopic character, each scene needed its own aura, its own color and unlike most filmscores it does not and it can not consist of short flimflams, each scene needed its own musical movement.

The most I like the `Christ is King` theme for choir wich is also sung by the matyrs in the arena. A song wich is unstoppable and will not die or fade away, it is the centerstone of the Quo Vadis' musical climax.

VERY ENTERTAINING EPIC!!!
I love this movie but I will not buy this on VHS. Why isn't it available on DVD? This movie deserves to be released on DVD - there is no excuse. What's the problem? PLEASE RELEASE THIS MOVIE ON DVD!!!

Christianity Versus The Decadence of Nero's Rome
"Quo Vadis", based on the novel by Henryk Sienkiewicz would have to be near the top of my list of favourite 1950's religious epic productions. Indeed "Epic" is the word to fittingly describe this mammoth MGM production that cost an amazing 7 million dollars to make in 1950 and was the studio's biggest money maker since "Gone With The Wind". It has everything an epic movie lover could desire, the already stated fine literary source, breathtaking sets (no computer generated effects here!), meticulously researched historical costumes, enormous crowds scenes and a stunning recreation of Pagan Rome at it's height. The film boasts an extraordinary cast but towering over all of them is the late Peter Ustinov in his unforgettable performance as the deranged Nero. His interpretation of this infamous Emperor who began the first concentrated persecution of the early Christians is still the visual image for a lot of people, myself included,that first comes to mind when Nero's name is mentioned. Already having been filmed a number of times in the silent era and once again since this 1951 film, this is still the definitive version of the story of the early Christian Church struggling to survive in Nero's Rome after the great fire.

With the advent of television in the early 1950's Hollywood fought back with splashy, lavish productions that could not be matched by the flickering black and white image of television in it's infancy. "Quo Vadis", lent itself perfectly for this purpose and an already shaky MGM put all of it's resources into the filming of this elaborate production. The story centres around cocky Roman soldier Marcus Vinicius (Robert Taylor) who after three years of successful campaigning returns to savour the delights of Nero's Rome. Detained at the villa of a retired Roman general Marcus falls for the simple charms of the general's adapted daughter Lygia (Deborah Kerr) who unbeknown to Marcus is secretly a Christian. Seeing her love for him but not understanding the families belief in the love of a single god and in loving your fellow man despite their background or race Marcus has Lygia taken to Rome and placed in Nero's "House of Women" and seeks to make her is own. Lygia escapes and is taken in by other believers but in the meanwhile Marcus finds himself the focus of the unwelcome and quite dangerous affections of the Empress Poppaea (Patricia Laffan). Meanwhile Nero's meglomania continues to grow and he develops a wild scheme to rebuild Rome to his own glory and secretly sets the city on fire. The backlash from this act however sets Nero to find a scapegoat and thus begins the persecution of the Christian sect that are, to the amazement of the Romans, the disciples of a simple young carpenter from Galilee who was executed for his beliefs. Marcus finds Lygia however both are imprisoned together as Christian believers to become the sport of Nero's festivities in the arena. The appearance of the Apostle Peter who has been called to Rome by Christ's message gives the Christians the strength to endure their ordeals and Marcus and Lygia are married by him just prior to his own matrydom on Vatican Hill. Nero however goes too far in his persecution and the mob turns on him resulting in his fall from power and suicide and the reins of power being taken over by the more level headed General Galba.

While "Quo Vadis", in some areas is not always accurate historically the faults are not glaring ones and it does give a vivid picture of the growth of the early Christian movement and the persecution it endured which of course went on long after Nero's death. First and foremost it is inspiring and dramatic viewing and is the classic example of old style movie making at its most lavish. The film is filled with unforgettable images, for example the huge crowd scenes during Marcus' triumpiant entry into Rome, and the burning of the city by Nero which incredibly was done on both full sized and miniature sets. The cold blooded destruction of the Christians in Nero's Circus of course is probably the most vivid image in the film and is riverting in it's horror and accurate depiction of people being eaten by lions or being used as human torches. These scenes in "Quo Vadis", have I believe never been bettered in depicting the insanity and brutality of Nero and his regime. Performances are uniformily fine here. As the two lovers Robert Taylor and Deborah Kerr are just perfect as the two illmatched lovers from different worlds. Finlay Currie does a most inspirational piece of work as Peter and special mention must go to Patricia Laffan who is perfect in a chilling performance as the evil Empress Poppaea. Directed by MGM veteran Mervyn LeRoy, who was responsible for such diverse MGM productions as "Waterloo Bridge", and "Blossoms in the Dust", here he is still just as at home with this super scale type of film and his directoral integrity is evident in every frame of this film. "Quo Vadis", ended up being nominated for 8 Oscars including Best Picture and Best Supporting Actor for Peter Ustinov.

I always find "Quo Vadis", a moving viewing experience generally around Easter time when my thoughts often go back to the earliest years of my religion. Liking the older style of movie making I can also appreciate the film on its superb technical achievements and massive historical recreation. This however never submerges my appreciation of its very simple message that all people need to love each other despite their differences for the world to be a happier place. Take time soon to view this epic production of "Quo Vadis", you wont regret it. ... Read more

Reviews (17)

Brilliant and Timeless Love Story - a Masterpiece
I have seen many, many classic movies. I have seen the best performances of the best movie stars and I have seen all of the most respected classic films. None come close to Camille, the best movie ever made! I'm not kidding, either. This film is pure magic. The screenplay is brilliant and flawless. The romantic lines will last in your memory just as long as the beautiful images. And there are many unforgettable scenes.. Garbo drops her fan as she walks down the staircase (in a magnificent Adrian gown), as she sees the man she loves. The scene where Robert Taylor throws his money at the woman he can't have. And the single best scene in motion picture history..Garbo's legendary and tearjerking death scene. The first time I saw this movie, the end made me cry uncontrollably for half an hour. Just as magnificent are the heartfelt performances by Garbo and Robert Taylor, who is sensitive and tender, as his character should be. Garbo is breathtaking in her best role. Her lines are perfectly blended with her character, such as when she is on her deathbed and whispers, "If you can't save me, how can a doctor?" or "My heart isn't used to being happy." As they are falling in love, the lines are absolutely wonderful, such as when Taylor tells Garbo his parents were married 30 years and Garbo says, sadly, "Nobody could ever love me 30 years." People could laugh at this movie and say it is sentimental, but that just indicates lack of heart. I have never seen a movie without a sentimental script that ever inspired me to write. This movie inspired me in every way.. It inspires us to be more compassionate towards each other and live to love. This is the most effective love story ever told, and this 63 year-old film still breathes life into a 150 year-old story. Why? Because it is timeless. A story is only old if the artists think so, but this film is a masterpiece. It will always be my favorite movie.

Little bit on the boring side....
Yes, I just saw this movie tonight at the Metropolitan Museum of Art as a tie-in to its exhibit on MGM costume designer Adrian, and I was surprised to find myself getting restless.

I think there might be too many scenes in the beginning that are similar, when boytoy Robert Taylor keeps trying to convince jaded courtesan Greta Garbo that he can love and take care of her better than anyone else. In movie shorthand, this should've been established with just one scene. It's a Cukor film, and looks it. By that I mean, Cukor somehow managed to make his movies look antique--just think of Hepburn's "Little Women" or Bartholomew's "David Copperfield". A tad treakly and too soft focus not to sit 100% right with present-day viewers.

But that's not to say that "Camille" is a bad movie, because it's not. Garbo gives a very interesting performance as Marguerite; she does a lot with her eyes in the early scenes to convince us she's got some kind of interior life going on. Laura Hope Crews offers good support as her flighty friend Prudence--hard to believe it's the same woman who played Aunt Pittypat in "Gone with the Wind" a few years later. Best in show: Henry Daniell as Marguerite's lover the Baron. Now, we're supposed to see him as an ogre, I suppose. But really, she IS trying to play him for a chump and cuckcold him with Taylor's Armand, so I must side with the Baron on that one, for self respect. Daniell puts over cynical acceptance of things like the pro he is.

And about that tie-in to the Met: These costumes are truly outstanding, not just for Garbo but for every woman in the movie. Exquisite, every one of them! Dying of consumption may not be fun, but it sure is something to look at clothes-wise.

Great Garbo--The Rest , well . . .
Greta Garbo is so good in this film, so witty and touching and appealing, that it's easy to forget how ordinary much of the surrounding film is. To be sure, it was given a lush budget and Henry Daniell, as Garbo's "patron" of the moment is almost as accomplished and touching as she (how much more interesting; a love story between two people who are prevented by convention from admitting the fact, even to each other), but Robert Taylor's perfromance is as stiff as his collars, the rest of the cast is little more than competent, and George Cukor's direction confirms that he was much luckier in his casts than they were in getting him as a director; Vincente Minnelli actually got a performance of sorts out of Lana Turner--a few years earlier Cukor did little more than make sure the lighting was flattering and that Turner didn't trip over the furniture. Fortunately, Garbo had no such problems, and her performance makes Maguerite Gautier one of the wittiest and most appealing characters in film history, and when she dies at the end, she makes you feel that a little bit of what makes the world good left with her--not a bad accomplishment, that.

Inspiration for Baz Lurhman's "Moulin Rouge," perhaps?
I thought Camille was a very good movie. Greta Garbo is stunning as always, and I really liked Robert Taylor as her love interest. As I was watching the movie, I couldn't help but notice some startling similarities between this film and the more recent, Moulin Rouge, starring Nicole Kidman and Ewan MacGregor. Some lines in Camille sound almost exactly like one's in Baz's flick, and Greta's character, Marguerite, does resemble Nicole's Satine; at first, they seem over the top party animals, and then you realize they're regular, sensitive girls (and they both have a fatal illness). Also, the Baron in Camille is quite a lot like "the Duke" in Moulin Rouge.
Anyways, sorry for the rambling. I recommend you see this film. Especially if you enjoyed Moulin Rouge!

"You will never love me thirty years; no one will"
Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory.

Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy.

The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment.

This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film. ... Read more