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Disaster movies used to work because there was little certaintyas to who would survive. Not so in this film, really an amalgam of twooriginal stories, about a group of well-to-do celebrants at the top floor of askyscraper. Cheapo electrical wiring and bad construction managementcause an enormousblaze at the lower floors, steadily rising to consume the revelers. Newman'san architect, McQueen a firefighter, and Fred Astaire a kind oldgentleman, for which he was Oscar-nominated. O.J. Simpson plays asecurity guard who rescues acat. Now that's a disaster. --Keith Simanton ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Amazon.com

The Blue Max is highly unusual among Hollywood films, not justfor being a large-scale drama set during the generally overlooked World War I,but in concentrating on air combat as seen entirely from the German point ofview. The story focuses on a lower-class officer, Bruno Stachel (GeorgePeppard), and his obsessive quest to win a Blue Max, a medal awarded forshooting down 20 enemy aircraft. Around this are subplots concerning apropaganda campaign by James Mason's pragmatic general, rivalry with a fellowofficer (Jeremy Kemp), and a love affair with a decadent countess (UrsulaAndress).

As directed by John Guillermin (who later made The Battle of Britain in1969), the film's main assets are epic production values, great flying scenes,and stunning dogfights. The weak point is the sometimes ponderous characterdrama, not helped by Peppard, who is too lightweight an actor to convince as thedriven antihero. Clearly influenced by Kubrick's Paths of Glory (1958),The Blue Max is a cold, cynical drama offering a visually breathtakingportrait of a stultified society tearing itself apart during the final months ofthe Great War. --Gary S. Dalkin ... Read more

Reviews (25)

George Peppard as antihero
George Peppard plays a character, Bruno Stachel, that is not your typical war hero. He is consumed with ambition, doesn't have any use for chivalry, lies by claiming as his own a fellow-flier's aerial combat victories, and disobeys direct orders. In short, he is more of an anti-hero than a hero. On the other hand, there are extenuating circumstances. He comes from the lower middle-class at time when most of Germany's other fighter pilots, Baron von Richtofen, for example, are sons of the landed gentry.

James Mason, one of Stachel's higher ups, is happy that, for propaganda purposes, he can point to a hero who is from the lower classes, who is as "common as dirt." Because of Stachel's propaganda value, Mason lets him get away with much more than he should. Ultimately, however, Mason's desire for favorable publicity comes back to bite Stachel.

They don't make them like this anymore. It is a two and one half hour movie, with an intermission in the middle. The aerial combat sequences are spectacular, and there was no cheating with digital effects back when this movie was made. The score by Jerry Goldsmith is really wonderful and evocative, one of the best things about this movie.

I deducted a star because the DVD is a little cheap. The "Fox War Classics" series seems to be more interested in getting product out cheaply than with high quality and many extras. I noticed some bad pixelation near the middle of the movie, around the intermission. But for what this disc is selling for, you can't really complain.

Some great action scenes in this movie!!
I saw a review copy of this DVD recently and thought I would share my thoughts on the movie.
George Peppard stars as a World War I flying ace in this uneven 1966 action movie with a difference. Rather than portraying an Army Air Corp or RAF pilot Peppard instead takes on the role of Bruno Stachel, a German fighter pilot who is on a quest to receive his country's most prized military aviation medal - the Blue Max of the title.
Unfortunately for the movie, it seems unsure whether to be an action movie or a drama, so whereas there are some very exciting, exhilarating action sequences peppered (no pun intended) throughout the picture, the movie does slow to an agonizing crawl during its more melodramatic moments. Another problem the picture has is its star. Simply put Peppard lacks the charisma of the other actors headlining the other DVDs of the newest wave of "Fox War Classics". He is no Cagney, Mitchum or even Kenneth More and this is most strikingly borne out by his supporting cast of James Mason and Ursula Andress.
The picture quality on this disc is merely serviceable at best; despite a nicely in depth transfer there is some dirt and scratches evident. Still, it is given to us in anamorphic widescreen instead of cropped full frame so that is a plus.
The audio on this disc is of much better story with a Dolby Digital 2.0 surround track that really delivers the goods. This is fortunate because the movie does feature a nice soundtrack by Jerry Goldsmith.
As with the other entries in the Fox War Classics series this movie features the trailers of the other pictures as a special feature.
Overall, an average movie, an average picture and a nice audio track. Still clocking in at two and a half hours and carrying a low price tag this is not hard to recommend taking a look.

"The only medal worth having, because it is respected"
The opening words of Bruno Stachel(George Peppard in his best role) to Willie(Jeremy Kemp) as they discuss a picture of "The Red Baron" that Stachel idolizes when he first arrives at his squadron, Stachel is ambitious to achieve "The Blue Max" medal at all costs including his relationships. He sours on the others almost immediately but successfully attains his goal and is at the same time used by the Aristocracy as a publicity figure to gain the support of common folk tired of war and needing a hero from their own ranks. It covers the period from 1916 to 1918 and Stachel is in a race to get his twenty kills before the war ends. Ironically, Stachel's idolization of the Red Baron is changed due to his encounter in the air where he is shot down and injured trying to save the Baron and says to Willie Von Kluggerman "that's the fool that almost got me killed" and it turns out to be his former hero. He rejects the offer of the Baron to join his "Flying Circus" and instead sharpens his skills with "Willie" in games of "chicken' in the air that eventually leads to "Willie's" death. This Major film is worthy of praise. The music by Jerry Goldsmith is probably the best ever made for a war film. The screenplay was based on the famous novel under the same name by Jack Hunter and is different from the book in many ways. The script changes the character to be more of a thorn in the side of his own fellow flyers and accents more of the poor versus rich problems than fighting. The Hunter book has Stachel as a survivor of the war but the film needed a dramatic ending and it is one of the most memorable in Hollywood history, and you will never view a "rubber stamp" in the same way ever again. The DVD is sharp, polished but only carries a few trailers.

For WWI airplane buffs especially
If you like airplanes, especially WWI types, then you should like this movie. George Peppard is perfectly cast as the arrogant, egotistical, smarmy German pilot who dreams of glory.

The flying sequences are beautifully shot. The love triangle involving Ursula Undress is important to the story, but gets in the way of the airplanes. A propros de rien, the Fokker DrI triplane is the most aesthetically beautiful WWI airplane - combining a triangle, circle, and rectangle. Shoulda had more in the movie.

The ending is kinda neat, even though you sort of know what is going to happen. The way it is shot was good.

Hubris Can Only Fly So High
John Guillermin's 1966 film about Bruno Stachel (George Peppard), a common German soldier during WWI who joins the Luftwaffe. Socially out-of-league with his aristocratic companions and eager for respect, Stachel will stop at nothing in pursuing honor in the form of the Blue Max, the most prestigious aviation medal.

The recurrent theme is hubris/arrogance and how it affects the human condition. All of the characters are driven by ambition and are amoral to a certain degree. Bruno Stachel has the most humble of origins (a peasant who first served in the trenches) and so is the most arrogant of the characters. He knows he's an ace pilot but is unable to earn the respect of his fellow officers because of his low social status. In his mind, he can earn the social respect he covets by earning the medal: then, he feels, people will have no choice but to respect him. Ironically, the respect he obtains is nothing more than the arrogance of others. Arrogance from his superior (James Mason) who needs to create a hero to look good himself as a commanding officer. Mason is quite the pragmatist in creating a hero to the point of letting Stachel sleep with his wife (Ursula Andress)to boost his confidence. The countess needs the fire of a young hot-head like Stachel to fulfill her desires: she only needs her husband to preserve her lofty title of Countess. Unfortunately for Stachel, there's a price for being the hero, and the greatest heroes are often those who die prematurely. Quite aware of this and tired of being cheated on, Mason's character realizes all too well the value of having the glory of a dead war hero illuminate his stale command.

Alltogether a great film with good cinematography. The film quality is excellent for this almost 40-year old film: so good, one would think it was filmed recently but for the actors in it. The dog-fight scenes are some of the finest ever to be filmed. The film is well balanced between the combat scenes and the personal drama: the theme is well carried by the plot. All of the actors perform quite well. I personally think that George Peppard performed his role competently: his being out-of-place or uncomfortable enhanced his performance instead of limiting it. Bruno Stachel is a character who is supposed to feel out-of-place and uncomfortable in his social surroundings: he exceeds in skill and arrogance to compensate for his insecurity. In sum though, the acting is top-knotch with great direction. It's a film not to be missed. ... Read more

Description

Noble Adams, a legendary tracker, is coaxed out of retirement to hunt down crazed killer Red Jack Stilwell and his gang. Now it's kill or be killed in a West so wild you can never turn your back on a stranger. ... Read more

Reviews (4)

Formulaic HBO entry
Plot, drama, suspense, character development -- this western has them all, to reasonable measure. It seems awfully like other HBO movies I have seen. If you like westerns, this may be a candidate for an evening's entertainment. If you like exceptional westerns, try "The Man Who Shot Liberty Valance", "A Big Hand for the Little Lady", "El Mariachi", "Stagecoach" or the Clint Eastwood spaghetti westerns.

The Tracker
I bought this dvd on a whim... It is a great western and now one of my classics in my own personal collection.

Hard Hitting
Noble Adams (Kris Kristofferson) is a retired tracker. He runs a ranch and has a wife. He wants nothing to do with his former life. An old friend is calling in a favor and Noble must return to the hunt one last time. Noble's son Tom (Mark Moses) has just graduated from college and has come to tell Noble that he will be living in the east and practicing law. When he finds his dad is going on a track, he headstrongly joins the chase. They will be tracking Red Jack Stilwell (Scott Wilson), a self professed Morman Avenging Angel that just broke out of prison and has been on a violent rampage. He is travelling with a kidnapped women and child.

Noble doesn't really want his son along. He doesn't think the boy can handle the brutality of the land and is worried about the brutality that his son may see in him. Noble Adams is not just any tracker, he's the best tracker ever. The law's avenger, the army refers to him as Nemisis (The God of Vengeance). Even the indians fear him. So Noble, the aging sheriff and Tom Adams, the eastern college boy set out to hunt down the ruthless Red Jack Stillwell and his gang.

Far from a typical father son bonding movie, Tom sees Noble as a cruel, harsh and exceptionally unforgiving man. But he comes to understand that the land has made him that way. Tom turns out to be just as hard but not quite as cold blooded as his father. Hard men in a hard land, doing a hard job.

This unhearalded HBO production stands up as one of the great westerns of all time. More people need to see this movie. It is a classic with no shortage of action or suspense. Although filmed a number of years ago, HBO would do well to provide us with a sequel of equal caliber.

Watch it and enjoy.

The Tracker
One of the 10 best westerns ever made. If you like Burt Lancaster's "Lawman," Henry Fonda's "Tin Star" and "Warlock," you love this movie. The attention to detail, from the script to the way they make coffee, is right on the button. Kristofferson's best performance. ... Read more

Amazon.com

Following Albert Finney's quirky and compelling performance as Agatha Christie's Belgian detective, Hercule Poirot, in 1974's Murder on the Orient Express, Peter Ustinov capably took over the role in this 1978 adaptation of Christie's river-bound whodunit. While on a pleasure cruise along the Nile with a taciturn companion (David Niven), Poirot slips into action following the murder of a much-despised heiress (Lois Chiles). There's no shortage of suspects... until, that is, they also start dying off, obfuscating the investigation by suggesting that several killers may be at work. With a disciplined screenplay by Anthony Shaffer, the film is solid enough (certainly better than its 1981 follow-up, Evil Under the Sun) and is graced immeasurably by a glittery cast including Bette Davis, Maggie Smith, Mia Farrow, Olivia Hussey, Jack Warden, and Angela Lansbury. Directed with customary efficiency by John Guillermin (King Kong, The Towering Inferno). --Tom Keogh ... Read more

Reviews (36)

Spectacular!
The novel Death On The Nile ranks as my favorite of all of the Christie novels I've read, and so I was hoping that this movie was faithful to the original material. I'm happy to say I wasn't disappointed.

The performances of the many actors are great. Simon MacCorkindale's portrayal of Simon Doyle is wonderful, and Angela Lansbury as Salome Otterbourne is very entertaining. Maggie Smith and Bette Davis as Miss Bowers and Miss Van Schuyler, respectively, have some wonderful scenes together and have great chemistry. David Niven as Colonel Johnny Race is great and makes for a good Watson to Poirot. Jack Warden as Dr. Bessner and Jon Finch as Jim Ferguson, while don't have a ton of screentime, still portray their characters perfectly, and of course Peter Ustinov as the great Belgian detective Hercule Poirot is great.

The scenery is beautiful. The scene where Simon and Linnet Doyle are climbing the pyramid is simply breathtaking.

The extras on the DVD are pretty good. The 24-minute featurette "The Making of Death On The Nile" is interesting, and the interviews (both in French with subtitles) with Peter Ustinov and Jane Birkin (who plays Louise Bourget), while not extremely interesting, are still a nice addition.

There are a few flaws in the movie. The largest one is the fact that they cut out Tim and Mrs. Allerton. For those of you who have read the book, you'll know that cutting out Tim Allerton changes a few important things. Cornelia Robson is also cut out, as well as James Fanthorp and Signor Richetti (which again changes a few things). While I did like these characters a lot in the book, during the movie, these characters were hardly missed.

The movie runs approximately 2 hours and 20 minutes, and despite the PG rating, has some slightly graphic violence in it.

I would highly reccomend buying this DVD, however, I would suggest reading the book first.

Christie goes to Egypt
This big screen treatment of mystery author Agatha Christie's best-seller is dinstinguished by the first appearance of Peter Ustinov as the world famous sleuth, Hercule Periot. Though the film version of "Death on the Nile" doesn't rise to the quality of its immediate predecessor, "Murder on the Orient Express," it is still a worthy trip with a boatful of nouveau rich upper classers who all have a motive to kill a filthy rich heiresss (Lois Childs). When she actually come up with a bullet to her head while sleeping, suspicion falls on her husband's spurned ex-fiancee (Mia Farrow, in a slightly nerve-trying overacting job) and an all-star passenger list headed by Bette Davis, Maggie Smith, Angela Lansbury and Olivia Hussey. Enter Inspector Periot and David Niven as another sleuth aiding in the investigation. Though the "who did it" isn't a surpise, the "how they did it" is, and that solution makes the film an enjoyable watch. Additionally, there's some stunning scenary of Egypt and along the Nile, and Ustinov's personification of the fabled detective is worthy. He shows up again in subsequent film versions of some of Christie's other novels, and this is one of Ustinov's better efforts.

The MAID did it!! Or did she??
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I watched this 1978 movie of 140 minutes without first reading the 1937 Dame Agatha Christie novel (of the same name) that it was based on. I'm glad I did this! Why? Because it forced me to really watch the movie in order to try and deduce who the murderer was.

As a brief synopsis, the movie begins with "Jacquline ('Jackie') De Bellafort" (Mia Farrow) telling her very wealthy friend "Linnet Ridgeway" (Lois Chiles) about the man "Simon Doyle" (Simon MacCorkindale) she has fallen in love with. Linnet falls for Simon and they eventually marry. Their honeymoon is on a riverboat (technically called a 'paddle steamer') called the "S.S. Karnak" that takes then down the Nile River in Egypt. Aboard the boat, besides the three mentioned above, are "Hercule Poirot" (Sir Peter Ustinov) and his good friend "Colonel Johnny Race" (David Niven). There are other passengers on board who all dislike Linnet.

Linnet is murdered. Eventually two other passengers are also murdered. Poirot has to solve who the killer is. For both Poirot and the viewer, it's obvious that the killer is either male or female or, as Poirot might say, either a "beau" or a "belle." It's also obvious that the killer is no "Simple Simon."

Who are these passengers? Besides the five mentioned above, they are as follows:

(1) Louise Bourget, Linnet's Maid (Jane Birkin)
(2) Socialite Marie Van Schayler (Bette Davis)
(3) Miss Bowers (Maggie Smith), Aid to Marie
(4) Marxist James Ferguson (Jon Finch)
(5) Romance Novelist Salome Otterbourne (Angela Lansbury)
(6) Rosalie Otterbourne (Olivia Hussey), Salome's daughter
(7) Lawyer Andrew Pennington (George Kennedy), Linnet's uncle
(8) Dr. Ludwig Bessner (Jack Warden)
(9) Manager of the Karnak (I.S. Johar)

Of the fourteen actors mentioned above, Ustinov's performance stands out. This was his debut performance as Poirot and I feel he does a stellar job being both serious and comical at the same time. Other performances to look for are Mia Farrow as the ex-fiance and Angela Lansbury as the perpetually drunk novelist.

The cinematography of this movie is visually stunning. We especially get to see the Sphinx, the Pyramids, and the ancient ruins of Egypt. The costume design is elegant. The main background music adds to this movie as well.

Listen for gags that run throughout this movie. For example, Poirot is Belgian but is always confused as being French. One of my favorite pieces of dialogue is where a passenger gets angry at the great sleuth:

Van Schayler: You perfectly foul French upstart!
Poirot: Belgian upstart, please madam.

As Poirot attempts to solve the crime, we are shown what might have happened. Unfortunately, there is some unintended humor as Linnet continually gets shot (in the head) as Poirot goes through each possible scenario. I found this somewhat distracting.

Finally, the DVD (which has the movie in widescreen format) has five extras. I found that the only one that was interesting was about the making of this movie. It lasts about 25 minutes.

In conclusion, this is a fun movie, even if you have read the book. For those who haven't read the novel, I have left clues in the above review as to the possible identity of the killer. If you think you know who it is, then watch this movie to find out if you're right!

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A Mysterious Movie and a Superb Tale!
It begins with a rich woman who gets EVERYTHING SHE WANTS and when her best friend Jackie's new fiance meets her. The rich woman immediatly steals Jackie's hunk and in a matter of weeks they are married and set off for their honeymoon in Egypt. Poor Jackie. Her only love has been stolen for her BY HER BEST FRIEND! But Jackie is determined and follows the new couple to Egypt. After meeting a host of new characters, the couple plus Jackie boards a little Nile tour thing. But suddenly the rich woman is dead (shot). Who could it be?

All Star cast who-done-it in Egypt.
The second lavish all-star Agatha Christie adaptation. This is the first film with Peter Ustinov as the Belgian Detective, Hercule Poirot. If you love a who-done-it mystery, this one will keep you thinking and stimulate your brain to the very end. Please watch it to the very last second. What may be so one minute may be different the next second. This all-star cast is wonderful, especially Angela Lansbury. Olivia Hussey, Peter ustinov and Simon Corkindale had just finished the NBC tv-miniseries movie "Jesus Of Nazareth" (1977). Also in the cast is Bette Davis, David Niven, Mia Farrow, George Kennedy, Maggie Smith (California Suite [1978], Jack Warden, Lois Chiles (Moonraker [1979]), Jon Finch, Jane Birkin, Harry Andrews and I.S. Johar. Warning: This is not for children to watch. very Grusome and graphic violence. There are many Agatha Christie movies from film and television. Here are some worth watching. Those with an "*" include Peter Ustinov as "Detective Poirot". And Then There Were None (Ten Little Indians) (1974), Murder On The Orient Express (1974), The Mirror Crack'd (1980), *Evil Under The Sun (1982), *Thirteen At Dinner (1985-tv), *Dead Man's Folly (1986-tv), *Murder In Three Acts (1986-tv), *Appointment With Death (1988).
For a lighter comedy, may I suggest MURDER BY DEATH (1976). ... Read more

Reviews (91)

Great camp trash from the '70's
As many film fans are painfully aware, the sight of producer Dino De Laurentiis' name in the credits of any project virtually guarantees the stamp of mediocrity, and this 1976 version of "King Kong", less a faithful remake than a "re-imagining", doesn't escape that fate. With its leaden tone, wooden acting and creaky special effects (even by Seventies standards), it works best as unintentional high camp, and as such, has long since been relegated to the "so bad it's good" category. Properly viewed in that spirit, though, it is undeniably entertaining, and does offer at least two redeeming qualities: a superlative (and often overlooked) musical score by longtime James Bond composer John Barry, and the staging of the finale, which occurs not atop the Empire State Building but on the World Trade Center towers, one of the few films (along with John Carpenter's 1981 hit "Escape From New York") in which the late buildings actually played a key role rather than as background scenery. Though at the time the filmmakers obviously could not have forseen the two buildings' gruesome demise, it nonetheless makes for a strangely compelling, if extremely eerie, experience watching the movie today, as several scenes were shot inside the actual towers themselves.

That being said, however, the other aspects of the film are undeniably awful, and some that have posted reviews here have wondered how such talents as Jeff Bridges and Jessica Lange could possibly been involved, obviously unaware that this was Oscar-winner Lange's very first film role, and that Bridges (who in my opinion has long been overdue for an Oscar) was at this point in his career still very much a B-list, journeyman actor. Considering the script he had to work with, he turns in a solid performance, and unlike other members of the cast, at least doesn't manage to embarrass himself (though I'm sure he's happy few people today probably recognize him under the wild unkempt hair and beard he sported at the time).

Of course, no discussion of up-and-coming talent in this film would be complete without mentioning the contributions of makeup artist Rick Baker, who would go on to become one of Hollywood's top designers of special makeup effects, winning several deserved Academy Awards for such films as "An American Werewolf in London", "Gorillas in the Mist", and "Ed Wood", among many others. Here Baker both created and wore the Kong "gorilla suit", to good effect, after plans to create a full-size, working mechanical Kong proved unattainable. (The full-size Kong does appear in two brief scenes: one late in the film and of course at the very end, looking equally dead in both.) As high camp goes, though, scenes like this (as well as the scene with the giant snake) are hard to beat, and overall the film is, for me, still a lot of good, cheesy fun. Paramount's DVD release at least allows the film to finally be seen in its original widescreen format, and includes the amusing trailer. Here's looking forward to "Lord of the Rings" maestro Peter Jackson's true-to-the-source remake of the 1933 original, set to wow us all in 2005!

Underrated 1970's Remake of 1930's Classic
1976's "King Kong" may not have the panache and legend assigned to the 1933 original, but it does have its share of moments. If a remake can be satirical, outrageous, and just plain different, then this one takes the cake. One recent criticism, but not in its time, was the unrealistic gorilla suit of Rick Baker's design. It may not be on par with the remake of "Planet of the Apes" (also by Baker), but just watch the Japanese movie "King Kong Vs. Godzilla" to see how GOOD Baker's design really is.
It is an interesting 70's time capsule, with Lange's Marilyn Monroe-esque acting, Jeff Bridge's hippie hair-do and "Greenpeace" attitude, and Charles Grodin's oil-obsessed hysteria. Remember the gas lines of the mid-70's? This movie will remind you.
Some of the special effects are dated by today's terms, but that's okay. Enjoy the 1976 version of "King Kong" on its own merits: just inoffensive good fun. After all, where else can you see King Kong blow the wet Jessica Lange dry? With puffy cheeks, no less?

Pales beside the '33 original
Like most remakes, the film exhibits good intentions and even starts off well. However, its fundamental production quality and even its special effects (!) are dwarfed by those of the 1933 original. The acting in the 1933 film is also much more convincing, in my opinion. I formerly owned the LaserDisc issue of the 1933 King Kong, and that edition was terrific, featuring the movie in its _unedited_ version as well as a director's commentary pertaining to the detailed aspects of the making of this great film.

I suggest that you _skip_ this mediocre remake and save your hard-earned bucks to purchase the upcoming DVD version of the original King Kong. If it is anything like the LaserDisc version (it actually should be more, regarding "extras"), you won't go wrong!

STICK WITH THE ORIGINAL!!
The thinking behind this remake escapes me. Why redo a nearly perfect movie, and leave out the dinosaurs? There is one encounter with a giant snake that's not bad, but that's it. The first half of this movie is an acceptable adventure story, but after Kong is captured, it goes downhill, becoming a politically correct monster movie(ie, Jeff Bridges cheers Kong as he defeats the military). Just stick with the 1933 movie, perfect in every way, almost, and keep hoping they find the lost footage of the spiders at the bottom of that ravine!!

King Kong
This is a movie that is a sit down family movie, all will enjoy.
I remember watching as a young teenager and now have purchased it to watch with my young teenagers.
After visiting Universal Studios and doing the backlot tour and seeing King Kong again it made me think about how to get hold of this wonderful movie. I rate it high on family enjoyment also prepare for the tissue boxes on the sad scene's.
Hooray I have it ... Read more

Reviews (18)

SEXY!
WOW! This movie is so stupit but is Tanya Roberts something else or what. This is a mans pleasure movie mostly, I watch this for Tanya Roberts. Just watching her bounce around on that zebra bareback is fun to watch. Its sexy how she talks to the animals, and I don't even know what the main point is I just watch it for sheena riding in the jungle.

Is three stars too many?
I have seen this movie a couple of times in the past 20 years. The first time I saw it back in '85, I actually liked it (THEN) I just bought this movie because it reminded me of something out of my childhood, So after 20 years here are my thoughts now that time has moved on...The acting in the movie is HORRIBLE. The Plot is beyond bad, and I would think offensive to tribes in Africa. However, like some of the other reviewers The Music, and the Sceneary in Kenya is MAGNIFICIENT, (Including Tanya's body, I admit that, and I am gay!!!) Just too bad there is a silly storyline. ONLY if this movie was Tanya Roberts Riding on the back of Zebras NUDE doing a documentary, I really think that would of fared better. This is one movie where I feel it really is a mixed bag.... The movie has some goodies to offer, just do not expect a whole lot.

Silly, But Good Mind Candy
I remember watching this when it first aired on HBO YEARS ago and being strangely facinated by it. Don't expect any A movie acting or plot - it's straigt B movie fare all the way, but fun I'll admit. What gets an A is the heart-achingly beautiful music score at the end of the film. If anyone, ANYONE knows how to obtain a copy of that please post your information here!!!

OK, I give! I love it. :)
How many of us are going to ADMIT to loving this movie? Come on, come on, you know you loved it then and you still like it now. This was one of those movies I watched EVERY time I caught it on television as a kid, and I still enjoy it now as one of those guilty pleasure movies. Don't expect an Oscar-winning storyline or deep, meaningful dialogue. This is 80's cinema at its best, so to speak. :) However, there is one seriously great thing about this movie. The scenery! It's downright beautiful, and it's why I keep coming back to it. If you want to sit down for a couple of hours and watch something that doesn't require a degree to interpret, this is your film. Enjoy!

Great looking DVD
Okay, you don't watch this for a magnificient plot nor review it like you would a epic blockbuster. That said, someone at Columbia Pictures must really love this film because the digital transfer is gorgeous, except for the opening credits (which start a quarter hour into the movie) and closing credits: these scenes have a lot of "dirt" on the print. Other than those, it is a flawless transfer. You get anamorphic widescreen on one side and full screen on the other. Subtitles in English, French, Spanish, Portuguese, Chinese(!), Korean(!), & Thai(!!),(evidently the film is big in the Far East). The music score is beautiful and far beyond what you'd expect for this kind of movie. Yes, there is a cheesy model helicopter crash and the horse is painted like a zebra; however, a great looking DVD for a "guilty pleasure" movie. Check your brain at the door and enjoy it. ... Read more

Amazon.com

Fine casting, rugged characters, and authentic military detail make The Bridge at Remagen one of the best World War II action films of the 1960s. Based on actual incidents during the final Allied advance on Germany in March 1945, the story focuses on the U.S. Army's exhausted 27th Armored Infantry, assigned to seize the bridge at Remagen, on the Rhine River, to prevent 50,000 German troops from retreating to safety. Lieutenant Hartman (George Segal) leads the mission, while a Nazi major (Robert Vaughan) defies orders by attempting to hold the bridge instead of blowing it up. With strong emphasis on war's harsher realities, the film features compelling characters who illustrate the camaraderie of survivors and the heroism of mavericks in the thick of battle. Segal and Ben Gazzara effectively convey a hard-won friendship, and the film's dynamic action (filmed in Czechoslovakia and Italy) never overwhelms the story's emotional impact. Highly recommended. --Jeff Shannon ... Read more

Reviews (27)

A well acted, realistic portrayal of a true WWII event
This is a well directed and well acted depiction of the events that happen around and on the last remaining bridge on the river Rhine - the Ludendorf bridge, in Remagen, Germany. Historically, this was the first allied crossing point on the Rhine in March, 1945. In the Spring of 1945 to quell the Western Allies advance on a broad front inside Germany, Hitler orders all bridges on the Rhine to be blown. However, one bridge at Remagen remains intact, being kept open by a handful of Germans to allow their 15th Army to retreat from the Western side. Demolition charges are installed and the order is given to blow the bridge as American infantrymen are ordered to cross and take it. It is one of the better war films, realistic in its portrayal of men trying to go beyond the call of duty, on both sides. To make the film, a nearly identical bridge to the Ludendorf was located in Czeckoslovakia. The occupying Russian troops in 1968 forced the film crew to leave, and the film was finished elsewhere on location in Italy.

Factual Account with Fictional Characters
David L. Wolper's 1969 THE BRIDGE AT REMAGEN closely follows Ken Hechler's best selling acount of the American capture of the railbridge over the Rhine River. The facts and events occuring in the movie are largely factual with actors George Segal, Robert Vaughn and Ben Gazzara adding some fictional depth to the original participants. In fact, the actual names of the real-life combat participants were changed for this film. The latter part of the 1960's and very early 1970's were the golden years for war movies. In those years films like PATTON, TORA,TORA,TORA, M*A*S*H, CATCH 22, THE BATTLE OF BRITAIN and KELLY'S HEROES (To name a few) made names for themselves at box offices. Producer David Wolper, known for the historical accuracy constraints of his productions, undertook THE BRIDGE AT REMAGEN. The Rhine crossing operations were the next logical big screen production. THE LONGEST DAY took care of D-Day. Ken Annakin's 1965 production of THE BATTLE OF THE BULGE had taken on the Ardennes Offensive. The breaching of the Reich's last natural obstacle to the western allies was a logical choice. Teams searched throughout Europe for a site that closely resembled the Remagen area. In the end they found a river in (what was then) Czechoslovakia with a bridge, with set modifications, that resembled the former Ludendorf Bridge in Germany. Additionally, the REMAGEN production team was fortunate in that they were able to film in an evacuated Czech village that was slated for destruction (in order to accomodate strip mining of soft coal). Czech arsenals were full of German weapons and uniforms -- most carefully preserved in the event of a "next" war. Indeed the Czechs still had at their disposal their own version of the German Hanomag half-track. Everything seemed to be going the right way for the film makers. Serious filming began in 1968, but wasn't quite complete before the the Warsaw Pact's 1968 invasion of Czechoslovakia. Before filming was completed the film crew was forced to into a convoy out of Czechoslovakia leaving the majority of their props, weapons, uniforms and extras behind. Fortunately the production team was able to complete filming in Italy with the result that there is hardly any noticeable continuity break in the film. Look for some other familiar faces in THE BRIDGE AT REMAGEN such as war film veterans Peter van Ecke (THE LONGEST DAY, ATTACK), Hans Christian Blech (THE LONGEST DAY, THE BATTLE OF THE BULGE), and E.G. Marshall (CHRISTMAS VACATION). The soundtrack was composed by Elmer Bernstein (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE)and is superbly music for the movie. As war films go, this is one of the better movies about the last months of World War II in Europe.

Good film, but little realism
The film is not bad, for it's as spectacular as one might expect and the budget is not low: but since "Saving Private Ryan" on, genuine military buffs have understood what is that subtle sense of disappointment they feel when watching movies like this: lack of realism, that is portraying war the way it IS and not the way some movie-makers think it COULD or it SHOULD be! Uniforms should look like UNIFORMS and not just COSTUMES, and combat should look like COMBAT and not just ACTING combat. And the same could be said for most war movies of the '50's to the '80's.

The Allies Race to Cross the Rhine
Famous movie producer David L. Wolper has created a fine film about the last days of the war in Germany. The Germans were destroying all of their bridges across the Rhine in the hopes of stopping the Allies from crossing into the heart of Germany. However, one bridge still remained; the bridge at Remagen. The Germans wanted to keep this bridge open as long as possible before destroying it so that 75,000 German soldiers on the other side would be able to escape back into Germany. The allies wanted the bridge as a springboard to move troops and vehicles accross the Rhine and attack the heart of Germany. This movie portrays the struggle of the Germans and Americans over the bridge.

George Segal stars as Lieutenant Hartman, a hard-nosed GI who is given the job of securing the bridge for the Americans. Ben Gazzara stars as Sergeant Angelo, Hartman's right hand man. Together, these two Americans rally their troops against the Germans. On the German side, veteran actor Robert Vaughn stars as Major Kruger. He's given the job of holding the bridge open as long as possible to allow the trapped Germans time to retreat back into Germany, then he is to destroy the bridge before it falls into American hands.

The battle scenes are excellent. The scenes of the two sides firing at each other across the river are perhaps the best scenes in the movie. The battle on the bridge is well-done as well, with the scenes of the German soldiers hanging upside down under the bridge placing explosives especially good.

I enjoyed this movie very much. The battle and action scenes are excellent and the acting is very good, too. History and World War II movie fans should enjoy this action packed movie.

not have engish closed captioned!
what you think that only spanish and french closed captioned in america? that so absurd. i am not spanish or french guy. you got that! i am engish. i am live in america. what if you are america deaf guy and what you will say about yourself? huh mmm let me kow. thanks! here is my e=mail is crs1935@yahoo.com ... Read more

Reviews (22)

Not that bad...
Pointless sequel, they should have left poor King Kong dead. Linda Hamilton (along with a bunch of other doctors) brings ol' King Kong back to life, but this time... somewhere in some jungle, they find Lady Kong, whom they drag to the US... then a strange romance unveils between both Kongs... and on and on.
I'm not surprised why they didn't do a follow up to this one.
Average special effects, but this movie has a haunting musical score.

King Kong might live but he will regret it with this turkey
"King Kong Lives" is so boring that even pre-schoolers will probably get up and wander out of the room on this one to go play with a cardboard box or watch paint dry. It is one thing to make a sequel to a splatter flick where Michael/Jason/Freddy constantly comes back from the dead, but another thing to try and put the same trick with King Kong. Thousands of people die around the world each year because of heart attacks, but working on an artificial heart for a 50-foot ape who has been in a coma for ten years seemed like a good idea to heart specialist Amy Franklin (Linda Hamilton). Meanwhile, in the jungles of Borneo big game hunter Hank Mitchell (Brian Kerwin) finds a female Kong. This is good news because she can provide the blood Kong needs during the operation (let us all think about the world's biggest by-pass machine). Amy falls for Hank because they have so much in common, while the two apes do the same. Needing privacy, Kong and his love flee into the woods where the Army proceeds to hunt them down. The movie makes it seem like it only took the army a couple of days to hunt down two 50-foot apes running loose in the wild, but it must have been many, many months because when the Army catches up with them the female Kong is in labor.

This movie is jaw-droppingly bad. But given that Jessica Lange survived the original "King Kong" remake and Linda Hamilton had some success after this turkey, there is really no reason for any young actress to ever turn a role in one of these films, no matter how bad the script. King Kong's leading ladies do pretty well. The gap between the original "King Kong" and the remake is certainly a lot closer than "King Kong Lives" and the original sequel, "Son of Kong." Sure, that one had the mystery of where was Frau Kong all this time, but that giant hole is nothing compared to the rampant stupidity in this one. The person I respect after watching this film would have to be Margaret Mitchell, who avoided having a sequel to "Gone With the Wind" for half a century. Way to go Mrs. Peggy Marsh!

Mistake On My Part, And The Director's
It's long after Kong fell off the Empire State Building, and all this time scientists tried to save Kong with an arteficial heart. Meanwhile the army finds out about Lady Kong and try to kill both of them. This plot is good but they make the movie seem so boring you want to run away. I was going to get Rodan when I was younger but my mom showed me this and I chose it. Turns out Rodan was 17,000,000,000 times better than this pathetic film. If you want to die of boredom, watch this terrible excuse for a King Kong movie.

Greatly entertaining.
This sequel to the 1976 remake of King Kong is pure cheese, but very entertaining for monster fans! I found it more entertaining than King Kong (1976), and not as long and drawn out as the latter movie.

Highly recommended if you can get a copy of it.

It actually makes the Godzilla movies look good....
1986 sequal to the terrible 1976 remake, finds Linda Hamilton and a bunch of scientists revive Kong with a new mechannal heart, then they find a Lady Kong and the two have a son, all the while the military wants all the apes dead. It really is a cheesy movie with bad effects work. Two actors in terrible ape suits. A lousy music score and terrible acting by everyone. Thankfully they never followed it up with another movie. It's not a key with the recent Godzilla movie that put a supernatural take on the Big G. Bleeech. ... Read more

Reviews (9)

A CHANGE OF PACE FOR SHAFT
THIS TIME, JOHN SHAFT [RICHARD ROUNDTREE] IS FORCED TO GO TO AFRICA TO INFILTRATE A 20TH CENTURY SLAVE CARTEL. I THINK IT'S GOOD THAT THEY TRYED TO DO SOMETHING DIFFERENT WITH THE SERIES. THOUGH IT STILL PALES IN COMPARISON TO THE ORIGINAL, IT'S STILL A DECENT ACTION FILM.

Bravo for Shaft!
Shaft does it again! He brings his street sense to Africa and woos an African princess in the process...and right under the watchful eye of her bodyguard! Too smooth! I was actually craving for more after this one...who knows, he might have done the same in Europe had more had been produced! Richard Roundtree was truly one of the hottest names in the business at that time as John Shaft. Get the other two as well to complete the collection ("Shaft" and "Shaft's Big Score").

Worth it for one line
Shaft is discussing an impending female circumcision with the African princess and suggests "We put a little wear and tear on that thing before they cut it off". SMOOOOVE

John Shaft Plays James Bond in Africa
Though the second sequel to "Shaft," there's no remaining trace of the first two "blaxploitation" films. "Shaft in Africa" looks more like a big-budget 007 film, and instead of Roger Moore, put Richard Roundtree in the hero's role.

The pair of director John Guillermin and writer Stirling Silliphant will definetely reminds you of "Towering Inferno," pinnacle of the "disaster movies" in vogue in the 70s, and "Shaft in Africa" has the same feeling -- it is packed with actions and violence, plus costly set (or shots on location). This time Shaft, in order to stop the modern-day slave trading in Africa, has to endure a chains of brutal attacks from enemies and the scorching heat of Afraica. The globe-trotting story leads him from NYC to Ethiopia, and then to France. And Shaft doesn't forget that he is THE sexy guy; Shaft's love is played by beautiful princess Vonetta McGee, and he even spends a good time with a white girl in bed.

If you expect "blaxploitation" films in "Shaft in Africa" you may be diappointed. It is no longer that. The total tone is nearer to films of James Bond (to which Shaft refers briefly) and actions never stop coming on screen between Shaft's one-liners. As far as the actions are concerned, it never lets you down, and you will see unique things here and there that you can find only in the 70s: in one scene Shaft, completely naked, proves that he can do stick-fighting (!).

Overall, "Shaft in Africa" is a good action film. Often its violence is excessive, but the film's pace is always slick and Roundtree plays convincingly the cool and sexy hero. There is no more Isaac Hayes theme song, but Four Tops's great song will make you forget that. And don't miss the airport scene in which Shaft has to take a photo with a lion. This lion (of course, he is a real one) is audacious enough to give him a quick, threatening look to him. Shaft (or Roundtree) doesn't look happy about that.

Please don't say it so loud!
I love bad movies and cult movies and all those groovy flicks from the 70's...but this was beyond bad. C"mon! I expected so much more from our favorite "Bad Mother [shut yo mouth!]..." ... Read more

Amazon.com

Remembered dimly as Peter Sellers's only venture into "serious" acting, Never Let Go has a lot of other things to recommend it, mostly because it manages to include a lot of the lurid elements that gained it an X rating in 1960. It has a near-demented melodrama plot, as two desperate obsessives collide in a bizarre feud. Richard Todd, doing meek and put-upon, is a sales rep for smug Peter Jones's cosmetics firm whose life is turned upside down when his car is stolen by Adam Faith. Looking like an inhabitant of Royston Vasey in The League of Gentlemen, Sellers plays a grinning small-time crook who runs a legitimate garage that serves as a front for the car thieves and is sugar daddy to teenage tartlet Carol White.Typical of Sellers's demonic rottenness is a scene in which he breaks down-and-out Melvyn Johns's heart by stamping on his beloved terrapin. "Peanut" Todd's crusade to get back his auto (catchphrase "what about my car?") brings trouble too: he gets repeatedly beaten up, abandoned by his wife (Elizabeth Sellars), and dragged to the edge of madness for a final punch-up in a garage. With a delightfully sleazy, jazzy John Barry score, lots of the color of criminal London circa 1960, and a parade of welcome character actors (John le Mesurier, David Lodge, Noel Willman, Nigel Stock), Never Let Go has its soapy spells, but it's a fascinating relic. --Kim Newman ... Read more

Amazon.com

Based on the bittersweet stage comedy by Jean Anouilh, Waltz of the Toreadors is graced by the superb performance of Peter Sellers as a celebrated British Army general whose retirement, just prior to the outbreak of World War&nbsp;I, leads to a midlife crisis that's both comedically rich and dramatically compelling. Faced with the horrifying prospect of retirement with his wealthy, shrewish, hypochondriac wife (Margaret Leighton), he findshimself lost in the fond memory of his platonic affair, 17&nbsp;years earlier, with the beautiful French girl Ghislaine (Dany Robin), whom he has never forgotten. When Ghislane surprisingly reappears with a desire to consummate their past relationship, the general must postpone their rendezvous and suddenly finds himself competing with his young aide, who has managed to steal Ghislaine's heart during the general's brief absence.

This tale of a bruised male ego, the vanishing of youth, and the delightful persistence of amorous impulse allows Sellers to pursue a brilliant combination of light comedy and emotional depth. The actor's appearance in a chubby bodysuit and aging makeup completes the picture to flawless effect, but as played by Sellers, this frisky hero is far from past his prime. Shifting gracefully from fuming frustration to mischievous romance, Sellers (with an assist from director John Guillermin) succeeds in giving the film the crucial balance of humor and sadness that Anouilh intended. A pure delight right up to its hopefully upbeat ending, Waltz of the Toreadors is the kind of literate, clever, revealing look at human behavior that never goes out of style. --Jeff Shannon ... Read more

Reviews (2)

One of the best movies ever made
In my humble opinion this is one of the best movies ever made.

Of course it is a funny movie - Peter Sellers is a genius, but this picture is art, and literature as well. The story, the casting, all excellent.

Waltz of the Toreadors is a brilliant metaphor for this story - man without God, stuck in a dizzying dance of his own passions and fears. Life can be wonderful, and yet troubling and depressing. This movie explores the great question - what is the meaning of life? Is it "the urge - because life without the urge is unthinkable." Can the soul be satisfied? This is a serious movie, yet wholly entertaining and funny. The theme is for adults, although the movie is clean with regard to language.

I recommend this movie to you.

A very satisfying film
A very enjoyable film. It's both a comedy and a drama. Peter Sellers gives a wonderful performance which binds the film together. It was adapted from a play by Jean Anouilh (remember Becket?), and it's a very enjoyable film. But I have a single caveat - there are some early parts of the film where you may be disappointed by the dramatic nature of the plot, but if you just keep watching, you'll find a film that's both funny and moving - and there aren't many of those! I think the ending must be the most touching of any of Sellers' films. ... Read more