Reviews (9)

One Of The Best Westerns Of The 50's!
Warlock is one of those movies that got lost in the shuffle in the years following its release. Subsequent classics like The Man Who Shot Liberty Valance, The Magnificent Seven, The Man With No Name trilogy, The Wild Bunch, etc, all diverted attention away from this 1959 Western masterpiece. Expertly directed by Edward Dmytryk and starring Richard Widmark, Henry Fonda (in one of his best Western roles), Anthony Quinn (in arguably HIS best Western role), DeForest Kelley, and Dorothy Malone, this is a movie that - upon further review - truly does hold up very well against even the best Westerns of all time.

Fonda plays a Sheriff/Marshall (gun) for hire who is brought in to "clean up" the town of Warlock. He does so with the proviso that he can do it his way, with no interference from the town council. They agree, but he warns them that at first they will love him and what he does, but later on they will come to hate both him and his methods. His prediction comes true, but the way the story plays out belies the usual Western cliche's. The script is expertly written, with characters that ring true, and a rather grown up storyline.

Warlock, in a way, combines the classic Western styles of the 40's, 50's, and 60's, and even hints at some of the elements that would be seen in modern (1980's to present) Westerns. Hopefully the DVD transfer is up to the standards of this movie (this review is being written over a month before the DVD release). This is a movie that belongs in the collection of every Western fan.

elated to find this one
AFTER YEARS OF SEARCHING FOR THIS ONE BY DIFFERENT AVENEWS, i WAS ELATED TO FIND IT HERE ON AMAZON.COM.
I ALSO BELIEVE IT IS A HIGHLY UNDERRATED FILM THAT HAS BEEN LOST IN THE ARCHIVES FAR TOO LONG.
I ALSO FOUND ANOTHER GREAT FONDA MOVIE THAT I HAVE BEEN LOOKING FOR, FOR YEARS, AND THAT IS,( SOMETIMES A GREAT NOTION, WITH PAUL NEWMAN ) ANOTHER ONE BURIED IN THE ARCHIVES FAR TOO LONG WAITING TO BE RE'DISCOVERED.

Near brilliant, undiscovered western
The 1959 film "Warlock" is one of those great surprises for movie fans. It's a classic western, undiscovered, awaiting the lucky viewer who happens to stumble across it. After viewing this dark, almost gothic oater, most viewers will ask themselves, "Why haven't I heard of this film?!"

I'm not sure as to why "Warlock" has been relatively ignored over the years, though I think the film is derivative of other films. I think the generic Hollywood backlots where "Warlock" was undoubtedly filmed certainly detract from its overall allure. But simply put, "Warlock" fell through the cracks, and it's a film deserving of reexamination.

Part "High Noon," part "Shane," part "The Searchers," "Warlock" tells the tale of a town victimized by crime. They hire a gunfighter in the form of Henry Fonda, who arrives with a crippled sidekick (Anthony Quinn) in tow. Fonda's character becomes a semi-celebrity, granted carte blanche as he calmly strolls the streets adorned in shining pistols and dark suits. The cantankerous Quinn, lugging around a shotgun, watches Fonda's back while sipping champagne and taking care of the finances.

But the town (named Warlock) is anything but a simple job. A former love of Quinn's (Dorothy Malone) is a resident, and he wants her back. Richard Widmark also resides here, and he's none too happy about the hiring of the gunfighters, sensing the community should stand up for itself. A young woman (Dolores Michaels) also catches Fonda's eye, and for the first time he begins to wonder about settling down. All of these emotional dramas play out, having tragic circumstances.

Director Edward Dmytryk, one of the more underrated filmmakers from this period, has done an excellent job in weaving these multiple storylines together. He also displays an excellent visual flair, most notably during a gunfight between Fonda and Frank Gorshin about midway through the film. I could argue that the scene is one of the great cinematic gunfights in history. Superbly choregraphed, Fonda screams the name "Billy, Billy......!" before drawing his gun and reluctantly killing the man. It is a brilliant, unforgettable moment, precursing many of the operatic gunfights from Sergio Leone's spaghetti westerns 10 years later.

Quinn also gives a memorable supporting performance as Fonda's sidekick. Tortured by his club foot handicap and angry at the world, Quinn is a live keg waiting to explode. He does the dirty work for Fonda, and exposes the hypocrisy of Fonda's dream to settle down and retire from a life of gunfighting. Quinn knows he and Fonda can never be a part of modern civilization. Essentially, they are walking death, perfectly symbolized by Fonda's dark suits - a black spot in the dusty streets, stark and apart.

As Fonda stands amid the ruins of a burned out saloon, he is alone, tall, lanky, a scythe-carrying spector. His past choices have fatefully isolated him from civilization. Like John Wayne's Ethan Edwards at the end of "The Searchers," he can never comfortably walk through the door of domestic civilization. He is destined a life of solitude, forced by fate to step aside and allow the modern world to take root. His job, for all intents and purposes, is finally done.

"Warlock" is a great, undiscovered western. It has brilliant performances, terrific dialogue and unforgettable imagery. It is an unheralded masterpiece.

Unjustly neglected Western
Warlock is a town in the West ,one that is experiencing an epidemic of lawlessness,deliberately fostered by a local rancher ,Alec McQuon (Tom Drake ).He allows his ranch hands free rein ,as a way of demonstrating his power and deterring challenges from others contemplating moving into the area.(The use of terror as a political tool helps give the movie a distinctly contemporary relevance ).One of his men Gannon (Richard Widmark )is conscience stricken and withdraws from the gang .
The town leaders -having seen the latest in a succession of Marshal's driven away -turn to a hired towm tamer ,the legendary Clay Blaisdell (Henry Fonda )to enforce the law and he is accompanied by Tom Morgan (Anthony Quinn ) a club footed saloon keeper and noted gunman in his own right .The relationship evokes comparison with that of Earp and Hollday ,and it is worth noting that Fonda had played a similar role in "My Darling Clementine" of which this movie is darker more tragic version
The townspeople have taken the step reluctantly and in a key scene ,Blaisdell -who is aware that he is in some respects an anachronism ,sets out the situation bluntly and with eloquence

"I come here as your salvation ,at a very high wage.I establish law and order,ride roughshod over offenders.At first ,you're pleased because there's a good deal less trouble.Then a strange thing happens -you begin to feel I'm too powerful and you begin to fear me.Not me but what I am.When that happens we shall have had full satisfaction from each other."
The prediction is spot on .The very success of Blaisdell insending McQuon packing the first time prompts the threat ofmassive reprisals and the town backs away from supporting him.
Gannon meanwhile has become the new deputy Marshall and seeks to impose the ruile of law in defiance of both Blaisdell -whom he likes and respects -and McQuon.
Both Blaisdell and Gannon have significant relationships with women -Blaisdell with a leading figure in the townJessie Marlowe (Dolores Michaels)and Gannon with Lily Dollar (Dorothy Malone )who hates Blaisdell who she feel nedlessly killed her fiance at the instigation of Morgan.
The various conflicts all move towards a resolution by violence-that between the McQuon gang and the law ,the conflict within Gannon whose younger brother is part of the McQuon outfit ,and most compellingly that within Morgan whose friendship with Blaisdell ,it is hinted rather than stated, may contain a semi -erotic element.
There is more than a hint of Greek tragedy about the movie -the atmosphere is brooding and tragic and the movie is more town focused than is usual within the genre ,making sparse use only of its Utah locations .It is an internal Western rather than one of the wide open spaces.
The climax will evoke memories of High Noon -the discarding of legend and with it a sense of personal identity and the riding away into an uncertain future is moving and apt.
Brillaint performance all round especially by Quinn as the tragic Morgan -a man destroyed by the power of his friendship.Fonda back in the genre after a long absence is brilliant and minor roles are well cast .Action scemes are well staged and for their day quite violent.

The neglect this fine movie has fallen into is unmerited--please give it a go even if the genre is not your normal thing.

Warlock
This is a timeless and universal tale of the power of true friendship.Anthony Quinn was not just proctecting his livelihood when he became sniper to take out the stagecoach passenger and made it look like a robbery soon after they moved to Warlock. He knew that would have presented problems for Henry Fonda.(I have not seen the movie in more than 15 years to remember the details but that still impresses me)He was willing to take care of that without bothering "Clay".
Clay fell in love and was ready to give up the 'life'and settle down in Warlock.This jolted Quinn's psyche because he truely loved Clay who was the only one that showed him respect and accepted him as a person rather than as a "cripple" . Clay loved what he was..a gunfighter for hire and Quinn was even happier as his very capable supporter. Together they ruled their own lives going wherever they wanted wherever they pleased.Life was good for them regardless. Now Clay wanted to give all that up in the name of love. Unfortunately it came out into the street when Clay told him it was over and he should leave, he did'nt need him in his life anymore.It humiliated him, but even so he was willing to let it go and let his friend be until he saw Dorothy Malone in the jeering crowd that was taunting him mercilessly. That was too much for him..the two great loves of his life turning on him like that.Like any red-blooded male in any universe, the testosterone jolt engulfed him " I'm faster than you Clay"....he turned and faced his friend as the jeers turned to cold silence.The dearest of friends were suddenlymortal enemies staring each other down."I was always faster'n you Clay"... there was no turning back, challenge made and accepted...they had to duel.
Quinn was much faster but deliberately aimed wide of Clay whose killer instincts remained true to nature as he drilled Quinn's chest with deadly accuracy.
"I won Clay..I won"....Quinn was smiling as he felt the bullet tear through his heart, taking his last breath.
Clay stood in shock, paralysed by what he had just done.When he was able to move he ran to his friend's crumpled body and took his head in his chest as a mother would her child...the tears shot from his eyes.He commanded the crowd to sing hymns in tribute to his dead friend.His life changed forever.He broke the engagement that was so dear to him and left Warlock and the woman he loved behind. ... Read more

Reviews (37)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (3)

One of my favorite old movies finally in DVD format!
This has been one of my favorite movies for over twenty five years.Scene after scene, there's something to watch for.What I've always loved about this movie is the great, wrenching dialogue.And watching a young Robert Wagner isn't too difficult either.

But now, on DVD, I feel as though I am seeing the movie for the first time (or at least the second time!)The quality of this DVD is impressive.I also own a DVD version from a few years back that came from China, with Chinese subtitles.Comparing the two on my 55" tv is like comparing a digital picture taken with a 2 megapixel camera to a digital picture taken with an 8 megapixel camera.The quality of this Twentieth Century Fox DVD is outstanding for such an old movie.The picture is very clear, the color saturation is deep and rich, the sound is great.I've noticed nuances about the picture, and the background scenery, that I never noticed before.

This edition also features both a widescreen and a full frame version of the movie, on a double sided disc.I don't think there were any special features, but I am happy to have this excellent version of my favorite old film.

I Have Been Waiting For The DVD Release
I remember seeing this film in theatrical release and have always liked it. It seems to be "loaded" with the best, from director to actors. It has been on my "hope soon" list for release on DVD, so I am very pleased to see it. Okay, so Robert Wagner is a little wooden, but it doesn't detract from the story. Another movie in this vein is "House of Strangers" with Edward G. Robinson, Susan Hayward & Richard Conte. It is also a wonderful telling of the same story, done in black & white, only the family is in banking.

Friendly witness to a changing West.
'Broken Lance' has many admirers, and there are many good things about this sober Western.The film has been called an updated 'King Lear' - an all-powerful, tyrannical father unwisely cedes control (land) to his children, all turning against him except for the youngest, who is the most ill-used - but the adaptation is loose and mercifully unliteral: there are no raging storm scenes or impertinently wise Fools, just a grandeur-exuding atmosphere of a great man and the power he created declining.Though filmed in Fox's ugly Technicolour - that muddy colour that would be called 'lurid' if it didn't yearn for the respectable - there is an intelligent compositional eye, filling the landscape with dramatic and symbolic imagery.The prologue is particularly striking - a moody young man, Robert Wagner, released from three years in prison, rejects a financial offer by brothers eager to be rid of him.The journey he takes into the past is one of progressive decay and danger - first he is forcibly brought to the governer, in whose building gleams an imposing portrait of his father.When he visits his father's land, with all its traces of former activity abandoned, he is shot at from a distnace by a man who turns out to be an Indian friend -- the surreal shot of a seemingly self-standing gateway in an empty plain points to the importance of this sequence, as a kind of mythical portal into another realm; when he finally enters his family home, it is a ghost house, a gothic ruin, its dereliction shrouded in shadow.Like the films noirs with which director Huac Dmytryk made his name, the movie begins with an end; a heavy air of fatalism hangs over the subsequent long flashback.

What probably most appeals to fans is the film's (relative) political sophistication - as a backdrop to the usual Oedipal structures is a portrait of the West as it moves from a mythical plane into the modern era.It especially highlights two problems that would blight the nation in the next century - race and advanced capitalism.Spencer Tracy is an Irishman whose second wife is the daughter of a Cherokee chief.He is too important a landowner to ignore, so the locals refer to her as Spanish; the wives of these friends are nevertheless terminally indisposed whenever he gives parties.Of his four sons, the elder three from his first marriage, his favourite is the youngest, Wagner, through whose eyes the film unravels, and on whom centres the crises of race (he is a half-breed who loves a WASP whose father disapproves) and property.The actual catastrophe of the film occurs when a copper company on Tracy's land dumps refuse in his river, poisoning his herd.A fight at their headquarters, in part sparked by a racist comment directed at Wagner, leads to a court case, to offset the risks of which, Tracy is advised to divide the land between his sons.The old pioneers who tamed the land have been superceded, leaving only division and hatred in their wake.

You have got to admire a Western that interweaves its themes intelligently and without sensation (although a ridiculous coda stand-off between two brothers nearly ruins the good work).The restrained use of music and the insistence on stillness (intimating burgeoning violence) adds a maturity to the action.The treatment of the Indians is sensitive for the time, with the relationship beween Tracy and Katy Jurado clearly signalled as a loving and positive thing.The title indicates the film'stheme, the (1950s?) failure of authority, family and masculinity.

Still, I found the film unsatisfying.This is partly due to miscasting - Wagner is too wooden to carry the film's moral weight; his role should have gone to the nervy, brilliant Richard Widmark, riveting as his resentful older brother who finally turns against his father's abuse.But it is mostly due to the stodgy direction which often confuses the sombre with the plain slow.Compared to the similarly-themed 'Gunman's Walk', 'Lance' lacks verve or true insight. ... Read more

Amazon.com

John Wayne and Anthony Quinn star in this touching 1945 drama inspired by real-life heroism in the Philippines following General MacArthur's withdrawal in 1942 and the islands' subsequent conquest by the Japanese army. Wayne plays Colonel Joe Madden, an American who stays behind to organize a ragtag guerrilla army in the forests and hills. At his side is Captain Andres Bonifacio (Quinn), grandson of a legendary revolutionary martyred in the nation's old war against Spanish colonialists. Joe, Andres, and their fearless irregulars (with support from a schoolteacher, played by Beulah Bondi) sap the enemy's resolve through hit-and-run missions, but as time passes the locals wonder, with pronounced disillusionment, why America doesn't return with masses of troops and weapons. Wayne's star power is undeniable, and Quinn is very good as a man uncertain of his role or destiny. Edward Dmytryk (Murder, My Sweet), soon to be imprisoned during Joseph McCarthy's witch hunt of Hollywood communists, directs. --Tom Keogh ... Read more

Reviews (8)

may we never forget Bataan
Some of the most horrific events of WWII occurred in the Pacific Theater, and this film touches on what happened in Bataan, where tens of thousands of U.S. and Philippine soldiers died in captivity, either on the infamous Death March, the appalling POW camps, or the hell-ships.
At the beginning and ending, this film briefly shows some of the survivors, though it is "sanitized", and the men have some flesh back on their bones.

John Wayne is terrific as Colonel Madden, who organizes the resistance fighters, and does his own stunts, some of which must have left him muddy and bruised.
Anthony Quinn is also excellent as Captain Bonifacio, the leader of the Filipino guerillas. Both Wayne and Quinn are at their most handsome and heroic, and make a fine cinematic pairing.

Though the script is sometimes stilted, it is based on actual events and people, and was written as history was happening, taken from the daily newspapers to the screen.
Edward Dmytryk's direction is well paced, and Max Steiner's "stock music" was used, along with an original score by Roy Webb.

Much in this film can be said to be "propaganda", as it is "good vs. evil", with no subtleties or gray areas, but these were the days when Hollywood and patriotism were compatible, a sentiment that filmmakers seem to have lost, and a time that seems long gone.
May we never forget the souls who bravely fought for freedom and suffered so much in Bataan.

Just a little patriotism involved
Back to Bataan is a flag-waving patriotic movie that was filmed and released as WWII was drawing to a close. The story is about the Filipino people and their fight for freedom from their Japanese oppressors. This is very obvious patriotism with the Japanese portrayed as cowardly murderers and the Americans as noble freedom fighters. John Wayne stars as Colonel Joe Madden, the man selected to help organize the Filipino guerilla movement. His small company wreaks havoc on the Japanese forces in the Phillipines as the war progresses. The young Duke is very good in his role as Madden with Anthony Quinn also excellent as Captain Andres Bonifacio. Also starring are Beulah Bondi, Lawrence Tierney, Vladimir Sokoloff, and Paul Fix. This is a very good movie that shows a part of the war many people do not know about. Check this one out to see an exciting, well-told, adventure story. Classic Duke!

Back to Bataan: The Last of the
With the end of the Second World War close at hand, Hollywood was taking no chances as it continued to churn out patriotic, flag-waving war movies, most of which featured John Wayne. In BACK TO BATAAN, director Edward Dmytryk does showcase Wayne along with Anthony Quinn as both pay homage to the inspired loyalty of the Philipino men and women who risked their lives to aid the Americans against the Japanese. BACK TO BATAAN is an old-fashioned war film, of the kind that has not been filmed since then. In addition to the heroics of the American leads, it features a sterling cast of slanty-eyed Japanese villains to boo and hiss and stalwart Filipinos to cheer. Phillip Ahn and Richard Loo (both ethnic Chinese) play moustache-twirling Japanese officers who speak fluent if not accented English as they spin out their lines of threats and entreaties backed by more threats. Vladimir Sokoloff, a veteran of scores of films, here plays an unassuming school principal who refuses to haul down the American flag when ordered to do so. He is hanged for that, but his body, cleverly draped by the Stars & Stripes, is an unabashed symbol of solidarity between American and Philipino. Ducky Louie, as the schoolboy Maximo, is equally heroic as one who could not spell 'liberty' correctly but whose death proved that he full well understood its meaning. What BACK TO BATAAN shows is Hollywood's contemporary paen to America that the patriotism that is nowadays derided as colonialistic and left-wing jingoistic was then seen as a necessary adjunct to a war that had the bad guys on one side and us on the other.

A so-so Hollywood war film...
A hearty, but hamfisted, formulaic WWII propaganda film about the liberation of the Phillipine Islands from the Japanese occupation, loosely based on contemporary history. Future McCarthy snitch Edward Dymytrk directs; a handsome young John Wayne is the white guy who organizes the guerilla resistence, and Anthony Quinn is cast in one of his many "ethnic" roles, as the grandson of a legendary Filipino political figure, who is now called upon to lead their people to freedom. Although there's plenty of "good neighbor policy" talk about the nobility and can-do spirit of the Filipino people, this jingoistic, bluntly-scripted film is mostly pretty patronizing... And of course, the "Japs" are just pure, conniving evil. The script is pretty action-packed, though... if you like shoot-em-ups, this is OK, if you don't think too much about it. Really nice B&W cinematography.

Realistic and Innovative Filmmaking
This is an excellent film about Filipino guerillas fighting the Japanese during W.W.II. A highlight of this film is the black and white photography of realistic combat scenes filmed by cinematographer Nicholas Musuraca and directed by Edward Dmytryk. These were exciting and ahead of their time. John Wayne as Colonel Joe Madden and Anthony Quinn as Captain Andres Bonifacio give inspirational performances. The cast also included Beulah Bondi, Richard Loo, Lawrence Tierney, Paul Fix and Vladimir Sokoloff. This is one of my favorite war films of the period. ... Read more

Reviews (22)

Brando takes acting honors in 'The Young Lions'
Of the three primary story threads traced in "The Young Lions" --Marlon Brando as a conflicted Nazi soldier, Dean Martin as an American showbiz type who fights to overcome his fear of entering the war, and Montgomery Clift as a Jewish-American soldier who has to overcome the racism of his Army mates -- the Brando storyline emerges as the most compelling. It's certainly the most purely dramatic storyline, and the most complete. Add to that Brando's brilliant performance, and the strong supporting performances of Maximillian Schell, Parley Baer and Mai Britt, all of whom surround the Brando character, and you have enough for a satisfying movie by itself.

Further, Hugo Friedhofer's masterful score always seems -- at least to me -- to soar to its greatest heights when we find ourselves in a boiling desert with the Afrika Korps, or in Paris with Brando's Nazi unit during the occupation.

Does this nearly three-hour film suffer from this lopsided state of affairs? Not really, and that says a lot for the sheer craftsmanship of "The Young Lions." The cinematography and direction are first rate, and while the Clift and Martin storylines aren't as fascinating as Brando's, they do hold your interest. Clift gets across the fierce determination his character possesses, and Martin makes the most of several nice bon mots the script tosses his way.

"The Young Lions" is a fine World War II film, one that definitely rewards repeated viewings.

A War Epic Told from Both Sides
Released in 1958, this black and white WW2 story traces 3 men - two American, one German - through the trials and tribulations of that war. Stars Marlon Brando, Montgomery Clift and Dean Martin.

Marlon is a young German watchmaker who always dreamed of being a doctor - but the strict caste system of europe has held him down. While he realizes the Nazis are a bit extreme, he hopes they will help to bring opportunity to all people.

Dean is a young Broadway god who loves the wine, women and song. When he's drafted, he tries to get out of it, to maintain his easy going life. He runs into Noah (Clift) at the draft board - a young, poor Jewish man who has no family and only a simple job at Macy's. The two hang out and Noah falls in love with a quiet Vermont girl.

The movie is truly an epic as it spans the entire war, from its quiet start to its brutal end. Along the way we realize that there is good and bad on all sides. Marlon's character tries to make a stand for what is right, but is told repeatedly that a good German soldier follows orders. He falls in love with a French widow. Noah is repeatedly beaten on (both emotionally and literally) for being a poor Jew by those whose side he is on. His future father in law only reluctantly accepts him, and his squadron mates steal his money and fight him. Dean refuses to marry his long time sweetheart and does his best to avoid any risks.

While some might say the story is a cliche, perhaps this is only because the story is so TRUE. It is always good to be reminded just how rough a war really is, and how there are no real "bad guys" and "good guys". There are only brave men and women who try their best and grow along the awy.

Although filmed in black and white, you do get some lovely Bavarian landscapes at the beginning, when Marlon is a ski instructor. Later, Marlon goes to Berlin a few times to meet with the wife of his commanding officer. The rest of the footage is in war-torn Paris, the surrounding countryside, the deserts of Africa, and the cities of London and New York.

different kind of war storey
although a bit long, this storey of 3 soldiers in ww 2, is a good one, dean martin bascially plays himself...., (...)actor
mongomery clift plays a sulky character, and marlon brando plays a german officer diillusioned by his country's war machine. cameo appearance at the end by" sgt shultz" of hogan'shero's fame- actor john banner. made in 1958, this would have been a real gem if filmed in color.

World War II: In the eyes of realism
This movie is complete realism and achieves a more realist look or world war 2. Very few movies made in post world war 2 times had the confidence as a film to transcend the nationalistic influences felt by the nation, but this film does. Brando is stunning in his role as a young german lieutenat who realizes the horrors and fallacies of the NAZI feelings. Clift and Martin represent typical American soliders and the tragic death of Brando (being shot down a mountain by Martin) is essential for the feel of this movie. If you enjoy WW2 films this is a must see.

Slow, boring, disappointing.
My husband and I are always interested in WWII movies. So when Mom, an ardent Brando fan, recommended this, we watched it.

It's a long time since we did - perhaps as long ago as a year - but the impression is still with me that this movie had very little to do with The War - it was more about interpersonal relationships and character development. So in the way of being a War Movie, it was not so good. I think it was a rather long movie, too, which didn't help. We just kept waiting for 'something to happen' - and it never did. ... Read more

Reviews (11)

Very good film noir from the forties.
This tightly constructed thriller marked a change of direction for crooner Dick Powell and he was surprisingly good as private eye Philip Marlowe.Thefilm was also successful in transferring much of Raymond Chandler's sardonic dialogue to the screen. Good performances from Mike Mazurki as the dim-witted giant, Moose Malloy and Otto Kruger as a nasty quack psychiatrist and Claire Trevor as the femme fatale.

HOW SWEET IT IS ON DVD!
Interesting choice of career change for Dick Powell. After establishing himself as the light hearted lothario of 1930s Busby Berkeley musicals at Warner Brothers, the crooner side stepped his squeaky clean, boy-next-door image entirely with a string of deep and powerful dramatic performances. In "Murder My Sweet" Powell carries off Raymond Chandler's hard-boiled detective, Philip Marlowe to perfection. Okay, he's no Bogart, whom film buffs will recall played Marlowe in "The Big Sleep." But Powell's performance is a close second, buffeted by his quick thinking, deeply cynical, smart-shooting dialect. In "Murder My Sweet" Marlowe is hired by an ex-con (Mike Mazurki) to hunt down his old flame. But the plot spins out of control when a murder leads to Marlowe's engagement by a manipulative woman (Claire Trevor), to recover her missing jewels. But a drug induced nightmare fraught in symbolism and expressionism turns Marlowe's world on end, devouring his soul beneath a seedy underbelly that permeates both high-society and the dangerous post war bars and flophouses of inner city Los Angeles. "Murder My Sweet" is one of the first great, though often overlooked, film noirs; an absolute must see.
Warner's transfer on "Murder My Sweet" is better than average. In fact it's remarkably clean. The gray scale is very well balanced with deep solid blacks and whites that are vibrant and sharp. There's some film grain but few age related artifacts for a visual presentation that is over all a considerable improvement over previously issued VHS tapes. The audio is mono but nicely balanced. The more intent listener will notice slight pops. Alain Silver delivers a very thorough audio commentary that will most surely enhance your appreciation for this film. A very good disc to add to your library of classic cinema.

HARD BOILED NOIR....
One of the better ventures on the darker side of film noir with Raymond Chandler's PI Philip Marlowe (Dick Powell) enmeshed in a complicated search for a jade necklace. He's hired by a thick brute named Moose Malloy (Mike Mazurki) to find former night club singer Velma Valenti. After numerous attempts to throw him off the scent, he tracks her down. She's now Mrs.Grayle (Claire Trevor), married to a much older man with a grown daughter (Anne Shirley) who despises her. The jade necklace comes into play and so does Mrs.Grayle. Marlowe enters a weird plot that eventually finds him drugged and held prisoner before he fights his way back with the help of Shirley. "Murder My Sweet" is good and salty film noir with hard bitten performances, brittle dialogue, thugs, mystery and a sexy femme fatale in Mrs. Grayle. When Marlowe first meets her, she's wearing a revealing white dress that allows her entire leg to be casually exposed when she sits down. Very sexy for the 40's. Excellent b&w photography with almost everything occuring at night drenches the film with heavy noir atmosphere. This is a classic film to be savored and the DVD print is great. A real collectors' treat.

Film Noir 101
This is the movie that hooked me on "Film Noir." I first saw this on the late show while suffereing a killer flu. Even through local TV editing and enough medicine to tranquilize a circus tent, it had me sitting at attention from start to finish. It wasn't until several years later that I got to see it uncut on cable that I got the full effect. Having grown up with Bogart's hard-boiled private eye archetype, Dick Powell was a complete revelation to me. If you double-bill this with Bogart's "Big Sleep," you see at once that Powell truly IS Phillip Marlowe (even Raymond Chandler thought so), and Bogart is much better suited to portray Hammet's colder, meaner Sam Spade. Powell gives Marlowe a vulnerable cynicism as well as a touch of the "everyman," that Bogart wouldn't be able to pull off until later in his career. Powell's background in romantic musicals gives him access to a far deeper emotional range, needed to play the complex and conflicted Marlowe; his cynicism, his humour, his loyalty to his code...it's all there. Powell manages to give extra resonance to some of Chandler's throw-away similes! No wonder he claimed this as his favorite role!

The direction by Edward Dmytryk and cinematography by Harry Wild are perfect, giving the film a tight, economical yet alluring vintage "feel". Working on a tight budget, they manage to infuse it with all the seedy, chaotic topography that would serve as the touchtones for every film of this type from "Night of the Hunter" to "Blade Runner." While this isn't the first Noir film, it may well be the best.

Seminal film noir--B&W perfection
January 1945: Murder, My Sweet is released starring former movie musical crooner Dick Powell as tough detective Philip Marlowe, Claire Trevor as femme fatale Mrs. Grayle (aka Velma Valentino) and Mike Mazurki (in his first major role) as big lug-thug goofball Moose Malloy. Based on Raymond Chandler's Farewell, My Lovely, this baby is the real deal when it comes to film noir. Yeah, there were others before this--The Maltese Falcon and especially, Double Indemnity with a phenomenal performance by Barbara Stanwyck.

But this is the one that put detective-based film noir on the map. The 1975 version (same title as the book) with Robert Mitchum, John Ireland, and some of the other classic film noir stalwarts is, in fact, a pretty good piece of work. But Murder, My Sweet is the ne plus ultra of film noir. The director, Edward Dmytryk, had a limited budget and so confined much of his shooting to low-lit interiors to save money. Not only that--he also has some ultra-cool sequences of poor Marlowe, having been force-fed a syringe or two of dope, hallucinating something awful. This shows the influence of German Expressionism to the max; the contrast of black and white has never been sharper, more vibrant, more startling in an American film. And dig those crazy images--multiple doors to go through trying to avoid a doc who walks through doors; larger than life images of two of the bad guys looming above, peering down at Marlowe with spooked up backlit faces; a giant syringe ready to plunge.

There's the good girl and the bad girl, sure. There's the supposedly innocent older husband of the femme fatale. There's the evil brains of the picture who loves blackmail, brutality, and backbiting. And of course there's the hard-bitten cops dogging Marlowe throughout his journey from cynical onlooker to active tough guy to sentimental joe. What's not to like?

So far the only DVD of this is being released in France. Hey, movie studios! Wake up! Time to get more film noir on DVD!

Yeah. A great piece of work; that's what I say. ... Read more

Amazon.com

The Carpetbaggers is the kind of trash classic most people are too embarrassed to admit they actually enjoy. But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time--especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way. The high cheese factor is aided by the good-time cast:Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut--uncharacteristically, as a good girl. The sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star. Elmer Bernstein's swaggering score helps goose the action along, but the rest is thick melodrama indeed. --Robert Horton ... Read more

Reviews (6)

Hey, Paramount! You got it wrong once again!
What a shame! This wonderfully trashy movie deserved better treatment on DVD! When Paramount released "The Carpetbaggers" on LaserDisc years ago, they used the "censored" US version instead of the more "racy" European cut. I was one who wrote them about this, but apparently no one at the office took notice or cared, so here is the US cut once again. What is missing is Ms. Baker's nude back sitting in her budoir when her stepson comes in to tell her that she is now a widow. Ms. Baker's almost nude back is also displayed in the short montage in Paris before she goes down with the chandelier; in the scene missing she poses on a divan for a group of painters. (This image was even depicted on an American lobby card! People must have wondered where it went!) Not much to cry about maybe, but fun in any case! If these scenes were not to be found in the Paramount vaults in Hollywood, they could have asked for them from any surviving European print - existing in decent condition in state archives in both Sweden and Denmark.
Sad is also the fact that the print used for DVD transfer is absurdly grainy! The LaserDisc was much better in this respect! The speckles and dirt are gone, but I'd rather keep them for a smooth film-like image quality.
Now, please let us have other Paramount trash classics on DVD from this era: "Harlow", "Sylvia" and "Where Love Has Gone", to mention just a few! But please make sure they're mastered from first class complete prints! Is this asking too much?

"The Carpetbaggers" AKA "Is he crazy folks?"
I just finished watching the "The Carpetbaggers" on AMC; I thought the 'C' part of that acronym was "Classic", but now realize that perhaps 'Cornball,' 'Contagious,' or 'Compelling' may substitute since this movie seemed to be all of this. But, hey, maybe that's just the gin talkin. It is one of those movies that you cannot wait to end, so you can find out just who these B-film actresses really were - yet you continue to watch. But when it does end, you are somewhat saddened that it is over. Partially sad because you have been drawn in by this charismatic yet utterly ruthless SOB Jason Cord (George Peppard), but mostly just sad because AMC DOESN'T GIVE YOU THE CREDITS! that's why I'm here...finding out that the actresses were Caroll baker (as Rina Marlowe, the not-so-lovable Hollywood star; and Elizabeth Ashley (as Monica Cord) - the impossibly forgiving ex/not-so-happily-ever-after-wife of the unmarriable-unlovable-unrelenting-insanely ambitious Jason. Bob Cummings gets accolades as the fiendishly charming scumbag who plays Dan Pierce - most probably a very typical Hollywood agent. Someone who would put a rattlesnake in your pocket and then ask you for a match if he could get 10% of your blood in doing so. Go ahead and watch the dern thing (4/5 stars) - You'll understand. But hey - don't forgit the gin.

Devoid of Interest
I suppose THE CARPETBAGGERS may hold the same cult-film appeal for some views as such awful movies as VALLEY OF THE DOLLS hold for me--but I've quite been able to see it. Loosely based on Harold Robbins' trashy bestseller which was itself loosely based on the life of Howard Hughes, the film gives us glimpses of such performers as George Peppard, Elizabeth Ashley, Diane Baker, and an aging Alan Ladd, but even their presence can't spark up the deadly dull script. Give it a miss.

--GFT (Amazon.com Reviewer)--

CAN'T HELP MYSELF
C'mon. Admit it. Embarrasing though it may be, you probably have one. One of those films that by almost any standard of good taste is considered to be pure trash -- but you adore it just the same. Well, "The Carpetbaggers" is my source of shame and delight. Yes, it's cheap and tawdry, unintentionally laughable at times, and held together (barely) by a script with many a line in need of a rewrite. It sports hair styles and costumes that, although undeniably lavish, are often anachronistic to the 1920's and 1930's (those decades in which the story is set). Performances range from extreme and over-the-top to downright comatose. But this early 1960's contribution to the breakdown of the American cinema's once strict moral code never loses its ability to do what Hollywood does best -- to entertain. It's a film filled with a grand potpourri of characters ranging from an arrogant and ruthless Jason Cord (a wooden George Peppard) to a lushly lascivious Rina Marlowe (a questionably sexy Carroll Baker), from a charmingly unctuous (i.e., villanous) Dan Pierce (Bob Cummings) to a bubbling and bouncy Monica Winthrop Cord (a totally engaging Elizabeth Ashley). Classic character actors and actresses (e.g., Charles Lane, Tom Tully, Audrey Totter) abound. And Elmer Bernstein's jazz score boasts a main theme that is pulsatingly decadent. Yes, "The Carpetbaggers" is all flash and fire with very little substance. But I love it. Can't help myself.

Not frequently mentioned: A complex movie!
This movie starts out with a bang in the first five minutes. Itkept me on the edge of my seat throughout the entire movie. It is a movie that I have remembered since I saw it the very first time years ago. George Peppard and Carol Baker are at thier top performance levels, and the movie keeps moving with intricate subplots going at all times. Many reviews mention the tycoon who is cruel and calculating, the insights into the movie business, complex personal relationships, but few mention the situations that created these characteristics in him, one being a incident that is never totally shown or explained, but partially shown then implied, not explained thoroughly. This particular subplot may then get missed and is psychologically of great impact if one looks for and finds it.

For music fans, the soundtrack is fabulous, I have had it on Lp for almost 15 or more years, and it is one of very few soundtracks where I am willing to just listen to the music without always seeing the movie, it is wonderful all on it's own. Just on it's own, the music is well worth buying the movie. I sincerely appreciate Amazon for still carrying what many might consider an old, and outdated movie. I don't believe times have changed that much, much of it would still apply today. For anyone that likes phychological plots and mystery this is a movie for you, even if not, the other subplots make it a very worthwhile movie to have. I would recommend it to anyone, and especially George Peppard fans. END ... Read more

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Baron von Sepper (Richard Burton, who seems to sleepwalk through thefilm), a European aristocrat of vaguely Germanic heritage, marries andmurders a succession of international lovelies (among them Raquel Welch,Virna Lisi, Nathalie Delon, and Marilù Tolo) before his seventh bride,peppy but coy showgirl Joey Heatherton, discovers his secret in a frozenbasement museum. Would you believe the Baron is just a nice guy who's a poorjudge of character? A man who loves deeply but perhaps not too wisely? Orthat he harbors a deep, troubling psychosexual secret? Director EdwardDmytryk (The Caine Mutiny), who also cowrote this Euro-puddingcoproduction, tosses in a bit of all three as he barrels through his reign ofterror. He even attempts to milk laughs from a few of the executions, butdespite its upbeat pace it drags through unnecessary exposition and dull,dead patches of life-size kewpie doll Heatherton padding around his castle.Richard Burton struggles with a hoary stage beard and a dull screenplay thatlabors under the pretense of wit to deliver a bored performance. This 1972production gets some mileage from its guest cast (most of whom offer atantalizing flash of flesh before succumbing to the Baron's homicidalimpulses), but winds up as lifeless as Burton's vacant, wearystare. --Sean Axmaker ... Read more

Reviews (8)

very good
I remember seeing this movie when I was a kid, but it was only glimpse of it, but my mom told me what the name was. This film is very interesting Iconsider this one of the old classics.

Hang on to your seats, a camp classic!
Though this wretched movie is not the nadir of Richard Burton's career (check out "The Klansman" for that dubious distinction), it comes mighty darn close. The script, the acting and the general tone of this movie is beyond repulsive, it is tawdry, inane and ultimately, quite pathetic. However, there is one overwhelmingly redeeming feature to "Bluebeard:" it is so bad it is unintentionally hilarious!

Burton sleepwalks through this silly film with a cheap, stick-on goatee. As always, he overacts to a ridiculous degree and one eternally wonders why his directors never took him aside and said, "Richard, you don't need to scream every single line." Alas, Burton is magnificently dreadful here, his attempts at lovemaking become bombastically embarrassing to watch, his few, brief attempts at some decent acting are wickedly futile. One real-life moment to ponder: following one love scene with one of the no-name Italian starlets, the director yelled, "cut!" but Burton and the starlet continued kissing and then walked off the set to Burton's waiting limousine. Hmmm, where was Liz?

This is a great movie to enjoy with a few beers and a readiness to make fun of every scene and hurl collective invective against Richard Burton. If you are up to the challenge, then "Bluebeard" is your movie.

This is a great art and erotic film
I loved Joey Heatherton's performance. I strongly agree with the cover which says "Richard Burton stars in this fantastic tale with some of the most beautiful women in cinematic history, including Raquel Welch and Joey Heatherton" (and some fantastic European actresses such as Virni Lisi, Nathalie Delon, Karin Schulbert, Agostina Belli, and Sybil Danning). "Baron Kurt Von Sepper (Burton) is an Austrian aristocrat who lives in austere obscurity in a large castle. He has married his seventh wife (Heatherton), to whom he seems ardendly attached. One day, she finds a mysterious golden key which gives access to a secret passage where she finds her husdand's previous wives. It is then that the Baron recounts to her the horrid and bizarre details of his past. It remains to Heatherton to fight for her survival and to avoid becoming just another beautiful frozen body." I strongly recommend this movie.

What a hoot! Fun blend of horror and comedy.
I was surprised to be entertained by this film since I'd heard it was bad. This dark comedy, dismissed in its initial theatrical release by critics and audiences alike, deserved better. It's a hoot! There is some beautiful cinematography, gorgeous sets, some fine acting, suspense and masterful segues between drama, horror, and comedy. The women, Bluebeard's doomed wives, are gorgeous, especially the lovely Joey Heatherton, who steals the movie from one of my all time favorite actors, Richard Burton. The murder scenes are graphic but so bizarre they both repel and make you laugh at the same time. They illustrate the absurdity at the core of Burton's sexually dysfunctional villain, a man of vast power and wealth who cannot acquire the most important thing in life, the love of any of his wives. Don't take it too seriously, just enjoy it.

Richard Burton should have been shot for this one
This film is so bad it makes the Exorcist II look like a masterpiece. The only thing that saves this horrible film are the many beautiful women it has. I cannot express how utterly repulsive this film is and how sad it was for me- a big fan of Mr. Burton to watch it. Now I understand why many critics have called Mr. Burton a sad waste of talent. Not only is this an example of wasted talent but rather an example is pure creed and stupidity. How could he follow Virginia Wolf? Becket and the spy who came from the cold with this garbage. One word money. ... Read more

Reviews (14)

Meow! The Fur Flies in "Walk On The Wild Side"
Last evening, I skipped the traditional televised holiday fare and watched Edward Dmytryk's "Walk On The Wild Side" (Columbia Pictures, 1962). Let's just say that the next time you're having friends over for melba toast and you're looking for the perfect over-the-top extravaganza to project on to the living room wall, this should be the featured attraction. Barbara Stanwyck is the lesbian owner of a New Orleans brothel known as "The Doll House." Glamorous Capucine (a 60's version of Garbo)is the most popular call girl since Holly Golightly and coveted by both her butch madame and a drifter named Dove (not kidding) played by the inscrutable Laurence Harvey. Add a youthful Jane Fonda (in her bulimic period) and a miscast Anne Baxter as a Mexican diner owner (cascading dark wig, inauthentic accent and all) and you've got one mesmerically curious flick. Oh, did I forget to mention that the entire thing kicks off with a title sequence in which two felines (one black, one white) engage in a vicious catfight punctuated by Elmer Bernstein's pulsating jazz score? Meow! They sure as hell don't make e'm like this anymore! - Mark Griffin ("Genre" Magazine)

DOVE & the "DOLL HOUSE".....
It's been said that nobody deliberately sets out to make a bad movie. Based on a novel of the same name and with character names like Dove Linkhorn and Kitty Twist, "Walk on the Wild Side" kind've makes me wonder. Set in the "early thirties", it tells of Texan Dove (Laurence Harvey) on the road to New Orleans to find his lost love, sculptress Hallie (Capucine). He hooks up with been-around runaway Kitty Twist (Jane Fonda). They meet good-hearted cafe owner Teresina (Anne Baxter---with a not very convincing Mexican accent) and Dove discovers Kitty is a thief so he ditches her. Teresina gives Dove work and helps him with a newspaper ad to locate Hallie. After a suspicious phone call (that sounds like Kitty) tips Dove off to Hallie's whereabouts, he finally finds her. She's living off brothel owner/vice queen Jo Courtney (Barbara Stanwyck) and works in Jo's "Doll House" in the French Quarter. But good ole boy that he is, he doesn't catch on. Kitty turns up as a new "doll" and things begin to unravel leading to scandal and tragedy. The performances are rather good even if Capucine seems a bit too classy and patrician to be a fallen woman. The dialogue is ripe and I loved one line a drunken street preacher shouts at Capucine, "You hip-slingin' daughter of Satan!" I can't really call this a bad movie. I enjoyed it despite the obvious plot contrivances and recommend it to those who enjoy somewhat trashy but interesting melodramas. The title sequences by Saul Bass are cool and Brook Benton sings the title song performed in the "Doll House". For some, this will be a good DVD find.

"A Walk on the Mild Side"
You will find yourself liking this movie in spite of the stiff performances. You'll may even feel compelled to watch it twice. "Chick flick" will be your husband's first remark. Yes, it is, and in marvelous black and white. What was wild in the early 1960's is considered mild in this century. But I still wouldn't want to explain this plot to a pre-teen. If you like this movie, you may also like other movies about sublimated or hidden desires, such as, "Reflections in a Golden Eye", or "Separate Tables" or "Night of the Generals".

Guilty pleasure!
"A Walk on the Wild Side" is a well made, intriguing soap opera set in sultry, steamy New Orleans. When the audience sees the opening credit sequence in which a sensuous black cat is photographed in closeup as it prowls along sidewalks and alleys of the Big Easy, viewers are hooked. This startling and ingenious introduction as well as the juicy end credit sequence were conceived by the brilliantly inventive graphic artist Saul Bass.

The rather sordid plot revolves around a good-looking Texas drifter named Dove, superbly underplayed by Laurence Harvey, who hitchhikes his way to New Orleans in search of his long lost love, Hallie. Hallie is portrayed by the elegant and ravishing Capucine. (Capucine bears an uncanny resemblance to both Sophia Loren and Audrey Hepburn. No wonder everyone was crazy about her!) Enroute to the Big Easy, Dove encounters a runaway juvenile delinquent, Kitty, performed with sass and vigor by Jane Fonda. She tags along with Dove until he leaves her behind after he discovers that she is a thief and a liar.

Following an anonymous tip, Dove locates Hallie who is living and working in a high-class brothel. At first he does not realize that she has followed a primrose path. When he does find out, he is understandably shocked. Eventually he forgives her and proposes marriage. Complications and tragedy follow.

The cast of " A Walk on the Wild Side" are uniformly excellent. Barbara Stanwyck is especially memorable. She gives a fearless, ferocious performance as the calculating, possessive lesbian madam, Jo, who is hopelessly infatuated with Hallie. Other palatable ingredients in this movie: the solid direction by Edward Dmytryk; the crisp, evocative black and white photography of Joe MacDonald; and the bold, brash jazz score composed by the great Elmer Bernstein.

No it's not Shakespeare, but "A Walk on the Wild Side" is a very watchable, well-crafted, guilty pleasure.

'shudder'
What an unpleasant film this is. Barbara Stanwyck was incapable of giving a bad performance, but participating in this undertaking must have been hard on her. Ann Baxter as a Mexican hash-slinger? That endlessly moaning New Orleans blues music? Moody Capucine as a call girl pursued by her madam? Not uplifting stuff. In fact,I have to believe that the only reason Miss Stanwyck appeared in this monstrosity was because she was a workaholic. She certainly didn't need the money. Granted, if I were wired differently, I don't think I could resist her advances...she was that charismatic. But this movie leaves a bad taste in the mouth. (...) ... Read more

Amazon.com essential video

Crossfire was nominated for the 1947 Best Picture Oscar won by Gentleman's Agreement. Gentlemen may propose, if not agree, that Crossfire was better. Like its upscale rival, the film noir raises the specter of anti-Semitism in America: just after World War II, an affable Jew (Sam Levene) is beaten to death by one of several GIs out "crawling." Solving the crime takes all night, but for the audience the killer's identity is scarcely in doubt; Robert Ryan's chilling study in psychopathic bigotry scored him his lone Oscar nomination. He's nearly matched in creepiness by Paul Kelly as an odd nightbird married to sultry Gloria Grahame. Two other worthy Roberts--Young and Mitchum--respectively play the police detective and the Army sergeant wondering which of his guys is a murderer. Incidentally, the hot button in the Richard Brooks novel was not anti-Semitism but homophobia--a sweaty subtext in Edward Dmytryk's film. --Richard T. Jameson ... Read more

Reviews (9)

Original noir film !
Absorbing script around an ex-soldier who leads the police city to a challenging murderous chase . Once more the ghosts of the recent WW2 explode in this very original noir film in which the Anti-Semitic issues is dealt with superb intelligence .
Mitchum , Ryan and Baxter are magnificent.

"You ought to be kept in a cage."
WWII has ended, and a group of GIs are loose in Washington D.C. One evening, the GIs visit a bar, and there they meet civilian, Joseph Samuels and his girlfriend. One of the soldiers, a young married man named Mitchell is despondent over his relationship with his wife. Samuels and his girlfriend take Mitchell out for a meal, but the evening ends in murder with Mitchell as a suspect.

Police Captain Finlay (Robert Young) is investigating the case. He wants to question prime suspect Mitchell, but no one knows where he is. So Finlay questions the men who were with Samuels that night. This includes the very domineering Montgomery (Robert Ryan). Sgt Keeley (Robert Mitchum) maintains that Mitchell couldn't hurt a fly, but the evidence seems to point to Mitchell's guilt.

"Crossfire" is an excellent entry in the film noir genre. It examines the dilemma of the returning GIs who sometimes resented that the world had carried on without them, and hardly welcomed them home. This is most evident in Montgomery's attitude towards Samuels. He's certain that Samuels is one of those men who've maintained a cushy lifestyle while others are off fighting. "Crossfire" examines anti-Semitism is a very clever way, but the film was based on a book about the murder of a gay man--not a Jewish man. No doubt the murder of a Jewish man was more appropriate for the time. Robert Mitchum fans should delight in his role as Kelley. In his desire to protect his men, Keeley squares off against Captain Finlay, but there's a mutual respect between the two men. Mitchum plays Keeley with his usual cool, laconic style, and Robert Young plays Finlay with a calm, patient demeanour. Montgomery (Robert Ryan) is a very well developed character, and Ryan really steals the film. Montogomery is crafty, bombastic, and unpleasant, and his speech is full of sly inferences. Montgomery may fool many people, but he certainly doesn't fool Keeley.

Gloria Grahame's supporting role of Ginny, the dance hall girl is well worth catching. She's jaded, prickly, and resentful. She's another character hardened by the war, and she's in complete contrast to Mitchell's clean, healthy and pure wife. Film noir fans will enjoy "Crossfire." It's an entertaining, tight drama--displacedhuman

Rising above the level of a B Movie
I had been looking forward to seeing "Crossfire" for a number of years; it never seemed to be available on any of the channels I had access to.I finally got my wish and I was duly impressed.This is a very good movie that tells the story of what hate can do if left unchallenged.It is, thus, a message that is timeless in its' relevance.However, as I understand it, the screenplay altered the book ("The Brick Foxhole" by Richard Brooks) because the subject matter was ahead of its' time.In the book, the murderous anger is directed against homosexuals which would, to me, make for a more effective movie than the one that was presented.That comment aside, the elements of fear, prejudice, anger and superstition are all woven well together along with some very good acting.Robert Ryan is the dominant character both on the screen and in the plot.Playing almost an opposite personality is the low-key, almost bored, yet quite efficient policeman played by Robert Young.In between those two extremes is the role played by Robert Mitchum.This was from the era when Mitchum seemed at his peak in acting abilities and his role in "Crossfire" underscores his strength on the screen.The other roles are played with varying abilities.The transformation of the Ryan character from bully to desperate was very well done.There is a very small but interesting twist to the plot that caught me off-guard and helped me understand how the perpetrator was to be brought to justice.This is one of those film noir movies that shows the darker side of humanity.Its' message works very well thanks to good acting, directing, writing, and camera work.

Post war anti - Semitism
Edward Dmytryk's "Crossfire" was a powerful and seminal treatise dealing with anti-Semitism in post- WWII America.He broached an issue previously tabooed in films which was on the minds of many in the U.S. in the aftermath of the Holocaust.

Washington D.C. is teaming with servicemen who fought in the war but are presently idle with spare time on their hands.Inactivity leads to tragedy as a group of three inebriated soldiers are involved in the savage beating death of a man who turns out to be Jewish. The leader of the group is Robert Ryan, in an Oscar nominated performance, playing Montgomery a bigoted loathing, hateful man unable to control his emotions. He bullies his other two cohorts into silence.George Cooper, one of the two other soldiers, is a naive timid man who longs for his wife.He had been so tipsy that he doesn't have any recollection of the crime, so Ryan tries to implicate him.He quiets the third soldier by killing him and making it look like suicide.

Robert Young playing the coy and placid police captain Finlay, who had been exposed to Irish bigotry, is assigned to investigate the case.With the help of U.S. Army sergeant Robert Mitchum they uncover enough evidence to suspect Ryan, but have no motive.Young decoys Ryan and tricks him into revealing his deep seated violent feelings of anti-Semitism which soon incriminate him.

Another towering performance by the vastly underrated Ryan
Landing one of the lead roles in RKO's low-budget gem, Crossfire placed Robert Ryan at the forefront of the studio's exciting new stars. Although the actor's intensity had been tapped in two earlier films, Marine Raiders and The Woman on the Beach, Crossfire was pivotal in terms of future roles that would come his way.
Several brillant, controversial minds came together on Crossfire, in the persons of producer Adrian Scott, director Edward Dmytryk, screenwriter John Paxton, and executive producer Dore Schary. As a penetrating example of the film noir genre, the thematic elements of alienation, isolation and loneliness received a grand treatment in Crossfire, as all of its characters are depicted in a state of flux, in limbo. Soldiers and civilians alike are portrayed as tired, bored, frustrated souls, trying to pick up the pieces of their lives, victims of the emotional turmoil of World War II. All are searching, waiting for something to happen, and as depicted by the professionals from RKO, the performances are superb. The choice of the three leads in Crossfire was a stroke of genius, validating Schary's sagacity in casting and in public relations. In accepting the unsympathetic role of the sadistic bigot, Montgomery, Ryan took a big risk in career terms, since a failure of the movie might have short-circuited his advancement.
He always viewed his role in Crossfire as a mixed blessing, and believed it contributed to his being typecast as a perennial heavy. Although today Ryan is often remembered for that part alone, in a larger sense it served him well, since from his Best Supporting Actor nomination in 1947, he became a major contender for stardom. Moreover, it was a statement, albeit inadvertent, of his and everyone else's conflicts and ambivalences as human beings. His friend Henry Fonda once said that acting was therapy for him, a way of expressing the positve and negative aspecturs of humanity, but with a constructive purpose Ryan seemed to have shared those sentiments. ... Read more

Reviews (16)

Robert Mitchum Goes To War Without A Rifle
This war picture stands out from the rest with its unusual characters and odd dialogue. Robert Mitchum has a role almost unkown to World War II films, that of a pacifist war correspondent who views war as a futile excercise in which egotistical Generals lead soldiers to slaughter like a butcher stuffing animals into a meat grinder. Mitchum enjoys deflating Generals by reminding them of how foolish mistakes cost lives and the botched operation at Anzio in Italy becomes one of the biggest blunders of all. One of the best scenes has Mitchum chewing out a Commander via a broken radio. Mitchum sums up his frustration perfectly when he is informed no one can hear him. Peter Falk provides some of the strangest moments such as trying to teach a group of prostitutes to sing, 'Bye Bye Blackbird' and when he gives one an excessive tip he tells her to buy something substantial, "like a lawn mower". More of a curiousity than a great accomplishment this film falls just short of an additional star in the rating. Bottom line, Good entertainment you can watch more than once.

Historically Inaccurate but Entertaining
The Allied landing at Anzio was not unopposed. Allied forces were bogged down in trench fighting for almost three weeks before they could move inland against the Germans. In this film facts get turned around but the basic story is intriguing. A rather stoic Robert Mitchum plays a pacifist battle-hardened war correspondent who must come to grips with his own convictions. Under Edward Dmytryk's direction Mitchum's character seems to have more military smarts than the professionals do, thus making his character a bit of a conundrum. That's what makes this film so interesting. Peter Falk, Earl Holliman and Reni Santoni are good as the stereotypical GIs that Mitchum goes out on patrol and has to fight his way back with. Riz Ortolani created a good suspenseful score and there are some really good action sequences. The good cast, which is a great asset, includes Robert Ryan, Arthur Kennedy, Patrick Magee and Mark Damon.

Anzio - Two Stars
You're in trouble when you begin loathing a movie during the opening credits. A jeep drops off the a dusty uniformed Robert Mitchum and the camera follows him up a flight of stairs and past a couple of security check points, through some large palace rooms. There are gigantic paintings on the wall, the wealth of ancient Italy. We follow him into the first scene of the movie, the opening oh-oh.
A sizable crowd of American GIs, with a few stray prostitutes here and there, are in a huge hall of the palace. One soldier hangs from a monster chandelier, while the other soldiers taunt, hoot and throw oranges and such at him. Apparently he's trying to break a "How long can you stay on the chandelier" record. A herd of "elite Canadian Rangers" enter, shepherded by Corporal Peter Falk, and naturally the veggie throwing thugs attack them. Well, boys will be boys, and I suppose trashing an ancient palace can and should be written off to youthful exuberance.
Meanwhile, disillusioned journalist Robert Mitchum, kind of the anti-Ernie Pyle in this one, drags a long necked bottle of wine and the cynical sergeant Earl Holliman and makes for the balcony for a moment of intense character exposition. It looks like they're in a room with a blue mountain scene painted on the tapestry. I swear I saw Mitchum's shadow on the mountain behind him. Then battered Corporal Peter Falk enters the balcony, and you see by a reverse shot that they're supposed to be outdoors. Maybe it worked better on the big screen.
The movie is about American's invasion of Anzio as seen through the eyes of a pacifist journalist. The landing is unopposed, and Mitchum requisitions a jeep and, along with Falk, discover that the road to Rome, the ultimate destination, is open. Rome can be in Allied hands in a few days, if they move fast enough.
Allied high command decides to dig in instead, which allows the German's the time to create a Caesar Line to oppose advance. Some time later Holliman's battalion, with the un-armed Mitchum along for the story, advances cautiously towards Rome, led by ranger Falk.
It's too late, of course, (damn timid high command), and most of the battalion is killed or captured. A handful of them make it and they escape their valley of death by the clever clearing of a mine field.
Frankly, the script is a mess. There are references made to Salerno, where the invasion was hampered by precipitate action - the fools rushed in when they should have dug in. At Anzio the fools SHOULD have rushed in, but they dug in instead. The fog of war being what it is, my sympathy is with the high command in this movie, but I guess that's beside the point. ANZIO was made we questioned authority as a matter of course, especially military authority.
The best war movies rush forward. ANZIO meanders and makes some odd stops on its way to the battlefield. Take, for instance, the strange scene of Peter Falk teaching the prostitutes to sing "Bye, Bye, Blackbird." It takes way too long, it has nothing to do with the story proper, and it ambiguously establishes his character. It looks like an ad-lib job and should never have been shot in the first place.
A couple of the action scenes that take place behind the enemy line work pretty well, especially when the survivors come across the white dog and later when they encounter a snipers' nest.
I'm a big fan of Robert Mitchum, and I think he's effective as the weary iconoclast. Holliman and the other soldiers are okay in roles that don't demand a whole lot from them. Falk's improvisational style is way out of place here. The movie grinds to a halt every the camera centers on him.
The ending, the liberation of Rome, is tacked on at the end. The real end of the movie is the moment Mitchum discovers the answer to his question, "Why do we fight and kill each other?" The answer is pretty thin and unsatisfying, perfectly in keeping with the rest of the movie.

A decent movie..
Anzio is a decent war movie, filled with exciting battles and a platoon's cat-n-mouse struggle to avoid the enemy long enough to find their way back to their own lines. Robert Mitchum plays a news correspondent who's assigned to cover the invasion of Anzio by a company of U.S. Rangers. When their company is ambushed by the Germans, him and a small handfull of soldiers (Peter Falk and Earl Holliman co-star) escape the trap, but then face having to find their way back to safety through miles of enemy territory. A fairly standard World War II movie based on the actual Anzio battle itself, but more or less using it as a back drop for the fictionalized battle hilighted in the film. There's a totally silly scene with Robert Falk and three local lovelies in the back of an ambulance that should have hit the editing room floor. And Mitchum himself hams it up a bit while denouncing the war in a flag waving manner. But overall Anzio is a fun movie, especially for war movie lovers. Popcorn anyone?

Bad Movie, Bad History
This is probably the worst movie Robert Mitchum ever made. Aside from the usual Hollywood anti-war cliches, it offers a silly plot, a script full of loose ends and improbable doings, and a ridiculously distorted picture (or lack of picture) of the Anzio landings. If Mitchum wasn't ashamed of this movie, he should have been. ... Read more