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The Catalog of Cool describes Green Acres this way:

To be truly cool, one must genuinely understand the uselessness of logic and reason in a world gone mad.... Eddie Albert (ostensibly sane) spent six seasons appealing to the whacked out citizens of Hooterville to behave in a rational and orderly manner. Naturally, he got just what he deserved--the gradual erosion of his own mental stability. Aficionados of this show like to call it surreal. I call it real life.

Among the season's other episodes, in "The Day of Decision," all of Hooterville wonders whether "she will" or "she won't" as Lisa chooses between life on the farm or returning to New York. In "Never Look a Gift Tractor in the Mouth," Hooterville is beginning to look like Peyton Place when Doris Ziffel (Barbara Pepper) becomes convinced that her husband Fred (Hank Patterson) and Lisa are having an affair. "Lisa Bakes a Cake," in which Lisa lists Oliver in the phone book as an attorney, is about as flat and heavy as one of Lisa's infamous creations. --Donald Liebenson ... Read more

Reviews (73)

Funny as Heck......
I didn't hesitate to buy this thanks to the VERY reasonable price. I loved this show as a kid in the 70s so when I started watching the episodes in order on this set I was at first a little concerned that the show wasn't as funny as I remembered it, then around episode 15 it starts to truly resemble the wacky show I remembered as a kid. So if you're new to the show just keep in mind it took the producers a while to get their footing.

It's been said that GREEN ACRES was critically unappreciated when it originally aired and I can't say for sure if that's true but I do know the show is overflowing with priceless character actors, including Sid Melton, Mary Grace Canton, Alvy Moore, the incomparable Pat Buttram, Hank Patterson and last but not least the incredibly funny Barbara Pepper as Doris Ziffel.

I've seen some websites complaining about the video quality but I can't complain. The shows are bright and clear and are vastly superior to the ones I see occasionally on tv land.

A great show
My wife and kids (ages 2, 4 and 7) have spent many evenings together enjoying this great comedy. The dialog could almost work as an old time radio show (which Green Acres actually was years prior). I really get a kick out of themes and jokes that get carried over into later episodes, sort of like inside jokes. You can really see how the series hit its stride mid-way through the season.

The film transfer is wonderful. I can really appricate the DVD picture quality when I compare it to the less-than-spectacular quality on DirectTV. My guess is this DVD looks better than the show did when origianlly broadcast. (Thank God these old shows were filmed rather than video taped!)

MGM, I know I'm going to have a very disappointed family if you don't release season two before summer. Rest assured we'll be repeat customers. (Thank you for the great entertainment at a such a terrific price!)

As good as I remembered
I remember watching this show in the 60's and loved it. I am happy to say that it is just as funny as it was back then. The writing for this show is superb. It seems everyone is in on the joke except Oliver which makes it all the funnier. Eddie Albert is the perfect straight man and Eva Gabor's fractured English is icing on the cake.

Green Acres The Complete First Season
This series is every bit as funny as I remembered!! It is too bad they don't make tv as good as they did back then. This is good clean fun!!

a great and funny classic show
So glad it's come out on dvd, it's nicely packaged. This is great the first season all the episodes uncut. I hope they also release the other seasons as well. I must for any fan of Green Acres or of comedy in general. ... Read more

Reviews (37)

An outstanding courtroom drama
I agree with the other reviewers that Paul Newman gives the best performance of his career in this intense, well-designed film. There are numerous scenes which are shown without a cut, providing the viewers with an uninterrupted examination of the actors' interactions. Some include (without giving away too much): Newman's character (Frank Galvin) in conflict with the judge's actions toward the court proceedings, Newman and Warden preparing for the trial and the circumstances weighing heavily against them.
All the supporting actors are excellent. Among the noteables: James Mason as the powerhouse defense attorney with a malicious underhand, Milo O'Shea as the unsympathetic judge, Jack Warden as Newman's friend, mentor, and seemingly sole supporter, Charlotte Rampling as Newman's girlfriend with a shady side to herself.
There are a few plotholes and moments of overly dramatic "courtroom hysterics" within the film. Overlook them and enjoy an otherwise very strong movie.

The Very Best of Its Genre
Simply put there is no American film of this genre that comes close. Director Lumet darkly captures the naked power and corruption of the American civil trial system. Actors O'Shea (the judge), Mason (the 'prince of darkness' defense counsel) and Charlotte Rampling (whose shock is best left unrevealed) are the epitome of the seedy wheels of what passes for justice and 'love'. Newman, an alcoholic with one last prospect, struggles for redemption against mountainous odds, giving the most honest performance of his career. Warden is Newman's essential wiser alter ego. This film is no less than that rare cimematic device -- the allegory. Each character represents a larger truth -- in addition to Mason, O'Shea, and Rampling, Joe Seneca as a black, ancient (degraded) doctor for the vegetative plaintiff; Catholic archidiocese bishop Ed Binns up to his collar in fraud; a nationally-renowned physician with secret blood on his hands; and a simple honest woman who wanted nothing more than to be a nurse - Lindsay Crouse in a career performance. And there is the superb Mamet writing throughout. This is a courtroom thriller that will nail you to your seat to the very end. And absolutely true to life -- my view, at least, after 20 years as a lawyer. I also teach law and never miss a chance to show this film to my students. An amazing cinematic achievement, disturbing in its implications.

A grand film of triumph over failure
This film is one of the best in Paul Newman's stellar career, and he carries it convincingly with a spare, taut, no-frills performance. His Frank Galvin, an alcoholic has-been attorney with a bleak future is a defeated and pathetic figure, reduced to appearing at funeral homes during visitation hours to hustle business from bereaved family members. Even when long-time friend Mickey Morrissey [Jack Warden] hands Galvin a lucrative case on a silver platter, his star witness disappears to an unknown Caribbean island after having promised to testify against the hospital and Catholic Church for malpractice. Galvin's determination to see the case through is the first step to his recovery from the bottle and self-pity. The comatose woman's sister and brother-in-law who he represents in court have lost confidence in Galvin, he seems overmatched by the glib and polished Ed Concannon [James Mason] who represents the interests of the Church, and he has incurred the wrath of a biased, mean-spirited judge [Milo O'Shea]. To make matters worse, his girlfriend Laura [Charlotte Rampling] is little more than a Trojan horse in the Galvan camp and her true intentions come to light only after Mickey stumbles on the truth quite by chance. The movie was filmed under Boston's gray, overcast skies and has a gloomy forecast for Galvin in his quest for redemption and reward for a man who has been defeated by life but makes one last attempt to get off the deck and regain his self-respect and stature in his profession.

the film lets down the star
THE VERDICT is one of Paul Newman's most celebrated performances. He plays a down-at-the-heels lawyer named Frank Galvin who lucks his way into a big case involving two doctors who have been horribly negligent, sending a young woman into a coma.
Newman wonderfully gets at Galvin's desperation, and how he fights through an alcoholic haze. It's a thoughtfully worked out performance centered around Newman's wonderfully expressive eyes. Sadly, the rest of THE VERDICT could be taught in a Courtroom Movie Cliche 101 class. The lone lawyer vs the big firm (led by James Mason), altered documents, surprise witnesses, shenanigans by the hospital, it's all here. Even though I enjoyed the acting and the Boston atmosphere, I saw a lot of the plot coming.
The cast includes Jack Warden as Newman's only friend, Joe Seneca, Lindsay Crouse, Wesley Addy, and a chilly Charlotte Rampling as a mysterious woman who crosses Newman's path. The commentary by director Sidney Lumet is of the "everybody was great/this is where we shot" variety.

A Monumental Cinematic Treasure
THE VERDICT may date back to 1982, but few courtroom films since then can come close to matching the powerful production in this near perfect film written by David Mamet and directed with tension, grit, and tenderness by Sidney Lumet. Paul Newman's performance as the alcoholic has-been lawyer called upon to try a case of medical malpractice is one of the finest acting performances in history. He is more than ably abetted by his sidekick Jack Warden. The lawyer for the defense is the haughty and evil James Mason and the real surprise in the cast is Milo O'Shea in a terrifyingly real role of a smarmy Judge. Charlotte Rampling, still one of today's finest actresses, plays the understated love interest. Minor roles become major when they are in the hands of such gifted actors as Lindsay Crouse and Julia Bravasso. But one unsung hero of this fine film is the cinematographer who manages to make every shot appear like a Renaissance painting, so sensitive is he to light and shadow and frame composition.

THE VERDICT is a powerful story of the underdog's struggle for truth in the judicial system and as such is a reminder of how the Law, when stripped to its essentials, is there to protect us. There is no pat ending, only a feeling of breathlessness as all of the details of the story are left to our imagination - well, almost. A strikingly powerful, meaningful, brilliantly executed film. ... Read more

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David Lynch's 1990 Wild at Heart is an utterly random and ugly experience with pockets of startling imagery and inspired set pieces. Based on a Barry Gifford novel, the film stars Nicolas Cage and Laura Dern as lovers on the lam whose relationship is tested and who meet some truly dangerous wackos (including an almost-simian Willem Dafoe). Lynch's thoughts seem to be everywhere, and he expects the audience to keep up with a story that seems more a collection of avant-garde whims than a coherent vision with the intuitive brilliance of his Blue Velvet. Cage gives one of his more chaotic performances, but then he was just reading Lynch's signposts. --Tom Keogh ... Read more

Reviews (68)

if you're truly wild at heart, then you must .....
i first saw this film in theatres back in 1990 and i couldn't get the film outta my head. at that time, i knew very little about david lynch or his unique style. needless to say, i fell heart and soul for this maniac film and knew i would probably want to watch it over and over. nicolas cage gives perhaps his best performance prior to the wonderful leaving las vegas and i still think this film was very overlooked by everyone with the exception of true lynch fans. while this is probably his easiest film to date that the mainstream cinema could DIGEST, wild at heart is still very much avantguard as it is excessive in the language, violence, and sex departments. what makes this film so digestible is the ironic humor which surrounds the plot like a second skin. while still not a film for everyone, there is much to like about this david lynch treat. i particularly love the scene where nicolas cage is visited by the good which played by then unknown sheryl lee who advises him that the wild at heart must follow their dreams. shouldn't we all follow our dreams no matter how crazy or chaotic things may be?

Dear Tom Keogh,
Wild at Heart is, indeed, a film with some startling images. Any David Lynch fan will tell you that you should expect no less from him. In this film, Lynch is showing a subtle form of humor, he is referencing the Wizard of Oz (I'll not dare say "remake," he is rewriting it in his own fashion), and he is creating film as art in his typical fashion. You see, you actually have to pay attention to Lynch's movies in order to fully understand them. You likely have to watch them more than once to get his points. That's all part of the fun. If you bother to pay attention to the details of the movie, then you will understand that his thoughts are not all over the place at all, but are telling you a story, in Lynchian fashion. He doesn't take you by the little hand and lead you through a smarmy Hollywood film about life and love then whisk you off to a nice, rosy conclusion with a sunset and cutesy music. Don't expect the point to Wild at Heart to come easily. If that is what you want, may I suggest "Dumb and Dumber." David Lynch combines film with art and Wild at Heart is no exception. If you want a movie to present a simple story line and to conclude with a pretty red bow, then skip this one. But if you want to watch an outstanding David Lynch movie, then Wild at Heart will not disappoint. This is a fantastic movie.

PLEASE RELEASE IT ON DVD!!
David Lynch's Wild At Heart is a masterpiece, it won Palme D'Or at Cannes Film Festival for Best Picture. It has an outstanding cast, featuring Nicolas Cage, Laura Dern, Isabela Rosselini, Sheryl Lee,
Diane Ladd, Harry Dean Stanton, Willem Dafoe and so many other great actors! Why wasn't yet released on DVD in North America? Everywhere else in the world was. David Lynch is one of the best American directors and "Wild At Heart" is one of his masterpieces.
My favorite line from this film is: CENSORED.

Film of the Future
Lynch uses cinema the way it should be used. It's a naturally surreal medium, something only Lynch has truly understood, ever since Salvador Dali made Un Chien Andalou, all those years ago. Wild at Heart is totally coherent, as many reviewers have realised, even if only partly and subconsciously. All I would like to know is this: is the American South really the raw and mindless hell on earth that it seems to be in almost every film I've seen located there?

David Lynch's violent adaptation of the Wizard of Oz
Wild at Heart is David Lynch's violent adaptation of the Wizard of Oz with mesmerizing cinematography, which offers an exceptionally artistic cinema experience. Many scenes are visually packed as they offer much to ponder since they are often surrealistic or full of symbolism. The symbolism and surreal environment enhance the fantastic adventure into love, passion, and righteousness that Lynch provides for his audience. The tale begins with Sailor (Nicolas Cage) who was sent to jail for manslaughter as he killed a man in self-defense that was sent by his girlfriends neurotic mother. Released on probation Sailor is free and loving as he can reunite with his girlfriend Lula (Laura Dern) despite Lula's mothers opposition to their relationship. Lula's defiance upsets her mother who hires another hitman to slay Sailor. However, Lula and Sailor decide to take off to California and break Sailor's probation by following the yellow line on the road to the promise land. ... Read more

Reviews (51)

A Breakdance Movie with a Hollywood Touch...
This movie is about how life was for urban NYC youngsters during the early 80's. Hip-Hop gave rise with its four elements: Graffiti, Breakdance, MCing, and DJing running wild through the streets. This was the rich culture that people all over the world immersed themselves in and were impacted by. But I agree with those that say Hollywood exploited this culture we call Hip-Hop. They made this movie without understanding its true meaning and essence. But this movie is a fun watch because there are many big names known to the Hip-Hop world in it like the Rock Steady Crew and NYC Breakers, Kool Herc, Doug E. Fresh, Kool Moe Dee, and many other big names. If anything, this movie is remembered for one thing and that is the notorious ROXY scene and the battle between two great breakdance crews, RSC and NYC Breakers. It's probably one of the best battle scenes ever. I also like this movie because they had a couple of scenes at my alma mater, CCNY. The romance and drama is typical of Hollywood and it doesn't really help to formidably portray the Hip-Hop culture in anyway, rather it takes away from the few notable parts in the movie. They should of omitted the fakery and just focused on what it claims to be about, Hip-Hop. I think it would have had a better reputation and gotten much more respect from those who actually lived the culture during that period. I recommend "Wild Style" or "Style Wars" to check out what Hip-Hop was really all about in those days. PEACE!

And the Beat Goes On
A true hip-hop classic. I was first introduced to this film through my mother who was a teenager at the time of it's original release in 1984. Thanks to this movie, at 9 years old, i have a greater appreciation for hip hop and better understand its origins. This movie gives an accurate representation of one of the 20th century's most influential musical genres. Unlike the other hip hop movies Beat Street accurately captures the look and feel of the hip hop culture of New York City in the 80s (sheepskins, bomber jackets, kangol hats) It also takes a holistic look at hip hop nation astutely incorporating all of its elements - rap music, break dancing, spinning/mixing, graffiti art. More than just a movie about hip hop, it is a movie about familial ties, friendship and the triumph of the human spirit. It is a must see for the new generation of hip hop soldiers. Buy it - YOU WON'T BE DISAPPOINTED! Peace out!

Leandro B. a.k.a. Rocker

THIS MOVIE SHOULDN'T EVER GET LESS THAN 5!!!!!!
WHOEVER GAVE BEAT STREET LESS THAN 5,,AREN'T TRUE TO HIP HOP,AND PROBABLY DOESN'T UNDERSTAND THE MOVEMENT THAT BOUGHT ABOUT YOUR 50 CENTS,AND PETEY PABLO'S,AND JAY-Z'S.... BEAT STREET IS MY #1 HIP HOP MOVIE!!! (...)BEAT STREET WILL REMAIN A CLASSIC TO ME..

A combination of Beastmaster,Andromeda,Mutant X and Hiphop
Beat street is one of the greatest movies of all time since House party and Class act came out in the 90's decade where I grew up.It was really a great movie and one of the best movies of the year!

ROCKSTEADY BY FAR WINS THE BATTLE, OFF CAMERA
In the movie it would have appeared that NYC Breakers would have won the battle @ the Roxy because of their fast, dynamic moves. But I think Rocksteady on the streets would beat them easy. If you see home movie footage of both groups, Rocksteady by far has more original and different moves that show true bboying. But dont get me wrong, I'm not taking away from the NYC Breakers power and speed, and I still think they are tight !! This was my favorite movie growing up in the 80's along with Fast Times @ ridgemont high (what a combination huh !) peace ya'll ... Read more

Reviews (101)

A timeless classic
This film is a giant in a very crowded genre of WWII movies released in the 1940's and 50's. It was nominated for eight Academy Awards and won seven including Best Picture, Best Actor (Alec Guinness) and Best Director (David Lean). The story is atypical of the WWII genre. Instead of showing the glory of battle, it presents the psychological and physical torment of life in a POW camp. It focuses on the human story, a story of principles, will and courage in the face of adversity.

Colonel Nicholson (Alec Guinness) is the commander of a group of prisoners of war interned in a Japanese camp in Southeast Asia during WWII. He is told by the camp commander, Colonel Saito (Sessue Hayakawa) that the prisoners will build a bridge across the river Kwai to complete the Japanese railroad that will supply their troops. Saito orders that officers will work beside enlisted men, to which Nicholson objects because it is a violation of the rules of war agreed to at the Geneva Convention. This leads to a standoff, a test of wills that is ultimately won by the irrationally stubborn Brit after many days in solitary confinement.

The result is that Nicholson agrees to build the bridge on his own terms, using his own engineers. This seems to be insane, since building the bridge would aid the enemy. However, Nicholson's has a high-minded goal that transcends the war. He wants to build a bridge that will endure as a testament to the superiority of the British civilization, especially since it will be built under such extreme circumstances. He also feels that building a bridge of which they can be proud will boost the moral of the men while living under such oppressive conditions.

The psychological aspect of the film is fascinating. Saito's personal sense of honor does not allow him to use the brutality necessary to coerce the prisoners into building the bridge properly. Ironically, once he succumbs to defeat in the battle of wills against Nicholson, he gets everything he wants. By losing, he actually wins.

David Lean's direction is outstanding, portraying the harshness of the prison camp without sacrificing the subtlety of the psychological aspect of the film. Lean gives us enough character development to bind us to all the competing characters, making us sympathetic even to Saito, the camp commander.

The acting in this film is superb. Alec Guinness is magnificent as the idealistic and staunchly principled Colonel. This was probably his best role in a stellar career. William Holden is also terrific as the sardonic and cowardly sailor that fate continued to throw into situations that required him to become a reluctant hero. Sessue Hayakawa delivers a masterful performance, as the hapless commander who succumbs to Nicholson's iron will.

The ending evokes conflicting emotions, as it is simultaneously ironic, triumphant and devastating. At the end, the viewer is not sure whom to pull for since there is no neat way to resolve the collision of converging forces. This makes the film even more interesting.

This film is a timeless classic. I rated it a 10/10. I'm looking forward to seeing it on the newly released DVD.

3 Fanatics + 2 Stories + 1 Ending = WWII Pacific POW epic
Rated #11 on AFI's (American Film Institutes) 1998 top 100 movies of the last 100 years. This 1957 DVD Limited Edition (7 Oscar Winner including the BIG 3; Best Picture, Director - David Lean and Actor - Alec Guinness) World War II Japanese Prisoner Of War camp Classic remains one of the best psycological war movies made. (1953's "Stalag 17" a WWII German POW camp is the other. Ironically William Holden won a Best Actor Oscar).

The story is about 3 main fanatical characters; First is Colonel Saito (Sessue Hayakawa) the Japanese prison camp commander. Second is Colonel Nicolson (Alec Guinness) the English commander of the POW's (introduced by the now famous whistling tune, "Colonel Bogey's March"). Third is an English (demolition expert) Commando Major (Jack Hawkins) guided by an escape POW (William Holden) a reluctant, coerced sailor who's kismet is chosen for him. These 3 Soldiers and 1 Sailor have impossible missions to accomplish with all their fates focused at one common place at one specific time.

The 2 Stories are; One build "The Bridge on the River Kwai" in a very compressed time line. The Second is to destroy this same bridge. The stories have many twists and turns while the finale is surprisingly abrupt after a long complex journey.

This 1957 wide screen classic is beautifully restored and plays very well even without all the special digital effects of today. The realism is so vivid. Seen phyically on the POW's and soldiers bodies and faces. The Dolby 5.1 puts you in the thick of the jungle with an eerie feeling. A frighteningly close environment, dense, with very little visibility but the sound is 360 degrees. Only these sounds to cue your imagination and senses.

As always with a DVD 2 pack there is an abundance of background information about the movie. A nice collectors package.

Madness! Madness!!!
This famous movie is now 50 years old but still remains one of the great classics in film. It it a story about honor, about an English regiment that surrenders to the Japanese in WW II Burma. To not lose the English honor the colonel decides to show the Japanese colonel to help build the best bridge possible, thereby also humiliating the colonel who, if not finished on time, would kill himself.
The English colonel remains naive, first he keeps sticking to the Geneva Convention but the Japanese don't give in.In the end he helps them with the bridge, of which he is very proud. But it is also aiding the enemy. His conflicts come to an amazing end.

One of the best war movies
David Lean's "Bridge On the River Kwai" earned him his first Oscar in directing. Shot in Ceylon in 1957, it shows the other side of the WWII that is seldom seen, the Japanese side. Most of the movies about the WWII are about the Germans and the Holocaust. This one is about the battle of wits between two people, a Britisher, Col. Nicholson and a Japanese, Col. Saito. Though the movie was overshadowed by "Lawrence of Arabia", it has a special place among movies.

The movie has passion, realism, wits and acting from a number of actors: Alec Guiness, William Holden and Jack Hawkins which is exemplary. Alec Guiness justifiably wins the oscar for acting in this epic. The music along with the whistling tune of "Colonel Bogey March" was beautifully played by the Royal Philharmonic.

When the Batallion is ordered to surrender by their headquarters from Singapore to the Japanese at Camp 16, Col. Saito insists that all the prisoners of war help in building the bridge that is part of the railway that connects Bangkok to Rangoon. Col. Nicholson is adamant that he will follow the Geneva convention and that his officers will not do manual labour. His medical chief wonders who is mad in this diatribe.

William Holden is the real human in this movie as Commander Shears of the US Navy who manages to escape from the camp. He is interested only in his well being. He bribes guards to get himself on the sick list as often as possible and is sarcastic about the war and Saito (with good reason). When Saito says, "Be happy in your work", he says it first. Before escape, when he asks Col. Nicholson if there should be an escape committee, he replies that they were ordered to surrender.

Col. Nicholson, "Without law, there is no civilization".

Comm. Shear, "But that is the point, here there is no civilization."

Col. Nicholson, "Then we have a chance to introduce it. I suggest that we drop the subject of escape."

Later when Lt. Jennings wishes to escape and talks to Comm. Shears, he says, "Listen kiddo, when your Colonel suggests something, it is a command."

As in all David Lean movies, the screenplay is outstanding and poignant. Col. Nicholson helps build the bridge and is very proud of it without realizing that he is helping the enemy in the effect. This is not a movie of obvious good guys-bad guys. It takes Comm. Shears to go back and attempt to blow up the bridge for Col. Nicholson to come to his senses and realize the magnitude of the error that he has committed. This shows all the good and bad that war can have without sugar coating the truth.

While this movie is not suitable for young people, and people with short attention spans, it is an outstanding movie for people who wish to have a movie with great story, character acting, screenplay and thoughtful direction. It is a movie that can withstand the test of time and is free of major errors; in short, it is a masterpiece. The DVD is well produced and is worth collecting. Of course, this movie is best when viewed on screen, but we have to do with the next best.

classic and deserving of its 7 Oscars
Set in SE Asia and shot in Sri Lanka, this movie centers on the inhabitants of a Japanese POW camp in World War II. Captured British soliders are commanded to build a bridge over the river Kwai, as an integral part of the opposing side's railway. The cruel commando of the camp, Saito, seems exceptionally cruel but, as the movie progresses, it seems he is doing this out of his own sense of honor.

In fact, nothing in the movie is so straightforward as "good guy/bad guy". The movie delves into each character's personality. Alec Guinness won the Oscar for Best Actor as Nicholson, the British POW who defies Saito to win better treatment for his captured troops so they might survive.

Bill Holden plays an American POW who escapes and impersonates an officer at a base as he bides his time to go home. He is only out for himself, but is sent on a mission to bring down the bridge.

There is a line that Nicholson says that really sticks "There comes a point when you realize that you are closer to the end than to the beginning, and you wonder what the sum total of your life represents." The bridge has come to represent many things to many different people, much of it hinged upon whether it stays up or gets torn down. ... Read more

Reviews (132)

"Superman II: The Wrath of Zod!"
That would have made a better title when it came out into theaters in 1981(Giggle)! Anyway, the second Superman movie was definately a gem for anyone to watch! It is action packed as the Man of Steel (Christopher Reeve) takes on the 3 Kryptonian villains (wonderfully played by Terrence Stamp, Sarah Douglas, and Jack O'Halloran), and its romantic in terms of Superman becoming serious with Lois Lane (Margot Kidder)! Although it was sad that Richard Donner didn't get to direct the second movie, Richard Lester did a wonderful job filling his shoes! However, this was the first film which really began the down-fall of the series! It was clear that Richard Donner did set the tone for Superman which meant not to muck around with the legend! That being the case with the powers you see in this film! If you are a die-hard Superman fan, and know the character and his powers, you'll know what I mean when you watch it! Second, the romance of this film with Lois and Superman does reach it's peak, but then at the end of this film, the fans will be upset with the total outcome! The worst was yet to come with the next 2 films! Fortunately, this DVD is special to me because the magic is still there! Along with the "letterbox" widescreen version to the film which preserves this film and the other so well! Still, I know there were scenes cut-out of the original film that I wish could have been added onto this DVD! Maybe they will come out with the complete version someday soon! Still, a very good movie I recomend to anyone!

Superman II - Extended ONLY
This film gets 4 stars from me based on its extended version and not on the pathetic theatrical cut! A lot of footage was cut from this film but did make it onto various extended versions that were screened across the world. The theatrical cut of this film is a poor reflection on what director Richard Donner intended the world to see. After his sacking by the Salkinds, Richard Lester was dragged in to complete the film and refilm perfectly filmed scenes which Donner filmed in 1977. This decision cost everyone a great movie.

In 1984 fans finally got a well edited film when a lot of Donner's footage was re-inserted into TV broadcasts of the movie. The longest version having accumalated some 24 mins of additional footage. This version has only been screened in Europe and Australia and contains 7 mins more footage than the 1984 ABC telecast. Most notable extended scenes are of Lex and Eve exploring the exterior of the fortress. Miss T to Les, "...It is funny that there is no front door...". Also present is Superman's "Blast off!" line after Lex and the villains are taken away by the Arctic police. These crucial scenes were cut from the theatrical and ABC extended broadcasts.

In saying that still, the film will get 5 stars when I see all director Richard Donner's footage restored into the film.

Anyone thinking that the theatrical is a good film is much mistaken. Any of the extended TV broadcast are a MAJOR improvement over an average film!

A Richard Donner Cut is what I'm after
Not nearly as good as the first movie, this suffers from production problems as a result of Donner's sacking by the Salkinds.
It's plainly obvious which scenes were shot by Donner and which weren't. And sadly, they left out a hefty chunk of what Donner had filmed, giving Lester the top billing as director.
Another sad omission is John Williams rousing score, which has been poorly duplicated. Not nearly as uplifting and powerful as John William's efforts in one.
Although the primary focus is on Lois and Superman's relationship, it doesn't save this picture from stinking. Even Gene Hackman's wonderful performance(which was all directed by Donner, with the exception of scenes where Lester used a body double and an impersonator for Hackman's voice) can't salvage this.
So why do I give this three stars? Because it does have it's moments, though scattered, and I live in the hope that a Richard Donner cut, using primarily all his footage, which would bring back all the scenes with Marlon Brando, will eventually pop up and finally put to bed the question of what could have been.

We need a 21st Century Superman movie!
Very bad film.
They released Spiderman into the 21st century, why not Superman?
I've always found him to be the most appealing comic book character. He is sure for an amazing performance.
RELEASE HIM INTO OUR CENTURY!

BETTER THAN THE ORIGINAL!!!
All you people complaining about what is and should have been (Donner not being able to complete the project) the end result is a movie that many people view as better! Leave my Superman II alone! ... Read more

Reviews (98)

Peter Pan
I'm still a fan of the Disney Classics but I have to say that Peter Pan isn't one of my favorites and for the same reason that a lot of people don't like this one and that is the scenes with the Indians (hence 4 stars unstead of 5).

PETER PAN is about the boy who could never grow up and after chasing his shadow in the bedroom of Wendy, John and Michael, he invites the 3 to fly with him to Neverland. It's a wonderful story of adventure, fun and flying. All children will enjoy this one.

Now again, my reason for taking a star off is obviously for the derogatory and stereotypical depiction of Native Americans in this movie. Regardless that this movie was made in 1953 still doens't make it right. As parents, it really should be the responsibilty of the parents to explain and to teach children the right way. I will say that every child should enjoy PETER PAN, but afterwards every parent should take the time to explain to the children that making fun of another culture is wrong.

Either way it goes, if you're looking for other great Disney classics look for BEAUTY AND THE BEAST SPECIAL EDITION, THE FOX AND THE HOUND, ROBIN HOOD, SLEEPING BEAUTY and CINDERELLA. Also check out some of the new Disney's like MONSTERS INC and TOY STORY and TOY STORY 2.

You'll (almost) believe you can fly
Of all Walt Disney's animated films, "Peter Pan" is my personal favorite. This classic tale of the little boy who never grew up has Disney stamped all over it. It also varies refreshingly from the versions that preceded it. In previous plays acted on the stage, Peter Pan was always played by a young woman, but in the Disney version he is all boy. He's brash, mischievous, more than a little cocksure of himself, able to fight and defeat a grown pirate captain, and on top of all this, he can fly. What else is needed for a children's hero? Tinker Bell is one of Disney's best inventions. On the stage she is a blob of light flitting here and there; only in animation could she be realized as a real pixie, vain, conceited, totally devoted to Peter and madly jealous of Wendy. The three children, Wendy, John and Michael, are very well done in the movie, and the opening family scenes are priceless. When Peter and Tinkerbell sneak through the children's window, and zoom back out again with the children in tow, we want to sprinkle on some pixie dust and fly right out there with them. Second star to the right, here we come. The scenes at Neverland are funny and original, and the pirates are a riot. One of Disney's most hilarious, and underrated, characters in all his films, is the crocodile, Hook's nemesis, who can't wait to get another chomp out of him. (Poor Hook is reduced to a bundle of shattered nerves every time he hears that tick-tock, tick-tock coming towards his ship.) The only negative in this film is the scene in the Indian village; the stereotypes that were accepted without question in the 1950s are almost embarrassing now. However, it can't and doesn't detract from the fun. The songs are okay, nut nothing special; it's the action and animation that make this movie. Of all Disney's animated films, "Peter Pan" was the one I used to wish was real when I was a child. Maybe there is a little of Peter Pan in all of us.

Poor adaptation of Barrie's play misses the point.
"The Disney version" of "Peter Pan" clearly demonstrates what is so wrong with "The Disney version" of too many classic stories. It turns Barrie's play into a simple adventure tale, in which the dramatic and (dare I say it?) psycho-sexual elements at the center of Barrie's fantasy are discarded wholesale.

There are defensible reasons for this, I suppose. Drama requires talking, but characters who stand around gabbing bring an animated film to a dead stop. I also suspect that Disney simply didn't understand the story in the first place. It wasn't until the Ashman/Menken era that Disney films finally developed any dramatic focus.

It's unfortunate, because "Peter Pan" starts off well enough. The late Sammy Fain's "Second Star from the Right," played over the title cards, has one of the most-ravishing melodies in the history of American popular music. (Look for the albums "Bibbidi Bobbidi Bach" and "Heigh-Ho! Mozart" for superb "classical" arrangements of Disney tunes.) The "You Can Fly" sequence is inspired (and can you name any other pop song with an accelerando passage?). But everything quickly bogs down thereafter, with Captain Hook's machinations providing the only fun.

There just aren't enough good things in the Disney "Peter Pan" to make up for its failure to treat the source material in an honest and serious fashion.

A great cartoon classic, one of Disney's best
This wonderful Disney production offers flights of fancy that appeal directly to children's fertile imaginations. The ability to fly, to be a devil-may-care youngster and never grow up, to engage in derring-do with pirates, never having to bother with school, and exploring fantasy worlds of islands, mermaids, Indians and mysterious caves is a powerful magnetic pull for young dreamers. The lush color lensing of this animated adventure is superb, and the characters and catchy tunes add to the pleasure of watching this film, for young and old alike.

Peter Pan, the title character, is a spry, charming lad who loves his carefree existence. He is, however, upstaged by his companion, the delightfully naughty Tinker Bell, a temperamental pixie who literally sees red when Wendy accompanies Peter Pan to Never Land. Captain Hook and his shadow, the crocodile, the sniveling Smee, the beautiful mermaids, and the stoic Tiger Lily are the characters who stand out in this movie. Wendy and her brothers, John and Michael are okay and basically come along for the ride. The sprightly song "You Can Fly!-You Can Fly!-You Can Fly!" is just one of the memorable tunes for which Peter Pan is fondly remembered.

A quick, enjoyable Disney viewing.
This movie animates one of the most imaginative plays ever written, albeit with a little 'Disneyfication.' It's by far my favorite; there is an enjoyably long spectrum of characters. Every time I watch this movie, it takes me back to those times I wish I was in Never-Never-Land.

P.S. The claim that this movie is an allegory to the JFK years is easily refutable, since this movie was made in 1953, while the play is over a century old. ... Read more

Description

Director David Lean follows the heroic true-life odyssey of T.E. Lawrence (Peter O'Toole) in this dramatic portrait of the famed British officer's journey to the Middle East. Assigned to Arabia during World War I, Lawrence courageously unites the warring Arab factions into a strong guerrilla front and leads them to brilliant victories in treacherous desert battlefields where they eventually defeat the ruling Turkish Empire. ... Read more

Reviews (278)

DVD the best looking version yet
Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.

The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.

The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

Arabian Winner
Lawrence Of Arabia is one of the biggest and grandest films ever made. Director David Lean crafted a stunning epic that tells the tale of World War I British soldier T.E. Lawrence. Lawrence joined the various desert tribes of Arabia against the Turks and the desert battle scenes are breathtaking. Peter O'Toole is amazing as Lawrence in what would be a star-making turn for him. Omar Shariff, Anthony Quinn and Alec Guinness provide strong support, but this is Mr. Lean's film through and through. His direction provides sweeping shots of the desert vistas and gives the film its big look, but he also allows the story to flow and we really get inside the complicated head of Lawrence and see his psychological foibles. The film is beautifully transferred to DVD and it brings justice to the film that had previously suffered on video transfers. The movie was a major success as it swept through the 1962 Oscars winning Best Picture and Best Director, but Mr. O'Toole lost out on what would be the first of his of his seven unsuccessful Best Actor nominations.

Conservatives support slavery? This movie makes the case
Hi. My name is Steven Thulen. You might know me from such reviews as "Bowling For Columbine" and "My Life." I am here today to talk to you about "Lawrence of Arabia." While this may shock and astonish you, I will offer a long-winded review without actually discussing this film.

I am that good.

First, a history lesson. In the year 1492 Columbus sailed the ocean blue. He landed in Haiti and raped the native there, then enslaved them. Later, many Africans were captured and made slaves by white people. White people continued to terrorize other races throughout the latter half of the 19th Century.

Finally, World War I took place. During that war, many people died, including white people. Some people who were too cowardly to serve in the world fled to California, where they became subpar sports writers. Later, World War II took place. In that war, white people dropped atomic bombs on Asians.

Peter O'Toole was probably gay and acted really well in this movie.

STEVEN THULEN
AUTHOR OF "JIMMY KEY: BASEBALL'S BATMAN"
(...)

The Greatest Historical Epic Ever
LAWRENCE OF ARABIA is, without a doubt, the greatest historical epic ever filmed and the crowning achievement of David Lean's career. It's also the film that makes best use of the majestic desert landscape with shots of extraordinary rock formations, dunes, shimmering "mirages," and caravans making their way across seemingly endless sands.

LAWRENCE OF ARABIA tells the story of T.E. Lawrence and his adventures in the Middle East during World War I as he led the Arab revolt against the Turks. It is loosely based on Lawrence's book, THE SEVEN PILLARS OF WISDOM.

Even though there are battle scenes in LAWRENCE OF ARABIA, this film is, first and foremost, a character study of Lawrence who was, by anyone's account, a fascinating figure. Even the battle scenes serve to enhance the character of Lawrence rather than detailing the horrors of war and we see Lawrence's dark, embittered side as well as his heroic one.

Although Peter O'Toole wasn't David Lean's first choice to play Lawrence (both Marlon Brando and Albert Finney were offered the part), I can't imagine anyone else in the title role.

Omar Sharif is impressive as Sherif Ali Ibn El Kharish. Prior to this film, he was a virtual unknown, but LAWRENCE OF ARABIA launched Sharif on a long career that made him instantly recognizable the world over.

Even though O'Toole and Sharif weren't well-known when they starred in LAWRENCE OF ARABIA, the film's supporting case is certainly stellar: Alec Guiness, Anthony Quinn, Jose Ferrer and Claude Raines.

Although I think LAWRENCE OF ARABIA is best viewed on a large theatrical screen, this doesn't mean anyone should pass up the DVD. It's just too good for that, especially the Director's Cut (but do make sure you get the widescreen edition; this film demands it).

Don't watch LAWRENCE OF ARABIA expecting to get a history lesson. Watch it to learn more about the fascinating man who was T.E.Lawrence. If you do, I can't see any way you'll be disappointed.

Read the book, then watch again in awe.
I have seen this masterpiece many many times, but only after reading T.E. Lawrence's book "The Seven Pillars of Wisdom" this year do I now begin to understand. This movie is a product of two of the century's greatest minds, one an author and soldier, the other a film maker. The power of Lawrence's descriptions of the desert matches the great cinematography. No film could fully project the power of the inner thoughts of this most introspective man; for that you absolutely need the book to fill in the gaps. Many of the scenes take on a much deeper meaning once you have read the book in detail. The Columbia Tri-Star two-DVD edition is faultless, something I will always treasure. I find it hard to believe that someday a better movie could possibly be made, but we can hope against hope. ... Read more

Description

This compilation features 10 of Michael Jackson's greatest video hits, including "Billie Jean," "The Way You Make Me Feel," "Black or White," "Rock With You" and others. 90 minutes. ... Read more

Reviews (50)

An essential collection!
This is a review of the VHS video "Michael Jackson: Video Greatest Hits HIStory" Vol. 1. Whether or not you are a fan of Michael Jackson, this is an essential video because it shows how good music videos can be. BILLIE JEAN is a striking video that broke down color barriers on MTV; THE WAY YOU MAKE ME FEEL has a loose improvisational feeling to it which makes it fun to watch; BLACK OR WHITE is modern masterpiece complete with morphing and the controversial "panther dance" sequence. In the original version of this video, Michael smashes in a car windshield that has racist grafitti on it... he is fighting back against the racism. However, in the version included on this tape, the grafitti is edited out, so we just see Michael smashing a window for no apparent reason. Even so, the video is still an amazing experience! ROCK WITH YOU takes us back to 1980 before Michael's plastic surgery; BAD and BEAT IT include some of the best choreography even seen in music videos, although the version of BAD on this tape is the short version, not the full version with Wesley Snipes. This tape also includes the videos for Thriller, Remember The Time, Don't Stop Till You Get Enough and Heal The World in their entirety. This video is a powerful mix of music, dance, and film. Even if you don't think Michael is the King of Pop, this collection proves he is the King of VIDEO!

Michael Jackson - Video Greatest Hits - HIStory on Film
This spectacular compilation of Michael Jackson's music videos is a must-see for all MJ fans, and anyone else who enjoys good music and dancing. This tape includes the videos:

-Billie Jean -The Way You Make Me Feel -Black or White* -Rock with You -Bad (shortened version without Wesley Snipes) -Thriller (entire video with credits) -Beat It -Remember the Time -Don't Stop 'Til You Get Enough -Heal The World

This is a great video that shows not only the evolution of Michael Jackson's music, but also that of his appearance. Co-stars include Eddie Murphy, Iman, Magic Johnson, McAuley Culkin, Bart and Homer Simpson, and others. An exceptional video!!! *In the video Black or White, Michael appears to be furiously smashing the windows of a car for no reason. In the original, racist graffiti is painted on the windows. This was edited out in this version. Relax, Michael is not crazy. Or at least not that crazy.

Video HIStory
Don't just listen to the album,watch the videos! However there are fewer songs in this package than the audio counterpart. We see videos for hits from OFF THE WALL,THRILLER,BAD,DANGEROUS and of course,the audio counterpart of HISTORY. No fan of the King Of Pop should be without this unless he/she chooses not to.

Big fan here but this is a disappointment....
Honestly, I love Michael Jackson's music and have purchased History 2 on VHS (the gold box) and Dangerous: The Short Films before I got this. I was excited because I thought I would see some things different on this DVD, but it's all the same! You're better off purchasing Dangerous: The Short Films or History 2 because most of the same material on this video is on the others, and the others have some new added footage.

Thllermans/bestviedosondvd
Foryears michaeljackson hasrockedour world from abc to rock withyou jackson has made pop hirstoy and the viedos that made himfameuos are now on dvd frautes the viedos for billejean theway youmake me feel black orwhtie rock with you bad thllerbeatit rember thetime dont stop tillyou getehuogh andthe90shealthe wolrd. my fartivoe viedo is the thller video itsa shrot film with amazing muisc staring mihchael jackson theres also bad the 18minute nverbefore seenshrotfilm . this dvdis a collbte any mihchaeljacksonfan will love this dvd. ... Read more

Amazon.com

Peter Pan has a special place in the realm of classicanimated Disney films: it instills an element of childlike wonder. The 1953 version ofJames M. Barrie's story is colorfully told and keeps on the straight andnarrow of the book. Barrie's wondrous focus on child's play is the key to its longevity: kids who don't grow up, shadows that run away from theirowners, pirates, a fairy, and the magic ability to fly. In short, you can'thelp wishing the adventure would happen to you. Fueled by a few memorablesongs (the stunner being "You Can Fly") and the strong impression of thepixie fairy Tinkerbell and the goofy Captain Hook, Disney's version of this story neither supplants nor lessens the Broadway version with Mary Martinthat was produced for television the same decade. Unlike some classics,Peter Pan never ages along the way. --Doug Thomas ... Read more

Reviews (98)

Peter Pan
I'm still a fan of the Disney Classics but I have to say that Peter Pan isn't one of my favorites and for the same reason that a lot of people don't like this one and that is the scenes with the Indians (hence 4 stars unstead of 5).

PETER PAN is about the boy who could never grow up and after chasing his shadow in the bedroom of Wendy, John and Michael, he invites the 3 to fly with him to Neverland. It's a wonderful story of adventure, fun and flying. All children will enjoy this one.

Now again, my reason for taking a star off is obviously for the derogatory and stereotypical depiction of Native Americans in this movie. Regardless that this movie was made in 1953 still doens't make it right. As parents, it really should be the responsibilty of the parents to explain and to teach children the right way. I will say that every child should enjoy PETER PAN, but afterwards every parent should take the time to explain to the children that making fun of another culture is wrong.

Either way it goes, if you're looking for other great Disney classics look for BEAUTY AND THE BEAST SPECIAL EDITION, THE FOX AND THE HOUND, ROBIN HOOD, SLEEPING BEAUTY and CINDERELLA. Also check out some of the new Disney's like MONSTERS INC and TOY STORY and TOY STORY 2.

You'll (almost) believe you can fly
Of all Walt Disney's animated films, "Peter Pan" is my personal favorite. This classic tale of the little boy who never grew up has Disney stamped all over it. It also varies refreshingly from the versions that preceded it. In previous plays acted on the stage, Peter Pan was always played by a young woman, but in the Disney version he is all boy. He's brash, mischievous, more than a little cocksure of himself, able to fight and defeat a grown pirate captain, and on top of all this, he can fly. What else is needed for a children's hero? Tinker Bell is one of Disney's best inventions. On the stage she is a blob of light flitting here and there; only in animation could she be realized as a real pixie, vain, conceited, totally devoted to Peter and madly jealous of Wendy. The three children, Wendy, John and Michael, are very well done in the movie, and the opening family scenes are priceless. When Peter and Tinkerbell sneak through the children's window, and zoom back out again with the children in tow, we want to sprinkle on some pixie dust and fly right out there with them. Second star to the right, here we come. The scenes at Neverland are funny and original, and the pirates are a riot. One of Disney's most hilarious, and underrated, characters in all his films, is the crocodile, Hook's nemesis, who can't wait to get another chomp out of him. (Poor Hook is reduced to a bundle of shattered nerves every time he hears that tick-tock, tick-tock coming towards his ship.) The only negative in this film is the scene in the Indian village; the stereotypes that were accepted without question in the 1950s are almost embarrassing now. However, it can't and doesn't detract from the fun. The songs are okay, nut nothing special; it's the action and animation that make this movie. Of all Disney's animated films, "Peter Pan" was the one I used to wish was real when I was a child. Maybe there is a little of Peter Pan in all of us.

Poor adaptation of Barrie's play misses the point.
"The Disney version" of "Peter Pan" clearly demonstrates what is so wrong with "The Disney version" of too many classic stories. It turns Barrie's play into a simple adventure tale, in which the dramatic and (dare I say it?) psycho-sexual elements at the center of Barrie's fantasy are discarded wholesale.

There are defensible reasons for this, I suppose. Drama requires talking, but characters who stand around gabbing bring an animated film to a dead stop. I also suspect that Disney simply didn't understand the story in the first place. It wasn't until the Ashman/Menken era that Disney films finally developed any dramatic focus.

It's unfortunate, because "Peter Pan" starts off well enough. The late Sammy Fain's "Second Star from the Right," played over the title cards, has one of the most-ravishing melodies in the history of American popular music. (Look for the albums "Bibbidi Bobbidi Bach" and "Heigh-Ho! Mozart" for superb "classical" arrangements of Disney tunes.) The "You Can Fly" sequence is inspired (and can you name any other pop song with an accelerando passage?). But everything quickly bogs down thereafter, with Captain Hook's machinations providing the only fun.

There just aren't enough good things in the Disney "Peter Pan" to make up for its failure to treat the source material in an honest and serious fashion.

A great cartoon classic, one of Disney's best
This wonderful Disney production offers flights of fancy that appeal directly to children's fertile imaginations. The ability to fly, to be a devil-may-care youngster and never grow up, to engage in derring-do with pirates, never having to bother with school, and exploring fantasy worlds of islands, mermaids, Indians and mysterious caves is a powerful magnetic pull for young dreamers. The lush color lensing of this animated adventure is superb, and the characters and catchy tunes add to the pleasure of watching this film, for young and old alike.

Peter Pan, the title character, is a spry, charming lad who loves his carefree existence. He is, however, upstaged by his companion, the delightfully naughty Tinker Bell, a temperamental pixie who literally sees red when Wendy accompanies Peter Pan to Never Land. Captain Hook and his shadow, the crocodile, the sniveling Smee, the beautiful mermaids, and the stoic Tiger Lily are the characters who stand out in this movie. Wendy and her brothers, John and Michael are okay and basically come along for the ride. The sprightly song "You Can Fly!-You Can Fly!-You Can Fly!" is just one of the memorable tunes for which Peter Pan is fondly remembered.

A quick, enjoyable Disney viewing.
This movie animates one of the most imaginative plays ever written, albeit with a little 'Disneyfication.' It's by far my favorite; there is an enjoyably long spectrum of characters. Every time I watch this movie, it takes me back to those times I wish I was in Never-Never-Land.

P.S. The claim that this movie is an allegory to the JFK years is easily refutable, since this movie was made in 1953, while the play is over a century old. ... Read more

Amazon.com essential video

David Lean's handsome adaptation ofCharles Dickens's classic novel captures the warm humor and richness of character that so many filmmakers miss in their reverent recreations of Victorian England. From the nightmarish opening sequence on the windswept graveyard where young orphan Pip (Anthony Wager) meets the desperate escaped criminal Magwitch (Finlay Currie) to the shadowy, musty mansion of the widow Miss Haversham (Martita Hunt) where he first meets the impertinent young beauty Estella (Jean Simmons), Lean captures a childlike exaggeration of reality with his elegant expressionism. When Pip's sudden change in fortune sends him to London as a burgeoning gentleman in high society, Lean sketches a beautiful, bustling city. John Mills's performance as the adult Pip charts his change from the wide-eyed wonder and generous spirit of the child he was to the class snob transformed by money and social standing, an ugly flaw that Pip confronts when his mysterious benefactor is finally revealed. The outstanding cast also features Valerie Hobson as the grown-up Estella, now a beguiling enchantress, a bright young Alec Guinness in his film debut as Pip's jovial London roommate Herbert Pocket, and the imposing Francis L. Sullivan as the decidedly humorless lawyer Jaggers. Exquisitely photographed by Guy Green (who won an Oscar for his work). Lean and his collaborators effectively maintain the heart of Dickens's epic drama while cutting it to its essentials in this vivid, compelling film. --Sean Axmaker ... Read more

Album Description

Asian only All Code / NTSC DVD. 1996 British film directed by the amazing Mike Leigh (Naked, Career Girls) & starring Timothy Spall, Phyllis Logan & Brenda Blethyn. Leonard Maltin said, 'Another of filmmaker Leigh's compelling portraits of ordinary people ... Read more

Reviews (49)

A triumph
A mild-mannered, intelligent young black woman (Marianne Jean-Baptiste) tracks down her birth mother, Cynthia Purley (Brenda Blethyn), who just happens to be white. That's only the central plot thread in Mike Leigh's very poignant, very funny, very smart family drama, which received well-deserved Oscar nominations for best picture, best director, best actress, best supporting actress, and best original screenplay. A keenly observed piece set in middle-class and upper middle-class England, "Secrets & Lies" offers such an abundance of riches it's hard to know where to begin.

The plot is fairly simple, though the emotions beneath it aren't. Cynthia is initially afraid to meet the child she gave up years ago, but eventually opens up and discovers that her long-lost daughter, Hortense, is not only a sweet and refined young lady, but the possible source of the love and affection she wants so badly. She receives none of that sort of attention from her other daughter, Roxanne, a bitter, sharp-tongued council worker who, like her secret half-sister, was conceived out of wedlock. Adding to the tension is Cynthia's relationship with her brother, Maurice, and his socially ambitious wife, Monica. The latter is pained by her inability to have a child, and particularly despises Cynthia, who is able to bear children but, in Monica's mind, unable to provide them with the family environment and opportunities that she can. All of these threads converge at an afternoon birthday party, during which all the pent-up secrets and lies explode like a sequence of fireworks. Emotions are laid bare, the past is revealed, and finally, the film hints, the healing process can begin.

A synopsis really doesn't do full justice to the sheer impact of this film. In fact, it's almost insulting--and irrelevant--to discuss plot at all. "Secrets & Lies" isn't about plot in the conventional sense; it's about people. Each character is a complex, fully realized human being, brought to life by superior acting. Brenda Blethyn in particular does a spectacular job, and her Cynthia emerges as one of the most hilarious, endearing, and noble human portraits I've ever seen captured on film. Marianne Jean-Baptiste has a less showy role, but she occupies it with equally genuine warmth and humility. The other performances are consistently excellent, with Timothy Spall (Maurice) and Phyllis Long (Monica), who play tortured but thoroughly sympathetic characters, among the standouts.

The actors are complimented by Leigh's superb direction. Each shot has clearly been carefully thought-out, but the camera is so unobtrusive, so casually observing, that it lends "Secrets & Lies" an almost documentary-like feel. And yet, Leigh's compassion for all his characters leaks through every frame. One of the best scenes in the film takes place in a teashop, with Cynthia and Hortense sharing a first meeting that moves from initial awkwardness to humor and hilarity, to intense sadness and finally to catharsis and relief. The scene is an unbroken, unedited single shot lasting for nearly eight minutes, and Blethyn and Jean-Baptiste sustain the dramatic tension for that long without missing a beat. It is a seamless culmination of acting, writing, and cinematography, and represents (I think) one of the most remarkable and honest shots ever committed to celluloid.

Therein lies the secret to the success of "Secrets & Lies"--every moment in the film feels real. That quality is aided by the fact that, as is the case in all of Leigh's other films, the screenplay is a collaboration between both writer/director and actors. The dialogue never sounds scripted or contrived because most of it has been improvised by the actors themselves; thus, it's no wonder that the characters all but leap off the screen, and that spending time with them is such an engaging and rewarding experience.

Some have criticized the film's overly "happy" ending, claiming that it feels a bit too pat to be real. I disagree. The conclusion, though admittedly more optimistic a resolution than most conflicted families can expect, remains utterly true to the characters' personalities and backgrounds. Actually, Leigh trumps the notion that all films attempting to illuminate the human condition must be overly bleak and pessimistic.

"Secrets & Lies" is not a fast-paced film, and at 152 minutes, it's quite long. It could have gone on for hours and hours as far as I was concerned. Mike Leigh has confirmed my long-held notion that American cinema could definitely learn a thing or two from the sure-and-steady British. Without a doubt, one of the best films, if not the best, of 1996.

"Why can't we share our pain?"
I would call this Mike Leigh's masterpiece, only I've seen many films by this brilliant director since screening this unfairly overlooked gem, and I feel ANY of his movies could be categorized as a "masterpiece".

The movie centers on a black woman named Hortense (the multi-talented Marianne Jean-Baptiste) who, knowing she is adopted, is in the process of trying to discover the identity of her birth mother. She finds her real mother, a lower-class white woman named Cynthia Purley (Brenda Blethyn). Cynthia, unaware that Hortense is trying to look her up, has a more immediate problem - a rebellious daughter, Roxanne (the unfairly ignored Claire Rushbrook), who has no respect for her because of Cynthia's many affairs. Cynthia is also trying to reach out to her successful photographer-brother, Morris (perennial Leigh favorite Timothy Spall), but she can't quite get close to him because of the influence of Morris's seemingly cold wife, Monica (Phyllis Logan).

If anyone knows anything of Mike Leigh's style of direction, you'll know why this film is so amazing . . Leigh doesn't simply write a screenplay and tell the actors what to do, he allows them to improvise and develop the characters themselves; the result is that these characters are more than just one-dimensional cardboard cutouts. ALL of these characters are unable to be categorized; they have characteristics that are UNIQUE and that make us care about them. Their complexity is illustrated not only in their actions and by what they say, but by what is NOT done or said in specific instances. ACTIONS of the characters are important (notice, for example, Hortense's inability to react emotionally, even in the family setting, or her reluctance to touch anyone). Another interesting feature is the way Leigh juxtaposes scenes of Morris taking pictures in his photography shop with the events of the story; we even become enamored by the characters that are seen only briefly, for a second, behind Morris's lens, posing for photographs. The cinematography also helps to add to the film's realism; it has a camcorder effect, without being at all shaky or deficient in sound quality.

Finally, the ending: Some may find the ending overly sentimental; I found it remarkably real (and nowhere NEAR as sugary sweet as those found in Hollywood films). Let me only say that it succeeds in that the viewer isn't given total resolution, yet he is given HOPE; these characters CAN work out their problems with each other, and it raises a question that I (as one who is no stranger to family feuding), find very convicting: why, in family situations, do people so often choose to alienate themselves and suffer alone (often even punishing their loved ones, as illustrated by Roxanne and Monica), instead of SHARING their pain and helping one another?

A great film . .worthy of much praise and able to withstand repeated viewings because of the depth of the story and the people involved. Here's hoping Mike Leigh will retain his style of filmmaking for years to come.

touching and realistic and simply incredibly little gem
This is a little known but absolutely wonderful film that, corny as this sounds, deserves to be shared by many.A small film about a family and the small day to day trials and tribulations they go through.It's very realistic and deals with the the most average everyday things.What makes this film so amazing is how it is able to present this window into the lives of this group of people with such wit and insight, sadness and honesty; ultimately resulting in a film which is tender and uplifting and hopeful.

Tha acting is simply awesome. No other words to put it.Everyone from Brenda Blethyn to Timothy Spall to Marianna Jean Baptiste, to Claire Rushbrook, all take turns stealing scenes in performances that are so natural and on point that at times, it doesn't even feel like they're acting. This is true acting that cuts straight to the heart.The script is wonderful in that it provides so many little details that one wouldn't think to include in a movie. Just the smallest things which somehow bring the characters to life.

A wonderful film that is never going to get any acclaim because this is all about the actors.No special effects or halle berry sex scenes. No way-this is an actor's film.And they steal the show.If you have taste in REAL cinema, do not miss this gem of a movie.IT IS SIMPLY WONDERFUL.

On How Life Is
This superbly acted and written drama is certainly one of the best british movies of the 90`s, dealing with human feelings and relationhips in an unique, realistic and powerful way. Like the best british movies out there, it wisely combines drama and comedy, creating a meaningful portrayal of life.

The story focuses a young black woman`s (Marianne Jean-Baptiste)quest to find her real mother who abandoned her as a child (Brenda Blethyn). Problem is, her mother`s life is currently a mess and that new element ends up generating some problems, conflicts and tensions in the family.

Mike Leigh`s direction offers time and room for his actors to develop the characters, creating three-dimensional individuals who seem real everyday people. The scenes are very well crafted, with close attention to detail and strong, credible dialogue. The performances are all terrific and natural, and the story flows well although the pace is a bit slow at times. It`s certainly one of the most interesting movies about family ties and the need of belonging somewhere, also focusing the differences and personality flaws that keep people away from each other.

At times sad and moving, in other moments cheerful and uplifting, "Secrets & Lies" presents the necessary but at times difficult experience of family reunion in a realistic way.
A worthwile, poignant drama with much to recommend.

One Lie I Wish Filmakers Would Stop Telling
I would be dishonest if I did not compliment Leigh and his cast on such beautifully acted roles interwoven in such a sweetly told story, but why on Earth do movie makers persist in using actors who so very obviously have two black parents to portray mixed race people? Jean-Baptiste's Hortense is superbly explored and bought to life, but as a parent of mixed race children I found it difficult to suspend disbelief in being asked to accept that she had a white mother (a sentiment echoed by many in the mixed race community). A trivial criticism most of you will cry, but this type of miscasting does a disservice to reality and serves only to propagate hypodescent myths regarding mixed race people. ... Read more

Reviews (152)

Ignorance is bliss
...Anyone who has done the least bit of research will know that David Lynch has final cut of everything he does. He chose to cut the movie down from its original inception. Please know that this is a fantastic movie, and the DVD IS Lynch-approved. As for the commentary and deleted scenes, Lynch has stated many times that he will NEVER do commentary, and does not agree whole-heartedly with including deleted scenes. He also refuses to use chapter stops (this is good). If you need someone to hold your hand while you watch this movie, and explain how to think for yourself, then I propose you find a different film to watch.

Goodbye Cherry Pie
Remember Laura Palmer? She's the one who was into sex, drugs and..., ended up killed by..., wrapped in plastic, and then it all began. Well here is the oft-times lurid, unsettling and sometimes plain scary film about Laura. This is not the eccentric drama/comedy we know as "Twin Peaks:TV series, and it's not for the fair weather Peaks fans. David Lynch lets us know that this is the flip side right at the opening credits when the violent destruction of a television is followed by a bloodcurdling scream. No wonder they hated it! I love it, and thanks to NewLine who in conjunction with none other than the maestro himself have produced a gorgeous digital transfer of this essential work. Forget the deleted scenes fiasco..with this quality sound and picture, and a good price, this is a no brainer for true Twin Peaks fans. I docked a star because the only substantial extra, the "documentary" is quite a disappointment. If you have absorbed the series and permit the Lynchian universe to enfold you, "Fire Walk with Me" will reveal itself as a coherent,disturbing and beautiful adventure. Great performances by Sheryl Lee and Ray Wise, but the real star is the director who gave us something that we never expected, and it gets better at each viewing.Wow Bob Wow!!

The Reason this movie wasn't as good is becuz.....
In the David Lynch "motion pictures" collection, there are 8 films that have been made since 1978. "Eraserhead," "Elephant Man," "Dune," "Blue Velvet," "Wild at Heart," "Fire Walk With Me," "Lost Highway," and his latest, "Straight Story." The four best are Eraserhead, Fire Walk With Me, Blue Velvet and Lost Highway.

David Lynch's vision of "FIRE WALK WITH ME," is not