Reviews (130)

Takes classic film noir detective story to new heights
This 1974 film takes the classic film noir detective movie to new heights. Yes, there is murder, scandal and lots of lies. But yet Jack Nicholson, cast as a private eye, is a sympathetic character. There's one scene in which the director, Roman Polanski, playing a bit part as a thug, rips open Nicholson's nose with a knife. This is the kind of wound that makes the audience grimace every time someone refers to it in the film. Faye Dunaway is cast as the femme fatale. She's beautiful, of course, and it's hard to take our eyes off of her. She's a woman of mystery, but little by little we glimpse her humanity. And by the time her secret is revealed, she's won everyone's heart.

Based on a real life scandal in Los Angeles in 1908, another underlying theme is about water and power in this desert city. The action takes place in the 1930s, and the details of that period of time are well portrayed, right down to Faye Dunaway's shaved and penciled eyebrows. The screenplay won an Academy Award and I can understand why. It was tightly written and revealed details that moved the plot forward at just the right pace. I sat there fascinated, not wanting to take my eyes off the screen, trying to figure out what would happen next and constantly surprised by the next twist and turn. John Huston is cast in the role of a wealthy landowner with a huge secret of his own. He's a fine actor and his presence on the screen added depth to the whole production.

The DVD has a special interview with the writer, Robert Towne, as well as Roman Polanski. This added to my enjoyment of the film and provided further insight about its production. Definitely recommended.

Transcendent Film Noir
I've seen very few "greatest film" lists that don't have Chinatown among the top 10, or even top 5. It's deserving. It's done in the style of a '50's film noir, but transcends the genre.

There are great performances here by Jack Nicholson and John Huston. Nicholson plays a jaded but heroically decent private investigator in the mold of Humphrey Bogart. He's much less the tough guy than Bogart, though, and you get the impression that he'd rather being doing something less seedy for a living. It's a very subtle portrayal. Huston, on the other hand, plays a tycoon whose mere presence on the screen can make your skin crawl.

The film stands out in just about every respect. The sets are wonderful and the cinematography beautiful to look at. Even the score is exceptional.

The DVD is a little short of extras, but they really aren't missed. The transfer is very high quality in all respects.

To the brainiac above who doesn't understand why the water is being dumped in the ocean: they're trying to create a drought to drive the farmers out of business. That's pretty much the key point of the plot. And, yes, a .38 snubnose is perfectly capable of hitting someone at 50 yards. Guns & Ammo tests them to that distance all the time. Get a clue!

A Master Screenplay, A Perfect Film
Many writers consider Robert Towne's screenplay for 'Chinatown' as the perfect screenplay. It is, and is also in fact the example of how important good writing is in the art of cinema. It is perfection and in the hands of Roman Polanski it became a film masterpiece. But it all goes back to the writing. Robert Towne has taken the true story of how Los Angeles stole water to grow and wound around it the fictional story of Jake Gittes, Evelyn Mulwray, and Noah Cross and made them major participants in an ugly little tale of lust and greed. Towne's screenplay is layered like a decaying Dahlia with twisting mysteries and taught suspense. There is not a loose end in sight and a few well placed red herrings are added to the mix to delight any fan of this type of story.
The attention to detail from vintage cars, sets, real L.A. streets and alleys to the excellent score by Jerry Goldsmith and the golden cinematography of John A. Alonzo contribute to all the aspects of this classic of the post 60's film noir.
Faye Dunaway as Evelyn Mulwray is at the top of her game creating a neurotic exotic hothouse flower that carries death within the heart of her dark and dirty secret. Lacquered and veiled in the most perfect black widow getup of the genre she is superbly brittle and vulnerable at the same time. She is fascinating to watch as she slowly unravels along with the mystery until she is naked in the horror of what her past and present prison is. This is a great performance by a great artist.
As Evelyn's father Noah Cross, John Huston is the debauched cancerous center of evil and greed captured within the crumbling casing of a seemingly charming old man. He too gives the performance of a lifetime and his soliloquy on what a man is capable of is chilling.
The center of this masterwork is Jack Nicholson who became a star with this, the best of his early work. His J. J. Gittes is hardboiled and ruthless in getting to the bottom of why he is being used to take the fall for a murder. He embodies the soul of Bogart and the heart of a romantic fighting to stay tuff in a rotten world. He is drawn with such skill that he seems not to be acting but simply existing the real world of L.A. in the late 1930's.
"Chinatown" is seminal in its place in film history. It bridged and old and forgotten genre with a new Hollywood in its post studio infancy and laid the groundwork for later films of equal ambition such as "Mullholland Falls" and "L.A. Confidential".
This is one of the best film ever made and a must have for any serious film collector.

I cut my nose shaving
Not since Otto Preminger's LAURA had filmgoers the pleasure of watching a classic film noir, until Polanski's CHINATOWN. The plot and characters are complex but chillingly believeable. I can't find anything wrong with this film. It is well-paced for a fairly long movie. The lighting, cinematography, setting, costumes... everything is as should be. The performances by John Huston and Faye Dunaway are eerie and tragic, respectively. Then of course there's Nicholson. Mad Jack was already firmly established on the Hollywood map having already won acclaim for EASY RIDER, THE LAST DETAIL, and FIVE EASY PIECES. This film however fixed him permanently in the constellation of Hollywood stars. ONE FLEW OVER THE CUCKOO'S NEST would soon follow. In any event, his portrayal of an aloof, world-weary gumshoe who stumbles in over his head into an intrigue involving crooked politicians and the money-slobbering wealthy still holds up 30 years later. This is an incredible film.

THIS IS WHAT FILM IS SUPPOSED TO BE
The mid-1970s saw a spate of "government conspiracy" films, all with liberal themes that emanated from Watergate. None of them were about Kennedy stealing the 1960 election. Hmm.
"Chinatown" (1974) may be the best screenplay ever written. A historical look at 1930s Los Angeles, it actually condensed events from the 1900s with events that, uh, never happened but made for good drama. Written by L.A. native Robert Towne, directed by Roman Polanski, produced by Evans and starring Jack Nicholson, Faye Dunnaway and famed director John Huston, it told the story of how Los Angeles became a metropolis. In Towne's version, Huston "owns" the L.A. Department of Water & Power with a character based on actual L.A. City engineer William Mulholland. Mulholland had orchestrated the political deal which built the aqueduct that brought water from the Owens Valley into the L.A. Basin, allowing millions of Southern Californians to keep their lawns green to this day.
The Mulholland character is "sacrificed" at the altar of greed, embodied by Huston, who secretly buys the San Fernando Valley, knowing that once the water deal is set, it will be incorporated into the city, making him a gazillionaire. It is rather cynical, although nobody suggests the L.A. "city fathers" were boy scouts. The same old theme is that capitalism and American political power are corrupt. To make sure the audience is convinced the corruption is beyond redemption, Huston is in the end found out be an insatiable, incestual monster. He plays the role so well it brings up minds-eye imagery of his real daughter, Angelica. The film is utterly beyond any criticism, regardless of political colorization. For decades, film students and screenwriters have studied it. It spawned an artistic quest to lace the screen with symbols, metaphors, backstory, and twists.
"Chinatown" seems to be the apex of the American film period, the mid-1970s. The period from 1960 to 1979 is unparalleled, but the backstory of the people who created these classics is a telling tale of why the genre leans to the Left. In the 1960s, film schools became popular. Four schools emerged, and have held their place as the place to learn the craft. In Los Angeles there was the USC School of Cinema-Television. Their first big alumnus was "Star Wars" director George Lucas. UCLA combined their film school with their drama program, so as to bring actors, writers, directors and producers together. Coppola went to UCLA along with a future rock star named Jim Morrison, who would form The Doors with another UCLA film alumnus, keyboardist Ray Manzarek.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Amazon.com

After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber/Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s.Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film has a similar quality--it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. --Jeff Shannon ... Read more

Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Amazon.com essential video

Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses.George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims.This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see.--David Horiuchi ... Read more

Reviews (58)

Attend the Tale of Sweeney Todd
I was in the audience the night this was videotaped in Los Angeles and I was again in the audience in San Francisco some 20(?)years later when Patti LuPone & George Hearn performed it in concert & it was taped for PBS. Both performances were outstanding & I would be hard pressed to choose one over the other. I think I like the older George Hearn & his stamina is amazing. LuPone's Mrs. Lovett is evil & plotting from the start. Lansbury's is more loveable & never gets quite as evil as LuPone's.I have heard the show was written for Angela Lansbury & Len Cariou but then Ms Lupone was just getting her career started. Who knows what Sondheim was thinking?? I loved both. The original Cast Album includes songs that were never performed on Broadway or were shortened("The Contest" & "Parlor Songs" are examples) before the run opened. Someone (I don't know if it was Sondheim or someone else) decided the show ran too long but at least they recorded them for posterity! They had a wonderful actor playing Judge Turpin in SF & his song "Johanna" was reinserted for that production. (...)

Hearn and Lansbury in the "Sweeney Todd" touring company
I have been watching this 1982 production of "Sweeney Todd: The Demon Barber of Fleet Street" for almost twenty years on videotape, so releasing it on DVD would be greatly appreciated. The cast features three of the original stars of the 1979 Broadway production: Angela Lansbury in her Tony Award winning role as Mrs. Lovett, Edmund Lyndeck as Judge Turpin, and Ken Jennings as Tobias Ragg. Well, you can also add to this list Cris Groenendaal and Betsy Joslyn, who play the young lovers Anthony Hope and Johanna, since they were members of the original company. Len Cariou had been replaced in the title role by George Hearn, who was still two years away from winning the Tony Award for his performance in "La Cage aux Folles." On Broadway Hearn played opposite Dorothy Louden before teaming up with Lansbury for the show's touring company and eventually this Showtime production of the musical.

Stephen Sondheim has said that if people insist on putting "Sweeney Todd" into a category it would be black comic operetta, which is as good a way as any of defining its uniqueness. If you are going to have a barber who slits the throats of his customer team up with a woman who bakes the corpses into meat pies, then black comedy would be the way to go. But what makes "Sweeney Todd" so marvelous is that it mixes the dark comedy with chilling horror. For the most part the comedy is carried by Lansbury's Mrs. Lovett, starting with "The Worst Pies in Lond," while Hearn's Todd provides the chills, beginning with the hauntingly beautiful "My Friends," sung to his razors. Of course, it is "A Little Priest" that brings these two elements together, but while it is no doubt the show's signature piece it is not the supreme dramatic moment. That comes right before that glorious end to Act I when Hearn signs "Epiphany," which for me remains the song I would most like to be able to do on Broadway, although I can forget about matching Hearn's tour-de-force performance.

When you consider that the last three songs of Act I are "Pretty Women," "Epiphany," and "A Little Priest," it is difficult to imagine a show having a stronger ending before Intermission. There is a sense in which Act II does not measure up, but that is become the bloody climax to "Sweeney Todd" rests more on action than songs. I can still remember watching it for the first time, in live performance fortunately, and thinking that they were reaching the point where things were going too far and the tragedy was about to become too complete. The only real complaint about this video production is that unlike the original cast album or what you are subjected to in live performance, the steam whistle that accompanies each slash across a victim's throat does not make your nervous system explode.

AT LONG LAST!!!! Sweeney's Back Where He Belongs!
"Sweeney Todd" has been out of print for many, many years. Video copies went for enormous sums, and I had to settle for an aging video copy I recorded when the show was first aired on television 22 years ago. I understood that there were some copyright issues that stopped the show from being re-released, which have apparently been resolved.

Although I usually curse Warner Brothers for having the worst track record of any major studio for not releasing their extensive library of films to DVD, today I applaud them for giving us back this wonderful show with its delightful performances on DVD. Not only can we relish Angela Lansbury in her Tony-winning role as Mrs. Lovett, but we get the extra bonus of seeing George Hearn as Sweeney, to my mind the best Sweeney I've ever seen (and I've seen two others as well -- Len Cariou, who originated the role on Broadway and was probably the sexiest Sweeney (making Lovett's attraction for him perfectly understandable), but without Hearn's depth and a bit too American (or rather, Canadian), and Denis Quilley, who performed the role in London. Although Quilley's acting and singing talents were a match for Hearn's, he was physically not exactly right.

As for the Mrs. Lovetts I've seen, the West End production's Sheila Hancock will always be my favorite for her ability to capture all the comedic aspects of the role (as Angela Lansbury does too) while still managing to plumb the pure evil depths and total amorality of the character. Ms. Hancock had the ability to make the theatre-goer laugh his head off one moment, and then to send chills down his spine the next. But who could not love Angela as well? And aside from Ms. Lansbury, one gets a chance to see several others from the original Broadway cast reprise their roles for this production, including the wonderfully sinister, powerfully voiced Edmund Lyndeck as Judge Turpin and Ken Jennings as Tobias. (Toby is not an easy role to cast, since one has to practically be a castrato to sing it.)

I was also fortunate enough to see the original Broadway production before the cuts were made -- the shortening of the barber competition (a wise decision), the elimination of the self-flagellation scene in which Judge Turpin, brandishing a whip, is seen in a black robe, his buttocks exposed (this should never have been cut but was probably considered too outragious for the out-of-town tourists to handle), and the removal of the Tower of Bray number (which, again, was a wonderful pastiche and very funny, as it added to rather than detracted from the suspense, and hopefully will one day be re-evaluated and restored to future productions). But at least, the missing numbers are all on the cast album for admirers of the show to enjoy.

The role of Anthony was replaced in this production by Cris Groenendaal (who was in the chorus in the original), and who has a stronger voice than Victor Garber, who originated the role, but Garber is a stronger actor, as can be surmised from his long and successful career, both in musicals and non-musicals. I also enjoyed Betsy Joslyn as Johanna, which is a silly and comedic role which she milks for all its worth, and yet still remains a chip off the old block. It's Johanna, after all, who grabs the revolver from Anthony to shoot Mr. Fogg in cold blood.

Finally, before receiving the DVD, I was fearful that I might be looking at something with faded color bleeds and poor video quality simply transferred to a different media. But I am happy to report that the show has held up well, both visually and audibly. In fact, in this L.A. production, the only thing I missed from the Broadway production (other than the cut numbers) was that in the original theatre, Sweeney and Mrs. Lovett make their final appearance rising through a hole in the floor from an elevator beneath the stage, as if coming back from hell for a brief encore. Now THAT was an entrance!

Great Show, Lousy Recording
I first saw Sweeney Todd on Broadway over 20 years ago, and was thrilled to be given the chance to revisit it now on DVD. If you love the dark comedy/thriller genre and are prepared to find cannibalism amusing at times, this one is for you. (Decades after seeing it I still announce to my family on the rare occasion that I make shepherd's pie that we're having "Shepherd's pie peppered with actual shepherd on top!") The music is FANTASTIC and creepy and Angela Lansbury is absolutely in top form. The problem is this; The recording was made as a low quality, live recording for PBS TV over twenty years ago. As a result, you will see the colors are less vivd than they should be, the picture quality is a little shabby and the show sounds like a flat, worn out tape recording. Still, this is a great performance of a Broadway classic.

Its that amazing!
Sweeney Todd is an absolute masterpiece. It basically puts every other show in the last 30 years to shame with its glorious music, supurb book and amazing characters. After owning the old VHS of this pruduction, it was so nice having a DVD of it. Even though the production was getting sort of old at the point this was shot, and you can tell that Angela is sort of tired of playing Mrs. Lovett. Its still a thrill to have this preserved. The cast is AMAZING. Even though Angela seems bored, she is still wonderful and electrifies the stage with her presence and talent. Its no wonder she won a Tony for basically every major Broadway Show she ever did. Hearn is ofcourse, AMAZING. His acting isn't as good as Cariou's, and I find Cariou scarier, but his singing is just sooooo good, and even though his characterization isn't my favorite, he gives his Sweeney a lot of dimensions, making you see that Sweeney Todd was once a good man and isn't just an insane mad man, even though I prefer that.

The supporting cast is wonderful. I know everyone hates the Johanna, Betsy Joslyn, and even though I must admit her performance is a bit odd and her voice seems to be struggling, I love it. SHe makes Johanna into a complete nut and is completely insane, adding something even creepier about her character and her relationship with the Judge. I mean, hello, she has been molested by the judge her entire life and is kept inside ALL the time. I find it a bt ridiculous when Johanna is played all pretty and nieve. Does ne1 REALLY think Johanna would be so sweet after years of confinement? The Anthony's voice is VERY good and sing all his songs very well, even though his hair is a bit ridiculous. The Judge is great, and SOOOO creepy, and so is the Beedle. THe Tobias is very good, even though he's not as cute and endearing as he was when the show first came out, but he does it very well. Its just such an amazing show and I love it and everyone should buy this and the CD! Its sooooooo good! ... Read more

Amazon.com

After they first worked together on the 1966 film This Property Is Condemned, director Sydney Pollack and Robert Redford continued their long-lasting collaboration with this 1972 drama set during the mid-1800s, about one man's rugged effort to shed the burden of civilization and learn to survive in the wilderness of the Rocky Mountains.Will Geer is perfectly cast as the seasoned trapper who teaches Jeremiah Johnson (Redford) how to survive against harsh winters, close encounters with grizzly bears, and hostile Crow Indians. In the course of his adventure, Johnson marries the daughter of a Flathead Indian chief, forms a makeshift family, and ultimately assumes a mythic place in Rocky Mountain folklore.Shot entirely on location in Utah, the film boasts an abundance of breathtaking widescreen scenery, and the story (despite a PG rating) doesn't flinch from the brutality of the wilderness. In addition to the original theatrical trailer, remastered Dolby Digital 5.1 soundtrack, and informative production notes, the DVD also includes The Saga of Jeremiah Johnson, a promotional documentary on the making of the film. --Jeff Shannon ... Read more

Reviews (72)

Unforgettable Masterpiece From Director Sydney Pollack!
Robert Redford and Sydney Pollack, the Academy Award-winning director of Out of Africa team up (the 2nd of their 6 films together) for this powerful saga of a man whose determined search for contentment leads to back-breaking, even mind-breaking hardship, and to constant battle with hostile native Americans. This absolutely unforgettable and spectacularly beautiful, yet haunting adventure film captures both the epic scale of an unconquered Nature and the small, frustrating, hard scrabbling struggles of a lone man desperately trying to start a fire during a gale-force blizzard, cross a meadow knee-deep in snow or catch something, anything, to eat.

Filmed entirely on location in winter-time Utah, this movie captures on film Jeremiah Johnson's (Robert Redford) attempt in the mid 1800s to become a mountain man, seeking solitude in a wilderness whose purity he never questioned. This film is sure to find it's way into the private library of every connoisseur of superb movie making, and is one of those very rare films you can enjoy again and again! Masterpiece!

Robert Redford's personal favorite film role
I had the pleasure of seeing "Jeremiah Johnson" in the theatre soon after it first came out at Christmas 1972. On the big screen you could really appreciate the magnificent cinematography and the majestic scenery. It loses something when transferred to the small screen. So I recommend watching the letterboxed version on a larger screen TV(at least 27inches or larger.)It has fine direction by Sydney Pollack whom Robert Redford has worked with in more than a half dozen films. The movie takes place in Redford's own neck of the woods,the mountains of Utah.The late Will Geer,(the grandfather on the television series "The Walton's" back in the '70's),is very enjoyable as a bear trapping mountain man named Bear Claw. And,Delle Bolton is impressive in her movie debut as Jeremiah's young indian maiden bride named Swan. I don't believe I've seen Ms. Bolton in anything since this film.The film also has an atmospheric music score by John Rubinstein.

I haven't read the two books this movie is based on "Crow Killer" by Raymond W. Thorp and Robert Bunker and "Mountain Man" by Vardis Fisher and I hear the books are much more intense and graphic and if the screenplay had followed them more closely the film would have generated a more adult R rating instead of the family friendly PG rating that it has. Redford said in an interview back in the '80's that of all the films he has done that "Jeremiah Johnson" was his personal favorite.

I think that's really saying something considering all the fine films Mr. Redford has done.This is one of his best along with "Butch Cassidy and The Sundance Kid" from 1969, "The Sting",(the OscarTM winner for Best Picture of 1973),"The Great Waldo Pepper" from 1975,"Three Days of The Condor",(also directed by Sydney Pollack),"All The President's Men" from 1976,"Brubaker" from 1980, "Ordinary People"(which was his directorial debut and was the OscarTM winner for Best Picture of 1980 and he won Best Director honors),"The Natural" from 1984,"A River Runs Through It" from 1992,which Redford directed and was the narrator,"Quiz Show" nominated for Best Picture of 1994,(it didn't win), and "The Horse Whisperer" from 1998(which he both directed and starred in. Among Director Sydney Pollack's best are "The Way We Were" from 1973,"The Yakuza" from 1975,"Tootsie" from 1982 and "Out of Africa",the OscarTM winner for Best Picture of 1985,with Mr.Pollack winning Best Director honors). Robert Redford and Sydney Pollack are two of America's finest filmmakers.

"The day that you tarry is the day that you lose ..."
He was a big man, maybe even growing in physical stature with the growth of his myth; deadly with his Bowie knife and his gun alike. He'd been a fighter in the U.S.-Mexican war, but left the lowland's ways behind in favor of a mountain man's: the lonesome hunt, the wild outdoors, and the confrontation with nature rather than his fellow men. And he came to be known as "Crow Killer" and "Liver Eating Johns(t)on" when he took war to the Crow nation after they killed his wife.

Based on Raymond Thorp/Robert Bunker's "Crow Killer" and Vardis Fisher's "Mountain Man" and scripted by John Milius and Edward Anhalt - with input from frequent Redford/Pollack cooperator David Rayfiel - Sydney Pollack's and Robert Redford's 1972 movie loosely traces the mythical hunter's legend, opening with his arrival at the fort where he buys his first horse and gun. "Ride due west as the sun sets. Turn left at the Rocky Mountains," is a trader's goodnatured answer to Johnson's naive inquiry where to find "bear, beaver and other critters worth cash money when skinned." But soon he finds that his lowland skills no longer do him any good, almost starving in the freezing mountainous winter before being taken in by old "griz" hunter Bear Claw Chris Lapp (Will Geer in a stand-out role - his and Redford's deadpan exchanges alone make this movie worth its price).

Setting out on his own again the following year Johnson fares better, even gaining the respect of a Crow warrior prosaically named Paints His Shirt Red (Joaquin Martinez), the first person he encountered in the mountains. After assisting a settler's wife who had to watch her family massacred by Indians (Allyn Ann McLerie) and reluctantly agreeing to take charge of her son (Josh Albee) - a boy grown mute by the horrors he witnessed, whom he names Caleb - he comes across white hunter Del Gue (Stefan Gierasch), buried up to his head in sand by a band of Blackfeet. Revenging that act unwittingly leaves Johnson with a wife, in exchange for bestowing the Blackfeet's ponies and guns on Flathead chief Two-Tongues-Lebeaux (Richard Angarola): the chief's daughter Swan (Delle Bolton). Although neither embraces the match enthusiastically, over time Jeremiah and Swan learn to appreciate and, eventually, love each other. But then fate strikes: Against better judgment pressured into guiding a cavalry company through Crow burial ground, Johnson finds Swan and Caleb murdered upon his return. He sets out after the Crow who invaded his home ... and plants the seeds of his myth.

"Jeremiah Johnson" was Redford's and Pollack's second of seven collaborations after 1966's "This Property is Condemned." What most obviously characterizes this movie is the breathtaking manner in which its cinematography uses Utah's mountains (doubling for the story's actual Montana setting): despite studio budgetary limits shot entirely on location, the film had Redford acting as a virtual tour guide to the magnificent Wasatch, which he had recently made his home himself.

But the movie also shows enormous restraint, particularly given its violent underlying story. There's no blood-gushing "Braveheart"-style, no dramatic score; fights are mostly one-on-one, occurring as they would in real life - silently, with only the opponents' grunts being heard - and despite his fearsome epithet we never actually see Johnson eat a dead Crow warrior's liver. (Reportedly a script change on which Redford insisted: wisely so.) Similarly, Johnson's and Swan's relationship builds on small symbolic gestures, moving from his coarse attempts to teach her English and refusal to learn her language to conversations in Salish (Flathead); and from her submissive expectation of his exercising his marital rights on their wedding night (which rather repulses him) to later-exchanged tender glances and smiles: Thus, we only learn about their marriage's belated consummation when one morning Swan points to his beard in response to his question about her reddish cheeks. - Further, there's no dramatic conclusion; no final battle: as Johnson's myth begins to grow and he withdraws deeper and deeper into the mountains, he retraces his steps and meets in reverse order the people he encountered after his arrival: Del Gue, the settler now living in Caleb's mother's cabin, Bear Claw Chris Lapp; and finally Paints His Shirt Red who, although a Crow, created a monument in Johnson's honor and sends him off with a last salute, which Johnson reciprocates; ending the movie in an immortalizing freeze-frame shot - again, a feature insisted on by Redford, doubtlessly reminiscent of "Butch and Sundance" (and repeated one way or another in several subsequent movies).

Despite its languid pace and although just under two hours long, "Jeremiah Johnson" formally takes an epic approach, complete with overture, entr'acte and narrator (uncredited, but I think Willie Nelson), whose subtle voiceovers and brief songs provide key narrative bridges. While the latter match the movie's overall style and the overture at least corresponds with Johnson's mythical stature - albeit also setting up ultimately unfulfilled expectations of a dramatic finale - adding an entr'acte may have been a bit much, particularly in the middle of the ride through the Crow burial ground (incidentally a screenplay addition designed to give the Indians a reason to punish Johnson and not make them appear as mindless killers). In my view this breaks the dramatic tension rather than enhancing it; problematic insofar as virtually all that remains thereafter is Johnson's gradual withdrawal into the mountains and fights with the Crow. But no matter. This is a terrific movie, featuring great banter with Johnson's fellow hunters as well as some wonderfully delicate scenes with Swan, showcasing some of North America's most dramatically beautiful scenery, and growing on you more and more the more often you watch it.

And some say he's up there still ...

"The way that you wander is the way that you choose. The day that you tarry is the day that you lose. Sunshine or thunder, a man will always wonder where the fair wind blows ..."
(Lyrics, Jeremiah Johnson's theme.)

Jeremiah Johnson: a note on the theater
Just a note about this wonderful movie. I saw it when it first came out. JEREMIAH JOHNSON the title page screamed, "with Robert Redford" next in small fonts. A few years later I was back at the theater to watch it again. ROBERT REDFORD the title page screamed, "in Jeremiah Johnson" next in small fonts. This movie (and a few others) had introduced Robert Redford to the world.
This movie should be appreciated by every movie lover. Among other things, it demonstrates how words, if chosen carefully, can be memorable in their sparseness.

The best of any Mountain Man Movies
My very favorite Mountain Man movie. ... Read more

Reviews (139)

Peckinpah's ode to the closing of the American West.....
It would be impossible for film fans to have a conversation about controversial movies throughout the years, and for the epic western, "The Wild Bunch" not to get a solid mention.

Since I first saw this film over twenty years ago, I have owned numerous versions on VHS and laser disc, and it is particularly satisfying to finally have the restored directors version, with the accompanying documentary "The Wild Bunch : An album in montage" available on DVD in true widescreen format.

Sam Peckinpah's blood and thunder tale of outlaws on the Texas/Mexican border with their own set of unique morals has been such a dynamic influence on many directors and future films since it's release way back in 1969. But what sets "The Wild Bunch" apart from it's many imitators is it's deep, almost mythical storytelling, the complex moral nature of the characters peopling the tale and the gritty passion & energy that Peckinpah infused into the entire production. William Holden and Ernest Borgnine are simply tremendous as Pike & Dutch, the leaders of the Bunch...each man with his own individuality. Ben Johnson & Warren Oates portray the crazy Gorch Brothers, Jaime Sanchez is the arrogant and fiercely partiotic Mexican, Angel...and Edmond O'Brien is the grizzly, old timer Sykes.

Additionally, Peckinpah's film features Emilio Fernandez as the bloated, evil dictator Mapache...Albert Dekker as the manipulative and remorseless railroad man, Harrigan....and Robert Ryan putting in another one of his strong performances as the ex-gang member turned reluctant bounty hunter, Deke Thornton. And a Peckinpah movie almost wouldn't be complete without the appearance of LQ Jones and Strother Martin as a pair of filthy, grave robbing bounty hunters out for the reward on the heads of the Wild Bunch.

The Wild Bunch pulls no punches in it's tale of desperado's who they themselves are desperately running out of time...as Holden reflects in the film "We've got to start thinking beyond our guns...those days are closing fast". Whilst "The Wild Bunch" is most notorious for it's two bloody shootouts that book end the film's 144 minute running time...there is so much excitement, passion, adventure and personal conflict within the movie that can be found upon each repeated viewing of this stunning work.

A film that can be treasured and enjoyed by any true film fan....The Wild Bunch will be continually looked upon as one of the most important contributions to American cinema.

Director's cut not needed, but great moments still abundant
The Wild Bunch is, without a doubt, one of the greatest westerns that has ever been thought up, but it is also quite controversial. The romantic view of the Old West is shattered in this 1969 film; no sign of John Wayne anywhere, and most of the cliches found in a typical western are nonexistant(not that I dislike typical western movies, they're actually quite entertaining). Sam Peckinpah, a master of improvisation, creates an unforgettable movie that is not only responsible for redefining cinematic violence, but also carries with it an engrossing story of friendship, betrayal, and the dying west. I didn't feel a Director's cut was needed for this film though, because the original version moved at such a lightning-fast pace. The restored scenes may interest some viewers, but I just wasn't interested. That is probably why I don't own this version of the movie. I'd prefer that other Sam Peckinpah flicks be restored, preferrably Major Dundee. Besides that, the DVD still captures all the explosive action and catchy dialogue. I particularly enjoyed the presentation of the credits, and Jerry Fielding's music adds to the realistic atmosphere, and that's not a bad thing. If you're looking for a great action flick with a plot, The Wild Bunch is a winner for a weekend rental, but RENT this version before you buy it.

One of the best westerns of all-time
The Wild Bunch-Restored Director's Cut is one of the best westerns ever made and also one of the best movies ever. In 1913 during the Mexican Revolution, times are changing as the Old West disappears into oblivion. After a botched robbery in the town of Starbuck, the Wild Bunch, a gang of aging outlaws must decide what their next move is. The remaining members of the gang decide to head south into Mexico where their services may be needed. The bunch robs a gun shipment for a Mexican general, hoping this will be their last job. At the same time, a posse is hunting them down with a former gang member at the posse's head. While this movie is most well known for its violence, it is ultimately a story about honor among men in a changing time. Knowing that the world they knew is changing, the bunch has to try and survive as their end closes in. Nonetheless, director Sam Peckinpah knows how to construct an action sequence. The Battle of Bloody Porch is a balletic, slow-motion, masterpiece of blood and guts as the Wild Bunch meets their end. Just as good is their final march through the streets knowing what awaits them. One of the best westerns, if not the best, ever made and highly recommended.

What makes this movie special, along with the groundbreaking filmmaking of Sam Peckinpah, is the cast. The whole cast gives excellent performances. William Holden stars as Pike Bishop, the leader of the Wild Bunch who knows time is running out for the bunch. His right hand man, Dutch Engstrom, is played by Ernest Borgnine in a perfect part for him. Robert Ryan plays Deke Thornton, a former member of the Wild Bunch and the unwilling leader of the posses following the gang. The rest of the gang includes Edmond O'Brien as Freddie Sykes, Warren Oates and Ben Johnson as brothers Lyle and Tector Gorch, and Jaime Sanchez as Angel. Emilio Fernandez plays Mapache, the Mexican general who pays the bunch to steal a shipment of guns. Strother Martin and L.Q. Jones are great as Coffer and TC, members of the posse. What is surprising about these characters is that as despicable as they are, they are still likable. The Restored Director's Cut DVD includes about ten minutes cut from the original version, a theatrical trailer, production notes, an excellent making of documentary, "The Wild Bunch: An Album in Montage", and a great-looking widescreen presentation. For a great western with incredible gunfights, a terrific cast, and a great story, check out the truly classic western, The Wild Bunch!

NOT ONE OF YOUR GRANDPA'S WESTERNS.
"The Wild Bunch" is not the typical western that tells the story of a bunch of good ol' cowboys versus the mean ol' Indians, this movie goes beyond the cliches of the earlier westerns, so in some way "The Wild Bunch" resembles more to a Spaghetti Western than a John Wayne-versus-the-indians western.

Sam Peckinpah took two steps forward the use of violence in the movies, he show the world how to use violence in a movie to produce visual art. Of course, some might complain about the cruel scenes in "The Wild Bunch", but open minded people know that the violence in the movies is not even close to the cruelty of the real world violence, plus, the violence in a movie can produce visual art if it's used in the right way, like Sam Peckinpah or Sergio Leone did in their movies.

"The Wild Bunch" has an excellent cast: the always efficient William Holden and Ernest Borgnine plus a great supporting cast that includes names like Robert Ryan, Warren Oates and Emilio Fernández. Also, the director Sam Peckinpah gave importance to each character, and that contributed to form a solid story. The cinematography is spectacular, "The Wild Bunch" has a lot of impressive camera angles that show the cruelty of the bullets and explosions, and the movie has some of the most impressive scenes ever put to film.

"The Wild Bunch" is in a very selected group of westerns. That list includes movies like "High Noon". "The Searchers", "Stagecoach", "The Good, The Bad And The Ugly" and "Once Upon A Time In The West", among few others. That list includes the best westerns, and "The Wild Bunch" belongs in the list.

A Grand Finale to the Old West - An American Classic
This is simply a rich, masterful, nostalgic story of the Old West, in all of its fading glory.

The charaters too, are fading in their own time - pursued relentlessly by forces reshaping the country, lives and landscape they ravaged, shared, and loved.

A long-in-the-tooth band of outlaws set out on one last job - to lighten the rich railroad barons of a few sacks of gold. Doublecross meets disaster and they're thrown back on their heels in a narrow escape. Then on to Mexico to trade a stolen shipment of rifles, stolen from under the government's nose, to a Mexican general who is a ruthless hombre in his own right.

Good guys and bad guys change roles and the moral lines of right and wrong shift beneath their feet as they make a last stand for honor among men.

This is a fun, exciting, warm movie which is excellent in every respect. Beautifully filmed, extraordinarily acted, and a terrific story, wonderfully told.

Five stars for a truly American Classic. ... Read more

Reviews (44)

This movie is very intelligent
I liked the plot and the technical twists and turns of this thriller. Robert Redford plays a cia employee who reads books to find possible codes. He finds patterns and trys to break them or alert the Cia to there existence. He comes across something that causes his whole office or team to be wiped out leaving him as the only survivor, because he was out to lunch. How he goes about trying to survive is very intelligent and entertaining. There is a dry romance between he and Dunaway. He is on the run and time is not on hand so there scenes are quick and to the point. I liked the dialogue it was also dry and to the point. It sometimes took a few minutes for it to sink in. A highly intelligent film with good entertainment value. Worth watching.

4 Stars For "Condor"--One for the DVD!
Wire-rimmed glasses and a slight stubble of beard isn't enough to make Robert Redford completely convincing as a bookish CIA researcher, though he gives a terrific "movie star" performance (partially the result of co screenwriter David Rayfiel being brought in to customize some of Redford's dialouge).

Also, Director Sydney Pollack ("Tootsie") doesn't seem to have the feel for suspense-thriller pulp (the way someone like Peckinpah had), so "Three Days of the Condor" is a little too monotone and flat at times to be a completely successful representative of the genre.

No matter.

"Three Days of The Condor" had all the timing in the world going for it.

Released in 1975, just on the heels of Watergate and in the midst of the Church Committee hearings on CIA excesses, "Condor" became the only box office success of Paramount Pictures "Conspiracy Trilogy" (the others being "The Conversation" and Parallax View").

It's also worth noting the cinematography (done by the great Owen Roizman) is spectacular...the rainy Manhattan streets never looked so beautifully moody....and the score by Dave Grusin avoids all the usual thriller movie stabs and sting.

The transfer quality of the DVD is superb, but the special features are non existent (all that's included is the original theatrical trailer--hardly a "special feature" in today's DVD world).

"Three Days of the Condor" remains essentially a stylish artifact of mid-70's paranoia, and viewed today, in light of recent events, contains some really bizarre echoes.

The invisible government! Where?
Whenever I see this movie I always hear Roger Daltry's voice singing, 'can you see the real me?' Which is what a less loquacious Robert Redford tries to do after what may be one of the top ten movie opening scenes of all time, 70's, 80's, 90's or beyond.

Earlier reviews have fairly well constructed and described the plot but what's interesting is the unbelievability of it. Sydney Pollack keeps the heat on and the emotional cul de sacs plentiful as Redford tries to whittle down not so much the who killed all his coworkers but the why.

I believe alongside "Bullit," "French Connection," "Body Heat" and a few others, this is an essential movie both for it's time and our time. In light of Vietnam and Watergate, we just didn't blindly trust Uncle Sam anymore and were frequently reminded of the protest idiom, 'love your country; fear your government.' And for a captivating two hours, Redford is 'everyperson' ever profiled, searched, audited, traffic stopped, drafted and perhaps far worse. We didn't have to read George Orwell to know big brother was and is watching.

Cliff Robertson, a gifted actor denied his peak years because of pseudo-administration influence (do you remember 'Flowers for Algernon/Charley?), ironically plays the government role, as you would expect, brilliantly, and Max Von Sydow, is as always, superlative. I agree with some of the criticism of Faye Dunaway. She did better in other roles than she did here. It could have been Meryl Streep or Glenn Close as well, possibly better.

Essential movie if you want to know what you're talking about. Larry Scantlebury. 5 Stars.

Dated and Often Bizarre Thriller Amusing only to Old People
Like probably most people who were born well after Watergate broke, I became interested in seeing this film after seeing it lumped in numerous times with other paranoid conspiracy thrillers of the era, most notably Coppola's The Conversation and Pakula's The Parallax View. Those are two outstanding films, and Pollack's effort doesn't hold a candle to either. This movie is a disaster. Despite a dynamite opening act and a somewhat intriguing conclusion, together with a modicum of timeliness and poignancy with regard to real-world goings-on at the CIA, the vast majority of the film is spent slogging through dated fight choreography, awkward sex scenes, and some of the most atrocious dialogue ever committed to the silver screen. Faye Dunaway is particularly off-putting in a muted and emotionally confusing performance as a photographer who always blathers on about metaphorical pictures she keeps hidden away and only lets some people see.

Only Cliff Robertson and Max von Sydow escape unscathed from this silly, dated picture, resisting Redford's overacting and turning in fine performances (although Robertson's hair is perhaps the film's greatest mystery). To make matters worse, the soundtrack sounds like pornography, a perfectly awful mix of xylophone and smooth jazz.

For a much better time, please consider The Parallax View. If you have your heart set on Pollack, just watch The Firm, and you'll get the paranoia, the chasing and spying, and the pretty male lead, while what you sacrifice in political overtone you will gain in character development. I really thought I had something special when I took this home to watch it; it began with such promise. Truly it does not compare to the emotional wallop of Gene Hackman's Harry Caul, nor the mind-blowing psychadelic tension of Pakula's government coverups. Of this trio of would-be master Seventies spy storytellers, Sidney Pollack is the odd man out.

GREAT FILM, UNIMPRESIVE POLITICAL VIEWS
Robert Redford made a clunker called "The Way We Were" with Barbra Streisand that desperately tried to explain, apologize for, justify, glorify and approve of being an American Communist during McCarthyism, but just plain fails. He made the 1973 classic "Three Days of the Condor" (1973), with Cliff Robertson and Faye Dunnaway. He plays a CIA reader, a kind of pre-Tom Clancy research guy, a benign fellow among other benign CIA fellows, all of whom are murdered in a fuzzily explained hit by bad CIA fellows. After escaping, Redford tries to get to the bottom of it. Since he is a genius he has the intellectual tools to outwit his chasers. This is the film's highlight, revolving around the sexual tension between Redford and the redoubtable Faye, who he "kidnaps" in order to have a place to hide out, her apartment. The movie goes off the deep when the whole conspiracy turns out to be about the CIA's covert operations in the Middle East, where the U.S. apparently is planning the invasion (that never actually occurred) to take over OPEC. The message is that The Company murders innocents, the U.S. is a warmongering empire, and tool of capitalist greed. It is Redford's answer to Guatemala, Iran and Chile, where the people killed were generally Communists. Redford would rather show the CIA killing Chinese- and African-Americans and other non-threats.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Reviews (23)

Klute should have been on the AFI list
Klute is one of my favorite films of all time.It ranks right up there with "The Parallax View" as Allan Pakula's best film.Donald Sutherland gives a superb performance as the low-key sensitive cop, Klute, and Jane Fonda is wonderful (as always).The film is brilliant in so many ways. It is very visually striking, perfectly acted, great musical score, I cannot say enough about this movie. It is a quintessential American film that along with so many others from the 70's: Deliverance, The Parallax View, The Conversation, Night Moves, and from the late 60's, Point Blank, was unjustly left of AFI's top 100 movies list.

klute begat blade runner
"Klute" is far above average for the era... evocative music is used with excellent editing to produce what is still a rarity today: a suspenseful, realistic move with characters an audience cares about. Alan Pakula's spare technique is juxtaposed with rich sets and costumes to set a creepy mood, combining beautifully to give the viewer a gradually increasing chill which culminates in a harrowing climax. Certainly one can see the influence "Klute" in such diverse films as "Blade Runner" (particularly in one scene where Bree rides an elevator to the top floor of a dress factory) and "The Blair Witch Project" which relied on similarly subtle hints to freak out the viewer). Add to the mix superb performances by Jane Fonda and Donald Sutherland and you have yourself one hell of a film. And something to think about in the bargain.

A Second Rate Thriller
Klute is a movie that aspires to the cult status of Francis Ford Coppola's The Conversation but where The Conversation is compelling, Klute is vapid. It simply lacks inventiveness and originality.

Klute is a second-rate thriller. The plot eventually takes on predictability and is short on logic and terror. Klute is one of those movies that looks great but has no real substance. You don't care about the characters.

Klute does not offer any surprises whatsoever and the ending became quite predictable before it was half over. What good is a mystery if everything is pretty obvious and you can guess everything that's about to take place? This attempt at a psychological thriller is mindless. The plot is thin. Guy kills for no apparent reason.

In sum, Klute is a movie to avoid.

Excellent movie - amazing acting. But...
Jane Fonda was pretty unpopular when she did this movie. So she had alot against her to win and Oscar. But her amazing acting shon through and she won. Donald Sutherland was good and contributes to the atmosphere of the movie.

But..
Here's the problem. Warner Brothers have released this film on DVD which means it comes in an annoying card case instead of the usual plastic durable DVD boxes you'd get else where. They dont last as long, and it's harder to put in to a dvd collection when it has totally different dimensions to the rest.
It's quite a job to cut and place in a normal box. For the sake of 25 cence in cost saving, they've doing themselves a diservice. The security tags are hard to get off due to the sticky tag being stuck to [you guessed it] card.

You won't believe it's 30 years old.
This could be a film -about- the late sixties, done today. It's just superb. It holds up so well ... it makes you struggle with the problem of why most other older films become so dated ... Great DVD image, by the way. Very different than watching it on TV. ... Read more

Reviews (49)

The Nazis come up with the "Final Solution" over lunch
"Conspiracy" is based on the original minutes of the Wannsee Conference held on January 20, 1942 in Berlin where the Nazi worked out "The Final Solution." The of this HBO production is something of a misdirection, because this hour long meeting that would result in the death of 6 million European Jews might have been secret, but it was not exactly clandestine. This is not a meeting where the participants made their plans in hushed whispers, but something that eerily smacks of a board meeting at a large company. These men were going to become mass murderers on a scale rarely seen in human history, but they seem more like bureaucrats than anything else, which is just another level of the horror involved here.

"Conspiracy" goes beyond the recreation of this infamous meeting for the 1984 documentary "The Wannsee Conference," both of which are based upon the lone surviving record of the gather of 15 Nazi officers head by General Reinhard Heydrich (Kenneth Branagh). Included in the group are Lt. Colonel Adolf Eichmann (Stanley Tucci) and Dr. Wilhelm Stuckart, Interior Ministry (Colin Firth), and within an hour they come up with their solution to the "Jewish question." However, this is a sense in "Conspiracy" that they are not so much debating what it to be done but being asked to sign on to the plan that Heydrich is revealing directly and indirectly throughout the meeting in his quest for "unanimity."

This time around the horror is in the details, as these men try to come up with the most efficient way of killing and disposing of that many people while one guy does the math. Given that we know what is going to happen what stands out are not those who cannot wait to start the killing as much as those who have "reservations." Stuckart, who wrote the Nuremberg codes, is aghast at what these new policies will mean for the rule of law in Nazi Germany, as the courts are filled with divorce cases separating Jewish and Aryan spouses. However, Struckart makes it clear he hates Jews as much as the next person at that table. Then there is Dr. Wilhelm Kritzinger (David Threlfall), Permanent Secretary of the Reich Chancellery, who obviously has misgivings on moral grounds, but ultimately can offer no more obstacle than a story, which serves as the final statement on the proceedings when related by Heydrich to Eichmann after the meeting.

The end of the film, where we are informed as to what happened to the participants, is particularly interesting. I was surprised how few of these 15 Nazis were actually executed for war crime. Several of them would die during the war while others would be imprisoned, but a surprising number were released for lack of evidence. I was also interested to find out exactly who failed to destroy their copy of the minutes, although there is nothing particularly insightful about the revalation beyond satisfying my curiosity. In terms of Holocaust films "Conspiracy" a footnote to the mass exterminations, but of interest for what it provide in terms of rare insights into what the Nazi bureaucracy was actually thinking as it launched the "Final Solution."

Stands up to its subject matter
An account of the Wannsee Conference, chaired by Reinhard Heydrich (Head of the Reich Security) on January 1942. This Conference was to be decisive in establishing the "Final Solution" - cause of the Holocaust. One copy of the proceedings was found by American investigators after WW2 and was made into two movies, "The Wannsee Conference" (a West German movie), and the American remake "Conspiracy".

Any movie where we watch people talking for 90 minutes stands or falls on acting quality. Kenneth Branagh, as Heydrich, is excellent - the texture of his role is slick and darkly pleasant. The other actors are efficient. The made-for-TV nature of the movie does become apparent in its low-budget production, but this kind of movie does not necessarily need a lot of fluff.

Watching nazi officers and officials discussing whenever half-Jews should be made infertile or killed is not an inherently desirable experience. But there are many things in life that are undesirable, but must be confronted.

Worth Watching
I had the opportunity of viewing Conspiracy during a Holocaust Education workshop for teachers. It is very accurate (from what I have read) and does show the inner-works of the Wansee Conference.

I believe that the film was either filmed on location or at a place that was very much similar to the Wannsee House. I had the opportunity to travel there this past summer with a group of teachers. I was struck by how much the movie prepared me to think about the house and it's importance in the creation and implementation of the "Final Solution". If you are thinking of showing it to students, you may need to explain to them how the conference was conducted and give them some background -- it has lots of dialogue and plenty of "under currents" that can be hard to follow if you are not familiar with the "power plays" that were going on at that table....lots of ego at that table. It is important to remember that many of these individuals were sent by the "major players" in the Nazi regime to attend the conference. By not attending the conference himself, Hitler and his administrative members could claim "plausable deniability" (so they thought) if anything were to go wrong with the plan. It is hard to believe that this beautiful house that is located on beautifully-decorated ground and of of a spectacular lake could have played such a major role in WWII. Chilling!

chilling and engaging
It is certainly true that this is not the most accurate of historical documents, but then any historian would tell you that all history is in the interpretation and so the movie is as useful as your interpretation. The performances are excellent, Branagh, in particular, is outstanding, he is every bit the portrayal of the chillingly pleasant monster. The message is powerful, the acting and direction cold, calm and calculated - within 1 hour the holocaust was decided upon; the moment where the topic of discussion is how many and how fast can they be culled? is particularly sickening.

From an historical perspective i found the following very interesting: Hitler based his party structure on a chaos theory in that he had simple overlapping functions, so that his subordinates would always be engaged in in-fighting, instead of challenging him. It worked remarkably well. Here, in motion, the director shows the in-fighting, but on this part of domestic policy (internal to the Reich, at any rate) the decision was swift and unanimous, Heydrich alone held the power. Utterly intriguing.

What may make this more interesting for anyone, might be to read Hannah Arendt's account of Eichmann's trial in Jerusalem, which is published by Penguin.

Haunting
The Holocaust is one of humanity's greatest tragedies, and its mention brings up images of swastikas, death camps, mass graves, and gas ovens. It's some thing you can't talk about easily, and can barely joke about unless you have no heart. This film is about the Holocaust, and while you may see a swastika arm-band and hear a few Heil Hitlers, you won't find any violence or harrowing images; this film is only rated R due to the use of the f bomb a few times. However, this film can be just as gut wrenching as any Holocaust movie you've seen, because it's all about the people who planned it...and the fact they were just as human as you and me.

The fate of eleven million European Jews was decided over a meal by several higher ups in the German government (although not Hitler). Led by Reinhard Heydrich (played brilliantly, as usual, by Kenneth Branagh) and his aide (play brilliantly, also as usual, by Stanley Tucci) as they explain the plan. They explain it so simply, as if they're building a house, and in a very intellegent manner. In fact, it has to be explained at some point in the conversation that "deportation" is just a fancy word for murder.

Many of those present do not agree with the methods, but not because they have sympathy for the Jews. One somber delegate thinks the Jews should be removed from common society, but that murder is too extreme. Another delegate objects to the plan...but only because he feels the procedures Heydrich draws up will contradict his already enforced anti-semite laws. In the end, it is revealed how it will be accomplished: by none other than the gas chambers of the concentration camps.

Like movies such as "My Dinner With Andre" or "12 Angry Men" this movie takes a storyline built entirely on dialogue and proves it can be fascinating. These are characters that joke about sterilizing a whole race as if the Jews were animals, and the lack of music through out the whole thing (except for the ending narration) adds a good level of realism. I found myself watching this movie three times after I had rented it to closely study how the different characters interacted and treated this serious issue.

If you are interested in World War II, German history, the Holocaust, or you just like drama, then you will enjoy this movie. Some may not be able to watch it because of the subject matter, but it is definately worth your time. These are not propoganda style Nazis, nor are they charicatures of Hitler, but they are just ordinary people. ... Read more

Reviews (3)

Awesome
The third season on CYE is the best of the four, though all of them are hilarious. But if you buy only one season, make it the third. Ted Danson is a regular character and is very funny, as always. Its a great season of a great show.

The difinative season of Curb Your Enthusiasm
Curb Your Enthusiasm
-Season three episode guide:

301- Chet's Shirt (9/15/02)

302- The Benadryl Brownie (9/22/02)

303- Club Soda and Salt (9/27/02)

304- The Nanny (10/6/02)

305- The Terrorist Attack (10/13/02)

306- The Special Section (10/20/02)

307- The Corpse-Sniffing Dog (10/27/02)

308- Crazy-Eyez Killah (11/3/02)

309- Mary, Joseph, and Larry (11/10/02)

310- The Grand Opening (11/17/02)

The first season of Curb Lacks the kind of overall plot connecting the episodes that the most recent three seasons have had. The second season steered Curb in a very "Seinfeld" direction as Larry begins to pitch a TV series (Starring, initially, Jason Alexander, and later Julia Louis-Dreyfus) to several networks, very similar to Seinfeld's fourth season. Finally, it seems, Curb Your Enthusiasm "found itself", so to speak, with its third season. The third season's plot finds Larry investing in a resturaunt along with several other celebrities.

So finally, after a hectic albeit funny first and second season, the show settled down and focused on connecting and inter-weaving the episodes in really interesting and unique ways while still leaving each open-ended enough to be enjoyed alone. The time Curb saved slimming down non-plot-essential information went into a good deal of critically needed character development. Remarkably, the deepest character in the first two seasons is Larry's manager, Jeff.

Luckily, Larry and Cheryl are at the core of almost every aspect of the third season. Their family lives are fleshed-out in much greater detail, making both seem infinitely more human. And this character-development allowed Curb Your Enthusiasm, in my opinion, to become truly great.

-Colin George

a very wonderful show
this show has been very funny to luagh at. this series is very funny in alot of ways tat are different from any other show. it looks like live television, and looks unlike another show, buit the context of this show is a fortune. yes there arent many episodes a season, but if you watch to many at one time you will get burned out on it. rent first and see if you injoy then buy later like i did. ... Read more

Description

The most acclaimed motion picture of 1985 stars Robert Redford and Meryl Streep in one of the screen’s great epic romances.Directed by Oscar winner Sydney Pollack, Out of Africa is the fascinating true story of Karen Blixen, a strong-willed woman who, with her philandering husband (Klaus Maria Brandauer), runs a coffee plantation in Kenya, circa 1914.To her astonishment, she soon discovers herself falling in love with the land, its people and a mysterious white hunter (Redford).The masterfully crafted, breathtakingly produced story of love and loss earned Oscars for Best Picture, Director, Screenplay (based on material from another medium), Cinematography, Original Score, Art Direction (Set Decoration) and Sound. ... Read more

Reviews (74)

Beyond this place there be dragons
"Out of Africa" stands out as one of the most spectacular movies ever made. At the 1985 Academy Awards this movie won seven Oscars including Best Director, Best Cinematography and Best Picture. It deserved all seven!

It is filled with romance, scenery, real-life struggles and the inevitability of fate. It is a journey into Africa and into love. The escape is in the hand of fate. This movie presents Africa as a paradise. The natural environment is harsh, yet unspoiled in this movie.

This is based on the true story of Danish writer Isak Dinesen/Karen Blixen (Meryl Streep) who left Denmark to marry German Klaus Maria Brandauer/Baron Bror Blixen (Klaus Maria Brandauer) and start a dairy in Kenya.

Some women do enjoy the security of a man looking after them, however Karen is different. She seems to desire companionship and offers her fortune in exchange for marriage. Her husband changes his mind about the dairy and instead they use her money on a risky venture to grow coffee. This is not a marriage based on an intense romance, in fact, Karen is marrying her lover's brother.

Soon after they arrive in Africa, it becomes apparent this is not a satisfying marriage for Karen. Not only is her husband unfaithful to her, he gives her syphilis. Disease is not the only threat, she also has to fight floods and fire. There are lions which apparently try to attack Karen and Denys although I thought that was pretty unlikely in the situation.

I didn't like the "hunter" aspects or when the two lions are killed, but if you watch at the end, I think even the lions forgive the hunter. When I've seen lions during the day they were normally napping in the shade. Apparently they had trouble getting the lions to act aggressive and there is information on the DVD explaining these details.

Karen finds acceptance in big game hunter Denys Finch Hatton (Robert Redford) who loves her ability to tell stories. He starts the stories and she completes them. I think he is impressed by her confidence and creativity. He sees who she really is. Her husband is obviously blind to this beautiful goddess he has taken to Africa.

She in turn is delighted by this interest and slowly allows him into her world. While Denys and Karen are a perfect match and as close to soul mates as possible, Denys is unsure of commitment and explains how a piece of paper won't make him love her more. Meryl Streep and Robert Redford have chemistry, chemistry and more chemistry in this movie! They mostly share a few kisses, yet their relationship is on such a deep level, I think it could survive if they just told each other stories.

What Karen seems to truly desire is a man who will sacrifice to be with her. She wants to be of value. Denys tells Karen she has confused "want" and "need." This is an excellent portrayal of the gender differences. Man wants to be free to come and go and woman wants security, love and commitment. She wants t