Reviews (20)

A good movie about WWII, and a great performance by the Duke
John Wayne stars as Sargeant John M. Stryker in this very well-done movie about what is perhaps the most famous battle of the Pacific campaign--Iwo Jima. The special effects are good for the time (1950), and the scenery adds greatly to the overall effect of the film. Wayne does an excellent job as Stryker, the tough-as-nails marine who is hard on his men but soft at heart.

The most compelling thing about this film is Wayne's character. He is no great war-hero--in fact, he does very little on the battlefield of any great consequence. Instead, he does his duty, unglamorous though it may be. He is human, and this is what sets him apart from many war-movie heroes today. The movie lacks any intense combat or epic battles, but its strength lies in the character of Stryker and in his relationship with his men.

The reason I don't give this five stars is because it's scope pales in comparison with many other war movies. Part of this is due to technology, but much is also due to more action-intense films which (I think) help us understand better the battles and conflicts which the movies portray. Such movies as Gettysburg, We Were Soldiers, and even old films like All Quiet on the Western Front do a much better job than this film of showing the various positions of the battle, and of the obstacles the soldiers faced. The marines in this film have a relatively easy time getting to the top of Iwo Jima, but I would have liked to have had a little more information about the battle. Were it not for this, I would give the movie five stars without hesitation.

An Epic John Wayne War Film
Iwo Jima was one of the most bloody battles of the Pacific war. Thousands of Japanese and American soldiers lost their lives fighting over this island which was barely five miles long and two miles wide. Republic Pictures produced this timeless movie about that battle. John Wayne gives a stirring performance as Sergeant John Stryker, a tough-as-nails yet compassionate marine who is trying to mold his squad of raw recruits into a fighting machine. John Agar stars as PFC Peter Conway, a college-educated marine who truly dislikes Stryker and his tactics. However, over the course of the film, Conway develops a genuine respect and friendship for Stryker. Forrest Tucker does a marvelous job as PFC Al Thomas, one of the few combat veterans in the squad.

The movie begins with the marines training in Hawaii. After completing their training, the squad is sent as part of the invasion force of the island of Tarawa. I found some mistakes made by the producers dealing with this part of the movie. In the film, the landing craft are seen driving directly up to the beach and discharging their men. This is inaccurate. In reality, the marines who actually invaded Tarawa were forced to deploy from their landing craft as far as one half mile from the beach due to a low tide which didn't allow the amphibious craft to get close to the beach.

After the Tarawa invasion, the squad goes back for more training and replacements. Finally, it was on to Iwo Jima. The actual battle scenes on Iwo Jima only last about 15 to 20 minutes, but the fighting was very realistic, especially the flag raising on Mt. Surabachi. The three surviving flag raisers, Rene Gagnon, Ira Hayes, and John Bradley, actually took part in the flag raising in the movie.

I enjoyed this movie very much. The colorized version was especially good, although some of the colors looked strange. John Wayne, John Agar, Forrest Tucker, and the entire cast helped bring the war in the Pacific and especially Iwo Jima to life. This rates as one of John Wayne's best performances. For more information about Iwo Jima, I recommend the books "Iwo Jima" by Bill Ross and "Flags of our Fathers" by James Bradley.

Poor DVD Quality
I bought two copies of this DVD before I decided that the transfer of this movie to DVD was defective. It has the same problem as "The Quiet Man". The scenes constantly drifts in and out into darkness, and constantly stalls trying to keep up with the audio. Whoever approved these products for market should be fired from their job, for they do an injustice to the customers. The rating system only allows one star as the lowest score. That is too generous for a DVD this poorly made. Otherwise, the movie itself is a classic. Too bad I cannot enjoy it on DVD.

Live action G.I. Joe
Macho macho man, when I grow up, I want to be a macho man. When I was a little boy, I collected the G.I. Joe action figures and watched the cartoon religiously. The simplistic plots and simpleminded flag waving along w/ the cool characters and frequent explosions was just what the dr. ordered for a ten year old. Then I got older and stopped watching the show and gave all my action figures away. Now, 20 years later, I'm intelligent and educated enough to see through the simpleminded jingoism and see Wayne's character as an empty-headed insecure tough-guy blowhard very much like my childhood cartoon heroes. I come from a military family. Members of my family were or are in the Army, Marines and Navy. Cartoonish and hollow representations of these men and women who serve and safeguard our country so ably and with such sacrifice is laughable at best and extremely disrespectful at worse.

Semper Fi
Although my first thought would not classify this as a recruiting film, the movie does just that. Within the story we see a few people who are trying to earn respect from loved ones, the fellow soldiers, or themselves. This fits most of the themes for WWII movies starring John Wayne. If the formula works, don't mess with it.

A hard-core Marine, played by John Wayne, has seen a lot of action, but he has also lost quite a bit of rank due to a problem with getting a bit too drunk on his off duty time. This drinking comes from his trying to deaden the pain from the estrangement from his young son.

One of his squad is having trouble dealing with his world also. His father was a famous commander who wanted to see his son be a brave soldier. His trouble with his family leads to friction between him and Wayne.

One soldier gets his buddies killed or injured due to his taking a break from the battle. From this, he must try to regain his respect for himself.

All these men fight their inner battles as they fight the outer ones. This movie is a tribute to duty and honor. I would recommend watching this movie. ... Read more

Amazon.com

Flying Tigers
John Wayne plays the tough commander of Flying Tigers, the famous fighter squadron that fought to save China from the Japanese. Wayne finds he is fighting a war on two fronts: he's taking on the enemy with only a handful of inexperienced men and patched-up planes while keeping a cocky new pilot from stealing his girl. The story has little in common with real history, and lots of classic post-Pearl Harbor propaganda fills the script. Regardless, the movie is all Wayne's, and Wayne fans will enjoy seeing the prototype for what would become the Duke's trademark portrayal of the military fighting man. Although the pressure of making life-and-death decisions in wartime may be more maturely explored in Twelve O'Clock High, Flying Tigers still has enough characterization and action to keep the viewer's attention (not to mention special effects by the pioneering Howard Lydecker). --Mark Savary

Sands of Iwo Jima
John Wayne's old studio home, Republic, made this 1949 drama about the heroic capture of an important island in the Pacific by marines in World War II. Director Allan Dwan (Brewster's Millions), a pioneering filmmaker from the silent days of cinema who easily crossed over into sound, handles the action sequences like a consummate pro, while Wayne works hard as the tough sergeant molding new recruits into fighters. John Agar plays a contentious surrogate son to Wayne, though the relationship is hardly the stuff of Red River. --Tom Keogh ... Read more

Amazon.com essential video

Robin Hood was a dream project for dashing Douglas Fairbanks and he brought the full resources of his studio to the film, building the largest standing set ever for Prince John's magnificent castle and filling open plains with thousands of extras. The sense of scale still awes audiences, yet none of it detracts from the vigorous presence of Fairbanks, a hearty hero with grace, gymnastic prowess, and a sense of humor as big as Sherwood Forest. It takes some time for this first incarnation of the great bandit hero to get started--the first hour is a little slow as it establishes the conflict between Prince John and the Earl of Huntington (Fairbanks) in moody scenes inside the dark, torch-lit castle. But when the disenfranchised Earl transforms into forest warrior Robin Hood with a gazelle-like entrance, the film becomes a sweeping adventure classic full of swordfights, jousts, larger-than-life stunts, and Fairbanks's brand of jaunty heroism. Allan Dwan balances the enormous sense of scale with scenes of intimacy and quiet, all realized in a rich black-and-white palette of contrastsboth bold and delicate. Wallace Beery costars as Richard the Lionhearted with Fairbanks favorite Sam De Grasse as the villainous Prince John and Alan Hale as Robin's faithful squire turned comrade in arms Little John, a role he also played in the famous Errol Flynn remake of 1938. Fairbanks fans each have their favorites, but all agree than none is as magnificent as RobinHood. --Sean Axmaker ... Read more

Reviews (8)

OUTSTANDING, SILENT VERSION
Before Costner, before Flynn, there was Douglas Fairbanks Sr., playing the classic Robin Hood role. Even over 80 years later this film stands the test of time.

Had it been made only a few decades later, with sound and in colour, it could have been one of the greatest Robin Hood films. Unfortunately, black and white films, and silents more than anything else, do not find great favour among the modern public. But regardless of these dated elements, "Robin Hood" does not look bad at all.

The story starts a bit earlier than the usual Robin Hood film. It begins on the eve of King Richard the Lionheart's (Wallace Beery) departure for the Crusades. To celebrate the occasion, Richard holds a tournament, and in the final round, the King's champion, the Earl of Huntingdon (Douglas Fairbanks, later Robin Hood) wins over Prince John's champion, Sir Guy of Gisbourne. Before his departure, the Earl falls in love with the Lady Marian Fitzwalter, but Gisbourne is jealous. Prince John makes a deal with the latter, saying that if Gisbourne goes to the Crusades and kills both the King and Huntingdon, John will arrange that the Lady Marian be forced to marry Sir Guy.

Immediately after King Richard's departure for the Crusades, Prince John assumes authority and becomes cruel towards the population of England. Marian succeeds in sending a message to the Earl while he is in France, asking him to return. The message-carrier is Little John (Alan Hale, who would play this part again in the 1938 version starring Errol Flynn). The Earl demands to return to England at once, but when Richard refuses, he tries to desert. He is arrested, put a local jail, and after the other troops have moved on, he escapes and returns to England with Little John. Noticing the cruelty of Prince John, the Earl decides to become an outlaw under the name of Robin Hood. Thus, the legend begins...

Douglas Fairbanks is magnificent as Robin Hood, a role that every swashbuckler has to play once in his career. Although Robin Hood himself (instead of the Earl) appears only after the first hour of the film, his leaping around, swordplay and natural charisma make of Fairbanks's performance as Robin Hood one of the best in the history of cinema.

The sets and costumes are probably the most magnificent ever used in a Robin Hood film. The castle of King Richard (and consequently of Prince John) is indeed breathtaking, even by the standards of today. The height of the castle walls, with no apparent end to them, is very impressive. The Knights' armor and shields are very realistically portrayed as well, and the film still comes across with a strong feeling of historical accuracy. And for once, King Richard is not portrayed as an aging man with a grey beard when he was in fact 32 years old at the start of the Third Crusade.

The photography, considering the year it was made, is amazing. The scenes in the castle mentioned above are great, and so are other individual scenes, such as the Earl, returning to England, swearing, with his sword raised in the air, to act for God, Richard, and Marian (who at that point in the film is presumed dead). The photography combined with editing creates some very successful moments, such as the joust between the Earl and Sir Guy, and the taking of Nottingham by Robin Hood. In spite of the well-known nature of the Robin Hood legend (at least that part), there are some suspenseful moments, such as the final fight, because of the excellent direction by Allan Dwan, editing, photography, and the script (also written by Fairbanks under a pseudonym). The final result is a Robin Hood story of epic proportions, but with a heartwarming romance at its core.

A few down notes: First, the tinted frames. Before the arrival of colour, frames were tinted to convey a particular atmosphere (blue, for instance, was inevitably used for the night scenes). In "Robin Hood", most, if not all, of the film is tinted one colour or another. The scenes in Sherwood Forest are of course green. But the colours are too intense, and rather than convey a particular atmosphere, the tinted frames are just annoying for the eye. Fairbanks must nevertheless be thanked for his later support of colour at a time when studios were unwilling to take a risk on the matter. His "Black Pirate" (1926), filmed in two-strip Technicolor, was groundbreaking, but in 1922 colour was still at a very primitive and experimental stage.

Second, the musical score. In silent films as in today's movies, music is important to set the mood of the picture. The version I watched had the original score by Victor Schertzinger, but it is not as good as it should have been. There are a few good moments in the musical score, but these are generally a ripoff from a then well-known but now obscure Reginald De Koven - Harry B. Smith operetta, "Robin Hood", which premiered in 1890. The rest is rather bland, with very few memorable passages. The quality of the recording itself leaves to be desired, since it often sounds like a MIDI file.

Douglas Fairbanks's "Robin Hood" may be dated in several respects, and the first part may be slow, but it still maintains tremendous appeal. The narrative, the sets, and of course Fairbanks's masterly performance in the title role still give this film a lot of entertainment value. It is a prime example of Hollywood's output during its first "Golden Age", and it remains a must see for Robin Hood fans.

Highly recommended!

A Blockbuster of its day...
Ah, a budget of $1 million. It sounds so small today when there are films with budgets topping $200 million. But back in 1922, this was the most expensive movie made. And it's clear where the money has gone. Lush sets, huge castles created just for this movie (with special tapestries, hand and foot holds, etc. to allow Fairbanks to show off his stuntman's prowess.) And then the extras. In one of the earliest ballads, Robin Hood had a band of 140 men. Here, there are far, far more. And no digitally extras either. Just low-paid (or more likely, no-paid) folks prancing around.

Yes, prancing. Sigh.

The Merry Men skip and jump, with little edge that outlaws would have. Not so with Fairbanks successor Errol Flynn, as charismatic and righteous as that Robin Hood was, there was a real sense of anger at the problems being inflicted on the poor. This earlier (although not the first) Robin Hood movie is much lighter fare.

The story is only threadbare. And only a few scenes from the ballads appear. Instead, half the film is taken up with jousting matches and other things which seem out of place in a Robin Hood film. Like modern-day blockbusters, it's big on spectacle and low on plot and character.

It's a classic, but it doesn't grab me the way Flynn's Robin Hood does. It lacks the heart and soul.

Now, onto the DVD quality. The image is surprisingly good for an 80-year old film. And they've gone with the colour-tinting process. Forest scenes, for example, are tinted green. That adds a warmth to the film lacking in its characters.

Unfortunately, the sound isn't as good. The score is electronic and very noticeably so. And it sounds more like an electronic kazoo than a real piano or organ as it should be. That is very distracting. Which is unfortunate, because the score itself is adapted from the 1890s Robin Hood stage musical composed by Reginald de Koven (this production introduced the wedding song "O Promise Me"). It would have been nice to hear a less synthetic version of de Koven's score.

So, riddle me this -- why is this film on DVD and not the 1938 Adventures of Robin Hood starring Errol Flynn? (And while its nice to see Fairbanks turn as Robin Hood and Zorro on DVD, I'd really like to own the Flynn and Tyrone Powers versions of those films.)

50% Ivanhoe, 50% Robin Hood
This is arguably the lushest version of Robin Hood (although the Flynn classic is in the running) with enormous sets(some of the biggest ever made), lavish costumes and big stars. However, the name is a bit misleading. The movie is 2 hours long and Robin Hood doesn't show up until exactly half way into it. Before that, he is the Earl of Huntingdon who wears armor and prefers lance to longbow. In fact, the entire first half takes after the Scott novel Ivanhoe much more than the Robin Hood legend. If you know this before going in, you will enjoy the movie more. I kept waiting for Fairbanks to start the Robin Hood stunts.

Enid Bennett is a pretty leading lady and wears her gowns with flair. Wallace Beery is a boisterous King Richard. (both also appeared in the silent epic the Sea Hawk, perhaps the best silent costume drama ever made and sadly unavailable for purchase)Sam de Grasse is an understated but insidious Prince John. Alan Hale plays Little John, a role he reprised for the 1938 Flynn version of Robin Hood.

The plot involves Fairbanks being framed for desertation on the way to the Crusades, returning to England and becoming the bandit we all know and love. Once Fairbanks gets into his feathered cap and gets a bow the movie picks up considerably. He leaps, dances, prances and generally becomes a proper Robin. But before this is an hour of courtly love and stately processions.

This is a good vehicle for Fairbanks but I think it could have been one of his best if it had more of the title character. But then, I suppose if I had one of the most opulent sets ever made at my disposal, I might show it off a bit too.

How to crumble a classic....
"Douglas Fairbanks' Robin Hood" is one of the greatest adventure films the cinema has ever produced.
It no longer exists in a pristine version, so I'm afraid this is the best way to watch it, and although any company that produces DVDs of silent films should be applauded this disc should be approached with some caution.
The reason is the score. I hate synth scores on silent films. Firstly it is totally out of place to stick an electronic soundtrack on an old film - but here it really is unacceptable. The recording of the score is so irritating and twee it cheapens the film. Robin Hood screams out for a full orchestral score, not a tinny electronic beat that sounds like a cheap Casio keyboard.
Fair enough, points can be made for cost etc. but the simple fact remains - would you pay good money to see Gone With the Wind or Titanic with a cheesy synth score? Although the film itself would remain the same, so much of the power and passion would be destroyed when the score is replaced. Would Jaws or even Psycho have anything near the same effect if you stuck the Backstreet Boys over the shower scene?
The same goes for silent films, perhaps more so. To watch the Brownlow and Gill restoration of Fairbanks' Thief of Bagdad is to watch a beautiful classic of the silent screen with a perfect score conducted by Carl Davis. To watch the same film with a syth or organ score is to see half the film. It looks exactly the same - but loses so much sweep and power.
Get the DVD, switch the sound off and stick on a suitable CD. The film is improved hugely. (By the way, using public domain classical recordings is the easiest and cheapest way to get a decent score - if any DVD producers are reading this...)

Great movie but so far away from the true Robin Hood
In response to someone elses comment about the role of Marian, I just needed to point out that in the original ballad of Robin Hood and Maid Marian - they are lovers and she cross-dresses as a boy. Not recognizing one another, they sword fight for hours until she finally bests him (so much for your theories on medieval women). Once they recognize one another, they reinitiate their affair. Also, in the may games - Marian is basically a "free" woman. She is characterized as a wagger of ballocks/and a tearer of sheses [sheets]. As you can see, these later interpretations are extremely patriarchal and reflect a Victorian view - not a medieval one. ... Read more

Reviews (2)

'Classic Western Tale By Bret Harte!'
'Tennessee's Partner' is a terrific saga based on the novel by the famous Western author Bret Harte.
Beautifully produced by RKO studios in 1955, and filmed in gorgeous Technicolor, this film stars the underated actor
John Payne, as the shrewd, but honest card expert Tennessee. He has no friends in the entire town except for his dance hall girlfriend played by Rhonda Fleming, whose flaming red hair is spectacular in color! Tennessee walks into an ambush and is nearly murdered by a loser player,when his life is saved by a cowpoke who wanders into town. He even calls himself Cowpoke and he is a complete straight-shooting arrow, played wonderfully by
Ronald Reagan! Reagan becomes Tennesee's pal and partner, and Tennessee returns the favor by preventing Cowpoke from marrying an obvious goldigger!
In the end, another bushwacker attempts to shoot Tennessee in the back, but loyal Cowpoke deliberately stands in the line of fire taking the bullet. Tennessee nearly kills the villain, who is well-played by Anthony Caruso, but hands him over to the law. However, Cowpoke dies and a stunned John Payne stands over his friend's body and says aloud 'I never even knew his name!' Tennessee buries his only friend, marries his girl and makes a fresh start out in San Francisco.
'Tennessee's Partner' is a classic, western morality play, directed by Allan Dwan, and the entire cast gives first-rate performances. The DVD quality is top knotch.

tennesee's partner
A good movie from RKO in the fifties. The style of the movie is represenative of that era. The stars, John Payne and Rhonda Fleming, do fine with the material. Ronald Reagan in the supporting role fits well. What is distinguishing about this film is the surprise climax. Don't look for realism or the dust and dirt of the old west, just some good entertainment. ... Read more

Reviews (4)

one of the top 5 greatest silent films
This is a magnificent film that has been overlooked for too long.It's Fairbank's shortest swashbuckler and this really helps.
The film just flies by and is not bogged down by too much pagentry or an inane love story. The brief wooing of Constance by D'Artagnan is adorable and the musketeers only "defeat" - though pure slapstick - is simply wonderful. There are other bits of comedy but this a is a very dark film. At the end, eight of the films ten leading characters have died and only one by natural causes Director Dwan has you really caring for Constance and the Musketeers and their deaths are very moving. And best if all is the conclusion - one of a handful of greatest in all film. Only the hardest soul could not shed tears yet feel the warmth as the four great friends go on to "greater adventure."

The Original Film with a Great Score
This is actually a new issue (for 2002) of The Iron Mask from Kino featuring a new print from the Museum of Modern Art and a score written by Carl Davis. Kevin Brownlow is one of the producers. There are two brief scenes where Douglas Fairbanks speaks to the audience that has been remastered for this version of the film. The print is flawless, and it was a pleasure to see such a loving restoration. Carl Davis does an excellent job with the score; it fits the mood of the film perfectly. Even if you have the older issue by Kino you will want to see this new edition, if nothing else, for the excellent music. Having seen the 1952 re-release of this film with spoken narration by Douglas Fairbanks Jr. I much prefer the film the way it was first presented. The narration, good as it may be, is more of a distraction and an accommodation to an audience used to sound pictures. Sorry to have to correct Amazon but Fairbanks was 46 when he made this film not 43. It had been eight years since he did The Three Musketeers.

With the many positive reviews already posted for this film all I can say is that it is well cast and acted and is a memorable farewell to the silent era by one of its brightest stars.

Doug's Last Great Film
The Iron Mask is Douglas Fairbanks's last great film. It is one of those rare birds, a sequel which improves on the original. The Three Musketeers is a fine film, a fun swashbuckling romp, but The Iron Mask has a better story and has a depth which the earlier film lacks. Fairbanks was coming to the end of his career when he made The Iron Mask and seems to have put everything into it. The sets and costumes look authentic, the extras are numerous and the cast are uniformly first rate. Nigel de Brulier reprises his role as the scheming Cardinal Richelieu. He is a good villain because he is not wholly malevolent. He is the enemy of D'Artagnan, but the two respect each other and behave towards each other honourably. Richelieu is cruel but it is the cruelty of the statesman who will do anything in the interest of the state. Marguerite de la Motte is, once again, the lovely Constance. Her romantic scenes with D'Artagnan show why he will go to any lengths to save her from Richelieu's plots. Fairbanks is his usual athletic self. He performs amazing stunts, all the more remarkable because he was nearly fifty when he made The Iron Mask. But Fairbanks's performance is not merely a matter of swordplay and gymnastics. His acting shows greater depth of emotion than in some of his earlier films. This story is at times poignant, but Fairbanks has the acting skills to be equal to the changes of mood. He is wonderful as the aging musketeer full of regret, saddened and chastened by life, but still willing to give his all for his King.

The print used for this Kino DVD is wonderful. It scarcely has a blemish and the black and white photography is shown in all its glory. There are two brief talking sequences in The Iron Mask one at the start and one half way through. There is thus the chance to hear Fairbanks talk. The sound crackles a bit, but is about as good as can be expected from the sound systems of 1929. The rest of the film has a fine orchestral score by Carl Davis. This sounds great and fits the action and the mood of the film very well. Davis uses Wagnerian themes as the film darkens its mood and his score really adds to the whole viewing experience. The DVD contains a good few extras. There are three sets of out-takes, which show how Fairbanks performed some of his stunts. It is extremely rare for out-takes from silent pictures to survive so we are fortunate indeed to be able to see these. Next there is a five-minute extract from the film with Douglas Fairbanks Junior providing narration. This is interesting, but shows most of all why narrating silents does not work. There is a collection of stills from the film and a good collection of informative essays. Altogether this is a very fine DVD of one of Fairbanks best films.

The Swan Song Of The Silent Film.
This has always been my favorite Douglas Fairbanks feature as well as one of my favorite silent films. It has everything. Comedy! Drama! Spectacle! Adventure! Pathos! And in this new restoration grand sweeping music from the John Williams of the silent film score, Carl Davis. For years this film was available in an abridged 1952 version with no intertitles and voiceover narration by Douglas Fairbanks Jr. or in an extremely worn out version from the Killiam Collection. Now Kino International in conjunction with the Museum of Modern Art and Britain's Photoplay Productions have given us this beautifully restored version of the original 1929 film complete with Fairbanks Sr's original spoken introduction and interlude. A fitting end to Doug's silent film career and to silent film itself as by the time this came out sound was here to stay and an art form that was born, developed and refined within the space of only 30 years perished. Of the many film adaptations of THE MAN IN THE IRON MASK, this one remains the most compelling. The DVD comes loaded with a number of bonus features including outtakes and a portion of the 1952 reissue. Needless to say an absolute must for the silent film or Douglas Fairbanks buff and an ideal introduction to the art of the silent film for those not familiar with it. Great for kids too. ... Read more

Reviews (4)

OVERLOOKED NOIR THRILLER
I like this 50's pulp film because it's an example of what must have been considered "adult" back then. Tough, brutal--with "girlie" shots of redhead Rhonda Fleming in scanty outfits and the all-out performance of Arlene Dahl as her klepto/nympho/psycho sister-both vying for the he-man pleasures of hunky John Payne and everyone caught up in Big City Corruption and Scandal. Lushly photographed and tightly directed ,this is fun stuff--worth repeat viewings any time. Good quality DVD product from VCI that's in vivid 50's color.
I recommend this for buffs who like a little cheese on their cracker--like me.

FABULOUS FILM NOIR
I stumbled upon this film while surfing the amazon.com website, and was intrigued by the other reviews written about it. What a find this film is! The technicolor photography is stunning - almost garrish in its intensity, and quite gorgeous to look at. The story is vintage noir, with fine performances from Rhonda Fleming, Arlene Dahl and John Payne. The score of the film is rich and sumptuous, adding much to the overall feel of the film. All in all, well worth having if you enjoy motion pictures about the seedier side of life. Treat yourself - you won't be disappointed!

when style was in style
This is the kind of movie i didn't expect to find on DVD and very happy i did.If there is a word for Technicolor ladies Rhonda Fleming and Arlene Dahl are it.The plot is okay and the acting pretty good especially by Arlene Dahl.This is a film noir but works fine in color.I hope more movies with these gorgeous actresses are released on DVD.I didnt know VCI and was a little
sceptical to buy this at first but it looks great and is anamorphic when some much better known and more recent movies aren't.

"Slightly Scarlet" : Definitely Get It
The DVD from VCI presents this film in its widescreen version and the technicolor photography by JOHN ALTON looks terrific. I admit I was at first perplexed by the color: it did not seem necessary. So I turned the color off on the TV and watched some scenes in black & white--they looked terriic, vintage Alton. But watching again in color I realized what may be the very special quality this film has: it looks like those PULP CRIME NOVEL COVERS we have all enjoyed over the years. The reds, greens, blues, yellows, etc of those wonderful old covers seem to be reproduced here. In combination with the very pulpy, James M. Cain-based plotline, we have an extremely FUN movie.
Rhonda Fleming and Arlene Dahl play sisters who share some sort of duplicitous secret from childhood. Director Alan Dwan (who replaced Kurt Neumann for this film) makes sure we appreciate the doppelgangerishness of the actresses from the opening scene--Fleming picks up Dahl as she exits prison and the two embrace in that movie-ish way, cheek-to-cheek, so their striking similarity of features and RED HAIR can be fully displayed. Fleming really could act, and she gets some choice scenes, but Dahl tends to steal most of Fleming's thunder with her pouty, Dorothy Malone-like, bad girl characterization.
John Payne--by 1956 and aging matinee idol--makes a pretty good conflicted lead. But the other real standout is Ted de Corsia as a mean, mean villain along the lines of Lawrence Tierney or Ward Bond. De Corsia gets to chew garishly colored scenery at several turns.
It's always a pleasure to see the ubiquitous Ellen Corby as Fleming's thankless and clueless housekeeper ("what should I make for supper?"..oops she's being arrested!). And one never tires of Frank Gerstle and Lance Fuller (one of de Corsia's thugs)

The disc has an informative commentary by mystery writer/filmmaker Max Collins. Extras really make the package: a static, luridly-colored main menu leads (via realistic-sounding gunshots!) to the extras menu, which includes a nicely done James M. Cain bio and a little panorama of color reproductions of Cain pulp covers from Collins' own collections. There are also some trailers: for "Slightly Scarlet" (this one looks good) and atrociously awful-looking ones for "Double Indemnity" and "The Postman Always Rings Twice".

Highly enjoyable all around. ... Read more

Reviews (2)

Tough, gritty Barbara Stanwyck is at home on the range
Diverting western about cattle stampeding and land-grabbing in Montana where a local land owner is in cahoots with renegade Blackfeet Indians to kill and drive off white settlers who want to build homes and raise cattle and who pays off the hostiles with rifles and whiskey. Barbara Stanwyck is a tough-as-nails Texas woman who aims to take her rightful place where she and her father filed a legal land claim but are thwarted at every turn by greedy rancher McCord. Colorados, a college-educated Indian who wants peace and prosperity for the Blackfeet, gives aid and comfort to Sierra Nevada Jones after her cattle have been run off, incurring the wrath of a warlike sub-chief of a band of hostile Blackfeet. A lovely Indian maiden, jealous of the attentions paid to the red-haired white woman by Colorados, leads Sierra and Colorados into an ambush which backfires and ends with loyal Blackfeet battling against their hostile tribesmen and McCord's bunch of malcontents. Ronald Reagan appears as a government troubleshooter sent to find out how the Blackfeet are getting repeating rifles. Lance Fuller is smooth as the eloquent, learned Colorados, and Anthony Caruso is very good as a fierce warrior intent on driving all whites out of Blackfeet country.

Classic, well done RKO Western
Barbara Stanwyck and Ronald Reagan give fine performances in this colorful little western. Directed by Allan Dwan and produced by Benedict Bogeaus, Cattle Queen of Montana, is well produced, colorful, and entertaining throughout. Lots of action, great photographer, and a great story make for the kind of thrills that Western fans appreciate. Louis Forbes, who also did the musical score for the Dwan/Borgeaus collaboration Silver Lode, also composed the fine score for this one.
The VCI DVD issue is clean and sharp, colorful, and well-done, with extras that add to our enjoyment. We owe VCI a debt of thanks for rescuing this film, and others suchs as TENNESSEE'S PARTNER, SILVER LODE, THE YOUNG LAND, and PASSION (all from the 1950s), which they have made available [see listing for them].
Highly recommended to fans of Westerns and those who enjoy 1950s cinema. ... Read more

Reviews (2)

Very fine RKO western ....and an excellent DVD
SILVER LODE may be the finest western that RKO released in the mid-1950s. With expert and taut scripting, high production values (it's one of producer Benedict Bogeaus' best), excellent direction under the veteran Allan Dwan, this little oater also has two of the best performances of its two male leads: John Payne and Dan Duryea. Payne, a veteran of numerous Westerns for Paramount [e.g., EL PASO and THE EAGLE AND THE HAWK] and Republic [e.g., THE ROAD TO DENVER], here turns in a tour de force as the innocent, but hunted and accused hero. He is very fine indeed, his lines crisply given, adding to the mounting tension. Duryea, one of Hollywood's finest "bad guys," almost outdoes Payne; Duryea is simply studpendous. The final scene between the two--in the town bell tower--is quite striking and remarkable.
Secondary starring roles are filled with some very competent Hollywood veterans---Robert Warwick, Emile Meyer as the town sheriff, Harry Carey Jr. and Alan Hale Jr. as members of Dan Duryea's "posse." Lisbeth Scott is Payne's love interest; she's does quite well.
VCI has given us a fine, clean print, and attaches the original trailer at the end, along with bios of the leading actors, all very helpful.
Silver Lode is the kind of movie that will repay watching from time to time. It is way above average as oaters go. Recommended highly both to those interested in good Western fare and, yes, to others interested simply in good cinema.

Different kind of western
A taut western, very suspenseful. Much has been made of the MacCarthyism theme in this movie and it is there. Well acted with lots of familiar faces from the westerns of the era. The action takes place entirely within a small town which raises the thrill level even more. After all, how can someone remain hidden in such a small place. It is not a typical horse and cowboy shoot-em-up flick. Still though it is exciting to watch. ... Read more

Amazon.com essential video

One thing Shirley Temple did extremely well (besides sing, dance, and act) was turn the cranky cuddly. She'd done it effectively, two years prior, in 1935's The Little Colonel with grandfather Lionel Barrymore. Now in Heidi she turns her reclusive grumpy grandfather, Adolf (Jean Hersholt), into the loving sort she knows he really is. Heidi is an orphan, dumped into the Swiss Alps by self-centered Aunt Dete (Mady Christians) onto a grandfather she's never known, but they soon learn to love each other. Heidi's mercenary aunt returns and sells (!) Heidi to a cruel woman, appropriately named Fraulein Rottenmeier (Mary Nash). Adolf sets out on a quest to find his granddaughter. Meanwhile, Heidi charms Klara Sesemann (Marcia Mae Jones), the wealthy handicapped girl in Fraulein Rottenmeier's care. Look for a delightful Arthur Treacher as the Sesemann butler. There's a cute fantasy production number, "In Our Little Wooden Shoes," featuring Temple in various period costumes. Throughout Heidi, Temple is, as always, wonderfully joyful. This is perhaps the best-known rendering of the popular children's story by Johanna Spyri (it's been filmed some 10 times). --N.F. Mendoza ... Read more

Reviews (30)

Shirley ***Sparkles***
I have numberous complaints from various fans and friends about the quality of the DVD and I am in an uproar with FOX who really owe Shirley's fans better since, Shirley Temple is still a money maker and her movies are enjoyed worldwide-- I see it's no longer avaible so I'm only hoping that they plan to re-release it not poor quality this time. But, if you still want to see Shirley in Heidi which you should I recommend the VHS version I own it and find no problem with the quality of the tape and the picture is perfect.

Shirley sparkles in this movie taken as her age and value depreciated. The story will always remain a classic and in this version of Heidi it does not stick entirely to the story but, enough still to make it interesting. Jean Hearsholt does a wonderful job as the Grandfather who becomes charmed and beloved by Heidi. Shirley also does wonderful as the spunky cheerful natured girl who melts Hearsholt's heart. Stunning scenry and decent dialogue make this movie worth owning! My cousins love it and we watch it over and over again we get a little frightened when Shirley is almost sold to the gypsies... but, we love the scene in which Heidi begs the police not to take her away from her grandfather you see all that talent and acting shine through! And I hate to admit it but, I almost cry each time!

This is the movie I watch again and again... one of Shirley's better movies despite the fact it only has one song really "In Our Little Wooden Shoes." This has all the charm and wonderful beauty of a Shirley film, it also manages to be a good holiday film as well. A classic for all fans of the book and a keeper for all old movie and Shirley fans!

It's Okay....
I didn't see anything totally special or touching about this movie.The Alps don't even look that pretty.If you want to see the best Heidi I suggest watching the 1993 version of it.

Fox owes Shirley Temple and her fans better
I've always loved this movie and was thrilled to get it on DVD but the picture quality is horrendous.This is the worst DVD I've ever seen from a major studio.The colorized version was done back in the 80's before the process was refined and it looks awful.The black and white version is even worse.It looks like someone dragged the film down the street and then transfered it to DVD.Shame on Fox for leaving this version the only one available.

Shirley Temple delivers again!
I thought this was a great make movie of Joanna Spyri's timeless classic Heidi. They got all the characters right, and they at least got the plot right this time. I hope they come out with more books made into movies like this!

Heidi is a little orphan girl left under the care of her isolated Grandfather Adolf Kramer by her neglectful Aunt Didi. Heidi makes the best of staying with her Grandfather and learns to like it. Without knowing, she is bringing the life back into her Grandfather all by just being herself. When both soon learn to love each other, and Heidi gets the town to like her Grandfather again, Didi comes back and sells Heidi to a rich family in Frankfurt, Germany. There, she meets Clara, the invalid daughter of Heir Sessman. Heidi tries to teach her to walk, but she's too afraid, for both of them know that Frauline Rottenmeir the housekeeper doesn't want Clara to get better. The old woman makes Hiedi's stay there even worse by threatening her, and even smashing both Clara's, and Heidi's breakable Christmas presents. Heidi must get back to the Alps of Switzerland fast or else she'll sold to the Gispsies by evil Rottenmier.

Shirley Temple was a great actress for Heidi. If they tried, they couldn't get a better Heidi. She delivers all the time. The noly movie I don't recommend with her in it is the Blue Bird. That was boring as heck. I do recommend Curly Top though, and Wee Willy Winky. Those are both classics along with Heidi. Instant 5 stars!

Good!
There are many filmed versions based on the Johanna Spyri book Heidi but so far this Shirley Temple one is the only one I have seen and I really liked it and I think Shirley was really good as Heidi and I recommend this movie! ... Read more

Reviews (8)

OUTSTANDING, SILENT VERSION
Before Costner, before Flynn, there was Douglas Fairbanks Sr., playing the classic Robin Hood role. Even over 80 years later this film stands the test of time.

Had it been made only a few decades later, with sound and in colour, it could have been one of the greatest Robin Hood films. Unfortunately, black and white films, and silents more than anything else, do not find great favour among the modern public. But regardless of these dated elements, "Robin Hood" does not look bad at all.

The story starts a bit earlier than the usual Robin Hood film. It begins on the eve of King Richard the Lionheart's (Wallace Beery) departure for the Crusades. To celebrate the occasion, Richard holds a tournament, and in the final round, the King's champion, the Earl of Huntingdon (Douglas Fairbanks, later Robin Hood) wins over Prince John's champion, Sir Guy of Gisbourne. Before his departure, the Earl falls in love with the Lady Marian Fitzwalter, but Gisbourne is jealous. Prince John makes a deal with the latter, saying that if Gisbourne goes to the Crusades and kills both the King and Huntingdon, John will arrange that the Lady Marian be forced to marry Sir Guy.

Immediately after King Richard's departure for the Crusades, Prince John assumes authority and becomes cruel towards the population of England. Marian succeeds in sending a message to the Earl while he is in France, asking him to return. The message-carrier is Little John (Alan Hale, who would play this part again in the 1938 version starring Errol Flynn). The Earl demands to return to England at once, but when Richard refuses, he tries to desert. He is arrested, put a local jail, and after the other troops have moved on, he escapes and returns to England with Little John. Noticing the cruelty of Prince John, the Earl decides to become an outlaw under the name of Robin Hood. Thus, the legend begins...

Douglas Fairbanks is magnificent as Robin Hood, a role that every swashbuckler has to play once in his career. Although Robin Hood himself (instead of the Earl) appears only after the first hour of the film, his leaping around, swordplay and natural charisma make of Fairbanks's performance as Robin Hood one of the best in the history of cinema.

The sets and costumes are probably the most magnificent ever used in a Robin Hood film. The castle of King Richard (and consequently of Prince John) is indeed breathtaking, even by the standards of today. The height of the castle walls, with no apparent end to them, is very impressive. The Knights' armor and shields are very realistically portrayed as well, and the film still comes across with a strong feeling of historical accuracy. And for once, King Richard is not portrayed as an aging man with a grey beard when he was in fact 32 years old at the start of the Third Crusade.

The photography, considering the year it was made, is amazing. The scenes in the castle mentioned above are great, and so are other individual scenes, such as the Earl, returning to England, swearing, with his sword raised in the air, to act for God, Richard, and Marian (who at that point in the film is presumed dead). The photography combined with editing creates some very successful moments, such as the joust between the Earl and Sir Guy, and the taking of Nottingham by Robin Hood. In spite of the well-known nature of the Robin Hood legend (at least that part), there are some suspenseful moments, such as the final fight, because of the excellent direction by Allan Dwan, editing, photography, and the script (also written by Fairbanks under a pseudonym). The final result is a Robin Hood story of epic proportions, but with a heartwarming romance at its core.

A few down notes: First, the tinted frames. Before the arrival of colour, frames were tinted to convey a particular atmosphere (blue, for instance, was inevitably used for the night scenes). In "Robin Hood", most, if not all, of the film is tinted one colour or another. The scenes in Sherwood Forest are of course green. But the colours are too intense, and rather than convey a particular atmosphere, the tinted frames are just annoying for the eye. Fairbanks must nevertheless be thanked for his later support of colour at a time when studios were unwilling to take a risk on the matter. His "Black Pirate" (1926), filmed in two-strip Technicolor, was groundbreaking, but in 1922 colour was still at a very primitive and experimental stage.

Second, the musical score. In silent films as in today's movies, music is important to set the mood of the picture. The version I watched had the original score by Victor Schertzinger, but it is not as good as it should have been. There are a few good moments in the musical score, but these are generally a ripoff from a then well-known but now obscure Reginald De Koven - Harry B. Smith operetta, "Robin Hood", which premiered in 1890. The rest is rather bland, with very few memorable passages. The quality of the recording itself leaves to be desired, since it often sounds like a MIDI file.

Douglas Fairbanks's "Robin Hood" may be dated in several respects, and the first part may be slow, but it still maintains tremendous appeal. The narrative, the sets, and of course Fairbanks's masterly performance in the title role still give this film a lot of entertainment value. It is a prime example of Hollywood's output during its first "Golden Age", and it remains a must see for Robin Hood fans.

Highly recommended!

A Blockbuster of its day...
Ah, a budget of $1 million. It sounds so small today when there are films with budgets topping $200 million. But back in 1922, this was the most expensive movie made. And it's clear where the money has gone. Lush sets, huge castles created just for this movie (with special tapestries, hand and foot holds, etc. to allow Fairbanks to show off his stuntman's prowess.) And then the extras. In one of the earliest ballads, Robin Hood had a band of 140 men. Here, there are far, far more. And no digitally extras either. Just low-paid (or more likely, no-paid) folks prancing around.

Yes, prancing. Sigh.

The Merry Men skip and jump, with little edge that outlaws would have. Not so with Fairbanks successor Errol Flynn, as charismatic and righteous as that Robin Hood was, there was a real sense of anger at the problems being inflicted on the poor. This earlier (although not the first) Robin Hood movie is much lighter fare.

The story is only threadbare. And only a few scenes from the ballads appear. Instead, half the film is taken up with jousting matches and other things which seem out of place in a Robin Hood film. Like modern-day blockbusters, it's big on spectacle and low on plot and character.

It's a classic, but it doesn't grab me the way Flynn's Robin Hood does. It lacks the heart and soul.

Now, onto the DVD quality. The image is surprisingly good for an 80-year old film. And they've gone with the colour-tinting process. Forest scenes, for example, are tinted green. That adds a warmth to the film lacking in its characters.

Unfortunately, the sound isn't as good. The score is electronic and very noticeably so. And it sounds more like an electronic kazoo than a real piano or organ as it should be. That is very distracting. Which is unfortunate, because the score itself is adapted from the 1890s Robin Hood stage musical composed by Reginald de Koven (this production introduced the wedding song "O Promise Me"). It would have been nice to hear a less synthetic version of de Koven's score.

So, riddle me this -- why is this film on DVD and not the 1938 Adventures of Robin Hood starring Errol Flynn? (And while its nice to see Fairbanks turn as Robin Hood and Zorro on DVD, I'd really like to own the Flynn and Tyrone Powers versions of those films.)

50% Ivanhoe, 50% Robin Hood
This is arguably the lushest version of Robin Hood (although the Flynn classic is in the running) with enormous sets(some of the biggest ever made), lavish costumes and big stars. However, the name is a bit misleading. The movie is 2 hours long and Robin Hood doesn't show up until exactly half way into it. Before that, he is the Earl of Huntingdon who wears armor and prefers lance to longbow. In fact, the entire first half takes after the Scott novel Ivanhoe much more than the Robin Hood legend. If you know this before going in, you will enjoy the movie more. I kept waiting for Fairbanks to start the Robin Hood stunts.

Enid Bennett is a pretty leading lady and wears her gowns with flair. Wallace Beery is a boisterous King Richard. (both also appeared in the silent epic the Sea Hawk, perhaps the best silent costume drama ever made and sadly unavailable for purchase)Sam de Grasse is an understated but insidious Prince John. Alan Hale plays Little John, a role he reprised for the 1938 Flynn version of Robin Hood.

The plot involves Fairbanks being framed for desertation on the way to the Crusades, returning to England and becoming the bandit we all know and love. Once Fairbanks gets into his feathered cap and gets a bow the movie picks up considerably. He leaps, dances, prances and generally becomes a proper Robin. But before this is an hour of courtly love and stately processions.

This is a good vehicle for Fairbanks but I think it could have been one of his best if it had more of the title character. But then, I suppose if I had one of the most opulent sets ever made at my disposal, I might show it off a bit too.

How to crumble a classic....
"Douglas Fairbanks' Robin Hood" is one of the greatest adventure films the cinema has ever produced.
It no longer exists in a pristine version, so I'm afraid this is the best way to watch it, and although any company that produces DVDs of silent films should be applauded this disc should be approached with some caution.
The reason is the score. I hate synth scores on silent films. Firstly it is totally out of place to stick an electronic soundtrack on an old film - but here it really is unacceptable. The recording of the score is so irritating and twee it cheapens the film. Robin Hood screams out for a full orchestral score, not a tinny electronic beat that sounds like a cheap Casio keyboard.
Fair enough, points can be made for cost etc. but the simple fact remains - would you pay good money to see Gone With the Wind or Titanic with a cheesy synth score? Although the film itself would remain the same, so much of the power and passion would be destroyed when the score is replaced. Would Jaws or even Psycho have anything near the same effect if you stuck the Backstreet Boys over the shower scene?
The same goes for silent films, perhaps more so. To watch the Brownlow and Gill restoration of Fairbanks' Thief of Bagdad is to watch a beautiful classic of the silent screen with a perfect score conducted by Carl Davis. To watch the same film with a syth or organ score is to see half the film. It looks exactly the same - but loses so much sweep and power.
Get the DVD, switch the sound off and stick on a suitable CD. The film is improved hugely. (By the way, using public domain classical recordings is the easiest and cheapest way to get a decent score - if any DVD producers are reading this...)

Great movie but so far away from the true Robin Hood
In response to someone elses comment about the role of Marian, I just needed to point out that in the original ballad of Robin Hood and Maid Marian - they are lovers and she cross-dresses as a boy. Not recognizing one another, they sword fight for hours until she finally bests him (so much for your theories on medieval women). Once they recognize one another, they reinitiate their affair. Also, in the may games - Marian is basically a "free" woman. She is characterized as a wagger of ballocks/and a tearer of sheses [sheets]. As you can see, these later interpretations are extremely patriarchal and reflect a Victorian view - not a medieval one. ... Read more

Reviews (1)

my 2 cents
This is obviously a budget conscious movie, 98% filmed on a soundstage with a small number of actors with a limited wardrobe (the outdoor shots look like a backlot). This VCI release on DVD has vibrant color and pretty good sound. The plot is predictable and a little cheesy but so what it's got Virgia Mayo one of my absolute favorites, So anything I get to see her in is OK by me. So Far I've had good luck with the DVD quality on all the VCI releases that I've purchased. Thanks. ... Read more

Reviews (1)

Great Classic Musical!! Great DVD!!
This is a great Classic musical about the incomparable musician Stephen Foster.It's a great DVD and a must see!! ... Read more

Reviews (1)

Better than The Pianist!
Adapted from Ralph Spence's play, the film opens with a montage of screaming newspaper headlines documenting the reign of terror of a mysterious simian assassin who leaves threatening letters at the homes of his victims. The film then arrives at the room of maid Patsy Kelly, who reads aloud from Romeo And Juliet before being rudely interrupted by the titular gorilla and his malevolent brand of monkeyshines. This prompts her employer (Lionel Atwill) to hire Harry, Jimmy, and Al Ritz to hunt down the gorilla, a decision he begins to regret once the mere mention of the word "gorilla" sends the trio reeling into an orgy of shaking, eye-bugging, and agitated wordplay. The brothers' investigative tactics do little to inspire confidence: When Kelly tells them she spent the evening with Shakespeare, they angrily demand to know the writer's whereabouts. The Ritzes do no better with the butler (Lugosi); they mock his accent and act aggressively, until he flips one of them in self-defense. At the stroke of midnight, Atwill is abducted, and his disappearance is followed by a series of blackouts, disappearances, and the arrival of a mysterious stranger (Joseph Calleia) purporting to be a detective. In spite of their nonstop clowning, the Ritz brothers eventually encounter the gorilla in the house's basement, though they initially mistake it for a wiseacre in a raccoon coat. Lugosi, meanwhile, has a suspiciously Clark Kent-like way of disappearing whenever trouble and excitement arrive. His mysterious absences turn out to be one of many red herrings, after it's revealed that there are two gorillas, a real trained one and a mass murderer­Calleia­who's only pretending to be a gorilla. Calleia lays out the particulars of his nefarious plot just before Lugosi apprehends him, in the process steeling himself for his fateful meeting with a Brooklyn gorilla 13 years later. ... Read more