Reviews (67)

Another Legendary 1969 film
What a magical time! Sometimes I watch these late Sixties movies and think how great it would have been to lived in those times. Then I remember, wait, I DID live through that! I was a 14 year old film buff and Huge Michael Caine fan since I saw him in "Zulu" on something like Sunday Night at the Movies on our black and white TV. The Italian Job looked like a great vehicle for the suave anti-hero Caine, so I dug up a $1.50 (evening show) and was absolutely blown away. Curse you, Marky Mark for defiling this wonderful show! The gifted and perfect cast (blimey! it's Noel Coward..and wouldja lookit that-it's Benny Hill!), the music (mega-ditto blimey, it's Quincy Jones!), the breezy plot (tailor-made for dear Mr. Caine), the locations (the Alps, Rome, London), and the perfect time (the climax of the Swinging Sixties, baby!) make this a classic that no cg animation-enhanced 21st century film can touch. Can you even imagine a big budget movie today having the guts to pull off that crazy ending? I've been trying to figure out what Charlie was going to try next for decades. Good to see it's finally making it to DVD. Raise your glasses gents, for this "self-preservation society!"

Self Preservation Society!
This is the movie that defined the word, 'Classic'.

Michael Caine plays Charlie who's just been released from prison. Rather than trying to keep on the straight and narrow, he immediately embarks on trying to steal gold bullion from the Italian's. He gets the backing of Mr. Bridger, London's head of crime, who's in prison himself.

To help him carry out the plan, he gathers together an array of colourful people including Benny Hill as the clever professor who has a penchant for big women.

Add to the mix three Mini Cooper's as the unlikely get away cars and you're in for a fun filled, action packed film that sees Charlie and his gang trying to outrun both the police and the Mafia.

The build up to the heist is interesting and funny but the unique get away at the end is the scene stealer. Through underground sewers and subways, down church steps, through rivers and up to the very rooftops, it's gripping and highly entertaining. I think anyone that watches the film will just yearn to have a Mini Cooper afterwards.

Of course, the cliff hanger of an ending just fits so perfectly too.

To add; I also think the soundtrack is great and the film produced one of the most, if not THE, memorable quote of all time from Michael Caine when he sees the truck explode into thousands of pieces during a practice run and then turns to the unfortunate explosives 'expert' and says, "You're only supposed to blow the bloody doors off."

Mr. Caine has said that he still has people come up to him in the street and say that to him, even now!

To conlcude, The Italian Job is very patriotic, even the cars are red, white and blue, and I think it's the masterpiece for all British classic's.

So, "get your skates on, mate" and buy it now - your collection is lacking if this film isn't a part of it.

take it as a mood piece and a cult classic
I gave the remake of this movie a much higher rating, and the main reason is that it simply has a better plot. Michael Cain is wonderful in the original, and some of the other outrageous characters as well as the pretty original plotline together should be the ingredients for an unforgettable film, yet this one leaves you really unsatisfied, maybe because it really never decides what it wants to be: satire, comedy, serious heist movie or thriller, so it ends up being unsatisfying on all accounts. See it for the brilliant chase scene with the mini coopers, and view it also as a sensitive mood piece of 60ies swank.

REMEMBER STYLE ?
The original ITALIAN JOB is one of those "little" movies that won't go away as it continues to reap the dividends of having been done with panache and style.
Michael Cane's Charlie character is an artist working effortlessly in aloof charm. He's the kind confident character you'll admire like Murphy in CUCKOO'S NEST in spite of the obvious reasons not to. There is seductive music and beautiful scenery and plenty of restrained continental humor.
I have no interest in cars, but even I admitt the classic models of the time featured here are beautiful and add to the ambiance of elegance infusing the scenes .
The chase is more clever than thrilling although the site of four cars performing on the top of a tall rounded building still makes me shake my head when I see it thinking they must have been mad. Remember, no remote control models or studio set ups were used here. That car jumping from roof to roof is real.
Don't come here looking for an action adventure though - it's more adult than that albeit geared for adults of another generation.
Director Collinson's influence makes the movie as good as it could possibly have been. The art direction also contributes strongly throughout. Because this version is so good, I am not tempted to see the remake. Why?
Basically; it must have been pretty impressive then and it's definately fun now. Sometimes all you want is a little fun with a dash of style.

The Italian Job - Michael Caine
A wonderful action movie set during 1969 Italy and England. This movie is actually better than the remake. When I first heard that someone had finished making the remake, I tried to find a copy of the original. I remembered seeing it on TV years ago and that it was a great show. The music in the original is super and true to the era. What makes this movie great is the Minis ofcourse, but also Michael Caine. I bought the original. Too bad they never made the sequel that had orginally been planned. ... Read more

Reviews (46)

An Epic Masterpiece!!
"Lion of the Desert" tells the story of a school-teacher turned guerrilla fighter, trying to put a stop to Italian invasion and colonization of his country, Libya. This movie is excellently filmed, and the scenery and action are spell-binding. Most critics in America disliked this movie simply because it's about Libya, and an important episode of its history. But if you view this movie with an open mind, you'll see that not only is it well made, but it's also inspirational. The characters and conflicts portrayed are real, and I find the movie a fine tribute to the courage and tenacity of the Libyan patriots who fought and died against Fascist Italy, long-before Mussolini's forays into Abyssinia, Civil War Spain, and the Second World War. These people were fighting for their freedom and independence, and their heroic example should inspire all of us.

This Movie is good. 4.5/5
This movie though not popular is one of the good movie I've seen. It's all about a man (Mukhtar). who tries to save his homeland from colonization for twenty years.

Anthony Quinn is incredible as Mukhtar. but I also praise Oliver Reed for potraying as Graziani the "Governer of Libya" sent by Mussolini to quell this rebellion. But there was a draw back of the film. It was a bit one sided, showing the Arabs as hero (righttfully so) while the Italians (as in soldiers etc) as ruthless and barbaric. While colonialization of other lands is wrong. I feel this film was a bit too slandorous against the Italians. But remember Mussolinni was the founder of the oppressive system of Facism.

Pros: Exellent History of Libya Between the 2 World Wars

Battle scenes are awesome Amazing actors (Oliver Reed, Anthony Quinn, Rod Steiger etc)

Cons: One Sided,too biased against the Italians

Poor sound Quality, music audio tracks takes over the action (I have a surround systems)

But the movie was good

A hidden gem in the repetoire of great war films.
Given that not all war movies issued in DVD format by MGM and Fox are truly good, it is a shame that a masterpiece such as
"Lion of the Desert" is released in the more obscure Anchor Bay label. Aside from picture and sound quality that is rather good for such an old film, the story, the characters and the battle scenes exceed one's expectations. Anthony Quinn plays a wise teacher who moonlights as a rebellion leader in Italian-occupied Libya. Oliver Reed plays an Italian general who was sent to Libya by "Il Duce" Mussolini, played with humourous gusto by Rod Steiger, in 1929 to crush the rebellion. This film emphasizes that it was this general, named Rodolfo Graziani, who was the first to employ tanks in the desert, and one sees alot of light tanks being used against Bedouin horsemen. Aside from regular Italian army officers, there are fascist Black Shirt officers who, like Hitler's S.S. officers, just love being cruel and sadastic. If you like watching desert warfare, you will find this film to be more than satisfying and learn, like the arrogant Italians did, not to underestimate the resourceful Omar Mukhtar and his people's rebellion against colonization.

essential viewing - a masterpiece with riveting performances
''Destined to remain a dubious footnote in books of movie trivia'' ?? Reviewer Jeff Shannon, who I would bet would not warrant a footnote in any directory of influential film critics (thank God for that!) sounds like he would do well as a Bush policy advisor. This movie is amazing, with riveting performances from the entire caste. It is not only extremely well made with very convincing battlefield scenes and clinically dispassionate portrayals of brutality, and with a simple but telling script, it is also an all too rare look at the world from a different but necessary perspective. Omar Mukhtar was a real person, not a Hollywood hero. He was and remains an Arab nationalist hero. It is almost eerie how the film, even after more than 12 years, mirrors the logic of what is going on in Palestine and Iraq today. The more people see a film like this and are touched by it, the better they would understand the nuances of nationalism, spirituality, culture and geopolitics.

Splendid Historical Epic
When one thinks of the name Moustapha Akkad, if one thinks of it at all, the thought most likely concerns the "Halloween" franchise. After all, Akkad financed the first film and eventually took over the rest of the series. Every time you witness a new entry in the "Halloween" canon, Akkad is probably the one to blame. But few people know that Moustapha Akkad also directed epic films about Arab history in the late 1970s and early 1980s, or that these films are extraordinarily laudable cinematic pieces well worth watching today. Arab history certainly wouldn't rank high on anyone's list nowadays with the explosion in Islamic fundamentalism and the terrorist attacks of September 2001 still in the forefront of our minds. That's too bad because this picture starring Anthony Quinn, Rod Steiger, and Oliver Reed is not only immensely watchable, it also presents a different viewpoint on the relationship between the West and the Arabic world. Most importantly, this movie shows that Moustapha Akkad hasn't always sat around collecting checks from his "Halloween" projects.

"Lion of the Desert" opens in the year 1922 right after Benito Mussolini took control of the Italian government. As many historians know, Il Duce quickly decided one way to bolster his fascist dictatorship was to present it as a renewed Roman Empire. One of his first priorities as a conquering Augustus was to renew efforts to pacify the Bedouin tribes in the Italian colony of Libya. After ascertaining that the leader of the Bedouin resistance is a man named Omar Mukhtar, Mussolini handpicks one of his most ruthless and capable generals, Rodolfo Graziani, as the new governor of the colony. Graziani's mission is to go to Libya and smash these pesky desert nomads in any way he sees fit. The Italian presence in Libya dates back some twenty years, and Il Duce isn't about to lose the territory on his watch. His general soon sails to Libya with a few novel ideas on how to defeat the Arab resistance, and he won't let anyone stand in his way. Graziani is such a ruthless tyrant that even Omar Mukhtar recognizes his name when told the general is now the new governor. Mukhtar isn't about to just let Graziani roll over his people, while the general intends to teach Mukhtar a lesson he and his people will never forget.

This movie overflows with magnificently choreographed battle sequences involving thousands of extras. Moreover, Akkad and his crew took great pains to reproduce the Italian military equipment down to the smallest details. It must have killed some of the craftsmen on the movie to watch months of painstaking labor go up in a two second explosion, something that happens on a frequent basis during the film as the Bedouins routinely destroy endless numbers of armored cars and tanks. According to the makers of "Lion of the Desert," Graziani was the first military commander to use tanks in the desert, and the movie portrays this historic battle in expansive detail. It is difficult to say which battle sequence is the best, although I would definitely lean towards the artillery barrage in the valley when Italian field cannons open up on entrenched Bedouins in the caves on the side of a mountain. The sound and fury of this encounter looks great on DVD, with the explosions of the shells literally booming out of my sound system.

The performances really make this film a winner. Rod Steiger plays Benito Mussolini with all of the swagger you would expect from an actor portraying the pompous fascist dictator. Oliver Reed works wonders as the cold-hearted Graziani. The best performance in the film is definitely Anthony Quinn's turn as Omar Mukhtar. Not only does he look like the actual historical figure, as seen by photographic comparisons made in one of the extras on the DVD, he strikes just the right balance of compassion and controlled ferocity. The meeting between Mukhtar and Graziani towards the end of the film fills the screen with drama, along with several statements made by Mukhtar that would apply to any conquered peoples on the face of the earth. The 162 minute runtime insures that most of the characters receive appropriate development.

Arguably, the most emotional and tense scenes in "Lion of the Desert" occur when Graziani institutes his plan to put the Bedouin population in concentration camps in order to force Mukhtar and his freedom fighters to surrender. The film ingeniously stages scenes of the concentration camps and then, without missing a beat, tacks on real film footage from the Italian occupation showing an aerial view of the prisons. Unlike Hitler with the Jews, the Italians did not gas Bedouins in these camps, but thousands of Bedouins did die from poor conditions. Moreover, Graziani ordered the fields burned and the execution by both bullet and noose of innocent civilians to avenge Italian battle casualties. For a PG rated movie, the atrocities and battle deaths are extremely bloody.

The DVD looks great, with a widescreen picture transfer and a slew of extras. The making of documentary outlines a score of interesting facts about the production of the film, such as the need to build an entire city in the desert to house and feed the thousands of people used during the production. According to the trailer and a few references in the making of documentary, the film originally bore the title "Omar Mukhtar." I think the title they went with was a smart choice, however, because it makes you think about who qualifies as the real lion of the desert. Is it Graziani or is it Mukhtar? Well, it is both men as they test each other's mettle through years of combat. If you like historical epics, be sure and watch this one soon. ... Read more

Reviews (33)

Excellent true life World War II suspense story!
Gregory Peck and Christopher Plummer give outstanding performances as Monsr. Hugh O'Flaherty(Peck) and SS Col. Herbert Kapler(Plummer). The action and suspense of the movie keeps it going at a brisk pace. The story follows Peck as a Vatican official trying to save Italian Jews and Allied escaped POW's from the hands of the German SS. Plummers portrayal as Col. Kapler is both chilling and frightening, especially when he personally executes a Catholic priest who was caught helping the Resistance. Peck's portrayal of Father O'Flaherty is very moving to watch. The intelligence and compassion of this man truly shows through and shows how much Father O'Flaherty deserved the awards and decorations he received from the Allies after the war. And the ending is very surprising as well! It is also a plus having the movie shot in Rome where the actual events took place. A truly classic movie. I highly recommend it.

Excellent true life World War II suspense story!
Gregory Peck and Christopher Plummer give outstanding performances as Monsr. Hugh O'Flaherty(Peck) and SS Col. Herbert Kapler(Plummer). The action and suspense of the movie keeps it going at a brisk pace. The story follows Peck as a Vatican official trying to save Italian Jews and Allied escaped POW's from the hands of the German SS. Plummers portrayal as Col. Kapler is both chilling and frightening, especially when he personally executes a Catholic priest who was caught helping the Resistance. Peck's portrayal of Father O'Flaherty is very moving to watch. The intelligence and compassion of this man truly shows through and shows how much Father O'Flaherty deserved the awards and decorations he received from the Allies after the war. And the ending is very surprising as well! It is also a plus having the movie shot in Rome where the actual events took place. A truly classic movie. I highly recommend it.

amazon bias
erik reitz review is incredibly bigoted and hostile toward catholics - however i wrote a review pointing this out and incredibly you don't post my review but retain his - another thing i've noticed that amazon allows bigoted views against western civ, christianity, catholicism, anglos, men, heterosexuals etc to be posted & while some people will reply exposing this bigotry amazon runs the double standard of allowing unrestrained bigotry on one side while censoring the other side - you claim to moderate fairly yet what you do is allow left wing bigotry unchecked and the rest censored - amazon has presented a hostile evironment to the above mentioned censored majority of which i am a part - i cringe everytime i shop amazon's reviews that my sensibilities will not only be ignored but trampled and violated

The Scarlet & The Black
Great Job ... Acting, Location & Story. Its nice to see one more positive telling of the Church during the war. Not too many people know that the Chief Rabi of Rome during and immediately after the war, Israel Zolii, was so impressed by the Christians in Rome who tried to protect Jews from nazi persecution, that he was baptised as Catholic shortly after the end of the war. He took for his Christian name Eugene ... the same first name as Pope Pius XII, whom he especially admired as a friend and protector of Jews. He died as a devout Catholic.

One of the best!
This movie never gets enough credit! This is one of the best war time movies ever and with Mr. Peck's passing this is a must see for Peck fans who have not seen this movie. Gregory Peck and Christopher Plummer in one of his best roles play a cat and mouse game during WW2. The acting is fantastic and there is a lot of suspense! A must see! ... Read more

Reviews (7)

HEAVY! THOUGHTFUL!
The landscape of an island of Ireland, the music, and the subject of this movie prompts introspection in one's religious behavior, what is meaningful in such behavior, what is not.

Add to that the question of conflict of personal BELIEF with OBEDIENCE to church dogma and you have the makings of a heavy story, which the actors and director delivered in an "excellent" manner, and I rated it a "4" as a result.

There is an emotional and intellectual hangover produced by getting involved with the film, so beware. It is NOT just ENTERTAINMENT. It should make you THINK about your FAITH and the practice of it.

Bill Schaefer

Great Original Film, But Flawed Editing and Reproduction.
This made-for-TV movie from 1973 was shown full-length on U.S. public broadcasting stations in the 1970s. It is a visually and intellectually impressive film. The story line is very faithful to the 1972 book "Catholics" by Brian Moore, with only a couple of scenes sequenced differently, and in my opinion, rather more effectively than in the book. Unfortunately, later VHS versions have been shortened, with about the first ten minutes of the original film deleted. This DVD version shares the same significant defect.

The first few minutes of the original film were essential in setting the context for the conflict portrayed between the traditionalist Irish monks led by their Father Abbot (Trevor Howard), and the modernist representative (Martin Sheen) of their order's Vatican Father General. During these missing first few minutes, we would have seen Sheen meeting with the Father General (Raf Vallone) in Rome, and discussing the "problem" of the return of Latin Mass celebration by the monks of Howard's abbey and the growing world-wide popularity of that celebration. The first scene made it clear that the time period portrayed is hypothetical and futuristic. In this fabulous Roman Catholic Church, additional modifications and liberalization of doctrine are supposed to have taken place beyond those that have been in effect since Vatican II. Within the film, there are mentions of a "Vatican IV" and other hypothetical conventions. Missing the original initial scene, many may believe that the film has grossly erred in, or deliberately distorted, current Roman Catholic beliefs. This was not the motive of the movie as originally filmed, and it is a tremendous loss to the integrity of the original story that the vital first scene of the movie has been edited away. However, this does explain the crediting of Raf Vallone as Father General at the start and end of the film, when in fact Raf Vallone/Father General never appears in the VHS or DVD versions. It would be well worthwhile to read the first chapter of the book before seeing a shortened home video release, if at all possible.

The DVD video quality is disappointing. The color is washed out, and in several scenes it is strangely yellow-tinted. It is definitely inferior to my ten-year-old VHS copy issued by USA Home Video. The sound is occasionally clipped, with words lost in several places. Not so my VHS copy. The original film title was "Catholics, A Fable" but the cryptic title of "The Conflict" has been used for the DVD. The DVD also contains an idiotic special feature in the form of an interactive quiz about the movie content. One may entertain one's self with such challenging questions as "What was on the sign carried by the man in the brown suit?" or "What color was the priest's car?" The quiz even has incorrect answers!

In spite of these problems, I state without reservation that this DVD is well worth owning. Since Vatican II there has existed a Roman Catholic traditionalist movement that today seems to have more Vatican-sanctioned success than would ever have been thought possible at the time this film was made. Some have tried to relate the events portrayed in this film to that movement. But by movie's end, this film actually depicts far more important issues of religious belief, and its loss. This is a film, like the book, that will be of interest to anyone, of whatever faith or none, for whom philosophy of religion is of interest.

The acting by Trevor Howard is absolutely flawless and authentic. It is art and it is masterful and it is heartfelt and it is beautiful. Almost equally so is that of Cyril Cusack, who plays the role of Father Manus, a monk. Sheen's role is important, but not nearly as much as Howard's, and not remotely as well-crafted.

This is as intelligent and entertaining a film today as it was when it was made 30 years ago. Let us hope someone in the near future will gather an old PBS copy of the complete film, digitally re-master it, and finally give us a proper and fitting version of this film. I know of no other film that deserves it so much.

Very Inacurate Statements - terrible Video Transfer
There are two things extremely wrong with this DVD. First and most important are statements made by Martin Sheen as a representative of Rome stating that during Mass, the miracle that the bread and wine become the body and blood of Christ does not happen. This is one of the basic tenants of Catholic belief and a representative from Rome would NEVER state that this miracle does not happen. No wonder the monks revolt!

The transfer to DVD is HORRIBLE! The color continually fluctuates, skin tones go from almost black and white to flech tones to green tints all in the same scenes. The picture is very grainy in some scenes. One of the worst transfers I have seen.

The original title of this film was "Catholics" and, while "Conflict" is a better indication of the content of the story, it should have been released under the original title.

All things considered, in spite of strong performances, this DVD is a mess and a definite affront to Catholics.

as good as the original book
"Catholics" is a faithful adaptation of Brian Moore's novella of the same name. Trevor Howard plays the abbot who is the crux of the plot; Martin Sheen (who is one of the rare people who is just as physically gorgeous today, in his fifties, as he was when this movie was made in 1973) plays the aggressive young inquisitor from Rome. This film is only superficially about the conflict between modern and traditional strains in the Church -- the real story is about the abbot, who after a lifetime in religion has lost his faith and is afraid to try to find it again. Howard, a superlative actor, could convey more with a twitch of an eyebrow than some present-day stars can with any amount of "Method" acting. His subtle portrayal of spiritual anguish blows all the other actors, Sheen included, right off the screen. His only serious competition comes from the scenery -- the film was shot on location on the Irish coast, one of the most heartbreakingly beautiful places on earth.

A nostalgic film for Baby Boomer Papists
If you're an early Baby Boomer born and raised a Roman Catholic, then you'll likely appreciate the 1973 film CATHOLICS. If you're of any other faith, or a Catholic born later than, say, 1960, then the movie may be of only academic interest. Indeed, if you're a young Catholic today, then the issues around which the plot pivots may not be comprehensible at all.

A youthful Martin Sheen plays a priest sent by Rome to an Irish monastery located on an isolated, windswept island. His mission, to demand that the monks cease and desist celebrating the Mass in Latin. The Vatican hierarchy is attempting to modernize the Mass worldwide, i.e. have it celebrated in the vernacular, as well as promote the new policy that the Transubstantiation of the bread and wine into the body and blood of Christ is symbolic, not real. Trouble is, the monastery's priests have been celebrating the Mass on the mainland in the traditional manner. More to the point, the ceremony has been televised, and is causing a pious, revivalist stir among the faithful. The pencil pushing prelates back in Rome are not pleased with this political incorrectness.

The marvelous actor Trevor Howard plays the crusty, wise, spiritually troubled, monastery abbot, who must find a way to obey the dictate of the enforcer sent down from the Big House, while avoiding a rebellion among the monks, who consider the emissary's message an abomination, and he himself disconcertingly trendy. (Faith and begorrah, he doesn't even wear the traditional, Roman clerical collar!)

Are you still with me on this, or have I lost you? If I haven't, God bless ya, darlin'. In any case, all of the acting performances are wonderful, especially Howard's. The character actors portraying the abbot's cowled flock were chosen with pure genius. And the wild Irish coastal scenery ... ah, 'tis St. Patrick's own, surely.

As I said up front, you had to be born a Papist prior to 1960, as I was, to understand what the fuss was all about. I well remember the horror with which my mother regarded the vernacular Mass. To this day, she'll seek out the Latin Mass in those rare places - sort of a doctrinal Underground - where it's still celebrated. Mom, this review is dedicated to you. ... Read more

Amazon.com

The Max Sand backstory in Harold Robbins's trashy TheCarpetbaggers (an enjoyable wallow onscreen in 1964) made for a solidWestern vehicle for Steve McQueen at his peak. Nevada Smith is a revengemovie, but closer in spirit to The Bravados than a DeathWish-style exercise in nihilism. Young Max, offspring of a white father and Indianmother, sets out to avenge their slaughter by three villains. His odysseyincludes spiritual re-parenting at several stages, most notably by canny gundealer Jonas Cord (a swell character part for Brian Keith). The supporting castwill have you saying, "He's in it, too!" at regular intervals(from costars Karl Malden and Arthur Kennedy down to such incidental interlopersas L.Q. Jones and Strother Martin). Since director Henry Hathaway and cameramanLucien Ballard couldn't frame a bad shot if their lives depended on it, it's arelief that this movie is finally available in a widescreen format. --RichardT. Jameson ... Read more

Reviews (23)

A Good Actor Remembered
This movie is based on a character from Harold Robbins' THE CARPETBAGGERS, but not to worry if you don't remember Nevada Smith as no one should be criticized for not remembering anything about that book. As I remember it was not the great American novel. I kept trying to figure out why the movie was so named since McQueen who is Nevada Smith doesn't take that name until near the end of the movie.

Steve McQueen, who is cast as the son of a white man and American Indian, is by far the best thing about this movie. I know: Steve has light eyes and brown hair but none of the other characters in the movie know he is half Indian so it shouldn't bother us, I suppose.

The plot is simple. Mcqueen sets out to kill the three men who have brutally murdered his parents. In practically every frame of this movie, he does a fine job of acting. Even though McQueen was 36 when this movie was released in 1966, he looks all of 20. If you require that a character grow and change in order to make a movie good, then McQueen does that.

The movie is somewhat dated, and some of the buildings look too much like movie sets. The photography of the American West, however, is very beautiful.

It's good to remember just how good an actor Steve McQueen was. This movie is certainly worth watching.

Another McQueen Classic
Nevada Smith is up there with The Great Escape and The Magnificent Seven as Steve McQueen's best roles. In this western, McQueen plays Max Sands, a young man bent on revenge of the three men who brutally killed his parents. The three villains are played to perfection by Karl Malden, Martin Landau, and Arthur Kennedy. Really this movie is three or four separate stories brought together by Max's revenge. Beautiful scenery throughout ranging from the mountains of the Northwest to the swamps of Louisiana with a good musical score to back up the story. Brian Keith is exceptional in his role as McQueen's mentor. This is classic McQueen. The anger he feels for these three men is obvious as he chases them around the country, even working alongside them so that he can be around in case he gets a chance to exact his revenge. The DVD does not offer any extras besides the widescreen presentation, but the movie looks better than it ever did before. A truly great western with both great characters and an excellent storyline.

Don't forget the way back
If you're ever curious why people made such a fuss about Steve McQueen check out NEVADA SMITH, Henry Hathaway's sprawling tale of vengeance and obsession.
McQueen plays young half-Indian/half-white Max Sand, whose parents are murdered by a trio of bandits (Martin Landau, Arthur Kennedy, Karl Malden.) McQueen was 36 years old in 1966, the year NEVADA SMITH was made, and was probably a decade past the time when he could effortlessly portray a naïve young hero. There's a brief, disturbingly violent scene at the beginning of the movie where the three villains are torturing Smith's parents, and the woman portraying McQueen's Kiowa mother doesn't look much older than 35. Still, McQueen brings a wide-eyed innocence to his performance that tremendously helps us suspend disbelief. Besides, I believe I counted exactly zero close-ups in this action western. If you want to check out the crow's feet around McQueen's eyes you'll have to look hard and fast to see them.
McQueen gets a chance to play against some Hollywood professionals at the top of their games. Brian Keith is growlingly good as traveling gunsmith Jonas Cord, who plays Polonius to McQueen's Laertes, and plies the young stranger with instruction and advice. Max Sand won't be argued out of his mission to avenge the death of his parents, and the pragmatic Cord reluctantly agrees to be his mentor. It's through Cord and, later, a priest Sand comes across, that the movie is allowed to question its central theme - vengeance. Cord argues the practical ("You'll turn into one of the rats you're hunting,") the priest the spiritual. It's a tribute to the brilliance of McQueen's performance that by the time we reach the last scene we can see how both arguments have contributed to his maturation. Karl Malden plays the evil, racist Tom Fitch with sadist gusto. Malden overacts a bit in one of those rare roles that benefits when an actor takes it over the top. Watching the suspicious Fitch interrogate the no-longer-naïve Max Sand is one of the highlights of the movie.
The underrated Hathaway shot most of NEVADA SMITH on location, and the realistic look is used to great advantage. He doesn't go for the landmark shots a la John Ford in Monument Valley, choosing instead to play scenes in anonymous swamps and deserts. The realism shoots through all the way to stunts and props and costumes. Instead of elaborately choreographed fist fights with exaggerated sound effects every time a blow is struck, the characters in NEVADA SMITH scratch and claw, bite and kick when they fight. The clothes they wear are torn and dirty and they stay dirty.
NEVADA SMITH has enough going for it to appeal to those who aren't typically fans of westerns. If you are a fan this is a must-see.

Long, a bit slow, but worth it
Steve McQueen starts out as a naive half-breed boy seeking out
the three men who murdered and multilated his parents. At first he can't even shoot a pistol, a flaw remedied by Brian Keith in a wonderful role. From there it's uphill, or downhill, depending on your point of view. McQueen's character, Max Sand, loses his innnocence and becomes a hard man, a killer. This allows him to hunt down the men, but at a cost of part of his soul. Unfortunately, I never found any of the villains to be particularly villainous, which is made up by the other characters, including the late Iron Eyes Cody as an Indian chief. Good movie, made when MrQueen was at the top of his form.

A Harold Robbins story, from the Carpetbaggers

Studio: Paramount Studio
Video Release Date: May 10, 1990

Cast:

Steve McQueen ... Nevada Smith/Max Sand/Fitch
Karl Malden ... Tom Fitch
Brian Keith ... Jonas Cord
Arthur Kennedy ... Bill Bowdre
Suzanne Pleshette ... Pilar, Cajun Girl
Raf Vallone ... Father Zaccardi
Janet Margolin ... Neesa
Pat Hingle ... Big Foot, Work Camp Trustee
Howard Da Silva ... Warden of Work Camp
Martin Landau ... Jesse Coe
Paul Fix ... Sheriff Bonnell
Gene Evans ... Sam Sand

Josephine Hutchinson ... Mrs. Elvira McCandles
John Doucette ... Uncle Ben McCandles
Val Avery ... Buck Mason, Bartender
Sheldon Allman ... Sheriff
Lyle Bettger ... Jack Rudabough
Bert Freed ... Quince
David McLean ... Romero
Steve Mitchell ... Buckshot
Merritt Bohn ... River Boat Pilot
Sandy Kenyon ... Clerk in Bank
Ric Roman ... Cipriano
John Lawrence ... Hogg
Stanley Adams ... Storekeeper
George Mitchell ... Paymaster
John Litel ... Doctor
Ted de Corsia ... Hudson (Bartender)
L.Q. Jones ... Cowboy
Strother Martin ... Strother
Jeffrey Sayre ... Roulette Dealer
Henry Wills ... Fitch man
Iron Eyes Cody ... Taka-Ta
Joanna Cook Moore ... Angie, Saloon Girl

From a story by Harold Robbins, who wrote the Carpetbaggers, among other stories, in his rich career.

The story is about a young half-breed Indian (Steve McQueen)whose mother and father were killed by three thugs. He learns the ropes, and how to use weapons, from a gun dealer (Brian Keith) and sets out on a quest to kill the three men responsible. This is the story of his hunt.

The parts were all well-acted, and the story held together well, although it did not follow The Carpetbaggers, it did do parts of it justice.

I recommend this film. Thankfully, it left out some of the odious details of how the boy's mother and father were killed.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

... Read more

Amazon.com essential video

Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). --Tom Keogh ... Read more

Reviews (123)

In no way measures up to Parts I and II, but watchable.
Godfather Part III is in no way comparable to the magnificant Parts I and II.Much of the acting is very sub-par, in complete contrast to the earlier Godfather films.

Nor is the plot particularly compelling.Michael wants to exit the underworld, the rest would be telling.But what really characterizes this film is the poor acting.Even Al Pacino fails to turn in a compelling performance here.Very disappointing.

I gave this one three stars because, well, it is still The Godfather, kind of.I considered two stars, which should tell you something.

The Saga Ends
I never understood the animous of so-called "Godfather" purists directed against this installment of the trilogy.For years Francis Ford Coppola resisted efforts to recruit him to make another "Godfather" film.When he did make one it was on the condition that Michael Corleone dies, the only logical conclusion in continuing this story.The knives were out for the casting of his daughter Sofia in the central role of Mary Corleone.Now I'm not saying that Sofia is a credible actress but her deficiencies, I felt, were covered up by the more accomplished actors in the cast.I'm more outraged that people think she is an accomplished director-screenwriter on the basis of the woeful "Lost in Translation".Yes, there are many ridiculous elements to the film, a ludicrous Vatican bank scandal subplot and Talia Shire's scenery-chewing account of Connie Corleone.That said the positives here outnumber the negatives.First off, Al Pacino's account of Michael Corleone in the twilight of his life is flawless.You can see in his face the realization that he's deluded himself that the family business that he headed was a noble enterprise despite his efforts to legitimize it in the eyes of acceptable society.I also thought there was some discernable chemistry in the scenes he shared with Diane Keaton as Kay.It's kind of ironic that Pacino wasn't nominated for an Oscar for his work here;instead he was nominated for his role as Big Boy Caprice in "Dick Tracy".Andy Garcia is magnetic as Vincent, Sonny Corleone's illegitimate son.Joe Mantegna gives a colorful account of Joey Zaza, a John Gotti type.Look for Catherine Scorsese(Marty's mother) in a small role here.Not to be missed is Coppola's commentary where he vociferously defends the choices he made for this film, in particular his casting of his own daughter.He sounds like an overly protective daddy protecting his baby girl from the knives and daggers directed against her.

Not a good movie...
Overall, this movie could not have been worse. It was long, strung out and only needed to be about half as long as it was.
The casting in this movie is terrible. Andy Garcia trying to play some goofy impression of James Caan (Sonny) was embarrasing at best. Sofia Coppola was simply a terrible choice, her mouth moves in stranger ways than Renee Zellweiger, and she ruins every scene she's in. Pacino essentially never gets into character, he just mumbles through his scenes. Joe Mantenga was an awful choice who brings nothing to the film but a weird, effeminate Italian stereotype. Worst part of the movie? "Connie okays a hit" Excuse me, but CONNIE okyaying a HIT? Oh, Michael, you have fallen from grace. The abusive nature of Italians toward women is a common theme in Puzo's work and this would never have happened. What's next - Mama Corleone and mary start their own family like clemenza and Tessio?
This was a sad excuse for a Godfather movie - if they couldn't do it right, they shouldn't have done it at all - notice how EVERY actor is related to Francis Coppola? Pathetic!

Please, No Godfather IV
I have seen this film several times, all the way through or in parts. Frankly, I have mixed emotions about it because, when discussing it, I want to be fair and focus on it as a discrete film, judging it on its own terms; however, for me at least, that is impossible because it is the third of three Godfather films and its two predecessors are masterpieces. I cannot exclude vivid memories of scenes and even comments from films I first saw 18 and then 14 years before seeing this one for the first time in 1990. OK, that's my challenge. I finally decided to try to rate it on its own terms, hence the Three Stars. What it has going for it includes Pacino's talent, several plausible conflicts, brilliant cinematography, and a tone of melancholy which is consistent throughout the narrative. After years of broken promises to wife Kay (Diane Keaton), Michael has almost completed a process by which to extricate himself and his family from organized crime. However, his marriage has ended, mortal enemies remain such as Altobello (Eli Wallach) and Joey Zaza (Joe Montegna), his negotiations with the Vatican encounter unexpected complications, and finally, his physical health is poor as pressures and tensions in his life intensify. It is no wonder that he suffers a severe heart attack in his kitchen ("Just when I think I'm out....") from which he never fully recovers.

However, the film has several problems. One concerns the lack of a primary plot to give the narrative cohesion. There are hundreds of individual episodes in The Godfather and Godfather Part II (as in other films such as Lawrence of Arabia and Doctor Zhivago) but they are coordinated effectively. Not so of the episodes in this film. Sofia Coppola's performance as Mary Corleone has been savaged by most critics. In fact, she is reputed to be a late replacement for Wynona Rider, had no prior acting experience in films, and was given a role as trivial as Anne Archer's in the three Jack Ryan films. I will not join others in bashing her. Another of the film's flaws is director Coppola and the three screenwriters' failure to do more with the role of Vincent Mancini (Andy Garcia). So many missed opportunities as Garcia's great talents are under-utilized, especially when on-screen with his obviously exhausted Uncle Michael. The illegitimate son of Santino ("Sonny") Corleone, Vincent is only occasionally allowed to show some of his father's passion, providing energy which this film desperately needs and otherwise lacks.

The jumpy plot and underdeveloped characters are, in my opinion, this film's major weakness but it has several fine moments as when Vincent challenges Zaza, when Michael meets with Cardinal Lamberto (Raf Vallone), the deadly sequence as the performance in the opera house proceeds to its conclusion, and the final scene when Michael reflects upon his empty life. Judged only on its own terms, Three Stars. Let's all hope that there will be no Part IV.

THe Death of Michael Corleone
First of all, it is TRUE that Godfather III isn't NEARLY as good as I or II. But then again, what is? WHen I watch this film, i tried to keep myself from comparing it to the first two because that would be unfair for this, or for that matter, ANY other films. After the religious introduction with Michael receiving honors from the Pope (may John Paul rest in peace) for paying the the man, we have some of the most awkward sequences in the trilogy. One must understand, it's been 15 years between episode II and III; unfortunately, this CAN be clearly seen in the first few scenes with Michael and Kay. THey have aged quite a bit and there seems to be not only distance between the characters, but between the actor and actress as well. Michael has softened quite a bit and seems to be a tired old man who only wants to live out the rest of his life in peace. Then of course, we get Andy Garcia as Vincenzo. I believe that without Garcia stepping in to provide some much-needed energy in the early scenes, i would have given up and slept through the rest of the film. Also, to be quite frank, Joe Montana gave the one of the worst performances as Vincent's antagonist, Joey Zasa, that i've seen in a while (the worst of all time is saved for John Malkovich in "Man in Iron Mask"...i DARE you to watchthat film...i DARE you). Not only is "Joey" seen as a nuisance, but also the man behind Joey.

However, after these horrific opening scenes, we began to see Pacino start to reenter the mind of Michael Corleone. The plot that follows is a bit complicated and confusing, but upon watching this film a few more times, i understood the brilliance of Coppola's screenwriting. Garcia is dynamite in just about every scene, even the ones with the director's daughter Sofia (Mary Corleone). I would agree that she, having such a crucial role in the film, just about dragged the film down with her acting career (notice i only typed acting, not directing, see "Lost in Translation"). But Garcia manages to keep a certain level of charm and believability in their scenes together. Meanwhile, Pacino excels once more as Michael, this time portraying a changed man. Some of the scenes during Michael's trip to Sicily with Kay are quite beautiful visually and emotionally and are reminiscent of the earlier episodes. There is one particular scene with Michael in a garden which I thought was simply a magnificent. This man Michael has done some of the most horrific things a man can do and he has tried to justify them in his conscience by telling himself it was for the good of the family. The tragic part is only AFTER he had lost everything did he realize what a monster he had become. And we can totally see Michael simply being unable to hold these thoughts in any longer and pour them out to a priest. I don't want to give anymore away, but that is a great scene to look for.

And finally, we have the Shakespearian finale. This film is definitely the most operatic of the three and it is both better and worse compared to the first two in that way. Cavalleria Rusticana by Pietro Mascagni is one of the most beautiful operas ever written and I thought it was an excellent choice for this excellent film. Once again, don't want to give too much away, the final scene is as fine a piece of directing and acting as I've ever seen. It is so good, that I think it makes up for the awkwardness of the first few scenes. The final shot will move your heart in a way which only few shots can. We see Michael dancing with all the women in his life that he'd hurt as a result of his involvement in the Mafia; this is shown during a performance (quite fitting) of the Intermezzo of the Cavalleria Rusticana.
Once again, a fine piece of film art that isn't comparable to the first two, but still outstanding on it's own. I believe it IS true that Coppola wanted to name this film "The Death of Michael Corleone" as he SHOULD have. I believe that would have been a wise move because it would draw attention AWAY from comparing this film to the first two, but studio executives had their way; and as most of us know, the rest is history. But I beg you to see this film for yourself rather than listen to all the mindless blathering coming from people who hate this film just because it's popular to do so. This is a beautiful film.
... Read more

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The Italian Job (2003)
Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Job stands on its own as a caper comedy that's well above average. The title's a misnomer--this time it's actually a Los Angeles job--but the action's just as exciting as it propels a breezy tale of honor and dishonor among competing thieves. Inheriting Caine's role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham, and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker's ill-fated mentor (Donald Sutherland), Charlize Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers play a pivotal role in director F. Gary Gray's exhilarating car-chase climax. It's perhaps the greatest product placement in movie history, and just as fun the second time around. --Jeff Shannon

The Italian Job (1969)
This little-known cult caper is about as depraved as they come. Michael Caine, ever the enterprising swinger and swindler, has an ingenious plan to steal a huge cache of Chinese gold to be shipped to Turin as collateral for a new Fiat plant. Since the Italy-Great Britain soccer match is being played at the same time, Caine wants to create a diversion in the form of a monumental traffic jam. For financing, he turns to Noel Coward, who directs British criminal enterprises from his jail cell. A motley crew is assembled, including Benny Hill as a computer expert with a fetish for large-breasted women. It's all a nasty and fun parody, with the most memorable robbery-chase sequence in the history of the caper genre. --Bill Desowitz ... Read more

Reviews (5)

Exceptional combo
With a common deminator of Morris Minors these two movies reflect the entertainment of their day. The original, starring a ridiculously young Michael Caine, remains fresh despite its age. Filled with irepressible Cockney humor it moves between the comic moments to the final 'cliffhanger' leaving us all hanging. With appearance by Noel Coward, Benny Hill (in true form)
The new version is much more a thriller of today. superbly fast paced, a truly rotten villain (a great performace as always from Edward Norton) and some brilliant heist scenes this ranks up there with the Rock, Con Air and the like for excitement. Mark Whalberg shines and Charlize Theron is so much more than joyous eye candy here.

Two Very Different Movies with minis
One cannot compare the two movies because they are only somewhat similar.
I love Michael Caine. He's always at his best. The movie seems to be the spoof of the newest one.
The American version has more action, suspence, great lines, and some fab actors. Jason Statham is one hot actor, who can say anything and it is so well done.

THE ONLY QUESTION IS WHICH ONE I LIKE MORE.
This is the right way to make a remake: fun, clever, and full of great stunts (as opposed to unbelievable CGI effects a la Charlie's Angels).
The old version is pretty good too, I bought it without having seeing it before and it didn't dissapoint. It doesn't always make sense (just what the heck did the Minis climb that huge roof for ?) but then again, who cares ?!?
Great movies which make your DVD player a great reason to exist!

Brill Film
If your a Italian Job fan of not get this this is one of the best films i've ever seen much better than 1969 version so BUY IT NOW

Just get the 1969 version...another remake "letdown"!
All that hype?..not only has the story changed from the original, that itself not necessarily a bad thing, but there really are some slow and boring bits that modern technology doesn't make up for. The stars of this NOT ALL THAT BAD movie are the the cars themselves and the all too brief appearance of Donald Sutherland. Get the original 1969 Michael Caine version only to keep...you'll watch that much more than once for sure, storyline, the setting, the cast of actors AND all the classic cars put on a much better show. Five stars for 1969 movie!..subtract two for the "remake". ... Read more

Description

December 1949.Joseph Stalin rules Russia through a brutal regime of terror and systematized torture. Inside Mavrino Prison, the first circle of penal hell in Stalin's Russia, the inmates - physicists, mathematicians, electrical engineers, and technical experts - are forced to operate a scientific research center. The term of their sentence is undefined. A discovery useful to the government could mean freedom. A failure could mean a labor camp in Siberia. From a phone booth on a dark Moscow street, a man makes a furtive and hurried phone call to the American Embassy. His call is being recorded by The Ministry of Security, for whom establishing the caller's identity becomes a matter of mounting urgency. At Mavrino, a voice print analysis machine is in late-stage development. The pressure to complete it becomes relentless. As tension, suspicion and the risk of betrayal mount each scientist must struggle to retain his humanity in the face of overwhelming tyranny. ... Read more

Reviews (1)

No Happy Endings in Stalin's Hellish World
This film is based on Alexander Solzhenitsyn's famous novel of the same title. It is based on the story of a special prison designed for scientists who would carry out research supported by the state in which the conditions of incarceration were better than those in the hellish camps of the Gulag Archipelago. The father of the Soviet space program, Sergei Korolev, worked in a prison laboratory like the one depicted here.
The story depicts the different types of people who are caught in Stalin's world-prisoners, NKVD warders and "investigators", the priviledged Communist Party elite and common people outside the prisons who are just trying to survive. Among the prisoners there is the type who is an enthusiastic supporter of Stalin (he believes that his imprisonment is simply "a mistake"), the idealist who will not compromise his values even if this endangers himself, opportunists who inform on their fellow inmates in order to improve their own situation, and those who debate whether it is moral to help the tyrranical regime in order to increase their chances of release.
The problem with this film is its uneven quality, on the one hand it was filmed in Moscow and the scenes showing the prisons, the shabby side streets and the official goverment offices (which have pictures and busts of Stalin in every scene) give the film a feeling of authenticity. The directing is sometimes outstanding, particularly in scenes involving the wife of Gleb the idealist getting her annual half-hour visit with her husband and one with Innokenty being interrogated by an NKVD man. On the other hand, there are scenes involving NKVD officers and high officials in which they are portrayed as comical buffons with scenes taken straight out of "The Three Stooges". Also there is a young woman character who is the daughter of an important Communist Party member who works as an NKVD clerk in the prison/laboratory. In reality, people from families in the priviledged "nomenklatura" would not have any contact with "zeks" (prisoners). These really lowered my estimation of the film. After all, no one would make a film showing Heinrich Himmler as a comical figure. I have concluded that Solzhenitsyn was not consulted on making the film and I believe that Russians (and not the Canadians and French who did this one) should make a film of this type in order to make it more authentic. People from Western countries who did not experience the horrors of Stalin's regime really can't convey to outsiders the full meaning of it. Having said this, the film is still quite useful in conveying at least part of the horrible reality that was Stalin's USSR. Don't expect any Western-style "happy endings" when you view this film. ... Read more

Reviews (2)

Charming Sleeper
This film's been unfairly maligned for years; dumped by its distributor and savaged by critics in its initial release, perhaps it can find an appreciative audience in this spiffy new DVD version. The plot, a slight romance between American indie filmmaker Carradine and Italian producer's wife Vitti at the Cannes film festival, is slight, but very pleasant. There's real chemistry between the pair; Monica, particularly, is touching and very appealing. Some genuine laughs in the Walter Bernstein screenplay, sympathetic direction from Michael Richie, and a glorious score from the always-reliable Georges Delarue add to the film's pleasures. Also enjoyable are the unbilled star cameos, and the running joke about the remake of STREETCAR NAMED DESIRE with Vanessa Redgrave and Charles Bronson (if memory serves, such a project was discussed in the 70's; the proposed Stanley was Stallone, even more ludicrous!) The transfer's gorgeous; at bargain price, this one's really worth checking out.

Major talents, major let-down.
It is depressing to see actors and crew who have worked on some of the most important films of the last half-century (stars Keith Carradine and Monica Vitti; composer Georges Delerue; cinematographer Henri Decae) directed by a major American film-maker (Michael Ritchie) in hamfisted slush like this. It strives to be both an Altmanesque lampoon of the film-industry during the Cannes Film Festival, but lacks authenticity, detail, atmosphere, wit or satiric nous; and a Euro-romance, drenched in a soupily romantic score and TV-movie soft-focus visuals. It would be nice to say both impulses pull each other apart, but neither strand has anything to recommend itself beyond disbelief that THESE talents are actually doing THIS. Any Henry James-like tension, ironic or otherwise, in a plot featuring an 'innocent' American abroad in decadent Europe is ruined by Carradine's equine cloddishness and Vitti in Anna Magnani Italian blowsy mode. Independent film-maker Carradine is encouraged to take more interest in people than his art in order to make better movies: this film is totally perfect proof against such bogus platitudes. ... Read more

Reviews (7)

HEAVY! THOUGHTFUL!
The landscape of an island of Ireland, the music, and the subject of this movie prompts introspection in one's religious behavior, what is meaningful in such behavior, what is not.

Add to that the question of conflict of personal BELIEF with OBEDIENCE to church dogma and you have the makings of a heavy story, which the actors and director delivered in an "excellent" manner, and I rated it a "4" as a result.

There is an emotional and intellectual hangover produced by getting involved with the film, so beware. It is NOT just ENTERTAINMENT. It should make you THINK about your FAITH and the practice of it.

Bill Schaefer

Great Original Film, But Flawed Editing and Reproduction.
This made-for-TV movie from 1973 was shown full-length on U.S. public broadcasting stations in the 1970s. It is a visually and intellectually impressive film. The story line is very faithful to the 1972 book "Catholics" by Brian Moore, with only a couple of scenes sequenced differently, and in my opinion, rather more effectively than in the book. Unfortunately, later VHS versions have been shortened, with about the first ten minutes of the original film deleted. This DVD version shares the same significant defect.

The first few minutes of the original film were essential in setting the context for the conflict portrayed between the traditionalist Irish monks led by their Father Abbot (Trevor Howard), and the modernist representative (Martin Sheen) of their order's Vatican Father General. During these missing first few minutes, we would have seen Sheen meeting with the Father General (Raf Vallone) in Rome, and discussing the "problem" of the return of Latin Mass celebration by the monks of Howard's abbey and the growing world-wide popularity of that celebration. The first scene made it clear that the time period portrayed is hypothetical and futuristic. In this fabulous Roman Catholic Church, additional modifications and liberalization of doctrine are supposed to have taken place beyond those that have been in effect since Vatican II. Within the film, there are mentions of a "Vatican IV" and other hypothetical conventions. Missing the original initial scene, many may believe that the film has grossly erred in, or deliberately distorted, current Roman Catholic beliefs. This was not the motive of the movie as originally filmed, and it is a tremendous loss to the integrity of the original story that the vital first scene of the movie has been edited away. However, this does explain the crediting of Raf Vallone as Father General at the start and end of the film, when in fact Raf Vallone/Father General never appears in the VHS or DVD versions. It would be well worthwhile to read the first chapter of the book before seeing a shortened home video release, if at all possible.

The DVD video quality is disappointing. The color is washed out, and in several scenes it is strangely yellow-tinted. It is definitely inferior to my ten-year-old VHS copy issued by USA Home Video. The sound is occasionally clipped, with words lost in several places. Not so my VHS copy. The original film title was "Catholics, A Fable" but the cryptic title of "The Conflict" has been used for the DVD. The DVD also contains an idiotic special feature in the form of an interactive quiz about the movie content. One may entertain one's self with such challenging questions as "What was on the sign carried by the man in the brown suit?" or "What color was the priest's car?" The quiz even has incorrect answers!

In spite of these problems, I state without reservation that this DVD is well worth owning. Since Vatican II there has existed a Roman Catholic traditionalist movement that today seems to have more Vatican-sanctioned success than would ever have been thought possible at the time this film was made. Some have tried to relate the events portrayed in this film to that movement. But by movie's end, this film actually depicts far more important issues of religious belief, and its loss. This is a film, like the book, that will be of interest to anyone, of whatever faith or none, for whom philosophy of religion is of interest.

The acting by Trevor Howard is absolutely flawless and authentic. It is art and it is masterful and it is heartfelt and it is beautiful. Almost equally so is that of Cyril Cusack, who plays the role of Father Manus, a monk. Sheen's role is important, but not nearly as much as Howard's, and not remotely as well-crafted.

This is as intelligent and entertaining a film today as it was when it was made 30 years ago. Let us hope someone in the near future will gather an old PBS copy of the complete film, digitally re-master it, and finally give us a proper and fitting version of this film. I know of no other film that deserves it so much.

Very Inacurate Statements - terrible Video Transfer
There are two things extremely wrong with this DVD. First and most important are statements made by Martin Sheen as a representative of Rome stating that during Mass, the miracle that the bread and wine become the body and blood of Christ does not happen. This is one of the basic tenants of Catholic belief and a representative from Rome would NEVER state that this miracle does not happen. No wonder the monks revolt!

The transfer to DVD is HORRIBLE! The color continually fluctuates, skin tones go from almost black and white to flech tones to green tints all in the same scenes. The picture is very grainy in some scenes. One of the worst transfers I have seen.

The original title of this film was "Catholics" and, while "Conflict" is a better indication of the content of the story, it should have been released under the original title.

All things considered, in spite of strong performances, this DVD is a mess and a definite affront to Catholics.

as good as the original book
"Catholics" is a faithful adaptation of Brian Moore's novella of the same name. Trevor Howard plays the abbot who is the crux of the plot; Martin Sheen (who is one of the rare people who is just as physically gorgeous today, in his fifties, as he was when this movie was made in 1973) plays the aggressive young inquisitor from Rome. This film is only superficially about the conflict between modern and traditional strains in the Church -- the real story is about the abbot, who after a lifetime in religion has lost his faith and is afraid to try to find it again. Howard, a superlative actor, could convey more with a twitch of an eyebrow than some present-day stars can with any amount of "Method" acting. His subtle portrayal of spiritual anguish blows all the other actors, Sheen included, right off the screen. His only serious competition comes from the scenery -- the film was shot on location on the Irish coast, one of the most heartbreakingly beautiful places on earth.

A nostalgic film for Baby Boomer Papists
If you're an early Baby Boomer born and raised a Roman Catholic, then you'll likely appreciate the 1973 film CATHOLICS. If you're of any other faith, or a Catholic born later than, say, 1960, then the movie may be of only academic interest. Indeed, if you're a young Catholic today, then the issues around which the plot pivots may not be comprehensible at all.

A youthful Martin Sheen plays a priest sent by Rome to an Irish monastery located on an isolated, windswept island. His mission, to demand that the monks cease and desist celebrating the Mass in Latin. The Vatican hierarchy is attempting to modernize the Mass worldwide, i.e. have it celebrated in the vernacular, as well as promote the new policy that the Transubstantiation of the bread and wine into the body and blood of Christ is symbolic, not real. Trouble is, the monastery's priests have been celebrating the Mass on the mainland in the traditional manner. More to the point, the ceremony has been televised, and is causing a pious, revivalist stir among the faithful. The pencil pushing prelates back in Rome are not pleased with this political incorrectness.

The marvelous actor Trevor Howard plays the crusty, wise, spiritually troubled, monastery abbot, who must find a way to obey the dictate of the enforcer sent down from the Big House, while avoiding a rebellion among the monks, who consider the emissary's message an abomination, and he himself disconcertingly trendy. (Faith and begorrah, he doesn't even wear the traditional, Roman clerical collar!)

Are you still with me on this, or have I lost you? If I haven't, God bless ya, darlin'. In any case, all of the acting performances are wonderful, especially Howard's. The character actors portraying the abbot's cowled flock were chosen with pure genius. And the wild Irish coastal scenery ... ah, 'tis St. Patrick's own, surely.

As I said up front, you had to be born a Papist prior to 1960, as I was, to understand what the fuss was all about. I well remember the horror with which my mother regarded the vernacular Mass. To this day, she'll seek out the Latin Mass in those rare places - sort of a doctrinal Underground - where it's still celebrated. Mom, this review is dedicated to you. ... Read more

Reviews (1)

Excellent Crima Drama!!
This 1973 Movie starring Joeseph Bologna,Brenda Vaccaro tells about the rise and fall of the Bonnano Family.It's an excellent crime drama!! ... Read more

Reviews (60)

'The Perfect Knight' a PERFECT Film!
'El Cid' is the IDEAL film for any fan of great tales of Knighthood, the Age of Chivalry, and great tales of adventure! Directed by Anthony Mann with reverence to the best elements of the genre, shot on location in Spain, the mammoth production stars perfectly-cast Charlton Heston as Rodrigo Díaz de Vivar, a warrior held in such respect by both friend and foe, that he is nicknamed 'El Cid' (The Man). Sophia Loren is luminous as his ladylove, Jimena (one might quibble that she NEVER ages through the film, but Loren is so radiant in the role, who cares?) The battle scenes are epically staged, the color photography is rich and tapestry-like, the sets and costumes capture the feel of medieval Spain, Miklós Rózsa's score is sweeping, wildly romantic, and, in its organ finale, triumphant; EVERY element in this film WORKS, and is a labor of love!

The screenplay, by Philip Yordan, Fredric M. Frank, and Ben Barzman, uses Vivar as the definition of Chivalry; noble, with lofty ideals, he opens the film by defending the Crucifix in a small Spanish town, defeating a band of Moors, then showing them mercy, which earns their respect, and gains the blessing of the Church (the symbolism of 'El Cid' and the Cross is clearly juxtaposed; he is truly sent as an answer to Spain's prayers!)

He and the beautiful Lady Jimena, daughter of the King's Champion, are to be wed, but when Vivar is forced to face him in a duel, killing him, as the elder attempts to defeat him by treachery, Jimena is sworn to avenge her father's death!

Inheriting by default the title of Champion, Vivar is immediately thrust into a spectacular combat against a rebelling city's Champion, fought with an array of medieval weaponry; this scene is the first of many highpoints of the film, and is incredible! The hard-fought victory 'vindicates' Vivar's new title, and Christendom and Spain has its true Champion against the Moor!

The film has all the classic elements; heroism and betrayal, pure love and jealous hatred, divine purpose and petty manipulations. Above all of this towers 'El Cid', whose lofty ideals are never compromised, whose only dream is to serve a united Spain. Nothing, not even death itself, will prevent him from fulfilling his destiny!

If you have only one film about Knighthood or Chivalry in your collection, this should be it! No other movie even comes close to 'El Cid'...it is truly a triumph!

A superbly crafted and highly under rated masterpiece
I saw El Cid soon after its release in 1962 when I was just 12. I was then in an armed forces training school at Dehradun, India, and the entire college had to march five miles to the theater to see it as an inspiring and motivational film for future military leaders. We had never heard of the Cid or any other Spanish hero till then. But, when we left the hall, after seeing this 3-hour magnum opus, we were never to forget him. Since then I must have seen this film on video and in theaters scores of times. On every occasion I was moved afresh by the heroism and sacrifice of 'the man who rode away into legend'- El Cid. I do not think, except for Ben Hur, Sound of Music and Titanic, any other English film has made such a lasting impact. Yet, surprisingly and sadly, El Cid has never figured in the all time greats of Hollywood. Both Charlton Heston and Sophia Loren have given splendid and unforgettable performances, probably their best ever. Their characters and role have been superbly etched by a screenplay, which has done justice to a long but very well knit story. Both the indoor settings and outdoor locales, in which the film was magnificently shot, are so beautiful and natural, that one is literally transported into Spain in the Middle Ages. The lance duel on the plains of Calahara is superbly picturized in the timeless tradition of Hollywood immortal scenes. By the time the movie reaches its unforgettable climax you feel a hollowness creeping into your heart, for you realize that the magic of one of the greatest cinematic epics is about to end and you have no choice but to return to the dreary everyday world! I eagerly look forward to replace my ageing video cassette with the newly released DVD, which I am sure will give me viewing pleasure for as many years ahead as the tape and film versions had given me in the past.

Preservation of a magnificent, splendidly cinematic event
My sentiments are pretty much identical with the ones of the gentleman Sri, from India. I am very disapointed that this magnificantly depicted story has not found favor with the DVD formating industry. After all stories such as 'Tale of two cities', 'Count of Monte Christo', 'Man in the iron Mask','Scarlet Pimpernel', the list goes on..;has been formated in DVD format. I can only wonder if the reason for not having 'El Cid' on disc was a matter of preference or economics at time of decision? I understand that not everyone may enjoy this 'Genre'but personally I believe it's one of the best re-telling of a magnificent, by-gone era and is certainly worthy of DVD formating-if for nothing else but to retain History. I truly wish that this masterpiece of cinamatic splendor would be re-formated and re-mastered digitally. It is such a great story and so masterfully depicted that it most certainly worthy of telling to future generations-and what better way to preserve this on DVD format, since it keeps a lot better than Tape?

DVD available on amazon.fr
This film deserves a Criterion DVD complete with a restored print. It certainly is a timely film and I find its vision of mutual tolerance and charity between Christians and Muslims particularly welcome at the present moment (especially with all those frothering neocons yapping about a clash of civilizations). It will be interesting to see Ridley Scott's forthcoming Crusades film, which looks to be an avatar of El Cid.
There is curently a DVD available from amazon.co.uk, but do not buy it. It is full screen, not widescreen. There is a DVD available from Amazon.fr, however, which does have widescreen. I saw the film when I was eight (for my birthday) in 1962 and saw it on television (wth a pan and scan edit) which butchered the 70 mm Technirama print. The fullscreen (tv) format gives one only less than two thirds of the actual frame. It's a wonder to see the French DVD version on my 23 inch flat computer screen. the only problems with htis DVD are that the print is not a great one--there are scratches every now nad then, and hte sound track is momentarily off for a few seconds. More troublesome is that the French subtitles were burned into the print, so they can't be removed when you watch the DVD in English (there is also a French dubbed version). And the various menu features don't work except for film and language tracks. Still, I'm glad I got it and recommend it until a DVD here becomes available.

Rodrigo's Christians against Ben Yussef's Moors
This grand, epic film tells many stories but the main thread is about the selfless, noble sacrifice of the gallant El Cid, Rodrigo Díaz de Vivar, who was able to effect an alliance of Christians and Moors to defend Spain against Ben Yussuf and the very real threat of a Moorish invasion from North Africa. El Cid faces many trials and tribulations in his quest for peace and freedom in war-torn Spain, where palace intrigue and plots, treachery and assassinations threaten the country's stability. Charlton Heston's Rodrigo is a man of courage and bravery who is also just and sees the senselessness of killing Emirs and spares the lives of five captives after a battle in order to spare the citizens from Emirs seeking revenge for the killing of their soldiers. Thus begins Rodrigo's long, lonely and often thankless struggle to free Spain from the fear of Ben Yussuf. Rodrigo's battle to defend his father's honor against the slurs made by Chimene's father is only the first of many trials he faces until many years later when the final battle and victory against the Moors is at hand and will bring peace and unity to Spain. Sophia Loren is quite lovely as Chimene who finally embraces Rodrigo as her husband and realizes that it is he who represents Spain's only hope for peace and freedom. The battle scenes are well done, with much of the action shown in close-quarters combat and the beauty of Spain's castles and countryside is captured in beautiful widescreen Technicolor. The superb production has a wonderful music score by Miklós Rózsa that is evocative of the beauty and sorrow of this quixotic land on the Iberian Peninsula...a land of contradictions with its own unique character and mystique. ... Read more