Reviews (58)

Delightful Holiday Story
Cary Grant stars as an angel named Dudley who suddenly appears and befriends an Episcopal bishop (David Niven) who is completely focused on raising money for his new church, and the bishop's wife (Loretta Young), who has become lonely and unhappy as her husband has gotten lost in his work. Grant uses little bits of heavenly magic and loads of charm to help Niven raise money and to help Young rediscover the joy of life. He also helps Niven and Young rediscover each other and realize that love must be the highest priority for anyone, including an ambitious bishop who's devoted to his job.

The acting is superb, as one would expect from this stellar cast. The story takes place at Christmas and, while not shown as much as other Christmas movies, I think it's one of the best. Cary Grant, all charm and suave coolness, plays this part perfectly, and the viewer even sees a touch of wistful envy in the angel who cannot have the Earthly love and happiness he helps Niven and Young rekindle for themselves. Buy this one and watch it every Christmas (or any other time you need a happiness booster or a reminder of the importance of love and kindness).

P.S.: "It's a Wonderful Life" is a good movie, but definitely I prefer "The Bishop's Wife".

A Family Favorite!
This film is one of the best of the Christmas Classics. The Bishop's Wife tells a story of an angel (Cary Grant) who comes down to earth in answer to a busy Bishop's (David Niven) prayer. The angel helps the Bishop learn to adjust his priorities and comes close to falling in love with Julia, the Bishop's wife (Loretta Young). The movie includes a lovely Skating/ Dance scene that defies description. Make this movie a tradition for your family this year.

Christmas with Cary Grant.
I think overall, this movie is maybe my favourite that was set around Christmas time. It's better than the brilliant - although overrated - Capra classic, "It's a Wonderful Life". I am in no way meaning to compare the two though. "The Bishop's Wife" is not really like that movie. But both films remain the two greatest christmas time classics to come out of the 1940's.

The film is, as one would have already guessed, set around christmas time. The main plot of the story, is that David Niven is this Bishop, who prays for guidance, of how to get a new cathedral built. Dudley (Cary Grant) is an Angel, who has been sent to help, although the Bishop does not take to him being an Angel too seriously, for some time. Dudley helps everyone he meets, but not always in the way they might prefer, to start off with. Dudley spends a lot of time with the Bishop's wife (Loretta Young) and he is not liking it. Dudley becomes the popular friend among all the people he meets, and helps, but the Bishop is the odd one out, becoming more annoyed, and frustrated with him as it goes along. It all ends nicely though, of course.

The film is really wonferful. There is a skating scene, that is inparticularly memorable, among Cary Grant always charming, excellent performance. The acting in this movie, is simply brilliant. I cant possibly have seen it being any better. The script, the story, everything about this movie is great. Repeated viewings are easy, and its one of Cary Grant best movies.

This DVD from MGM has a great print. It contains very few signs of scratching, and the other little artifacts you find in some movies of this age, and is an overall good looking transfer. The extras are lousy. You get the trailer (which is quite fun, might I add) but absolutely nothing else. Oh well, the print is the main thing, and they have done a good job in that part. Highly recommended.

Charming but overlong
Bishop: Are you expecting a letter?
Dudley: Well, you never know. If I did get one, the stamp would certainly be worth saving.

That's because Dudley (Cary Grant) is an angel sent to give guidance to forlorn Bishop Henry Brougham (David Niven), and who eventually lights up the lives of everyone else in the Bishop's life, especially The Bishop's Wife in this delightful Christmas film from 1947. When the Bishop prays for help in getting a new cathedral built (the local millionairess widow will only give if her late husband's name is prominently displayed), Cary Grant shows up as his "assistant" but soon makes the Bishop even more miserable by charming his wife Julia (radiant Loretta Young), daughter Debby, and even housemaid Matilda (Elsa Lanchester, always wonderful).

The Bishop's Wife is truly "heavenly" with Grant playing off his tried-and-true persona. Originally Grant and Niven were supposed to have the opposite roles, but Grant decided he could do more with the angel role -- and Grant was a bigger star -- so they were exchanged. Good thing, too: I can't imagine Cary playing the indecisive Bishop any more than I can imagine Niven charming a woman away from Cary Grant.

Only a few things keep The Bishop's Wife from being perfect. There is an overlong ice-skating scene that really stretches the believability (I had to keep telling myself "he's an angel; he can do anything), and the film runs on about twenty minutes too long. In the beginning, Grant is so taken by Young that, if he weren't an angel, those looks would feel really sleazy. Turns out that Cary is just discovering temptations, which makes the ending all the more noble.

Watching The Bishop's Wife in June (during a Cary Grant festival on Turner Classic Movies) is a little strange, but the movie is so ... happy that it's easy to slip into the vibe, especially with all the Christmas carols being bandied about like so many candy canes. I'd certainly recommend that fans of the stars watch it at least once (especially since Loretta Young, whom I don't find all that attractive, is made, through Gregg Toland's photography, into a very appealing woman). Niven is rather on the milquetoasty side and his richest scene involves him being stuck in a chair, but the rest of the film is two hours of Christmas joy.

Charming!
THE BISHOP'S WIFE is a thoroughly charming movie about an "angel" (Cary Grant) who changes the life of a bishop (David Niven) who at Christmas time is trying desperately to raise funds to build an elaborate cathedral and has consequently neglected his wife, Julia (Loretta Young). The three leads give beautiful performances, and there is a wonderful supporting cast, including Monty Woolley as a kindly if doubting professor and James Gleason as a loveable cab driver. The screenplay is subtle, as is the musical score. The scene near the end of the film in which Grant, Young, and Gleason take time out for some ice skating is a delightful respite, very much like a number in a movie musical. THE BISHOP'S WIFE is a relatively recent addition to my video library, but it has quickly become my favorite classic Christmas movie -- next to MIRACLE ON 34th STREET and Alastair Sim's A CHRISTMAS CAROL, that is. ... Read more

Amazon.com

If you have the slightest interest in the phenomenon called Rudolph Valentino, this terrific disc is absolutely the place to start. The screen's great male sex god of the 1920s had a mammoth success with The Sheik, a slice of desert romance both exciting and completely absurd. Valentino plays a dashing "sheik of Araby" who rather forcefully romances an adventure-minded English lady (Agnes Ayres); if the story creaks with Victorian storytelling conventions, it also works. Five years later Valentino returned to the sands with his final film, The Son of the Sheik, playing both his original role and the sheik's impetuous boy. More madness here, and a wild saber duel on horseback at night reminds us they don't make movies like this any more. Valentino's faux-exotic allure may seem curious to modern viewers, but squint hard and you can imagine the frenzy caused by the sultry eyes and rapacious grin. --Robert Horton ... Read more

Reviews (12)

I LOVE Valentino! Sheik lover here!
I've always been "in love" with the "older" male movie stars, those who are no longer around. I am twenty-seven years old but I love such actors as Tyrone Powers, Clark Gable, Laurence Olivier, to name a few.Now added to my favorite men is Rudolph Valentino! I've heard of him and how he was a sex symbol of his time, the silent film era. Curious, I bought this DVD, "The Sheik/The Son of the Sheik" At first I thought the story corny, and the music was more like elevator music. I really thought I couldn't go through with a silent film. Then...BOOM! I see Rudolph Valentino, his eyes, his face....I got shivers watching him. I didn't need to hear his voice, although I wish I could! He is sooooo sexy and soooo...I don't know what to call it, I guess he's just got "IT"! Sex appeal?
The rest of the characters were all a blur to me. Valentino's looks and expressions did not need words! His eyes "speak". Those bedroom eyes!
In both movies, he is your typical alpha male. He kind of reminded me of Yul Brynner (who by the way, is another babe!)in "The King of Siam".
As for the quality of the movie, I'd say it's pretty darn good! I think they did a good job for an "old" movie. It's not how a movie looks "now" to us, but just keep in mind that it's a 1921 movie.

here's your chance to see what all the fuss was about
Rudolph Valentino made only five films, but he was idolized by millions of women the world over. Here in a fun double-bill, are The Shiek, which made him a household word, and his last film The Son of the Sheik. Each revolves around a romance between a beautiful young girl and Valentino's sultry man of the desert. There are lovely shots of horses running across the sands, delicious eyebrow raises from the sheik, and such memorable reader cards as: "The night was young at the Cafe Maure. Not a knife had been thrown---so far."

The prints are very nice, though The Sheik is heavily tinted and runs 86 minutes instead of the 80 minutes it should. The music tracks are alright, using a small orchestra, with an alternative updated track available for the second film; I was disappointed because I had seen The Sheik on television several years ago and the accompanying synthesizer track was remarkably beautiful -- but that is not on this disc.

Three shorts are included: "Rudolph Valentino and His 88 American Beauties", in which the star judges a beauty contest (1923, 13 minutes); "The Sheik's Physique", in which the star takes a nap in his swimsuit (not dated, 3 minutes); and the Pathe News coverage of Valentino's funeral (1926, 4 minutes).

If you are interested in silent films or in Valentino, this is a terrific package.

Rating the movie-NOT THE DVD QUALITY
I am so glad that I bought this movie on the basis of reading other reviews. To watch Valentino for the first time is quite impressive. Most people would not think of watching a silent movie and I was one of them until now. With his facial expressions, he does not need to talk. Since viewing this, I have ordered all the rest of them, Do yourself a favor and watch at least the son of the sheik which is the better of the two. And now on to the DVD Quality. It stinks. I don't know where everyone says it a great transfer. A great transfer would look like the latest Criterion --Beauty and the Beast. Anyone with a big screen digital tv watching this will think any reviewer that says the dvd quality is good has a screw loose. It needs to be restored one frame at a time. But that would require a company willing to spend a lot of money and a long time to do. We can only hope---------

No One Does It Better
There is absolutely no one past or present who does to women on screen what Rudolph Valentino does. He is the ultimate lover. Just watch his hands. Gentlemen of today! Take lessons! This DVD is a very high quality restoration with a beautiful musical score. Although the charismatic Valentino dominates every scene in which he appears, I also enjoyed performances by Agnes Ayres and the beautiful Vilma Banky (She was called the Hungarian Rhapsody for good reason!). Beautiful costumes and sets make for magical viewing of times gone by.

Ahmed, I love you!!
My goodness - How I wish I'd been around in 1920's Hollywood!! - This is a wonderful look back at Rudolph Valentino's two Sheik movies (the second in which he plays his former self, as well as his own son - check out the funny splicing effects!!) - as well as extras of his 88 beauties pageant tour, "The Sheiks Physique" (Rowr!!), and sadly, an account of his funeral. It's been 80 years, and still there is as yet no one who has risen to the ranks of Rudolph Valentino. He is as unique today as he was in the 1920's - and equally alluring. This is a must-have DVD for silent film fans, Valentino fans, and anyone interested in seeing beauty personified!! ... Read more

Reviews (1)

The First Season Of Loretta Young's TV Series (30 Eps.)
This is a 3-Disc DVD boxed set containing 30 debut-season episodes of a half-hour anthology TV series from the very early "Golden Age" of television --- "The Loretta Young Show".

Loretta Young was a very popular movie star prior to taking a big risk by deciding to star in her own series on the "small" screen in 1953 (when she was 40). But her new NBC-TV drama/anthology series was very well-received by viewers and stayed on the air for 8 seasons. The program earned Loretta multiple Emmy Awards during its lifetime on the airwaves.

Miss Young served as host for all of these shows, and starred in about half of the episodes herself. She appeared in the leading role in a total of 162 episodes of her series, which premiered on September 20, 1953.

The series was originally called "Letter To Loretta", but was re-named "The Loretta Young Show" midway through the first season, in February 1954.

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A little about Loretta ...... Loretta Young was born "Gretchen Michaela Young" in Salt Lake City, Utah, on January 6, 1913. She appeared in a little more than 100 feature motion pictures in her career, beginning as a 4-year-old in "The Primrose Ring" (in 1917).

She starred opposite some of Hollywood's biggest names of the 1930s and 1940s, such as Clark Gable, Spencer Tracy, Ronald Colman, Cary Grant, Tyrone Power, Don Ameche, Charles Boyer, Robert Taylor, Joseph Cotten, and Robert Young.

Loretta won an Academy Award for her role in 1947's "The Farmer's Daughter". She passed away (of ovarian cancer), at age 87, on August 12, 2000.

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This DVD set, produced in 2004, comes to us via "Marathon Music & Video", and presents all of these episodes in their original TV Full-Frame aspect ratio of 1.33:1. All episodes are in black-and-white. The DVD picture quality here isn't really very much better than some VHS tapes of this series that I have, including a 7-Tape set of VHS videos that was released by this same company ("M.M.&V.") in 1997. The DVDs are probably a trifle bit better than VHS quality, but not by much.

A lot of "noise" and grain are visible on these prints; but the episodes themselves are still very fun to watch all these years after their initial TV airings. The writing for this series was first-rate, IMO. Some really good story lines play out on screen (most with Loretta herself in the leading role).

The audio on these DVDs is a re-mixed Dolby Digital 5.1 Surround Stereo (or, per the packaging, "Full Dimension Surround Sound"). But, to tell the truth, this audio sounds no better (or "full") than these episodes' original Mono sound. A full-fledged 5.1 track is actually pretty much of a wasted effort when applied to this type of material, because Loretta's series features very little in the way of music or sound effects that would benefit at all from placing any sound in the rear speakers of your home theater. In addition, this TV series is mostly dialogue-driven, so most of the audio will (or should) stay fixed in the front (center) speaker.

This "faux 5.1" sound still has a lot of background hiss and crackling underneath the dialogue. But I, for one, don't mind this at all. In my view, it lends an "old-time" sound quality to the 1950s material on the screen. The "hiss/crackling" isn't highly pronounced, however. So it shouldn't really be very annoying to anyone's ears.

Each of the three discs in this collection comes in its own separate full-sized DVD plastic case, with unique cover art on the front of each disc. A thin (but adequate enough) cardboard slipcase box comfortably holds the three discs. There are no paper enclosures included here. Episode titles are listed on the back of each DVD case, as well as on the discs themselves.

There are 10 episodes per disc. I've noticed a few small edits in these prints, with Loretta's trademark "dress-swirling entrance" being cut out of some of the programs. The fact that the episodes are not displayed on a "timed" track on these DVDs makes it much more difficult to check for full, unedited running times. IOW, there's no "elapsed time counter" shown on these discs (it just says "Play" where you'd normally see the episode run time clicking off the minutes and seconds elapsed). So, if you want to "time" the shows, you'll need to do it yourself, clocking the run times on your own.

I have "clocked" one of the episodes in this DVD collection, and the running time was just under 25 minutes, including the opening and closing credits (24:50 to be precise). So, for the most part, based on that run time, I believe that what we're getting here are the full-length episodes as they originally were seen on network television in the early '50s.

In addition to the thirty Season-One (1953-1954) episodes of Loretta's series, this boxed set comes complete with some interesting extra features as well. Bonus programming includes the following items:

>> A brief Loretta Young "Biography", hosted by Loretta's son, Chris Lewis. (Run Time -- 3:30.)

>> Loretta Young Home Movies (also hosted/narrated by Chris Lewis). This bonus is really fun to see. Many old-time (1930s) behind-the-camera clips from Loretta's movies are shown here. Plus many shots of Loretta and family at home too. This home-movie bonus runs for a fairly-lengthy 27:45.

>> Loretta Young Movie Trailers.

>> Plus a few "Bonus Film Clips" of Loretta. This bonus section includes a rare old-time movie clip of a 16-year-old Loretta Young singing and dancing with her older sister (Sally Blane) in the 1929 film "The Show Of Shows". Other film snippets feature Miss Young doing some public-service announcements. Some good old stuff here.

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Still more information about this DVD set:

>> ANY SUBTITLES? -- No.
>> LANGUAGES -- English only.
>> CHAPTER STOPS? -- No.
>> "PLAY ALL" FEATURE? -- No.
>> DVD REGION CODE -- "Zero" (playable all over the world).
>> MENUS -- Main Menu doubles as Episode-Selection Menu as well. ... Theme music from the series plays while the Main Menu is on screen. ... Slight bit of animation on each disc (with a cleverly-inserted "montage" of several Loretta Young "full-skirted entrances").

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On the whole, this three-disc DVD package (with 30 episodes from Loretta Young's highly-acclaimed weekly television series right through to the bonus materials featuring the show's star) provides a fine tribute to one of America's greatest and most beloved actresses of her day. And there are some darn good and well-scripted TV episodes in here too. I'm grateful to those involved for bringing these very rarely-seen installments of Miss Young's excellent TV series to the DVD-Video format. ... Read more

Amazon.com

There isn't much to connect these two features beyond the general umbrella of film noir and the presence of Loretta Young (hardly a noir icon), but the Roan Group's collection features excellent prints of both of these often poorly represented classics. The clean, sharp pictures and clear sound show these two films off at their best.

The legendary story that hovers over Orson Welles's The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to E.G. Robinson, who is marvelous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget, and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles the director is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-levelNazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of film is a well-designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village.

In Cause for Alarm, Loretta Young is an elegantly tailored happy homemaker caring for her invalid husband (Barry Sullivan), a former pilot suffering from a mysterious heart disease that has driven him to almost complete madness. Convinced his wife and his doctor are in collusion to kill him, he's carefully recorded the "evidence" of their crime in a letter to the district attorney and prepares to turn the tables on them, but even his own sudden death can't stop the chain of events that plunges his wife into a waking nightmare. An unusual entry into the film noir school of paranoia, Tay Garnett's melodramatic thriller trades the dark alleys and long shadows of urban menace for the sunny, tree-lined streets of middle-class domesticity. Young, so often cool, calm, and carefully coifed in her studio roles, beautifully evokes the American Dream as the dutiful wife who collapses into a state of hysterical desperation. Spinning a web of lies toretrieve the damning letter, her world falls apart around her as she unwittingly sinks herself deeper into a morass of suspicion and circumstantial evidence. Though this is less slick and stylish than his claim to film noir fame The Postman Always Rings Twice, Garnett spins a simple premise into a tense, terrifying ordeal, and Young's deadened narration adds an eerie mood of doom to the suburban setting. --Sean Axmaker ... Read more

Reviews (2)

Noir fans won't be dissapointed
This is a great buy for fans of film noir, and/or the actress Loretta Young (I'm both) On one side you have Orson Welles "The Stranger", the movie he made to prove he could work within the studio system without problems. The film was still cut, Welles version was over 2 hours long and the version released in the US was 85 minutes long, and the international release was 95 minutes. This DVD contains the 95 minute version, the cut scenes are thought to be lost. Even with the alterations this is still a terrific film with beautiful photography, tension and great performances all around.

On the other side is Cause for Alarm!, from the director of "The Postman Always Rings Twice". Even with a low budget and simple storyline this manages to be both tense and interesting. It's not a classic but definitely deserves attention from movie lovers. In both films Loretta Young plays a woman who is both scared but strong incredibly well.

The Roan Group did a very good job with the transfers, especially at this price. There are still scratches and grain, but it's nothing distracting. This set is a worthy purchase for noir and classic film fans and shouldn't be overlooked.

Roan DVD is 95 min version, not 85 minutes.
The Roan Group DVD, "Film Noir #1: The Stranger/Cause for Alarm" has the 95 minute version of the Stranger. Great transfer and a great film. You also get Loretta Young in "Cause for Alarm" on the other side. Watta deal! ... Read more

Amazon.com essential video

This Frank Capra comedy from 1931 helped define the screwball-comedy genre that became so popular with films like It Happened One Night and The Awful Truth. In this witty romp, Jean Harlow plays an upper-crust socialite who bullies her reporter husband (Robert Williams) into conforming to her highfalutin ways. The husband chafes at the confinement of high society, though, and yearns for a creative outlet. He decides to write a play and collaborates with a fellow reporter (Loretta Young); the results are unexpectedly hilarious, especially when Young shows up at the mansion with a gaggle of boozehound reporters in tow. With snappy, ribald dialogue (allowable in those pre-Hays Code days), Capra keeps the gags flying fast and furious, taking special delight in having Williams's journalist pals rib him endlessly over his kept-man status. Platinum Blonde was a great success at the time of its release during the class-conscious Depression; for better or worse, its star Harlow was identified with the tag "platinum blonde" until her untimely death. --Jerry Renshaw ... Read more

Reviews (9)

Two women in search of a worthy man
What are two foxy babes like Jean Harlow and Loretta Young doing looking twice at that lead male character, that loser? Jean Harlow is miscast, but looks good; Loretta comes off best, serenely beautiful. Men might like it more than I did.

TWO LOVELY LEADING LADIES....
I agree and disagree on points made by some other reviewers about "Platinum Blonde". The title is misleading, I agree. The studio obviously wanted to showcase Jean Harlow to sell the picture. She's a second lead as Ann Schuyler, a wealthy society girl who marries a coarse newspaper reporter, Stew (Robert Williams) and tries to refine him. But, in as obvious a plot line as you can throw to an audience, his heart belongs to Gallagher (Loretta Young) his co-worker at the paper. The studio wanted to please Depression era audiences so the rich are portrayed as stuffy bores and the "poor" (Williams) are portrayed as scrappers who punch people in the face when they get mad and feel it's justified. I disagree that Williams gave a good performance. "Stew" (an apt a name as any) came off as sarcastic and unlikeable. The Schuyler family was justifiably appalled at him. Ann liked him though and tried to make a silk purse out of a sow's ear. But he ends up feeling stifled and going ballistic. He wants to write. Williams showed none of the humaness that made Cagney or Gable so good at these kind of parts. His character was way too arrogant and cocky. His performance is badly dated and chauvinistic (especially in his dealings with Gallagher). But what I enjoyed about the film was the luminous presences of two future stars---Jean Harlow and Loretta Young. Both were excellent. Harlow had a thankless role as Ann but she was fabulous in gowns and quite braless. She was more sympathetic than the film would have you think. She didn't deserve the treatment she got from Stew. Young was SO young and so pretty and very good as Gallagher. She certainly didn't deserve Stew either. But that was the studio's approach to pleasing the masses back then. I can't recommend this as a good film because of Williams. But, as a relic of times gone by---it's certainly worth a look or two for Harlow and Young and for that fabulous Schuyler house with those immense diamond shaped tile floors and gorgeous staircase that Harlow goes up and down in those gowns and chandelier earrings. Good DVD print too. And that early Columbia logo is really vintage.

Well I liked it...
This is the one movie I've come across that manages to bring tears to my eyes every single time I've watched it. All of the actors are absolutely amazing... except for Jean Harlow, who is terrible. The humor is subtle on occasion and might be missed by those used to the more ribald humor of today. Most of the fun of Platinum Blonde is watching Stew Smith's eyes for his reactions. One can only wonder sadly why Jean Harlow was allowed to act in this film.

Harlow Miscast in Significantly Dated Script
PLATINUM BLONDE is an early Frank Capra-directed effort concerning common-man reporter Robert Williams who ignores an obvious love match with co-worker Loretta Young in favor of marriage with high-society socialite Jean Harlow. Although often cited as an early example of the screwball comedy genre Capra helped create with such films as IT HAPPENED ONE NIGHT, the script is very dated, and from a modern standpoint it creaks in almost every scene.

Although not often noted for her acting skills, Loretta Young gives a very fine performance here in the role of Gallagher, an attractive but working class reporter who can hold her own with the boys while maintaining her femininity. The often praised but little known Robert Williams gives an equally pleasant, enjoyable performance, albeit one less successful than Young's in the face of passing time. But Jean Harlow is seriously miscast in the role of manipulative socialite Anne Schuyler, who is first attracted to Williams by his working-class attitudes and who then seeks to erradicate them after their marriage.

The film is perhaps most interesting to Harlow fans, for it shows Harlow before Hollywood discovered how to best display both her talents and her beauty. Harlow's talent did extend to light drama, but she would be most at home in wise-cracking, sassy comedy, and she is clearly out of her element in this particular role; her physical appearance is also quite unlike the Harlow iconography expertly developed by MGM, and she looks rather like a white-blonde version of Kay Francis--but unfortunately without any of that actress' sparkle. It is a very wooden performance that seriously undercuts the success of the film, and one wishes that Young and Harlow had been cast in each other's roles.

Harlow fans will enjoy seeing Harlow "before she was Harlow," and those interested in the evolution of Frank Capra's work or in the development of the screwball comedy genre will find the film of considerable interest. Others, however, should stay away: the film has more historic interest than entertainment value, and more casual viewers would do better to select later films--such as Young's THE FARMER'S DAUGHTER, Capra's MR. SMITH GOES TO WASHINGTON, and Harlow's BOMBSHELL.

ODE TO ROBERT WILLIAMS
PLATINUM BLONDE, an early Capra comedy, through heavy-handed, showed glints of the director's knack for outrageous situations and cast Harlow in the improbable role of a hoi-polloi socialite. This film plowed newer ground, even while it reinforced (with Loretta Young's performance) the career-girl myth. Rather than simply break a man's heart and betray him with another, Harlow's emasculation of her ace-reporter husband challenged not his sexuality, but his role as an independent provider. Socialite Harlow views his livlihood and his playwrighting aspirations both as an inconvenience and a blight on leisure-class dilettantism. Indefatigable and insensitive shrew that she is, she strips him of all that has been essential to he self-definition; insisting on setting up house in her parent's mansion, she insults his friends and belittles his work. The forgotten Robert Williams is easily the best thing about this film; his performance still shines with a natural virility uncommon in early talkies. Tragically, he died soon after this film was made. ... Read more

Amazon.com Review

Along Came Jones is one of the most oddball artifacts from Hollywood's golden age. Gary Cooper (who doubled as producer) plays Melody Jones, a "common ordinary useless bronc-stomper" who moseys into the town of Payneville--or is it Painful?--just after legendary bad ass Monte Jarrad has held up the stagecoach. The townsfolk eyeball the "MJ" on Melody's stirrup, leap to hysterically wrong conclusions, and start giving him a wide berth--in some cases, the better to lie in ambush for "Jarrad" while planning how to spend the bounty money. Now, as it happens--and as his crusty sidekick George (the insuperably irreverent William Demarest) keeps reminding him--Melody can barely get his gun out of the holster without blowing his own kneecap off. All that stands between him and extinction is the quick-thinking intervention of a local maiden, one Cherry de Longpre (Loretta Young). Melody, of course, promptly becomes hogtied with love, not suspecting Cherry's the childhood sweetheart of the real Monte Jarrad (Dan Duryea)....

Stylistically the film is a wild mix, with director Stuart Heisler paying close attention to down-the-gun-barrel point of view in several scenes, yet also sitting still for floaty back-projection photography so egregious that it may bring on motion sickness. Still, Nunnally Johnson's script is droll; Cooper clearly relished the chance to poke fun at his strong-silent stereotype; and he and Preston Sturges stalwart Demarest establish a sardonic comic rapport. --Richard T. Jameson ... Read more

Reviews (2)

Cooper was Hollywood's greatest simpleton.
Too bad they didnt give him any material to work with in this turkey.

Cooper plays a dimwitted cowpoke (not much of a stretch) mistaken for a notorious outlaw. Some light moments, but no humor. Actually, about the only highlight here is a gorgeous Loretta Young as the outlaw's reluctant girlfriend. OK, I'm out of compliments.

An interesting but overlong diversion, only for huge fans of the genre, or Gary Cooper.

Mr. Deeds Goes to the Wild West
Overall, this is an entertaining movie though it moves slowly. It's not a great film, but definitely worth seeing and a bit of a curiousity in the sense that the hero (Cooper) can't shoot a gun, bumbles around falling over himself and is ultimately rescued by a woman, Loretta Young. Not standard fare for 1945. In many ways, it's Mr. Deeds placed into a western. Cooper as Melody Jones seems a slow-witted innocent but is much smarter than he appears.

The downside is the DVD. While not a horrible copy, it certainly isn't good. It appears as if no effort has been made to restore the film. In fact, you're left with the impression they grabbed whatever copy was handy. Some scenes are so dark you can't make out any detail beyond silouettes and many scenes are scratched or otherwise blemished. And of course, nothing to speak of in terms of features. It's a good price but it would be nice if MGM treated their films with a bit more respect.

It's worth seeing however and, if you like Gary Cooper as I do, worth having. Also, if you like westerns this is a nice one to have because it is such a strange duck (as a western). ... Read more

Reviews (5)

Interesting pre-code film
I quite enjoyed this film - it's an interesting pre-code that was released about 6 weeks before enforcement of the production code. Loretta Young's acting is pretty good but Cary Grant is kind of dull - definitely not his best role. Some of the pre-code plot elements in this film include Loretta Young's unspecified "profession" and lifestyle that involves men and clothes and some of the rather risque shots of Loretta in her underwear. I think the release of this pre-code movie, which was previously unavailable, is to be applauded.

Suprisingly Very Entertaining.
"Born To Be Bad", released in 1934, tends to get mixed opinions by Cary Grant fans. It's one of those films which you are even going to really like, or really hate. It's short, running barely over one hour in length. Cary Grant - and Loretta Young, for that matter - appeared in better movies, for sure, but this one is not to be missed. You may come away from it very suprised, you may not.

Loretta Young plays Letty. A Young, single mother, who has been through some hard times, growing up for part of her life on the streets. Her son, Mickey - who has been raised up, in some peoples views, badly - is going along the streets on his rollerskates, when Mal (Cary Grant) accidentally collides into him with his truck. Mickey is not really injured too badly, but Letty finds out that Mal is a rich man, and she tries to take benefits of getting some good money out of this incident. Her plan doesn't work, and she is found out, also making people realize she is a bad mother, her son is taken away from. Mal and his wife, Alice, who cannot have children of their own, are the couple who take Mickey, to look after. Mickey begins growing attached to the two, and Letty becomes jealous, and tries all the mean schemes she can think of, to get her son back, and ruin the couples marriage.

The acting, especially from Cary Grant, is very good. Loretta Young has been a lot better in other movies, but she does not let this movie down in any part of her performance. She was never anything less than an enjoyable actress to watch, for the most part, and she appears young, and entertaining here. The supporting cast is fairly impressive, and for a small, fairly unknown movie like this, it holds up well, and is a good film to watch more than once. Not for everyone though.

This DVD from 20th Century Fox is reasonably good in terms of picture quality. Its completely watchable throughout, but it does indeed contain a good deal of scratching, and the other occassional artifacts, but, this is a very old movie. The extras are useless, like most DVDs from this company, but its a welcome release to my collection, atleast.

They should have kept this one on the vault shelf.....
Someone should educate 20th Century Fox Home Entertainment about classic movies. Just because a movie is old, doesn't make it a classic, and certainly doesn't justify a DVD release.

Fox is sitting on hundreds of great unreleased films, while they end up releasing junk like BORN TO BE BAD. A more accurate title would be FILMED TO BE BAD. Dull and boring (in a poor transfer), this is a waste of time and money.

BORN TO BE DISMAL ON DVD
"Born to Be Bad" is a very uncharacteristic Cary Grant movie. Uncharacteristic because it's at the beginning of his career, features him in an almost non-comedic role and has him cast as a man double-crossed by a woman of easy virtue in an almost maudelin plot. The story concerns Grant hitting the son of a woman of easy virtue (Loretta Young) with his car. He then having to make the mends. The rest is pure melodrama but pulled off with such panache that you'd scarcely mind any of the hockum. Truly, this is a very, very good movie.
TRANSFER: Unfortunately the same can't be said for FOX's transfer. We get a very dirty, very gritty, very grainy transfer that - although free of digital anomalies - is so heavily damanged by age that seeing the film is hardly worth the effort. Black and contrast levels are extremely weak, fine detail is lost in practically every scene and the ravages of time are glaring and obvious throughout. The audio hasn't been cleaned up either for a slight hiss and some unexpected pops along the way.
EXTRAS: Trailers from the other Grant films. Boring, unworthy and disappointing.
BOTTOM LINE: Someone should point out to studio executives that films pre-Star Wars are worth the time, effort and, oh yes, the MONEY that is required to make them sparkle like they did when they were premiered. Really, history is getting shafted here!!!

GREAT CLASSIC MOVIE!!
THIS GREAT CLASSIC 1934 MOVIE STARRING LORETTA YOUNG AND CARY GRANT IS ABOUT AN EVIL UNWED MOTHER.IT'S A MUST SEE!! ... Read more

Reviews (1)

Pleasant movie,poor print.
The movie itself is by no means a classic - similar comic confections were served up far more enticingly by the likes of Garson Kanin,Wesley Ruggles and Ernst Lubitsch - but Niven and Young are effective enough,and the idea at the heart of the movie is strong enough to survive the mediocre script.The print,however,is dreadful -it is like watching the movie through the bottom of a glass- and,as the video is recorded in EP mode (why?),your VCR may well struggle with its tracking for the 110 minutes of the entertainment.Why this is labelled as a "Collector's Edition" is a mystery:avoid this edition,go for the other one and watch a slight but amiable comedy. ... Read more

Reviews (1)

Pleasant movie,poor print.
The movie itself is by no means a classic - similar comic confections were served up far more enticingly by the likes of Garson Kanin,Wesley Ruggles and Ernst Lubitsch - but Niven and Young are effective enough,and the idea at the heart of the movie is strong enough to survive the mediocre script.The print,however,is dreadful -it is like watching the movie through the bottom of a glass- and,as the video is recorded in EP mode (why?),your VCR may well struggle with its tracking for the 110 minutes of the entertainment.Why this is labelled as a "Collector's Edition" is a mystery:avoid this edition,go for the other one and watch a slight but amiable comedy. ... Read more

Reviews (13)

Quite a mix
This particular DVD version of "The Stranger" would have been much better without several of the so-called "extras." First, that annoying Delta logo that pops up in the lower right hand corner every so often. That should be the first to go. Second, the bizarre introduction and endnotes from Tony Curtis. What is that about? Lastly, the puny "Orson Welles On Film" documentary left a lot to be desired. It was mostly still photographs of Welles in various poses and long movie clips with some bland narration. For a much better documentary of Welles' career, I recommend "The Battle Over Citizen Kane."

You may wonder why I mentioned all this before talking about the movie itself...well, all the bells and whistles were distracting. However, I did enjoy the movie itself. Edward G. Robinson does a fine job as the Nazi hunter who has tracked down a fugitive (Welles) to a small Conneticut town. Orson Welles gives a quietly sinister performance as Rankin/Kindler; even his little "Mm-hms" are chilling, and when he scowls and glares, it's pretty intimidating. Loretta Young gets a little shrill as Rankin's dim bulb wife, but gives an adequate performance.

In summary: the film is well worth watching, especially for fans of Orson Welles. If you're going to buy it for keeps, however, you may want to look for another version that is better quality.

Aptly Titled
'The Stranger' is certainly an appropriate title. The film IS a strange one for director/actor Orson Welles ' it was uncharacteristically completed on time and under budget. It is also a fairly straight-ahead thriller that just barely has the 'Welles touch.' In fact, compared to Welles' other work, it seems'well, ordinary.

Welles plays a Nazi war criminal who has found refuge as a professor in a sleepy college town. This is the type of town where nothing much ever happens and the owner of the town's general store knows everyone and everything about them. When Edward G. Robinson comes to town looking for 'antiques,' suspicions are aroused, especially Welles'.

The best parts of 'The Stranger' are the cat-and-mouse game between Welles and Robinson as well as the relationship between Welles and his new wife Loretta Young. The film still holds up as a good thriller, but not a great one. The second half of the film feels too manipulated. You might say, 'But Welles was a MASTER of manipulation,' and you'd be right. But the difference here is in the manipulation of supporting characters who aren't given sufficient room to develop or to think.

The commentary track by Jeffrey Lyons is, unfortunately, unremarkable. Lyons spends much of his commentary giving us a resume of each film the actors made, rather than discussing the merits and qualities of the film. I was hoping that someone with the knowledge and expertise that Lyons possesses would give us more.

Although not as good as other Welles films, every film lover should watch the film to catch glimpses of greatness from Welles, Robinson, and Young.

95 minutes

Well worth the admission price
A neat thriller from Welles. Perhaps his least ambitious film, but a good story well-told and well-acted.

Welles is the nazi war criminal hiding out in a small Connecticut town where he has become a valued member of the community.

Edward G Robinson, playing a good guy for a change, is the detective who tracks him down, and then has to prove who he is.

It isn't up there with Citizen Kane, or the Magnificent Ambersons, it isn't a movie that will have your jaw dropping at its extravagant brilliance and fire-work, box-of-tricks direction. But it is solid, it is entertaining and it is well-scripted.

Certainly any project with the Orson Welles stamp is worth watching and this, on its own terms, is a well-honed and interesting minor classic.

Welles is superb in the lead role. There's a wonderful bit of dialogue when his professorial nazi character is fielding questions on the German character. Somebody asks him about Karl Marx to disprove a point.

"Ah, but Marx wasn't a German, he was a jew," comes the telling response, delivered with such arrogance and conviction it makes you seethe.

Well worth the admission price.

Well-paced thriller, atypical of Welles' style
The quality of this DVD is adequate: more watchable than the other Welles "Laserlight Classics," but nowhere near as sharp as, say, the recent DVD releases of "Citizen Kane" or "The Third Man." The bizarro Tony Curtis introduction is perhaps worth the price of admission alone! The bonus documentary is fairly perfunctory, but does contain some interesting and rarely seen trailers of Welles films.

On to the movie itself: In a scenario reminiscient of (but far less effective than) Hitchcock's "Shadow of a Doubt," Edward G. Robinson pursues the title character (Welles), who may or may not be an escaped Nazi, through a sleepy Connecticut town. Although "The Stranger" illustrates Welles' concerns that World War II did not spell the end of fascism, the film is by his own admission more of an attempt at profitable Hollywood product than an artistic statement. Despite this and the film's failure to live up to the inevitable comparison's with "Shadow of a Doubt," "The Stranger" remains a well-paced thriller, more enjoyable when considered apart from the rest of Welles' oeuvre. The trademark Welles style is evident in the South American prologue and the drugstore scenes, and the film achieves genuine suspense during the "paper chase" scene and the grand finale.

A very good film-noir
This is a very good film and one of the lesser-known film-noirs. Orson Welles is an escaped Nazi war criminal named Franz Kindler who hides out in a bucolic Connecticut town under an assumed name. He believes he can finally put his dark past behind him since nobody knows his true identity. He becomes a teacher at a prep school for boys and marries the headmaster's pretty but very naive daughter Mary, played very well by Loretta Young. Edward G. Robinson is also terrific in his role as a war crimes commissioner on Kindler's trail who shows up in town as an antique dealer. Welles and Robinson's characters play a cat & mouse game that ends in a dramatic climax atop the town's clock tower. At times Welles' performance comes off as over the top and the film can seem slightly melodramatic, but I believe those factors enhance the dense and brooding atmosphere. This is a good film with a simple plot and on cue performances that allow us to see the characters' motivations without being distracted by unimportant details. Richard Long and Martha Wentworth also star. Recommended! ... Read more

Amazon.com

A Christmas perennial from 1947, this comedy/fantasy stars Cary Grant as Dudley, an angel who works his heavenly magic on an Episcopalian bishop (David Niven) who is struggling to raise money for a new church and who has grown distant from his wife (Loretta Young). While Young remains unaware of the angel's benevolent influence, this light comedy unfolds with abundant charm and lasting appeal. Featuring engaging performances from its stellar cast, The Bishop's Wife inspired the 1996 remake The Preacher's Wife, starring Denzel Washington and Whitney Houston. --Jeff Shannon ... Read more

Reviews (58)

Delightful Holiday Story
Cary Grant stars as an angel named Dudley who suddenly appears and befriends an Episcopal bishop (David Niven) who is completely focused on raising money for his new church, and the bishop's wife (Loretta Young), who has become lonely and unhappy as her husband has gotten lost in his work. Grant uses little bits of heavenly magic and loads of charm to help Niven raise money and to help Young rediscover the joy of life. He also helps Niven and Young rediscover each other and realize that love must be the highest priority for anyone, including an ambitious bishop who's devoted to his job.

The acting is superb, as one would expect from this stellar cast. The story takes place at Christmas and, while not shown as much as other Christmas movies, I think it's one of the best. Cary Grant, all charm and suave coolness, plays this part perfectly, and the viewer even sees a touch of wistful envy in the angel who cannot have the Earthly love and happiness he helps Niven and Young rekindle for themselves. Buy this one and watch it every Christmas (or any other time you need a happiness booster or a reminder of the importance of love and kindness).

P.S.: "It's a Wonderful Life" is a good movie, but definitely I prefer "The Bishop's Wife".

A Family Favorite!
This film is one of the best of the Christmas Classics. The Bishop's Wife tells a story of an angel (Cary Grant) who comes down to earth in answer to a busy Bishop's (David Niven) prayer. The angel helps the Bishop learn to adjust his priorities and comes close to falling in love with Julia, the Bishop's wife (Loretta Young). The movie includes a lovely Skating/ Dance scene that defies description. Make this movie a tradition for your family this year.

Christmas with Cary Grant.
I think overall, this movie is maybe my favourite that was set around Christmas time. It's better than the brilliant - although overrated - Capra classic, "It's a Wonderful Life". I am in no way meaning to compare the two though. "The Bishop's Wife" is not really like that movie. But both films remain the two greatest christmas time classics to come out of the 1940's.

The film is, as one would have already guessed, set around christmas time. The main plot of the story, is that David Niven is this Bishop, who prays for guidance, of how to get a new cathedral built. Dudley (Cary Grant) is an Angel, who has been sent to help, although the Bishop does not take to him being an Angel too seriously, for some time. Dudley helps everyone he meets, but not always in the way they might prefer, to start off with. Dudley spends a lot of time with the Bishop's wife (Loretta Young) and he is not liking it. Dudley becomes the popular friend among all the people he meets, and helps, but the Bishop is the odd one out, becoming more annoyed, and frustrated with him as it goes along. It all ends nicely though, of course.

The film is really wonferful. There is a skating scene, that is inparticularly memorable, among Cary Grant always charming, excellent performance. The acting in this movie, is simply brilliant. I cant possibly have seen it being any better. The script, the story, everything about this movie is great. Repeated viewings are easy, and its one of Cary Grant best movies.

This DVD from MGM has a great print. It contains very few signs of scratching, and the other little artifacts you find in some movies of this age, and is an overall good looking transfer. The extras are lousy. You get the trailer (which is quite fun, might I add) but absolutely nothing else. Oh well, the print is the main thing, and they have done a good job in that part. Highly recommended.

Charming but overlong
Bishop: Are you expecting a letter?
Dudley: Well, you never know. If I did get one, the stamp would certainly be worth saving.

That's because Dudley (Cary Grant) is an angel sent to give guidance to forlorn Bishop Henry Brougham (David Niven), and who eventually lights up the lives of everyone else in the Bishop's life, especially The Bishop's Wife in this delightful Christmas film from 1947. When the Bishop prays for help in getting a new cathedral built (the local millionairess widow will only give if her late husband's name is prominently displayed), Cary Grant shows up as his "assistant" but soon makes the Bishop even more miserable by charming his wife Julia (radiant Loretta Young), daughter Debby, and even housemaid Matilda (Elsa Lanchester, always wonderful).

The Bishop's Wife is truly "heavenly" with Grant playing off his tried-and-true persona. Originally Grant and Niven were supposed to have the opposite roles, but Grant decided he could do more with the angel role -- and Grant was a bigger star -- so they were exchanged. Good thing, too: I can't imagine Cary playing the indecisive Bishop any more than I can imagine Niven charming a woman away from Cary Grant.

Only a few things keep The Bishop's Wife from being perfect. There is an overlong ice-skating scene that really stretches the believability (I had to keep telling myself "he's an angel; he can do anything), and the film runs on about twenty minutes too long. In the beginning, Grant is so taken by Young that, if he weren't an angel, those looks would feel really sleazy. Turns out that Cary is just discovering temptations, which makes the ending all the more noble.

Watching The Bishop's Wife in June (during a Cary Grant festival on Turner Classic Movies) is a little strange, but the movie is so ... happy that it's easy to slip into the vibe, especially with all the Christmas carols being bandied about like so many candy canes. I'd certainly recommend that fans of the stars watch it at least once (especially since Loretta Young, whom I don't find all that attractive, is made, through Gregg Toland's photography, into a very appealing woman). Niven is rather on the milquetoasty side and his richest scene involves him being stuck in a chair, but the rest of the film is two hours of Christmas joy.

Charming!
THE BISHOP'S WIFE is a thoroughly charming movie about an "angel" (Cary Grant) who changes the life of a bishop (David Niven) who at Christmas time is trying desperately to raise funds to build an elaborate cathedral and has consequently neglected his wife, Julia (Loretta Young). The three leads give beautiful performances, and there is a wonderful supporting cast, including Monty Woolley as a kindly if doubting professor and James Gleason as a loveable cab driver. The screenplay is subtle, as is the musical score. The scene near the end of the film in which Grant, Young, and Gleason take time out for some ice skating is a delightful respite, very much like a number in a movie musical. THE BISHOP'S WIFE is a relatively recent addition to my video library, but it has quickly become my favorite classic Christmas movie -- next to MIRACLE ON 34th STREET and Alastair Sim's A CHRISTMAS CAROL, that is. ... Read more

Reviews (6)

REAL FUN
I know that many critics or fans will not be agree, but I think this is the best film by mr. De Mille. It is real cinema. The cast is terrific. Not only Loretta Young or that gorgeous Henry Wilcoxon, but C. Aubrey Smith, funny Alan Hale and so on.

De Mille knew how to create tension, but also intimate scenes. True that from an historic point of view is not a very good film. but the spirit is there. The spirit of what a film must be.

Today when epic films are so "in", I recommend to some directors to watch films like this. He was a craftsman who needed few special effects to make a film interesting. And spent no time in long , boring speeches or interpretations to make the audience connect with his heroes.

Rousing Epic Production from the great Cecil B. DeMille
Cecil B. DeMille has always been an unfairly regarded Producer and Director with the majority of his work dismissed as lavish hokum with no real value as cinema art. I believe that is a very unfair judgement on the man who really made the "Epic Production", his own in a long series of films stretching from the silent era right through to the mid 1950's. His role call of magnificent cinematic efforts is in my opinion an illustrious record and none shines better from that list than his lavish production of 1935, Paramount's "The Crusades" starring Loretta Young and DeMille regular Henry Wilcoxon.

Judged as hopeless history and romantic froth I appreciate this wonderful film from the point of view of its romantic story, terrific recreation of medieval times, costumes and superbly staged battle scenes,pagentry, and respectful dialogue that never once really belittles the serious and dark times this story is set in. "The Crusades", focuses in actual fact loosely on the third crusade that involved most of the major powers of Europe in a joint struggle to try and free the Holy Land from the clutches of the dreaded Saracens. The central story of the film while certainly fictionalised, is nevertheless well told and deals with King Richard (the Lion Hearted)of England who to avoid an unwelcome marriage to thePrincess Alice (Katherine DeMille) of France and spurred on by a determined hermit (C. Aubrey Smith in a terrific performance) who is instilling the fighting spirit in all the countries of Christendom, takes up the sword to lead the crusade to the Holy Land. On the journey in order to feed his starving men he reluctantly agrees to a sham marriage with Berengaria, Princess of Navarre. What starts out as a hate at first sight relationship softens into a real love for both Richard and Berengaria in particular when after doing battle with the Saracens at the gates of the city of Acre Berengaria is captured by the besotted Sultan of Islam, Saladin (Ian Keith in another of his very fine supporting performances).Faced with loosing the one who's life now means everything to him Richard goes through a change of heart and rather than using the crusade as just an excuse to get away from more serious matters really begins to see the real reason for the campaign and the true value of those around him.

Henry Wilcoxon as King Richard and Loretta Young as Berengaria are both in top form here and indeed Wilcoxon, a DeMille regular in such great films as "Cleopatra", the previous year has never been better than here as the first uncouth head strong King who gradually develops a real soul and feeling for others. Loretta Young has a most untraditional character for the times to play. Her Princess is at times a feisty, determined, and brave young woman who creates a new life for herself with Richard despite the unpromising person she first encounters on the way to Jerusalem. Resplendant in medieval flowing robes and long blonde wig Loretta Young has one of her best roles of the 1930's decade and really blossoms under DeMille's direction. No DeMille production would be complete without a sterling supporting cast and "The Crusades", is no exception. The always excellent Ian Keith is Saladin Sultan of Islam, and he has a most interesting character who is depicted as a cultured man of feeling and not simply a bloodthirsty warrior out to kill and plunder. Katherine DeMille is suitably icy as the spurned Princess Alice of France and the always superb Joseph Schildkraut has one of his best 1930's roles as the devious Conrad, Marquis of Montferrat who through his treachery with Richard's brother John pays dearly for his disloyalty at the hands of the Arabs. Alan Hale is suitably boisterious as Richard's friend and musician Blondel and much of the comic interludes in the story are centred on his bluffcharacter.

I have great admiration for all of the work of Cecil B. DeMille. He was without a doubt the great showman of movie legend and "The Crusades" like all of his epic productions is full of stirring speeches, lavish sets, enormous crowd scenes involving huge numbers of extras, and battle scenes on a scale that literally dwarf the story they are depicting. This all adds up to top notch entertainment of the very best kind that Hollywood could offer at this time. For exciting story telling on an epic scale DeMille is unsurpassed and "The Crusades" is unique in being both rousing entertainment and surprisingly quite poignant drama in it's quieter moments. If you enjoy movie making on a grand scale with every scene literally a feast for the eyes then you need go no further than Cecil B. DeMille's epic 1935 production of "The Crusades".

DE MILLE SPECTACLE.
A holy man known as The Hermit arouses all the kings and princes of medieval Europe in a crusade to wrest the dominion of Jerusalem and the Holy Sepulchre from the Saracens. Richard the Lion-Hearted, King of England, having spurned the French princess Alice, accepts betrothal to Berengaria, whom he has never seen, in return fo subsistence for the Crusade, and she is formally married to his sword..................Synonymous always with all that the name DeMille stands for in relation to mighty, colourful pageantry and spectacle, massive settings and accoutrements, it tells a story of several of the early crusades. In 1935, DeMille was peerless in bringing the panoplied splendour of the past into torrential life upon the screen. As a picture, THE CRUSADES is historically worthless, didactically treacherous, artistically absurd. But none of those defects impaired its entertainment value. There are three main features which distinguished it from previous DeMille dillies: It was the noisiest, the biggest AND it had no bath scenes! As a footnote, Loretta Young was pregnant here with her daughter by Clark Gable, Judy Lewis; they had an affair during the making of CALL OF THE WILD earlier that year - the results of the affair was one of Hollywood's best-kept secrets.

True Love and True Cross come together well
I rented this movie because my three-year-old nephew has a fascination with suits of armor, but I came away a fan myself! Henry Wilcoxin makes a great Richard, a young Richard who only goes on crusade to evade one arranged marriage, and then enters into another only to gain cattle for his band of soldiers. The movie concerns how Richard slowly comes to respect marriage and to understand "the true meaning" of the crusades, but only at the ultimate cost for his pride and his heart. Of course, I think anyone would come to respect marriage pretty darn quick if they learned the lady in question was Loretta Young, resplendent in her blond wig. She turns in an undated performance as a woman who loves one man but appreciates another, in this case a sexy Saracen who knows how to compliiment women. One of my other favorite characters was The Hermit aka The Holy Man, played by C.Aubrey Smith. I especially liked his staff, which has a rather unique crucifix carved into it. The Hermit is probably the bravest character in the movie, defying the Saracens even though iteventually costs him his life. And of course, then there are the lusty battle scenes, replete with boiling oil and flaming catapults. So, if you want to watch an excellent old spectacle, you won't be sorry to go on this "Crusade" with Wilcoxin and Young.

This movie is a must watch!
Many of us have watched Demille's 10 Commandments because of its constant re airings on ABC, yet The Crusades is one of many of his works that deserve equal if not more attention.O.K.Its not historically accurate by todays standards of realism.It portrays chivalry with bravado and romanticism when in reality it was barbaric and crude.The beginning of the movie shows some very anti Muslim themes.Yet despite all this, the beauty of the film, the vistas, the thousands of extras in romantically filmed battle scenes,the characters and plot are very beautiful.Each shot if it were a still frame is worthy of being admired for its photographic beauty.For all you 10 Commandment fans, the same panoramic beauty shots, elegant costumes and romanticism of that movie is in this one too. The most wonderful thing I loved with this movie is that the real hero of the film is Berengaria.She is only one who really seems to want the right thing done, and is willing to make a stand to see it gets done.Even better, her beauty and femininity in no way took away from the dignity and intelligence of her character.This was such a delight and so refreshing considering the time period the movie was made and the historical era it portrays.As far as I can tell, this was the first attempt to put a heroine in a major production that was shown to be smarter than the male leads! This was also perhaps the first film to show thousands of extras in battle sequences.Braveheart, and Spartacus and so many other large epics owe Demille for breaking the ground in this area.Despite the politically incorrect aspects of the film, consider that the main characters are Christians, and that their anti Muslim views are to be expected considering their situation.Despite this, I think the message of the movie (and you will have to watch the entire movie to understand this) will convince everyone that the message of the film is that everyone, despite their religious differences should be respectful to all. ... Read more

Reviews (13)

Quite a mix
This particular DVD version of "The Stranger" would have been much better without several of the so-called "extras." First, that annoying Delta logo that pops up in the lower right hand corner every so often. That should be the first to go. Second, the bizarre introduction and endnotes from Tony Curtis. What is that about? Lastly, the puny "Orson Welles On Film" documentary left a lot to be desired. It was mostly still photographs of Welles in various poses and long movie clips with some bland narration. For a much better documentary of Welles' career, I recommend "The Battle Over Citizen Kane."

You may wonder why I mentioned all this before talking about the movie itself...well, all the bells and whistles were distracting. However, I did enjoy the movie itself. Edward G. Robinson does a fine job as the Nazi hunter who has tracked down a fugitive (Welles) to a small Conneticut town. Orson Welles gives a quietly sinister performance as Rankin/Kindler; even his little "Mm-hms" are chilling, and when he scowls and glares, it's pretty intimidating. Loretta Young gets a little shrill as Rankin's dim bulb wife, but gives an adequate performance.

In summary: the film is well worth watching, especially for fans of Orson Welles. If you're going to buy it for keeps, however, you may want to look for another version that is better quality.

Aptly Titled
'The Stranger' is certainly an appropriate title. The film IS a strange one for director/actor Orson Welles ' it was uncharacteristically completed on time and under budget. It is also a fairly straight-ahead thriller that just barely has the 'Welles touch.' In fact, compared to Welles' other work, it seems'well, ordinary.

Welles plays a Nazi war criminal who has found refuge as a professor in a sleepy college town. This is the type of town where nothing much ever happens and the owner of the town's general store knows everyone and everything about them. When Edward G. Robinson comes to town looking for 'antiques,' suspicions are aroused, especially Welles'.

The best parts of 'The Stranger' are the cat-and-mouse game between Welles and Robinson as well as the relationship between Welles and his new wife Loretta Young. The film still holds up as a good thriller, but not a great one. The second half of the film feels too manipulated. You might say, 'But Welles was a MASTER of manipulation,' and you'd be right. But the difference here is in the manipulation of supporting characters who aren't given sufficient room to develop or to think.

The commentary track by Jeffrey Lyons is, unfortunately, unremarkable. Lyons spends much of his commentary giving us a resume of each film the actors made, rather than discussing the merits and qualities of the film. I was hoping that someone with the knowledge and expertise that Lyons possesses would give us more.

Although not as good as other Welles films, every film lover should watch the film to catch glimpses of greatness from Welles, Robinson, and Young.

95 minutes

Well worth the admission price
A neat thriller from Welles. Perhaps his least ambitious film, but a good story well-told and well-acted.

Welles is the nazi war criminal hiding out in a small Connecticut town where he has become a valued member of the community.

Edward G Robinson, playing a good guy for a change, is the detective who tracks him down, and then has to prove who he is.

It isn't up there with Citizen Kane, or the Magnificent Ambersons, it isn't a movie that will have your jaw dropping at its extravagant brilliance and fire-work, box-of-tricks direction. But it is solid, it is entertaining and it is well-scripted.

Certainly any project with the Orson Welles stamp is worth watching and this, on its own terms, is a well-honed and interesting minor classic.

Welles is superb in the lead role. There's a wonderful bit of dialogue when his professorial nazi character is fielding questions on the German character. Somebody asks him about Karl Marx to disprove a point.

"Ah, but Marx wasn't a German, he was a jew," comes the telling response, delivered with such arrogance and conviction it makes you seethe.

Well worth the admission price.

Well-paced thriller, atypical of Welles' style
The quality of this DVD is adequate: more watchable than the other Welles "Laserlight Classics," but nowhere near as sharp as, say, the recent DVD releases of "Citizen Kane" or "The Third Man." The bizarro Tony Curtis introduction is perhaps worth the price of admission alone! The bonus documentary is fairly perfunctory, but does contain some interesting and rarely seen trailers of Welles films.

On to the movie itself: In a scenario reminiscient of (but far less effective than) Hitchcock's "Shadow of a Doubt," Edward G. Robinson pursues the title character (Welles), who may or may not be an escaped Nazi, through a sleepy Connecticut town. Although "The Stranger" illustrates Welles' concerns that World War II did not spell the end of fascism, the film is by his own admission more of an attempt at profitable Hollywood product than an artistic statement. Despite this and the film's failure to live up to the inevitable comparison's with "Shadow of a Doubt," "The Stranger" remains a well-paced thriller, more enjoyable when considered apart from the rest of Welles' oeuvre. The trademark Welles style is evident in the South American prologue and the drugstore scenes, and the film achieves genuine suspense during the "paper chase" scene and the grand finale.

A very good film-noir
This is a very good film and one of the lesser-known film-noirs. Orson Welles is an escaped Nazi war criminal named Franz Kindler who hides out in a bucolic Connecticut town under an assumed name. He believes he can finally put his dark past behind him since nobody knows his true identity. He becomes a teacher at a prep school for boys and marries the headmaster's pretty but very naive daughter Mary, played very well by Loretta Young. Edward G. Robinson is also terrific in his role as a war crimes commissioner on Kindler's trail who shows up in town as an antique dealer. Welles and Robinson's characters play a cat & mouse game that ends in a dramatic climax atop the town's clock tower. At times Welles' performance comes off as over the top and the film can seem slightly melodramatic, but I believe those factors enhance the dense and brooding atmosphere. This is a good film with a simple plot and on cue performances that allow us to see the characters' motivations without being distracted by unimportant details. Richard Long and Martha Wentworth also star. Recommended! ... Read more