Reviews (79)

"Hello, Dolly!"
Mrs. Dolly Levi is inarguably the most endearing film character I have ever encountered. She is beautiful, fashionable, clever, and humorous. One cannot help but wish that Dolly actually existed. Indoubtedly, I cannot imagine anyone other than Barbra Streisand playing the part of Dolly. Her stunning voice and captivating performance make "Hello, Dolly!" a truly wonderful movie.
Besides Streisand's amazing performance, this movie includes some wonderful songs and exciting dancing scenes. However, the dancing scenes do become a bit tedious and long.
What is "Hello, Dolly!" all about? It is the story of a widow who arranges an unimaginable amount of events and places. She assists a couple's elopement, two friends' trip to New York City, and a bored man's romance.
This film features other loveable characters, too, such as a head waiter in a posh restaurant, an orchestra conductor at the same restaurant, and a hatmaker who desires to be "evil."
I would highly recommend this romantic comedy to anyone. Although the dance and song scenes are too long, watch the complete movie. Streisand's performance is extremely wonderful and endearing.

Hello, Dolly! Barbra's best intentions
Only Streisand's second movie, filmed during the politically and meteorlogically hot summer of 1968, Ms. Streisand turns in a performance that could have won her first best actress Oscar, instead of the much better "Funny Girl," filmed in 1967. Why an Oscar? Streisand knew from the start that she was terribly miscast as the middle-aged widow, Dolly Levi. Opposite Walter Matthau, twice her age at the time, it's not a believable story. The Oscar comes from Barbra's totally tongue-in-cheek performance. She is not Dolly Levi, she's really Mae West, Fanny Brice, Brooklyn Barbra, even a twinge of pre-star Dolly Parton. Listen as Barbra throws in a little southern accent here and there. But mostly watch an incredible actress do what she can with a story so silly that by the end of the film, 26 year-old Streisand changes the supposed-to-be 50+ widow into one of the sexiest screen performances in film history. Even Matthau can't hold back his disbelief when watching Barbra do her numbers. When there's no Barbra on screen, there's no film. You watch in anticipation until Barbra's next scene, wondering who she'll be. The film looks like Gene Kelly directed it in three days with many technical flaws in the continuity of blocking scenes and dialogue. Just watch Barbra. Forget that she's the best female singer of the 20th century (no pun intended). Think of her as a young, sexy actress who has such energy, fearless ambition to get her movie career going. Of course, the sets are incredible and her duet with Louis Armstrong (his last film performance) is classic, albeit about two minutes long. Watch Barbra whisper under her breath while filming the dance numbers in The Harmonia Gardens with seasoned dancers. She looks like she's saying, "What the hell am I doing here?" Actually, she's making pure movie magic happen, almost impromptu. Movie: three stars, Barbra: Five plus stars. Nice to see Michael (Phantom of the Opera) Crawford pretend he can't dance. Barbra doesn't talk about this movie, but being the most costly musical in history up to that time, 20th Century Fox got their money's worth a million times over by convincing the apprehensive Barbra Streisand to star. Sorry Carol Channing, but Barbra was the best choice.

Elephantitis
Thornton Wilder's modest little play "The Matchmaker" has been blown up as big as a zeppelin in this out-of-control Streisand vehicle. A couple of songs had been added in the original musical conversion of the play on Broadway but this Hollywood monstrosity was never on Wilder's drawing board. The play had in fact been filmed ten years earlier with Shirley Booth, Paul Ford, Anthony Perkins and Shirley MacLaine in the leads. They should have left it at that. The original point of the story of the middle-aged Dolly Levi's pursuit of Horace Vander Geller is swallowed up here by the vast sets (the New York street set was one of the largest ever constructed and was forbidden to Paul Newman for "Butch Cassidy and the Sundance Kid" for fear "Butch" would reach the theaters before "Dolly") and interminable and generally idiotic production numbers. This must be some of the worst dancing ever filmed. Hard to believe a couple of Hollywood veterans like Gene Kelly and Ernest Lehman rode herd on this fiasco.

Tune Vs Crawford: Palpable Onscreen Tension
The tension that erupted between Tommy Tune and Michael Crawford whenever they were onscreen together in this fine film was delightfully electric. Their intramural competition propagated palpable intensity not really visible or audible (they had no exchange of dialogue) -- it was more a matter of pride between two spunky bachelors, a jousting of the male wills: Tune's learned dance talent meets Crawford's raw dance energy. Both portraying young men pursuing women in the movie, their performances conveyed much more deep and lusty a purpose between them, a cocksure attitude of stretched wide smiles and leggy high-hop dancing, a genuine duel of actors in their prime. Don't miss this one because, despite their competition, both Crawford and Tune emerged victorious and grand.

The Last of the Great Movie Musicals
By Streisand's own admission, she was too young in 1967 to have made a movie about an middle-aged woman making a personal "comeback"... and we all know how wonderfully different and marvelous the film would have been with Carol Channing... however, this does not take away from the fact that this is an incredible, lush, entertaining and musically rich film. The transfer to DVD is superb and crystal clear in picture and sound. The widescreen is anamorphic and color corrected. The only drawback is Walter Matteau's typical characterization which often detracts from the scenes he appears in, and his song "It takes a woman" is only saved by the beautiful setting and the male singers and dancers that accompany him. His voice really should have been dubbed by someone who could sing. Not to worry, Marianne McAndrew (who is stunningly beautiful) is a treasure in this film.... and her songs are wonderful (not sure if that is really hear voice, but its terrific). The sets are incredible and who wouldn't give anything to dine and dance at the Harmonia Gardens? The set designs, art direction, cinematography and costumes are exquisite. ... Read more

Reviews (82)

the Wicked versus the Tender
Shortly after Blanche Dubois (played by Vivien Leigh) moves in with her sister Stella for temporary shelter, Stella's husband (Stanley, played by Marlon Brando) begins to suspect that Blanche is a fallen woman who's on the run and masquerading as a respectable lady. Stanley then decides he'll stop at nothing to destroy Blanche's hopes for a normal life. What happens in this movie will have you glued to the screen from start to finish. ASND has realistic , powerful acting from Leigh, Brando, Malden and Hunter .......This film makes my Top 5 Movies of All Time. If you consider yourself a "tender" person (as opposed to wicked/ruthless) then do yourself a favor and watch ASND. It's a primal reminder that the Gentle/Tender should always be watchful of their archenemy, the Wicked! It's no wonder ASND won so many Oscars. Blanche is a highly demanding role for any actress and Vivien Leigh steps up to the plate and hits a grand slam with her perfect performance ...and yes, Leigh won the Oscar for Best Actress. Even more amazing is the fact that Leigh is from the U.K. and Blanche is pure Mississippi ex-plantation debutante

AFI's Great Love Stories: #67 A Streetcar Named Desire
In "A Streetcar Named Desire" Marlon Brando as Stanley Kowalski gives what is clearly the best acting performance not to win an Academy Award (he lost to Humphrey Bogart in "The African Queen"). Vivien Leigh as Blanche DuBois, Kim Hunter as Stella Kowalski, and Karl Malden as Mitch all won in their respective acting categories. Years later, with "Who's Afraid of Virginia Woolf?" this same thing happened, with both of the ladies winning that time around.

Tennessee Williams' play is one of the major works in American drama, especially after the Second World War, winner of the Pulitzer Prize for drama in 1947 (with Jessica Tandy as Blanche the only cast change from the film; although I should point out Leigh opened the play in England on stage). Although Brando's performance is riveting, representing the new "modern" method of acting at its best, the play is really about the mental and moral disintegration of Blanche, a neurotic former Southern belle whose genteel illusions are no match for the brutish realities of her brother-in-law, Stanley. The fact that Hollywood changed the ending to reflect conventional morality remains one of the great sins in movie history, but I have always thought the fact Brando's legendary stage performance was essentially preserved on film offsets that in the final judgment. Leigh's performance is often seen as an extension of the Scarlett O'Hara role that made her famous, but of course now we know her personal life was as tortured as the character she was playing.

I heard an argument once that "A Streetcar Named Desire" was, at least on some level, a reponsible by Tennessee Williams to Eugene O'Neill's play "The Iceman Cometh" (then again, I have heard the same argument made, more forcefully to be sure, regarding Edward Albee's "Who's Afraid of Virginia Woolf?"). O'Neill's classic play deals with the human need for illusion and hope as necessary weapons against despair. If you are teaching American drama in the 20th century, then using these plays in any combination you might like could be quite provocative for your students.

Personal aside: I was in New Orleans once and actually saw the bus named "Desire," which had replaced the city streetcars. There was certainly an odd little moment.

Most significant line: It does not seem right to talk about romantic lines with any of these characters, but there is a line that is one of the greatest character epitaphs ever. Of course, this is at the end where Blanches says to the doctor, "Whoever you are, I have always depended upon the kindness of strangers." I have usually found that at some point in a play there is a line that defines the character so well it could serve as their epitaph. This line is as clear an example of what I am talking about as you could ever hope to find.

If you like "A Streetcar Named Desire," then check out these other films on the AFI's list of 100 Greatest Love Stories: #48 "Last Tango in Paris" and #89 "Who's Afraid of Virginia Woolf?" Why? The former give you Brando in another sick love relationship and the latter is the other great American drama on this list.

some of the best the screen has ever seen
Vivien Leigh, well-known for her portrayal of Scarlett O'Hara in 1939's "Gone With the Wind", plays Blanche, a Southern belle as fragile as Scarlett is strong. In a way, Blanche is what Scarlett would have become if she had watched her mother die. "Death is very pretty compared to dying," she tells her sister Stella, who only came home for the funeral.

Stella is pregnant and married to Stanley (the inimitable Brando) who both abhors and is fascinated by his sister-in-law Blanche (and not just in a platonic manner.) Blanche in turn is interested in meeting new gentleman callers, as her great love once killed himself (as she tells us in one of the most riveting scenes in movie history.) Interesting note: the delivery boy she flirts with is Mickey Kuhn, who once played Leigh's nephew Beau in GWTW.

Blanche is so fragile that she has no choice but to break. Unfortunately, others hurry her down that path. Perhaps the worst thing one can do, it seems, is depend on the kindness of strangers.

Brando at his finest
With obvious rekindled interest because of the recent death of Marlon Brando, this "one of a kind" film is making a deserved comback. Always thought to be a classic, the comparisons to Brando's acting then, and what we get now from most stars makes this film even more intense. Vivien Leigh digs deep for her emotional performance, and she's miles ahead of anything she did in Gone With the Wind. The rest of the cast is superb also.

Intense and Sexy
This is a perfect date movie. It is intense, sexy, and packed with intellectual and emotional whallop. The actors are interesting and beautiful to look at, and the subject matter is mature and provoacative. It is the perfect setup for getting to know someone better, and a great warm-up for intimate activities to follow, or for super-intense action like you get when you put into practice the teachings of the "New Sex Now" dvd.

God bless you Marlon, you were a true subtle hunk! ... Read more

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George Stevens (Giant) directed this 1959 film adaptation of the hit play based on the writings of Anne Frank, the Jewish girl from Amsterdam who hid in an attic with her family and others during the Nazi occupation. As Anne, Millie Perkins is something of a milky eyed enigma and--in retrospect--too old for the part; but she is surrounded by an outstanding cast, including Joseph Schildkraut as Anne's patient father, Ed Wynn as a cranky dentist who moves into Anne's "room," and Shelley Winters as the loud Mrs. Van Daan. Stevens turns the many overlapping dramas of the caged characters into the foundation of Anne's growth as a young woman, ready for life and love just at the moment the dream comes to an end. Beautifully shot by cinematographer William C. Mellor, and written by Frances Goodrich and Albert Hackett from their stage production. --Tom Keogh ... Read more

Reviews (58)

It's Okay, But It Doesn't Do the Play Justice
"The Diary of Anne Frank," as directed by George Stevens, is certainly not a bad movie. However, it seems to lack the certain spark, sincerity, and tight acting of a truly great movie, and come to think of it, the play on which it is based. The movie is hurt severely by Millie Perkin's, who is whiney and lifeless as Anne Frank. Of all the worthy talent out there, why did they have to pick someone who was not only bad, but 10 years to old for the part. Ed Wynn is dreadfully miscast as grumpy dentist Dussel, and the whole movie is dragged on for so long that the ending is anticlimatic. On the positive side, Joseph Schildkraut and Lou Jacobi recreate the roles they held on Broadway with sincerity and gusto, and Shelly Winters won an Oscar for her delightful performence as Mrs. Van Daan. The screanplay by Albert Hacket and Francis Goodrich is also quite moving. Not a bad showing, but Stevens could have done better.

This play is an inspriation to me&I'm sure to others as well
I rented this movie from Blockbuster last night and I watched it (I'm watching it again right now).It is a wonderful movie.I know that it was/is based on the real thing and I am glad to know that I can not only read her diary and other books to know what Anne,her family,and the Van Daans suffered through,I can watch a movie and/or play about it as well~! I really did enjoy it and I reccomend it to everyone,old or young.It should make you think that no one in this world should be killed just because they are Jewish,America,Chinese or any other race.We are all one and will always be one as long as we all work together.I honestly believe what Anne said:
(quote)Anne Frank:"In spite of everything,I still believe people are really good at heart."(/quote)So please,watch and/or read "The Diary of Anne Frank".I guarentee that it will touch your heart;it touched mine all 10 times (and forever more when I read about Anne Frank)! =}~Jackie

Anne Deserves Better
There is no excuse why the best and most widely read Holocaust narrative couldn't have been made into a far superior movie than this disorganized and boring flick. For most Americans, The Diary of Anne Frank is the only Holocaust book they will ever read and most Americans won't even read that. Consequently, it is vitally important there be an excellent film adaptation of the book. This dull, watered down and not particularly well cast or acted film is not the perfect film memorial to the 7 million victims it needs to be.

This is the definitive movie for Anne's Diary
*** SPOILER if you have not read the diary or seen any of its movies yet

Absolutely no scene in movie history is as simultaneously gripping and gently conveyed as the final scene, when Peter Van Damme and Anne Frank hold hands and look out to the sky as the Gestapo beat down their door to take them to a death camp. The adults look down in the direction of the door and stand or sit still and wait for them to enter, resigned to the fact that they just can not escape the fate that the Nazis have assigned to them.

Nobody runs or even speaks, and Otto Frank puts down the newspaper and hands his wife her bag, as if they are going on a trip. Such small simple movments convey such finality for these 7 people who have shared the unimaginable experience of being caged liked animals to escape being killed like animals, because one man in power decided people of their religion and race should not live.

That scene says more than a million car chases and explosions. Watch it and see what I mean.

unfortunate timing
there was only one reason this monumental film was not awarded the "Best Picture" oscar at the academy awards. that reason is simple; the year of its release. 1959 was an unfortunate year for George Stevens to release this masterpiece of filmmaking, because released that same year was "Ben-Hur". any connesieur of classic films can attest to the magnitude of "Ben-Hur", winner of 11 academy awards. inspite of the legendary status of "Ben-Hur", "The Diary Of Anne Frank" deserves just as much recognition.
"The Diary Of Anne Frank" deserved the oscar just as much if not more than "Ben-Hur". the film was based on the diary written by Anne Frank while she was hiding out in the attic of an old house with her family and several others to avoid Nazi capture during those tragic days of WWII.
the movie is nothing less than monumental and a perfect tribute to Anne Frank and her family. it is nearly 3 hrs. long but easily maintains one's interest throughout.

there exist no words to justly express greatness of this magnificent opus of filmmaking. accolades to George Stevens for giving us this film. and God bless the entire Frank family for continuing to bring hope to the hearts of people globally for over 60 years. AMEN ... Read more

Reviews (15)

One Of Hitchcock's Best
"Foreign Correspondent" was Alfred Hitchcock's second American feature made in 1940, the same year as his first feature "Rebecca", and surprisingly both were up for "best picture". In fact "Foreign Correspodent" was nominated for 6 Oscars. But even so, the movie is rarely regarded as one of Hitchcock's best, and that's a shame. "Foreign Correspondent" ranks up there with the best Hitchcock films such as "Rear Window", "Psycho", and "Vertigo". The "master of suspense" displays all the talents that have made him one of the finest film-makers of all-time (at least in my opinion).

"Foreign Correspondent" has Joel McCrea as John Jones, an American reporter sent over to Europe to cover the beginnings of WW2. And, as you can probably guess, Jones will stumble upon a big story and soon become a man who knows too much.

Van Meer, a man Jones was sent to interview (Albert Basserman, in an Oscar nominated performance) is on a council to prevent WW2, but he is soon murdered, or is he? He was the only person who knew of a secret clause that was to be written in a peace treaty.

A lot of people speak highly of the assination scene with the umbrellas, and Edmund Gwenn's scene on top of the tower. Most of you will know Gwenn as Santa Clause in "Miracle on 34th Street". But I have to admit some of my favorite scenes deal with the more comedic aspects of the film such as Robert Benchley's scenes, as an on-the-wagon reporter just yearning for one more drink, who has no idea what is going on around him. I also enjoy a scene dealing with George Sanders (Scott ffolliott) as he explains why he his name is spelled with two lower case "f's", McCrea responds with "How do you pronouce it? With a stutter?"

I've always felt Hitchcock's early work sometimes allowed the dry wit to get into the way of his movies. They could be seen as comedy\mystery movies in the vain of "The Thin Man" series. But in "Foreign Correspondent" I absolutely didn't mind. I enjoyed it greatly. Benchley was actually allowed to write his own lines and Ben Hechet, who helped co-write (he wrote the play "The Front Page", as well as two other Hitchcock movies, "Notorious" and "Spellbound") are without doubt why this movie actually does make us laugh. Benchley really is a highlight for me. Please pay attention to his dialogue. It's a shame so many people don't remember him nowadays.

And, there's more more thing I feel the need to comment on. What an amazing cast this film has. I've mentioned some of them already, McCrea, Sanders, and Benchley, but Herbert Marshall is also in this movie as Stephen Fisher, Van Meer's partner. Everyone does a wonderful job.

Bottom-line: Sadly not as popular as some of Hitchcock's other films, but, it deserves to be. It really is one of his best works. Great moments of suspense and wit.

Hitchcock at the top of his game
Despite being nominated for six Academy Awards, including best picture, Alfred Hitchcock's second American film, "Foreign Correspondent," has received little notice through the years. Critics gush, and rightly so, over "Rear Window" and "Vertigo" but scarcely breathe a word about this masterpiece. Released in 1940, the same year as "Rebecca," it has been left to languish in the graveyard of late night television where its very lack of promotion no doubt leads many a Hitchcock fan to believe it must be one of the master's lesser films, something on the order of "The Paradine Case" or "Under Capricorn."

"Foreign Correspondent" is, in fact, one of the director's greatest films, every bit as good as "The 39 Steps," "North by Northwest" and other famous Hitchcock classics and far superior to "Rebecca," a film that Hitchcock himself described as belonging more to Selznick than to him. The Master of Suspense's trademark touches are very evident in this exciting suspense adventure in which Joel McCrea (chosen after Gary Cooper passed on the project), a lightweight reporter for a New York newspaper, is given a plum assignment that leads him into international intrigue involving a kidnapped scientist.

Hitchcock may have been disappointed in McCrea (labelling him "too easygoing") but the often underrated actor is excellent and is aided by one of Hitchcock's most perfect casts. As fellow reporters, George Sanders provides plenty of world-weary wit and the great Robert Benchley, who also wrote some of his own dialogue, adds a light touch in what is otherwise a fairly grim thriller. Herbert Marshall is on hand as the elegant villain, and Edmund Gwenn who would define "warm and cuddly" as Santa Claus in "Miracle on 34th Street" a few years later, exudes evil as an assassin.

There are many standout scenes, all every bit as imaginative as the cropduster attack on Cary Grant in "North by Northwest" or the shower murder in "Psycho." Note the ominous mood in the windmill where the kidnapped scientist is held captive, or the plane's plunge into the ocean just before the finale. The moment when the aged scientist (perfectly embodied by Albert Basserman, an Oscar nominee for his role) is tortured in a hotel room while a helpless Sanders looks on can make you squirm more than anything in "The Birds."

In short, this is Hitchcock at the very top of his game. The only thing "Foreign Correspondent" lacks is the acclaim and notoriety it deserves.

Good.
'Foreign Correspondent' is yet another fantasic mystery from Alfred Hitchcock. Although I don't remember the storyline too much, I remember liking it enough to give it a four-star review.

Not a Bad Propaganda Film
Released in 1940 by the Master of Suspense, Alfred Hitchcock, this movie (although somewhat fictitiously) explains the beginning of World War II. This is one of Hitchcock's spy thrillers, complete with his man-in-the-middle and MacGuffin storylines.
Huntley Haverstock (Joel McCrea) is a newspaper reporter from New York who is sent to Europe to meet with the Dutch Professor Van Meer, who holds a secret clause in a peace treaty that may avert the coming war. After witnessing Van Meer's death, Haverstock becomes embroiled in an elaborate scenario in which the Nazis play a pivotal role.
In Haverstock's adventure, he meets up with the lovely Carol Fisher (Laraine Day)and her father, Stephen Fisher (Herbert Marshall). Are the Fishers really who they say they are?
The movie has many plot twists and exciting sequences that have become so memorable in Hitchcock lore.
The scene with the windmill's blades rotating backward has become classic, as well as the bobbing umbrellas in the rain as the murderer of Van Meer escapes through them. And also watch for the spectacular plane crash at the end of the film.
And who can forget seeing Edmund Gwenn, the man known forever to film buffs as Santa Claus from Miracle on 34th Street, playing here the sinister hit man, Rowley.
Clearly a great storyline, Foreign Correspondent is a must-see for any Hitchcock fan. This was his second film he made in America after David Selznick brought him over from England, and probably the best piece of propaganda to get the American public more interested in war looming on the horizon.

Another Hitchcock classic!
This movie is great. It deserves five stars. This movie is a wonderful drama and chase movie. Only the Master of Suspense could only direct such a great film. See it! ... Read more

Amazon.com

An unusual suspense film, The Spiral Staircase tells the story of a mute servant girl threatened by a murderer who has a penchant for killing the handicapped. Ethel Barrymore, Elsa Lanchester, and George Brent co-star, while Dorothy McGuire expertly captures the dilemma of the mute Helen Capel. Capel, who has not been able to speak since childhood, must somehow call for help before becoming the killer's next victim. McGuire's performance carries the film far past any B-movie qualities in the plot, and the last line is one of the most memorable in film history. Silent movie buffs will especially enjoy the opening scene, which takes place at a turn-of-the-century movie parlor. --Mark Savary ... Read more

Reviews (20)

Near classic precursor to the modern serial killer thriller
Spiral Staircase (1946) Dir; Robert Siodmak Stars: Dorothy MacGuire, George Brent, Ethel Barrymore, Kent Smith, Rhonda Fleming

One of the most creepy and effective thrillers from the immediate post war era. The movie is in many respects a precursor to modern serial killer/stalker movies and used scare tactics that still remain in use more than 50 years later. The focus of the film is on a household at the turn of the century where a cranky old grandmother is bedridden and waiting to die, being looked after by a mute nurse who is the serial killers obvious next target as he clearly goes after victims with afflictions in his attempt to restore perfection and beauty to a tainted world. The director manages to conjure up an effective feeling of dread and claustrophobia - this is a long, long way from William Castle's amiable ghost frolic The House on Haunted Hill which played more like a farce than a thriller. The film is a little reminiscent of another classic serial killer outing made much later in England, Peeping Tom and was clearly way ahead of its time when it came out in 1946. The cast headed by Dorothy McGuire and George Brent but watch out especially for one of the screen's immortal icons, Elsa Lanchester who will forever be remembered as The Bride of Frankenstein. The Spiral Staircase is a superior thriller, may be a touch over wrought by today's standards, but effective, tense and fairly creepy. Perhaps, along with M, the great great granddaddy of the modern serial killer thriller. Far superior to the horrid remake that was dished up in 1975.

old fashioned thriller is eerie, tense and well acted.
One of the most creepy and effective thrillers from the immediate post war era. The movie is in many respects a precursor to modern serial killer/stalker movies and used scare tactics that still remain in use more than 50 years later. The focus of the film is on a household where a cranky old grandmother is bedridden and waiting to die, being looked after by a mute nurse who is the serial killers obvious next target as he clearly goes after victims with afflictions in his attempt to restore perfection and beauty to a tainted world. The director manages to conjure up an effective feeling of dread and claustrophobia - this is a long, long way from William Castle's amiable ghost frolic The House on Haunted Hill which played more like a farce than a thriller. The film is a little reminiscent of another classic serial killer outing made much later in England, Peeping Tom and was clearly way ahead of its time when it came out in 1946. The cast headed by Dorothy McGuire and George Brent but watch out especially for one of the screen's immortal icons, Elsa Lanchester who will forever be remembered as The Bride of Frankenstein. The Spiral Staircase is a superior thriller, may be a touch over wrought by today's standards, but effective, tense and fairly creepy. Perhaps, along with M, the great great granddaddy of the modern serial killer thriller. Far superior to the horrid remake that was dished up in 1975.

Disturbing Gothic noir
Robert Siodmak was a wonderful director of the film noir ,perhaps the result of his grounding in silent German Expressionist cinema and he brings that era's trademark use of unusual camera angles and skewed sets to bear on his direction of this splendid slice of turn of the centurt Gothic .
It is set in a small New England community where a serial killer is on the loose , his victims being women he deems to be in some way "imperfect " physically .They are either disfigured or have some impediment .
His particular target during the movie is a mute girl ,Helen , played brilliantly by the radiant Dorothy Maguire and it builds to a tense climax in a creepy old house with a thunderstorm raging outside .
The source material is utterly conventional but the insight and edginess of Siodmak's direction sets it apart from the run of the mill movie of its type and ensures we are dealing with a minor classic here .The direction is seen at its best in the brilliant opening sequence in which a crowd gathers for a show in the local theatre and the camers pans from the cosy community gathering for a night of escapism to a room above the theatre where a young disabled woman is undressing before falling victim to the killer .
Colourless performance by George Brent but the other peformances compensate .Above all however this a directors movie and the mastery of the genre displayed by Siodamk makes this a real treat .

Great dream of a Gothic thriller
This well-remembered Gothic thriller has been re-filmed three times--once for TV in 1961 with Elizabeth Montgomery, once in 1975 with Jacqueline Bisset, and once again for TV in 2000 with Nicolette Sheridan--but the originals never quite captured the qualities of the original, which features Doroithy McGuire's best performance as a terrorized mute serving girl in a 1906 New England mansion. The script itself isn't much, and relies on very hoary melodramatic conventions that even seemed old in its day, and the script has its share of howlers (the famous last line, in particular). What makes it memorable is McGuire's very affecting performance, Robert Siodmak's remarkably chilling direction, and most of all the great Warren mansion itself--one of the most beautifully elaborate sets ever constructed for a Gothic. At times your eyes have trouble taking the entirety of the house's richly inhuman decorations in, and the killer's ability to move in and around the house with ease seems perfectly logical. (Keep a watch out for the great early sequence with Dorothy McGuire watching herself in the mirror on the landiung of the house's other, main staircase--as the killer watches her watching herself.)

OK ATMOSPHERIC THRILLER...
This film, based upon the book, "Some Must Watch" by Ethel Lina White, author of "The Lady Vanishes", which was made into a film by Alfred Hitchcock, is an atmospheric, gothic thriller. It not particularly suspenseful, however, as anyone with half a brain can figure out what is going on fairly early in the film.

The plot revolves around a turn of the century serial killer who singles out those who have some sort of affliction. At risk is Helen Capel (Dorothy McGuire), a young, mute woman, who works as a servant/companion for a crotchety invalid, Mrs. Warren (Ethel Barrymore), who lives in an enormous Gothic style mansion outside of town. There she lives with her step-son, Professor Warren (George Brent) and her biological son, Steve (Gordon Oliver). Mrs. Warren has some concern that Helen may be next on this serial killers hit list. She also suspects her biological son of the unspeakable.

There is friction in the household between Professor Warren and his brother Steve. It appears that they both are salivating over Blanche (Rhonda Fleming), a tasty morsel of flesh who acts as secretary to Professor Warren. There is also friction between Mrs. Warren and her private nurse , Nurse Barker (Sara Allgood) Moreover, the housekeeper, Mrs. Oates (Elsa Lanchester) has a drinking problem. What a motley crew. To complicate matters further, the town's new doctor, Dr. Parry (Kent Smith), hankers after Helen. It is also clear that the serial killer, for different reasons, also hankers after Helen. The only question is as to his identity and whether he can be stopped before Helen joins the ranks of the dearly departed.

Though the cast is quite good and the screenplay is suitably melodramatic in feel, the film never becomes really gripping. Still, notwithstanding its predictability, this film is certainly worth a rental. ... Read more

Description

See the legendary Frank Sinatra as you've never seen him before in this taut, terrifying thriller that was suppressed for decades! When the President is slated to pass through a small town, murderous John Baron (Sinatra) decides to take over the tranquil Benson household as part of chilling assassination plot. Can this madman be stopped before the country is thrown into turmoil? ... Read more

Description

3 Great Movies on 1 DVD.Star Power, Exciting Genre with Extras on each DVD. ... Read more

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Clean-cut American teen Jimmy Lydon is tormented by nightmares in which his deceased father warns him about Mom's new boyfriend, and he feigns madness to infiltrate a mental hospital where he suspects the answers lie. Yes, it's Hamlet refigured as a suburban film noir thriller with a psychiatric twist. Former Hollywood leading man Warren William is thoroughly wolfish as a silver-haired lothario whose slick charm and classy manners hide a disturbing taste for teenage girls, and Sally Eilers plays his mark, the young widow with two teenage kids and a sizable life insurance payoff. B-movie legend Edgar G. Ulmer (Detour) overcomes a starvation budget to create a modest little thriller with understated mood, simple but eerie dream sequences, and a creepy undercurrent of corruption and sexual deviance. --Sean Axmaker ... Read more

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Rondo Hatton had appeared briefly in such Hollywood classics as The Hunchback of Notre Dame and The Ox-Bow Incident, but his later status as a cult icon is kept alive by his roles in low-budget B thrillers. His massive, misshapen head, gigantic hands, and towering presence were the result of acromegaly, a disease that causes bones to be enlarged and misproportioned. The Brute Man was Hatton's last film and only headlining role--he died soon after filming. He stars as the Creeper, a mysterious killer taking his revenge on those he holds responsible for the accident that disfigured him, but whose heart is softened by a blind girl who befriends him--kind of a twisted take on Beauty and the Beast. The slapdash production suffers from an underwritten script and lackluster performances, but director Jean Yarbrough manages to inject some mood and a little style into the production, and even pulls a few surprises out of the otherwise mundane script. Tom Neal, who appears as the Creeper's next target, made his cult reputation with Detour. Hatton was never much of an actor, but he makes a startling presence shuffling through fog-shrouded streets and ducking around corners, and even elicits a little sympathy for a character so filled with hate that he becomes the monster he resembles. --Sean Axmaker ... Read more

Reviews (3)

Rondo Hatton at his "best".
Rondo Hatton was a victim of acromegaly whose deformed face (and voice) were tastelessly exploited in several films of the Forties. This one has two distinctions -- it was Hatton's last film (he died before its release) and it was the only Universal horror film which Universal did not bother to release, but rather sold to the ultra-low budget studio PRC for release, altho the film still begins with the Universal logo. The plot involves a handsome college student whose face becomes deformed due to a laboratory accident. Since Hatton actually was handsome and athletic in his pre-acromegaly period, the film has a bizarre parallel with his own life. (But it is difficult to accept that this type of deformity could be caused by a splash of acid.) The nouveau ugly man becomes a brutal killer, proving it is possible to be grotesque on the outside and rotten on the inside, too. He befriends a young blind woman who believes blind people have good character judgment, yet she never suspects he is a brutal killer. This grim, depressing film is interesting in a perverse way.

And now, the DVD technical review
Another customer review very nicely covers the movie itself, so just let me chime in with a few quick words about the technical quality of the DVD release.

You might think that this disc would be grainy, or soft, or with poor contrast, particularly since it's from the legendary poverty row studio PRC, and a few other PRC videos are so-so. Truth is, although the film was released by PRC, it was produced by Universal Studios!

You'll be exceedingly happy to discover that the transfer to DVD is outstanding. Contrast is excellent, and the image is sharp and clean. This is a Criterion-level transfer here! Sound is nice and clean too. Of course, the disc hasn't anything in the way of extras. Running time is just about an hour, the case is a snapper.

If you're interested in the related films, this one is the last of the "Creeper" films. The Creeper is Rondo Hatton's "signature role" begun in 1944 in the Rathbone/Bruce Sherlock Holmes film PEARL OF DEATH, followed by 1946's HOUSE OF HORRORS, and finally THE BRUTE MAN (which was indeed Hatton's last film).

Below-par B thriller of historical interest only
The Brute Man was the last film of Rondo Hatton, an acromagly sufferer whose disfigured looks were exploited by Hollywood in a series of movies in which he played a psychopathic back-breaker called The Creeper (although none of the movies, including the Sherlock Holmes thriller Pearl of Death, has any link and were not part of any series).

This cheap PRC production has Hatton hunt down the people responsible for his disfigurement (an explosion in his college lab) and also murder various others who get in his way. The victims include a nosy shop assistant and a jeweller who insists that Hatton pay for a broach. Meantime, he falls in love with a blind woman but she eventually betrays him to the police and he tries to kill her too.

One of the amusing things about this movie is that there's supposed to be a huge Dragnet out for Hatton but he's always walking down the street openly despite his looks and appearance. He actually doesn't give a bad performance. Deapite his reputation as The Ugliest Man Alive his looks aren't really bad enough to warrant the screaming reaction he gets from some of his victims. Film is padded out by some silly footage involving the investigating police (at one point playing cards when the Commissioner comes in and then taunting him). A pretty silly script and a general lack of style. ... Read more

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Directly in the wake of his Oscar-winning comeback in From Here to Eternity, Frank Sinatra took on the role of a psychopathic hit man in this taut, low-budget film noir. The choice shows how interested Sinatra was in serious acting during the mid- to late '50s; there's nothing remotely likable about this angular, neurotic assassin. He's in the small town of Suddenly to kill the president, who is passing through on a quick train stop. Sinatra makes hostages of a local family and sheriff Sterling Hayden, and the film is basically a countdown to the president's arrival, with Sinatra's patter getting loonier as the day goes on. Aside from the interest of Sinatra's performance (very focused and downright perverse at times), and the film's place in the American noir tradition, Suddenly is uncannily prophetic on the subject of assassination. It's clear that the killer is doing it for the fame as well as the money, a theme that would crop up in later confessions of real-life killers or would-be killers. Perhaps the 1954 film was too prophetic; like Sinatra's Manchurian Candidate, this movie was pulled from circulation for years after the JFK assassination. According to Kitty Kelley's bio of Sinatra, Lee Harvey Oswald saw this film a few days before he took rifle in hand. Now in the public domain, Suddenly is generally available in cheap, scratchy prints. --Robert Horton ... Read more

Reviews (2)

The Creepy Warren William Film
My never-ending search for Warren William movies eventually led me to "Strange Illusion", one of the last films of his career, in which he plays an honest to God creep!

Teenage Jimmy Lydon has been plagued by nightmares since his father's unsolved murder--and the latest one seems to suggest danger surrounding his mother. The next thing you know, mom announces she has a suitor, Warren William. Guess what? Uh huh, that's right. So this is partly David Copperfield/Mr. Murdstone and partly Hamlet/Claudius, as one reviewer made note. An unsavory twist is that Warren William has a fancy for underage girls, which doesn't bode well for Jimmy's girlfriend.

Still and all, I liked "Strange Illusion" because it is major camp on top of everything else--others in my family hated it, though. Ergo, I guess it's just one of those movies you have to make up your own mind about.

Ulmer's best beside Detour and Ruthless
Sometimes Mr. Maltin fails with his comments, and to compare this thrilling fantasy movie with Shakespeare's Hamlet is laughable. O.K., there are the usual cheesy sets on PRC's small backlot, but otherwise the dreamy programmer is one of the best in its class. Ulmer again showed his ability to make the best of his extremely low budget. Within this, photography is very good, whereas the music score with its "adaptation" of Schumann's piano concerto gives you the possiblity to cry or laugh. Fine opening, indeed. ... Read more

Reviews (5)

Cuba at the time of capitalistic strife
A mushy rewriting of Romeo and Juliet in the context of the conflict between Greeks and Americans in Cuba, before Castro's revolution, centered on the fishing and commerce of sponges. The Americans impose some good zones to be their own, anyone else, particularly the Greeks, being excluded, expelled evn by force if necessary. The Greeks challenge this illegal zoning and are the victims of plundering and violence. Then we get a love affair between one young American girl, promised for marriage to an American man, and a young Greek boy. The love affair causes a lot of strife but ends well. No descent to any vault, no poisoning, fake or true, and no dying.

Dr Jacques COULARDEAU

Beneath the 12 Mile Reef
As all of us movie buffs, I really hate it when scenes get deleted from a film. The end of the fight between Tony's Father and Arnold has been deleted (where they begin to fight "greek style", and Tony's father makes Arnold eat a cigar). It is a great character building scene, and it is a shame it is NOT on the DVD. I personally would rather they include all scenes, even if they get a little fuzzy, as part of the heart of this movie had been removed.

However, there was a good side to the DVD as well. Those of us baby boomers who grew up watching and loving the film on television never knew the true ending of the movie, as we could not see it in wide screen. As I know the movie well, it was a pleasant surprise to see the entire picture when Tony brings his hook boat back into the greek harbor in Tarpin. I will not ruin it for anyone, but it was a nice touch to the end of the movie that I am glad to know. For those who have not seen the movie, it is a great one (considering when it was made), and has no bad or distasteful scenes, but portrays the life of early sponge divers.

Beneath the 12-Mile Reef
I liked it. It is an older movie that tells a neat story. Sure it's been told lots of times, but this one is a little different.

underrated early CinemaScope pic
Greek sponge divers run afoul of Florida Key locals for poaching rights in this early CinemaScope picture featuring Robert Wagner and Terry Moore as the young Romero and Juliet between the warring families. Noted mainly for its brilliant underwater photography and superb Bernard Herrmann score. In Technicolor!

Beneath the 12-Mile Reef
I found this movie very entertaining because of the Florida locale (I've been to Tarpon Springs, one of the settings in this movie) and the stunning photography, especially the underwater scenes.

The story is a Romeo and Julliete type, but also gives an account of an almost dead breed of divers (Spunge divers).

My only critique of this video would be that it seems that it is a colorized version instead of a true Technicolor version. It just seems to me that the color is "off line" with its subjects in many scenes and is rather muddy on several occasions. This is just an observation comparing this video with other videos I've seen of this vintage (1953).

I highly reccommend this movie to everyone. It is a cheery but serious movie delving into the trials and tribulations of sponge divers of the Florida West coast.

An added feature, a scene of the Greek Epithany celebration in Tarpon Springs is included in this movie. ... Read more

Reviews (2)

The Creepy Warren William Film
My never-ending search for Warren William movies eventually led me to "Strange Illusion", one of the last films of his career, in which he plays an honest to God creep!

Teenage Jimmy Lydon has been plagued by nightmares since his father's unsolved murder--and the latest one seems to suggest danger surrounding his mother. The next thing you know, mom announces she has a suitor, Warren William. Guess what? Uh huh, that's right. So this is partly David Copperfield/Mr. Murdstone and partly Hamlet/Claudius, as one reviewer made note. An unsavory twist is that Warren William has a fancy for underage girls, which doesn't bode well for Jimmy's girlfriend.

Still and all, I liked "Strange Illusion" because it is major camp on top of everything else--others in my family hated it, though. Ergo, I guess it's just one of those movies you have to make up your own mind about.

Ulmer's best beside Detour and Ruthless
Sometimes Mr. Maltin fails with his comments, and to compare this thrilling fantasy movie with Shakespeare's Hamlet is laughable. O.K., there are the usual cheesy sets on PRC's small backlot, but otherwise the dreamy programmer is one of the best in its class. Ulmer again showed his ability to make the best of his extremely low budget. Within this, photography is very good, whereas the music score with its "adaptation" of Schumann's piano concerto gives you the possiblity to cry or laugh. Fine opening, indeed. ... Read more

Amazon.com

Beneath the 12-Mile Reef is a landmark, or rather watermark. The third ever CinemaScope production this was a prestige release, with Florida, Key West location Technicolor filming of never-before-achieved underwater cinematography, and four-channel stereo recording of a superlative Bernard Herrmann score. Even a still-impressive underwater battle with an octopus pre-dates the more famous giant squid of 20,000 Leagues Under the Sea (1954). The humans aren't bad either, with a young Robert Wagner making a charismatic if ethnically unconvincing Greek lead as sponge fisherman Tony, and Terry Moore playing Juliet to his Romeo with real vivacity. --Gary S. Dalkin ... Read more

Reviews (5)

Cuba at the time of capitalistic strife
A mushy rewriting of Romeo and Juliet in the context of the conflict between Greeks and Americans in Cuba, before Castro's revolution, centered on the fishing and commerce of sponges. The Americans impose some good zones to be their own, anyone else, particularly the Greeks, being excluded, expelled evn by force if necessary. The Greeks challenge this illegal zoning and are the victims of plundering and violence. Then we get a love affair between one young American girl, promised for marriage to an American man, and a young Greek boy. The love affair causes a lot of strife but ends well. No descent to any vault, no poisoning, fake or true, and no dying.

Dr Jacques COULARDEAU

Beneath the 12 Mile Reef
As all of us movie buffs, I really hate it when scenes get deleted from a film. The end of the fight between Tony's Father and Arnold has been deleted (where they begin to fight "greek style", and Tony's father makes Arnold eat a cigar). It is a great character building scene, and it is a shame it is NOT on the DVD. I personally would rather they include all scenes, even if they get a little fuzzy, as part of the heart of this movie had been removed.

However, there was a good side to the DVD as well. Those of us baby boomers who grew up watching and loving the film on television never knew the true ending of the movie, as we could not see it in wide screen. As I know the movie well, it was a pleasant surprise to see the entire picture when Tony brings his hook boat back into the greek harbor in Tarpin. I will not ruin it for anyone, but it was a nice touch to the end of the movie that I am glad to know. For those who have not seen the movie, it is a great one (considering when it was made), and has no bad or distasteful scenes, but portrays the life of early sponge divers.

Beneath the 12-Mile Reef
I liked it. It is an older movie that tells a neat story. Sure it's been told lots of times, but this one is a little different.

underrated early CinemaScope pic
Greek sponge divers run afoul of Florida Key locals for poaching rights in this early CinemaScope picture featuring Robert Wagner and Terry Moore as the young Romero and Juliet between the warring families. Noted mainly for its brilliant underwater photography and superb Bernard Herrmann score. In Technicolor!

Beneath the 12-Mile Reef
I found this movie very entertaining because of the Florida locale (I've been to Tarpon Springs, one of the settings in this movie) and the stunning photography, especially the underwater scenes.

The story is a Romeo and Julliete type, but also gives an account of an almost dead breed of divers (Spunge divers).

My only critique of this video would be that it seems that it is a colorized version instead of a true Technicolor version. It just seems to me that the color is "off line" with its subjects in many scenes and is rather muddy on several occasions. This is just an observation comparing this video with other videos I've seen of this vintage (1953).

I highly reccommend this movie to everyone. It is a cheery but serious movie delving into the trials and tribulations of sponge divers of the Florida West coast.

An added feature, a scene of the Greek Epithany celebration in Tarpon Springs is included in this movie. ... Read more

Reviews (5)

Cuba at the time of capitalistic strife
A mushy rewriting of Romeo and Juliet in the context of the conflict between Greeks and Americans in Cuba, before Castro's revolution, centered on the fishing and commerce of sponges. The Americans impose some good zones to be their own, anyone else, particularly the Greeks, being excluded, expelled evn by force if necessary. The Greeks challenge this illegal zoning and are the victims of plundering and violence. Then we get a love affair between one young American girl, promised for marriage to an American man, and a young Greek boy. The love affair causes a lot of strife but ends well. No descent to any vault, no poisoning, fake or true, and no dying.

Dr Jacques COULARDEAU

Beneath the 12 Mile Reef
As all of us movie buffs, I really hate it when scenes get deleted from a film. The end of the fight between Tony's Father and Arnold has been deleted (where they begin to fight "greek style", and Tony's father makes Arnold eat a cigar). It is a great character building scene, and it is a shame it is NOT on the DVD. I personally would rather they include all scenes, even if they get a little fuzzy, as part of the heart of this movie had been removed.

However, there was a good side to the DVD as well. Those of us baby boomers who grew up watching and loving the film on television never knew the true ending of the movie, as we could not see it in wide screen. As I know the movie well, it was a pleasant surprise to see the entire picture when Tony brings his hook boat back into the greek harbor in Tarpin. I will not ruin it for anyone, but it was a nice touch to the end of the movie that I am glad to know. For those who have not seen the movie, it is a great one (considering when it was made), and has no bad or distasteful scenes, but portrays the life of early sponge divers.

Beneath the 12-Mile Reef
I liked it. It is an older movie that tells a neat story. Sure it's been told lots of times, but this one is a little different.

underrated early CinemaScope pic
Greek sponge divers run afoul of Florida Key locals for poaching rights in this early CinemaScope picture featuring Robert Wagner and Terry Moore as the young Romero and Juliet between the warring families. Noted mainly for its brilliant underwater photography and superb Bernard Herrmann score. In Technicolor!

Beneath the 12-Mile Reef
I found this movie very entertaining because of the Florida locale (I've been to Tarpon Springs, one of the settings in this movie) and the stunning photography, especially the underwater scenes.

The story is a Romeo and Julliete type, but also gives an account of an almost dead breed of divers (Spunge divers).

My only critique of this video would be that it seems that it is a colorized version instead of a true Technicolor version. It just seems to me that the color is "off line" with its subjects in many scenes and is rather muddy on several occasions. This is just an observation comparing this video with other videos I've seen of this vintage (1953).

I highly reccommend this movie to everyone. It is a cheery but serious movie delving into the trials and tribulations of sponge divers of the Florida West coast.

An added feature, a scene of the Greek Epithany celebration in Tarpon Springs is included in this movie. ... Read more

Reviews (5)

Cuba at the time of capitalistic strife
A mushy rewriting of Romeo and Juliet in the context of the conflict between Greeks and Americans in Cuba, before Castro's revolution, centered on the fishing and commerce of sponges. The Americans impose some good zones to be their own, anyone else, particularly the Greeks, being excluded, expelled evn by force if necessary. The Greeks challenge this illegal zoning and are the victims of plundering and violence. Then we get a love affair between one young American girl, promised for marriage to an American man, and a young Greek boy. The love affair causes a lot of strife but ends well. No descent to any vault, no poisoning, fake or true, and no dying.

Dr Jacques COULARDEAU

Beneath the 12 Mile Reef
As all of us movie buffs, I really hate it when scenes get deleted from a film. The end of the fight between Tony's Father and Arnold has been deleted (where they begin to fight "greek style", and Tony's father makes Arnold eat a cigar). It is a great character building scene, and it is a shame it is NOT on the DVD. I personally would rather they include all scenes, even if they get a little fuzzy, as part of the heart of this movie had been removed.

However, there was a good side to the DVD as well. Those of us baby boomers who grew up watching and loving the film on television never knew the true ending of the movie, as we could not see it in wide screen. As I know the movie well, it was a pleasant surprise to see the entire picture when Tony brings his hook boat back into the greek harbor in Tarpin. I will not ruin it for anyone, but it was a nice touch to the end of the movie that I am glad to know. For those who have not seen the movie, it is a great one (considering when it was made), and has no bad or distasteful scenes, but portrays the life of early sponge divers.

Beneath the 12-Mile Reef
I liked it. It is an older movie that tells a neat story. Sure it's been told lots of times, but this one is a little different.

underrated early CinemaScope pic
Greek sponge divers run afoul of Florida Key locals for poaching rights in this early CinemaScope picture featuring Robert Wagner and Terry Moore as the young Romero and Juliet between the warring families. Noted mainly for its brilliant underwater photography and superb Bernard Herrmann score. In Technicolor!

Beneath the 12-Mile Reef
I found this movie very entertaining because of the Florida locale (I've been to Tarpon Springs, one of the settings in this movie) and the stunning photography, especially the underwater scenes.

The story is a Romeo and Julliete type, but also gives an account of an almost dead breed of divers (Spunge divers).

My only critique of this video would be that it seems that it is a colorized version instead of a true Technicolor version. It just seems to me that the color is "off line" with its subjects in many scenes and is rather muddy on several occasions. This is just an observation comparing this video with other videos I've seen of this vintage (1953).

I highly reccommend this movie to everyone. It is a cheery but serious movie delving into the trials and tribulations of sponge divers of the Florida West coast.

An added feature, a scene of the Greek Epithany celebration in Tarpon Springs is included in this movie. ... Read more