Reviews (55)

Not made for the small screen
Like IMAX films released on dvd...what's the point? This was made for the biggest movie screens ever conceived.

I was lucky to see this film a few years ago in genuine 3-strip CINERAMA on an archival print from the original release. On the big screen it's an amazing experience. The uneven story fades away when one is viewing the spectacular cinematography. CINERAMA captured vast scenes in incredible richness and detail. It's an experience like no other.

On the small screen at home you mainly notice the technical flaws, the borders between the three separate images, and also the dated 1960's Hollywood "Old West" story. (Carroll Baker's makeup is never smudged, even when tilling the soil.) The first two segments are the best dramatically.

One aspect that is still great at home is the magnificent score by Alfred Newman. So save your money, buy the soundtrack, and head to Seattle, LA, or England or where ever you can find an exhibition of the real CINERAMA.

America's own "Triumph of the Will" -- Leni would be proud!
In a remarkable coincidence, the same day I saw "How the West was Won" at the Seattle Cinerama (03/01/03), the History Channel aired a program on the history of the wheel. One of the talking-head experts opined that the wheel's invention marked a fundamental change in human thought -- not only was there a technological solution to every problem, but nature could be bent to human will, forced to reveal her secrets and serve us.

This is the theme of "How the West was Won." It starts with the title, and extends to nearly everything in the film. The narration tells us that the land had to be wrested from nature and from the "primitive people" who inhabited (and by implication, infested) it. The chorus is continually singing about how "we're headed for the promised land" and those who are willing to work hard will be richly rewarded (except the Chinese railroad laborers, of course). We were justified in overrunning the continent because we are actually "doing something" with it -- as opposed to the Indians, who merely lived there in harmony with nature. Not having invented the wheel, they saw no further possibilities.

James Webb's script acknowledge the culture clash between the Americans and the native peoples, recognizing that the latter will have to eventually change or be destroyed. But this is peripheral to the celebration of the industry, hard work, and sacrifice of the Americans, who "tamed" the wilderness. The film ends with a nausea-inducing flyover of the California freeways (I sat next to a guy who'd taken Dramamine in anticipation of such scenes), followed by a flight under the Golden Gate bridge, firmly and unambiguously driving the point home.

"How the West was Won" is social propaganda, plain and simple. It's the kind of film that could change Osama Bin Laden's mind about destroying the US. (Maybe the State Department could arrange a screening...)

As a movie, there's no denying "How the West was Won" is wildly entertaining. Simply as cinematic spectacle, it works magnificently. There are films (such as "2001" and "Lawrence of Arabia") that even the finest video transfer cannot do justice to, and this is one of them. Sitting in the first few rows, you're so close to the screen that you can't take in all of it at once. When the camera tracks into a scene, the sense of physical motion is uncanny. (Can you say "stimulation of peripheral vision"? Sure you can.) And if you haven't seen a buffalo stampede, or a train crash, or a row of cannons firing in sequence on a (roughly) 30' by 90' screen -- well, you haven't lived, cinematically-wise.

Story-wise, there's so much material to cover the script cannot begin to do it justice, even in a film lasting 2½ hours. Characters are more types than individuals, and almost every performer is cast to type. (Eli Wallach, in particular, gets to do his "crazy Mexican outlaw" shtick, though without an accent.) It's only the efficiency and focus of the script that keeps the actors from looking altogether foolish. Other than (perhaps) Karl Malden, no one gives what would be considered a "real" performance.

The plot (which follows the Prescott family and its descendents over 50 years) is concocted to make Debbie Reynolds' character the sort of farm girl who wants to run off to the big city to become rich, so we're treated to several (mercifully brief) song-and-dance numbers. Her sister is played by Carol Baker, who falls head over heels in love with Jimmy Stewart's "aw-shucks" mountain man, and later "tames" him (as the film's conceit requires). The rest of the film rehashes just about every cliché of westerns and Civil War movies -- though entertainingly. The final sequence posits the "conquest" of the West as occurring when "the law" (in the form of George Peppard's marshall) arrives, to establish justice. But Peppard -- who says he wants to bring the bad'un to justice in court -- shoots him to death, anyway.

My five-star rating acknowledges this is a classic film -- not necessarily a great one.

I can't pass up the opportunity to trash Pauline Kael, who was not so much a hard-nosed-but-movie-loving critic as she was an empty-headed, loudmouthed [female canine]. Note how she uses the artistic limitations of a single sentence to craft a thoughtful, insightful commentary that will help the reader better understand this film...

"'How the West Was Lost' would be a more appropriate title for this dud epic, since, as conceived by the writer, James R. Webb, the pioneers seem to be dimwitted bunglers who can't do anything right."

Hello? Were we watching the same movie? "How the West was Won" might be politically incorrect, dramatically shallow, and little more than agit-prop -- but it's no dud. The Seattle audience -- which included many people sporting "No Iraq War" buttons -- just ate it up. "How the West was Won" is Hollywood middlebrow-populist entertainment at its best.

One final question... Where did they find a stunt man who looked like Agnes Moorhead?

Wake me when it's over
I kind of figured television was responsible for this... movie. HOW THE WEST WAS WON dvd comes with a featurette on the making of the movie, in which we learn that the movie studios developed the Cinerama process (three cameras shot the movie which was projected onto three specially designed screens. Think IMAX) to present an alternative "viewing experience" to compete with television.
Watching this on television, even in a letterbox edition, is excruciating. There are visible bars where the three screens meet. Often the color in one screen doesn't jibe with that of the adjoining screen.
Those defects could be corrected by digital manipulation, I suppose, but what's the point? The Cinerama screen was meant to wrap around the audience and a television screen is flat. What can't be corrected is the lack of close-ups and a surplus of dead space.
Almost all the action takes place in the center panel, and the closest we get to the action is in a medium shot. Most of the time there's nothing happening on the edge panels. Two-thirds of the screen is dead. The only time Cinerama seemed to shine was when chaotic action was swiftly coming at the audience, which is why we are so often treated to onrushing trains and galloping horses and stampeding buffalo shot from a camera in the ground. I think it would have taken a visual genius the likes of a Busby Berkeley to exploit Cinerama's potential without having to open the paddock.
The featurette also tells us HTWWW had a cast of 12,000. I guess maybe a dozen of them weren't miscast, but that's just a guess. The movie opens with Jimmy Stewart, out of character as mountain man Linus Rawlings, canoeing along a river while Spencer Tracy narrates over the action: '(The land) known only to the lonely trappers wandering its vastness in search of beaver...' One and a half scenes later Linus skids his bark next to the Prescott campsite and gives Carroll Baker a pelt to stroke....
Okay. I was bored. What can I say? At least I was paying attention. When Debbie Reynolds delivers a rousing rendition of 'Raise a Ruckus' for the despondent members of the wagon train I wasn't paying much attention at all. By the time Eli Wallach was glaring daggers at George Peppard's kids I was wondering whether or not one should fill in that little hole in the middle of a dvd when you make it into a coaster.

Middling story and atrocious transfer
I like westerns. My favorite entries in the genre are spaghetti westerns, those cheap, ultra low budget Italian takes on the American West. I always try to fit some of these movies into my viewing schedule, and when the day came where I considered it time to watch Sergio Leone's epic "Once Upon a Time in the West," I headed out to rent it. Imagine my surprise when I got home and saw that I inadvertently checked out "How the West Was Won" instead. I scratched my head, not familiar at all with the title. After all, I like westerns but I don't know a lot about the genre or the films I have yet to see. When I saw the cast list for this 1962 movie, I decided not to take it back without watching and seeing if I liked it. I think I would be remiss to have skipped this one on initial impression alone; the cast list reads like a "who's who" of mid twentieth century Hollywood. You've got Carroll Baker, Lee J. Cobb, Agnes Moorehead, Jimmy Stewart, Henry Fonda, George Peppard, Debbie Reynolds, Eli Wallach, John Wayne, Richard Widmark, Walter Brennan, Karl Malden, Carolyn Jones, Harry Morgan, Raymond Massey, and Robert Preston filling the roles. Spencer Tracy voices the narration. Howard Hawks and John Ford directed specific segments of the film. What a list of talent! Couldn't go wrong with a movie like this one, right? Wrong.

As amazing as it seems, "How the West Was Won" is not a very good experience. The movie runs for an eternity as it attempts to describe the different experiences in settling the American West. At the beginning of the film, the Prescott clan heads out to the West in search of farmland and a new beginning. Zebulon Prescott (Karl Malden), his wife Rebecca (Agnes Moorehead), and two daughters Eve (Carroll Baker) and Lilith (Debbie Reynolds) travel down the recently completed Erie Canal and travel out into what Illinois or Missouri. Along the way, they encounter a traveling fur trapper named Linus Rawlings (Jimmy Stewart), who stays with the family for a day or so, just long enough to fall in love with one of the daughters. After Zeb and Rebecca perish in an unfortunate rafting accident, Rawlings reemerges to take care of Eve and eventually establish a farm at the sight of the accident. These two will have children-one named Zebulon Rawlings (George Peppard)-who will eventually fight in the Civil War. Zeb Rawlings then leaves the family property to his brother as he moves further west fighting Indians for the railroads and working as a law officer. He ends up thwarting a nasty train robbery in Arizona some fifty years after his grandparents expired on that raft.

The other daughter, Lilith, ends up in St. Louis working as a dancer and actress when she learns that she inherited a gold mine in California. As she prepares to head west, a slick card shark named Cleve Van Valen (Gregory Peck) convinces Lily to take him along. There's a minor competition for Lily's affections between Van Valen and Roger Morgan (Robert Preston), another guy on the wagon train. The gold mine doesn't pan out in the end, so Lilith and Cleve end up falling in love and marrying, eventually going on to build and lose several huge family fortunes. Of course, Lily's travels to the coast are fraught with perils, such as an Indian attack on the wagon train and a song and dance number at a campsite. I kept hoping the filmmakers would insert a Donner Party type situation that would require Gregory Peck to consume either Robert Preston or Debbie Reynolds, but no such luck. In any event, the movie seems to focus more on the Rawlings clan than it does on Lily's experiences.

Sadly, many of the great actors in the movie rarely appear. Raymond Massey plays Abraham Lincoln, John Wayne and Harry Morgan are General William Tecumseh Sherman and General Ulysses S. Grant respectively, and Lee J. Cobb is a Marshal in Arizona. Even Eli Wallach as an outlaw is a ghostly shadow of the villain he played in Leone's "The Good, The Bad, and The Ugly." The huge cast list highlights the central problem of the film, namely that the filmmakers tried to do too much. Very few of the characters we see receive proper development. The focus here is on shock and awe photography and scenery, not the individuals taking part in the events. "How the West Was Won" was the first film shot in Cinerama, and, I think, a prime example of how Hollywood abuses a new technology. We see the same thing going on today with the CGI effects in those top-heavy special effects bonanzas. Everyone wants to use a new cinematic technique, so much so that they rely solely on the effect and lose sight of the human element. A bit less spectacle and a lot more interaction between the cast would have helped this movie succeed.

I hate to say it, but the DVD version of this film could use a lot of work. You can literally see the two lines dividing the picture into three segments in the transfer. Not only is this enormously annoying, it's completely unacceptable. I can't believe the studio techs couldn't release a seamlessly restored version of this film. The disc does contain a short documentary detailing the Cinerama process along with a few bits about the stunts in the film, but the shoddy picture quality of the movie will dampen your enthusiasm for any extras. I imagine some people would like the actual movie better than I did though no one should settle for the poor transfer. I suggest waiting for a special edition disc.

Needs a better format, anamorphic
I saw the film in LA, at the original Cinerama, in the original
showing. This film is not going to be right until shown in
HDTV (HD-DVD), but for Pete's sake, why letterbox ?

What a trashy way to treat this classic. Stick a crowbar in your
wallet and spring for an anamorphic release. When the HD-DVD with
proper restoration shows up, I'll buy a copy of that, not rent. ... Read more

Reviews (45)

True Grit-True Hit!
John Wayne scores big points in this memorable western. He won his only Oscar for his larger-than-life portrayal of the drunken, overweight, and completely fearless one-eyed Marshal, Rooster Cogburn. It's not hard to tell that Glen Campbell is an amateur when it comes to acting, but he in no way ruins the film. Kim Darby is terrific as Mattie Ross, the little spitfire girl who gives even the Duke almost more than he can handle.

Robert Duvall and Strother Martin almost steal the show themselves as villians you'll love to hate. Although Duvall's character does expose a sensitive side near the end of the film, he is still an outlaw, and his thirst for revenge against Cogburn ultimately gets the best of him.

Campbell's character suggests the brash, arrogant, inexperienced macho man who is really more talk than walk, while Darby's character is defiant even in the face of pure evil. In this respect, the two characters are a bad complement, but that's precisely why they are so entertaining. The many confrontations and disagreements that Campbell and Darby's characters have throughout the film even provide a bit of comic relief to the Duke's hard-lined, albeit amazing, performance.

All in all, if you want a movie with larger-than-life heroes, villains that are dirtier than a sandbox after a rainstorm, and just a bunch of great actors in a great movie, look no further. One of my all-time favorites, and I'd recommend it to anyone.

Entertaining late era John Wayne western
True Grit is an entertaining western starring John Wayne as Rooster Cogburn, a US Marshal, who is enlisted by a murdered man's daughter played by Kim Darby, to track down and get his killer.

Wayne is excellent as the ornery Cogburn. There is real chemistry between he and Kim Darby, and that chemistry really propels the movie along towards the great climax at the finish. Kim Darby does a fine job as Mattie Rose. She's a no frills by the numbers young women and her run-ins with the men in "True Grit" make for some very fun viewing.

Glen Campbell is adequate as the Texas Ranger who is involved in tracking the same killer, but he's a bit wooden and a different actor might have brought more to the role. There is also a wonderful supporting cast. Look for Strother Martin, hilarious as a suffering horse dealer who must deal with Mattie and also Robert Duvall and Dennis Hopper.

"True Grit" delivers some decent fun and entertainment. If you enjoy westerns and John Wayne you won't be disappointed.

western masterpiece
This is only the second wayne movie I have ever watched. So I basically went into it with my eyes wide shut. This is a remarkably likable movie in which I think co star kim darby steals the show! This movie had alot of funny one-liners that were very witty. I figured this movie would be just like all the rest of the westerns I have seen, but this one stands out. John Wayne won an oscar for this movie. Very impressive!

"Baby Sister"...and..."The Big Fella".....
This review refers to the Paramount(Widescreen Collection) DVD edition of "True Grit"...

A great big nod to Paramount for giving us The Duke's Academy Award winning role as "Rooster Cogburn" on this superb DVD. This fabulous Wayne western from 1969 looks immaculate. Presented in widescreen, the picture is clear and sharp, and all the beautiful scenery in Technicolor is glorious.The sound in DD2.0(MONO) was surpisngly good as well.(Could be great in surround though).If you love this film, John Wayne or a great western, grab this one up!

The story for those that may have missed it, is very adventurous as well as highly amsuing. Rooster Cogburn is a take no prisoners U.S. Marshall. That's not all he is though...he's an old, overweight,brash drunkard. But he's got 'grit'. And that is exactly what young Maddie Ross is looking for when she hires him to go after the man who killed her father.Maddie(Kim Darby), now affectionatly called "Baby Sister" by our guy, is also a take no prisoner's kind of gal..but not exactly in the same way as Cogburn is. Maddie is a proper young lady, who's family "has property", and brandishes her lawyer as her weapon of choice. And what's more..she's going along on the hunt for this bad guy who has joined up with a group of some really bad hombres. Also in on the ride is an inexperienced but gung-ho Texas Ranger(Glen Campbell)who Maddie is immediatly at odds with.The sparks fly as this trio hits the trail.

John Wayne IS Rooster Cogburn.Rooster Cogburn IS John Wayne. The Duke delivers the lines as only he could.There's a great scene, where a drunken Cogburn falls off his horse, flat on his face, but yet doesn't spill a drop of the open whiskey bottle he holds.Later on you'll thrill to seeing him riding in, guns blazing in each hand as he goes after the bad guys.It's pure Wayne! The bad guys by the way are legends in themselves, Robert Duvall and Dennis Hopper among them. Strother Martin also adds to the fun going toe to toe with Maddie on a horse deal. Elmer Bernstein provides the glorious music, and Campbell sings the title song. Directed by the great Henry Hathaway, it's a film filled with immense talent.

It's fun and adventurous and is rated G, but there are some scenes that may be a bit too violent for younger viewers.
The DVD also includes English Subtitles for hearing impaired viewers. There are no special features, but for me, seeing this film restored so beautifully, having The Duke looking so great on my screen was bonus enough.

Saddle up with "The Big Fella"...and enjoy...Laurie

This is one of Wayne's best!

This is typical John Wayne, in his later years, and one of his best. I think his best was The Shootist, perhaps closely followed by The Quiet Man.

The supporting cast, played by Kim Darby (Mattie Ross), and the villainous Robert Duvall, and Dennis Hopper as a young Texas Ranger was a good foil for Wayne, played their parts admirably.

This was great entertainment, with John Wayne playing John Wayne (as he always did, with only the name changed to protect the guilty.)

If there is anyone left who has not viewed this film, it is trime you did--perhaps even for the second or third time.

Joseph (Joe) Pierreauthor of Handguns and Freedom...their care and maintenance
and other books ... Read more

Reviews (12)

John Wayne, Stewart Granger & co. shine in Alaskan adventure
The tremendously entertaining "North to Alaska" is easily John Wayne's most light hearted and fun filled movie and is wonderful viewing for all ages !!

Henry Hathaway's lively film is loosely based on the play "Birthday Gift" by Ladislas Fodor and Hathaway shows a wonderful hand in the romantic, comic nature of this film.

Confirmed bachelor Wayne and love lorn Grainger strike it rich in Nome, Alaska at the turn of the century and there begins all there problems. Wayne returns to Seattle to bring back Grainger's fiance, finds she has married another man, and ends up in a dance hall and brings back to Nome the glamorous Capucine (she was a knock out in her day !) for Grainger, but the big Duke falls for her womanly charms himself ! Songster Fabian is loads of fun as Grainger's overly amorous kid brother, Billy...and noted funnyman Ernie Kovacs is slick conman Frankie Cannon...eager to get his hands on anyone's fortune. And Johnny Horton's resonant voice sings the title track to the movie !

Henry Hathaway often got the best out of the Duke on screen, and if you never thought screen tough guy John Wayne could be funny...see this film...the honeymoon cabin sequence with cunning Grainger and reluctant Capucine stirring up trouble with an irate Wayne listening is simply priceless !

Watch closely during the all out brawl in the snow and the mud at the conclusion of the film where Wayne cops a hit on the jaw, falls backwards, and his toupee flies off !

Fun, action & romance..."North to Alaska" has got it all !

The Duke......
It's the Duke. What more can I say. John Wayne was one of the most wonderful actors that ever existed. North to Alaska has incredible scenery, memorable music and quite an interesting cast. The fight scenes are hilarious. The romance is so French and refreshing. There truly is something for everyone in this movie. As was said in "Rio Lobo" with John Wayne, he's just so comfortable.

John Wayne Strikes Movie Gold!
They must have had a blast making this movie, set in the snowy mountains of Alaska during its exciting boomtown days. Complete with romance, hilarity AND and some really fabulous fist fights, North to Alaska is definitely one of John Wayne's best.

Claim jumpers, love triangles and power plays keep best friends Granger and Wayne on their toes, and almost at each other's throats, and right smack in the middle of it all is a delectable French lady named Capucine. Her cap is set for Wayne, but she soon finds out he's one of the most mule-headed men in Alaska!

Capucine really shines in her comically romantic role. As she employs all of her feminine wiles you will actually find yourself rooting for her! Granger and Wayne are fabulously paired up in this movie as partners, especially since they are exact opposites. This film has it all - love, laughs and lots of exciting action. A definite gold mine.

We Go North - the rush is on!!
Great fun here in gold rush fevered Nome sees John Wayne as his inimitable self playing (suprise suprise) himself aka Sam McCord the man's man in gold country. A gentle comic tale sees him return to Seattle and bring back a girl for his lovesick partner played superbly by Stewart Granger. He begins to regret this trip, and task after the initial maiden he is sent to fetch has unexpectantly married whilst Granger was away panning for Gold, and he must quickly find a replacement. Add in some claim jumpers, a romantic subplot, a greedy villian and the ever present sandpaper like comic tension between the main characters, and the end result is a real treat. With an excellent supporting cast, great scenery and nothing too serious to get excited about, this is quality family viewing. The location alone precludes the usual Wayne western formula, but the action and laughs come thick and fast. A great classic. Enjoy

My favorite John Wayne film!
"North To Alaska" caught my attention when I first heard the title song by Johnny Horton. I decided to watch this film, considering I like John Wayne and his movies. There's a lot of what anyone who enjoys a western comedy; John Wayne, of course, a humorous good-natured storyline, funny antics, and fisticuffs. There aren't many gunfights, just fistfights, with sucker punches here and there. Wayne is Sam McCord and is sent by his partner George Pratt (Stewart Granger) to Seattle to bring back his love, Jenny. However, she has married someone else. Sticking around Seattle, he finds a dance hall girl named "Angel", played by French model-actress Capucine. Can George accept her in place of Jenny? Find out for yourself. If you're a John Wayne fan, it's a must! ... Read more

Reviews (13)

Grand old-fashioned Cinemascope entertainment
20th Century Fox Home Entertainment released this DVD on May 11, 2004. For anyone who's a fan of the Cinemascope era of the studio, this DVD is a must have. The movie itself is a silly contrivence of the time, based on a popular comic strip, as the illustrations during the main titles show, but it's all well-mounted with excellent photography and a Franz Waxman score that's a prime example of how a composer can really elevate the atmosphere and pace of a movie. The depiction of the era of the story is cardboard, with everyone and nearly everything looking too pretty and well-manicured -- no grubby surfs are anywhere to be seen, and even the comicbook Vikings are too clean -- but it's fun at its own level, even if today the movie's pace is a bit slow. My only complaint is that top-billed star James Mason isn't in more of it. The actor and his character are far more interesting to watch than the story's protagonist and the stiff, young Robert Wagner sporting a silly wig!

Fox has done a decent job of restoration on this 1954 Technicolor film. While the look is dated and the film stock is more grainy than we're used to today, the majority of it looks remarkably good. I suspect much of it was newly struck from the black and white color separation masters, but the frequent lap desolves have the second generation look of excessive grain and poorer color fidelity. There's one bad anomaly in the transfer at 24min.15sec., a 15 second shot that looks to be third generation. It's soft, grainy and blocked-up. Except for a couple rear projection shots elsewhere in the movie, nothing else in the transfer looks this bad. Otherwise this is a fine looking 16X9 anamorphic DVD of a vintage Cinemascope film.

Originally this movie was presented in some theatres in 1954 in 4-track magnetic stereo. Here, what survives of the stereo tracks is presented in Dolby Digital 2.0 (not 5.1 as stated in another review here). I'd have preferred if Fox had gone to the efforts of doing a proper 4.0 transfer, but the stereo still sounds good, with the directional dialogue of the era intact, though it can be a bit distracting when left and right speakers are too far from the screen (in theatres the speakers would of course be behind the screen). I found I had to raise the dB level of my rear surrounds to +10 in order to bring out the ambient sound of the film, mostly reserved to the music, but at 1:27min.21sec., when pig fat is used to light fires during the siege of the castle, the mono surround did come alive with fire noise and that was fun.

I'm only giving this DVD three stars because Fox didn't have enough faith (and they may be right) in this library title's marketability to include a commentary track by star Wagner, or a least some feature on the film's production history, and because the sound wasn't remixed for 4.0, but if you're a fan of such films I highly recommend this DVD.

A Viking prince joins the Knights of the Round Table
The Sunday comic strip character gets the CinemaScope treatment and is an entertaining film with plenty of marquee names to attract more than passing interest. The movie holds up quite well 50 years after its release and tells the story of a Viking prince who seeks to overthrow an imposter who has seized the throne of Scandia from his father and return it to King Aguar. Robert Wagner is perfect as the determined and resourceful "Val", as the smitten Aleta [Janet Leigh] calls him, Sterling Hayden is fine as Sir Gawain, the stern but dedicated mentor to the "Viking knave", and the excellent James Mason's suave, polished and calculating Sir Brack has dark, sinister shadings. The film has plenty of action and derring-do, romance, jousting matches at a tournament, palace intrigue, a large-scale battle at the castle in Scandia and an excellent fight with broadswords between Valiant and the Black Knight at the end of the movie. Excellent color photography, realistic sets, beautiful scenery and Franz Waxman's brooding score round out a first-rate film production.

Fun Americanized Arthuruan Adventure!
"Prince Valiant" is a fun, colorful adventure yarn from 1950's Hollywood. It isn't very faithful to the tone or style of Hal Foster's groundbreaking and beautiful comic strip but is far above the average swords'n'armor pic of the era.

Lacking the style of Curtiz's swashbucklers, the solid scripting of Thorpe's "Ivanhoe" or the visual panache of his stunning tribute to the Brandywine illustrators, "Knights of the Roundtable", "Prince Valiant" packs in lots of well executed, wide-screen action, terrific set pieces, wonderful costumes and attractive landscapes.

Done with a straight American accent (apart from James Mason's stage-villain turn as the traitorous Sir Brock) it often reminds one of George Lucas's "Star Wars".

I've shown this to alot of kids & they all love it. Presented in its original 2.35.1 aspect ratio from a really clean print, it looks remarkably good considering it's a B-picture from half a century ago.

Oh, it also stars the wonderful Donald Crisp ("National Velvet", "How Green Was My Valley"). Overall, a steal for the sell-through price. Enjoy!

I'm eleven again
As soon as I began this DVD, I found myself setting in the massive RKO Keith's theater in Downtown Dayton, Ohio. The reason I purchased the disk was for that reason. I am 100% satisfied for in that department.

The film score by Franz Waxman is perfection. It is dramatic and fun. As an adult, I wish that the transfer had been in Dolby 5.1.

The performances are appropriate for this film except for Mr. Mason who does no wrong.

I would like to add that the sword fight at the end of the film is of equal to the excitement found in the final duel in Scaramouche.

SWORDS AND SASHES - AND LOVE THAT HAIR CUT!
Director, Henry Hathaway's film version of cartoonist, Hal Foster's Scandinavian hero, "Prince Valiant" is one of those over-blown, wacky-tacky epics that is impossible to take seriously, but so much fun to watch. Robert Wagner is the rather effeminate looking title character who takes Camelot by storm. Determined to regain his own throne, Valiant uncovers the treachery of the Black Knight (James Mason, in a toss away role) and challenges him. Of course, there's also time for love with bombshell, Princess Aleta (Janet Leigh - who quite often found herself squeezed into a corset during her 1950s film tenure.) The film veers between comic book pulp and self-conscious seriousness, but Hathaway's direction ensures that neither become the vice to sink his epic. Brian Aherne (as a credible King Arthur)and Sterling Hayden (a not so credible, Sir Gawain) costar.
THE TRANSFER: Pretty good. Colors are generally bold, vibrant and well balanced. Flesh tones seem a bit pasty but that's in keeping with early Cinemascope/Eastman color dye transfers. Shadow, contrast and black levels are generally solid. Rear projection photography is more obvious than it should be. Pixelization and edge enhancement are present but do not terribly distract. The audio is 5.1, delivering a nice spread in the music tracks. Dialogue is not natural sounding, but again, this was usually to be expected for the vintage of the film.
EXTRAS: Sorry. Nothing but the film.
BOTTOM LINE: This prince is worth a second glance, but its not quite as glamorous as, say "Scaramouche" so much as it belongs as the bottom half of a double bill at your old-time drive in. ... Read more

Reviews (11)

Henry Hathaway Special!
A Classic of sorts in that Henry Hathaway was making films like these( Kiss of Death) , that were shot on location.

This time its in the Chicago area and very ethnic story telling this film really is. Richard Conte plays one of the "two" convicted of murder. His mother slaves away at mopping floors to come up with money to pay an attorney to help her son ( Conte)

Another peerless performance by Stewart probably the most versatile actor ever( Probably? ) Here he plays the newpaper reporter drawn in to the drama in trying to exonerate ( Conte) Frank Weicek.

Dark alleys, old houses , trash cans cant stop Stewart. Betty Garde plays ( Wanda Skutnik) , the supposed eye witness who Stewart feels is lying.

Filmed in pure documentary style, It would be interesting to observe the events on screen if this was during the Mayor Daly period in Chicago Fine acting by all.

Chicago Reporter Seeks Truth in Policeman's Murder
Jimmy Stewart stars as James McNeal, a Chicago newspaper reporter assigned to investigate the Prohibition-era murder of a policeman. Two men - Frank Wiecek and Tomick Szaleska - were convicted and sentenced to prison terms of 99 years.

But Wiecek's mother Tillie, a Chicago scrubwoman, has raised five thousand dollars scrubbing floors in the hope of reopening the murder investigation. Her ad in McNeal's newspaper catches an editor's eye and McNeal is assigned the story. Eleven years after the trial, Tillie Wiecek tells McNeal, "My boy is innocent."

McNeal is skeptical of the story and he doesn't like the idea of "freeing a cop-killer." But he digs further after his initial story attracts a lot of reader interest. The film dramatically depicts his dealings with the courts, the police, and the Illinois Parole Board. Director Henry Hathaway used real Chicago locales to give this film its black and white grittiness. Stewart gives a fine performance, helped by an able cast and an interesting story. Fine film, worth seeing.

Stop the Presses
For my money this is the best film ever made about American journalism. James Stewart is a staff writer made cycnical over the years by the grubby sensationalism and shallow hackwork that fills most American newspapers. When he actually latches onto a case of genuine injustice it's an episode that transforms his life almost as much as that of the convict he's trying to free. This is certainly director Henry Hathaway's masterpiece and he has never been given sufficient credit for it. The straight-on realism he achieved filming on location in Chicago has rarely if ever been equalled in the American movies in my view, and no effort was made to clean up the untidy skeins of the story either as Hollywood was wont to do. For instance, nothing was done to free the man unjustly convicted along with Richard Conte's character, around whom the story revolves. If you were to make a list of Stewart's 4 or 5 greatest performances this would have to be on it. He uses methods both praiseworthy and ugly to get what he's after and no American movie actor ever brought home that kind of mixed morality better.

ignore John Grave`s review
This is a good film for any jimmy stewart fan.His acting is top-notch as usual.

No passion, no surprises
Realistic, documentary-style recreations are one thing, but call Northside 777 falls off the mantle.

Sorry, guys, I give thumbs down on this one. This film is directorially unimaginative, the dialogue is lousy and lacks spontaneity, and a stone cold soundtrack almost totally devoid of music make Call Northside 777 a film I would rather have missed.

I am a serious fan of Lee J. Cobb and James Stewart, so I really can't fault the casting at all. The actors are appropriately cast in their roles; they make a great pair. But the director kind of plods along, the first half of the film so cumbersome, so utterly predictable. The emotional impact "hits" seem especially ill timed.

Henry Hathaway fails to plant any questions in the audience. In short, Call Northside is not a "whodunit", but rather a "Who- didn't-dunit"

Maybe the film editor blew it. But more than anything else, it's the lack of a score, a lack of passion, a lack of flow; cold, analytical, sluggish. Maybe this film could have been great if Alfred Newman had been cut loose to do something creative. But this time out, the composer seems to be in a straightjacket, and I doubt it was his choice. Someone taped up Newman, I swear it.

What this film needs more than anything else is a score. A score to richly stir the emotions: paranoia, loathing, suspicion, determination, insinuation. Instead, we have only the persistent crackling of the optical sound.

The best thing about this motion picture may be the locations, especially the rounded penitentiary location, which is stunning.

-John ... Read more

Reviews (15)

John Wayne at his very best.
John Wayne always seemed to play the same hard-edged good guy in every Western, but there are enough subtle differences in each character to make each one different and each one enjoyable. The same is the case in this film, THE SONS OF KATIE ELDER.

In addition to John Wayne, classic actors such as Dean Martin, George Kennedy, and Dennis Hopper play key roles that make this movie a classic. Sure the action scenes are exactly what are expected, there are also several moments where you'll find yourself belly laughing! All in all, a classic.

A final note. If you don't fall out of your chair laughing when John Wayne hits George Kennedy with an axe handle...check your pulse.

Family
The Sons Of Katie Elder is one of my all time favorite films and my two toddler age sons love it as well. The film starts out with funeral of Katie Elder who raised 4 sons. John Wayne, Dean Martin, Earl Holliman and Michael Anderson Jr. From beginning to end, you can feel the passion of Katie Elder and her love for her sons is felt throughout the entire movie. It is a typical John Western, but with more added feeling. Martha Hyer as the only female seen in the film is wonderful. For me, one of the best parts was the character roles of some great old time character actors. Strother Martin, John Doucette and my two favorites, Paul Fix and John Litel. This is a movie that I can watch every couple of days and never tire of it.
One of the best.

John Wayne in his typical role
In this movie, John Wayne plays a character most of us who are familiar with his movies have seen before--a tough never-do-well man, too stubborn to stay out of trouble and too tender at heart to avoid ultimately doing the right thing. Wayne plays John Elder, the eldest son of the deceased Katie Elder, for whose funeral John returns home. Also returning are his three younger brothers: Tom (Dean Martin), Matt (Earl Holliman) , and Bud (Michael Anderson Jr.).

The brothers are prevented from mourning their mother adequately by a scheming entrepreneur named Hastings, who swindled the Elders' parents out of their ranch. It falls on the shoulders of the Elders to redress their mother's loss of the ranch, and try to earn enough money to force Bud to go back to college (that is what Katie wanted).

The plot of this movie is interesting enough--it is distinctly typical of John Wayne and yet innovative enough to not be a cookie-cutter type story. Most of the acting in the movie is poor, especially that of Hastings and his accomplice, Curly. The bad acting (Wayne's is not the best of his career, but not bad, either) is offset, however, by the great performance of Dean Martin, who never fails to impress me in Western roles. All in all, this is probably not a timeless Western classic, but it is good. Anyone who enjoys Westerns should be satisfied with The Sons of Katie Elder.

One of the Duke's best
As John Wayne got older it seemed his movies got better and better. The Sons of Katie Elder is no exception. The Duke is his usual heroic, brawling type with Dean Martin, Earl Holliman, and Michael Anderson Jr. as his brothers. The relationship between the four brothers is very believable especially as they do their "house cleaning." Good storyline with great ending with the ambush and confrontation in the Hastings gun store. Excellent supporting cast with Paul Fix, Jeremy Slate, George Kennedy, and Dennis Hopper in an early role. Well worth the money for DVD with widescreen presentation and the theatrical trailer

Imagination
The mystery of Katie Elder and her husband may have come from American history. Doc Holiday had a lady friend named "Big Nose Kate Elder"
I have often wondered if that had anything to do with this film.

dp ... Read more

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The Max Sand backstory in Harold Robbins's trashy TheCarpetbaggers (an enjoyable wallow onscreen in 1964) made for a solidWestern vehicle for Steve McQueen at his peak. Nevada Smith is a revengemovie, but closer in spirit to The Bravados than a DeathWish-style exercise in nihilism. Young Max, offspring of a white father and Indianmother, sets out to avenge their slaughter by three villains. His odysseyincludes spiritual re-parenting at several stages, most notably by canny gundealer Jonas Cord (a swell character part for Brian Keith). The supporting castwill have you saying, "He's in it, too!" at regular intervals(from costars Karl Malden and Arthur Kennedy down to such incidental interlopersas L.Q. Jones and Strother Martin). Since director Henry Hathaway and cameramanLucien Ballard couldn't frame a bad shot if their lives depended on it, it's arelief that this movie is finally available in a widescreen format. --RichardT. Jameson ... Read more

Reviews (23)

A Good Actor Remembered
This movie is based on a character from Harold Robbins' THE CARPETBAGGERS, but not to worry if you don't remember Nevada Smith as no one should be criticized for not remembering anything about that book. As I remember it was not the great American novel. I kept trying to figure out why the movie was so named since McQueen who is Nevada Smith doesn't take that name until near the end of the movie.

Steve McQueen, who is cast as the son of a white man and American Indian, is by far the best thing about this movie. I know: Steve has light eyes and brown hair but none of the other characters in the movie know he is half Indian so it shouldn't bother us, I suppose.

The plot is simple. Mcqueen sets out to kill the three men who have brutally murdered his parents. In practically every frame of this movie, he does a fine job of acting. Even though McQueen was 36 when this movie was released in 1966, he looks all of 20. If you require that a character grow and change in order to make a movie good, then McQueen does that.

The movie is somewhat dated, and some of the buildings look too much like movie sets. The photography of the American West, however, is very beautiful.

It's good to remember just how good an actor Steve McQueen was. This movie is certainly worth watching.

Another McQueen Classic
Nevada Smith is up there with The Great Escape and The Magnificent Seven as Steve McQueen's best roles. In this western, McQueen plays Max Sands, a young man bent on revenge of the three men who brutally killed his parents. The three villains are played to perfection by Karl Malden, Martin Landau, and Arthur Kennedy. Really this movie is three or four separate stories brought together by Max's revenge. Beautiful scenery throughout ranging from the mountains of the Northwest to the swamps of Louisiana with a good musical score to back up the story. Brian Keith is exceptional in his role as McQueen's mentor. This is classic McQueen. The anger he feels for these three men is obvious as he chases them around the country, even working alongside them so that he can be around in case he gets a chance to exact his revenge. The DVD does not offer any extras besides the widescreen presentation, but the movie looks better than it ever did before. A truly great western with both great characters and an excellent storyline.

Don't forget the way back
If you're ever curious why people made such a fuss about Steve McQueen check out NEVADA SMITH, Henry Hathaway's sprawling tale of vengeance and obsession.
McQueen plays young half-Indian/half-white Max Sand, whose parents are murdered by a trio of bandits (Martin Landau, Arthur Kennedy, Karl Malden.) McQueen was 36 years old in 1966, the year NEVADA SMITH was made, and was probably a decade past the time when he could effortlessly portray a naïve young hero. There's a brief, disturbingly violent scene at the beginning of the movie where the three villains are torturing Smith's parents, and the woman portraying McQueen's Kiowa mother doesn't look much older than 35. Still, McQueen brings a wide-eyed innocence to his performance that tremendously helps us suspend disbelief. Besides, I believe I counted exactly zero close-ups in this action western. If you want to check out the crow's feet around McQueen's eyes you'll have to look hard and fast to see them.
McQueen gets a chance to play against some Hollywood professionals at the top of their games. Brian Keith is growlingly good as traveling gunsmith Jonas Cord, who plays Polonius to McQueen's Laertes, and plies the young stranger with instruction and advice. Max Sand won't be argued out of his mission to avenge the death of his parents, and the pragmatic Cord reluctantly agrees to be his mentor. It's through Cord and, later, a priest Sand comes across, that the movie is allowed to question its central theme - vengeance. Cord argues the practical ("You'll turn into one of the rats you're hunting,") the priest the spiritual. It's a tribute to the brilliance of McQueen's performance that by the time we reach the last scene we can see how both arguments have contributed to his maturation. Karl Malden plays the evil, racist Tom Fitch with sadist gusto. Malden overacts a bit in one of those rare roles that benefits when an actor takes it over the top. Watching the suspicious Fitch interrogate the no-longer-naïve Max Sand is one of the highlights of the movie.
The underrated Hathaway shot most of NEVADA SMITH on location, and the realistic look is used to great advantage. He doesn't go for the landmark shots a la John Ford in Monument Valley, choosing instead to play scenes in anonymous swamps and deserts. The realism shoots through all the way to stunts and props and costumes. Instead of elaborately choreographed fist fights with exaggerated sound effects every time a blow is struck, the characters in NEVADA SMITH scratch and claw, bite and kick when they fight. The clothes they wear are torn and dirty and they stay dirty.
NEVADA SMITH has enough going for it to appeal to those who aren't typically fans of westerns. If you are a fan this is a must-see.

Long, a bit slow, but worth it
Steve McQueen starts out as a naive half-breed boy seeking out
the three men who murdered and multilated his parents. At first he can't even shoot a pistol, a flaw remedied by Brian Keith in a wonderful role. From there it's uphill, or downhill, depending on your point of view. McQueen's character, Max Sand, loses his innnocence and becomes a hard man, a killer. This allows him to hunt down the men, but at a cost of part of his soul. Unfortunately, I never found any of the villains to be particularly villainous, which is made up by the other characters, including the late Iron Eyes Cody as an Indian chief. Good movie, made when MrQueen was at the top of his form.

A Harold Robbins story, from the Carpetbaggers

Studio: Paramount Studio
Video Release Date: May 10, 1990

Cast:

Steve McQueen ... Nevada Smith/Max Sand/Fitch
Karl Malden ... Tom Fitch
Brian Keith ... Jonas Cord
Arthur Kennedy ... Bill Bowdre
Suzanne Pleshette ... Pilar, Cajun Girl
Raf Vallone ... Father Zaccardi
Janet Margolin ... Neesa
Pat Hingle ... Big Foot, Work Camp Trustee
Howard Da Silva ... Warden of Work Camp
Martin Landau ... Jesse Coe
Paul Fix ... Sheriff Bonnell
Gene Evans ... Sam Sand

Josephine Hutchinson ... Mrs. Elvira McCandles
John Doucette ... Uncle Ben McCandles
Val Avery ... Buck Mason, Bartender
Sheldon Allman ... Sheriff
Lyle Bettger ... Jack Rudabough
Bert Freed ... Quince
David McLean ... Romero
Steve Mitchell ... Buckshot
Merritt Bohn ... River Boat Pilot
Sandy Kenyon ... Clerk in Bank
Ric Roman ... Cipriano
John Lawrence ... Hogg
Stanley Adams ... Storekeeper
George Mitchell ... Paymaster
John Litel ... Doctor
Ted de Corsia ... Hudson (Bartender)
L.Q. Jones ... Cowboy
Strother Martin ... Strother
Jeffrey Sayre ... Roulette Dealer
Henry Wills ... Fitch man
Iron Eyes Cody ... Taka-Ta
Joanna Cook Moore ... Angie, Saloon Girl

From a story by Harold Robbins, who wrote the Carpetbaggers, among other stories, in his rich career.

The story is about a young half-breed Indian (Steve McQueen)whose mother and father were killed by three thugs. He learns the ropes, and how to use weapons, from a gun dealer (Brian Keith) and sets out on a quest to kill the three men responsible. This is the story of his hunt.

The parts were all well-acted, and the story held together well, although it did not follow The Carpetbaggers, it did do parts of it justice.

I recommend this film. Thankfully, it left out some of the odious details of how the boy's mother and father were killed.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

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What a difference a few years can make. The Desert Fox, releasedsix years after the end of World War II, is a solemnly respectful tribute toErwin Rommel, Germany's most celebrated military genius. James Mason's portrayalof this gallant warrior became a highlight of his career iconography. The filmitself is oddly disjointed: a precredit commando raid to liquidate Rommel isfollowed by a flashback to the field-marshal's lightning successes commandingthe Afrika Korps—-a compressed account via documentary footage and copiousnarration (spoken by Michael Rennie, who also dubs Desmond Young, the Rommelbiographer and onetime British POW appearing briefly as himself). The dramaticcore is Rommel's growing disenchantment with Hitler (Luther Adler), hisinvolvement in the plot to assassinate der Führer, and his subsequent martyrdom. Mason's Rommel returned two years later for a flamboyant, mostly German-speakingcameo in The Desert Rats, a prequel focusing on the battle for Tobruk.--Richard T. Jameson ... Read more

Reviews (17)

English actor, James Mason, makes a great Rommel.
Originally copyright by 20th Century Fox Film Corporation, in 1951, only six years after the end of World War Two, this black and white film gives a shallow overview of the last years of German Field Marshal Erwin Rommel: the Desert Fox.

Once you get past the opening rather stagey scenes, of British commandos raiding a German headquarters building in north Africa, hoping to kill the Desert Fox in his lair, the rest of the film is carried along guite well, by the great performance of James Mason, as Rommel. This performance is the only reason I rated this film as four stars, without Mason I would have been disapointed.

Other members of the cast do fine jobs too, notably Cedric Hardwicke and Leo G. Carroll. One can find good entertainment based on real events.

D-Day: the invasion of Normandy, is a highlight of this film. There are several minutes of what appears to be genuine newsreel footage of the storming of the beaches: the ships off shore, the guns, the planes, brave men falling. It's all very real at this point.

"The Desert Fox" was made in an era when the directors, producers, and the Hollywood Establishment in general, were less preachy, and less likely to distort the truth in order to promote a social agenda. That is a big plus for this film.

On the down side: the film starts off with several undisclosed advertisements for other videos, of like kind, by Fox. This is borderline dishonest, as consumers have paid for entertainment and expect it to be commercial free. At the very least, the ads should be disclosed, before anyone makes a purchaseing decision.

All in all, "The Desert Fox" is good entertainment and deserves a look.

A Proper Tribute To The Desert Fox
Henry Hathaway's 1951 film on Erwin Rommel, NAZI Germany's most brilliant tactician whose indirect involvement in a failed plot to assassinate Hitler resulted in his untimely death.

The film is a character study and focuses more on Rommel's relationship with Hitler and the German High Command as opposed to his achievements as a military tactician. Because the nature of his death wasn't very well known at that time, the film focuses on Rommel's deteriorating relationship with Hitler and his eventual participation in the assassination plot. This is normal since, with the film being made only 6 years after the end of WWII, audiences would have been quite unreceptive to a film glorifying a German general's military exploits against allied forces.

All in all, James Mason delivers a brilliant performance as a man who is struggling with his conscience. Is his duty as a general to just obey Hitler or to protect Germany from destruction? What should he do when Hitler's megalomania is a greater threat to Germany than the Allies themselves? How can he be a good soldier and live with himself by committing treason: even if treason is the only logical alternative? Although the film isn't entirely accurate in its history, it succeeds in capturing all of the internal conflicts Rommel must have suffered in deciding what to do. The film is also accurate in portraying the impossible dilemma faced by Von Runstedt and others in the German High Command with Hitler's incessant meddling in military planning and execution. As the movie shows, by 1944 Hitler assumed direct control of virtually all military operations in the major theaters with disastrous results (i.e. insisting that most heavy guns and panzer divisions remain in Calais even when the D-Day invasion was well underway). This dilemma was dealt with humor in the movie when Von Runsted sarcastically tells Rommel about how corporals (i.e. Hitler) are such brilliant strategists and tacticians who clearly know far more about waging war than your run-of-the-mill Field Marshalls: "You know how rigid those corporals can be."

Altogether a great film that sheds light on the character of one of the greatest military tacticians of the 20th Century. A film not to be missed.

Not enough action
This movie is misleadingly named. Although Rommel was indeed the commander of Germany's Afrika Corp in World War II, and there earned a reputation as a master tactician, that is not what this movie is about. Two-thirds of this movie's 88 minute length focuses on Rommel's minor role in a conspiracy to kill Hitler. The conspiracy failed, and Rommel eventually paid with his life for his involvement. (In truth, Rommel was lucky. The other conspirators were hanged on piano wire and died a painful death. Because he had been built up into a national hero, Rommel was given the opportunity to take poison, and the public was told he died of war wounds.

I'm afraid most viewers, jaded by modern F/X and action laden efforts like Saving Private Ryan, will be disappointed with this rather inexpensively made effort from 1951. There is very little action other than a commando raid during the first five minutes of the movie. The little remaining action is actual stock footage of the war, skillfully cut into the film. The movie is very talky, focusing on Rommel's relationship with his wife and son, Field Marshal Von Rundstedt, and Adolph Hitler.

I have to admit that when I watched an early scene that showed Rommel in North Africa, wearing a long black leather overcoat consulting with his officers, I said to myself "pure Hollywood! there is no way he would have been wearing that in the hot desert." Then I went to my library and consulted a book on Rommel, lavishly illustrated with photographs. Not only was Rommel wearing the black leather overcoat, he was dressed precisely as depicted in the movie. There is also a remarkable resemblance between Rommel and James Mason, who does an outstanding job portraying Rommel in the movie. The moviemakers got it right, and I was wrong.

The Desert Fox and The Desert Rats - really a set!
Both these movies have James Mason playing the part of General Erwin Rommell. The Desert Rats is the story of Australian Infantry under the command of a British Officer (Richard Burton)who although out numbered and out gunned delay the advance of Rommell's Afrika Corps outside of Tobruk until the British Relief Column arrives. Almost like a sequel to The Desert Rats is the story of The Desert Fox. This story is told through the eyes of an ex-British Officer who after the war tries to find out exactly how and why Rommell died under the Nazi Regime. The story reveals how an unwell Rommell, recently returned from the middle east campaign is invited to join the plot to kill Hitler. It shows Rommell's battle of conscience over his loyalty to an insane leader and his knowledge of the plot for that leader's assassination. Although he will not support the plot to kill Hitler, Rommell will not turn the conspirators in either - a decision that would cost him his life.

I strongly recommend the purchase of both these movies.

Decent Semi-Biographical Film
In between stock footage and some odd chase scenes, this is a pretty good film about Erwin von Rommel.

Rommel has always been my hero, and James Mason gives a fine performance as "the Desert Fox." OK, so maybe he doesn't look like Rommel, but he plays him well and his looks aren't as off as some other atrocious role choices have been. John Wayne as Ghengis Khan comes to mind.

Rommel is pretty well realized, although I would have also liked to have seen his earlier life shown as well. I understand that probably wasn't the intention of the film makers, and as showing Rommel in his WWII life, this film succeeds. ... Read more

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A neatly enjoyable thriller in the pseudo-Hitchcock mode, Niagara offers great fun on a variety of levels. It has film noir themes (albeit in Technicolor), oodles of location shooting, and Freudian symbolism run amok. And, of course, it has Marilyn Monroe as an unbelievably ripe femme fatale: married to unstable hubby Joseph Cotten and stuck in a cabin at Niagara Falls, she plots a watery escape. Jean Peters (a future Mrs. Howard Hughes) and froggy husband Casey Adams are dragged into the intrigue during their delayed honeymoon. Veteran open-air director Henry Hathaway squeezes the most out of the spectacular scenery and the nail-biting climax, slowing down only for traveloguey interludes; the dialogue, pretty racy for 1953, comes from the civilized pen of producer-writer Charles Brackett (Billy Wilder's longtime partner). The baby-doll murmuring and lazy lounging in motel bed sheets is, well, all Marilyn. --Robert Horton ... Read more

Reviews (42)

"Film Noir, Meet Marilyn Monroe."
Marilyn Monroe was so good at playing the ditzy, sexy blond in upbeat comedies she became typecast in those sorts of roles. Niagara was one of her rare opportunities to show she was a fine dramatic actress, as well.

This is the story of two couples. Ray Cutler (Casey Adams) and wife Polly (Jean Peters) are taking their three-years-delayed honeymoon. George Loomis (Joseph Cotten) is a stressed-out, failed businessman and war veteran, his wife Rose (Monroe), the ex-barmaid plotting with a secret lover to kill her husband. All four characters wind up at the same hotel bordering Niagara Falls.

Things go wrong for Rose when George, proving surprisingly resilient, overcomes the lover, killing him instead, and, realizing his wife set him up, fakes his own death and begins stalking her. The Cutlers, especially Polly, are drawn into the drama when George, post-murder attempt, not realizing the Cutlers have been moved into his and Rose's old cabin, breaks in, intending to stab Rose, surprising Polly instead. Now Polly knows George is alive, but due to her overbearing, not-terribly-bright husband's interference, can't convince anyone else, specifically the police, of that fact.

Jean Peters and Joseph Cotten turn in respectable performances. Casey Adams is irritating - of course, that might be because his character is a moron. For pure movie magic, Niagara belongs to Marilyn. Whenever she's on-screen, the camera loves her. The standout scene has her in a killer, shocking pink dress that does an outstanding job of emphasizing what she has so much of. When Ray sees Rose, he asks Polly (a fresh-faced girl next door type if ever there was one), "Why don't you ever get a dress like that?" Her answer: "Listen, for a dress like that you've gotta start laying plans when you're about 13." Rose has a kid at a party play a record of her favorite song ("Kiss"), then begins singing along. The look on her face then, dreamy, yearning, is mesmerizing. We get the feeling, way before we meet the lover, or even know he exists, it's not thoughts of her husband motivating that look.

Marilyn must've had a ball making Niagara. No one else has ever looked so good just lounging in bed. And when she believes her husband is dead, Rose's look of wicked delight - she has to hide her desire to laugh out loud in front of the Cutlers - is priceless. Rose is beautiful, scheming, deceitful, manipulative, cruel, sultry, and yet, paradoxically, has a sort of little girl innocence that makes you root for her to succeed in offing George - who's a serious whiner, anyway - and live happily ever after with her unnamed lover.

The only problems I had with this movie were: (a) We're never given a compelling reason why Rose plots to murder George. Sure, she wants to be free to be with her lover, but why not simply get a divorce? The motivation of a fat insurance policy, or that her husband would kill her if she tried to leave (difficult to believe in any event - he's pretty pathetic to start with), or any one of several other motives never established, would've gone a long way toward having the basic plot make sense. (b) A key scene has Rose and George locked inside a major tourist attraction after closing hours - which means the employees locked up the building without first checking to see whether anyone was still inside. Not likely.

Joe MacDonald's cinematography is excellent, the scenery - both Niagara Falls and Marilyn - stunning, and director Henry Hathaway makes the most of both. Niagara has been restored as part of the "Marilyn Monroe: The Diamond Collection" DVD project, its colors vibrant and alive. It's deserving of this treatment, if only for Marilyn Monroe as Rose Loomis, and that it proves film noir in bright, brassy Technicolor really can work.

MARILYN IN HER PRIME....
This isn't the ultimate Marilyn movie ("The Seven Year Itch" holds that honor) but it's a prime look at Monroe in an unusual role as a scheming man-trap out to kill her husband (Joseph Cotton, who's excellent). She's the whole show and I wish she could have done more films like this that put her in off-beat situations giving her a chance to stretch as an actress. She's gorgeous in Technicolor and a believable vixen/victim when her plan backfires leaving her to be stalked by Cotton. You feel sorry for her at this point. Jean Peters is good as a sympathetic neighbor but Casey Adams (as Peters' husband) is woefully miscast and clearly out of his league here. He nearly sinks the whole film as a co-star and there's way too much of him in the film. But that's the only complaint. Otherwise, Monroe keeps us glued to the screen when she appears and we root for her no matter what she's up to. There's beautiful Niagara scenery and a great scene where she appears at an outdoor party in a sexy red dress and requests a sexy song to be played. She then proceeds to sing along with the record as she closes her eyes obviously thinking of her lover. The song "Kiss" later is reprised as the lovers' theme song and figures in an unusual plot to lure Monroe to Cotton---whom she thinks has been killed by the lover as part of their plan. Marilyn shows here what she had to become the icon she is now. This movie nicely represents the reasons people fell in love with her. How right they were.

Marilyn Monroe in her first Technicolor starring role!
.
This is Marilyn Monroe's first starring role in a glorious Technicolor production. The technicolor film process seems a perfect match for Monroe; her ruby red lips and golden blonde hair are dazzling, and her skin tones are magnificent.

The plot puts Monroe in a dramatic role that allows her to chew up every scene. It's also the only film in her career (fortunately!) in which Monroe's character dies.

Niagara Falls are the spendiforous background in this drama, and Marilyn Monroe proves that she is probably the only star in cinema history that can eclipse such a natural phenomenon.

Marilyn absolutely sizzles on the screen when she performs her sensual rendition of the siren song "Kiss", wearing a dress "cut so low in front you can see her kneecaps" (as stated in the script). Indeed, "a girl has to start making plans when she's thirteen to wear a dress like that!" (Also from the script.)

Enjoy the magic of Marilyn Monroe in dazzling Technicolor in this great movie.

MMMmmmmmmarvelous Marilyn!

Marilyn and Jean and Niagara- what a treat!
All reviews of this movie center on Monroe and her protuberant curves - and I agree, she and her instant fame deserve some of the credit. BUT Niagara Falls and Jean Peters also deserve some special mention here. Whereas Marilyn is sexy in most her scenes, Peters is charming, a good actress and quite beautiful...and then there is Niagara Falls. This torrent of water never looked better.
The acting. Marilyn in her first film as a "star" does okay - but as far as good acting is concerned it is Peters and Joseph Cotten that deserve better credit. Then I do agree with some reviews that Cassey Adams (aka Max Shoewalter) is miscast and a bit over the top in his acting. This role was to be played by another Fox contract player (I think Jeffrey Hunter) but Fox weanted someone funny in the role (big mistake!). And the role of Marilyn's lover was actually offered (enlarged, of course) to Tony Curtis.
The movie originally was planned for Anne Baxter in Peters's role and the role of Marilyn ironically was to be played by Peters. When Baxter got pregnant by her husband, Peters took over her role and Marilyn...well she became a "star". Even the movie's title song (which was to be "Night and Day") was changed for a song Marilyn portrayed in the movie -titled "Kiss". At any rate, it certainly is because of Marilyn that this has become a cult movie and a classic - But Peters, Cotten and Niagara Falls did help a lot in getting NIAGARA to achieve this status .

Sensual, unforgettable Monroe. Made her a star.
One of the best projects Marilyn was associated with. I didn't like Niagara the first time i saw it, because i thought Marilyn was only good for comedy. But this role as the sensual, unfaithful wife of Joseph Cotton's (superbly performed) troubled war veteran is one of her most memorable roles. Pleanty of indelible Marilyn images come from here: Marilyn lying seemingly naked with legs apart under bed in hotel room, purple dress standing against cabin in grammophone scene, and the entire grammophone scene. Pleanty of location shooting made good use of the beautiful location, and the motif of the song the lovers sing to each other is a beautiful touch. The suspense develops well, but i suppose it depends on what you're expecting. I found it a great sensual thriller, but this movie lives and dies with Monroe. She is captivating in every scene, and looks stunning. The belltower climax of the movie is very fine indeed, one of the best scenes she ever played in. Nods to director Hathaway for camera placement in this scene.

Best line:

(Monroe has just done a sensual walk to the grammophone and had them put it on, then had a virtual standing orgasm listening to it, and spent an entire minute of close-up singing along to it, and the happy-go-lucky honeymooner character says to her)

Honeymooner: You seem to really like this song, Mrs Loomis."

Marilyn: "There isn't any other song," she says. But its all in her face - it always was. One of the best moments in her career. ... Read more

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A Lady Takes a Chance is probably the best American romantic comedy of the '40s that hardly anyone knew about--at least, in the last three or four decades of the 20th century. That's chiefly because, as a semi-independent production mounted for Jean Arthur by her husband, Frank Ross, the movie couldn't claim a place in any studio archive (It's a Wonderful Life was long neglected for similar reasons). So this lovely gem is ripe for rediscovery, not only for Arthur at her most enchantingly distracted, as a New York gal on a bus tour of the modern Wild West, but also for John Wayne's sly sexiness as the rodeo rider who literally falls into her lap. James Agee, no less, approvingly noted that "Wayne suggests how sensational he might be in a sufficiently evil story about a Reno gigolo." Lady isn't evil, but it's surely a delight. --Richard T. Jameson ... Read more

Reviews (4)

John Wayne and Jear Arthur sizzle onscreen
An unusual wartime comedy-romance, starring the ever-delectable Jean Arthur as a big-city girl who takes a bus tour out West to see some of the world, and gets a real eyeful when she hooks up with John Wayne, a lanky, laconic cowboy who's rambling around on the rodeo circuit. The script is fairly minimal, and many scenes even seem improvised, but what's remarkable is the underlying sexual frankness of the film -- the two meet by accident, and are inexorably drawn together by sheer sexual chemistry. When they finally give in and go out on a real date, they have nothing to say to each other -- the attraction is purely physical. Certain scenes, such as when he invites her up to his hotel room, offers her a drink, and bed to bunk in, are surprisingly raw, at least for the time. Arthur and Wayne also seem to have chemistry together -- in fact, this is the only film in which I've seen him play opposite a gal when the sizzle seemed real... It's a funny film with an offbeat sense of humor, one that's worth seeing particularly if your a fan of Jean Arthur's work... She's about as cute as ever in this one!

Classic Boy-Meets Girl With a Twist.
A LADY TAKES A CHANCE stars Jean Arthur as Molly Truesdale, a young and hip Eastern American woman tired of all her suitors. To escape from them for a spell, she takes a bus-tour west to see America. While out west she literally bumps into Duke Hudkins (John Wayne) at a rodeo. They end up spending the rest of the day together and most of the evening and Molly ends up missing her bus. Duke takes her to the city where she can catch it for the ride home.

Though this is a pretty typical boy-meets-girl movie, there are a lot of elequant touches that make it stand out above the rest. Besides, it's enjoyable watching the Duke play a role so different from the ones he was to become famous for. Jean Arthur is just adorable and makes a grand lady that is at first pursued, but then becomes the pursuer. As a bonus, Phil Silvers has a small role as the bus tour guide. Not only will Wayne fans and oldies fans like this movie, but it makes for a great date picture.

Lassos, leather and laughs
Story of two fish out of water--a city girl in the West, and a cowboy in love. Arthur is, as always, funny, sexy and smart as the bored lady of the title who falls for Wayne, and the Duke gently spoofs his own he-man image. The bar scene, in which Arthur gets her first taste of "red-eye", followed by the wildest bar fight ever filmed and a classic exit line by Wayne, is worth the price all by itself.

Arthur, Wayne Shine in Romantic Comedy!
Jean Arthur sparkles in this wartime comedy, as Molly Truesdale, a sweet, pretty salesgirl overwhelmed by 3 overzealous suitors! To get some peace and quiet, she takes a bus tour out west, a trip that sounded romantic in the travel brochures, but grows tedious, after monotonous days pass, and she has to fend off passes by the tour guide (Phil Silvers, in one of his many terrific comic relief roles of the '40s)!

Truesdale finally decides to combat her 'cabin fever' on the bus by attending a rodeo. She has a wonderful time, until one of the contestants literally falls into her lap! As the two disentangle themselves, she gets a good look at Duke Hudkins (John Wayne), and it's love at first sight!

Duke is the suitor she'd always dreamed of; handsome, virile, and 'all-man', and she begins a pursuit of the cowboy that is both uncharacteristic for her, and confusing for him! Despite warnings from his best friend, Waco (Charles Winninger) that this girl was after more than just a night of partying and passion, Duke invites Molly out, and the innocent city girl experiences her first evening of carousing! When, at evening's end, she puts the brakes on his amorous advances, he discovers she's not just another 'groupie', and that he's falling in love with her, too...nearly as much as he loves his horse!

A romantic comedy of 'opposites' finding true love, 'A Lady Takes a Chance' benefits from the delightful performances of the two leads! Jean Arthur had a Meg Ryan-like quality of projecting both innocence and sexiness, and she makes Molly's transition from 'pursued' to 'pursuer' both believable, and understandable! John Wayne is equally good, sexy and easy-going, yet conveying Duke's confusion at the feelings he has for Molly, and his gradual realization that he'll have to 'take a chance', himself, to earn her love!

True, the tale follows your basic 'boy meets girl-boy loses girl-boy gets girl' scenario, but under the sure direction of pros William A. Seiter (who directed Astaire and Rogers in 'Roberta', and Shirley Temple, in 'Stowaway'), and Henry Hathaway (the legendary filmmaker who would direct Wayne's Oscar-winning performance in 'True Grit', 26 years later), the story has a freshness and charm that is unbeatable!

Whether you're a Wayne and Arthur fan, or you just love a romantic comedy with a happy ending, 'A Lady Takes a Chance' will bring a smile! ... Read more

Amazon.com

The good news is, one of John Wayne's least-known films has been restored to widescreen splendor. The bad news is, there's a reason Legend of the Lost has gone mostly unshown: it's a grievously misbegotten movie. Oh, the credits get you jumping: Wayne and international love goddess Sophia Loren under the direction of Henry Hathaway, with a Ben Hecht script and Technicolor camerawork by Jack (The Red Shoes) Cardiff. But Wayne is miscast as a raffish mercenary hired to guide French spiritualist Rossano Brazzi into the Sahara, where Brazzi's father disappeared searching for a lost city. And nothing sparks between the Duke and Loren, as a Timbuktu prostitute-pickpocket who joins the expedition because Brazzi speaks to her soul. There's little action, much turgid dialogue, and a jarring mix of Libyan locations with soundstage scenes shot back in Rome. Add a music score that sounds as if it belongs on a sci-fi film and you've got one bizarre movie. Still, Wayne completists should check it out, and Cardiff's cinematography is, as usual, ravishing. --Richard T. Jameson ... Read more

Reviews (13)

Fascinating hokum
"Legend of the Lost" is a morality tale of sorts which follows the journey of three disparate souls searching for lost treasure in the vast Sahara Desert. The trio is comprised of Joe January, played by John Wayne, who is a hard living, hard drinking guide; Paul Bonnard, a would-be missionary played by Rossano Brazzi; and Dita, portrayed by Sophia Loren, who is a prostitute and petty thief transformed by Paul's piety.

The sought-after treasure was originally discovered by Paul's father. But when it is revealed that his father is not the saint Paul thought him to be, Paul is corrupted. Greed and lust overtake him eventually leading to tragedy.

Paul's instantaneous and wicked conversion seems somewhat preposterous as he had purportedly lived a virtuous life up until the discovery of the treasure and the remains of his father. The entire plot strains credibility.

But it is the motley and gifted cast that fascinates. Wayne's Joe January is a crude, hard-bitten soul. But underneath that rough exterior, you know that he is a decent man especially since he is portrayed by Duke Wayne. Wayne has a reassuringly quiet strength and an unselfconscious vulnerability that always make his characterizations believable. Wayne's characters are strong men, but not super men (ala Schwarzenegger or Stallone). His characters are realistic. They can be brought down, hurt, and compromised.

Rossano Brazzi gives an almost giddy, operatic interpretation of a good man gone bad. It's amusing to watch his character degenerate. And Sophia Loren has an untamed beauty and wild impetuousness which is electrifying.

So perhaps one can forgive the hokey plot of "Legend of the Lost", the occasional poor sound quality, and the rather cheesy musical score. It is the charismatic, talented cast and the magnificently sun-drenched, barren landscape of the Sahara Desert that make this movie rather thrilling and worth your time.

Classic Adventure GREAT !
An adventure classic with exotic flavor and great suspense. Numerous lesser movies, such as "Raider's of the Lost .." were spawned from this masterpiece. It seems that contemporary Hollywood producers can only make movies from cartoons (Flintstones, etc.), and now stoop to rely on cheap computer graphics instead of gray matter.

"Legend of the Lost" exudes both talent and creativity in great abundance. The Duke IS King! This film IS a legend! Sophia Loren IS at her absolute best!

Strange movie invites unfairly harsh criticism
I had just seen Houseboat and really wanted to catch another Sophia flick. There is a criminal lack of her movies on DVD. With all the harsh criticisms of this movie, I bought it hesitantly only because I couldn't find many Sophia movies. There's a strange flavor to this movie, almost as if something about it was experimental. The story doesn't have a strong punch line by the end, but it does come to a logical conclusion that some may not find satisfying, but I did.

The best part of the movie were the good lines they gave John Wayne and the great comic timing with which he delivered them. In this movie he seems to have perfected the kind of character Harrison Ford played in the Star Wars and Indiana Jones series. While Sophia Loren is breathtakingly beautiful, with her talent and ability to project personality, she would still be fun to watch even if she was as plain as a blank sheet of paper. (Thank goodness she is gorgeous, though.)

Maybe what disappoints some people is that this movie appears to set itself up to be a wild action adventure, but instead this is more of a character development story before the time this kind of thing was popular in the late 1960's and early 1970's. It's a good movie to display some of the Duke's abilities to display the kind of character he often plays from a different perspective. And of course, Sophia is Sophia, bless her heart, and the packaging it comes in.

Somebody fell asleep at the wheel
It is often fun to overly critize films made in other decades that often reflect a different attitude to what worked for audiences then. My memory of this film as a teenager stands up better than my views up