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The brainchild of veteran writer-directors Danny Arnold and Theodore J. Flicker, the comedy/drama Barney Miller (1975-1982) offered a very human look at the inner workings of a New York City police precinct; its wry and observant scripts, aided by a stellar cast, helped earn the series three Emmy Awards and a devoted fan base, which should be pleased by this two-disc set that compiles its entire first season. Viewers familiar with the series' later seasons will notice substantial differences in the cast and storyline; episodes divide Barney's (Hal Linden) time evenly between the 12th Precinct and his apartment, which he shares with wife Barbara Barrie and two children (all of whom would be phased out of the series). The first season squad was composed of Abe Vigoda's dyspeptic Fish, the overeager Wojciehowicz (Max Gail), dry-witted Yemana (Jack Soo, who passed away during the fifth season), and street-smart Chano (Gregory Sierra, who departed the series after the second season); Ron Glass's dapper Harris would not be listed in the opening credits until subsequent seasons.

Arnold, along with Chris Hayward (Get Smart) and other scribes, would pen the majority of the first season, which set the tone for the series by pitting the squad against a host of offbeat criminals, other cops, and regular citizens, several of whom would become semi-regulars; James Gregory's crusty Inspector Luger makes his debut in "Vigilante" (episode 9), while unscrupulous lawyer Arnold Ripner (Alex Henteloff) and Detective Wentworth (a pre-Alice Linda Lavin) have their first appearances in "The Experience" (episode 2) and "Ms. Cop" (episode 8), respectively.

Columbia/TriStar's two-disc set offers all 13 episodes of the first season, as well as short credit lists for some of the major players; the little-seen 1974 pilot, "The Life and Times of Captain Barney Miller," might have made an interesting supplemental feature, but fans should be pleased to have this set regardless. --Paul Gaita ... Read more

Reviews (26)

Dum...da da dum...da da dum...
Who can forget that classic bass line intro! Barney Miller is finally on DVD in a two DVD set featuring the first 13 episodes of season 1 totally uncut and commercial free for the first time! Barney Miller ran from Jan. 1975 to May 1982 (8 seasons, 170 episodes). The sitcom was a new concept, concerning a group of Police Detectives and their Captain and the goings-on in a NY precinct squadroom. The cast, which would make slight changes over the years, had to be one of the most diverse in TV history. In season one, the cast includes Barney (Hal Linden), Wojciehowicz (Max Gail), Harris (Ron Glass), Fish (Abe Vigoda), Yemana (Jack Soo) and Chano (Gregory Sierra). Season 1 is also the only time Barney's whole family were shown. In Season 2, only his wife Elizabeth (Barbara Barrie) had appearances and by Season 3, even she was written out of the show. Barney Miller is a rare sitcom from the 70s that is essential and makes a welcome addition to other classics like All in the family, Sanford & Son, and the Jeffersons. Season one includes these episodes:

Disc One:
01. Ramon
02. The experience
03. Snow job
04. Graft
05. Courtesans
06. Stakeout
07. The Bureaucrat
08. Ms. Cop
09. The vigilante
Disc Two:
10. The guest
11. Escape artist
12. Hair
13. Hero

Trivia:

*The characters of Barney, Wojo, & Harris would be the only detectives to remain throughout the entire series as regular cast members. Fish left after 3 seasons, Chano after 2, and Yemana after 4 (Jack Soo passed away in January 1979). In season 3, Detrich (Steve Landesberg) & Levitt (Ron Carey) would join the cast as regulars until the series ended.

*Look for Linda Lavin (TV's Alice) in episode 8 debuting as Det. Janice Wentworth. She would make appearances in the second season as well.

*Before Barney Miller, Gregory Sierra (Chano) was popular for his role as Fred and Lamont's neighbor, Julio, who had a pet goat named Chico, on Sanford & Son. He made appearances on everything from All in the Family (where he had no accent) to Miami Vice. After Barney Miller, Sierra joined the cast of Soap.

*One of the main series writers, Reinhold Weege, previously wrote on M*A*S*H* and went on to create one of the funniest sitcoms ever, Night Court! (by the way, where's season one?!!)

Jack Soo (1916-1979)
James Gregory (Insp. Frank Luger) (1911-2002)
Florence Stanley (Bernice Fish) (1924-2003)

Also Highly recommended on DVD:
All in the family
Sanford & Son
The Jeffersons
Good Times
What's Happening
Three's Company

At last. Now where are the rest?
This is one of my all-time favourite shows, one that I've been waiting for years for Sony / Columbia Tri-star to release (along with Newsradio).

Compared to some of the later Barney Miller seasons this probably isn't worth the full 5 stars, but it certainly deserves 5 starts compared to the zillions of average TV shows around, past or present.

I agree with the earlier review that mentioned that the picture quality isn't top-notch, but then it is almost thirty years since the original broadcasts and the quality is good enough that I forgot to worry about it within the first five minutes of the first episode. It's as good as other 70s television DVDs.

I don't mind the lack of bonus extras - as long the episodes are there I'm happy, though I miss not having "The Life and Times of Captain Barney Miller" mentioned in the other review.

Can't wait for the other seasons to be released, and well done to Sony for not coming out with a stupid 'best of' (which we all know would've picked the 'wrong' episodes). Full season releases are the only way to go.

Waiting for seasons 2-8
The first season was great...now let's get the other seven seasons (as well as the pilot episode) out as soon as possible. I will buy all of them.

Poor picture quality on DISC 1
I was very excited to hear that the first season would be available on DVD on 2-discs.

Unfortunately, on the first DVD, the picture quality is very bad, like VHS in the "LP" mode (e.g., way too much compression). The second disc is acceptable, but it only has 4-episodes on it.

Rather than cram 9-episodes on one DVD, they should have placed only 4-episodes per DVD, or a maximum of 6-episdoes on Disc 1 and 7-episodes on Disc 2.

If you can rent it (e.g., NetFlix), I would.

more barney miller
great dvd,but get more out soon,this is a classic show, and we are starved for good entertainment, ... Read more

Reviews (317)

An absolutely first rate animated film.
It is a shame that Warner Brothers chose to give an uninspired prerelease publicity campaign to the gentle, joyous and original animated movie, The Iron Giant. Precious few saw it in theaters.
Thank God for film preservation in the form of DVD!

Like the book, the picture takes place in 1957, during the height of The Cold War. The Soviet Union's satellite, Sputnik, flies across American skies. Our country is filled with paranoia. What else may they have launched?

One stormy night off the coast of Maine, a huge object falls from the sky. A frightened sailor sees it and swears that it is a giant made of metal. The townsfolk chalk the tale off to the sailor's love of drink. A giant made of metal, indeed!

A night or so later, young Hogarth Hughes, whose Mom is working overtime at the local diner, gets mad when his TV starts acting up. He goes to the roof to check the antenna and finds it missing. He then notices huge footprints leading away from the house and into the woods. He grabs his deceased Dad's old army rifle and a flashlight and goes off in pursuit. He soon discovers that there is indeed a metal giant. In fact, he saves it when it bumps into some high voltage utility wires. The adventure has begun.

Rarely has a movie for children - or adults! - addressed the need to search for a peaceful solution to our problems as gently or as wisely as The Iron Giant. It never preaches and is always accessible. It does not address us from on high. It remains at our level. It also shows how clever we can be at overcoming the most unexpected obstacles. It reminds us that things alien to us are not always hostile to us. In fact, it is we who often initiate the hostilities. Perhaps best of all, The Iron Giant examines these and other issues in the guise of a wonderful story that should hold almost anyone's attention.

The animation is first-rate. Most of the voices are good, especially Harry Connick, Jr.'s as Dean Cooper, a hip young artist. As Hogath's voice, Eli Marienthal speaks like a real boy, not a cartoon boy. Speaking for Hogarth's mother, Annie, Jennifer Anniston gives her a loving quality. Vin Diesel does well with the most difficult voice, that of The Iron Giant.

Rated PG for a couple of spooky scenes and a few mild profanities. Recommended without reservation for children seven and up.

The Iron Giant has Landed
Vin Diesel and Jennifer Aniston lend their voices in the first-rate animated adventure "The Iron Giant". In the dawn of the Cold War, a curious New England boy discovers a gigantic metal-eating robot (voiced by Diesel) from another world. Their special friendship is put to the test when the boy must protect his new pal from an ambitious government agent and the US military. "The Iron Giant" is an amazing animated wonder that rivals Disney's best. From director Brad Bird ("The Simpsons"), the film combines a well-written story and some memorable characters. The talented voice cast also includes Eli Marenthal, Christopher McDonald, John Mahoney and Harry Connick Jr. as artistic scrap yard owner Dean McCoppin. The animation is colorful and quite enjoyable. The animated feature is presented in both 2.35:1 anamorphic widescreen and standard full screen formats. The DVD contains a detailed video transfer and a well-balanced 5.1 Dolby Digital sound. Its supplemental extras include a delightful "Making of The Iron Giant" featurette and a music video. Despite a lack of supplemental extras, "The Iron Giant" earns a pleasing "B+".

It's about time.
Here's what we can expect with this true release of The Iron Giant:

-Anamorphic widescreen format with Dolby Digital 5.1 sound.

-Eight never-before-seen additional scenes with introductions by Brad Bird, including an alternate opening sequence.

-13 mini documentaries revealing the origin and the in-depth development process of The Iron Giant.

-Interviews with creative consultant Teddy Newton on the storyboard sequence development process.

-The Voice Of The Giant: Brad Bird and Vin Diesel discuss voicing The Iron Giant.

-Scene-specific commentaries by filmmakers

-A motion gallery of original animation

-A letter from Ted Hughes, author of the original book upon which the film was based.

-DVD-ROM access to the original web site and Easter eggs revealing the behind-the-scenes filmmaking process.

The only thing I see wrong with this is the box/case. Click on the image here to see a larger version, and you'll see that it's the horrid snap cases. Oh well, at least the movie's getting the treatment it deserves. Pick this up when it comes out.

Now this is what we've been waiting for.
Here's what's going to be on this true edition of The Iron Giant:

-Eight never-before-seen additional scenes with introductions by Brad Bird, including an alternate opening sequence.

-13 mini documentaries revealing the origin and the in-depth development process of The Iron Giant.

-Interviews with creative consultant Teddy Newton on the storyboard sequence development process.

-The Voice Of The Giant: Brad Bird and Vin Diesel discuss voicing The Iron Giant.

-Scene-specific commentaries by filmmakers

-A motion gallery of original animation

-A letter from Ted Hughes, author of the original book upon which the film was based.

-DVD-ROM access to the original web site and "Easter eggs" revealing the behind-the-scenes filmmaking process.

This is the treatment the movie should've got in the first place.

ONE OF THE BEST ANIMATED MOVIES EVER MADE!
This is seriously one of the best animated movies I have ever seen. Unfortunatley it got poor advertising when the movie came out, and it cost the movie, which did very poor in the box office. But it came back in a big way with the DVD release. I cannot recommend this movie enough to people, and with director Brad Bird now directing the upcoming Pixar movie "The Incredibles," this DVD should do better. If you like a good story, and well done animation I highly suggest this movie for you! ... Read more

Description

Four Academy Awards(R) including Best Picture! The funny, tender story of a feisty Southern lady and her chauffeur, fueled by the starpower of Jessica Tandy, Morgan Freeman and Dan Aykroyd. ... Read more

Reviews (48)

An Unlikely Pair
This Academy Award winning drama is a touching story about the coexistence of an aging southern woman and her chauffer. Miss Daisy played by Jessica Tandy (Academy Award for Best Actress) is a feisty Jewish woman forced to endure the tragedy of growing older. Her son played by Dan Aykroyd is faced with the dilemma of playing parent to his parent. Morgan Freeman plays Hoke, the black chauffer hired by her son. Set in Atlanta, GA beginning in the late 1940's this film spans 25 years of an unlikely friendship before and during the fight for Civil Rights. A must see classic, this story keeps the audience wondering what will she think of next, and how will he handle it. Skillfully done with everyday events and situations it is certainly deserving of the Best Picture Academy Award.

A Great Tale of an Unlikely Friendship
"Driving Miss Daisy" is one of the best films released in 1989, rightfully winning four Oscars: Best Picture, Best Actress, Best Adapted Screenplay, and Best Makeup. This adaptation of the play version is brilliant. It tells the story, set between 1940's-1960's, of a fiesty elderly woman who's unhappy of growing old. As she meets a man who becomes her driver, the story develops into something special. The combination of stories become increasingly interesting as the two develop a close friendship. Their relationship beats the racist society and the painful past that the man has endured. Through everything, their lives change forever. Her son's frequent visits to her house offer the added entertainment value as it adds to the emotional value. Despite the twenty-five year plot span, the storyline flows smoothly. The warm, loving story offers an unforgettable viewing experience.

Jessica Tandy performs her role as the unhappy elderly woman splendidly. Her every expressed emotion is felt upon audiences. She became the oldest person to win an Oscar, at age 80. Morgan Freeman and Dan Ackroyd's Oscar nominated roles (Best Actor/ Best Supporting Actor) offer the added unique theme to this great film. All other actors also performed wonderfully.

The quality of "Driving Miss Daisy" proves that it's destined to become a classic in the following years. It's sure to continue pleasing audiences for many years to come. Most viewers will have to watch it multiple times to fully understand the movie because of its deep storyline. Afterwards, those who do will be glad they did.

Old Friends.
Lovely is such an old fashioned word, I know. But that's the word that describes this film, for me. The story of the developing friendship over many years between the black chaueffeur and the older Jewish woman is very heartwarming in its simplicity. Jessica Tandy is marvelous as "Miss Daisy" the fiercely independant, irascible widow, whose advancing age requires her son to employ, against her wishes, a driver/companion for her. Miss Tandy, who originated the role of Blanche DuBois on Broadway in "A Streetcar Named Desire", was a wonderful actress. This was one of her last films, and all the skill, sublety, and experience of her life-long craft come together to create a living, breathing "Miss Daisy." Morgan Freeman meets her skill in his portrayal of "Hoag", the accomodating chaueffeur. He has the manner of a certain resignation that an older black man may have felt in the turbulent, prejudiced south in which he lived, yet exudes dignity. He has the manner of "Hoag" down pat, right down to the closed mouth laugh that I have seen in the old black men who hang out on the corner. This is not a caricature, he IS "Hoag." His relationship with Miss Daisy starts out very rocky, to say the least, but, as time passes, their places in each others lives develope into almost a "marriage", with a quiet understanding of, and dependence on, each other. And though Miss Daisy insists she was not prejudiced, and inherently wasn't, it is touching to see her slowly let go of her last universally accepted beliefs of peoples place in society, where the "colored" help were always servants of some sort, and the line was just never crossed. Scenes such as the one where she and "Hoag" are both eating their dinner in the house, she in the dining room, he , alone in the kitchen, express this. The very thought of them dining together, it just wasn't done. As time goes on, and she becomes quietly aware of the similarities of the prejudices against her religion and the prejudices and injustice against Hoags race, the differences that seperate them become insignicant. Dan Akroyd and Patti Lupone are fine as Miss Daisy's son and his typically '50s wife, who admonishes her black maid for the unforgivable sin of forgetting to tell her she was out of coconut for the ambrosia she was serving to her guests... a '50s hostess' nightmare. There are a few moments when their performances threaten to lapse into parody, but one is only aware of this because this is basically a two person play, and the skill and realism of Tandys and Freemans performances just eclipse the others, they are basically props compared to the skill and, yes, sublety of the leads . The exception is Esther Rolle as "Idella" , Miss Daisys black maid. Though her part is small, and her lines few, she manages to convey a resigned dignity also, and her dead-pan delivery of several one liners is very humorous. Miss Daisys affection and respect for Idella is clearly etched upon her face, however, at Idella's funeral. This is just a wonderfully simple, beautiful film. It never treads into being overly sentimental, thanks to the casting of two very special stars. This film took many by surprise by winning the Oscar for best film of the year, proving that a movie with no special effects, and, that actually tells a story, can still move audiences. The final scene, where their years-long friendship comes full circle, will have tears in your eyes, as Miss Daisy conveys the sweet sad wisdom of the old, who know that "all shall soon pass...."

Fascinating, Memorable, Perfect
Not much can be added to the praise of others here, or to the film's enthusiastic reception by the public. I feel that this is one of those rare films that is simply perfect from beginning to end. Even if you don't develop an affection for the characters, and even if you don't care for the story line, it's a stretch to fault this movie in any way. The Special Edition DVD is preferred (not many extras, but those included are worth the effort). After watching my copy 7 times and trying to get really picky with it, I juist can't find anything amiss with Beresford's beautiful production. SO why didn't he win a Director Oscar? Must've been the competition that year, but he certainly deserved to win. Only other disappointment: Freeman nominated, but didn't win. And to think this film was made for less than $6 million, and racked in a fortune and a handful of Oscars!

Freeman and Tandy What a Combo!!
Freeman and Tandy are quite a combo!!

This is a sensitive film that says a lot about humanity.
Compassionate humanism oozes from this movie.
It certainly deserved the Picture of the Year in 1989. ... Read more

Reviews (6)

American Dreams Is Fabulous
I just found out about the new American Dreams Season One DVD that will be released in September. Thank God that my birthday is in August so I can order it! I started watching American Dreams in September of 2003 and fell head over heals in love with it! Even though I did not grow up in that generation, my goodness, I can certainly relate to their family's way! Watching the show is one of the highlights of my week. I already know that this DVD will be awesome, and I haven't even seen it yet. I definately suggest everyone get the DVD. I sure will.

What a great family show!!
I have watched every minute of American Dreams since it began and LOVE it!! I'm a Baby Boomer who lived through the tumultuous 1960's and this show portrays the unrest very accurately. It's a great family show and I applaud NBC for renewing it!!

One of the Best!!!
This is one of the best shows on today. It's great for the whole family. I'd love to know what the extras on this DVD will be and I can't wait for it to come out.

Great Show!
From the first promo I saw for "American Dreams" in the summer of 2002, I knew I would love this show and I was right!

This is such a great show for the entire family. It surprises me that it doesn't do better in the ratings than it does.

I was born in the late 60's, so I can kind of relate to how the Pryor's family life plays out ... having only one television set (and only having 3 channels to choose from), one telephone, buying and listening to 45's (for those younger ones of you out there, these are the single records) on a tabletop record player, penny candy that actually cost a penny, Coca-Cola in glass bottles, getting into movies for 50 cents, having a sit down dinner with your family most every night (exceptions were Friday & Saturday nights) of the week ... especially Sunday and so many other things. I love this show, because it reminds me so much of being a child in the late 60's in early 70's.

If you haven't ever watched "American Dreams", I suggest you buy the DVD for Season 1, catch up on Season 2 by reading episode synopsises at nbc.com and start watching Season 3 at 8 p.m. on Sunday night starting September 26th!

American Dreams is awesome
I love this show so much. Even though i wasn't born in this generation, each week, i tune in. The music of American Bandstand is amazing. The special guest stars were awesome. I love how the Pryor family always has something going on. I can't wait to watch the 3rd season. Meg pryor and Roxanne are really funny and cool, while Patti is a brat. Will is adorable, and JJ Pryor has issues with Beth. JJ is also very cute! anyways I would recomend this dvd to anyone. ... Read more

Reviews (20)

Mixed bag or results, but interesting and good!!
My feelings are mixed about this movie. From what I have read in the professional reviews of this movie, the opinions are just as mixed. In sum, it is a movie that will hopefully give one something to think about at its surprising conclusion.

Simply put, THE HUMAN STAIN is pretty much a revampted telling of an old tale that has facinated white audience since forever and opened wounds and insulted some black audiences. But, it stands apart from all its other predecesors out of the Hollywood movie machine in a good way that makes it worth seeing in that it's lead character played by Anthony Hopkins isn't stereotypically sympathetic and has depth. Still, his manipulative, cannibalistic and criminal Hannibal Lector has more integrity than his Coleman Silk.

The great and admirable Anthony Hopkins plays an aging professor with a dark secret who is accused of a racial slur by a student. Through a series of flashbacks, his secret is gradually revealed to the audience--his being a black man passing as white-- as he tells his story to a reporter and begins an affair with a young illiterate janitor on campus, Nicole Kidman. This young woman has a few secrets of her own like a possessive and obsessive husband.

Plotwise, I think the only minor flaw in the story will be that involving Kidman's charater's problems. Only a little, they interrupt the real focus of interest of Hopkins's Silk.

Though another trite tale of the mulatto, at lease the characters are 3 diminional thanks to writing,Hopkin's, Kidman's and the supporting actors performances(e.g. Gary Sinise, Ed Harris and Wentworh Miller--the young black man who plays Hopkins in his youth, and Anna Deavere Smith whose scenes and words to her son the young Silk are not fogettable, even Oscar worthy). Coleman Silk turns his back on his family and people to enjoy all the privileges and power of having white skin. Instead of challeging prejudices, he enforces and caters to the very prejudices that deny him to be treated fairly as a black man.

At the movies conclusion one is forced to asked if anything has really changed for the better in real life. From what I have noticed in popular culture, the media and all the answer is.....

Though the majority of black Americans like the characters played by Wentworth Miller and Anna Deavere Smith are a racially and culturally mixed people regardless of the complexion of skin ,or, whether both parents are black American or one parent is white or whatever, there are still those who will run as far away from being labeled black as they can get and declare themselves as separate but equal instead of challeging old inherited ideas of bigotry. Political correctness has warped into a new mask to hide self-hatred and racism. There are versions of Coleman Silks that still exist today, both dark and fair skinned, in the black community--even other non-black communities. Society still hasn't shed all its prejudices for those it looks upon as having the wrong skin color ,or, set of parents.

MORE WEAKNESSES THAN STRENGTHS -- TOO BAD
The movie tries to tell the story of Coleman Silk, originally a poor kid from1930s East Orange who has remade himself into something else -- College Dean Silk [played by Anthony Hopkins], a brilliant classics professor. But then, a chance comment in class -- actually referring to two of his class cutting students as "spooks" (not knowing that they are African-Amrecans) opens Silk up to charges of racism, and his sudden attraction to a cleaning lady [Nicole Kidman] adds an element of class consciousness as well.

It's a complicated story, presented with lots of flash backs and flash forwards, made more complicated by a secret the film reveals fairly early on. Because what the people accusing Silk of racism don't know is that he himself is black -- and has been successfully "passing" for white, for more than half-a- century.

The movie's scripty wrestles with enormously complicated issues.
THE HUMAN STAIN succeeds, but only partially. Hopkins seems an odd casting choice at first, but he turns out to be ultimately the
right one -- is the stubborn Silk; Nicole Kidman is Faunia, the raw-boned cleaning woman he falls in love with. Robert Benton, of "Kramer vs. Kramer" directs, and novelist and sometime director Nicholas Meyer did the screenplay. One big problem is that how does a very lights sknned black kid born and rasied in New Jersey wind up with an aristocratic British accent? Hmmm?

Audiences fascinated with the issues THE HUMAN STAIN touches upon -- class and sex, race and identity -- are better off searching for material that delves into them deeply. This story is not the Great American Novel but it does boldly confront the great American issues.

The casting, is partly to blame for this fiasco. The unmixable Hopkins and Kidman probably was supposed to produce a big box-office draw. As the priapic Silk, the usually excellent Hopkins is too stiff, lacking the animal charisma to gulp down Viagra to frolic in bed with Faunia. Talk about lack of chemistry. You can more readily imagine her with Harris' certifiable loony character. And the usually excellent characters delivered by Kidman, in this film simply looks too glamerous to be cleaning toilets and milking cows, especially with her porcelain skin and tousled ringlets.

And so, the film overreaches at times, and may not be as powerful as the material deserves. However, THE HUMAN STAIN is not exactly a failure.

Flawed but Interesting
During WWII, millions of Jews whose only crime in the eyes of some where their being
Jewish. Thousands to over millions were sent into concentration camps where few
survived and many were murdered, even the innocent of innocent, the children. Those
Jews who managed to escape did so by fleeing to hopeful safe harbors in other countries,
or, they passed. Far from passing to gain material wealth, power, and a share in the
decadence of the predominant group, these Jews simply sought to survive and see
another day. One cannot help but admire those who spent the rest of their lives,
whenever possible, challenging racism and bigotry and injustice.

The titled character in the HUMAN STAIN is far from being admirable and sympathetic.
Coleman Silk is a black man who chooses to pass as white to enjoy the privileges of
being white. He doesn't care to fight the injustices that deny his people their humanity,
but instead chooses to cater and bow down in honor and the keeping of such injustice
against his own people. Ironically, at the time he passes, those Jews who where unable to
pass were being killed, entire families. Even more ironical, Silk chooses to pass as
Jewish. He turns his back on his family, even after his mother in the movie pleads with
him in what has to be the best emotionally intense moment in the movie. Seemingly
without much conscious to morals, Silk starts his life new as a white man without anyone
ever suspecting him as being anything other than this. He marries a white woman, begins
a career as a college professor, lives the American dream of freedom without roadblocks.
Life is pretty good until his wife dies and two black students accuse him of using a racial
slur against them which is accidental and unintentional, but Silk so long denying his
heritage does not realize the power and mistake of the word he has used. At this point,
his mask begins to fall off and his past comes back to haunt him and it is not forgiving.

The main problem with this film is the way the story is told. The makers would have
done better to tell the story from the perspective of the young Silk instead of the old Silk
who is played by Anthony Hopkins. Moreover, the character played by Nicole Kidman,
who Silk begins a May/December relationship with in the midst of the Clinton sex
scandel with a young intern, seems to pollute the storyline and burden it down. Kidman
plays her part well, as the entire cast is excellent, but her character should have been
exercised from the story on the big screen all together. It is the young Coleman Silk and
his family who are the really interesting characters deserved more time on screen instead
of only being seen in flashback scenes.

The press for this movie was a lesson in the racial divide that is growing in the U.S. The
press took more of an interest in seeing how quick the guy who played young Silk,
Wentworth Miller, would distance himself from being black than they did in the moral
questions raised in the movie or book of the same name by a white man. Sadly, they may
have gotten what they wanted. I hope that I am wrong. I would take great pride in being
wrong!!!!! and offer an apology for the misunderstanding of Miller. Rather than
understanding the diversity of the black American community, that is, that black
Americans are a multi-cultural people whose blood roots extend not just in Africa but
also Europe and even Asia and all those places in between, regardless of the complexion
of skin or of the skin or race of one or both parents--the cause of the huge color spectra
among black Americans and blacks from North America to South America--, and, that
black Americans are a people proud of their ancestry in all its diversity regardless of what
only a handful of extremely bigoted afro-centralist don't want admitted and many white
Americans refuse to take time to learn and understand, the press has played to its own
blind and ignorant liberal bias that divides blacks Americans into dangerous social stratas
of ethnicities. For his part, Miller, who doesn't deny his heritage like he has done in
playing earlier roles in his career until the HUMAN STAIN, has shown a proclivity not
to correct his interviewers and has legitimized their prejudices that the one drop rule of
blood applies to all but a few of black Americans who have one non black American
parent, political correctness at its most perverse and dangerous. Miller doesn't
understand or doesn't want to understand that he is legitimizing racist fallacies.

To those who choose to watch the movie, or even, read the book, keep in mind that the
story is written from the view point of those or one person not in the know to all the
nuances, diversity, complexity, pride, heartache and tragedy, joy, sometimes
embarrassment, anger, struggle, bloodlines, and stories to the black American community
no matter how sympathetic and understanding they claim to be.

It's Stained Alright
What in god's name was Robert Benton thinking? Or Sir Anthony? Or Gary Sinise? Was Ed Harris after the Oscar he was denied last year? This film is a perfect example of a wonderful combination of artists put together & creating a monumental cinematic disaster.. Gary Sinise(narrating here)sounds like he was awakened from a deep sleep, had a microphone shoved in front of him & handed the script to read from. Anthony Hopkins looks like he can't wait for it to be over. I wonder if when he studied acting, he ever thought he'd have to do a scene where he half-heartedly discusses the joys of Viagra. I'm not sure what Nicole Kidman's character was supposed to be...watch her closely..sultry? sexy? femme fatale? I don't think she did either.. This DVD should be free with ANY purchase...Disastrous.....

A man's stormy, unhappy life's journey
This film is certainly enjoyable and worthwhile if you can accept the premise that Anthony Hopkins' character has buried his secret for his entire adult life and now confesses all to his spunky, unlettered lover Faunia [Nicole Kidman]. The movie is told in many flashbacks and will be hard to follow for those who don't pay close attention. Professor Silk's problems at his college that lead to his tribunal before the faculty and subsequent resignation are filled with irony but it doesn't seem that it is Hopkins who bears the insecurity, shame and humiliation of being in denial all his life as much as Wentworth Miller does who plays the younger Coleman Silk. The vignettes tell tragic and unhappy stories but reveal the Silk family as proud and dignified and they are represented by a wonderful cast of talented actors. Hopkins and Kidman, as expected, are great as partners in a May-December affair. ... Read more

Reviews (97)

This has to be the funniest movie that no one ever heard of!
Noises Off is a treasure of a movie buried in the comedy section of the video store. And after viewing it as a chance discovery, I would rank it as one of the funniest movies I've ever seen ' bar none! There is no message, no lingering camera work and precious little plot actually, but the sight gags and interaction of the characters make this movie an absolute laugh riot.

The premise of this film deals with the rehearsals and pre-Broadway tour of a play that aspires to be a classic British sex farce. Michael Caine plays the beleaguered director, with Julie Hagerty as his stage manager, trying to corral a collection of stage and movie actors on both sides of the career loop. Carol Burnett, John Ritter, Christopher Reeve, Denholm Elliott, Marilu Henner and Nicolette Sheridan make up the onstage ensemble, with the able support of Mark Linn-Baker. Throughout early rehearsals and performances the cast conspires with and against each other in matters of romance, revenge and profession expression ' all to hilarious effect.

It all culminates in a fateful performance that we view/hear primarily from backstage as conflicts of love and stage presence boil over in mid-show. It just might be the funniest thing ever filmed that didn't involve the genius of Mel Brooks.

Don't Miss the Original
I'll echo the companion reviews in raves for the film itself and my great delight in replacing my timeworn VHS with a new DVD. But what I'd like to add is that this is a remarkably skillful screen adaptation of the even funnier original stage play. By all means, buy the DVD. And if you like the movie, take pains at all costs to see "Noises Off" on stage.

The startling novelty is that the entire set rotates between scenes to show first the chaotic tech/dress rehearsal from the front, or audience, view, then depicting a subsequent performance, loaded with interpersonal conflicts and amazingly choreographed sight gags and goofs as seen backstage! The last act shifts back to an audience view of an ensuing performance disaster, leaving you to imagine clearly what must be going on behind the set. The title refers both to the scripted off-stage sound effects and the thumps and crashes that signal the hi jinks backstage.

The play is a popular choice for resident theater companies and occasional roadshow productions. Don't miss it!

Backstage exposed
That actors get confused between their real life and their acting on-stage (and backstage) is not quite new, but I never saw it better done than in 'Noises off...'. Above all, I'm more than grateful to the reviewer "archibael", thanks to whom I knew the DVD would be in the original screen format (when it's cropped to full-screen, and especially for good movies, I consider it's a kind of swindle and refrain from buying).

Exit...Stage Everywhere
An oddity of sorts because you have the two actors who played Superman and Captain Avenger in one movie (Christopher Reeve and John Ritter respectively...Ha! Ha! Just kidding! For joke reference, see review for film SPEECHLESS,"...Well Spoken Movie" starring Micheal Keaton, Geena Davis, & Christopher Reeve! by same reviewer from Gilroy,CA)
Anyway, NOISES OFF is different from anything that has been done in film in recent years and is a salute to the art of theatre. A movie farce about a small midwest theatre group putting on a stage farce. The play will tour parts of the U.S. and finally make it to Broadway. It is during a test run on the small theatre circuit that the hilarity begins. Egos and personal differences manifest a literal physical battle among the cast members behind stage during one performance. A classic shot is of a stagehand witnessing the proceedings who shakes his head in comic disgust. However, as true professionals, no matter what happens behind the scenes, the show must go on. The film is very fast, physical and the ensemble cast is excellent. The movie audience sees rehearsals and performances on tour that take the kinks out of the presentation and stage direction finally bringing the cast together. Peter Bogdanovich directs one of his best films to date with Michael Caine, Carol Burnett,John Ritter, Christopher Reeve, Marilu Henner,Denholm Elliot,Mark Linn Baker, Julie Hagarty and trooper Nicollette Sheridan (trooper because she's in her under garments practically the whole movie). This film died at the box office maybe because movie going audiences are not theatre types. This film may not be for all tastes, but it is worth a look especially to see the late John Ritter and a healthy Christopher Reeve in outstanding comedic roles.

A must see. . . over and over!
I have been waiting impatiently for this show to come out on DVD. I can't believe it's not a bestseller. One of the funniest shows I have ever seen! We watch it frequently just to lighten our day. ... Read more

Amazon.com

Star-crossed lovers, feuding family, royal plots, noble destinies,and salt-of-the-earth heroes. No wonder R.D. Blackmore's romantic classichas been a perennial favorite. Amelia Warner (Michael Caine's innocentchild bride in Quills) is Lorna, the beautiful young brunette"queen" of the feral Doone clan in this latest adaptation, a handsome 2.5-hourco-production between the BBC and A&E. Theonce noble line now lives out of a swamp fortress and preys off the localfarmers and tradesmen, but the family patriarch (Peter Vaughan) has hatched a plot to win back his title and his land. Handsome John Ridd (RichardCoyle) swears vengeance against the Doones when they murder his father, but he falls for Lorna, and the rakish, ruthless Doone scion (Aiden Gillen, whoswaggers through the drama with a perpetual sneer) refuses to give up hisclaim on the girl without a fight.

This is the kind of British romanticadventure that decries the tradition of nobility and privilege while rewardingits heroes with those very privileges, all within a grand framework ofmelodramatic twists, thrilling battles, and chivalrous heroics. Director MikeBarker creates an appropriately larger-than-life world at once pastoral andsavage for his little epic--shot in the verdant British countryside, where alush forest green permeates every outdoor scene, while the dusky interiors glowwith candlelight--giving in completely to the sweeping emotional melodrama atthe core of the story. --Sean Axmaker ... Read more

Reviews (22)

A Promise to Keep
Fortunately I was able to catch this originally when it ran on A&E and was so captivated I pre-ordered both the video and DVD. The video version differs only slightly from the DVD; the color is not as good. That's it. Overall it's a very good purchase at a reasonable price for such an excellent film.

Fans of A&E's lush romances like Pride & Prejudice, Victoria & Albert, and Emma will enjoy Lorna Doone. It's a blend of romance, adventure, mystery, and something of the sinister, with a Romeo & Julietish twist. The acting is stellar, particularly in the casting of Aidan Gillen as Carver Doone. He completely overpowers the screne whenever present and makes a loathable and yet empathetic villain. Richard Coyle is doubly good as the heroic John Ridd, and Amelia Warner proves she can play leads effortly as the spirited but puzzling Lorna.

It's a film my entire family enjoyed... there was enough romance for the girls, some action scenes for the guys, and enough lush English countryside and magnificent costuming for one and all. Rent it, buy it, borrow it -- see it.

Romantic Predictability...
A & E's production of R.D. Blackmore's novel of forbidden love between two hostile families is lushly filmed, action-filled, and surprisingly dull. Yes, there are a few surprises here and there; however, the story runs into predictable territory come the last hour and a half, and the characters become too melodramatic to be considered real.

The star-crossed lovers do play off each other well, embracing the invisible struggle surrounding their union. Amelia Warner (Lorna Doone) gives the right amount of innocence against ambition, creating a lovely, yearning picture of a woman finding her way into the world. Her love (John Ridd), played by the ravishing Richard Coyle, battles endlessly for her deliverance from a power-hungry family. Scenes of swordplay, gun fighting, and warring words dominate the film, along with the green and black tones of the Doone's aura. Their home and demeanor is cold and dark, in stark contrast to that of the Ridd's. Yet despite these dynamic action and aesthetic backdrops, I found myself jumping ahead at various points simply because I was already ahead of the film itself. The characters, though well played, were standard stock-acting fare. Aidan Gillen's performance of Lorna's rejected suitor was extremely cartoonish. Each time he was told he should give up his pursuit of Lorna, he would restate his devotion to her then stomp away like a child. I kept expecting him to grab a skateboard along the way, riding off to his pouting place.

I will say that the romantic standard of hero/villain/heroine is not an easy foundation upon which to build an unpredictable storyline, especially when given a rather caricature-esque setting. Yet director Mike Barker does his best with Adrian Hodges screenplay, and makes a film for inspired romantics. Although it is predictable at most points, the tale does give the audience the desire to rise in hopeful bliss for two souls so like their own. Lorna and John may be of a different time, yet love burns deep in all of us, no matter the age or circumstances. If it is to be, there is no death for love. Lorna and John teach us this, as we rise.

A Weak Link
I got this DVD as part of the A&E Literary Classics Romance Collection, and it's one of the few weak links in that otherwise superb box set (a must for lovers of period films and literary adaptations). Lorna Doone is a fun little romp through 17th-century England if you're willing to lower your standards for a few hours, but in all honesty it's really just a clumsy, formulaic Romeo and Juliet tale.

The main villain is a sneering cardboard cutout. The central romance is unbelievable: Lorna is never fleshed out (and is no great beauty, either, to be frank), so you never see why John falls in love with her--unless it's just simple infatuation because of the "forbidden fruit" factor. You just have to take the whole relationship on faith since it rarely feels real or compelling. On top of that, the clumsy direction makes a total mess of the fight scenes: there's no sense of focus, pacing, momentum, or drama. (There are little historical anachronisms, too, like John's sister wearing the kind of modern eyeglasses with side bows that hadn't been invented in the West at that time--no big problem, obviously, but sloppy and distracting nonetheless.)

On the bright side, this version of Lorna Doone (many have been filmed over the years) features a few memorable performances, like the droll Michael Kitchen as Judge Jeffreys. Plus, there aren't a whole lot of period pieces focusing on 17th-century England; most choose the Middle Ages or the 18th or 19th centuries. So, at least the time period is refreshing.

2.5 stars.

A disappointing departure from A&E's high standards.
We are fans of period films and have enjoyed many A&E and BBC productions. Instead of getting swept up in the drama of Lorna Doone, however, we spent our time mocking the film. I think that poor directing is to blame. Why were we forced to see the same cheesy "vertigo" shot of water in the canyon below every time a character walked on the narrow ledge by the waterfall? Why were all scenes shot in the Doone valley incredibly dark and hard to see, even when the action was taking place in the middle of the day? Why were the Doones and the people of the adjacent town so unfamiliar with one another when it seemed to take approximately 15 minutes to walk from one settlement to the other? Why was Lorna always clean and neatly-dressed, while every other resident of the Doone Valley appeared to have minimal acquaintance with bathing facilities? Why did John and Lorna fall madly in love after exactly two encounters twelve years apart?

The film tried valiantly to fit many of the book's plot points into a two hour movie, but the gaps in character development made for awkward leaps. The actors did a fairly good job with tough material, but even good actors can't overcome strange sequencing of events and cheesy, predictable dialogue.

Exciting the whole way through
John Ridd's father was killed by the Doones-a band of ruthless outlaws who had threatened and stolen from the townspeople. John (Richard Coyle) watched his father die, and vowed he would get revenge for their evil deeds. He falls in love with a sweet and beautiful maiden, only to learn that she's a Doone. Lorna (Amelia Warner) is a granddaughter of the Doone's leader, and she is expected to marry the future leader of the Doones-her cousin Carver Doone (Aiden Gillen). John finds himself in a difficult situation-he not only loves a girl that his family will hate, but he must fight Carver, who is just as determined to marry Lorna. The characters find themselves battling with issues of loyalty. This is a great story based off R.D. Blackmore's classic novel. I would highly recommend it. ... Read more

Reviews (32)

Accurate look at the life of a 1L (first year law student)
I recently watched this movie after not having seen it for many years, and I am amazed by the accurate portrayal of life for 1Ls and of the "types" of people you will encounter in your first year of law school, regardless of whether you attend Harvard or any other law school. John Houseman gives an outstanding performance as the curmudgeon Prof. Kingsfield. He succeeds in rattling Hart (equally well portrayed by Timothy Bottoms) and teaching contracts using the Socratic Method, a torture device until students learn how to play the game and begin to think about the nuances of the law.
Some viewers have commented about how dated the film is, but I must respectfully disagree. The hair, clothing, and some of the attitudes are dated--after all, the movie was made in 1970! At that time, both men and women had long hair, wore flares (jeans and cords), lots of browns & beiges, etc. That was the style, pure and simple. Racial, gender, and ethnic diversity in the classroom was pretty nonexistent, and the virtually all-male student body accurately reflects those times as well. What has not changed is the portrayal of how 1Ls adjust and adapt to law school (it is so very different from the undergraduate experience, as the unfortunate Mr. Hart learns on the first day of class!), learn to help eachother master first year subjects such as contracts (emphasis on contracts in the movie), property, civil procedure, criminal law, torts, and constitutional law, or turn on eachother as they realize just how important those first year grades are to their futures as law students (competition for an invitation to serve on the Law Review) and attorneys. This is what makes this movie as pertinent now (for law students and would-be law students, at least) as it was in 1970, because the types of students in the class will remain the same, the huge learning curve, the Socratic Method, the study groups and obsessive outlining, and the way that the law permeates every thought are timeless. Unless law schools institute substantial changes in law school pedagogy, this movie will be accurate 100 years from now.
The romance between Hart and Susan is not what drives this movie, but adds human interest to this look at the lives of 1Ls.
Remember, "you enter law school with a skull full of mush, and you leave thinking like a lawyer!" Highly recommended.

James Bridges' Best Directorial Work
I found myself compelled to write this review for a number of reasons: (1) I graduated from law school (although not Harvard), (2) My mother and James Bridges were childhood friends, (3) I've been an admirer of John Houseman's work for as long as I can remember, and finally (4) I've watched this movie several times and like it.

Timothy Bottoms stars as James Hart, a midwestern boy literally dumped into his first year of Harvard Law School. John Houseman is Professor William Kingsfield, a curmudgeonly contract law professor about whom Hart has ambivalent feelings of dread and admiration. Lindsay Wagner is Kingsfield's daughter, with whom Hart is having a relationship.

This picture brought the so-called Socratic method of instruction into the light of day and doubtlessly inspired many professors of subjects other than the law. It no doubt also inspired many impressionable young men to consider a career in the law (as it did me). But the reason to really enjoy this movie is neither of those...it's Houseman's electrifying performance that netted him an Academy Award for best supporting actor. This film also stands as a testament to the short but spectacular directorial career of the late James Bridges, who went on to direct "The China Syndrome" and "Urban Cowboy" among several other films.

It should also be remembered that this picture inspired a short-lived CBS television series of the same name in which Houseman reprised the Kingsfield role. The show spawned the careers of, among others, Jon Lovitz of Saturday Night Live fame and Jane Kaczmarek (of the TV series "Malcolm in the Middle") and after its rather short-sighted cancellation by CBS was picked by Showtime, who ordered new episides, giving the series another five years of life until discontinued in 1984.

Did this picture have an impact? Absolutely. Was it good? You bet! And to James Bridges, wherever you are "thanks for the career advice...and hello from my mom!"

70s drop-out culture clashes with law school discipline
If you want to be inspired to go to Harvard Law School or Harvard Business School (they both use the same intimidating case study technique), this is the film to watch. It is the fear of having your name called out by the professor -- from the hundred students in the lecture theatre -- with his request that you lay out the case, that drives you to prepare well into the early hours the night before.

Harvard is ultra-competitive -- it marks on a bell curve, with the bottom x% of students being automatically chucked out. (That x% may be 10%. The film doesn't spell it out, perhaps because 1973 cinema-goers weren't ready for lectures on the normal distribution.)

The law school culture clashed conspicuously with the student background of the 60s/70s -- i.e. drugs, rock and roll, protests about Vietnam etc -- although little is made of this in the film. Instead we follow a year in the life of Hart, the Nice-but-Bright law student who idolises Professor Kingsfield -- determined to know everything about him, to the extent of bedding his daughter (played by Lindsay Wagner in her pre-Bionic Woman form).

In this film, the lecture theatre experience (studying Contract Law with the Prof) turns out to be a breeze, compared to participating in the Study Group, which contains some really unlikeable individuals. By the end, three of the six students have dropped out of the Study Group -- one even tries to shoot himself.

In the end, this film probably would be better if it didn't try also to be a romance. (I guess it was competing with 'Love Story' at the time.) Its highlights come in the lecture theatre and the study group. This is the potential for a very dark story, and I feel the director missed that opportunity.

On the other hand, no accommodation is made for the audience unfamiliar with contract law -- in other words, there is plenty of technical language -- but this adds to the authority of the drama.

I guess we're unlikely ever to see again the TV series of the same name that this movie spawned. So enjoy this while it's still available. For a similar experience on the page, get hold of a copy of Peter Cohen's 'The Gospel according to the Harvard Business School'.

The most accurate law school movie ever!
This movie shows the brutal truth about law school more accurately than any other movie made to this date. However, its rather old, and doesnt have much humor to it, so expect a bummed feeling after watching this movie. Its not one of those inspiring movies that leaves you happy or motivated.

Bogus Hollywood Moment: Throwing Grades into Sea
Yeah, great film, holds up well over the years. But no Harvard law student would have thrown his unopened grades into the ocean. Particularly one that was as dedicated and competitive as Hart. It would be like a lawyer trying a case and leaving the courtroom before hearing the verdict. One can understand and, in a mercenary way, perhaps admire Hart if he pretended not to care about the grades for the sake of impressing his erratic, anti-establishment/anti-hippy girlfriend. She doesn't make much sense, but she is cute and alluring. But to actually throw the grades into the sea? No.

Apart from that, the scenes of the workings of law school are pretty terrific. The characters of the study group are, for good and bad, very similar to people you actually find at law school. Particularly Bell. (By the way, did anyone notice that Hart's 3rd year advisor was Thirtysomething's Miles Drentell? He is exactly the type that would say, "Grades matter.") Yet, like lawyers themselves, they're not on the whole really awful people. Ford, the quintessential Harvard prepster, bails out James Naughton's character in class and even goes so far as to say that the subject is very difficult to understand. Hart himself is obviously very decent. And Kingsfield is meant to be feared, but moreover respected and admired.

So the romance is a bit unrealistic, but nothing approaching Ally McBeal silliness. That aside, it's a solid film worth seeing more than once. ... Read more

Description

Lord of the Flies is famed theater director Peter Brook's daring translation of William Golding's brilliant novel. The story of 30 English schoolboys stranded on an uncharted island at the start of the "next" war, Lord of the Flies is a seminal film of the New American Cinema and a fascinating anti-Hollywood experiment in location filmmaking. As the cast relived Golding's frightening fable, Brook found the cinematic "evidence" of the author's terrifying thesis: there is a beast in us all. ... Read more

Reviews (50)

A Bit Rushed, A Few Omissions, But Overall Very Good
"The Lord of the Flies" tells the tale of a group of English schoolboys stranded on a tropical island, with no adults, after a plane crash, while war rages on worldwide. The boys, ages 5 or 6 through 12 or 13, have food, water, and a pleasant climate. Their only challenges are to fight boredom and stay civilized until they are rescued.

I saw this videotape for the first time only a few weeks after reading the book for the first time. To me, the film was a little rushed, and there were a few important omissions, but it was still quite faithful to the brilliantly disturbing novel. The picture quality was a bit grainy, and the dialogue of a few of the child actors was a bit stilted at times, but Jack, Ralph, Piggy, and Simon were portrayed very well. The dialogue is hard to hear at times, against the sounds of surf and jungle, but I wonder if that was intentional and symbolic (i.e., the words of civilization struggling to rise above the roar of primitive Nature).

The important omissions were: Ralph's gradually increasing difficulty with thinking things through and needing more and more help from Piggy; Ralph's encounter with "The Lord of the Flies" in his mad dash for survival; the disappearance of the never-named boy with the birthmark, in the very beginning, which, in the novel, set off the fears and wild imaginings of the boys. The whole movie had a rushed pace to it, as if the producer and/or director had been given a tight budget.

Overall, I found this to be a good rendering of an excellent novel. I have never seen the remake, but have heard it's shallower.

Are we humans really THAT bad???
This movie is a very skillful presentation of William Golding's eponymous, timeless sociological horror story. A group of boys ranging from around 6 to, I would guesstimate, 14 or 15, are stranded on a desert island. Unfortunately for the boys, the general spirit of their story parts ways with the spirit of "Gilligan's Island" immediately, and they end up deteriorating into tribal, superstitious savages, rent with internecine strife, in a matter of (evidently) weeks.

Any viewer out there who plans to see this movie should absolutely make an effort to read the book. You could possibly see the movie first, if you digest storylines more easily through movies than books. But whatever order you carry out the two activities in, you must see the movie AND read the book, if you want a full understanding of what the director was doing here.

Here are a few good things to notice. First of all, you should be aware that this film was shot mostly on the islet of Vieques, off the coast of Puerto Rico. It's hard to believe that this is true, because it's just so perfect -- Vieques is the island where the U.S. Navy practices bombing these days, and protesters against war have been getting into all kinds of clashes with the authorities the past few months (spring and summer of 2001). Maybe "Lord of the Flies" was more prophetic than the director, actors and writers ever even realized.

A second thing to notice is the song that is constantly playing, throughout most of the movie. The song is "Kyrie Eleison." At first Jack's choir sings it, and then it sort of becomes general background music. If you happen not to be particularly into going to church, let me just clue you in that "kyrie eleison" is Greek for "Lord have mercy," which I think you'll agree is a chillingly apt refrain for this relentlessly dark movie.

A third good thing to notice is the little boy, who progressively loses his memory of his own identity, over the course of the film. At first, he automatically recites his full name, address and phone number to any stranger he meets, as he was apparently taught to do by his parents. Midway through the film, he can remember only his name, and part of his address. By the end, not to spoil the ending by giving too much away, he cannot even recollect his name. "How quickly," one envisions William Golding bemoaning, "we forget!"

But I'm just pointing out a few minor things to notice. The basic theme is obviously the clash between savagery and civilization, and the tendency for things to fall apart, for the center not to hold... George Washington himself used to say that the job of government has to do with Fear -- instilling it in possible malefactors, in enemies of the state, even in respected members of the community, just to keep everyone in line. This movie makes you think about what might happen if that force were removed from society as a whole. If the function of art is to raise awareness of painful truths, as this movie does, then the individual must be sure to bring things other than art into their lives, in order to raise awareness of kinder truths which are no less valid, no less serious, and no less important for being kind. That's what I think anyway.

This is an interesting movie, and it will really make you think. Two thumbs up.

a disturbing film.
This review is for the Criterion Collection DVD edition of the film.

This film, based on William Godling's novel, is a film that many will find disturbing.

Having not read the book, I am uncertain if the film is close to the book or not, but I have heard people say both. The story is about some schoolboys who become stranded on an island after a plane crash. They later, (with no adult presence) start regressing to a savage state and do not remain civilized.

The film itself also has nudity which I am surprised the censors let pass given the time period in which the film was made. Even by today's standards, some may question the legality of nudity involving children. Since the nudity is clearly non-sexual it is legal, but still will offend some people.

There are numerous special features which are as follows.

Full length audio comentary by the director Peter Brook, producer Lewis Allen, director of photography Tom Hollyman, camera operator and editor Gerald Feil.

Theatrical trailer with and without audio commentary about a major problem that almost happened at the film's premire.

Deleted scene with and without commentary and a reading by author, William Golding.

Excerpts from the novel read by the author William Golding.
Screen tests and outtakes.

Scenes from a documentary about director Peter Brook's theatrical techniques.

Very bad adaptation.
Some books should not be attempted as movies, this clearly is one of them. If you just watch the film instead of reading Golding's story, you'll be missing out on much of the wonderful symbolism, the character development and most bizarre of all, the actual Lord Of The Flies itself. It would seem logical that some of the more disturbing parts of the book would be minimized on screen but the amount of this story that was neglected to turn this tragic tale into a film is criminal, might as well be a different story. Not recommended at all.

Peter Brook's 1963 version of William Golding's novel
The 1963 version of "Lord of the Flies" was made on an island off of Puerto Rico by director Peter Brook with a cast made up on the sons of English parents that could be found on the island and in the United States. Only one of the children playing a major character, James Aubrey, who played Ralph, ever made another movie (although Nicholas Hammond, who played Robert, would have a real career in films and television). This becomes a key factor in the film because we are not dealing with child actors, which usually works for the film, but not always. But the more telling factor is that this film is only 92 minutes long, which meant some key elements from William Golding's celebrated novel are omitted. Ultimately, your feelings for this film are going to depend on your familiarity with the novel.

Brooks creates an effective prologue consisting of a series of stills that set up the key elements of the situation: a boys school, a war, an evacuation, and a plane going down near enough to an island for a group of boys to survive. They find themselves on the island without any adults. Ralph (James Aubrey) argues that there have to be rules, while Jack (Tom Chapin), the leader of the choir (he can hit high C) thinks he should be in charge. If Ralph represents civilization while Jack is hearing the call of the wild, then it is Piggy (Hugh Edwards) who represents human intelligence. But in the inevitable shift in power that goes from Ralph to Jack as the children devolve into savages, it is Piggy who becomes the pivotal victim.

What is sacrificed in the film are the two characters who occupy the next level of significance in the novel, Roger (Roger Elwin) and Simon (Tom Gaman), and while that choice is understandable it is what keeps this from being a great adaptation. Still, you cannot fault Brook for reducing the novel to the pivotal triad and the essence of Golding's novel is here if not the depth and rich symbolism. But even as we marvel at the performances that Brook coaxes from his young actors, and the cinematography by Tom Hollyman (who had been a still photographer before this film), we really do have to remember that it is 1963 and the idea of depicting the horrors of this novel on the screen was a risky endeavor. The fact that the novel is allegorical (i.e., Brooks is probably right in claiming on the basis of his filming experience that in the real world the boys would not have lasted a week) would not be enough to temper the reactions of audiences to little boys killing one another in the wild.

This Criterion Collection edition has the usually goodies, although instead of a scholarly commentary track this time it consists of reminiscences by Brook, producer Lewis Allen, director of photography Tom Hollyman and cameraman/editor Gerald Feil. As such tracks go it is certainly above average, but I have to admit that I enjoy the academic approach usually found on Criterion's DVDs. There are also excerpts from the novel read by Golding that are interesting, although obviously not insightful (the excerpts are keyed to the same scenes in the movie). There is also a clip from Gerald Feil's documentary "The Empty Space" showing Brook's method of creating theater, a production scrapbook, outtakes, home movies, a deleted scene, and the original theatrical trailer ... Read more

Description

"18 million viewers tuned into the super-length detective series." - The Times

A Touch of Frost is one of Britain's most successful detective series and stars award-winning actor David Jason as Detective Inspector Jack Frost, a policeman with a knack for attracting trouble. Set in the dreary town of Denton, Frost approaches each case with his characteristic dry wit and a sense of moral justice. A Touch of Frost Season One includes:

In "Care and Protection," Frost investigates a missing child case, as his terminally ill wife languishes in bed. A chance digging turns up a 30 year-old skeleton chained to a strongbox. A former bank employee with links to the strongbox is murdered and Frost must find his killer.

In "Not with Kindness," Frost grieves for his recently deceased wife, whose visiting sister from the States makes his life unbearable. Frost searches for a missing teenager and a victim of threatening phone calls wakes in the night to find her home engulfed in flames.

In "Conclusions," an elderly man is killed in a hit-and-run that involves a prominent local official's son. A casino is robbed of the night's takings. An armed and dangerous fugitive takes a pair of hostages.

Episodes: Care and Protection Not with Kindness Conclusions ... Read more

Reviews (4)

3 3/4 stars for thoroughly enjoyable British police drama
This is similar in vein to the better American police television dramas. A detective is confronted with several cases that intertwine, along with clues that at first tend to mislead, but later, when better interpreted, bring loose ends together. The acting, character development, pace and story development hold attention most of the time. If you enjoy detective dramas with a British twist, add this one to your list.

A First-Rate British Detective Series!
A Touch of Frost is an outstanding British mystery series, and it is high time it was released on DVD. This set contains the entire first series--three 100-minute episodes entitled "Care and Protection", "Not with Kindness", and "Conclusions." At the time of writing, series two is also available (for preordering), and I only hope that the video company will see fit to release the entire series.

David Jason (Only Fools and Horses, The Darling Buds of May, Open All Hours, Micawber), who personally is one of my favourite British actors, stars as Jack Frost, a dedicated, single-minded detective inspector with a nose for ferretting out criminals. Frost is a bit like a dog with a bone when he sets his mind on something, and he doesn't worry too much about letting little things like rules, procedures, tactfulness, or even legality get in the way of finding out the truth--if he can get away with it, that is. This is a man whose loathing for the criminal element--for those who hurt or destroy the lives of others--verges on the personal. At the very least, his dedication to duty is more than just a job for him, it's his whole life--his raison d'etre. Certainly, his personal life suffers greatly from his dedication--indeed obsession--with his work.

The series opens with Frost's wife on her deathbed. Even in such a situation (perhaps, indeed, because of it--for Frost does not handle personal tragedy well), he is unable to spend the time at his wife's side that is expected. While this may sound rather morbid and depressing, I must emphasize that overall the series is not. Certainly, the crimes that are committed are serious and tragic, but like the Inspector Morse series (a series with which this one compares well), the episodes are punctuated by quite a healthy dose of humour, and like Morse it is primarily character humour. In other words, it arises out of the idiosyncrasies in the inspector's character, which become more apparent as we become more familiar with the character. In Frost's case, apart from his questionable tactics, he's extremely disorderly, and his dedication to his work is matched only by his loathing for paperwork--a trait which often has him at odds with his punctilious boss, Superintendent Mullett. Indeed, Frost is perennially ducking into doorways or skipping out of the office in attempts to avoid the unwelcome confrontations. One thing Frost does not have, unlike Inspector Morse, is a regular "Sergeant Lewis" in tow; rather, he has a different sergeant assigned to him for almost every episode.

One aspect which, in my opinion, makes A Touch of Frost such a good series is the powerful punch of irony that usually occurs at the end of each episode. Often one can really sympathise with the killer or at the very least understand his or her motivation. Sometimes we find that it's one trifling incident--someone in the wrong place at the wrong time--or a petty misunderstanding that sets the wheels in motion for a tragic outcome. Often it seems that the bringing of the criminal to justice is the greatest injustice.

In conclusion, this is a well-acted and an extremely well-written mystery series--one with quite hard-hitting stories, thus making the comic relief all the more welcome. It is a series which I recommend very highly to fans of British mysteries in particular--if you enjoy shows like Inspector Morse, for example, or have enjoyed PBS's erstwhile Mystery! series, I'm sure you'll enjoy this one. I would, however, go so far as to recommend this series to anyone looking for a superior quality mystery series, British or otherwise. Personally, I've always wondered why it was never made a part of PBS's Mystery! series, for it was certainly worthy of inclusion.

The real thing
I am a huge fan of English cozy mysteries but am fast running out of shows. So, I decided to try something a little more serious and "A Touch of Frost" sounded interesting so I took a chance.

What first struck me when watching it was how real everything looked. David Jason, in the title role, looks like a real cop, the town looks like a real town and the people act like real people. The situations are dramatic but you always believe in the characters.

Frost is a sloppy, intelligent, gruff and thoroughly likable character in spite of, or maybe because of, his rough edges. The mysteries are literate and manage to get their point across without being horrifically graphic. (Though there is violence and some innuendo and a very brief glimpse of a breast, I can't recommend this show for children)

"Care and Protection"- When the young daughter of a local woman goes missing, Frost is called in. Relieved, since he is dealing with a terminally ill wife, Frost sets to work. But when a decades old corpse with a severed arm and a suitcase attached is discovered during the search for the girl, Frost finds himself dealing with two cases at once. In this episode, he is teamed up with the fairly amiable but spoiled nephew of the superintendant. Very good episode that deals with the triple drain on Frost's emotions, his dying wife, a cold case he didn't want and the missing child whose chances for survival decrease as time passes.

"Not With Kindness"- Following the death of his wife, Frost is at odds with her Americanized sister. Meanwhile, a papergirl's body is discovered in a graveyard and she may or may not be a victim of rape. The subplot deals with an affluent couple who are being harassed by phonecalls and and deadly practical jokes. Frost is partnered with an even sloppier career cop who has an irritatingly happy family life. A rather sad episode that deals with the dangers of grief.

"Conclusions"- A fatal hit-and-run leads Frost to the spoiled rotten son of a mamber of parliament. Meanwhile, there has been a robbery at a local casino and an armed and dangerous fugitive is loose in the area. When a patrolman is brutally murdered, the manhunt is on. Frost is partnered with a surley new transfer who has a perfectly rotten homelife and a brooding manner. He's almost too surly for Frost!

I highly recommend this series to all fans of cozies who are ready to try something a little more serious and to any mystery fan, especially if you want something a little more realistsic than is offered in this country.

Unpolished Morse
A British detective series,with Frost playing the role of an
unpolished Morse,who is smart and streetwise.Like Morse,he
doesn't care for paperwork.In the first 2 episodes,his "sidekick"
changes.Each episode is about 100 minutes,so there is good amount
of material for the price. The photography is excellent,and one
gets to see "real" people. Frost Season 2 is to appear shortly.a ... Read more

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It’s the third and final season for reluctant superhero Ralph Hinkley (William Katt), his lawyer girlfriend Pam Davidson (Connie Sellecca) and by-the-book FBI agent Bill Maxwell (Robert Culp), but the high-flying fun is