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This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

Reviews (3)

The English Abroad
The "Poirot" Box Set #11 contains "The Third Floor Flat," "Problem at Sea," and "Triangle at Rhodes." The first episode is set largely within Hercule Poirot's apartment building, Whitehaven Mansions; the other two take place very far from home, in Egypt and in Rhodes, Greece. I didn't care for "The Third Floor Flat"; its ending was far too predictable. "Triangle at Rhodes" is much more intriguing, a story about a "love triangle" that is not quite what it appears to be. The location shots and the décor in this episode are absolutely gorgeous. Like the previous reviewer, I did notice parallels between this story and that of "Evil Under the Sun," an excellent "Poirot" novel that I would recommend to anyone who enjoyed "Triangle at Rhodes." In "Problem at Sea," Poirot and Hastings investigate a murder aboard a cruise ship bound for Alexandria. The episode features interesting characters and an uncanny denouement. Though "The Third Floor Flat" is only average, the two "abroad" episodes are well worth the price of the whole box set.

MYSTERY MAGNIFIQUE!
It's no mystery why this is the most-watched detective show in the history of the PBS "Mystery!" series --- Christie penned a brilliant Belgian dick who solves crimes only using
his "little grey cells" and the aid of his affable associate Captain Hastings. And not one hair out of place on his perfectly coifed hairy lip! No mystery why fans shouldn't host sleuthing
fetes: Acorn is releasing the entire canon! Mystery magnifique!

11 down, 1 to go
Only one to go! This is Set 11 of the Acorn Media "Poirot" 12 box series that will include all the shorter Poirot episodes we enjoyed so much on PBS way back when and later (in much mutilated form) on A&E. Starring the "definitive" Hercule Poirot, David Suchet, this series includes (I believe) all or most of the Poirot short stories penned by Agatha Christie, three to a VHS box, while the longer tales are available on VHS and DVD with running times of about 110 minutes.

The three episodes in Set 11 are pretty good. "The Third Floor Flat" brings a murder very close to Poirot's very own flat, just below it in fact. The solution is not very satisfactory and comes a little too early; but the setting more than makes up for it all.

"Triangle in Rhodes" (1937) bears a strong resemblance to "Evil Under the Sun" (1941), and the solution to the former is more credible. Hastings is absent from this episode and the scenery is gorgeous. Be sure to see "Evil" with Ustinov as Poirot and Diana Rigg as the victim for comparison purposes.

Hastings (Hugh Fraser) is back in "Problem at Sea," in which some of the characters are more interesting as believable humans than in most of the Poirot tales. You might guess not only the guilty party but even the modus operandi early on; and while Poirot's forcing a confession from the murderer is a little overdone, this is (correct me if I'm wrong) the only Poirot story in which he is strongly criticized for being "cruel."

A very good set, despite small story faults. ... Read more

Description

Brilliant Belgian detective Hercule Poirot cracks the toughest cases with brainpower alone, endearing him to thinkers everywhere and making Agatha Christie the bestselling author of her day. As portrayed by DAVID SUCHET in this British television production, Poirot became the most-watched detective in the history of the PBS Mystery! series and a hit all over again on A&E. In these three stories, Poirot outsmarts both the criminals and the other crime-solvers in and around elegant upper-crust 1930s London.
Murder in the Mews—On Guy Fawkes Night, Poirot is called in on a case he suspects is murder made to look like suicide.
The Adventure of Johnnie Wavery—A country squire hires Poirot to investigate threats against his young son.
Four and Twenty Blackbirds—Poirot’s keen powers of observation and culinary know-how help him solve a murder case. ... Read more

Reviews (2)

MYSTERY MAGNIFIQUE!
It's no mystery why this is the most-watched detective show in the history of the PBS "Mystery!" series --- Christie penned a brilliant Belgian [detective] who solves crimes only using his "little grey cells" and the aid of his affable associate Captain Hastings. And not one hair out of place on his perfectly coifed hairy lip! No mystery why fans shouldn't host sleuthing
fetes: Acorn is releasing the entire canon! Mystery magnifique!

Great productions, two weak plots
The excitement mounts (and shelf space decreases for collectors) as the 10th entry in the Hercule Poirot series appears! has, of course, all the superb production values of the other sets (both the short episodes on VHS and the longer ones on VHS and DVD) with the nearly perfect incarnation of Poirot in actor David Suchet. However even the most rabid fan must admit that two of the three plots are not top drawer.

"Murder in the Mews" is the strongest entry with its twist on "the murder set up to look like a suicide" element. Toss into the salad the caddish Major (James Faulkner), the pompous politician (David Yelland) engaged to the victim, and the best friend (Juliette Mole), and you have all the ingredients for a solid whodunit with a good red herring.

"The Adventure of Johnnie Waverly" telegraphs its solution too early in the proceedings for any interest to build up except for the question of How rather than Who. Also the precautions taken to prevent the crime are too unrealistic for credibility.

"Four and Twenty Blackbirds" again uses a bearded character, which in series such as this one too often means someone in disguise. I am not revealing too much, since Poirot knows this halfway through, but the criminal in this case was simply too careless and there are "too many clues." A nude artist's model with a sense of humor, however, does not hurt.

But mind you, these are still fun to watch as Suchet penguinwalks circles around Chief Inspector Japp (Philip Jackson). ... Read more

Reviews (4)

My favorite SET of Poirots So Far!!
I have all the DVD sets of Poirot - except for #6 which I am fixing to order! I LOVED this DVD the best so far!! Number #5 was so intertaining - and I highly recommend it.

It's great to have "Poirot" on video!
I so enjoyed the "Poirot" series when it was shown on PBS during the 1990's. David Suchet is for me the definitive Hercule Poirot, while Hugh Fraser and Philip Jackson are exactly how I always picture the characters of Captain Hastings and Chief Inspector Japp to be. This "Poirot" Box Set #5 contains three outstanding one-hour episodes. "The Tragedy at Marsdon Manor" is a haunting tale of the supernatural. Young and beautiful Susan Maltravers, mistress of Marsdon Manor, is being tormented by visions of a girl who killed herself years ago on the Manor grounds. I wouldn't like to reveal any more of the plot that, but I would like to mention that in the episode the camera work is a remarkable feature and the denouement is terrifying. "The Double Clue" is a clever story about a theft that occurs during an elegant garden party. Even his romantic feelings for a Russian countess cannot distract Poirot from his first duty, to track down the thief. "The Mystery of the Spanish Chest" is my personal favorite of the three episodes, an OTHELLO-like tale of jealous lovers. In addition to fine acting from each cast member and delightful period sets and costumes, each episode features a musical score that perfectly evokes the mood of the story. Anyone who loves the "Poirot" series will thoroughly enjoy this box set. Check out the other sets and the many full-length (103 minute) "Poirot" features, as well.

Still top notch entertainment
Thanks to Acorn Media, we may very well soon have all the Hercule Poirot episodes available for easy watching, the shorter ones on tape and the longer on DVD. With the arrival of Set 5, we have cases 13-15 from the classic BBC series that was once shown on PBS and currently in shamefully abbreviated forms on a commercial channel.

I have already posted my general comments about this series on the webpages for the first four sets, so let me cut to the chase.

"The Tragedy of Marsdon Manor" begins comically enough with a would-be mystery writer of an inn owner summoning Poirot to solve a baffling case that happens to be fictional. Naturally a real death takes place under what seems to be supernatural circumstances; and the production does indeed create a wonderfully English country manor spooky-ness that makes this worth watching. Never mind that the solution involves all sorts of twists that verge on the incredible; but to invert the aphorism in "Sleuth," this is Inspector Fiction, not Inspector Fact.

"The Double Clue" is exceptional in that it shows Poirot emotionally involved with a suspect, a fascinating (at least to him) Russian countess who might or might not be involved in a series of jewel thefts. Japp is honestly in fear of losing his job unless the thefts are stopped, while Miss Lemon and Hastings do their own sleuthing as Poirot spends time with the countess. "The Mystery of the Spanish Chest" has a plot within the plot, so to speak, rather far-fetched. However, the presence of actor John McEnery and the opening surreally filmed dueling sequence more than make up for any storyline inconsistencies.

Again, it is always instructive to compare these dramatizations with the originals; but the former stand up very nicely on their own.

More gorgeous Poirot adventures
The neat-freak Belgian Hercule Poirot returns, along with the faithful Captain Hastings, blunt Scotland Yard Inspector Japp, and hyper-efficient Miss Lemon.

"The Double Clue" is a bit of a tearjerker--jewels vanish, Japp's job is on the line, and Poirot is beginning to fall for one of the suspects, neglecting his job. Hastings and Miss Lemon attempt to salvage the investigation, but without Poirot they are going to have trouble. The end is sad, and this is the first of the Poirot shows to indicate that Miss Lemon might have more than professional feelings for her employer.

"The Mystery of the Spanish Chest" is a strange story about love, deceit, jealousy, honor, and lots of swords. A man is found stabbed in a "Spanish Chest"--and even Poirot is being checked out. This includes the excellent scene where Poirot, along with a friend, end up dancing the Charleston (with very bad grace)

"The Tragedy of Marsden Manor" is a particular favorite, with an elderly man dying unexpectedly and leaving a beautiful young widow who is being attacked by a ghost. The actress playing Lady Marsden is downright chilling at times, such as when she is staring up at the trees, and this story includes a man asking Poirot to proofread his mystery novel. ... Read more

Reviews (692)

Triumphant celebration of the human spirit
First off, this reviewer regularly rates this movie as his personal favourite of all time. Why only four stars then? Because we are asked to rate the DVD, not the movie, and the criminal lack of DVD extras for one of the best films ever made is shameful. So, film five stars, DVD three - averaging out at 4. Maths lesson over, on with the review.

Based on the Stephen King novella ' Rita Hayworth and the Shawshank Redemption ' this really has become a modern day classic. Other films have grossed more, and may have a more immediate following, but Shawshank will endure for years, and become another 'Casablanca ' loved by generations to come.

The film tells the story of Andy Dufresne, sent to the maximum security prison of Shawshank for the murder of his wife and her lover. Played with an under-stated intelligence by Tim Robbins in a career defining turn, and supported by sterling performances from Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, and veteran James Whitmore. Morgan Freeman's work is particularly notable, not just for his performance ( let's face it, the man doesn't know how to give a bad one! ) but also for the fact that his is the voice of the film. His chocolate-rich tones were director Frank Darabont's choice for the voice-over of the film, as if his character Red is talking to us, and explaining the sub-text of the film. Voice overs often dont work ( Blade Runner being a prime example ) but this one does, perfectly.

Beginning at a slow pace, the film begins with the brutal de-humanising regime meted out to the 'Fresh Fish' as they begin their incarcaration in Shawshank. I remember suggesting my wife watch the film after I'd seen it, and she, being of a considerably more sensitive nature than me, found the early scenes difficult. If you too find the opening 45 minutes a tad heavy going, stick with it - the reward is worth it.

Eventually as we progress through the film, we see how Red's initial suspicion of Andy becomes a deep respect, and eventually a deep friendship, indeed it would be true to say that these two men love each other like brothers by the end. There are a few key scenes that really stick in the memory - the rooftop scene, the opera aria scene, the exam result scene - all of which enable us to begin to like these men, men we probably wouldn't have wanted in our homes before the film, but who we'd happily sit down to dinner with after.

The film's true emotional impact of course comes in the final third as we learn the truth about Andy's guilt or otherwise. True to many of King's works, there is a twist in the end which leaves us all stunned, and with a big stupid grin on our faces. The total and utter defeat of the dark forces in the film is accomplished with such applomb that you find yourself rooting for the bad guys - the prisoners, a bunch of murderers and misfits that two hours earlier you were deeply suspicious of. Indeed the last section of the film plays almost totally without our hero, and remains almost my favourite portion of it. By this time we are crying out for the final fulfilment of our hopes for the characters. It is to Frank Darabont's eternal credit that he accomplishes this in a scene without dialogue, and a sweeping panoramic withdrawl from the characters, leaving us with not a dry eye in the house, and a feel-good glow that lasts for days.

... while in [a local store] I noticed this man and wife trying to decide which DVD they would buy to view that evening. I pointed to Shawshank. "Ever seen this one?"
"No"
"Trust me" I said, "It's the best movie you've never seen." He bought it, and I like to think I made that man and wife cry, laugh and smile that evening.

To conclude, Warner Bros and Castle Rock - SHAME ON YOU! This movie deserves better. The Region 2 version rocks, so get busy, re-package, and give us fans the extras this classic deserves!

One true consensus !
To be honest, sometimes it seems odd that so much people write similar things about this magnificient film, but then again, everybody ,including myself ,wish to express and convey his thoughts and emotions in his/her special unique way.

Hence, I decided to take my time to write a few words . I hope you'll like them (The immediate reason for this is that I'm currently reading the novel,four years after seeing the movie for the first time).

Andy Dufresne. The name evokes nobel feelings in me whenever I hear it.Portrayed so wonderfully by Tim Robbins,it represents so much ; A man who had had everything,lost everthing and,finally, gained everything back.

His character is one of the most inspiring I've ever known. What a man ! An example of the strength of the human spirit, and one basic rule : diligence and patience with a little bit of luck and wisdom can get you anywhere . . . Even outside the walls of Shawshank state penitentiary...

If you've seen it once - see it again ! It never loses it's impact. Watch it whenever you're down and feeling like everything is going wrong .I bet it shall lift your spirit just a little bit higher ,and help you through the crisis .

Review of a review
Whoever wrote the following review, I've got to hand it to you for almost pulling my leg. This is funny stuff, I actually thought you were serious at first. I'm sure they're many ninnies who will put their DVD copy in now and think there's something wrong. Keep it up.

Anyhoo, The Shawshank Redemption is a great piece of work. Better on DVD than in the theaters (unless you get to take that special someone to the last row . Buy it if your internet connection just happens to be down. Of course that last statement was a joke.

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My third submission on this, if you are doubtful, check for yourself. I own the VHS of Shawshank. I recently purchased a DVD player and Shawshank was one of my first disks. I set both the disk and the tape up to play simultaneously, and flipped back and forth to compare the superb quality improvement of DVD. I was in for a surprise. The picture DOES NOT get wider-AS IT SHOULD-and the top and bottom of the picture of the DVD version are ERASED and replaced by the black bars. The other movie I found with this flaw is Jackie Brown. Check out the point where Bridget Fonda "services" Robert DeNiro. On the VHS widescreen version , her "buns" disappear. They are fully visable on the fullscreen version! The top and bottom have been erased on the widescreen version and the picture does not get any wider. I suspect more movies have this flaw. Now that we know what to look for, let's look!
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Great story, wondrously told and acted
At the heart of this extraordinary movie is a brilliant and indelible performance by Morgan Freeman as Red, the man who knows how to get things, the "only" guilty man at Shawshank prison. He was nominated by the Academy for Best Actor in 1995 but didn't win. (Tom Hanks won for Forrest Gump.) What Freeman does so beautifully is to slightly underplay the part so that the eternal boredom and cynicism of the lifer comes through, and yet we can see how very much alive with the warmth of life the man is despite his confinement. Someday Morgan Freeman is going to win an Academy Award and it will be in belated recognition for this performance, which I think was a little too subtle for some Academy members to fully appreciate at the time.

But Freeman is not alone. Tim Robbins plays the hero of the story, banker Andy Dufresne, who has been falsely convicted of murdering his wife and her lover. Robbins has a unique quality as an actor in that he lends ever so slightly a bemused irony to the characters he plays. It is as though part of him is amused at what he is doing. I believe this is the best performance of his career, but it might be compared with his work in The Player (1992), another excellent movie, and in Mystic River (2003) for which he won an Oscar as Best Supporting Actor.

It is said that every good story needs a villain, and in the Bible-quoting, Bible-thumping, massively hypocritical, sadistic Warden Samuel Norton, played perfectly by Bob Gunton, we have a doozy. I want to tell you that Norton is so evil that fundamentalist Christians actually hate this movie because of how precisely his vile character is revealed. They also hate the movie because of its depiction of violent, predatory homosexual behavior (which is the reason the movie is rated R). On the wall of his office (hiding his safe with its ill-gotten contents and duplicitous accounts) is a framed plaque of the words "His judgment cometh and that right soon." The irony of these words as they apply to the men in the prison and ultimately to the warden himself is just perfect. You will take delight, I promise.

Here is some other information about the movie that may interest you. As most people know, it was adapted from a novella by Stephen King entitled "Rita Hayworth and the Shawshank Redemption." Rita Hayworth figures in the story because Red procures a poster of her for Andy that he pins up on the wall of his cell. The poster is a still from the film Gilda (1946) starring her and Glenn Ford. We see a clip from the black and white film as the prisoners watch, cheering and hollering when Rita Hayworth appears. If you haven't seen her, check out that old movie. She really is gorgeous and a forerunner of Marilyn Monroe, who next appears on Andy's wall in a still from The Seven Year Itch (1955). It's the famous shot of her in which her skirt is blown up to reveal her shapely legs. Following her on Andy's wall (and, by the way, these pinups figure prominently in the plot) is Rachel Welsh from One Million Years B.C. (1966). In a simple and effective device these pinups show us graphically how long Andy and Red have been pining away.

Frank Darabont's direction is full of similar devices that clearly and naturally tell the story. There is Brooks (James Whitmore) who gets out after fifty years but is so institutionalized that he can't cope with life on the outside and hangs himself. Playing off of this is Red's periodic appearance before the parole board where his parole is summarily REJECTED. Watch how this plays out at the end.

The cinematography by Roger Deakins is excellent. The editing superb: there's not a single dead spot in the whole movie. The difference between the good guys (Red, Andy, Brooks, etc.) and the bad guys (the warden, the guards, the "sisters," etc.) is perhaps too starkly drawn, and perhaps Andy is a bit too heroic and determined beyond what might be realistic, and perhaps the "redemption" is a bit too miraculous in how beautifully it works out. But never mind. We love it.

All in all this is a great story vividly told that will leave you with a true sense of redemption in your soul. It is not a chick flick, and that is an understatement. It is a male bonding movie about friendship and the strength of character, about going up against what is wrong and unfair and coming out on top through pure true grit and a little luck.

#2 RATED MOVIE ON THE IMDB (AND FOR A REASON !)
Great film with classic and quotable lines. The narration by Morgan Freeman is also superb. Many touching moments which is specially odd in a prsion movie.
Highly recommended. ... Read more

Reviews (68)

Mark, from an era forgotten
I do think something is lacking here. The sequel is not available. Uh, would you by Star Wars and forget about the Empire Stricke Back, I think not. To the distributors, get II on the street, it will sell especially to those of us that not only like it, but also belive a set should be complete. Get the DVD to the fans.

Having read all the reviews I agree this is a great movie and I think some modern so-called musicians should take a hard look. Eddie was all about the music and the way it was created and played (even in the sequel). He wrote it and performed it as a real musician should. It had nothing to do with the show and everything to do with the quality and message the music was relaying. It may only be a movie, but it realys music of its time. Modern singers (most at least)--not musicians-- have lost sight of the meaning of musical creativity. Now it is all about putting on the show. I may be out of touch, hey I have seen STYX 5 times since they regrouped--they still get large crowds and still make music. Bands like that don't take their clothes off, don't have dance numbers, don't kiss on stage, don't have plastic surgery to attract a crowd, and don't hide behind someone elses skill. Bands like that write, create, and perform their own music. They don't hire bands and writers, they are the bands, they are the writers/creators of their own music. Maybe that is why we still listening to the Beatles and Led Zeplin and for the most part forgotten about performers like Britney and Christina. Once the get older and the appearance/persona has gone so have they.

One of those nostaglic gems that captures the times
As the Cruisers walk into Tony Marts in Somers Point NJ and tell Tom Bereger to tell the manager, "The cruisers are here," I did a double take. From the age of 16, Tony Marts was my favorite hangout! (Yeah, the drinking age was 21, but I was a tall kid and no one asked for ID). So, you know I love this movie. I have probably watched this movie two dozen times and shown it to all of my friends and dates. To a person, they fell in love with in (and not surprisingly Eddie Lives the sequel, charming for its own music. Michael Pare captures the role and until one night that I watched the movie and then went out to see Beaver Brown (the real band) perform the same music, I was convinced he was singing and still don't get distracted by the lipsynching. Enjoy this wonderful movie, don't over analyze it and, well, if you spend your childhood on the South Jersey shore (Ocean City across from Somers Point) in the 1950s and 1960s as I did, it's real special.

A Really Great Movie!
I'm guessing that this was a B-Movie which grew into a cult film, and I'm glad that it did!

This movie really manages to pull you into a fantasy- where Eddie Wilson was 15 years ahead of his time...and nobody can find the missing tapes, of what WOULD have been his next album- had he lived.

A news woman interviews the remaining members of Eddie's old band, to try and shine some light on the mis-understood stories, the blurred memories and complex ideas.

To enjoy this film, you have to ignore the REAL history of rock n'roll and pretend that THIS is how it went. It was well paced, the acting was good and the music fits!

As for DVD extras...you don't get very much, but that doesn't ruin this classic movie, now does it?

ROCK ON, EDDIE!!!!!

Disagree with Amazon Review!
This film is a fantasy!! Pretend! And.. wonderful! Have seen it countless times and it always manages to evoke so many positive feelings, it's impossible to list. The "Editor's Review" says the story is impossible to accept- I disagree!! It's fun and I love it..again and again! No problem here!

Also have to put in my vote to those who are holding up the release of Eddie and the Cruiser's 2...what's in the way of this release? Work it out!!

Eddie and the Crusiers II Eddie Lives
I totally agree VHS is old school DVD is the new way to go.I have the original Eddie and the Crusiers on DVD and would love to have Eddie Lives on DVD. If the original can be on DVD why not Eddie II...Bring it out on DVD ... Read more

Amazon.com

The first of 1997's volcano disaster movies (the second being Volcano) was arguably the better of the two, but both of them made for passable entertainment with some spectacular special effects to serve as icing on the stale cake. After all, Dante's Peak doesn't pretend to be anything more than an updated variation on a whole catalog of disaster movie clichés. Despite all that, it's reasonably enjoyable. It's an added bonus that the script is just smart enough to allow Pierce Brosnan and Linda Hamilton to play their roles with straight faces, never condescending to the audience of the formulaic story. He's a volcano expert from the U.S. Geological Survey, and she's the mayor of a cozy Washington State town perched beneath a volcano that's about to blow. Telltale signs are everywhere, so evacuation must be carried out immediately. Of course, not everybody's eager to leave, and even some of Brosnan's colleagues think his alarm is premature. This sets the stage for massive ash clouds, rivers of raging mud and molten rock, flattened forests, and death-defying escapes by Brosnan, Hamilton, and some (but not all) of her family, friends, and townsfolk. So what if it's all pretty flaky... and can a four-wheel-drive vehicle travel over fire and molten lava without bursting its tires? Don't ask too many questions, and you'll find Dante's Peak to be (if you'll pardon the pun) a total blast. The Collector's Edition DVD includes a documentary about volcanoes, Getting Close to the Show, in addition to behind-the-scenes footage, exclusive coverage of the creation of special effects, and audio commentary with director Roger Donaldson. --Jeff Shannon ... Read more

Reviews (99)

An explosive treat!
Dante's Peak seems like the ideal place to live... the serenity of the mountainous landscape and the friendly atmosphere seems to wipe out the fact that the town is nestled at the base of a dormant volcano. However, when the U.S.G.S. begins to pick up signals from the volcano that indicate a possible eruption, they send Harry Dalton (Pierce Brosnan) to investigate. While there, he befriends town mayor Rachel Wando (Linda Hamilton) and informs her of the risks. When he begins to get the city council into an uproar, his advisor shows up to cool things down and wards off any ideas of an eruption. But the symptoms begin to grow, and soon, ash and rock are flying in the sky as the mountain explodes upon the small township. It's a race for survival for Dalton and Wando, as they must search for Wando's children and get them out before the impending final showdown with the volcano. Digital Domain's special effects contribute so much to the story, making it real and placing its characters in real peril. Suspense, action, romance and a terrific cast make this disaster movie a winner. The DTS version is remarkable, and it is recommended that this be the version you buy.

Fun and intense action!
Action, suspense, and intensity abide in the effects-driven disaster film "Dante's Peak," a movie that will leave you awestruck and numb. I was completely enamored by almost everything the movie had to offer, even if some of the scientific information was a bit far-fetched to make room for the plot's twists and turns. Actors bring life and a human factor to the movie, but the real action lies with the astounding special effects used to bring a volcanic eruption to vivid and detailed life.

When seismic readings and graphs point to some geologic activity going on around the small town of Dante's Peak, the United States Geological Survey sends volcanologist Harry Dalton to investigate the possibilities. His arrival brings a silent tension on the town, which becomes voiced when he, along with Mayor Rachel Wando, come across two badly scorched bodies in the local hot springs. Dalton believes that the volcano may be "waking up" from a dormant period, but his boss shows up to calm his theories and instill calm back into the town council. Of course, the movie points in all directions to the impending eruption, in subtle ways that the characters have no interaction with.

From here, the group of scientists begin taking samples, surveying the landscape as well as taking helicopter trips into the volcano to determine if the recorded activity is of any consequence for worry. Meanwhile, Harry and Rachel get close, and their delicate relationship is put in the balance when the warning signs become more fervent, forcing them to call an evacuation of the entire town. But it comes too late, and soon everyone is fleeing for their lives as the mountainous volcano begins to spew hellfire and ash into the air, destroying the landscape and casusing massive destruction that stands in the way of Harry and Rachel's escape.

"Dante's Peak" follows a very well-known pattern for the duration of its plot: a situation that has implications of disaster is presented, one person knows what it going to happen but no one listens, and then all hell breaks loose. This movie carries off this particular structure quite well: it starts out slow and then speeds up to full speed, never slowing down and heightening the suspense given us by the incredible action sequences, smart dialogue and intense and vivid special effects that are the showcase of the movie. I found myself cheering it on in places, becoming completely enamored with what was going on, and satisfied with the final outcome of the movie.

The special effects for this movie are stupendous, and add a lot to the atmosphere the movie portrays. From the moment the mountain begins erupting, the effects give us the feel that everything is larger that life, from the volcano itself to the large, expansive cloud of ash that spreads across the sky and keeps the sun from penetrating. The nice thing about this film is that most of the effects are done with miniatures, giving it a mucher richer look than if it were only done with computerized effects. The sound is incredible, bass-heavy and prominent in wrapping us up in the action. All of these elements at work put us right in the middle of the film, bringing us into the experience as we hold our breath for the next new twist.

The scientific aspect for this movie is, for the most part, authentic, and while there are certain liberties taken, it is evident that the filmmakers wished for it to be as true to life as possible. Dalton throws out a lot of technical terms and phrases, making the sincere and believable. Allusions to eruptions and catastrophes of the past give the movie a sense of foreshadowed doom, while also keeping the suspense building. The overall effect this portion of the plot will have on you is overall intellectually backed up by facts and data, which keeps the movie real to life while keeping it moving.

The two main leads for the film are excellent in their roles, adding a lot to the experience. Pierce Brosnan is the ideal Harry Dalton: rough, rugged, and totally charming. He has the image of a loner who is looking for the right person. He also has a starkly emotional human side to his personality, as is shown in the beginning sequence when he loses his fiancee in a volcanic disaster. Linda Hamilton, playing Rachel, has a complex role of leader, damsel and mother. She does all three of them at different points, and her ability to combine her performance into all of them makes her performance the best of the film.

"Dante's Peak" is the kind of movie you watch with eagerness for the next scene, and then when it's over, all you want is more. The action comes to a screeching halt, and you've been throttled with so much of it already that to have it stop is murder. The movie is one that shakes the senses, and makes us believe in movies that have romance, suspense, intense action and rousing suspense.

Excellent movie with a realistic twist.
Many seem to have hashed "Volcano" which came out around the same time as "Dante's Peak" and it's a shame because both of them are highly realistic and te things that happen in them could literally happen in real life. Both of them are really excellent disaster flicks and are enough to really make you 'think' but even then they deliver incredible amounts of entertainment. In all honesty though, "Dante's Peak" is more realistic and has a more compelling twist to it due to the volcano's more destructive power.

In this case, a small town is thriving in the mountains of Washington state and has recently been declared one of the best places to live in in the United States. Dr. Harry Dalton, a scientist is sent to the vicinity to survey unusually high geological activity but one day he makes an alarming discovery that the volcano that the town sits on the base of, has come back to life and geological surveys have cofirmed that Dante's Peak is about to erupt in a cataclysmic eruption and wipe out the town and it's people. Rachel Wando, the town's mayor along with Dalton now must try to evacuate the town before the volcano erupts but their safety is stifled by their economic interests.

This is a really excellent and highly compelling movie. The special effects are absolutely thrilling and highly realistic and the movie's plot and script are very good. The lava and plumes of ash and dust are highly realistic looking and scary to watch as the volcano starts spewing out it's contents into the atmosphere and surrounding vicinity. The characters are excellent even though the acting could've been a little better but the acting for the most part is excellent by almost if not the entire cast.

I was thrilled to see this on the big screen because I have had a longtime fascination with volcanoes for almost my entire life and "Dante's Peak" succeeds in delivering a thrilling tone and is very enjoyable for most of its length. The DTS edition is absolutely incredible because the sound quality is a gargantuan improvement on both the VHS and older DVD editions and if you have a stereo system with speakers all around you, then hook them up and the surround audio speakers will make you feel almost like you're back at the movie theatre with the awesome sound quality.

If you can, get this movie whenever possible because it is a really excellent natural disaster thriller and delivers far more scares than these so called 'horror' movies because most of them are just mindless gorefests that are more gross than scary but "Dante's Peak" is scary because it is so realistic and such things could happen and could turn out much worse. For example Mt. Rainier near Seattle could erupt at any time and cause a lot of damage nearby and Seattle may be choked with dust if a full blown eruption occurs even though the city and most of its suburbs would pull through relatively unscathed apart from having a snow of volcanic ashes but it could cause social instability. Even Mt. St. Helen's caused a great deal of destruction and wiped out a large amount of forests around it. "Dante's Peak" is an excellent movie that should not be passed up. End of story.

Thar She Blows
Ever since seeing the preview, I have wanted to see Dante's Peak. While waiting for it to be released, a second film called Volcano suddenly popped up. Dante's Peak had Pierce Brosnan (playing a character named Dalton) and Volcano had Tommy Lee Jones. Peak also had the creative talents of Michael Crichton. Volcano had none. But, having finally seen Dante's Peak I have to say that Volcano was the better movie.

Brosnan is part of a national team that keeps an eye on volcanic activity. He is sent to the town of Dante's Peak to see if there is reason for further testing. He goes, he looks and he becomes convinced that the sleeping volcano will blow sometime soon. Unfortunately he has no real evidence. The rest of the team arrives and they can find no justifiable evidence. Guess what? Brosnan is right and the volcano blows. There is a rather amusing scene where in order to survive the shockwave, Brosnan and the town's mayor must seek shelter in some unstable mines (an idea that only works when the alternative is certain death). In the end there is no town but almost no casualties thanks to Brosnan and the rest of the team.

The scenes with the volcano erupting were quite spectacular but they were not enough to carry the film. It is an almost intellectual endeavor as opposed to the pulse-pounding of Crichton's previous film Twister. Obviously meant to ride the wave of Twister's success, Dante's Peak fails to make the grade. In Twister we cared about the research team and their work. In Peak all we are concerned with is how soon everyone will be convinced the volcano is unstable. Plus, several twisters buoy up a film better than one volcano (unless handled as it was in Volcano). So go ahead and see Dante's Peak if you want but you will probably agree that there is something just not right.

Gripping!
While it contains remarkably realistic special effects, those who have been told that "Dante's Peak" is merely a piece of "eye candy" can consider themselves among the woefully misinformed. It isn't a simple sugar-coated snack to be consumed and hastily digested; it is an elaborately composed symphony of a film. It contains riveting performances, breathtaking locales, a captivating love story and an extremely agile dog. Thus, the "eye candy" label would be ill-suited for this particularly film and more properly directed at other assembly-line disaster movies. Reader, I assure you, after one viewing you will understand: to watch "Dante's Peak" is to have your retinas treated to 109 minutes of cinematic fillet mignon.

The story involves the charmingly quaint town of Dante's Peak and its charmingly quaint inhabitants. While the town is the embodiment of peace and tranquility, there is trouble brewing beneath the surface. Geologist Harry Dalton (played with unwavering masculinity by Pierce Brosnan) and Mayor Rachel Wando (played with unwavering masculinity by Linda Hamilton) believe the town in danger of being destroyed by an unexpected eruption from the presumed-dormant neighboring volcano. Their quest to rescue the town meets resistance in the form of a stubborn city counsel, Dalton's ignorant boss and, of course, an enormous volcano.

It should be noted that "Dante's Peak" is the perfect star-vehicle for Pierce Brosnan. He is pitch-perfect as the resolute Dalton. In fact, it occurred to me while watching the film that nobody other than Brosnan could have played the role (he just looks like a "Harry Dalton," doesn't he?). In the face of Mother Nature's wrath, Brosnan provides the searing rivers of magma with a worthy human adversary. Early in the movie, his character is introduced vigorously doing a grueling set of pushups. Seeing this, we immediately think, 'The volcano doesn't stand a chance.' Indeed, Brosnan is a force of nature all his own.

The film itself is an uplifting one; a tribute to the human spirit. The only thing which disappoints me is that a sequel has yet to materialize. Years have passed since the film's initial release and it has failed to escape the consciousness of movie-goers. "Dante's Peak" has given us such rich characters and wonderfully-realized scenarios, who wouldn't want to witness the further exploits of Harry Dalton & Friends? Personally, upon first viewing the film, I envisioned a trilogy. I could imagine a sequel where the U.S. government calls Dalton out of retirement to stop the potential volcanic eruption of Mount Rushmore. Perhaps in the third installment Dalton & Co. could be thrust into the deep unknown of outer space as they investigate the unusual seismic activity of a dormant volcano on Mars. These sequels, I believe, would prove to be lucrative for the studio while also satiating the overwhelming public thirst for more "Dante's Peak."

Regardless of how many sequels are made, the original film will always remain a classic. A skillfully-crafted spectacle filled with wonderful performances and indelible images, you don't have to be a geologist to realize that "Dante's Peak" is a gem. ... Read more

Reviews (41)

This is my favorite movie!!!
I've seen it so many times I could almost play each part. In fact, it comes on this afternoon on Showtime. It's a continuing story of Delores Van Cartier aka Sister Mary Clarence (Whoopi Goldberg) who uses her gifts of music and determination to keep a school open as well as change the lives of all those her life touches. Great music, great humor and drama. Lauren Hill (pre-Fugees) is in this as well as Jennifer Love Hewitt and Monica Calhoun if you look really, really carefully. Buy it, enjoy it.
Hey, maybe you'll catch it on Showtime during one of it's airings. I'm positive when it's over, when you can finally stop yourself from humming one of the great tunes, and possibly put down your tissue (I cry EVERY TIME I see it)( and baby, I've seen seen it so many times that I've got ot turn it off when my husband comes home because he says "Are you watching that again?) You will say "I wish I had that movie!" So get it so you'll have no regrets!

Fantastic sequel
Though there is room for improvement with regards to the story line, this movie delivers what I most enjoy in a film. The acting is superb, including the minor cast roles. The music is absolutely fantastic!...Lauren Hill and Ryan Toby steal the show with their voices. The plot, though quite simple and predictable, is believable. Many of the scenes are very moving, including the ending sequence involving Lauren Hill's character, Rita, and her mother.

Overall, this is a great family movie that everyone can enjoy. The comedy is simple enough for children to understand, and there isn't one scene in the movie (that I can recall) which is inappropriate for all ages. Like a few other reviewers, I've found that I long to hear a few of the songs from the movie when I need cheering up.

If you enjoy good, clean family movies, you can't go wrong with this one.

Part 1 was Great..Part 2 Wasnt.
SAw it in the movies.... Fell asleep midway... All the magic from part 1 which was AWESOME...was lost. Boring story... They should have left it at part 1.

So much fun!
FANTASTIC sequel! Just as enjoyable, if not more, than the first! All of the musical numbers are glorious!! A successful sequel all the way!

Loved it
I've read all of the reviews on SA2 and it is quite obvious this movie is not for everyone, however, if you enjoy "feel good " movies , this is for you. The storyline iis quite predictable, the acting is good , but the music is a delightful bonus,just wish there was more of it. I know that if I'm feeling a little down, I can pop in this movie and feel better. ... Read more

Reviews (223)

The Citizen Kane of musicals
So many films in my collection are "important", "serious", "disturbing", or "great", and as much as I treasure them (films like Citizen Kane, Vertigo, and Ran), there is only so much self-importance a person can take before the pores fairly scream out for something just plain fun; something slight, buoyant, silly, and full of energy. Singin' in the Rain is just that kind of movie. The funny part is, I generally HATE musicals!

In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly.

But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art.

If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals).

My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff.

Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.

THE GREAT AMERICAN MUSICAL
Once upon a time there was a place called HOLLYWOOD. It wasn't just a town or even an industry, it was a state of mind. They didn't call the studios Dream Factories for nothing. This film is the epitome of the musical art and craft. This is a real "Movie Movie," made entirely on the MGM lot. The real creme de la creme of MGM contributed to it's creation; produced by Arthur Freed, starring Gene Kelly (with a brilliant turn by the dazzling ,long-legged Cyd Charisse), contract players like Debbie Reynolds and Kathleen Freeman (still going strong, currently appearing on Broadway in "The Full Monty") with costumes by my favorite designer Walter Plunkett (Gone With The Wind, 7 Brides For 7 Brothers, etc). Check out the sumptuous designs for the "Beautiful Girls" number and the outrageous spider dress at the opening night party. The real lowdown is that Jean Hagen and Donald O'Connor practically steal the show from the leads in possibly the best performances of their careers. This film is pure joy. The script by Comden and Green is not only clever but actually goofs on a real period of transition of the American film from silent to talkie.It is also a brilliant job of recycling a trunkload of old songs. This happy film has the courage to do what American musicals and comedies do best: be silly and make you forget you troubles for an hour and a half. Next time you are in bed with the flu or trying to get over a miserable love affair, take a look at Singing In The Rain. It can't help but curl up the corners of your mouth and drive the clouds away.

Wonderful Musical with Terrific Dancing -- a Trifle Dated
"Singin' in the Rain" is the definitive Hollywood musical, and charms and delights our 21st century audiences despite the (very few) characteristics of the genre that don't hold up quite so well.

There are so many high points to this movie -- the amazing cast, the songs, the choreography, and, most surprisingly, the satirical send-up of Hollywood and the "star system."

The plot is well-known. Silent film star couple, Don Lockwood (Gene Kelly, who also co-directed with Stanley Donen) and Lina Lamont (Jean Hagen) are America's sweethearts. At a Hollywood premiere of their latest romance, breathless fans ignore sidekick Cosmo Brown (Donald O'Connor, in perhaps the best sidekick performance in film history) and scream in delight as Lockwood and Lamont pander to their adoration. Nobody, however, seems to notice that the gorgeous Lamont never speaks . . .

Her imposed silence Lamont has a voice that recalls a cat with its tail caught in a wringer, although Lamont is such a "dumb blonde" (bless Hagen -- nobody ever played this stereotype better!) that she is blissfully unaware of her screech. No matter, 'cause it's the silent film era, right? Wrong! Progress brings in "The Jazz Singer" and the era of "talkies." No longer will clever staging of press events suffice.

Soon, Don Lockwood is staring career meltdown in the face as the first Lockwood-Lamont "talkie" sends the audience into hysterics. Not only is Lamont's screech audibly offensive, they can't keep the sound synchronized to the film, and the sound editing even when in synch is as amateurish as a high-school film production.

What to do? Fortunately, Lockwood had fallen for young, beautiful Kathy Selden (a teenage Debbie Reynolds), a starlet in the making. Cosmo comes up with the idea of dubbing Selden's voice for Lamont's, and all is fixed . . . or not. Lamont, an imbecile but smart enough to know her value, insists on ruining Selden's career to preserve her own . . . and so on and so forth.

The plot, ingenious as it is, is really secondary. The main delight in this movie is the amazing dancin' and singin' that the performers offer up. While most of it is pretty silly, campy stuff (particularly the Kelly-O'Connor set pieces), they simply dazzle. Kelly is the most robust, athletic dancer of his generation, and O'Connor, well, the man doesn't have a bone in his body. While the movie's most famous scene comes from Kelly splashing in puddles during the title track, the most amazing dance number has to be O'Connor's comic flailings in "Make 'Em Laugh," where he runs up walls, flirts with a mannequin, and generally pulls out all stops.

Debbie Reynolds does a magnificent job keeping up with these two giants, and is generally a pleasure to watch, even though she's clearly outclassed as a hoofer.

While some great old films seem to get better with age (think "Casablanca," "Gone With the Wind," and "Citizen Kane"), "Singin' in the Rain" is an American classic that does not hold up quite so well in some minor respects. For example, when breaking into choreographed step, Kelly, O'Connor, and Reynolds sometimes appear too rigid, with smiles frozen on their faces, which is incongruous to those raised on more modern musicals like "Moulin Rouge," where the dancers take a more naturalistic, emotional approach to their dancing. The dancing in "Singin'" holds up, but the performers were constrained by the expectations of their audiences, which somehow demanded that the performers "look pleasant" while dancing.

Still, "Singin' in the Rain" remains one of the best tonics to a foul mood ever . . . I defy you to watch this movie and not feel a smile creeping over your face.

The Best Musical Comedy Ever Produced!
I fell in love with this film when I was seven years old; I watched it on a B&W television on "The Early Show" in NY (circa 1957 or 1958). I didn't know who any of the stars were - it didn't matter. It was magic to me. From the Hollywood opening (dignity, always dignity), the romp of the elocution lessons (Moses supposes his toes are roses!), and the trial and mostly error of trying to record the sound ("I can't make love to a BUSH!") when the gorgeous leading lady has a voice that rivals nails on a blackboard, all the way to the grown man dancing in the rain and the final rising curtain - pure magic. In glorious black and white - at the time, I didn't even know it HAD colour! I decided then and there, this was my absolute all-time favourite movie. (One of the highlights of my adult life was seeing this wonder on a full, big screen at a revival in the 1970s.) I have seen many films since then; I have reviewed them for friends & family, written reviews for a monthly entertainment publication. I have an extensive collection of my own (VHS & DVD). I know a lot more about films and production values now.

"Singin'in the Rain" remains my all-time favourite film. (No surprise, this.) It's not just another one of "those MGM musicals." It was released in 1952. Dated stuff? Not a bit. Unlike the marvelous "An American in Paris," which was done as a contemporary film to its time, "Singin' in the Rain" is a period film, and it's based in fact.

This film (which started out to be a western for Howard Keel) takes a fond and loving look at the birthpains of the sound film (the "talkies). Set in 1927, with authentic equipment from MGM's own history (Debbie Reynolds drives Andy Hardy's old jalopy, the microphones are real), it details the frantic efforts to get on the sound bandwagon - no one was completely sure of the new technology. What makes the plot classic is the basis in fact. Many silent stars had totally unacceptable voices or speech (too nasal, unintelligible foreign accents, too high, too low, etc.) for sound production. The songs used were true to the period.

Then we have the performers. Jean Hagen was nominated for an Academy Award for her role of Lina Lamont. The character (whose voice you don't hear for the first 10+ minutes of the film, although she's on-screen) is a one-of-a-kind. [Side note: the voice dubbing Lina's line is actually Hagen's normal voice, not that of Debbie Reynold's Kathy Selden.] Reynolds does an admirable job - it couldn't have been easy keeping up with her two male co-stars. It's still a joy to see Donald O'Connor's "Make 'em Laugh," and wonderful to see Gene Kelly teamed with a good male partner for "Fit as a Fiddle" and "Moses". Gene Kelly is, and always shall be, the best and this was done at his peak.

Of course, for anyone who has been living in the back of a cave under a rock (or too young to appreciate it), the title number is a delight. It looks like one continuous take, it is so smooth. This was not the first appearance of the song, but it's the one we all remember. The sheer exuberance of Kelly's performance carries us right along with him.

The extras with this set are valued items for anyone like me who is interested in the backstory of the era and this film in particular. And don't fuss for a widescreen version. This is the way it was. And now it always will be.

Thoroughly entertaining musical
I have to say first of all that I am *not* at all a fan of musicals (or comedies for that matter) - I am a drama fan. I have seen a few musicals here and there over the years and tried to like them - such as 1964's "My Fair Lady" and 1961's "West Side Story." I liked both of them *somewhat,* but not too much - because I have always strongly preferred films that are realistic --> in real life, people don't burst into song when they are in one particular circumstance or another. Yet, I couldn't help enjoying myself with a smile on my face as I watched this film that landed so high (#10) on AFI's list of the top 100 American films of all time. Donald O'Connor, in particular, as Cosmo, was so perfectly cast in his role. The film was at times hilarious and at times wonderfully romantic. I definitely would recommend everyone to try this film out. B+. ... Read more

Reviews (37)

Strawberries, anyone?
"The Caine Mutiny" follows the story of the men aboard the minesweeper U.S.S Caine during the period of 1943-44 in the pacific war. After the Caine is assigned a new captain, Philip Queeg (Humphrey Bogart), the officers begin to get suspicious at various acts that the captain does: His attention to small details such as shirttails and erratic behavior like rolling ball bearings in his hand when he's nervous and the spouting of catchphrases like "I kid you not". His behavior reaches a climax during a typhoon. Executive Officer Maryk (Van Johnson), after being advised by some others, relieves the captain with the firm belief that the ship would founder with Queeg in charge. Now Maryk has to defend his actions in a court martial.

It may seem surprising today, but at the time of this movie's release, Jose Ferrer was one of the hottest actors around. He was already an Oscar winner for 1950's "Cyrano de Bergenac". Here, he plays Lt. Barney Greenwald, who is assigned to Maryk's defense, but isn't so enthusiastic ("I've read the preliminary investigation very carefully and I think that what you've done stinks."). He came off to me as a competent defense attorney who was just waiting for the moment to strike. And although the evidence that backs up Queeg and goes against Maryk is overwhelming, Greenwald is able to break down Queeg in court, validating his instability and allowing Maryk to get off only with a reputation as a "mutineer".

My favorite performance is Fred MacMurray as Lieutenant Keefer, who doesn't think too highly of the Caine, even being cynical towards it ("The first thing you've got to learn about this ship is that she was designed by geniuses to be run by idiots.") And, though not a psychologist himself, he is also the one who raises it to Maryk's attention that Queeg may be nuts. Since he also contains hammering the idea at Maryk, it makes one assume that he would be willing to go all the way by alerting the top navy brass. But we soon learn that he is nothing but a scheming coward. He plants it in the men's minds that the captain is crazy, yet has "A yellow streak 15 miles wide". And when he is called to testify, "He never even heard of Queeg" as Greenwald remarks. At this point, we turn from disliking his cynicism to hating his guts. MacMurray, I thought, played this role so well and very convincingly. Surprisingly, he never got Oscar nominated for any of his performances. Perhaps the academy thought that this actor-who's most well known as the father on "My Three Sons" and had a track record in light comedies- wasn't prestigious enough to win the gold. It's like his against type roles in "Double Indemnity", "The Apartment" and this movie never existed!

In the beginning of the film, we tended to dislike Queeg because he's a nut. He has the ship steam away from a combat mission, he orders no more movies to be shown, has constant practice drills and, when some strawberries turn up missing, has the ship searched and basically ripped apart in a futile search for a "duplicate key to the icebox". But at the end, when Keefer's plan is revealed, when sympathize with Queeg at how he was used and mistreated by his crew. For had the crew supported and helped the captain when he asked for it, things might have turned out different in the typhoon. This is one of Bogart's better roles, maybe his last great one, and it netted him his last Oscar nomination. He made only about 3 or four other movies after this one, with the last, "The Harder they Fall", being released in 1956. In February 1957, Bogart died of complications from throat cancer.

If there is one problem with "The Caine Mutiny", it is the romance plot between Ensign Keith (Robert Francis) and his girlfriend May, played by May (Coincidental?). Keith's character is the first we are introduced too in the film. His involvement in the film is sort of like that of the newsreel reporter in "Citizen Kane": He serves as a guide, a plot device to the events that follow. And only a handful of scenes are dedicated to Keith and May. However, these end up in the way of the much more exciting action involving Queeg and the other officers. I have read Herman Wouk's novel and am aware that this wasn't manufactured for the film, but was actually in the book (And was the main plot, if I'm not mistaken). This shows how much the screenwriters tried to remain faithful to the book. But the only way the movie could have been truly faithful to the novel would be if it had been two and a half or even three hours long. With a roughly two-hour movie, the writers should have figured out what was more important to focus on. If they had either dumped or worked out the romance plot better so it fit more into the plot, the movie would have been even better.

Otherwise, "The Caine Mutiny" is a great film, one that many persons can find something to like. Naval buffs will enjoy beautiful shots filmed aboard naval destroyers at port and sea to represent the DMS Caine. Fans of court room dramas will find a very tense, well played one that'll satisfy them (Though a 1988 T.V movie, "The Caine Mutiny court-martial", was said to do a better job. But having not seen that, I can't form an opinion). Bogie fans will most likely judge this one of his career highlights. And skeptics of Fred MacMurray's talent will be put to rest. Add in a supporting cast that includes Tom Tully, E.G Marshall and Lee Marvin, you have great entertainment, I kid you not!

Intrigue, manipulation and hard choices. A great film!
The 1954 classic is about a naval captain who shows signs of mental instability and the resultant actions of the men in his command. It's not as simple as that, however. The characters are the key to the story, each one developing in front of our eyes into complex individuals with moral dilemmas to confront. There is Humphrey Bogart, cast a Captain Queeg whose decisions are no longer respected by his men. There's Fred MacMurray, cast as a smart and manipulative lieutenant. There's Van Johnson, cast as the lieutenant on whose shoulders the responsibility falls. There's Robert Francis, the young ensign whose perceptions change in front of our eyes. And then there is Jose Ferrer, cast as the attorney who defends Van Johnson when he is put on trial for mutiny. Put them all together in a fast paced script with enough twists and turns, and I couldn't take my eyes off the screen.

The special effects, of course, are nothing like they are today. But they were certainly enough. I wasn't thinking about the special effects as I watched the film. I just simply felt I was on that ship. I wasn't thinking about the actors' performances either. Instead, I was so totally involved with the story that I felt I was actually in the skin of each of the characters. Just like real life, the situations were never crystal clear and each choice that was made opened up new challenges.

These were challenging roles for all the actors and they rose to the occasion magnificently. I'll never forget the twitch in Humphrey Bogart's cheek or the way the lighting captured the white of his eyeballs. I'll long remember Fred MacMurray's speculations and the kind of choice Van Johnson had to make. Robert Francis was good, but not as great as his co-stars, and his role was hampered by a silly romance. This was a strong film, though, and this small diversion didn't matter at all.

Even though this film was about the military, I can't classify it as a war film. Here, there was no enemy but the men themselves and the choices they made. It's a wonderful theme and has the classic universality to it that can adopt the lessons it teaches to a wide variety of situations. I give it one of my highest recommendations. Don't miss it!

"Ah but the strawberries - that's where I had them..."
The crew of the USS Caine resents Captain Queeg, who places the blame for a series of blunders and petty infractions on the crew. Such instances include cutting their own target tow-line while Queeg berates a crewman for having his shirt untucked, and later and most famously, interrogating the officers for the apparent stealing of some strawberries.

The mutiny results when, in a life-threatening storm, Queeg freezes up and does not give the order that would save the ship. At that point he is relieved of command by Van Johnson.

Later at the court-marshall Johnson is defended by Mel Ferrer and prosecuted by EG Marshall. But was Queeg torpedoed by the crew with insubordination and lack of respect, or did Queeg go off the deep end? Queeg's paranoia comes out in full force, complete with marbles.

Based on Herman Wouk's best-selling Pulitzer-winning novel, the movie arguably has Bogart's best performance which was one of seven oscar nominations. Look for Claude Akins and Lee Marvin in small roles. Only the unnecessary love-story between a new ensign and his girlfriend detracts from the otherwise intriguing story.

Way To Go, Pinntinajeur
In early December some guy (or girl) named Pinntinajeur reviewed this DVD and complained about the price. Not less than month later that price was reduced by $10!!!! Way to go, Pinn! I'm not saying he/she was totally responsible but who knows, maybe he/she is.

Great movie, lousy DVD
The Caine Mutiny is a great film and featurea one of the best performance of Humphrey Bogart's life. That's high praise considering the quality evident in his body of work but he really delivers the goods in The Caine Mutiny. The film benefits from other strong perfomrances as well. Jose Ferrer, Van Johnson, Fred MacMurray, and others all rise to the level of the unusally intelligent script. The result is a fancinating character study that I would recommend to anyone.

As good as the movie is, however, the transfer to DVD is about the worst I've ever seen. The moment the movie started, I was stunned by how much noise was evident. I wasn't looking for it or analyzing the picture, it jumped out because it was so extreme. Every face, every object, every thing was literally swimming with digital noise. And the sound is as bad or worse. No effort was made to re-master the soundtrack to even rudimentary surround sound making this the first movie I've seen in years to be presented in basic stereo. In addition, the sound is flat throughout, with even big explosions lacking punch.

The Caine Mutiny is a classic film and deserves much better treatment from the studio. As a movie, I would give it 5 stars but I deduct one for the extraordinarily poor picture and sound quality of the DVD. ... Read more

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