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Long before Henry Fonda played an irascible patriarch in On Golden Pond, he played an equally crusty family man in this warmly rustic, 1963 drama Spencer's Mountain, based on an Earl Hamner Jr. novel that later inspired the television seriesThe Waltons. Fonda plays Clay Spencer, a fiercely independent, hard-drinking, foul-mouthed Wyoming laborer who believes in God but rejects (to his tiny community's consternation) organized religion. Scraping together enough money to build a new house for his wife (Maureen O'Hara) and nine children, Spencer runs into an obstacle to both his plans and family pride when his college-bound son (James MacArthur) romances the daughter of Spencer's boss. Director Delmer Daves whips up a kind of morose schmaltz out of the earnest material, but it's Fonda's grit and heartland integrity that carry the day and establish some self-effacing wit. Some nice features here, including interviews with Fonda and a short documentary, "Spencer's Mountain: Grand Teton Premiere." --Tom Keogh ... Read more

Reviews (5)

Good Adaptation of the Hamner Novel With One Exception
Before THE WALTONS, Earl Hamner Jr. wrote a novel called
SPENCER'S MOUNTAIN, a fictionalized version of his childhood
in the Blue Ridge Mountains of Virginia. The film version of
his novel is in general excellent--Henry Fonda is a standout
as tough-but-loving Clay Spencer--but I always thought
James MacArthur was too old to be playing Clay-Boy, and he's
certainly NOT the charming but gawky red-headed kid described
in the novel! Richard Thomas was also older than the John-Boy

character he portrayed on the television series, but he
was made to look like a gawky teenager where MacArthur never
does. (Incidentally, the family on TV is known as the Waltons
rather than the Spencers because after the movie was made
the studio owned the rights to the name "Spencer" so Hamner
had to change it for TV.)

My big quibble with this movie, and the reason I won't rate
it higher, is the character of Claris. In the novel she's a
bold, precocious, but ultimately nice girl--in the movie she
just comes off as a slut. The actress slithers and oozes like
some sort of Lolita-clone.

INSPIRED "THE WALTON'S"
Fonda plays the larger-than-life patriarch of 9 (with O'Hara as his wife) who's inherited the Wyoming mountain land claimed by his father. Fonda's dream is to build a new house large enough to contain his brood, but something always gets in his way. Sentimental family fare based on a novel by Earl Hamner, Jr.

Classic Delmer Daves production
"Spencer's Mountain" , written by Earl Hamner, Jr. of "The Walton's" wrote this script in the 1950s and it shows. Like many of the Delmer Daves movies of this era, this film combines a Max Steiner score, great cinematography and a heart-tugging story from a more innocent America. This is a great movie to get lost in, enjoy, and have a good cry. I sit back and re-live this film at least once a year.

A great family video
I loved this movie--Henry Fonda is wonderful as the hard-working, loving, commonsense father of nine children. Maureen O'Hara plays his wife and does a great job as a woman of faith who is constantly being challenged by the struggles of raising a large family with little income. It gives a beautiful portrait of a close-knit family whose members sacrifice freely for one another. A great family movie.

This is a funny, heartwrenching movie
This is such a beautifully made film. It made me laugh (really hard), then had me on the verge of tears. This is a true look at rual America in the 40's (or was it the 30's). And for a movie made 40 years ago, it has some pretty smart dialogue. Spencer's son has this "loose" girlfreind who's always getting the poor guy in trouble. "Wannna get the dictionary and look up all the dirty words?" she asks the son while she tries (unsuccessfully) to seduce him in the town library. Don't get me wrong there is nothing vulgar about this film. It really is a family classic. Hnery Fonda is in peak form here. A REAL look at family life. ... Read more

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The offbeat casting of Cary Grant as a submarine captain pays off in this tense WWII underwater picture; he ably trades in his sophistication for the sweaty close quarters of an action movie. The mission? Infiltrate the mined harbor of Tokyo itself, a feat bookended by a brief confrontation in the Aleutians and a depth-charge chase through the open sea. Skipper Grant is supported by the usual stock crew of Navy melting-pot types, with John Garfield drawing duty as the resident dame-crazy fantasist. (Somebody forgot to put the saltpeter in his chow, apparently.) The solid action alternates with dialogue that tends toward the schmaltzy or jingoistic (the movie's become somewhat notorious for its unusually nasty propagandistic jabs at the Japanese enemy). Destination Tokyo was the directing debut of Delmer Daves, who would later excel in smart Westerns such as 3:10 to Yuma. --Robert Horton ... Read more

Reviews (12)

Submarine Drama
Destination Tokyo is a fine dramatic action film about life aboard an American submarine during WWII that is sent on a mission that puts them into Tokyo Bay. Cary Grant stars as the captain who wishes he could be with his wife and children and who has the total respect of his crew. It's a good performance, not typical of the character that you expect to see Grant playing. Members of the crew include John Garfield, who has a story about every girl he's ever met; Dane Clark, an intense sailor with a reason for hating the enemy; and Alan Hale as the cook, providing much of the film's humour (as he often did in other movies). The film has a series of tense episodes, and mixes the drama and action well. Other than saying that it could have been shortened, the movie is quite good, and it must have had a strong impact on audiences during World War Two who were able to see what life on a submarine may have been like.

This Destination Is a Good Time
Delmer Davies's Destination Tokyo is very enjoyable WWII submarine action drama about a covert naval operation to scope out information for the aerial bombing of a primary Japanese naval yard. Starring a very charming Cary Grant as the sympathetic commanding officer and John Garfield as the girl obsessing crewman. Destination is very realistic in its depiction of submarine life and very watchable fifty-six years after its release. Though brimming with out-dated and silly comic relief, the contrived humor just adds to its considerable charm as a very watchable and dramatically engaging war film.A real gem of movie, Destination also has one of Grant's most unappreciated roles. Any fan of old war movies and Cary Grant can't go wrong buying this one.

You might be surprised.
A WWII sub film made during the war? Probably a jingoistic, even racist, bit of ma-and-apple-pie propaganda with woefully dated special effects. That much is true of Destination Tokyo, to be sure. From that angle, it's still an interesting bit of WWII-meets-Hollywood history, and its plot even ties into the famous Dolittle raid. (The film never calls the raid by that name, but it uses the actual footage of the bombers leaving the carrier Hornet, so it's all clear enough what the inspiration is if you know WWII history.)

Destinaton Tokyo is also a strong enough film in its own right as long as you can accept/stomach its propaganda aims. The action sequences are pretty exciting by the day's standards, and the nicely acted slice-of-life bits with the colorful crew are formulaic but quite entertaining nonetheless. They're often funny too, thanks to John Garfield's perpetually horny braggart character.

A Great Submarine Movie
Thankfully, this movie has NOT been colorized as mentioned in the format. It is presented in glorious black & white ... AS IT SHOULD BE !!!

Today is June 7th ... Let's see how long it takes Amazon to fix the description after receiving notification.

How to ruin a Fantastic motion picture
COLORIZE IT!!!! I have a problem in taking a wonderful action packed WWI sumbmarine movie with suspense, action, and more stars that you can count and totaly mess it up with someones interpertation of what something looks like in color. I bought the colorized movie by accident some years ago and it looked like a 5 year-old took a crayon and colored inside the frames. I returned it the next day. Keep B/W movies the way they were made. In the movie someone asks "Do prayers really work" and the reply was "I know they do", well I'm praying that the B/W version comes out VERY SOON!! ... Read more

Description

Bogey's on the lam and Bacall's at his side in Dark Passage, Delmer Daves' stylish film-noir thriller that's the third of four films Humphrey Bogart and Lauren Bacall made together. Bogart is Vincent Parry who, framed for murder, escapes San Quentin and soon emerges from plastic surgery with a new face. Bacall is Irene Jansen, Vincent's lone ally. In a supporting role, Agnes Moorehead portrays Madge, a venomous harpy who finds pleasure in the unhappiness of others. The chemistry of the leads is undeniable, and they augment it here with exceptional tenderness. Exceptional too are the atmospheric San Francisco locations and the imaginative camera work that shows Vincent's point of view - but not his face - until the bandages are removed. Lest Irene get ideas, the post-surgery Vincent tells her: "Don't change yours. I like it just as it is." So do we. Year: 1947 Director: Delmer Daves Starring: Humphrey Bogart, Lauren Bacall Special Feature: Original Theatrical Trailer B&W/106 Mins. ... Read more

Reviews (38)

THRILLING NOIR GETS ROYAL TREATMENT ON DVD
"Dark Passage" is the last time Bogart and Bacall were teamed together on screen. The resulting film noir was not a box office sensation when it originally hit theaters, perhaps in part due to the first person camera perspective employed during the first forty minutes of the narrative and then the additional absence of seeing Bogart's character, except behind a swath of bandages for most of the latter half of the film. However, like most great film noir, "Dark Passage" has outlived its initial disappointment to become a classic. Bogart is Vincent Parry, a man accused of murdering his wife and sent to prison for life. But he escapes San Quentin prison and is rescued by Irene Jansen (Bacall). Irene smuggles Parry past police, across the Golden Gate Bridge and to her San Francisco apartment. From there Parry procures a plastic surgeon to alter his facial features, but first takes off to visit his old friend, George Fellsinger (Rory Mallinson). However, when Parry returns to George's flat he finds that someone has murdered his best friend. Knowing that he will be considered the first choice of suspect in this crime, Parry retreats to Irene's apartment where she looks after him for the duration of his healing. With his new face looking like the spitting image of Humphrey Bogart, Parry heads over to his ex-wife's former friend, Madge Rapf (Agnes Moorehead). She is the one responsible for Parry's wife's murder and when Parry confronts Madge with his knowledge, she realizes who the stranger is, attempts to escape, but accidentally falls from the seventh story to her death. With no conceivable way of proving that Madge killed his wife and George, Parry contacts Irene with his next port of call. The finale is perhaps overly optimistic with Irene miraculously turning up at some café in a tropical port with Parry waiting at a table for two for her to arrive.

The DVD transfer is outstanding. Warner Brothers gives us a remastered picture that ranks among their very best transfers. It's amazing how much fine detail is maintained throughout the presentation. The gray scale is extremely well balanced. Blacks are - for the most part - black, although there is a couple of scenes in which 'blooming' does occur. There is also a trace element of pixelization. The audio is MONO but very nicely balanced. Extras include a featurette on the making of the film that, while short, manages to cover a lot of ground and contextualize some of the background surrounding its production shoot. You also get a Bugs Bunny cartoon and the film's theatrical trailer.

Is this "Lady In The Lake" or am I seeing things?
Lesser known and least acclaimed film of the Humphrey Bogart-Lauren Bacall teaming, and justifiably so. Utilizes many over-reaching and cliched plot devices throughout, and in the first half hour or so I thought I was watching a bad reincarnation of the mediocre "Lady In The Lake," what with the subjective camera angle where the audience sees everything through the eyes of the main character. Stars Bogart as Vince Parry, a man wrongfully sent to San Quentin for killing his ungrateful wife and makes his escape, only to encounter many a problem and no-good folks. Bacall plays Irene Janssen, a beautiful young woman that has, in one of the examples of over-reaching this film uses, followed Vince's case since it reminded her of her wrongfully jailed father's situation, and who is every fugitive's dreamgirl since she aids him with all an escaped convict would need or want--helps with his getaway, provides food and her nice apartment for him to stay in, money ($500-a lot back then), and of course romance--although that comes later. She even becomes his nursey when he changes his appearance with plastic surgery. In another ludicrous case of over-reaching, Vince meets up by chance with a cabbie who can "read" faces and who, despite recognizing him and knowing about his wife's murder, can tell Vince didn't do it and that his face is "good." Therefore, he puts Vince in contact with a friend of his who just happens to be a plastic surgeon, exactly what any fugitive would want--and on top of that, is willing to do it for only 200 bucks! (granted, that was a good amount back then, but for a masterful job which could get him into legal trouble, c'mon!). Along the way he meets up again with Madge Rapf (wonderfully played by a deliciously wicked Agnes Moorehead), a devious busybody-troublemaker from his past who is a murderer. Although Vince is never able to get his name cleared, all ends well when he settles elsewhere with a new identity and with Irene, but not before we are given a moralistic scene in the train station where Vince overhears a downtrodden, "Okie" married couple with kids lamenting about lack of human kindness and generosity. I suppose this was to be in contrast to the kindness and generosity Irene showed Vince--nevertheless, it's totally gratuitous. However, despite the flaws, this is a tense and entertaining noir which would have been downright laughable given lesser performers, but is truly gripping due to Bogie, Bacall, and Moorehead.

Dark Horse, But a Winner
The best of black-and-white films are such that the viewer forgets very quickly that there is no color. If truly good, it will impart a style and an atmosphere that color can't duplicate. By 1947, when this movie was made, there wasn't much that a major studio couldn't do superbly in B/W. All their talent has been transferred to this DVD.

The premise for this movie is indeed improbable, and the idea that someone would want to change into the Bogart time-worn face is laughable. However, the interplay between the Bogarts is electric, and she never looked any sexier. The San Francisco art deco buildings and scenery is an added bonus. Agnes Moorhead, certainly one of our most underrated radio and film actresses, was never better as the catty friend. As a variation of film noir, though, this is fun to watch and gets better with each viewing.

Bogie And Bacall Light Up The Screen In Stylish Film Noir
Often passed off as the least successful of the four screen teamings of legendary Hollywood couple Humphrey Bogart and Lauren Bacall, "Dark Passage", despite its often unlikely premise has much to recommend it. Bogie is always riverting to watch on screen even in his lesser films and his work in "Dark Passage", as an escaped convict undergoing plastic surgery to try to clear his name over the murder of his wife is first rate. While the film certainly lacks a degree of the unique verbal sparring that viewers have come to expect of Bogie and Bacall's work together, the personal chemistry is still there and just as magic between the two. It is these two performers aided greatly by the superb Agnes Moorehead in the type of vinegary characterisation that she made uniquely her own in the 1940's that really elevates this story and manages to make many of the incredible turn of events that bit more believable.

Based on a David Goodis novel, director Delmer Daves also took over responsibility for the screenplay and weaved an engrossing if not always plausible story centred around Vincent Parry (Bogart) who we see in the first scene making his escape on the back of a truck from San Quentin Prison. Picked up a few minutes later by artist Irene Jansen (Bacall), who happened to be doing some painting in the surrounding hills as the prison siren went off, Vincent finds himself suddenly with a staunch ally in his quest to get to the bottom of his wife's murder. Irene takes Vincent back to her apartment in San Francisco where her attraction to him becomes immediately evident.She explains that her sudden determination to help him despite the personal risks to herself, is the result of her interest in his case and the firm belief that he was framed for his wife's murder. Seeing that a city wide manhunt is now underway Vincent takes the advice of a friendly cab driver (Tom D'Andrea), who guesses who he is and allows him to arrange to get some plastic surgery done to change his appearance. Hiding out at Irene's apartment while his face heals Vincent realises that he and Irene have a connection in the person of gossipy sharp tongued Madge Rapf (Agnes Moorehead),who is a constant thorn in Irene's side and actually testified against Vincent in his murder trial. Madge gets suspicious of the man she believes Irene is hiding in her apartment and begins to follow Vincent once his bandages are removed and he begins to track down the real killer of his wife. Putting two and two together Vincent realises that Madge is the guilty party and is a woman who when she can't get what she wants is the type to destroy what others love. In a powerful confrontation scene where Madge learns the identity of the man with the strangely familiar face it is revealed that she is the one who was also responsible for the death of his wife and only friend George. Unable to get Madge to confess to her crimes and thus clearing his name Vincent realises he has no chance of going free in particular when Madge falls to her death from her apartment window. He then decides to flee to South America where with not much persuasion he is joined by the romantically hooked Irene to hopefully start a new life together.

Totally implausible? Perhaps but as with alot of the well crafted film Noir's of the 40's it is done in an irresistable style. The sheer coincidence of most the characters being somehow connected with each other or automatically knowing someone who can help in Vincent's plight is indeed at times hard to accept but once again it is the performers and their total immersion in the characters that succeeds in pulling it off. "Dark Passage", is unique, and on the down side has been at times strongly criticised for, its shooting from the view of Humphrey Bogart's face so that we dont actually see him for the first half hour of the film. I personally believe that approach is highly effective and quite unique and it certainly keeps the interest up until Vincent's grand unveiling when he looks like of course Humphrey Bogart. The fact that Vincent does look different is also responsible for the very powerful last scene between Vincent and Madge when she slowly begins to realise, much to her terror, who this strange man is she has invited into her home. Bogart, Bacall and Moorehead rightly run away with the acting honours here but the supporting cast is a strong one with Houseley Stevenson as the plastic surgeon and Clifton Young as the black mailing Baker real standouts in their playing. The film like all noir efforts benefits greatly from the stark black and white photography by Sid Hickox with many of the exterior shots done in very early morning or late in the evening. Location work done in the downtown region of San Francisco also gives the film added interest with alot of action taking place around the Golden Gate Bridge which is well used in particular during the shoot out between Vincent and Baker.

"Dark Passage", may not be top draw Bogart akin to "Casablanca", or "The Maltese falcon", however it is a spirited tale in its own right and should be viewed as such. Its strong 1940's feel and stark photography aid in raising this story a number of notches above other similiar efforts of this period and even when he is not seen on camera for the first section of the story Bogart by using his distinctive voice manages to draw the audience into Vincent Parry's story. He and Lauren Bacall were one of Hollywood's greatest acting teams and even in a lesser effort such as this still provide first class entertainment. Enjoy.

Visually stunning, but too coincidental...
Vincent Parry (Humphrey Bogart) is convicted and sentenced for murder and has now escaped the San Quentin prison. By coincidence Irene Jansen (Lauren Bacall) is in the near by hills painting landscape portraits when Vincent escapes and she decides to help him. Irene is one of the few who believed that Vincent was innocent of the murder of his wife, and this motivates her to help him. However, Vincent wants to discover who the murderer was on his own, but realizes that his face is nationally known as it has been on the front page of all the newspapers. Through the help of a taxi driver Vincent finds a plastic surgeon that gives him a new face that will help him on his quest for the truth. Dark Passage begins with interesting cinematography as it conceals Vincent's face until after the plastic surgery, which enhances the cinematic experience. But it does not save the awkward coincidental moments that drive the story forward and hurts the overall cinematic experience leaving the audience with a viewable, but gawky story. ... Read more

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Amid a cast of all-stars in 1953's The Robe, Victor Mature made the strongest impression as the Greek slave, Demetrius. It was only natural, then, that Mature should star in this 1954 sequel, in which the newly liberated Demetrius forges an alliance with his Christian brethren to hide the sacred robe of Christ, coveted for its "magic" by the vile emperor Caligula (Jay Robinson, also reprising his role in The Robe). Captured and manipulated into believing his beloved Lucia (Debra Paget) has been killed, Demetrius rejects his pacifist faith, plots vengeance while becoming a rising star in the bloody arena, and falls prey to the scheming senator's wife Messalina (Susan Hayward), who craves his... affection. It all leads to a crisis of faith that will determine Demetrius's fate as a noble Christian or downfallen hedonist.

Inheriting The Robe's CinemaScope production values, Demetrius and the Gladiators has everything you'd want in a Biblical epic, riding the wave that would crest two years later with Cecil B. DeMille's The Ten Commandments. It's campy, of course--Robinson is outrageously over-the-top; Mature is too contemporary (preceding the absurdity of Richard Gere's King David by 30 years); and Hayward seems closer to Rodeo Drive than ancient Rome. Still, there are abundant pleasures here, from the lavish arena battles (a bit cheesy, but still impressive) to a straightforward morality tale that doesn't compromise its themes of religious loyalty. You don't watch movies like this for historical accuracy, but for the combination of thrills, passion, and glory that were Hollywood trademarks of 1950s epics, long before the more secular ambition of Gladiator. --Jeff Shannon ... Read more

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Struggling rancher and family man Van Heflin sneaks captured outlaw Glenn Ford out from under the eyes of his gang and nervously awaits the prison train in this tight, taut Western in the High Noon tradition. Adapted from an Elmore Leonard story, this tense Western thriller is boiled down to its essential elements: a charming and cunning criminal, an initially reluctant hero whose courage and resolution hardens along the way, and a waiting game that pits them in a battle of wills and wits. Glenn Ford practically steals the film in one of his best performances ever: calm, cool, and confident, he's a ruthless killer with polite manners and an honorable streak. Director Delmer Daves (Broken Arrow) sets it all in a harsh, parched frontier of empty landscapes, deserted towns, and dust, creating a brittle quiet that threatens to snap into violence at any moment. --Sean Axmaker ... Read more

Reviews (10)

A Western Hidden Treasure
Van Heflin stars as a struggling rancher who agrees to guard outlaw Glenn Ford for $200 as he is being escorted to jail in Yuma. Ford killed a stagecoach driver while robbing the coach, but he is backed by a loyal gang that everyone fears. Heflin is assisted by town drunk Henry Jones. There's a lot going on in this brief, tense western. The relationship between Heflin and Ford is really interesting, as Heflin finds more courage than we thought he had, and Ford makes his character almost likeable as he mentally works over his captor. There is also an interesting relationship between Heflin and his wife, quite complicated given their brief time together on screen. She seems to question his courage and strength of character. Director Delmer Daves gradually builds the tension, but never allows it to let-up, propelling the story to its exciting conclusion. The centerpiece of the film is the performances of the two stars. Ford, not a great actor as a rule, really digs into this character and makes him quite memorable, while Heflin, a favourite character actor of mine, is totally convincing as the beleaguered farmer, forced into the role of hero that he never wanted, but wants to prove he can handle. This may not be a very well known film, but it should be considered one of those hidden treasures that it's fun to unearth. Suspenseful, well written, with enough action and atmosphere to make it a classic western. Look for this one!

Stands equal to the very finest of the genre!
It may not display the the scenic effulgence of red painted buttes beneath a cereulian sky, as with the Searchers, or the impregnable fortress backdrop of the tetons,as with Shane, but its psychological intensity, deep character studies, and indefatigable suspense,makes 3:10 to Yuma just as praise-worthy as the former two. The austere black and white gives the film its dream-like ambiance (along with the strumming of morose guitar chordings in the background). The seemingly deserted town of contention brings a macabre feeling over the viewer,all the while the viewer builds an adrenaline rush(like one i have not even experienced with many modern thrillers.)At certain junctures of the film Daves directs the camera anglings so masterfully that the scenes are indelibly etched in the viewers mind(look for the scene in the hotel room where Ben Wade(ford)taunts and bribes Dan Evans (Van Heflin) the camera zooms in closer and closer to Evans anger contorted face.)This is a very unique western that stands out in the pletheora of oaters being produced in the 50s. Though it has been overlooked by serious western film critics (Who devote more time to the other classics of that decade: Shane,High Noon, The Searchers,Rio Bravo, and the Anthony Mann/Jimmy Stewart selections) 3:10 to Yuma deserves a closer look. Its sheer intensity and noir psychology exalt it,and i'am confident other viewers would concur, to a status worthy of one of the top ten in the genre. For me it is indubitably in the top four or five of the greatest westerns of all time. Pick this one up! Incredible!!!

Great pyschological western
3:10 to Yuma is an excellent pyschological western with a similar story to High Noon. The leader of a gang is captured by a posse after a robbery and must be transported to another town so he can be moved on the train. One of the local farmers, who is in desperate need of money, agrees to travel with him and watch him until he can be put on the train, the 3:10 to Yuma. All along the way, the outlaw plays mind games with the farmer trying to manipulate him into letting him go. There is plenty here for western fans. The dialogue between Glenn Ford and Van Heflin is the best part of the movie as they go back and forth between them while Ford plays his mindgames on the unwilling hero, Heflin.

Glenn Ford gives one of his best performances ever as Wade, the smooth-talking, calm, but ruthless gang leader. His character is perfect for this role, and could not have been done any better. Van Heflin is just as good as the poor farmer watching over Wade. It is easy to see the anger inside of him as Wade continues to push his buttons as they wait for the train. The rest of the cast includes many western actors, most notably Richard Jaeckel as Charlie, the right hand man of Wade who plays the slimy gunfighter throughout. It is great to see this movie on DVD, which includes the widescreen presentation. Western fans will love this great movie with an even better cast!

The Best Glenn Ford Film
I have been a fan of "3:10" since I was a kid. Every time it is on I have to watch it. It is compelling, beautiful and fascinating. This is a very powerful film for its time and stands up to today's standards. Glenn Ford is wonderful against type, a truly bad man, but able to charm the pants off the girls (literally) and becomes likable yet despicable. Van Heflin is excellent as well, both men play well off each other and we see without corniness the contrast between the two characters. The supporting cast includes some excellent talent, too, including Richard Jaeckle, Ford Rainey and others. This is a must see and a must own film, especially now that its on DVD, my VHS copy is all worn out...gee, I wonder why.

Seduction 101 courtesy of Glenn Ford
Well, this is how you handle women guys. (spoiler alert) First he has Felicia Farr drooling all over herself, and then while in handcuffs takes a run at Van Heflins wife. That is machismo at its best. Oh yeah, the rest of story. Well, Ford is quite simply the most charming, ruthless, manipulative, and mercurial bad guy in the history of the Western. Required viewing for Psych majors and fledgling seduction artists.

The DVD transfer is excellent in widescreen and the sound is terrific...if you fast forward past one of Hollywood's worst theme songs "...I hear a ruma, when you take the 3:10 to Yuma, you can see the ghosts of outlaws riding by, way up high, in the skyyyyyyyyyy..." Have a pie, in your eye! Jeez, pretty funny though. Great movie, I don't want to talk about the ending...I mean I really don't want to talk about it. Didn't they have a jail in that town? Otis Campbell must have already checked in or something. ... Read more

Reviews (18)

A Neglected Masterpiece!
I first saw this film on the late show back in the 50's when I was a mere child. It scared the pants off me then, and pretty much does the same now. This is what I call staying power. Too bad more people aren't aware of this film. The sad thing about the presentation of this film (I have both the VHS & DVD) is that the sound recording needs definite restorative work. This would really be disturbing if the film itself wasn't so compelling. The production values as well as the production team are all A-List, from the fine direction of Delmer Daves to the outstanding mood-setting score of Max Steiner to the casting of pro stars like Edward G. Robinson & Judith Anderson sharing the screen with teen magazine heart-throbs Rory Calhoun and Julie London. Lon McCallister is fine in what is really the lead role, and a very fine performance by young Allene Roberts (whatever happened to her!). The DVD is pretty much of the bargain-bin variety, though there are a couple of little extras on it...most notably explaining that Robinson's career came to a standstill after this film because of the Hollywood blacklist. The suspense factor is among the highest I can recall (EVER!); the script is literate and clever; characters are well-defined; and the creepy mood is consistant. See this film and tell all your friends; you will NOT be disappointed.

Worth seeing for all kinds of reasons.
Ooh, fun! Like film noir? Don't miss this, if only because of Edward G., and just so you can say you saw it. If Disney couyld make a good film noir back in the 40's, this might have been it. And that's a compliment. Hitchcock wouldn't have done this:L it's too moody and down-home. It's different. Ma and Pa Kettle quit foolin' around, lose a few years, and go out to find a few corpses.

1. See if you can guess my favorite shot ( with Aileen Roberts, alone)

2. See Judith Anderson in something besides REBECCA: "Every living soul has their Oxhead Woods..."

3. See Edward G. in a lesser known film, and still doing an excellent job ("...it can still be you and me, Jeannie...")

4. See Julie London. Sassy and delinquent here: "A fine swimming date we had, I don't think!" "I'm not gonna give you any kisses...I want you to miss 'em..." Gorgeous and talented, you could also sense the Hollywood ambition exuding from her during this film...no?

5. Rory Calhoun. A good job. Not given TOO much to do here except drink, hunt, beat up Lon McAllister and grab Julie London, he does it well: "Because it'll be a prettier bond if you buy it for me..."

If this is a piece of American candy, it's still a good piece--and more complex than you'd expect. (Probably moreso than I am capable of revealing here.)

Don't just leave it for the kids. In fact, it may scare the hell out of them. Ultimately, I believe there are aspects of this film that are of more than average, 'happy-day' depth.

Buy it. A true noir fan, you'll watch it more than once.

Should be restored but...
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: ** /**** Sound: *1/2 /**** Plot: *** /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

This is not a great film but very eerie, strange, nearly on par with something like "Carnival Of Souls" or "Incubus".

Rory Calhoun and Lon McCallister are solid in their roles. Arlene Roberts is good but does not come close to the sexiness of Julie London. Edward G. Robinson creates the mystery and suspense while his sister (in the film), Judith Anderson (Mrs. Danvers in "REBECCA") enhances and intensifies Robinson's esoteric character.

Granted, the film transfer is quite soft and glowing and the sound hisses throughout, however, it is still quite interesting to view and, due to the digital transfer process, the sound is stabilized.

Until/if a restoration is ever available this is the best we'll see but, in my opinion, is worth the low asking price - if you are expecting the quality of a Criterion Collection DVD you will be disappointed.

Brilliant Offbeat Daves Film, Horrible Print for DVD
As with many of Delmer Daves' films, The Red House shows originality, flair, and an intense weaving of landscape, theme, and character (rare among American directors working in the studios). He consistently achieves moments of great subtlety. In addition, Lon McCallister and Allene Roberts deliver striking performances under Daves' sensitive direction. It's no surprise that Scorcese noted this film in his "Personal Journey Through American Movies". Unfortunately, the print of the film used for the DVD is HORRIBLE -- there have to be better prints out there of this film!

A Long Lost Classic!!
Edward G. Robinson is fantastic as the man with the dark secret, in this excellent thriller! I bought it expecting to be either bored or amused. Instead, I was pleasantly surprised! The Red House is actually pretty creepy. Robinson plays a farmer who is not what he appears to be. There's a red house in the woods where something terrible happened many years earlier. His daughter (Arlene Roberts), and his sister (the magnificent Judith "Mrs. Danvers" Anderson) live with him. A boy comes to help out on the farm and the web of mystery slowly unravels. I highly recommend this for anyone who loves thrillers, chillers, or just plain good movies... ... Read more

Reviews (5)

Rafael Mendez
I like that Mr.Mendez. He can really play that horn. Hot i tell you.. hot! Anyways folks, I recommend that you awll buy this fantastic root in tootin' slam here footin' horse riding shootin' movie! You'll love it and as for Mendez. He is the greatest.

How could they release this in Pan & Scan????
This is a wonderful look at the "real" West for a change; warts and all. BUT, and it is a big BUT, it needs to be seen as originally filmed not cut for television. Neverthless I'll keep this copy and then buy it again when it is released in Widescreen. Why do those who support the rights of directors and complain when someone "messes" with "their" product think nothing of chopping a film to fit a televion screen.

Western Fan
This moive had everything that made it easy to remember. Glen Ford was always a standup kind of guy and could be hard as nails, or gentle. Jack Lemmon was like a new born calf looking for how to walk on his unsteady legs. The other actors were very good and there was no over acting, they fit their roles perfectly, as a person that enjoys good stunts this one was not lacking in that department. I would watch this moive often,as it is good entertainment.

Giddy-Up!
Very amusing western with Jack Lemmon learning the cowboy-way by pro Glenn Ford. Colorful and entertaining and one of the classics. Waiting only for "The Sheepman".

Watch out for saddle sores!
This "fish-out-of-water" story has Jack Lemmon turn from a dude into a hard-bitten cowhand in this enjoyable trail drive western. Glenn Ford, who always looks at home in a saddle, is along for the ride as the trail boss. Highly recommended. ... Read more

Reviews (4)

Superb acting by non-actor Sinatra
Put ol' Blue Eyes in a vehicle where he never sang and usually you got a rather forgettable performance. In such cases, it was best to put him in a role where, as the old country song went, all he had to do was "ack natcher'ly". You'd never know that from this effort, though--where he played an Army officer competing for the love of a beautiful French girl (Natalie Wood) with his dreamboat sergeant (Tony Curtis). Curtis' looks and charm sweep the girl off her feet, but it's clear that Sinatra has more to offer her in what really matters. But the balloon really goes up when Wood's mother reveals to both men that her late husband was African-American, making their daughter a mulatto. This causes Sinatra to do some soul searching centered on the fact that his upbringing had a certain amount of racism in it that he'd never really questioned until now. As for Curtis' reaction, I don't want to give too much away. Except for the fact that this film shows Sinatra--a man whose main talents were in another branch of entertainment, holding his own with two of the American screen's best talents.

One of the finest movies ever!
I had been wanting to see this movie for a long time. I rented it the other day, and I'm so glad I did. This is Frank Sinatra at his best. He is wonderful as the loving, tender Sam. He's so sweet to the beautiful, yet fragile Monique, the girl he deeply loves. This movie is one of honor, character, integrity, and true love- traits all seen in Sam. This is also a very bold movie, especially for the 1950s. Sam's undying love for Monique is lovely, even after she tells him her father was a Negro. He ponders this, but his love for Monique stands strong. This has become one of my favorite movies. It's a touching story about true love, and I highly recommend it.

ONE TOUGH AND EXCELLENT MOVIE
I remember watching this movie when I was a only seven or eight and being totally ticked off that most of the film was set away from all the action I loved. "Hey, we're fighting the Germans. Forget this French chick!"

Now watching this film all these years later I am nearly overwhelmed with how mature and complex Kings Go Forth is. This could have easily sunk to the level of a simple minded morality play; but the interplay of likable and flawed human characters raise this film to be a story for thoughtful adults.

Racism is a theme; but it is only one of several. We have a rich kid/poor kid dynamic. We have sexual jeolousy. We have a central character who struggles to not only to do the right thing but to act with a nobility he knows is not natural for him. We have a irresponsible character who is sauve and socially graceful who knows exactly what he is even though he is a true hero in many ways. We have a French girl who is actually American--very much American in the sense that she is the product of a uniquely American melting pot. But she lives in exile because she is also ahead of her time. She so desparately wants to be worthy of her true homeland and is crushed when she finds out the hope she has set her heart on is false. She also knows that she failed to "dance with the one who brought her" for a golden boy whose promise was untrue.

On top of all this is the larger drama of loyalty and duty in war. How at the end Sinatra comforts and forgives the buddy he promised to kill as death seemingly was about to consume them both. Deaths both Sinatra and Curtis come to accept as a price of the mission.

Sinatra was rarely better than this. Wood breathes live into a role that is quite wooden on paper. While Curtis acts his butt off playing the cad we end up feeling sympathy for. (It has been Tony Curtis' great fortune and curse to be in films where he is overshadowed by actors who were not just good but great. We are dazzled by the performances of these great actors so much that Curtis' own contributions are obscured by the glow. But he also has to be ranked as one of Hollywood's most accomplished and skilled actors.)

Kings Go Forth is an excellent film. It is overlooked and deserves more. It is both complex and subtle. You will think about these characters for a long time.

Kings Go Forth
I have always loved this movie. It is a wonderful drama and the cast is over the top with talent. One other, very important reason I love this movie, is that my dad is in this movie. He plays a German officer. He helped authenticate the military uniforms warn by the actors. For helping do this, the director offered him a bit part....my dad is a decorated veteran of 2 campaigns. WWll, and Korea! So it has always been a family joke that dad defected during the war...
Sincerely,
D.L. ... Read more

Reviews (18)

A Neglected Masterpiece!
I first saw this film on the late show back in the 50's when I was a mere child. It scared the pants off me then, and pretty much does the same now. This is what I call staying power. Too bad more people aren't aware of this film. The sad thing about the presentation of this film (I have both the VHS & DVD) is that the sound recording needs definite restorative work. This would really be disturbing if the film itself wasn't so compelling. The production values as well as the production team are all A-List, from the fine direction of Delmer Daves to the outstanding mood-setting score of Max Steiner to the casting of pro stars like Edward G. Robinson & Judith Anderson sharing the screen with teen magazine heart-throbs Rory Calhoun and Julie London. Lon McCallister is fine in what is really the lead role, and a very fine performance by young Allene Roberts (whatever happened to her!). The DVD is pretty much of the bargain-bin variety, though there are a couple of little extras on it...most notably explaining that Robinson's career came to a standstill after this film because of the Hollywood blacklist. The suspense factor is among the highest I can recall (EVER!); the script is literate and clever; characters are well-defined; and the creepy mood is consistant. See this film and tell all your friends; you will NOT be disappointed.

Worth seeing for all kinds of reasons.
Ooh, fun! Like film noir? Don't miss this, if only because of Edward G., and just so you can say you saw it. If Disney couyld make a good film noir back in the 40's, this might have been it. And that's a compliment. Hitchcock wouldn't have done this:L it's too moody and down-home. It's different. Ma and Pa Kettle quit foolin' around, lose a few years, and go out to find a few corpses.

1. See if you can guess my favorite shot ( with Aileen Roberts, alone)

2. See Judith Anderson in something besides REBECCA: "Every living soul has their Oxhead Woods..."

3. See Edward G. in a lesser known film, and still doing an excellent job ("...it can still be you and me, Jeannie...")

4. See Julie London. Sassy and delinquent here: "A fine swimming date we had, I don't think!" "I'm not gonna give you any kisses...I want you to miss 'em..." Gorgeous and talented, you could also sense the Hollywood ambition exuding from her during this film...no?

5. Rory Calhoun. A good job. Not given TOO much to do here except drink, hunt, beat up Lon McAllister and grab Julie London, he does it well: "Because it'll be a prettier bond if you buy it for me..."

If this is a piece of American candy, it's still a good piece--and more complex than you'd expect. (Probably moreso than I am capable of revealing here.)

Don't just leave it for the kids. In fact, it may scare the hell out of them. Ultimately, I believe there are aspects of this film that are of more than average, 'happy-day' depth.

Buy it. A true noir fan, you'll watch it more than once.

Should be restored but...
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: ** /**** Sound: *1/2 /**** Plot: *** /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

This is not a great film but very eerie, strange, nearly on par with something like "Carnival Of Souls" or "Incubus".

Rory Calhoun and Lon McCallister are solid in their roles. Arlene Roberts is good but does not come close to the sexiness of Julie London. Edward G. Robinson creates the mystery and suspense while his sister (in the film), Judith Anderson (Mrs. Danvers in "REBECCA") enhances and intensifies Robinson's esoteric character.

Granted, the film transfer is quite soft and glowing and the sound hisses throughout, however, it is still quite interesting to view and, due to the digital transfer process, the sound is stabilized.

Until/if a restoration is ever available this is the best we'll see but, in my opinion, is worth the low asking price - if you are expecting the quality of a Criterion Collection DVD you will be disappointed.

Brilliant Offbeat Daves Film, Horrible Print for DVD
As with many of Delmer Daves' films, The Red House shows originality, flair, and an intense weaving of landscape, theme, and character (rare among American directors working in the studios). He consistently achieves moments of great subtlety. In addition, Lon McCallister and Allene Roberts deliver striking performances under Daves' sensitive direction. It's no surprise that Scorcese noted this film in his "Personal Journey Through American Movies". Unfortunately, the print of the film used for the DVD is HORRIBLE -- there have to be better prints out there of this film!

A Long Lost Classic!!
Edward G. Robinson is fantastic as the man with the dark secret, in this excellent thriller! I bought it expecting to be either bored or amused. Instead, I was pleasantly surprised! The Red House is actually pretty creepy. Robinson plays a farmer who is not what he appears to be. There's a red house in the woods where something terrible happened many years earlier. His daughter (Arlene Roberts), and his sister (the magnificent Judith "Mrs. Danvers" Anderson) live with him. A boy comes to help out on the farm and the web of mystery slowly unravels. I highly recommend this for anyone who loves thrillers, chillers, or just plain good movies... ... Read more

Reviews (14)

A great story from Hollywood's first "brat pack"
A lot of people forget that there was a stable of youthful actors during the late '50s/ early '60s, which co-stars Troy Donahue and Connie Stevens were were part of here. This film deals with the Conneticut tobacco planting industry, a woman (Colbert) who is hired as governess for one of the planters' daughter, her iconoclastic son (Donahue), his girlfriend (Stevens) the region's largest landholder who wants it all (Karl Malden) and his personable sweet-natured dauhter (Sharon Hugueny). There are family struggles in this film which are a lot like later TV series like "Dallas" and "Dynasty". Another point of interest is the work songs sung by the migrant Jamaican workforce; "There's a wheel spinnin' round and round/ puttin' tobacco in the ground", and other such chants. This is no Oscar winner, but it's a lot better than just about any other generation-cult film.

Parrish-The genius of Delmar Daves and Max Steiner
My wife and I saw this film at a drive in central coastal caif.when first released.I believe the musical scores of Daves films lifted them higher than the scripts alone would allow.Each character or relationship had it's own theme music which would swell as a new scene faded in from black, it was very subtle,but very effective.It put the audience back in contact with the characters without using additional dialog.In the first viewing you may not even be aware of what Daves and Steiner are doing.The same thing happens in A Summer Place,Rome Adventure,Susan Slade It really adds to the enjoyment of the film.Of course it only works when someone of Max Steiners talent scores the films.Delmar Daves,best known perhaps as a director of westerns certainly had the touch to direct romantic films with a message.The skill to get the best performances out of young and inexperienced actors,and the most beautiful visuals and photographic work of that or any other era.His films leave you feeling good,a smile on your face,and your faith in mankind restored.THAT'S ENTERTAINMENT!

Not yet on DVD?
I consider this movie a classic for it's time period. I am astounded it's not yet on DVD and that we have to "vote" to convence the studio to release it. Ever bit of nonsense that's newly relased makes it to DVD. It's a shame such movies as Parrish and Splender in the Grass are not available.

The Characters Have Depth, Nothing Was Spared In Its Making
Max Steiner's musical scoring, the brilliant performances by the entire cast, and the great directing and editing will put this film in the Gone With the Wind category. I recommend it highly to those who want to see filmmaking at its best.

Parrish
I was a kid when my mom took me to the "burning of the barn" scene and the scenes in Old Saybrook. Then i saw the finished product and even today i still watch that film. Even though now it does seem a little corney, it's just plain fun to watch. I also was a big Troy Donahue fan and saw all of his other movies. "Rome Adventure", "Summer Place", and "Susan Slade" which for some reason was never transferred to tape, at least i have never been able to find it. Of course the music by Max Steiner is the greatest and it's a shame that we do not have any composers like Max anymore. Parrish is and will always be a great classic in my eyes. ... Read more