Reviews (101)

A Heartbreaking and Powerful Testament to the Human Spirit
"The Joy Luck Club" is a ground-breaking film with universal themes that anyone can relate to regardless of age, gender or nationality. Truly epic in its scope and haunting vision, the movie is also deeply heartfelt and familial, enhancing its ability to speak to the audience in myriad, boundless ways. This is an intimate portrait of two generations of Asian women - the mothers who risked everything to create a better life for their daughters in the United States. At this juncture in American history, the movie resonates more than ever by reminding the viewer of our fore-mother's immigrant experience. In doing so, "The Joy Luck Club" serves as a vibrant contemporary document on freedom and the pursuit of happiness.

Ming-Na Wen (now known to millions as Ming-Na or Deb Chen on NBC's top rated drama "ER") is superb in the central role of June, greiving for her recently deceased mother with the 3 "aunties" who miantain her place at the mah-jon table. Their gatherings continue, with June's presence, and in the process form the backdrop from which these women's personal stories and life-journies are shared. Each auntie - and their now-adult Americanized daughters - explain their often-harrowing attempt to escape Communist China and their difficult transition to an American way of life in the U.S. Tears flow in both generations, not only for what has been lost, but also for what has been found here - a society with different values that challenges these women in unexpected but nearly universal ways. As both generations - and all eight women eventually - share their stories, the viewer literaly steps into each life, aware of where the characters end up, yet fully experiencing the challenges each of them faces. Set against the backdrop of June's trip to China to find her long-lost sisters (whom her mother was forced to leave behind in one of the film's most powerful sub-plots) "The JOy Luck Club" can be ANY family's story, regardless of how long they or their ancestors have lived in this country. In doing so, it succeeds at building bridges to the past, while staunchly looking ahead to the future. This is the sort of film that embraces real life and human themes, but also puts a face on what it means to be a zero-generation immigrant, or an exile in a land far from one's home and culture. Like the current spate of Latin and Soviet block immigrants and the last century's explosion of new Americans from Europe and Africa, we recognize through the characters the meaning and value of freedom, family and peace as well as the unimaginable challenges our elders faced in coming to this land of opportunity.

The cast of Asian-American actresses is uniformly superb, straddling a delicate balance for the viewer that requires they be both accessible AND remote at once. Although long seen as a "woman's movie" the film deserves to be widely experienced by all people, including men, who might otherwise reject the film as nothing more than handkerchief fluff. In fact, since few similar films exist with central male characters, "The Joy Luck Club" stands as a film I believe many men would embrace if they give it a chance. The film speaks for our fathers and brothers, not just our sisters, mothers or wives. This is grand, epic storytelling with a heart, beautifully directed by Wayne Wang and amazingly accessible in every way, due to its stellar cast. Had there been a Best Ensemble Oscar designed to honor the contribution of a group of actors at the top of their form, "The Joy Luck Club" cast would have surely been honored.

A magnificent film that fully captures what it means to be an American of any descent.

One of the great overlooked gems! Deserves a DVD release!
This and the Ang Lee film "Eat Drink Man Woman" were both released at about the same time. And I think they may have cancelled out each other. Both are great but like any wonderful film, if another equally great film with a similar theme is released at the same time it can cause an overload. People won't go see either.

So why should you see the Joy Luck Club? Because the acting is wonderful. Really top notch. If the current affection for having asian women in films lasts then maybe we could see more of these fine actresses. Too bad that so many wonderful actors can get typecast because of race but there is hope. I'd absolutely love some more films like this.

Wayne Wang's direction is great. This story goes from funny to sad to touching without being cliche. This movie might be marketed more toward women, and it does hit on great female relationships, but it's not to sappy the boyfriend will cry from boredom.

This is not only about being Chinese
Plenty of people have pointed out the movie's good points but beyond the mother - daughter theme that is so wonderfully dealt with, this movie is also about the immigrant experience. In this world today, so many people immigrate and must contend with the difficult process of watching their children grow up in another culture - wonderful, different, distant, restive - and they have to figure out how to connect with their children. "Joy Luck Club" portrays this poignantly. How many children of refugees really have any idea what their parents went through? Many people from a variety of cultures will appreciate the film for that reason alone.
As for those who say Tan is "male-bashing", keep in mind the very loving character of June's father. Also, if you've read Tan's other books, (The Kitchen God's Wife, for example), there are both good and bad men with great depth of character.
Let's remember, too, that history is not exactly littered with the stories of women, and Tan is just trying to rectify that imbalance. Having lived in Asia for 8 years, I'd say that male privilege is still alive and well...and in support of Tan's story, the (lack of) legal rights of women alone in pre-war China should illustrate the possiblity that four women might have had such experiences.

A great movie from a story by a wonderful writer

Having spent a year in China (1948), I admit to a soft spot for the Chinese people and their stories, and especially for Amy Tan, whose books I have read and loved. This superlative movie was based on her book of the same name.

In this story (the script was written by Tan and Ronald Bass) the tension between four Chinese women, who were born in China and later came to the United States, and their Americanized daughters, is the foundation of the story, and is the theme that epitomizes Amy Tan's stories. She has noted in an interview that such tension existed in her own life between her and her own mother.

Much of the tension is due to the cultural clash. Times in China were hard a few short decades ago, and life was harsh. Starvation and disease was rife even in later years, when I was there in the late 'forties. When Americans today refer to poverty or hunger in this country, they have no conception of the real poverty and hunger that existed in China in the 'thirties and 'forties, or customs like the very painful historical binding of women's feet, which in effect crippled them for life, in the name of beauty, or the custom of wealthy Chinese men often having multiple wives and concubines, or the total degradation of women which existed and was totally accepted throughout the culture. Not to mention the impact of continuing warfare between warlords, the nationalists (Kuomintang) and communists, and the Japanese occupation all of which lasted for generations.

This is an emotion evoking story. It is more than simply entertainment; it is a story with which you will identify, with characters with which you will empathize.

Amy Tan knows whereof she writes, and her stories are compelling and sympathy evoking. Another Chinese woman who wrote her autobiography which touched on some of the same themes, who was in Tsingtao when I was, and whose tale enchanted me, was Dr. H. Mei Lu, who now lives in Honolulu, and whose book was titled, "Grandfather's Microscope" q.v. Coming from a humble background, in China, she became an esteemed pathologist in the United States. I heartily recommend her book as well as Amy Tan's, for any Sinophile. These ladies both write extremely well, and have immensely interesting things to say.

Joseph (Joe) Pierre, USN (Ret)

author of The Road to Damascus
and other books

Not Very Impressed with EITHER the Book or the Movie
I had to read the Book and watch the movie in school and I did not like either of them. I had to also write a movie review for it so im gunna publish it to the whole world to see. Hope this helps anyone who is thinking about watching this movie or buying the book. Also there are a few spoilers in this review so be forwarned but their isnt anything that really ruins the story, wait what am i saying the story is to mixed up to really understand in the first place that it shouldnt make much of a difference. O well here goes nothing:

The "Joy Luck Club" was just an average film due to its soap opera-like quality and random flashbacks. This made me confused by sending the plot into all different tangents and directions. When a book changes time frames, the reader can go back and re-read sections if need be. In a movie setting, however, the viewer cannot turn back and rewind the lost moments and the time frames quickly occur. The movie features only fine looking Chinese daughters who are part of this "Joy Luck Club." I felt that this was an unrealistic portrayal, as in the real world; there are many types of people. The "Joy Luck Club" is not explained to the audience and assumes that all have read the book prior to this movie. This movie was directed by Wayne Wang and the screen play was written by Amy Tan, who also wrote the book.

This movie begins in San Francisco where a party is being held for Jing-Mei "June Woo". She has been given money to go to China to see her two lost sisters. Jing-Mei June Woo is played by Ming-Na. The movie followed closely to the book in some respects by not others. For instance, during the red candle scene in the movie, there was no mention of the importance of the candle. The chapters in the book were scrambled when they appeared in the movie.

The acting was inconsistent. At the end of the film when she meets her sisters for the first time they do not seem to be reacting to each other. One of the women who is supposed to be the sister, also played the mother of June in a flashback. Andrew McCarthy who played Ted Jordan did a good acting performance and sold the scenes he was in, such as the scene where he told his mother off. Some of the mothers, such as Ying Ying and Lena Saint Clair who were played by France Nuyen and Lauren Tom respectively, made me want to laugh because of some of their unrealistic portrayals of overly broken Chinese accented English.

The plot was sporadic at times and seemed to take away from the original story line to the point that was irritating. The whole movie was a series of flashbacks that each person lived through. There was originally a party at the beginning of the movie, but then the scenes would quickly shift backwards in time to each person's life. I liked the transition that the director made when June's father talked about her mother's past because he explained what the mother had experienced. The flashback of best quality, however, didn't quite fit into the movie where it had been placed. It seemed to throw the viewer into the scene without hesitation. This movie was also quite choppy with too many events occurring in rapid sequence which began to lose steam while becoming dull and redundant. Three out of the four mothers seem to have lived the same story comprised of a bad marriage followed by a divorce and remarriage with many trials and tribulations along the way.

The themes were spelled out much more in the movie than in the book. The feather that was given to June was explained to her by her father without subtlety. The mother who sacrificed her life for her daughter was also played out and the reasons for it were amply described by the daughter. There was one theme that was explained in the end of "Best Quality". The scene was not portrayed or shown in the beginning of the flash back scene.

This book, turned movie, would be better for an older audience, such as 40 and up. It is more of a "woman's movie" with a sappy ending that most men probably wouldn't like, me included. I give this movie a C, but would probably receive a B from a more mature viewer who may be more interested in true life situations as opposed to comedy or action movies that a younger viewer might enjoy.

I would give this 2 1/2 stars but I could only select either 2 or 3 which is why I selected 2. Hope this helps! ... Read more

Amazon.com

One of Jim Henson's finest hours was the Storyteller series that aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. Half of the eight-part series was adapted from Greek myths by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (a sturdy and wonderful Michael Gambon, accompanied by a scene-stealing dog) with dialogue from the stories to beguiling effect.

By nature, the Greek myth episodes are a bit more mature and downbeat (ages 8 and older) than the rest of the series, yet give the audience lasting impressions of oft-quoted tales. In "Perseus and the Gorgon," King Argos locks away his wife when it is foretold his future son will kill him. Soon mother and son (Perseus, fathered by none other than Zeus) are washed ashore and another angry king looks to take away Perseus's mother. How can Perseus win the day? By killing the evil Gorgon whose snake-covered head includes eyes that turn humans into statues. Derek Jacobi stars as the brilliant Greek designer in the second tale, "Daedalus and Icarus." The father goes through many hardships, including the famous episode of his son flying too close to the sun. All is not well and does not end well. John Madden (Shakespeare in Love) directs the tale of "Theseus and the Minotaur." A young man reunites with his father, King Aegeus, but is cursed by his witch of a stepmother (literally). When Theseus tries to stop the regular sacrifice to the half-bull, half-man Minotaur, a new curse awaits the young prince. The magical musician Orpheus (Art Malik) finds his muse in "Orpheus and Eurydice." Unfortunately, she soon dies and goes to Hades where Orpheus follows, attempting to win her soul from the devil himself. --Doug Thomas ... Read more

Reviews (2)

Immerse Yourself In Ancient Mythos...
Whether you are a Mythology major in a university or one who has become so familar in the subject that you consider yourself an expert, you are sure to love these myths-come-to-life retellings brought to the screen. Kept in the same vein as Jim Henson's The Storyteller series featuring John Hurt, this series is also told by a teller of stories represented by Michael Gambon and with as much ability to mesmerise the listener as his predecessor.

The music (which is a crowning point, in my opinion) is weaved by Rachel Portman who, as always, delivers a lovely score marred fittingly with dark, forboding - yet bittersweet tones. In many instances such as in the tale of 'Orpheus & Eurydice', the climatic storytelling is accompanied by the score which successfully heightens the intensity of what will happen next. Everything set to music from Eurydice's 'birth' to Ariadne's furious curse when she realises Theseus has abandoned her is rapturously beautiful, chillingly haunting.

The acting performances are also well worth mentioning, most notably that of Gina Bellman [Eurydice], Jesse Birdsall [Aristaeus] and Maggie O'Neill [Ariadne]. Whether it be the wonder found in new life, mischief or the sting of being betrayed, these things prove small feats to bring across by such seasoned performers as these.

Having waited what seems forever for this program to come to DVD, I am ecstatic that it finally has. Remaining true to the original Grecian myths, this series will be cherished for ages to come in the homes of fantasy and mythology lovers alike.

Complete your Jim Henson's The Storyteller Collection
Last year, fans were thrilled to find Jim Henson's The Storyteller Collection on DVD for the first time featuring the fairy tales crafted for the series. Thanks to the success of that DVD, the Greek Myths are also being released this year. While the effects of the series are somewhat dated, the series is still spectacular, incorporating the genius of Jim Henson and those he gathered around him. Also note that the storyteller in this series is Michael Gambon, the new Dumbledore in the third Harry Potter movie.

And to let you know what is on the DVD, here is the episode info provided by Columbia Tristar Home Entertainment:

DAEDALUS AND ICARUS: Daedalus, one of the greatest inventors of ancient Greece, and his son Icarus are betrayed by cruel King Minos and must flee for their lives. To escape Daedalus creates wings to they can fly to safety but will the young Icarus heed his father's instructions or will their dreams melt away.

ORPHEUS AND EURYDICE: The great musician Orpheus vows to bring back the soul of his beloved Eurydice from the depths of Hades. But the task he must complete to reunite with his love turns out to be as tortuous as the fate he will have to endure.

PERSEUS AND THE GORGON: When the evil king threatens Perseus' mother, he must bring back the head of Medussa - who's stare will turn anyone who looks upon her to stone. Will the help of the gods be enough to aid in this seemingly impossible task?

THESEUS AND THE MINATAUR: With the help of a beautiful princess, Theseus tracks down the man-eating Minotaur, half-man, half-bull to prove his courage and loyalty. A fight to the death ensues, and a shocking secret emerges. ... Read more

Reviews (53)

History/360
We already had black face movies people. Are you from America or not? White people are the only race allowed to be made fun of in this way because of America's history. There have been countless movies made in this manner where there was an uproar from the minority community with no response from the movie studios. Now the old white men who are the head of these companies have decided that it is OK to make fun of themselves. ITS ABOUT TIME. You don't have to look too far to see the blackface movies being made recently (without the black paint on the faces). One of the most recent racist hits was Bringing Down the House when Steve Martin did his "hip hop" minstrel show. Give me a break with the racist crap OK.

White Chicks is an all-time favorite.
This movie is spectacular!!! The Wayans brothers are fantastic and the entire cast keep you laughing through the entire movie. This movie also has a great ending and message for all.

black men II white chicks
White Chicks is a rehash of every single 'man dressed up as a woman' movie. This plot has been done to death in countless movies like Tootsie, Mrs. Doubtfire, Big Momma's House, among dozens and dozens of others, but White Chicks doesn't bother to hide its unoriginality; it has fun with it. Add a hint of Miss Congeniality and you have the formula for this standard, but enjoyable comedy.

The problem with this one is that the Wayans Bros. are totally unconvincing in their woman make-up and do not look ANYTHING like the women they are pretending to be. In fact, they look damned scary. This can get a bit distracting. If that is something you could get past, White Chicks turns out to be a forgettable but entertaining time-waster. There are a few scattered laughs and the story certainly stays interesting. Add the beautiful and extremely talented Brittany Daniel, of SWEET VALLEY HIGH fame, to the mix, and you have a fun, if unenlightening motion picture experience. Yes, it's stupid, but it sure is fun to watch.

Extremely hilarious
I have watched this movie 4 times in Theatre, and would not mind seeing it the fifth time. This movie is lovably funny and nice. You can laugh till your hilt for the 1 hr 45 min. I do not care about what critics say, but this movie is a must see for people who love sense of humor and fun!!

Hmmmm
Yes some people think this movie sucked. Some people think it was great. I personally think that it was good. It wasn't the best movie ever, but it was good. It had all the things a good movie needs...comedy...love...stupid blonde's...etc. This was a great movie, my friend and I both agree. I went into it thinking it would be stupid, but when I came out I was laughing my head off. I don't what there is not to like about it. I mean they fought, there were jokes, dancing, laughing, and lots more. If you ever get the chance, you should go see this movie. I mean you should at least rent it. I loved it and am thinking about buying it on DVD. :-) Thank you for your time and I hope you enjoy this movie as much as I did. ... Read more

Reviews (37)

Chick flick? Yes. But men will laugh too!
I think this movie would have gotten a more informed review from movie critics who could actually relate to the African-American female experience. If you have lived the Black female experience, then you will realize why women flocked to this movie in droves, dragging their husbands and boyfriends along with them. Finally, someone was telling a story about the joy and support of friendship, the pain and anger of loss of love. At the same time, the cinematographer made Black people look beautiful on-screen.

Best scenes, Bernadine (Angela Bassett) destroying her ungrateful husband's material possessions, then meeting the surprise man of her dreams. People refer to this as a man-bashing story, but I'd like to point out there were actually two men who revealed themselves as strong, loyal, and moral characters in the movie.

Written by Terry McMillan, directed by Forest Whitaker, and acted by a strong ensemble cast - notably Angela Bassett (who can do no wrong in film), Loretta Devine, and Gregory Hines. Waiting to Exhale was the precursor to Soul Food, How Stella Got Her Groove Back, Eve's Bayou, Love Jones and more films featuring a Black, ensemble cast. Hollywood, are you listening? There is a market for these movies!

Inhale. Exhale. Repeat.
Depending on who you are, Terry McMillan's 1992 novel "Waiting to Exhale" is either a blessing or a dreaded curse. McMillan's third novel about four African American women struggling to attain stability, identity, and normalcy in Phoenix was praised in some circles for giving contemporary Black women a much-needed voice. But in other circles, mostly male, "Waiting to Exhale" was ripped to shreds as a spiteful and ungrounded damnation of Black men as philanderers, deadbeats, and no-good-dooers. It also made McMillan the biggest literary target of criticsm since Alice Walker unleashed her novel "the Color Purple." But whatever your take on the book is, the film adaptation won't likely change your stance, as it stays overall faithful to the book. Director Forest Whitaker does a respectable job bringing to life these characters: Savannah (Whitney Houston) is the buppie still in search for Mr. Right; Bernadine (Angela Bassett) just got dumped by her husband of 11 years for a white woman; Robin (Lela Rochon) is the ditzy bimbo still trying to shake off her no-good ex, and Gloria (Loretta Devine) is the full-figured owner of a successful hair salon. The best performances, hands down, are Bassett and Devine, who make the best impressions, and they help keep the film moving at a good pace. The script, co-written by McMillan, is crisp with enough funny one-liners and a story compelling enough to keep the viewer interested. But there are flaws. Whitney Houston struggles in her role as Savannah; her performance is wooden and forced, and when paired against a seasoned pro like Bassett, she flat out crumbles. A more relaxed approach to the material would have helped. Also, memo to Black filmmakers: drop the swishy gay hairdresser stereotype! It's tired, done a million times before, and, frankly, is grossly out of touch with reality. That aside, it's not often that a movie successfully adapts a novel as well as this one, and "Waiting to Exhale," warts and all, merits a B in my school of cinema.

Blah Blah Blah @ The Critiquing Of This Movie
This is a great movie, will definately keep you laughing at the Diva's in this movie. So what the movie is not as good and thorough as the book(what movie is?) I mean if you want ever detailed in a book put on screen then we will still be sitting in the movie theatre trying to see the end.

good
This should have been better but Angela Bassett's performance was the best, so I guess it's worth a watch.

"No she di-uhn": A different type of review
Okay, so I've read every review on this movie, and none of them touch upon the things that I (and most of my friends) personally think make this movie great. One might say this movie is man-bashing, woman-empowering, etc, etc, and while it IS about these things, I think that those aspects pale in comparison to why this movie is great for me: these women are such DIVAS, it's RIDICULOUSLY hilarious! The lines that come out of their mouths, and the situations that they get themselves into are utterly jaw-dropping, causing you to say "NO SHE DIDN'T" just say that! "No, she DIDN'T just do that!" "NO SHE DIDN'T" just have sex with a man and say "my body NEEDS this!" You are constantly left absolutely amazed with the boldness, brashness, and utter DIVA-ness of these crazy hoochie ghetto mamas, who do and say the things that you wouldn't dare do yourself. If you are into seeing beautiful black divas who know they da sh*t, work their bad-a** selves and shake their booties, and still come out clean without breakin their acrylic nails, then you will think this movie is off the hizzy. If you don't understand what I just meant when I said all that, then you probably won't appreciate the humor in these BLACK DIVAS! ... Read more

Reviews (46)

The perfect courtroom drama...
Quite simply, this film is brilliant. In addition to being one of Billy Wilder's best films, this is one of the best courtroom dramas ever made! It is cleverly directed, has a compelling plot, features great performances (especially by Marlene Dietrich), and is all in all very exciting and entertaining. This is a film you won't forget.

This plot of this film, which was based on a play by Agatha Christie, is your basic courtroom drama: a series of witnesses testify about the murder of a wealthy widow. Tyrone Power plays the young man accused of the murder, Marlene Dietrich gives an amazing performance as the key witness in the case, and Charles Laughton plays the lawyer determined to unravel the mystery. This film has some terrific, very surprising, twists and turns, so to say any more about the plot would give too much away!

Anyhow, this film is really suspenseful, captivating, and memorable. It's a true classic by the brilliant director Billy Wilder, and has been imitated countless times since its release. But no imitation has come close to the original, which is why this film is a must-see. Highly recommended!

Billy Wilder's ultimate best!!!!!
Director Billy Wilder has crafted the most energetic adaptation of an Agatha Christie novel entitled "Witness for the Prosecution" An aging bannister named Wilfrid Robards (played brilliantly by Charles Laughton) can't resist taking an intriguing murder case involving Leonard Vole (played by Tyrone Power in his final film). A seemingly open and shut case becomes more and complicated as the case gains momentum. Splendid acting by all including Marlene Dietrich as Leonard's wife Christine and Elsa Lanchester as Miss Plimsoll (Robard's pesky nurse) Full of surprises from beginning to end. A classic for all time!!

Witness for the Prosecution
I first saw this movie as I was walking out the door, and continued to stand mezmirized by the twists and turns. To see these two great actors, not playing their normal roles but so opposite of what I normally see them as.
I was 2 hours late for an appointment, because I was literally glued to the TV

"It's not the jury's judgment that worries me. It's mine."
"No more murder cases," is the doctor's strict prohibition upon reluctantly releasing renowned barrister and recent heart attack survivor Sir Wilfrid Robarts (Charles Laughton) from hospital. (Although even the word "release" seems to be a matter of some dispute here, because according to Sir Wilfrid's nurse Miss Plimsoll [Elsa Lanchester], he was "expelled for conduct unbecoming a cardiac patient." But let's leave that aside for now.) And following the doctor's orders, Sir Wilfrid's staff have lined up an array of civil cases: a divorce, a tax appeal, and a marine insurance claim - surely those will satisfy their hard-to-please employer's demands?

Err ... not likely.

So, try as he might to be a good patient, Sir Wilfrid needs only little encouragement to accept the case of handsome drifter and small-time inventor Leonard Vole (Tyrone Power), accused of murdering his rich benefactress Emily French (Norma Varden). Of course, the very circumstances that most disturb the famous barrister's colleagues Mayhew and Brogan-Moore (Henry Daniell and John Williams) - Mrs. French's infatuation with Vole, his visit to her on the night of the murder, the lack of an alternative suspect and his inheritance under her new will - just make the matter more interesting in Sir Wilfrid's eyes. Most problematic, however, is Vole's alibi, which depends entirely on the testimony of his German wife Christine (Marlene Dietrich), an actress he had met when stationed with the RAF in WWII-ravaged Hamburg. Troubling, insofar, isn't only that Christine is her husband's sole alibi witness and that - Sir Wilfrid explains - a devoted wife's testimony doesn't carry much weight anyway. The real problem is that Christine isn't the loving, desperate wife one might expect: far from that, she is cool, calculating and surprisingly self-controlled; so much so that, worried because he cannot figure out her game, Sir Wilfrid decides not let her testify at all, rather than risk damaging his case. That, however, seems to have been one of his illustrious career's few major miscalculations - because now he and his client suddenly have to face Christine as a witness for the prosecution. And her testimony on the stand is only one of several surprises she has in store.

"Witness for the Prosecution" is based on a concept Agatha Christie first realized as a four-person short story (published in the 1933 collection "The Hound of Death") and subsequently adapted into what she herself would later call her best play, which opened in London in 1953 and in 1954 on Broadway, where it won the N.Y. Drama Critics' Circle citation as Best Foreign Play. Throughout the adaptations the storyline was fleshed out more and more, the focus shifted from the work of solicitor Mayherne (whose name changed to Mayhew) to that of QC Sir Wilfrid Robarts, and the screenplay ingeniously added Miss Plimsoll's character, utilizing the proven on-screen chemistry of real-life spouses Laughton and Lanchester, for whom this was an astonishing eleventh collaboration, and whose banter bristles with director/co-screenwriter Billy Wilder's dry wit and the fireworks of the couple's pricelessly deadpan delivery, timing and genuine joy in performing together.

Perhaps most importantly, the story's ending changed: not entirely, but enough to give it a different and, albeit very dramatic, less cynical slant than the short story's original conclusion. - To those of us who have grown up with Christie's works, those of her idol Conan Doyle and on a steady diet of Perry Mason, Rumpole of the Bailey and the many subsequent other fictional attorneys, the plot twists of "Witness for the Prosecution" (including its ending) may not come as a major surprise. At the moment of the movie's release, however, the ending was a much-guarded secret; viewers were encouraged not to reveal it both in the movie's trailer and at the beginning of the film itself; and even the Royal Family was sworn to silence before a private showing. Similarly, features such as the skillful, methodical unveiling of a seemingly upstanding, disinterested witness's hidden bias in cross-examination have long become standard fare in both real and fictional courtrooms, and any mystery fan worth their salt has heard more than one celluloid attorney yell at a cornered witness: "Were you lying then or are you lying now?" (Not recommended in real-life trial practice, incidentally.) Yet, in these and other respects it was "Witness for the Prosecution" which laid the groundwork for many a courtroom drama to come; and herein lies much of its ongoing importance.

Moreover, this is simply an outstandingly-acted film; not only by Laughton, Lanchester and a perfectly-cast Marlene Dietrich but by every single actor, also including Torin Thatcher (prosecutor Mr. Myers), Francis Compton (the presiding Judge) and, most noteably, Una O'Connor (Mrs. French's disgruntled housekeeper). This is true even if Tyrone Power's emotional outbursts in court may be bewildering to today's viewers - and even if one wonders why an American-born star was acceptable for an Englishman's role without even having to bother trying to put on an English accent in the first place, whereas Dietrich and other non-native English speakers of the period, like Greta Garbo and Ingrid Bergman, were routinely cast as foreigners. (Yes, yes, I know. Redford and "Out of Africa" come to mind more recently, too, but that's a can of worms I won't open here.)

"Witness for the Prosecution" won a Golden Globe for Elsa Lanchester, but unfortunately none of its six Oscar nominations (which undeservedly didn't even include Marlene Dietrich), taking second seat to the year's big winner "Bridge on the River Kwai" in the Best Picture, Best Director (David Lean), Best Actor (Alec Guinness) and Best Editing categories, and to "Sayonara" for Best Supporting Acress (Miyoshi Umeki) and Best Sound. No matter: with the noirish note resulting from its use of multiple levels of ambiguity - in noticeable contrast to Christie's Poirot and Miss Marple mysteries - it fits seamlessly next to such Billy Wilder masterpieces as "Sunset Boulevard" and "Double Indemnity;" and it has long since become a true courtroom classic.

The first time I saw this...
...six unblinking, spellbound eyes took every moment in--that is to say, my parents and I (eye!) were thoroughly riveted. The plot was deliciously unpredictable, and Marlene was so unflinching in her role. Perhaps it's not the most feel-good movie in the world, but it's well worth watching anyhow. You're a witness... ... Read more

Amazon.com

Is there anything scarier than clowns? Of course not. And who knows scary better than Stephen King? You see where we're going. It puts a malevolent clown (given demented life by a powdered, red-nosed Tim Curry) front and center, as King's fat novel gets the TV-movie treatment. Even at three hours plus, the action is condensed, but an engaging Stand by Me vibe prevails for much of the running time. The seven main characters, as adolescents, conquered a force of pure evil in their Maine hometown. Now, the cackling Pennywise is back, and they must come home to fight him--or, should we say, It--again. Admitting the TV-movie trappings and sometimes hysterical performances, this is a genuinely gripping thriller. As so often with King, the basic idea (the bond formed during a childhood trauma) is clean and powerful, a lifeline anchored in reality that leads us to the supernatural. --Robert Horton ... Read more

Reviews (256)

Through the Eyes of Children - Great Movie!
This movie I believe was one of the first mini series I have seen by Stephen King. I watched from start to finish I was so interested in the kids in this film. Two who are played by popular actor's today Seth Green (Young Richie Tozer), and Jonathan Brandis (Young Bill Denbrough). The children band together and call themselves "The Looser's Club" they face being different from their classmates and they also face their parents. But what they must ultmiately face is the monster who kills children called "Pennywise the Clown." Together and only together as a team can they defeat the monster.
In the first half of the film we learn of the Clown (Played by the great Tim Curry) and the history with the town of Derry, Maine. We see the kids meeting for the first time and the fun they all have. But the serious times comes when they band together to stand up for themselves against a few of the classmates namly Henry Bowers who likes to torment the other kids in the school. They then come together to form a circle and defeat the clown/monster. With a promise that if it wasn't dead they would all come back to destroy it.
In the second part of the film we see whats happened to them career wise and love life wise. Its a tad slower, but it is definately funny and has its serious moments as well. The kids all grown up are now played by a great cast: Henry Anderson (Richie Tozer), Dennis Christopher (Eddie Kaspbrak), Richard Masur (Stan Uris), Annette O' Toole (Beverly Marsh), John Ritter (Ben Hascom), Tim Reid (Mike Hanlon), and Richard Thomas as (Bill Denbrough). Again the second part starts off slow. But its fun to see them all come together again. And to try and remember the good and bad times and defeat the "clown."
I was very much interested to see Stephen King use children to believe in this monster to where the adults couldn't. It's also interesting to see this sort of similarity in some of his other where the children are the key. Which I find really grand in a way. This movie did; however, really turn me off of clowns. So it does have its creep factor in the movie. I would definately recommend it! Athough the book does give more great detail and is better, and the book is different in most parts. But for a mini series this was my first love of Stephen King.

"They All Float Down Here!"
STEPHEN KING'S IT is arguably the best of the TV films based on a Stephen King work. While devoid of countless details from the novel that would have made the plot more understandable to those viewers who don't actually READ King, the movie is nonetheless engaging and downright SCARY!

One reason STEPHEN KING'S IT rises above standard TV-movie fare is the excellent cast. John Ritter, Annette O'Toole, Richard Thomas, Tim Reid, and Harry Anderson deliver stellar performances in their roles of adult versions of the story's protagonists, and Jonathan Brandis (later the teen-heartthrob co-star of TV's SEAQUEST DSV), Seth Green, and Emily Perkins do an excellent job of evoking childhood crisis and trauma in the flashback segments. But it is Tim Curry (yes, THE Tim Curry of ROCKY HORROR fame), as antagonist Pennywise the Clown, who really chews the scenery and steals the show. If Curry's marvelously malevolent merry-andrew doesn't make you develop coulrophobia (fear of clowns), he will at least haunt your nightmares for a night or two after your first viewing.

Another reason this flick rates so highly is that it is, simply put, a ripping good horror story. King is a master at realistically recreating the wondrous ambiance of youth and childhood, and in spite of the minor shortcomings in the film's recreation of King's plot, the atmosphere of the novel is perfectly translated to the screen. Besides that, King is also keenly aware that the things that scared us when we were kids are probably still lurking deep down in our grown-up psyche, just waiting to find a little mental crack to jump out of and give us a case of goose bumps and chills. The film version of STEPHEN KING'S IT finds that same little crack...then pries it wide open!

The long-awaited DVD version of STEPHEN KING'S IT is sparse on frills, but it does have an excellent feature commentary with stars John Ritter, Richard Thomas, Tim Reid, Dennis Christopher, and director Tommy Lee Wallace. Of course, the picture quality is beautifully crystal clear, especially when compared to the VHS version, but purists should consider a few caveats before purchasing. First, the picture has been cropped a bit to simulate theatrical widescreen format. In comparison to the VHS version, which offers the original 1.33:1 aspect ratio, there are small slivers of image missing from both the top and bottom. (To be fair, it should also be noted that the picture on VHS appears to be scrunched a bit horizontally to fit it into the TV "square," so it really doesn't seem as if all that much has been removed to create the faux widescreen on DVD.) Also, gone are the "To be continued" message and the second set of credits, both of which originally appeared between the first half and second half of the original two-part movie (these were included on the VHS).

So the new DVD version of this excellent movie should, for the most part, please King fans and general horror fans alike. For the movie alone, STEPHEN KING'S IT would easily rate 5 stars. But taking into account the adulterated aspect ratio and the slightly altered transition from Part 1 to Part 2, this DVD gets an overall rating of 4 stars.

It traumatized a whole generation about clowns
The second best translation of a Steven King novel into a movie (the best being Carrie). It caused a whole generation of people afraid of clowns. The other option is reading the 1500 page book.

Welcome to Derry, Maine...
I have read many reviews and they all complain about the novel being TOO long, "over 1000 pages long" they say. Well excuse me but many of the great literary works are extensive. This novel in particular is extensive due to the perfect description of places, chacarters, thoughts, etc.

Taking into account the enormous amount of detail and description put into this book, I think it would be more than clear to anyone that MAKING A GOOD MOVIE OUT OF THIS NOVEL IS IMPOSSIBLE!!!!!!

-Please save yourself some money.
-Watch "The Shining", that's good acting
-Read the book when you are 11, 12 or 13
-Read it again 10 years later
-Read it at night

great book, ultra bland 'made for tv' movie
I'll put it like this: if your expectations are to see an 'ABC/CBS/NBC Movie of The Week' type thing , then you may be MILDY entertained by this. Yep, this DVD is actually a 'made for TV' movie done in 1990 or so. These things are at best, usually hokey, sappy, shlock filled semi-entertaining fare, where your constantly reminded how every shot, dialogue, scene ,script and action sequence could have been done SPECTACULARLY better as a 'big budget movie' movie. This DVD is no exception! Horror movies just don't have the horror , imo, in a made for TV format. And to make matters much worse, I don't think even a big blockbuster could even touch the magical depth and character the book has. It truly is one of Stephen King's best, imo. ... Read more

Reviews (481)

One of the Most Overrated Films Ever
Gone With the Wind is remember as a great movie because of it's epic scope and excellent production values. But 60 years later when the big budget no longer thrills us, we are left with a decent film but nothing special.

To begin with the entire film is very campy and melodramatic. The whole film is very heavy-handed and over-done. Scenes like where Scarlet crys "I'll never be hungry again" are just plain ackward. Someone should have tatooed the word "subtlty" on Selznick's head.

The script is fairly weak too. It presents a very narrow, one dimensional view of the Civil War. Worse, the Civil War ends half way through the movie and the rest of the film lacks the first half's energy.

Another major flaw is that the characters lack any real depth. Scarlet is cold and nasty through the whole movie. She never changes untill the last two minutes of the movie. There is simply no development. Ashley is noble and his wife is so nice and sweat that it makes me sick. These characters simply aren't human and don't feal real. Probably the only character in the whole movie who actually developes at all is Ret. Sadly, Clark Gable's strong performance isn't enough to carry the rest of the cast.

It should also be noted that Gone With the Wind is very racist at some points. The scene where all the slaves are going off to fight the "evil yankees" is enough to turns one's stomache. Most of the black characters are portrayed as child-like and stupid. The only exception to this is Mimi who does an excellent job and deserved her Oscar.

Gone With the Wind is still an example of fine production values but when you strip away all the lavish sets and money spent on the film, you're left with a rather hollow experiance. While there is no denying that it is a very pretty movie, even today, and it does have it's moments, Gone With the Wind is simply an over-done and campy movie. This film does not deserve to be ranked up there with the likes of Citizen Kane or the Godfather. It's just not that good.

After more than 400 reviews...
...you can't say much else!! A spectacle to end all spectacles; the epitomy of costume, art direction, and cinemagraphic grandeur (Technicolor film was still rare in the 1930's, and the industry was already engulfed in production of at least one *other* color movie that same year). I wasn't enthralled with this film when I first saw it years ago but I have come to appreciate its epic presentation and gothic, almost soapy, storytelling. And the cast is entirely first-rate, from the leading lady (whose historical casting was a mini-series in itself) to the supporting roles (Hattie McDaniel, Thomas Mitchell, Ona Munson, Laura Crews, Ann Rutherford, Harry Davenport, Oscar Polk, 'Superman's' George Reeves, et al) to the hundreds (thousands?) of extras who populated the pre-and-postwar South (the tracking shot of the Twelve Oaks mansion at the start of the barbecue and the sprawling, widening shot of Scarlett walking amidst all the wounded soldiers come to mind). It is a great script ("Waste always makes me angry;" "Do you ever shy away from marrying men you don't love?") and great direction (Victor Fleming, George Cukor, and Sam Wood- anyone else?). It is a record-holder of sorts among Oscar nominated (or Oscars won) films, but it came out in an extraodrinary year of films. 1939 also saw the releases of, among others, GOODBYE MR. CHIPS, DARK VICTORY, THE OLD MAID, GUNGA DIN, ALEXANDER GRAHAM BELL, JUAREZ, ON BORROWED TIME, THE WOMEN, GULLIVER'S TRAVELS, AT THE CIRCUS, BABES IN ARMS, THE HUNCHBACK OF NOTRE DAME, LOVE AFFAIR, MADE FOR EACH OTHER, and THE WIZARD OF OZ.

Lesley Howard is brilliant and a strong character
In his role of Scarlett O'Hara's (initially) true secret love. I had been a fan of Mr. Howard's for many years. His performance here is among his finest. Also check him out in The Petrified Forrest. As for the rest of the film. When he's not in it it's a little strong on the romantic side.

Worth Another Look for this Fan of Classic Film
Gone with the Wind creates many strong opinions, but I daresay many of them by people who haven't seen the film, or at least not in many years. It is sort of an amalgamation of both Margaret Mitchell's book and a reworking of DW Griffith's even more controversial silent blockbuster Birth of a Nation.

I had written this off as a silly commercialized Hollywood fairly tale but recently decided to give it another look. Basically, I think the claims of racism are far overblown, especially compared to other films of this era. It seems to me that Selznick and company went to great pains to stamp out the more overtly racist themes of Griffith's famous 1915 film. For instance, Scarlett's attempted rapists were all white; real black actors have menial but still important roles; those black actors are treated with dignity and respect; and finally the "n" word probably more frequent in southern parlance of the day was replaced with the more delicate term of "darky", and never used in a scornful fashion. And while establishment opinion in the North still clings to belief that the Civil War was a most noble and unselfish effort, the truth was something much less certain. Surely slaves in the prewar South were not all treated as gingerly as in this film; but just as certainly they were also brutally repressed in the North as well (just watch Gangs of New York for a history lesson on Northern feelings towards African Americans). All wars have a side people would rather forget, and this one was certainly no different. Also on the positive side, the film does a good job of capturing this broad historic period with smart scenes amidst well designed sets. It's really quite a grand production, in color no less, with a marvelous historical and cinematic scope.

On the less positive side, the heralded performances I think are a bit overrated. Clark Gable's presence helps considerably, but he is certainly not nearly as natural or comfortable as he was in It Happened One Night. And Mitchell's sappy, soap operaesque story frequently slips nearly into the preposterous, especially in latter scenes of the film when the historic takes a back seat to the dramatic. But maybe that's what gave the film its broad appeal, as it has a little of something for everyone. I think another factor may have really launched its success: released during the cold winter of 1939, its four-hour sitting time gave depression-weary Americans a warm night on the town for a cheap price that they could all afford.

Regarding the standard edition DVD, its very serviceable but the extras are appallingly poor for a film of this esteemed history. Also, Spanish subtitles would have been nice (only has English and French).

The Best of the Best
A total classic...everyone should own this film. ... Read more

Reviews (104)

a film noir masterpiece
While not as highly regarded as Citizen Kane, Touch of Evil is arguably Welles' second greatest film and now it is being presented as the filmmaker had originally intended it to be. Included on the DVD is his 58-page memo to Universal Studios detailing all the changes he wanted to be made to their compromised version of the film.

As it stands now, this is an amazing film with some of the most impressive deep focus photography ever put to screen. The depth of field that Welles creates is astounding.

Touch of Evil is also probably one of the last of classic film noirs produced by Hollywood and was a great way to end this period of the genre.

A lot of people poo-poo the casting of Charlton Heston as a Mexican (?!) government muckty-muck and to be sure that was some really odd bit of casting but he's perfectly cast as the straight-arrow good guy of the film. But he's totally blown off the screen by Welles' corrupt sheriff who simply steals every scene he is in. Janet Leigh, stunning as ever, is also really good as Heston's beleaguered wife.

What I like best about this film is the moody atmosphere that permeates every scene -- even the daylight ones. It draws you into this corrupt, cynical world and never lets go. Essential viewing.

100-Proof Noir
Seedy border town is the setting for this noir classic--justifiably called by a New York Post film critic "The Baroque Cathedral of Film Noir." Orson Welles' entrance as the crass, venal Capt. Quinlan is just one example why this film is a must-see on the big screen--not that this DVD widescreen version is so bad (it's a gem). Quinlan's massive, bloated bulk fills the screen as he climbs out of his car to begin the murder investigation that will soon envelop and taint the film's principal characters--immediately establishing Quinlan as the embodiment of corruption. The breathtaking opening sequence (shot in one take) incorporating the ambient music and sounds of the town's lurid nightlife is a key part of this reedit DVD version, setting right the studio-maimed opening of the original release, which ran opening credits and Henry Mancini's score over this sequence to Welles' fruitless objections, diluting its effectiveness. Respected Mexican police official Miguel "Mike" Vargas (Heston) and his American bride Susan's (Janet Leigh) ("She doesn't look Mexican either," Quinlan sneers) honeymoon is derailed when they become targets first of local crime family boss "Uncle Joe" Grandi (Akim Tamiroff), whose brother is about to be sent to prison because of Vargas, and Grandi's impulsive nephews, and then Quinlan, when Vargas accidentally uncovers the latter's penchant for tampering with crime scenes to ensure a death sentence for the accused--whether guilty or actually innocent. Leigh drips sex and is the perfect pawn for those scheming to wreck her husband's career and their marriage. Joseph Calleia stands out as Pete Menzies, who idolizes Quinlan and painfully must come to terms with his betrayal. Dietricht is enigmatic gypsy Tana (memorable line as she looks over the considerably changed Quinlan and bluntly says: "You're a mess honey.") Mancini score, especially "Tana's Theme" ("Pianola"), is exceptional. One valid complaint about this otherwise beautiful DVD is that the standard version should have been included in addition to the widescreen version for those who have not yet overcome the perception problem of "those black bars." Now for me, widescreen is the best. It is how we see the movie on the big screen. This is how the film was shot, and we see camera angles that are lost when the film has been "reformatted to fit your television screen." Those who put together this DVD should have known better and provided BOTH options--usually standard practice with many DVDs.

Pulp Fiction
Orson Welles may have made the supposed greatest film in history with "Citizen Kane", but the experience virtually ruined him. Ostracised by Hollywood and the press after his insulting portrayal of William Randolph Hearst, he was relegated to making low budget films.

Touch of Evil was made in 1958; the last film to be directed by Orson Welles. Unexpectedly given the reins of the film, Welles threw away the script for the planned film, and in just two weeks scratched out a script based on a cheapo pulp fiction novel called "Badge of Evil".

The result, as presented now in a restored version (the movie was, like Magnificent Ambersons, butchered by the studio) is quite remarkable.

On the one hand, it is definitely pulp, with an extremely rough-and-ready style, gritty elements (this is the only "pot party" you're likely to see in a "great film" from the studio era!) and a very, very low budget.

On the other hand, it is a masterpiece. I was extremely impressed by the scene in which (*spoiler!*) Hank Quinlan strangles the Hispanic fellow. I have never seen a movie scene shot like this, especially with the surreal effect of the flashing neon, and the slanting camera.
And who can forget the end of the film, where (spoiler!) Hank Quinlan sits in a pile of garbage in a stream, and tries to cleam blood off his hands? Look at Orson's acting in this scene - truly magnificent.

Someone called this the best B film ever made. If you want to see a pulp masterpiece made on the cheap, see Touch of Evil!

You don't have any future , just only past!
This cynical answer given by Tanya (Marlene Dietrich) is obviouslly a clear a reference's pattern shakesperian.
Any other fim noir before or future has been able t tarnish Welles's vivid creatin of a mexican nightmare, or his realization of a set of characters who are so well depicted , resonant , cruel and colrful. This shakesperian giant utilizes his accustomed approach so efficiently that it makes hard for any viewer t be capable to disecrn which moment create the dramatic thrust of the story and the others laded of outrage and fuRY.
A film is really good when the camera becmes an eye in the mind of a poet. Welles made movies as an orchestra conductor.
The opening shot , lasting ver four minutes , show us once more the personal style of Welles in what concerns to the moving camera and the longtake, establishing the premise around whixh the narrative is built. Like the genius he was; he knows to emphasize the dramatical effects without losing his goal.The camera begins with a close up of a time bomb ; then the camera travels up and back , and fllows the car as a constant witeness . This opening shot is widely in all and every masterful of cinema in the world. Notice fr instance, the cinematic fluidity works out as a visual device .
Once more , we must recall the huge influence about the expressionism german permeated the visual style nt only of Welles , but Hitchcock and a a crowd of talented directors alng these three decades of glorious films noir.
If you need any other proof, think in Fritz Lang , wh came from Germany and (coincidentially?) fllowed the road of the film noir.
In these puzzle of corruption and shame Quinlan is shocked due he failed to bring his wife's murderer to justice ,and retaliates by enlisting the help of the racketeer Uncle Joe Grandi .
Once more the film noir works out as an extrardinary expressive device to express the hopelessness, the existential anguish , the shadows of the fate, the shame and distrusts that shapes the behavior of the human being. All this puzzle runs with the timeless tragic atmosphere ; you face the cruelty in Vargas's wife in the motel where she is kidnapped where visual scenes suggests us all the horror , told in theatrical language where the words are useless.
When Quinlan (as Macbeth)decides to visit Tanya about his future , he listen these bitter words wh wrk out as headline in the review.
From all the stanpoints , this is the one of top movies entitled as film noir , because Welles enriched the bitter insights so typical of this genre with shakesperian moods.
Notice for instance that Grandi reminds us to Yago ; obviusly Grandi has a minor stature since he is much vulgar and obscene . and Tanya is linked with Macbeth's witches ; and the nightmares and the demons who live in the cavern - mind of Quinlan reminds us to the decadent power.
A unforgettable masterpiece all the way.!

Restored to Orson Welles wishes. Great nighttime mood film.
Great black & white film noir film with Orson Welles. The opening sequence has the feeling that you are moving with through the night time streets of the California/Mexico border. You might be astonished by the weight of Orson welles as he does not look like himself from the time of Citizen Kane. The film starts with a bride and groom Janet Leigh and Charlton Heston as they walk into the Mexico border town. Orson Welles plays a wrong-doing police chief who wants to follow the couple. Heston is a well-known Narcotics Investigator and his wife trys to inquisitivly get involved in her husband's professional business. Well, when she sticks her nose in too far, she has got a mexican boy and his boss on her trail. While Heston separates from his wife for official business, he advises her to go on to a hotel for sleep. She ends up in this out of the way hotel taken care of by Dennis Weaver. (Janet Leigh would end up in another hotel two years later in PSYCHO [1960]). Heston must square off with Orson Welles. There are two different versions of this film. When Welles was fired as director, Universal Pictures recut the film. After Welles saw the film in 1958, he wrote a 58-page letter to the studio about the way the film should be re-edited and scenes added. In 1998, Universal obliged. This letter was found and a new version of "Touch Of Evil" was made from the original negetive and the film was reconstructed the way Orson Welles had wishes. This new version is longer at 111 minutes. This DVD version is the 111 minute version. The 1958 print is 108 minutes and shorter prints are 95 minutes. Cast also includes: Joseph Calleia, Akim Tamiroff, Valentin De Vargas, Ray Collins, Mort Mills, Victor Millan, Lalo Rios, Michael Sargent, Phil harvey, Joi Lansing, Harry Shannon, Dan White, with special guests Marlene Dietrich and Zsa Zsa Gabor. ... Read more

Description

Seasons 1 and 2 of the 4-time Emmy Award-winning Drama available together on DVD. ... Read more

Reviews (2)

Excellent Episodes. Not so great extras
The DVD version of this series is dangerous because the story arch is so compelling you'll find yourself sitting and watching episode after episode unable to stop just to see what happens next. If you've already seen the shows you'll watch them in great anticipation of those dynamic character moments contained in each episode (Yo-Yo Ma at the White House, sparing between the Bartletts, the moment when Donna learns of the President's medical condition). It's incredibly enjoyable to spend time with these characters and Mr. Sorkin's writing tickles us and touches our hearts such that we're reluctant to leave this amazing world and these equally amazing people who populate it.

The unfortunate part of the DVD package is the extras. The commentaries are just plain awful. They are stilted, awkward and boring, offering very little insight into the making of the show, backstage with the actors or any technical information - or what we're all hoping for -- some real gossip. In the published scripts of the show, Mr. Sorkin has written introductions which provide fascinating anecdotes about what was going on around the construction of the script and/or what was the inspiration for the story. That doesn't happen on the DVD. The outtakes or gag reel is short and not very satisfying. And where are the taped interviews with the actors and show's creators? I wonder if the departure from West Wing by Mr. Sorkin and Mr. Schlamme (which seemed to happen not be their choice) has created a situation in which pulling together some meaningful documentary regarding this significant television drama undoable.

Buy the DVDs to watch the episodes over and over (and you will, I'm sure). Buy the published scripts for the real "behind the scenes" stuff that adds a bit of color and depth to an already deeply colorful and moving television show.

Fantastic First Season & Superb Second Season
I didn't start watching The West Wing till early in the second season, but it quickly became my favorite show (replacing Aaron Sorkin's other masterpiece, 'Sports Night', which had just been dropped by ABC). It was killing me that I'd missed so many episodes, so I was ecstatic when I heard that Warner was finally releasing the first season on DVD! Having the episodes on DVD is great, even for episodes you've seen. If you've seen The West Wing, you know how rapid-fire the dialogue is; with DVD, it's easy to back up a few seconds to catch a line you missed.

Sorkin is an amazing writer. He is able to weave a compelling and entertaining storyline involving real issues facing our country and world. The characters debate those issues in a way that illuminates both sides of the argument. You'll likely find yourself thinking, 'I'd never looked at it that way', at least a couple times every episode. It may be fiction, but it is fiction that inspires hope that our political system CAN work.

The show is definitely a thought-provoking drama, but that certainly doesn't mean it's dry or boring. There is a huge dose of witty banter and a fair share of light-hearted sub-plots in every episode. Great writing, great acting, great sets and music, all come together to form what has become my favorite TV show ever. Get these DVD's to get caught up on early episodes you missed, or to revisit the incredible beginnings of this masterpiece.

SEASON ONE:
Pilot
Post Hoc, Ergo Propter Hoc
A Proportional Response
Five Votes Down
The Crackpots and These Women
Mr. Willis of Ohio
The State Dinner
Enemies
The Short List
In Excelsis Deo
Lord John Marbury
He Shall, from Time to Time
Take Out the Trash Day
Take This Sabbath Day
Celestial Navigation
20 Hours in L.A.
The White House Pro-Am
Six Meetings Before Lunch
Let Bartlet Be Bartlet
Mandatory Minimums
Lies, Damn Lies and Statistics
What Kind of Day Has It Been?

SEASON TWO:
In The Shadow of Two Gunmen (Part 1)
In The Shadow of Two Gunmen (Part 2)
The Midterms
In This White House
And It's Surely To Their Credit
The Lame Duck Congress
The Portland Trip
Shibboleth
Galileo
Noël
The Leadership Breakfast
The Drop In
Bartlet's Third State of the Union
The War at Home
Ellie
Somebody's Going to Emergency, Somebody's Going to Jail
The Stackhouse Filibuster
17 People
Bad Moon Rising
The Fall's Gonna Kill You
18th and Potomac
Two Cathedrals

(You can look up an episode guide if you want a quick summary of the plots; I didn't want to spoil any surprises here. My favorite guide is at epguides.com.) ... Read more

Amazon.com

When prissy, prickly Sylvia Stickles (Tracey Ullman) suffers a head injury during a traffic altercation, she's, er, revived by self-appointed sexual missionary Ray-Ray Perkins (Johnny Knoxville) and is transformed into an insatiable, take-no-prisoners sex maniac. Yes, it's a John Waters film. Yes, it's filthy. No, it's not as hilarious and sustained as you'd like it to be. It works for a while, though: Ullman, never a stingy comedienne, does everything Waters dares her to do without hesitation; words cannot describe the perversely sporting delight with which she mounts a water bottle during a round of "The Hokey Pokey" at an old folks' home. And there's some fun to be had when Sylvia's emancipation leads her Baltimore 'burb to new heights of ecstasy, freeing her large-breasted daughter Caprice (Selma Blair) while horrifying husband Vaughn (Chris Isaak) and her hardline mother Big Ethel (Suzanne Shepherd, hysterical) in the process. It's also packed with the standard cameos, the most satisfying of which is good old Patty Hearst at a Sex Addicts Anonymous encounter. But, for all the nasty, necessary glee, the movie feels inescapably been-there-done-that, and you can't help but wish this was 1972 and Divine was on hand to prowl for dog droppings. The most shocking thing about A Dirty Shame is how desperate and tiresome its anarchy becomes.--Steve Wiecking ... Read more

Reviews (14)

Worth a watch
Something tells me John Waters only referenced the Bear community to have the community watch it and then show it as more bizarre than it already is.It sure got guys in my metro to pack the indy cinemas!

Back to true form!
Being an extra on this hysterical film was a true barrel of monkeys. Receiving direction from one of the most notorious cult directors of all-time was quite an experience. A Dirty Shame is yet another twisted Waters' installment from his brilliant and unbelievably retarded mind. Sex addicts run rampant in Hamilton,
a NE Baltimore neighborhood and Johnny Knoxville is the ringleader. This film addresses such sexual fetishes never before spoke of in any previous film. Of course John's most recent films lack the angst of his 70's films, but the fact is
that was nearly 30 years ago and him and his entourage are way past the age of youth rebellion. This is clearly the most outrageous film Mr. Waters' has made since Desperate Living in 1977. Anyone who has been wise to his 70's films will absolutely
enjoy this picture. Folks who are ignorant to Waters' pictures
or those who have never seen one should not see this film without first viewing at least Pink Flamingos(1972) or Female Trouble(1974). A Waters' film you view because OF HIS name. NOT the stars. He is the puppeteer, and they are his marionettes. His recent tango with mainstream cinema and theatre is all well and good but this film proves once again what John Waters' is and will always be.
A Renegade...

I f**kin loved it!
A Dirty Shame is a must see and must own film. I loved it. Would make a great gift.Anyone who doesn't like it is a neuter.Watch it with uptight people!

Weak even for Waters
I love a lot of John Waters' movies, but this was a major disappointment.A lot of this is over the top, but it doesn't really work like "over the top" did in his earlier films.It has one hilarious scene, and the rest is just sub-par material.It mostly comes off as corny, even when you "get" the John Waters style of overacting.

Decent Film From Water's POST Divine Era!
A Dirty Shame is a pretty good film. It has it's classic John Water's one liners that could only come from the master himself which make me laugh hysterically. It's John Water's getting back to the basics--post Divine, that is. I separate John's films in 2 catagories: The Divine Years and The Post Divine Years. Let's face it, there will NEVER be another Divine in this lifetime nor will there ever be a John Water's Film that comes remotely close to the Divine Days. So JW fans have to deal with that reality. Of the Divine Years John Water's films, my all time Favorite is FEMALE TROUBLE. Followed by DESPERATE LIVING (which did not include Divine as she was working on another project at the time), POLYESTER, PINK FLAMINGOS, HAIRSPRAY, and MULTIPLE MANIACS. Then we cross over to the Post Divine Years. These films still have the John Waters edge, but not as heavily grotesque and vulgar as in the Divine years. These films include my all time favorite SERIAL MOM, PECKER, A DIRTY SHAME, CECIL B. DEMENTED, and my least favorite-CRY BABY (this film, if any, is the most detached from JW film--the only scene that shows a hint that its JW is the court room scene when Mink Stole is wheeled in in an iron lung smoking a cigarette. The dialogue there is hysterical.)

My suggestion is that if you're a John Water's fan and have seen one or more of his films Divine or Post Divine, then you'll appreciate this movie. In addition, you'll know why Patricia Hearst amoung other actors appears in this film. The reason I say this is because someone who NEVER saw a JW film wrote a review on A Dirty Shame and asked why the [...] Patricia Hearst is in the film? HELLO---she's been in EVERY JW FILM FROM HAIRSPRAY TO PRESENT!! But if you've never seen a JW film or know his antics you obviously won't relate!

GO SEE IT! ... Read more

Reviews (2)

Finally, the complete series is quickening to dvd
This show was sometimes great entertainment to me. Basically a dimestore romantic-adventure novel brought to life. I think the producers were mostly successful with providing something for everyone. The shows ranged from brilliantly written, to definitely a bit cheesey. The dvd collection is better than the vhs, however questions did arise quickly about it's quality. I think it was the 2nd episode on disc one, when the disc appeared to be sort of freezing up for a minute. I hit FF for a second, and it was fine again. ( This was with a brand new dvd player ) Since that occurance, I have not yet run into any other problems; although I've only watched 1/3 ofthe discs. I did have a couple other little gripes about these dvd's, but nothing too serious. I would have preferred more than three episodes on a disc...a typical season for ex. has NINE discs-three unfolding booklets of 3 discs, which all fit into this 1/2 box...I wasn't too crazy about that at all. There is however a lot of content within them if you like bloopers and interviews and watcher chronicles...I do and I don't.. I mean, it's tough enough to watch all 6 seasons..I really don't need boxes hoggin up all my shelf space just so studios get extra market value-which is also why it took em so long to go over to dvd's, and why it's off the air. Nevertheless, I do still appreciate the Highlander phenomenon. It's solidly entertaining while it also demonstrates virtues that I like. I can live without the Duncan Macleod boxer shorts though, and the pillows with kissy lips, and the rest of the merchandising extraveganza. THERE CAN BE ONLY ONE!

The Best series ever made
It's jam pack with everything a fan really wants, and the best part you can go form your favorite episode to another. 2 tumbs up!!!
... Read more

Amazon.com essential video

John Waters's goofy, 1990 comedy about a Baltimore girl (Amy Locane) who can't decide if she should remain "good" in her 1954 world or hang out with the motorcycle boys is funny in a scene-by-scene way, but doesn't quite gel into the grand piece the director was hoping for. The cast is exceptionally likable, however, including Johnny Depp as an Elvis type and Iggy Pop as a chattering loony. The best material is set in a fringe world of bikers and losers on the outskirts of town, and Waters writes some hilarious sardonic dialogue for the characters. Cry-Baby is the last of Waters's more undisciplined features; he followed it with the glossier but no less perverse Serial Mom. --Tom Keogh ... Read more

Reviews (131)

If you have a desire for camp, this is the movie for you!
This movie is hilarious!As long as you watch it with the realization it is not a serious film, you will enjoy the viewing.Half the fun is picking out the actors in the over-the-top characters.This is a typical John Waters movie, if that tells you anything.Big spoof of the 50's and the movies that harken back to that era.

Plot:A square of a girl falls for the leader of the drapes.Hijinks ensue and eventually girl gets guy and becomes a "scrape."

Definitely get the DVD version because the equivalent of the VHS can be caught on late-night tv and offers no special features.

Woo-Wee, you caught me in my birthday suit! Buck naked!
I'm really excited to see this great film finally make its debut on dvd; it's been a long wait.

John Waters has proven himself time and time again as America's avatar of bad taste and all things tacky, but he sidelined his more base urges for a greater good over a decade ago. Starting with Hairspray, Waters essentially re-created the American musical, and honed that to perfection with the castly underappreciated Cry-Baby. But it's not just a musical - it's also a heartfelt valentine to a simpler time, his beloved Baltimore of the late 1950's.

Depp stars as "Cry-Baby" Walker, a juvenile delinquent from the wrong side of the tracks who spends his time hanging with his gang and singing that evil rock n' roll music. He and his way of life are constantly threatened by the town 'Squares' who are both threatened and repelled by Cry-Baby and those like him.

Naturally, he falls for a Square girl and all hell breaks loose. That part of it is a simple story, and I won't waste time rehashing or giving it away here. No, what really stands out about this film is its gleeful embrace of 'white-trash culture,' its loving tribute to the great juvenile delinquent movies of the 50's and 60's, and its rambunctious energy.

As usual, Waters peppers the film with eclectic casting; Susan Tyrell, Iggy Pop, Ricki Lake, Mink Stole, Joe Dalessandro, Willem Dafoe, David Nelson (son of Ozzie), Traci Lords and Patty Hearst (yes, that Patty Hearst) are just a few of the many talents that form this wonderful ensemble cast. And of course, it's another one of Depp's great iconoclastic roles that have helped define him as one of the great idiosyncratic actors of our time.

So grab yourself an RC Cola, a Moon Pie, and put yer teeth up on the windowsill while y'all enjoy this trashy good time. You'll thank me for it and if y'all don't like it, I'll eat me a bug.

Now it's my daughter's favourite too!
Firstly I would like to ask- how the heck is this film rated a 15?! My daughter watched it with me, she is 3- yes, 3- and she adores it now. She asks me to watch it several times a day!
I have loved this film since I was around 12 and watched it with my friend over and over 'till the original tape broke. It isn't deep, it doesn't have a message and the plot has more holes in it then finest Emmenthal. But it's one of the silliest, funniest films I have ever seen and I never tire of watching it (I'm 25 now...) The spontaneous dancing, the cheesy lines, the stereotypes- I love every minute of this cr*p. There's a traitorous mouse, a helicopter hijacking, a Swedish milkmaid, Ricki Lake giving birth to what appears to be a 3- month- old infant in the back of a speeding car, Traci Lords (ex- porn star) in a cartoon bear suit and even Iggy Pop in a tiny tin bath "buck nekkid". But don't worry, there's no rudeness, no swearing and no aggressive violence- it's all very much of the Tom and Jerry variety. If you like meaningful films that stir your soul and deliver a 'message', buy this and use it as a doorstop- but if you have a juvenile sense of humour (like mine) and don't take things too seriously, watch this every day!

Finally, Cry Baby on DVD!
I love this movie so much and I own it on VHS. CB is a real funny movie, it has good actors in it, and the music is great, too!
Finally the studios opened their eyes and realized that the public wants CRY BABY ON DVD! Now, not only there's going to be a DVD of CB, but it will also be the Director's Cut with 7 minutes extra, and I'm sure they won't be boring. The movie will be shown in 1.85:1 WIDESCREEN, which is awesome and we can now enjoy better this great film!

loss for words
I can only imagine that the popularity of John Waters is due to people under the delusion that they are suppose to like John Waters.As much as I love Sontag I do have to take exce