Amazon.com

Scorned by reviewers when it came out, this concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder has acquired a cult over the years. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theater training and his headline-making romance with Elizabeth Taylor, was eager to try on the action ethos Eastwood was already nudging toward caricature. Alistair MacLean's novel The Guns of Navarone had inspired the film that started the '60s vogue for World War II military capers, so he was prevailed on to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. --Richard T. Jameson ... Read more

Reviews (156)

A great War Movie
This movie, filled with drama, action, and a complex plot that will make your head spin, has it all. Richard Burton is dashing as the cold plotting secret agent who is leading his team on a mission to save D-Day from disaster. Clint Eastwood, here little more than a teenager, is wonderful as the somewhat befuddled American army ranger who cannot figure out why he is even on the mission.

Any attempt to go into detail about the story would ruin some of the fun. Suffice to say that you will be riveted both by the action and the performances. One note though, Burton's monologue is amazing.

If you like WWII movies and have not seen this one, you don't know what you are missing.

Trashy and absurd, but still fun
This is a campy movie, but enlivened by gorgeous scenery, unintentionally funny dialogue and some of the most unbelievable action scenes ever devised (count how many times Clint Eastwood reloads... never!)

Richard Burton is his usual over-acting self, and he delivers his lines with more bombast that usual. A favorite is when he's pretending to be SS Reichsfuehrer Heinrich Himmler's brother in order to swagger around in a beerhall. Someone gets wise with him and Burton sneers, "My name is Bernard Himmler. Does the name mean anything to YOU? "

The last half hour of the movie is hilarious. Watch particularly the poker-faced Mary Ure, who hangs out of the back of a ski bus, machine gun in hand. She effortlessly mows down 10 German divisions single-handedly and never so much as twitches one facial muscle. Talk about a blase killer. Mary knocks off more German tanks, trunks and motorcycles in this movie than the Allied and Soviet forces achieved in all of World War II.

This is an enjoyable, escapist movie with plenty of laughs. Those of you who appreciate campy humor and enjoy ridiculing movies that take themselves too seriously will have a field day.

One of the Greatest War Films of All Time !
Quite simply one of the greatest war movies ever made. A top notch thriller loaded with action, espionage and double crosses, "Where Eagles Dare" is the kind of movie that Hollywood just doesn't make anymore. This isn't some politically correct drama steeped in reality. No, this is good guys vs. bad guys. This is pure unabashed fantasy which keeps the audience on the edge of its seat. This is just darn good entertainment!

Richard Burton is absolutely cunning as the British agent who leads an elite group of soldiers behind enemy lines and into a seemingly unpenetrable German castle to rescue an imprisoned American General. A young Clint Eastwood is the only American on the mission. Clint is his usual cool and calm self. However he, like the audience, isn't sure who to trust. Somebody's a double agent, but exactly who is anyone's guess. Don't worry about figuring it out, just sit back and enjoy the drama. You'll love the growing tension and suspicion between Burton and Eastwood.

The journey into the castle is classic heart-stopping drama. Even better is Burton's fight with a German soldier high atop a ski lift -- truly one of the most riveting action sequences ever filmed. Bullets are flyin' and bombs are blastin' throughout. In the end, heroes emerge while evil perpetrators get their just due. Classic, absolutely classic!

And yes, as several reviewers have noted, the stunning scenery and beautiful cinematography in this film would greatly benefit from a widescreen DVD treatment. So, how 'bout it, I want my DVD!

Commando raid at its most ludicrous
OK. Stellar star cast. I'll give you that and no dearth of action as well. But to portray the German Fallschirmjaeger and alpine troops as a bunch of bungling flat footed idiots is a little far fetched. It is history at its worst portrayal and hollywood action at its golden peak. Some dumbass marine from New Jersey might fall for this drivel but not well read students of history. It gets failing grade for portrayal of reality based fiction but gets high marks for choice of location and choice of cast. If you want a better war flick, pick Operation Daybreak.

Whats up with the dubbing
I happened to think that this was a cool movie.
Being a ex-marine I understand that alot of this
if not all of it is fantasy but hey its a movie not a documentary its suppose to be fun. My main concern was the dubbing was this an american movie or european ? it was Burtons and Eastwoods voices on the film but it was advanced meaning the sound occured before the action now I dont know if it was my dvd player I dont think so but man that was annoying ... Read more

Amazon.com

Scorned by reviewers when it came out, this concentrated dose of commando death-dealing to legions of Nazi machine-gun fodder has acquired a cult over the years. In 1968 Clint Eastwood was just getting used to the notion that he might be a world-class movie star; Richard Burton, whose image had been shaped equally by classical theater training and his headline-making romance with Elizabeth Taylor, was eager to try on the action ethos Eastwood was already nudging toward caricature. Alistair MacLean's novel The Guns of Navarone had inspired the film that started the '60s vogue for World War II military capers, so he was prevailed on to write the screenplay (his first). The central location, an impregnable Alpine stronghold locked in ice and snow, is surpassing cool, but the plot and action are ultra-mechanical, and the switcheroo gamesmanship of just who is the undercover double (triple?) agent on the mission becomes aggressively silly. --Richard T. Jameson ... Read more

Reviews (167)

HAMLET ON A HILLTOP
Perhaps I've been jaded by the kinetic fast paced action films of the past ten years, but I found WHERE EAGLES DARE a hit and miss film.Although it has a lot of action scenes, they come too far and few, and seem ridiculously drawn out and predictable.Alistair MacLean is rightfully considered a master of WWII and espionage thrillers and he certainly has wrought a complex, often confusing, plot in this rescue mission in the Alps.With Clint Eastwood the only Americanin the cast, EAGLES is full of noted British character actors and actresses and of course the unflappable presence of Richard Burton.The acting is so refined however that I had a hard time imagining Burton as such a dashing and capable warrior.The late lovely Mary Ure who had worked with Burton in LOOK BACK IN ANGER is merely a feminine presence in this film, but a darned good shot.Notable character actors Anton Diffring, Michael Hordern, Ferdy Mayne and Donald Houston also offer some classy support.But WHERE EAGLES DARE was too long and too convoluted for my taste.I'm not sure I understand even now who was on whose side.The locations and cinematography are gorgeous, though, and if you like this kind of espionage film, you'll probably like WHERE EAGLES DARE.

Great
This movie is good.I thought that it was going to be boring, but I was suprised I enjoyed it so much.It takes place in a snowy valley where the Germans have a castle stonghold.Lots of spy stuff and Clint Eastwood action.GOOD ENDING

Good World War II Fiction!!!
Never has any World War II fictional movie been as suspenseful as those based from the novels of Alistair MacLean where it involves espionage and daring life at risk attempts such as "The Guns of Navarone", "Force Ten from Navarone" and "Where Eagles Dare". All of these MacLean novels fit the criteria where one would wonder "what will happen next?"

"Where Eagles Dare" has a great cast of characters with two veteran actors such as Richard Burton who plays the British commander Major Smith and Clint Eastwood as the only American involved in the rescue attempt, Army Ranger Lieutenant Schaffer, who make a daring attempt to rescue an American general before they could make him talk inside the fortress castle called the "Schloss Adler" (Castle of the Eagles).

The movie was, perhaps, a little too modern for its time. The helicopter, in reality, was planned and under development around the time of World War II in America by Igor Sikorsky, but was not put into use until sometime before the Korean War. The downside of the movie was that of a Gestapo chief, Major Von Hapen (Derren Nesbitt), wearing a black SS Schutzstaffel uniform when, in reality, the Gestapo was a civilian organization. These were made up of agents that did not wear armbands or uniforms since they had to secretly spy on the general public throughout Nazi Germany and occupied countries under their control. The upside of the movie was the mind-boggling by Major Smith shortly after he and Lieutenant Schaffer confront the "general's" captors and British double agents while they were questioning him. One would have to watch the movie more than once in order to understand this segment of the plot. The fight scene on the cable car was also exciting to watch as was the destruction of the Schloss Adler while the daring escape took place.

Overall, this action-packed movie was brilliantly conceived as it was exciting to watch.

Second to None!
After watching this movie countless times over the last twenty-five years and having seen practically every movie that has ever been shown about World War II I can honestly say that this is second to none.Burton and Eastwood are at their best.The plot, settings, music, and scenery are second only to the twists and turns that keep you guessing until the last moments.Despite the number of times that I have viewed this movie, it gives me sewaty palms every time I put it in the player.A must see!!!!

FANTASTIC WW II ACTION FLICK
Where Eaqles Dare is probably only second to The Dirty Dozen as the greatest Action flick about WWII.Like that movie it concerns a daring plot with a group of highly skilled soldiers sent to carry out the mission.led by British officer major Smith (Richard Burton) and American Ranger Lt. Schaffer (Clint Eastwood) the agents seek to rescue a captured American General from a Nazi fortress who has sensitive knowledge of the D-Day invasion.

While obviously an action adventure movie, it's more specifically a `team mission' movie like The Dirty Dozen or a `penetrate the impenetrable fortress' movie. Talk about not making 'em like this any more! There are plenty of fight scenes, chases and Nazi shoot-em-ups.There are the usual stereo-typical Germans, the ruthless Gestapo officer, the stern commander, the visiting General and tons of German soldiers. No problem, ole Clint mows down a whole battalion single handedly. Burton cuts down a company or two himself and both he and Eastwood emerge with nary a scratch.

But hey...this isn't supposed to be a historically accurate film.This is pure, popcorn entertainment with gunfights, fist fights, cliff-hangers (literally) stereotypical nazi villians who can't hit the broad side of the barn and good ol' American and er... British heroes.

The script is entertaining and has a few notable twists in it, a testament to the skill of screenwriter and adventure novelist Alistair MacClain. Character development is not of particular importance in this story and yet one does come away with a palpable sense of Major Smith, a fact that I again acknowledge is the handywork of Burton, whose presence is auspicious regardless of his role.

At three hours it may be a bit overlong but it seems to fly by for the most part.A real classic of the genre and a great precursor to modern day action flicks. ... Read more

Amazon.com

Richard Burton was riding high in grandiose roles in Hollywood and onBroadway when he returned to Britain to portray trumpet-playing social dropout JimmyPorter in Tony Richardson's adaptation of John Osborne's groundbreaking 1956play. Burton's Jimmy works in a public market "sweet stall" where he rubs shoulderswith the working class with a condescending air, while he takes out his contempt ofbourgeois complacency at home on his spiritually whipped wife (a numb-looking MaryUre) and her best friend (Claire Bloom). Burton is too old for the part of the self-loathingcollege grad, but his performance simmers with frustration and misdirected rage thatmasks the sad, vulnerable underside to his misanthropic swipes. The film became theopening volley in Britain's "New Cinema," a new wave of young directors, working-classthemes, and social-realist style. --Sean Axmaker ... Read more

Reviews (4)

When Harry Met Misery
This film is an abomination. I don't fault Burton, Malcolm MacDowell couldn't carry the remake either. The problem is the tireseome cliches of the social realist author, using the characters as mouthpieces for DEEP (and predictably painful) TRUTHS. If there are people who talk and behave as these characters do, one would do everything in one's power to avoid them. Pitiful, angry, self-indulgent, foolish people. The film unintentionally presaged (and was itself an example of) the age of utter self-indulgence and perpetual self-analysis that has eventually swamped us. It belongs with the swill in the self-help section. One can easily imagine Burton's character as the macho leader of a social movement to right all wrongs, while he can barely manage to feed himself.

From a real Osborne fan
First, one of the other reviews for this film seems to be stating that Burton played Jimmy Porter on stage. This is not true. Osborne's autobiography describes Burton as needing a serious career boost after his previous toga films had gotten him nowhere (though, still, Osborne then says it was Burton's name that got the film financed). Burton took on the film for very little money (and, yes, he is too old for the part.) Mary Ure is the only actor from the stage production. (And at this late date it seems a great loss Alan Bates didn't reprise Cliff in the film.) My thanks to the reviewer who mentioned Pauline Kael's review. It certainly makes me reconsider how much power the film had in its time. But still everyone seems to be missing the point of the story. It isn't a conventional triangle. The play greatly upset the establishment in its day because it is an violent assault on class and cultural issues of the time. Jimmy is not a working-class hero. Kenneth Tynan described him as part of the "non-U intelligensia" but this is wrong. The film mentions, though perhaps doesn't make clear, that Jimmy has been to college, a very mediocre college. His working a sweets barrel is part of his rejection of the social order. But it is his marriage that is the central class conflict, as his wife, Alison, is from a very good family, father an old soldier returned from India, brother at Sandhurst, surely some day an MP. Her family instantly rejected Jimmy, and Jimmy resents Alison's inability to decisively choose sides, hates her for even writing letters to her mother. Alison believes Jimmy decided to marry her only after her parents rejected him. In the scheme of the play it is Cliff who is working class, Alison who is ruling class, and Jimmy in-between raging at the world. His rage, his need for a dust-up, is his response to a collapsing England, an England determined to be static, dead. The movie begins in a jazz club, which was wrongheaded, since the central image of a stiffling Sunday morning reading the papers (with no church attendance) is so important to the play. Jimmy wants to eat more and shout more and love more than the world around him affords him. A previous reviewer states Osborne gives us some pop psychology to explain Jimmy ' Jimmy, when a boy, watches his father die ' but one thing Osborne should never be accused of is being faddish. The point is that Jimmy's father died upon returning from fighting in Spain, dying for a cause, while his mother didn't care. It explains Jimmy's sense that there is no cause to fight for. Also it has left Jimmy a deep belief in honoring the dead, and this, in turn, causes him to feel Alison betrays him when she fails to appear at the funeral for Ma Tanner, his surrogate mother, the woman who bought him the sweets stall. (Spoiler warning). This take on death is what makes the ending meaningful when Alison miscarriages. It is why Jimmy cannot just be a bastard who dismisses his wife.

Or maybe it's all just Osborne's attack on his first wife in a very autobiographical play (his attacks on second wife Mary Ure in his autobiography can be equally savage).

On whole I find the film a disappointment. Burton's unconvincing performance cannot be saved by good work by Mary Ure and Claire Bloom. Worse, the film eliminates many of the most biting and relevant rages from Jimmy in the play, perhaps the best parts of the play. Nigel Kneale, who wrote some great science fiction, should never have been allowed to rewrite Osborne. The whole teddy bear/toy squirrel metaphor from the play makes no sense whatsoever in the film. I do like the scenes with Edith Evans, which Osborne at least in part wrote especially for the film, the character not ever actually appearing on stage in the play (Evans, priding herself on being Cockney, bought her own wardrobe for the role in second-hand shops). In some ways I prefer the filmed version of the play done years later by Lindsay Anderson with Malcom McDowell (though he too was too old for Jimmy). Oh, and reviewers please note, you won't find the phrase "angry young man" in the play. It was never a phrase Osborne liked. It was invented by the promotions man at the Royal Court Theater.

A Great (sorry, Mr. Burton) Classic
Richard Burton - who started a legendary career (first on stage, later on screen) with playing Jimmy Porter - would probably have hated the description "classic". But it can't be helped: This movie adaptation of a theatre hit of the London Westend IS a classic by now. And that is mainly due to his wonderful, once-in-a-lifetime performance as Jimmy.
When John Osborne tried to put into words - and he indeed succeeded! as the great theatre critic Kenneth Tynan so rightly pointed out - the deep frustration, sadness and sometimes furious rebellion of the young generation of the 50s (not so far away from the frustration and rebellion of the young generation of today, mind you!), he was incredibly lucky to find a hitherto unknown, rebelliously minded young Welsh actor to play the lead! Burton's tremendously energetic performance became a legend in no time, - and it was and is great to see that he managed to transfer most of that energy into the film version.
It is also great that the wonderfully subtle performance of Mary Ure lost nothing of its riveting intensity in the film, and how convincingly she succeeded in playing up to her partner! Miss Ure (who in my eyes until today is only being matched by Meryl Streep, Jessica Lange and Kate Blanchett) was an actress of great beauty and tremendous talent. Above all, she radiated humaneness and vulnerability, but also great inner strength, in her parts.
Claire Bloom does not quite match the leading performances, but is also very good as the intervening guest who at first hates, and later is fascinated by the husband of her best friend.
It seems unlikely that this superb film version of a great play - after all, it does not seem accidental that Osborne's "angry young man" (Jimmy Porter) has long since become a figure of speech - will impress 'cool' young people as Peter Shelley from Australia who talks about "dull Ure" and finds it appropriate to refer to a wonderful supporting performance of the great Dame Edith Evans as "mention is made of Edith Evans in a nice turn". However, there is hope that a timelessly brilliant production as this will always and everywhere find its admirers - be they 19 or 90!

he learned to be angry early and never looked back
Perhaps Tony Richardson's film of the John Osborne play needs to be assessed at the time it was first released. In I Lost it at the Movies, Pauline Kael describes it as "bursting onto the screen, delivering some of the most electrifying dialogue of it's era". However seen today, it comes across as basically a conventional triangle, with Richard Burton's Jimmy Porter, known as an "angry young man", simply a frustrated cruel soul. Considering Burton's eloqution, it's hard to accept him as a working class hero, someone with lofty ambition but no means to achieve. He's the kind who settles for an income as a lolley seller in a street stall. When he does his "The Entertainer" vaudeville routines, one is more likely to be aghast than amused at the incompetence, since Burton is not the Archie Rice type. His Jimmy Porter famous rantings sound more like psychotic episodes, coming in reaction to some perceived blunder by his wife (Mary Ure), and one only wishes he could find the right medication to control his mood swings. Osborne gives us some pop psychology reasons for his anger and mysogyny - that he watched his father die when Jimmy was merely a boy, a death that his mother was indifferent to - but he remains a neurotic enigma. When Claire Bloom as a friend of Ure's, slaps him, he withdraws like a coward, confirming the earlier accusation when he had pushed Ure into an iron - though I suppose being a coward by not being aggressive is preferable to physical confrontation. Even when we see that perhaps his view of people can be true, in relation to Ure's middle class conservative parents, it doesn't make Burton any more likeable. Occassionally he gets a funny line eg he calls Bloom "a saint in Dior clothing", and at times is youthfully handsome. This film was made before his American success with Camelot, and his celebrity with Liz and Cleopatra. Richardson provides a nice cut from Burton crying for help to a group of running schoolchildren, and I liked how Bloom's slap leads to an embrace - the affair may not be a surprise since it's the usual animosity-hiding-desire, but Bloom is a welcome change to the dull Ure. Richardson actually gets an unintentional laugh when Ure is shown like a drowned rat to prefigure a loss. Mention is made of Edith Evans in a nice turn as a friend of Burton's. ... Read more

Reviews (12)

Second string telling of the Custer story.
This is an example of what happens when a British film company tackles American history. The Custer story has been told in many films for many years. The various depictions are generally amusing in their fabrications, half-truths, historical inaccuracies, and outright lies. This film is essentially a B movie given a '60s Cinerama treatment that stresses visual presentation over substance. There is one long scene, for example, of a man escaping danger by riding down a miner's sluice. This segment is protracted, and one suspects it's only there to demonstrate Cinerama's camera technique. Custer (Robert Shaw, with Scottish burr intact) is depicted heroically. Reno (Ty Hardin) is disparaged as a drunken coward who failed to come to Custer's aid. The complexities of Custer's personality and the doubtful integrity of his motivations as an Indian fighter are not explored. The only Indians mentioned are the Cheyenne. The scriptwriters didn't add that the Native Americans at the Battle of Little Bighorn also included a major contingent of Sioux. Historical problems aside, the movie falters as an action-adventure film. The climactic battle is disappointingly lethargic. As Custer movies go, "Son of the Morning Star" is more accurate, and "They Died With Their Boots On" is better as an action-adventure film. ;-)

Excellent Film
Anchor Bay Entertainment comes through again with an exceptional print. What a movie! This is one of the best Western Legends ever filmed. Robert Shaw is Custer giving his own interpretation to this American hero. The photography is thrilling and spectacular and makes this film one of the most underrated movies ever released. Anchor Bay is the best company making DVDs. They are always crisp and clear and better than the major companies. Look for their titles.

MGM, please keep in touch with the times!
It seems hardly acceptable that in 2004 some studios still release widescreen DVDs without 16:9 enhancement. Well, this is the flaw that will bring my rating down to 3 stars. Too bad, because this DVD is otherwise nice-looking. And - oh yes, in case you're wondering - don't let the inaccurate mention on the jacket fool you: the film is presented in its correct 70 mm 2,20:1 aspect ratio, not in 1,85:1. Please MGM, also double-check your jackets!

Good transfer, but where's the stereo soundtrack?
This little-known Western epic from 1968 is flawed as biography, but is an action film first and foremost. Originally presented in 70mm Super Cinerama as a roadshow, this transfer begs the question - what happened to the 6-track stereophonic soundtrack? And, where are the overture and intermission? The picture is from 65mm negative/70mm print and is fairly sharp and clear, as befits the enlarged negative, but without the stereo sound, it becomes a hollow-sounding Western wannabe spectacular. Snaps to MGM/UA for actually releasing the full 141 minute version at all, but why not include all the accoutrements of the original presentation? The film was created for huge screens, and needs the support of the full-bodied original soundtracks to do the visuals justice. And those of us who love film always want the overture and intermission if the film was first presented that way!

Anchor Bay releases another quality product!!!
Anchor Bay has released the ultimate version of this classic movie!!! Presented in both Full and Widescreen versions, this DVD delivers!!! The picture and sound quality is superb!!! A true classic!!! Five Stars!!! A+ ... Read more

Amazon.com

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity,depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker ... Read more

Reviews (12)

Second string telling of the Custer story.
This is an example of what happens when a British film company tackles American history. The Custer story has been told in many films for many years. The various depictions are generally amusing in their fabrications, half-truths, historical inaccuracies, and outright lies. This film is essentially a B movie given a '60s Cinerama treatment that stresses visual presentation over substance. There is one long scene, for example, of a man escaping danger by riding down a miner's sluice. This segment is protracted, and one suspects it's only there to demonstrate Cinerama's camera technique. Custer (Robert Shaw, with Scottish burr intact) is depicted heroically. Reno (Ty Hardin) is disparaged as a drunken coward who failed to come to Custer's aid. The complexities of Custer's personality and the doubtful integrity of his motivations as an Indian fighter are not explored. The only Indians mentioned are the Cheyenne. The scriptwriters didn't add that the Native Americans at the Battle of Little Bighorn also included a major contingent of Sioux. Historical problems aside, the movie falters as an action-adventure film. The climactic battle is disappointingly lethargic. As Custer movies go, "Son of the Morning Star" is more accurate, and "They Died With Their Boots On" is better as an action-adventure film. ;-)

Excellent Film
Anchor Bay Entertainment comes through again with an exceptional print. What a movie! This is one of the best Western Legends ever filmed. Robert Shaw is Custer giving his own interpretation to this American hero. The photography is thrilling and spectacular and makes this film one of the most underrated movies ever released. Anchor Bay is the best company making DVDs. They are always crisp and clear and better than the major companies. Look for their titles.

MGM, please keep in touch with the times!
It seems hardly acceptable that in 2004 some studios still release widescreen DVDs without 16:9 enhancement. Well, this is the flaw that will bring my rating down to 3 stars. Too bad, because this DVD is otherwise nice-looking. And - oh yes, in case you're wondering - don't let the inaccurate mention on the jacket fool you: the film is presented in its correct 70 mm 2,20:1 aspect ratio, not in 1,85:1. Please MGM, also double-check your jackets!

Good transfer, but where's the stereo soundtrack?
This little-known Western epic from 1968 is flawed as biography, but is an action film first and foremost. Originally presented in 70mm Super Cinerama as a roadshow, this transfer begs the question - what happened to the 6-track stereophonic soundtrack? And, where are the overture and intermission? The picture is from 65mm negative/70mm print and is fairly sharp and clear, as befits the enlarged negative, but without the stereo sound, it becomes a hollow-sounding Western wannabe spectacular. Snaps to MGM/UA for actually releasing the full 141 minute version at all, but why not include all the accoutrements of the original presentation? The film was created for huge screens, and needs the support of the full-bodied original soundtracks to do the visuals justice. And those of us who love film always want the overture and intermission if the film was first presented that way!

Anchor Bay releases another quality product!!!
Anchor Bay has released the ultimate version of this classic movie!!! Presented in both Full and Widescreen versions, this DVD delivers!!! The picture and sound quality is superb!!! A true classic!!! Five Stars!!! A+ ... Read more

Reviews (2)

penny for [all] your THOUGHTS ........
'X' rated by the Brits when released in '62 [well, it DOES feature a 'live' home birth at the end ..... then that dangerous experiment .....] Close to "The Pumpkin Eater" and possibly "Whose Afraid of Virginia Woolf - with Kids?" - this very advanced thriller set in the early 6oties tentatively explores "Isolation Tanks" - and the effect on its subject - or victim.

BOTH DIRK BOGARDE and MARY URE are stellar as the Mr. & Mrs. involved - Mary Ure especially has fine moments as the loving and later abused pregnant wife - tough stuff for that period [although we did have 'Saturday Night & Sunday Morning'] - but it does somewhat explore the approach to 'mind-bending' - and reprogramming of the subject - timely stuff.....

Bogarde was on the eve of his stellar career - the beautiful blonde, blue-eyed Mary Ure left so few examples of her work - but worth visiting "Look Back In Anger", etc. {NOT forgetting Miss URE in D.H. LAWRENCE "SONS AND LOVERS" - a missing treasure from 1960 long due for a DVD release!!}

Tone of movie is suitably sombre, photography is moody and the score very suitable .... a neglected treasure from that period.

Oh, yes and a young Edward Fox pops in and out of a few scenes as a student.

Pallid
In spite of the obviously psychedelic packaging for this film, The Mind Benders is marginally science fiction. Instead, this is a drama with SF trappings. The story of a scientist, Dr. Longman, played by Dirk Bogarde, who comes to believe that the suicide of a colleague was caused by prolonged exposure in a sensory deprivation tank, he is forced to prove his theory by a British intelligence agent and undergo the same treatment himself.

The agent is convinced that Longman's colleague was a spy and engages in some subtle brainwashing of Longman after he's spent eight hours in the tank. While the opening half hour is definitely gripping--including Longman's harrowing experience in the tank--the final two thirds of the film is sorely disappointing for science fiction fans--or even for those who are expecting a substantial buildup focused on the theme.

The development after the first 30 minutes or so is pretty weak, centering on Longman's relationship with his wife which has been put to the test, and is a real letdown. Although Dirk Bogarde and Mary Ure as his wife are more than competent actors, the film runs out of steam long before its happy ending.

The real value of this film, as indicated in the liner notes of the DVD, is that it is a precursor to Altered States and The Manchurian Candidate. For completists who want whatever film they can find about brainwashing, this is a must. For anyone else, it's really not great. A far better vehicle for Dirk Bogarde fans, also available on DVD, is The Servant. ... Read more

Amazon.com

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity,depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker ... Read more

Reviews (12)

Second string telling of the Custer story.
This is an example of what happens when a British film company tackles American history. The Custer story has been told in many films for many years. The various depictions are generally amusing in their fabrications, half-truths, historical inaccuracies, and outright lies. This film is essentially a B movie given a '60s Cinerama treatment that stresses visual presentation over substance. There is one long scene, for example, of a man escaping danger by riding down a miner's sluice. This segment is protracted, and one suspects it's only there to demonstrate Cinerama's camera technique. Custer (Robert Shaw, with Scottish burr intact) is depicted heroically. Reno (Ty Hardin) is disparaged as a drunken coward who failed to come to Custer's aid. The complexities of Custer's personality and the doubtful integrity of his motivations as an Indian fighter are not explored. The only Indians mentioned are the Cheyenne. The scriptwriters didn't add that the Native Americans at the Battle of Little Bighorn also included a major contingent of Sioux. Historical problems aside, the movie falters as an action-adventure film. The climactic battle is disappointingly lethargic. As Custer movies go, "Son of the Morning Star" is more accurate, and "They Died With Their Boots On" is better as an action-adventure film. ;-)

Excellent Film
Anchor Bay Entertainment comes through again with an exceptional print. What a movie! This is one of the best Western Legends ever filmed. Robert Shaw is Custer giving his own interpretation to this American hero. The photography is thrilling and spectacular and makes this film one of the most underrated movies ever released. Anchor Bay is the best company making DVDs. They are always crisp and clear and better than the major companies. Look for their titles.

MGM, please keep in touch with the times!
It seems hardly acceptable that in 2004 some studios still release widescreen DVDs without 16:9 enhancement. Well, this is the flaw that will bring my rating down to 3 stars. Too bad, because this DVD is otherwise nice-looking. And - oh yes, in case you're wondering - don't let the inaccurate mention on the jacket fool you: the film is presented in its correct 70 mm 2,20:1 aspect ratio, not in 1,85:1. Please MGM, also double-check your jackets!

Good transfer, but where's the stereo soundtrack?
This little-known Western epic from 1968 is flawed as biography, but is an action film first and foremost. Originally presented in 70mm Super Cinerama as a roadshow, this transfer begs the question - what happened to the 6-track stereophonic soundtrack? And, where are the overture and intermission? The picture is from 65mm negative/70mm print and is fairly sharp and clear, as befits the enlarged negative, but without the stereo sound, it becomes a hollow-sounding Western wannabe spectacular. Snaps to MGM/UA for actually releasing the full 141 minute version at all, but why not include all the accoutrements of the original presentation? The film was created for huge screens, and needs the support of the full-bodied original soundtracks to do the visuals justice. And those of us who love film always want the overture and intermission if the film was first presented that way!

Anchor Bay releases another quality product!!!
Anchor Bay has released the ultimate version of this classic movie!!! Presented in both Full and Widescreen versions, this DVD delivers!!! The picture and sound quality is superb!!! A true classic!!! Five Stars!!! A+ ... Read more