Description

H.G. Wells' fantastic account of life on the moon is vividly brought to the screen by special effects master Ray Harryhausen in this amazing sci-fi epic featuring unforgettable extra-terrestrial creatures.The film begins with a team of United Nations astronauts planning an upcoming moon mission.The astronauts are both confused and intrigued by a man (Judd) who claims he, his fiancee and a scientist journeyed to the moon 65 years ago and were attacked by "Selenites," grotesque, human-like ant forms that live in immense crystal caverns. Now it is up to the U.N. team to attempt a lunar landing that could be more horrifying than ever believed possible. ... Read more

Reviews (23)

Long time favorite finally on DVD!
For many years, this hard-to-come-by gem was only available in crummy full-screen video transfers or chopped up Saturday movie-of-the-week presentations. What a joy to see this film on DVD, in all of it's widescreen and "Lunacolor" splendor! The transfer is really spectactular.

In fact, everything is very well done (dare I say, "Imperial!"). Lionel Jeffries steals the show as the befuddled scientist Cavor, although we all know that Ray Harryhausen's effects are the real star of the picture. I love the Victorian moonship (S.S. Dolphin), and the pointy yellow Moon mountains, which are pure 1950's. The Moon creatures are surprisingly well-handled also, and for the most part, the picture more or less follows the book.

Fans of the 70's British sci-fi television classic "Space: 1999" will instantly recognize the "creaky door" sound effect that plays when the Moon assistants are "frozen" until needed. The irony here is that the TV series takes place... on the Moon!

The disc has two main extra bonus features; a promotional short for Harryhausen's "Dynamation" technique, and an hour-long documentary on Harryhausen's life and career. The documentary, narrated by Leonard Nimoy, has been featured on the American Movie Classics "Real to Reel" series, and is very, very well made. The Master is extensively interviewed, and many of his models displayed during the interviews. He discusses behind-the-scenes moments, how certain models were made, his signature "skeleton warriors", and other insightful and informative things. This bonus is a real prize for Harryhausen fans (which is all of us, I think).

Now, I am not the world's biggest fan of Tom Hanks, but included here is a clip with one of the best Oscar night lines ever, this one from the 1992 Oscar Ceremonies when Harryhausen was given his lifetime achievement award. Said Hanks after the award was given, "Some people say 'Casablanca', or 'Citizen Kane'. I say 'Jason and the Argonauts' is the greatest film ever made!"

I can't really agree, but I loved the sentiment.

This is a very nice disc, with a classic sci-fi thriller and excellent bonus matierials, so buy it and don't delay. If you've never seen "First Men in the Moon", I envy you; you're in for a real treat!

Moon Bugs Attack!
Well made SciFi with Ray Harryhausen effects make an enchanting classic movie. No modern F/X here but still fun to watch as a Professor and a young man and lady explore the moon during the late 1800s. The story starts out with one of them as a very old person recalling the events to a group of people as they watch the first documented landing on the moon.

The DVD color and sound are great. This DVD includes a Documentary on Ray Harryhausen that is very well done. Great entertainment for the whole family.

Wells would be proud!
For some reason films with Harryhausen's effects are remembered more for them than they are for the director that helmed them. This adaptation of the Wells novel, directed by Nathan Juran (who had also helmed "The Seventh Voyage of Sinbad") is "lighter" than others of Harryhausen's works in that it relies more on the wonder of space exploration and "what might lurk beyond" than it does monsters and other creations of the imagination. Granted, there are some notable wizardries (the "moon calf" and the Selenites, especially the ruler), but the film benefits from performances by the three principle actors: Lionel Jeffries as the absent-minded "Mr. Cavor", inventor of a solution that enables the trek to the moon, Edward Judd as a penniless playwright that sees the journey as a means to a prosperous future, and Martha Hyer as Judd's fiance' "Kate". The actors make the unbelievable quite believable.

Wonderful set pieces, from an English cottage/laboratory to the eerie yet picturesque moon caverns, are just the right touch for this science fiction fantasy.

Laurie Johnson's score runs the gamut from whimsical (Mr. Cavor's theme) to romantic (the theme for the lovers) to thrilling (the scenes on the moon, especially the confrontation between Mr. Cavor and the Selenite ruler).

Harryhausen has influenced an entire generation of filmmakers and "First Men in the Moon" is a prime example of his greatness.

Delightful sci-fi adventure
I was mesmerized by Nathan Juran's science-fiction classic as a child, and have waited years for the opportunity to see it again. When I finally got my hands on the DVD, I was not disappointed. This adventure-filled tale has worn well, and even the dated elements nevertheless retain their charm.

Where to begin spelling out the treasures First Men in the Moon holds? Lionel Jeffries's endearingly eccentric professor? Ray Harryhausen's distinctive animated creations? Laurie Johnson's atmospheric score? Nigel Kneale's witty screenplay? Magnificent, all.

The DVD picture-quality is excellent. For fans of SFX artist Ray Harryhausen there are a couple of nice featurettes, even if the photo gallery is a tad lacklustre.

Classic Old Sci-Fi!
I first saw this movie on television sometime around 1965-66, when I was about 10 or 11 years old, and it just made my imagination soar back then. I rank it up there with "The Day The Earth Stood Still", "The Angry Red Planet", and "War of The Worlds" movies. All greats, which I also own! Being on DVD just makes it that much better. While admittedly it doesn't compare to todays special effects, it was really good stuff back then. For those of us whose saw and enjoyed it in our youth, it's very nostalgic. If your an old classic Sci-Fi enthusist, such as I, by all means get it. You won't regret it. ... Read more

Reviews (49)

Very Good Movie.
The 7th Voyage of Sinbad was a first for Ray Harryhausen in a couple of ways. It was the first movie that he did which was shot in color. He showed that his stop motion effects worked very well in color, and it was the first movie that Ray did where Bernard Herrman scored the music. This movie started as a series of drawings that Ray made around 1949/1950. It was shopped at to various movie studios over the years before Colombia Pictures gave him the green light to go ahead with production. The whole movie in terms of the mainline shoot was done in Spain. An American production done with a Spainih film crew who were pretty good with all aspects of the shoot. From art direction to costume design. They did a pretty good job with making it look like it took place in a remote anicent time. The casting was also very good, mostly with Kerwin Matthews who was very good at facial expressions and made it look like he really was seeing fantastic monsters appear before him. Together with the music and Ray's stop motion effects, this remains as good a movie today as it was when first released in 1957.

Fine fantasy film one of the best Sinbad adventures as well.
After a couple of classic fantasy films (20 Million Miles to Earth) and a couple of duds (It Came from Beneath the Sea), Harryhausen found his niche. His best films were related to mythology and fantasy adventures. Jason and the Argonauts still stands as Harryhausen's best feature but 7th Voyage has a charm all its own. What it lacks in sharp, crisp direction it more than makes up for in swashbuckling fun.

Kerwin Mathews plays Sinbad a bit stiffly but does have the atheleticism necessary for the role. While John Philip Law (who plays Sinbad in Golden Voyage) is a better actor he fails to capture the swagger of Sinbad. Matthews vividly brings Sinbad to life despite his limitations as an actor.

Torin Thatcher chews up the scenery as if to make up for the shortcomings of some of the actors. He is the perfect over the top villian for this piece.

The special effects are still powerful and the print used here is one of the best I've seen. The extras are really nice particularly the interview with Harryhausen by John Landis. The interactive menu is easy to use and the inclusion of a number of trailers reminded me how the art of creating trailers has changed over the years.

It was also nice to see Matthews interviewed about the film in the supplementary section. All in all this is a terrific fantasy film that combines great optical effects, animation and colorful performances to create a great version of the 1001 Nights fantasy tale. Highly recommended.

AND HARRYHAUSEN CREATED...
I am an artist/writer and there was a time when I would not have been able to imagine my being such a thing. My unexpected encounter with the art of Ray Harryhausen played a considerable part in my moving in that direction and it is really remarkable what a great effect it had on my entire life.
I was a 7, almost 8, year old poor boy whose heroes were Mickey Mantle and Elvis Presley, when I first saw this amazing film at a small local theater for 25 cents! (I am not joking. I was part of a white minority living in a mostly Hispanic and Black low income neighborhood where Frosty Malts were 15 cents, a Big Hunk was a nickel, movie posters were hypnotizing, and the local theater smelled like old tennis shoes. I mention this only to give a glimpse of the setting in which the miracle occurred.)
This first viewing of the film impacted me so deeply, so forcefully, that to this day some 46 years later, my strong memory of its phenomenal colors, forms, and sounds even includes intense particular memories of the dark, shabby, musty little theater interior itself on that very day. Sometimes memories are so powerful they become symbolic for us. This is one of those.
I was very far from being an egghead type of kid, but I had considerable powers of concentration, focus, and retaining when something really interested me and from the moment I saw the poster behind the glass advertizing the 'coming attraction' called THE 7th VOYAGE OF SINBAD, I was ready to give it my all. And when that seemingly fated afternoon came, I did so. I took in everything, I listened very carefully to the dialogue, I watched every little movement on that big screen that was so amazing in a neighborhood where many people did not even have a television. Within the first ten minutes of the film I was deeply in love with it and by the time it was over I was madly in love with it. I could think only of seeing it again... and again... It had succeeded in drawing me into its timeless circle of fantasy. With a single viewing I had memorized the entire story line and when I saw the film again ( I begged my mother for the quarter) it was like entering a realm where, though everything was wondrous and new, it was really where I had always lived. And still do. Though in certain ways I understand it better now than I did then, it remains a place where truth is inseparable from wonder and mystery.
For my actual review of the film, I am going to focus only on its first ten minutes (from the opening darkling shot of Sinbad at the helm to the crew's escape from the enraged Cyclops back to the ship). I will explain why it so captured me as a boy and why I think it is the most powerful opening ten minutes to ever come out of TinselTown .
First of all, it must be understood that all the things that keep a popular film such as this from being categorized as 'high art' of course meant nothing to me then and honestly mean nothing to me now because Harryhausen's genius transcends them all.
FIRST, Sinbad's intense calm at the helm and his ability to see land through the seemingly impenetrable, surrounding blue-black darkness that served as a symbol of the crew's lost condition told me immediately that he was a hero.
THEN the anxiety of the hungry crew that they might actually find something terrible on the land assured me that they would indeed find something terrible and that Sinbad was ready to face it.
So the question was: When it appeared, how exciting and how good would it be, this terrible thing?
Well, when the Cyclops emerged from the cave I entered a new world and had a new hero named Ray Harryhausen.
In generations to come, art-lovers will laugh that anyone actually ever thought that CGI animation was even in the same league with the art of Harryhausen.

A grand fantasy adventure
One of the most entertaining films of the 1950s is this entry of Sinbad's voyage to the mysterious island of Colossa to retrieve a magic lamp coveted by an evil sorcerer. The story has elements of Greek mythology, with its reference to the Isle of Sirens, and the very real danger of the cyclops that inhabit the forbidden island and from whom Sinbad and his crew must wrest the magic lamp. Kerwin Mathews is believable as Sinbad, the handsome and sincere hero who is maneuvered into undertaking the perilous journey by the wily Sokurah, the magician who will stop at nothing to possess the magic lamp. The film has many exciting scenes but perhaps the highlight is the thrilling swordfight between Sinbad and the skeleton in Sokurah's cave as the mad magician has summoned the skeleton to destroy Sinbad in order to seize the lamp. The movie has brilliant Technicolor lensing, a pulsating music score by Bernard Herrmann and terrific special effects by Ray Harryhausen.

superb classic adventure film for all ages
If you love classic films and you love special effects, then you are undoubtedly passionate about the films of legendary Ray Harryhausen, and this is one of his best. In this movie, Harryhausen uses his stop-motion technique in color for the first time (and the print here is terrific) to tell the tale of Sinbad (Kerwin Mathews) as he sails the seas, forms an uneasy alliance with an evil magician (Torin Thatcher) and battles a Cyclops, a two-headed Roc and a dragon. Other memorable effects include the genie Berani and the interior of his magic lamp, the Princess Parisa being shrunk and the servant woman who is turned into a dancing half-woman, half-snake. The action starts right away and continues throughout the film, and Bernard Herrmann's music is, as always, absolutely perfect.

DVD extras are excellent, and include: a picture of the original poster; trailers from other Harryhausen features; two interview featurettes, each 12 minutes long; a 3-minute featurette about the Dynamation process; and a one-hour feature about Ray Harryhausen. This is a great package -- and for you enthusiastic polyglots out there, the film can be heard in English, Spanish or Portuguese, while subtitles are available in English, Spanish, Portuguese, Chinese, Korean or Thai!

Having small children who are becoming interested in "scary movies", I've found that the Harryhausen ouevre is a great way for them to find thrills and chills without gore, and a wonderful way for me to reconnect with my childhood joys as well. The whole family has a great time watching these terrific films. I'm really glad they're being re-released in such high quality and with such interesting dvd extras.

Superb! ... Read more

Description

A strange alien ship crash lands in the California desert, bringing a terrifying evil intelligence from another planet whose mission is to conquer the world using subversive mind control. Wonderful Atomic Age entertainment with floating brains, telepathic possession, atom bombs and a scientist whose eyes can destroy planes in mid-flight, plus a sex-starved alien brain monster with lustful desires for beautiful leading lady Joyce Meadows, who delicately refuses its advances with a meat ax. Not to be missed! ... Read more

Reviews (20)

So bad it's funny
This movie certainly isn't up (or maybe I mean down) to the standards of the schizoid and nearly incomprehensible "Plan Nine from Outer Space," but as bad-but-funny films go, this is a doozy. The title itself cracked me up: it's pronounced, "The Brain from Planet Eros." If that's not a double entendre, I don't know what it. John Agar, probably best-known as the ex-husband of Shirley Temple, gives as credible performance. The brain Gor, as noticed below, would make a good model. (Actually I made one once; got a plastic brain and put fake eyeballs on the front. Kids were fascinated by it.) Sometimes I wonder if this movie didn't influence the stylish and witty '80's film "The Hidden." In "Arous" the alien hides in a dog; the same thing happens in "The Hidden." I wonder how the actors were able to keep straight faces.

Hokey fun
When I was a kid, John Agar's glazed over radioactive eyes and the floating transparent brain of the film's title really gave me the willies, I tell ya. This is still a wonderful silly movie that benefits from being short, with the monster introduced early on. Agar is good, contorting himself in pain pretty convincingly as the monster enters and leaves his body, and he's got the megalomanical laugh down pat. The special effects are primitive, especially when the alien monster is forced to assume his real shape and reveals himself to be a rubber blob bouncing around on a wire, but heck, you were expecting Industrial Light and Magic, maybe? Everything is low budget: small cast, stock footage, a nuclear research lab with no equipment, and a set that consists of the desert and someone's suburban home. And what other film mentions the "fissure of Rolando"? The extras on the DVD are virtually non-existent, consisting only of chapter search and the theatrical trailer. Biographical info of the performers, especially the supporting cast, would have been welcome. If you like sci fi B-movies, this certainly fits the bill perfectly. The transfer to DVD is excellent.

Brain Tumor...
Steve March (John Agar) is a nuclear physicist who is entered and possessed by an alien entity. The alien is a giant, floating brain with glowing peepers. It's name is Gor and it has come to conquer the earth. Enter Vol, the "good guy" alien, another floating brain sent to stop Gor's evil plot. Vol enters Steve's dog so he can keep an eye on him. Meanwhile, Gor is causing mid-air explosions on jets and gathering all the nations' heads of state (which apparently amounts to about six countries) to explain his plan for world domination. Can Vol stop him before the flea and tick season? Let us watch and pray for humanity...

The Brain From Planet Arous: How To Judge A 'Bad' Movie
Horror movies of the 50s provide a rich vein for critics to explore the meanings of such often bandied about terms as 'great', 'awful', 'bad', and 'good.' Critics like to point at movies such as THE BRAIN FROM PLANET AROUS and say on one hand that it is a 'bad' movie, but on the other immediately qualify the 'bad' with a fuzzily defined 'good.' When critics do that, they suggest that the subjective use of terms normally used to indicate quality or lack of it are not mutually exclusive.

There is much to pan in TBFPA: the cheesy special effects, John Agar's hammy acting, a script not believable even by the slovenly standards of the 50s, and the sexist idea that earth women are desired by offworld species. But what is it that separates moves like this one from others that offer nothing but an itch in the brain that vanishes the moment that the concluding credits begin to roll? I suggest that TBFPA is a perfect example of the movie that brings the audience to the very precipice of the gulf that separates momentary fun from a shocking statement that life in our universe and life in a movie exist only to cause pain to the viewer. Dirctor Nathan Juran presents the viewer with the premise that earth is being invaded by two aliens, a bad one (Gor) and a good one (Val). Gor lodges himself in the brain of a human, John Agar, who is clearly meant to represent mortal Everyman, exactly the outwardly handsome but inwardly ungiving sort that Shirley Temple did marry in real life. Val lodges himself in a dog so as to monitor the progress of the invasion. In a wacky sort of way, TBFPA prefigures a similar concept of good cop bad alien later to appear in I COME IN PEACE. Val successfully foils the invasion by causing a freed John Agar to defeat Gor, who is now able to bob about grinning evilly on some noticeably swinging wires. Despite the presence of all the shortcomings noted above, TBFPA has the sense not to cross the line that separates fun from a churning in the stomach that inevitably arises when any film disrespects both itself and the audience. Monstrosities like CALIGULA or I SPIT ON YOUR GRAVE work only on crossing this line to exile the audience for the duration of the movie into a world of torment whose only purpose is to remind its captive audience that the power to harm is infinitely preferable than the power to heal. Good-bad films like TBFPA eternally serve to remind us that the enjoyment of any movie is a function of its staying only on the side of a cinematic chasm that has basic respect for human life and dignity.

JOHN AGAR LIVES!
"Nice guy" John Agar is transformed into a lecherous, nasty man, thanks to aliens from outer space. There's nothing really scary or shocking about this movie; I think it's really for John Agar fans, like me. There are some real tedious moments in it, as well. But is is fun to see his demented, grinning face when the alien takes over. And a German Shepherd saves the day!

Okay, but for better John Agar films, I reccommend "The Mole People", "Hand of Death" & "Tarantula." ... Read more

Amazon.com

Special-effects legend Ray Harryhausen's stop-motion talents and "Dynamation" (rear-projection) process are the highlights of the '50s-era creature feature 20 Million Miles to Earth. An American spaceship returns to Earth after a mission to Venus and crashes into the sea near Sicily. A sole survivor (William Hopper) is rescued, along with a specimen that quickly grows into a reptilian biped called the Ymir. The being eventually grows to 20 feet high and escapes its confines, whereupon it rampages through Rome before a showdown with the military. Despite lacking much of a personality, the Ymir is a marvelous showcase for Harryhausen's skills. Unfortunately, the rest of the film does not match his level of excellence; direction by Nathan Juran is perfunctory (his later collaborations with Harryhausen, including The Seventh Voyage of Sinbad, are more lively), and performances and scripting are flat. Still, Harryhausen fans should enjoy this opportunity to see this phase of his career before he created his most enduring works. --Paul Gaita ... Read more

Reviews (18)

Great Monster Fun, 50s-Style
There's really not much to this one. Earth sends a spacecraft to Venus, it comes back with an alien life form that starts out at six inches high then grows into a 20-foot beast that wreaks havoc on the city, etc., etc. Character depth? Why bother, this monster has a lot of character on its own. Plot intricacies? What the heck for, the monster is on a rampage and has to be stopped, what more do you want?

That's 50s sci-fi for you. No frills storytelling, and it's darn good fun. But what makes this entry especially enjoyable is, you guessed it, the monster itself. The Ymir (curiously, that name is never mentioned in the film) is another in the long list of stop-motion wizard Ray Harryhausen's creations. Unlke many of the mythology-based creatures in his other films, this one was entirely his own design, and let me say this, it looks really great. It's a neat mix of reptilian features reminiscent of the dinosaurs and humanoid form with fully-developed and functional arms (a decidedly non-dinosaur feature). Now that's cool.

I mentioned earlier that the monster has a lot of character. It really does. This isn't your basic carnivorous beast that devours any living thing in its path. It feeds on sulphur (!), and is actually non-aggressive. In one unforgettable scene, the Ymir stops and growls at a grazing sheep, then walks right by, leaving the sheep unharmed. (The growl probably translates roughly as, "excuse me, do you know where I can find some sulphur? You don't? Ok, thank you.")

The problems start when the humans, in their typical fear of what they don't know or understand, set out to destroy the creature. Naturally, it becomes violent. What the humans don't know is, the big guy is really just an unfortunate victim of circumstances that wants to be left alone. But then again, how do you leave a 20-foot Ymir alone?

Speaking of leaving things alone, this was Harryhausen's last black-and-white film. Nobody better even think about releasing a computer-colored version. That would take away so much of the nostalgic enjoyment we classic sci-fi fans get from watching films like this.

The best of Harryhausen's early work
Released in June 1957, "20 Million Miles to Earth" is an important film in the canon of visual effects genius Ray Harryhausen. It was the last of the black and white science-fiction films he worked on during the 50s. It was also the first film based on one of his own ideas. It set the stage for his color fantasy films triumphs that would follow.

Harryhausen had originally developed a story about the frost giant Ymir from Norse mythology. He then changed the creature to a cyclops-satyr mix from another planet who rampages on modern Earth, but still kept the name Ymir. (The Cyclops-satyr would later show up in "The 7th Voyage of Sinbad.") When the film finally went before the cameras, the Ymir had become a humanoid-reptilian beast from Venus. Brought to Earth in a crashed rocket, the Ymir emerges as only a few inches high, but starts growing rapidly in the Earth's atmosphere. Originally peaceful, the Ymir is provoked into violence by frightened humans. The movie climaxes in Rome when the captive Ymir bursts loose and starts smashing famous monuments in the Eternal City.

The parallels to King Kong are obvious, and Harryhausen intended the Ymir to also be a sympathetic, misunderstood creature. He succeeded grandly: "20 Millions Miles to Earth" is Harryhausen's best early film. The direction from Nathan Juran and the human actors are perfunctory and clichéd, but the effects are still stunning today, and the Ymir is a superb actor. Designed along human lines, but with dinosaur features, the Ymir elicits strong emotions and exudes tremendous personality. The scene of it hatching from its 'pod' (made of gelatin) and exploring the strange world around it for the first time is one of the high points of Harryhausen's career, and a sequence of which he rightly feels great pride. The scene of the full-sized, fifteen-foot Ymir wrestling an elephant (also animated) is also a stunning piece of work.

(Harryhausen's love of the Ymir extended to late in his career. In his last film, "The Clash of the Titans," he used the Ymir as the basis for the design of the multiple-armed monster the Kraken -- the heads and bodies are almost the same.)

The DVD presents the film in widescreen format for the first time since its theatrical release. The image is crystal clear and lets Harryhausen's work shine. There are a few extras. "The Harryhausen Chronicles," a lengthy documentary, does an excellent overview of the man's career. This same documentary appears on most of Columbia's Harryhausen DVDs, so if you're a fan of the animator you've probably seen this before. Also included is a vintage featurette about the animation process, called "This is Dynamation." It was made for the release of "The Seventh Voyage of Sinbad," so it actually has nothing to do with "20 Million Miles to Earth."

This is a must-have DVD for any Harryhausen fan and any admirer of 50s science fiction. It's one of the highlights of giant monster cinema.

Definately One of the Best!
Really only one word can describe this film: awesome! Everything about this movie is awesome! And this is no ordinary monster movie from the 50s. Harryhausen and the film crew took very special care in making this film. While it is a B movie, it doesn't seem like it. The story is well written and the Ymir is a monster that you will love and sympathize for rather than hating him. The only complaint I have about the film is that the Ymir didn't get as much screen time as he should have. But the ending of the film is worth it since he is in just about every scene within the last ten or so minutes.
The acting is decent but nothing worth applauding about. A little Italian kid gets annoying during the first half of the movie.
Overall, it's a classic monster film that will really appeal more to die-hard fans of the genre, little kids, and people who grew up watching these movies.

WHEN IN ROME
This 1957 sci-fi thriller is most notable because of the continuing genius of Ray Harryhausen and the remarkable creature he gives us. William Hopper (of Perry Mason fame) is the sole survivor of a Venus expedition which has brough back with it a gellified glob that contains this remarkable creature. The monster is accidentally sold to a visiting scientist by a little boy (Bart Braverman in his first role). Lovely daughter Joan Taylor (Earth vs. the Flying Saucers) happens to be a medical student. The monster hatches, a cute little thing remarkable in its dexterity and in Harryhausens amazing muscular definition. Of course it grows, is captured by the army and sedated in Rome. An electrical malfunction occurs and the now gigantic creature is let loose on Rome. It fights a huge elephant and then meets its end in the Colosseum. Hopper is awful in his role, more artificial than the monster. But it's a fun ride, and what makes this DVD so special is the addition of "The Harryhausen Chronicles" which gives us a blow by blow glance at some of Harryhausen's magnificent creations: the horrifying Medusa in "Clash of the Titans"; the metal colossus in "Jason and the Argonauts"; the crab and bee on "Mysterious Island" and countless others.
Harryhausen was a genius, working pretty much on his own. In today's CGI special effects, it's hard to think of only one person being able to create such marvelous fx.
RECOMMENDED.

Harryhausen's Best B&W Film
After the success of "It Came from Beneath the Sea" and "Earth vs the Flying Saucers", Charles Schneer (producer) and Ray Harryhausen (effects) kept the ball rolling with this top notch sci-fi thriller. A Venus probe returns to earth with an alien egg. Once it hatches, the earth's atmosphere causes the alien to grow to gigantic proportions. Harryhausen's last B&W film contains his best effects up to 1957. The creature is believable and scary, especially in the barn sequence. The combination of animated monster and real backgrounds is impressive, especially when you consider when this movie was made.
Today teams of men and dozens of computers create effects. Back in 1957, Harryhausen alone created amazingly lifelike creatures. When you see one of his films, you'll want to see them all. ... Read more

Reviews (6)

Good enough
A town marshal is shot and killed while pursuing a group of fleeing bank robbers.Community pillar Ben Cutler (Fred MacMurray) reluctantly agrees to become the new marshal.Cutler, a member of the outlaw-chasing posse, wounds and apprehends the trigger man, bad boy Eddie `The Kid' Campbell (Robert Vaughn.)
With Vaughn as a troubled youth - he never had a chance given the way he growed up - and MacMurray the middle aged, moral man at odds with the apathetic town he defends, think of GOOD DAY FOR A HANGING as a mixture of The Blackboard Jungle and High Noon, with a shady defense attorney and an extended courtroom scene thrown in for good measure.
The 1950s were the decade of message westerns, or a least westerns with a social sense and an accusatory finger to point.1959's GOOD DAY FOR A HANGING isn't as strident as some of that era, but it's serious in its way, flaying a bit of the flesh of the fickle and apathetic townfolks while deifying the last honest man.Fortunately, GOOD DAY possesses the reassuringly mellow presence of MacMurray as the man behind the badge, calming whatever worries we may have harbored that GOOD DAY will get too carried away with whatever message it's trying to deliver.
My expectations were fairly modest for GOOD DAY FOR A HANGING, and I'm happy to say I wasn't disappointed (wasn't pleasantly surprised, though, either.)A traditional western with a competent cast, recommended especially for fans of the genre.

A Solid, If Flawed, 50's Western
Good Day For A Hanging features Fred MacMurray in what is more of a character drama than a standard Western.MacMurray plays Ben Cutler, a former Marshall who gets caught up in the aftermath of a bank robbery gone wrong.A gang of bank robbers botches what was otherwise a well planned robbery of the town bank, only to be chased out of town by the Marshall and a makeshift posse.During the chase the Marshall is shot and killed, with all of the posse as witnesses.The shooter, Eddie "the Kid" Campbell,is wounded, but relatively unharmed before he is brought back to town.

It is here that the movie shifts to a solid character drama, as a prominent defense attorney shows up to take Campbell's case.Campbell grew up in the town and the attorney begins to plant the seed of reasonable doubt in the members of the posse - leading to a conflict with Cutler.Campbell is convicted on the strength of Cutler's testimony, but the townspeople begin to doubt Cutler's motives as they wonder if there really was enough evidence to convict the Kid.A movement in town grows to try to get the Kid's sentence commuted to life in prison, creating a conflict with Cutler, who is determined to see the sentence carried out.

Good performances from MacMurray and Robert Vaughan (as Campbell) help Good Day For A Hanging become as entertaining and engrossing as it is.The dialog and laid back style are very much in line with some TV Westerns, but it's all just a cut above that level.The direction from Nathan Juran is good, and sometimes inspired, and the cast does a good job of portraying a very tight-knit, family oriented town where everyone knows each other.

While Good Day For A Hanging isn't at the level of the best Westerns from the 50's (like Winchester '73, The Searchers, Warlock, Last Train from Gun Hill, The Man From Laramie, etc), it is still a good movie and well worth your time if you are a fan of the genre.

3 1/2 Stars.

A fine Western, underrated
At the end of the decade of the 1940s Columbia Pictures was producing and releasing both Gene Autry and Durango Kid series "B" Westerns, and doing well with them. During the 1950s, Columbia upgraded to more expensive fare, and produced a number of fine color Westerns with such solid actors as Randolph Scott, Fred MacMurray, and others. GOOD DAY FOR A HANGINGwas one of several that MacMurray did for Columbia (also notable is FACE OF A FUGITIVE), and it's a very good one. MacMurray has a unique style in just about everything he does (as anyone who remembers "My Three Sons" will recall!)--more meditative and quizzical, but always likeable. He shines in GOOD DAY FOR A HANGING, and manages to convey a resolve and determination that is also at the same time very human. This is no super-hero, but rather a man of real emotions, and thus identifiable with most viewers. In the end MacMurray's reasoned determination, albeit tested severely, is proven correct.

Production values and print quality are excellent; Columbia (Sony) continues to release some fine Westerns from the 1940s and '50s (e.g., THE VIOLENT MEN, LUST FOR GOLD, JUBAL, COWBOY, THE DESPERADOES, HANGMAN'S KNOT,several of the Durango Kid series, etc.), and GOOD DAY FOR A HANGING is one of the better ones.

Western Justice.
Fred MacMurray starred in several westerns in the fifties, and "Good Day for a Hanging", released in 1959, is an engrossing "duster" that holds your attention throughout. It raises issues such as capital punishment, loyalty, duty, family and the nature of justice.

A gang of outlaws holds up a bank and escapes, with the popular town marshall and a posse in hot pursuit. During a shoot-out in the hills, the marshall is shot dead by one of the gang. The youngest member of the gang, Eddie Campbell ( Robert Vaughn in a terrific performance ), is wounded and brought back to town by the posse. Posse-member, Ben Cutler ( Fred MacMurray ), is sure that young Eddie is the outlaw who shot the marshall, although he convinces townspeople that there should be a fair trial, rather that a quick lynching. Ben reluctantly agrees to take over as marshall, which soon causes problems with his bride-to-be, Ruth Granger ( attractive Maggie Hayes ), and his daughter, Laurie ( petulant Joan Blackman) who has a crush on Eddie
( Ben is a widower ). This, however, is a horse opera not a soap opera--there are fisticuffs, gunfights, a very tense trial scene and an excellent showdown at the end of the film.

Today I suspect most people remember Fred MacMurray as the affable and immensely likeable star of TV's "My Three Sons", and a number of Disney films. Film buffs know that,in fare such as "Double Indemnity" and "The Apartment", Mr. MacMurray could also be effective in less sympathetic roles. In "Good Day", he certainly has an edge to his performance, and gives us a convincing western hero. In addition to the intense Mr. Vaughn, we have a "pre-Virginian" James Drury as Dr. Ridgely, doting on Laurie Cutler, but unable to distract her from her obsession with young Eddie. Western fans will spot such actors as Denver Pyle, Gregg Barton, William Fawcett, Harry Lauter and the ubiquitous Tom London in supporting roles.

I see that the movie was produced by Charles H. Schneer and directed by Nathan Juran, better known for their collaboration with stop-motion effects master, Ray Harryhausen.

I found the widescreen, colour picture quality to be excellent--the sound typical for films of this vintage.

If you like westerns, Fred MacMurray may not be the first name you would think of. However, he was a fine actor, and was right at home throwing punches or lead ! "Good Day for a Hanging" delivers a "good" ninety minutes of western suspense and excitement. Recommended.

The Other Side of The High Noon Coin
A Good Day For A Hanging, a solid and entertaining Western, bookends nicely with a much more heralded 50's Western, High Noon. High Noon, in addition to dealing with courage and personal responsibility, dealt with the problems of enforcing law in a society that is afraid to protect itself from imminent criminal activity. This film deals with the frustrations of properly punishing criminals once they are caught.

Fred McMurray stars as a store owner who joins a posse chasing bank robbers. One of the bank robbers is a young punk played by Robert Vaughn, who also is very friendly with McMurray's young daughter. During the ensuing chase, the elderly and much loved town sheriff is killed by Vaughn, who is in turn shot and captured by McMurray and the posse.

McMurray becomes acting sheriff, and pushes forth the prosecution of Vaughn. But to McMurray's utter amazement, the town begins to sympathize with Vaughn,to the point that no one wants to believe that he is guilty. McMurray's dogged pursuit of justice causes him strained relations with everyone in the town (especially his daughter) except the young town doctor, played by James Drury.

Well acted and written, this film continues where High Noon left off by indicting those who are always screaming for law and order, but do not have the will to enforce it. It is great that this film is being released on DVD. ... Read more

Reviews (2)

Solid, Entertaining 50's Western
Law and Order is a solid, entertaining western that showcases Ronald Reagan as a leading man. Reagan gives an almost John Wayne-esque performance (you could almost call him John Wayne Light in this one). Reagan is tough, but very likeable in the role and shows the charisma that would help him in his political life just a decade later.

The story itself is something of a re-working of the Earps VS the Clantons, and it even starts in Tombstone. Reagan is Frame Johnson, tough, no-nonsense Marshall of Tombstone. He decides to retire to a nearby town to start a ranch and marry his girl, but he finds the town run by another rancher and soon Frame and his brothers are in conflict with that rancher and his family. There is plenty of good western action, and a solid story in Law and Order.

Law and Order is well worth buying for Western fans or fans or Ronald Reagan.

Standard Duster - But Quite Enjoyable
Ronald Reagan stars as a lawman in the old West - bringing outlaws to justice. A amusing aside: as one of the policies he adopts to ensure law and order, the Sherriff actually imposes GUN CONTROL - no guns are allowed in town - and Reagan goes about impounding weapons from violators. A standard "Duster" from the 50's this is nonetheless an an enjoyable Western. ... Read more

Amazon.com

As the sole movie co-starring Hollywood's only First Couple, Ronald Reagan and Nancy Davis, Hellcats of the Navy is either a privileged artifact or a hootworthy campfest, depending on your politics.Reagan plays a submarine ("hellcat") commander in the Pacific during World War II; Davis is the game little nurse back on shore who's decided he's (this is a quote) "Mr. Right."They share maybe eight minutes among the film's 82.Reagan's commander is a pretty glum guy, making unpopular life-or-death decisions into which his executive officer (Arthur Franz) reads nasty personal motives.This is a B movie all the way: drab supporting cast, script and direction that can't even get the cliches right, and bland studio footage of the actors intercut with speckly stock action shots and blatant miniatures exploding.Any contemporaneous episode of the syndicated TV series The Silent Service got more sense of excitement and wartime pressure aboard a submarine.Now if only the DVD had included that classic Saturday Night Live takeoff with Ron Reagan Jr. time-traveling back to the Hellcats set to spark the romance between dad (Randy Quaid) and mom (Terry Sweeney)....--Richard T. Jameson ... Read more

Reviews (7)

Standard B-movie fare, nothing remarkable
Is it a horrible movie? I have seen much much worse than this. Does it merit 5-star ratings? You have got to be kidding me. If not for the fact that the stars went on to become President & First Lady, nobody would remember this movie any more than the countless number of B movies that were being churned out at this time.

It is interesting from the standpoint of Ronald Reagan's movie career, which was rapidly drawing to a close. Movies like this are indicative of an actor whose film offers were become less & less frequent and desirable, and it explains in part why Ronald Reagan would shortly thereafter leave Hollywood behind once & for all.

Do you want to kill a couple of hours on a Saturday afternoon? You could do worse, for sure. But let's be real and recognize this movie for the unremarkable work that it is.

Excellent, nothing bad!
Excellent movie with nothing dirty in it. A good WWII movie. Good acting by both Ronald and Nancy Reagan and the others.

Excellent WWII submarine movie! Good action sequences.
This movie addresses the issue of what it takes to be a good wartime commander. Exciting enemy encounters, good account of a few social interaction between the swabbies and their families. It's an excellent movie despite public ridicule of former President Ronald Reagan's acting (His real-life wife is in it too). It leaves you with a sense that you have learned something, especially after watching it a second time.

Ronald Reagan's last film role as a hero (and Nancy too!)
The "Hellcats of the Navy" are a special branch of the U.S. Navy Submarine Service who did Special Ops. Commander Casey Adams (Ronald Reagan) and the U.S.S. Starfish are sent to bring back sample Japanese mines for the Navy to study. The mission succeeds, but Adams is forced to abandon one of his frogmen, the popular Wes Barton (Harry Lauter). The boat's second in command, Lt. Commander Don Landon (Arthur Franz) second-guesses the captain's decision, since Barton had made advances to the skipper's girlfriend, nurse Helen Blair (Nancy Davis). Landon becomes even more unhappy when he learns Adams turns in a report that says he is a good junior officer but is emotional unfit for command (yes, parts of this movie are going to remind you of "U-157" while others are reminiscent of "Star Trek II: The Wrath of Khan"). On the return mission, the Starfish is lost, but Adams, Landon and some of the men are rescued. Finally, after another successful mission their new sub gets a wire entangled in the rudder and Adams goes below in a diving suit to fix the problem. When a Japanese destroyer bears down on the sub, Landon gives the order to submerge, leaving Adams behind.

This 1957 film directed by Nathan Juran, has the virtue of being based on a novel, "Hellcats of the Sea," written by a couple of Admirals, Charles A. Lockwood (played by Maurice Manson in the film) and Hans Christian Adamson. While it owes its place in cinematic history to the fact it is the only film in which Ron and Nancy Reagan appeared together, the strength of "Hellcats of the Navy" is the treatment of command decisions and the morality of leadership. This is a movie that you would have thought would have been produced during or shortly after World War II, but since it deals with secret operations it is not a story the Navy would have passed on until years later. This is not a great WW2 submarine film like "Destination Tokyo," but it is not a bad one by any means. Oh, and the scenes between Ron and Nancy? Well, the romantic sub-plot is pretty minimal and their scenes end up being minor curiosities that are somewhat flat when compared to the shots of them just looking at each other during their years in the White House.

Highly Underrated Movie!
I am writing this review to correct a previous reviewer. Instead of discussing the pros and cons of this movie "laddie5" simply engaged in a character assassination of Ronald and Nancy Reagan. Having actually seen this movie, I can tell you that it is definitely a good one--and also highly underrated! The movie was well adapted from a novel by Vice-Admiral Charles A. Lockwood. In other words, the movie creates a very good image of what it was like on a WWII submarine. Furthermore, the acting is not stiff! The characters all really get into their roles and everything goes smoothly. I strongly recommend this movie to everyone and hope that my fellow reviewers will be more objective from now on. ... Read more

Reviews (30)

Poor Man's Harryhausen Film
I don't mean to berate the great Jim Danforth, but this is an extremely low budget rip-off of The 7TH Voyage of Sinbad. The legend is that producer Edward Small turned down Harryhausen's pitch for 7th Voyage. Ray went to Columbia, and the finished product was a huge hit, making 12 mill in America alone in 1958!!
Small probably kicked himself a few times, and decided to make an exact duplicate of the film at MGM. He hired the same director (Nathan Juran) and same stars (Kerwin Mathews and Torin Thatcher).Unfortunately, the animation models were not of the quality of Sinbad, and the stop motion is rushed (Small had a very tight budget. The result is a fun film for kids, but fantasy film fanatics do not regard this as a classic. Jack (Mathews) must rescue a possessed Princess from an evil sorcerer who wants to take over the Kingdom.
Columbia actually sued Small for ripping off Sinbad, and the film remained in limbo for many years. In the late 80's, MGM turned the movie into a musical!!!!!! They dubbed over dialogue and made it look like the characters are singing! This version was shown on the Disney channel for a few years, and it is a sight to behold. In the mid ninties, MGM restored the film for a VHS release, and now the "widescreen" DVD. There is some controversy regarding the films original aspect ratio (see stopmotionanimation.com).
Kids will enjoy, but stop motion fans regard this film as a footnote in history.

"Special Place of Honor"
MGM/UA/s PREVIOUS release (VHS and Laser Disc) of "Jack the Giant Killer" was, in fact,the ORIGINAL NON-MUSICAL version (thank god), even though the box described it as "Complete with musical songs..". If the current version IS the musical, AVOID IT AT ALL COSTS;...it is trash! However, if it is the original NON-musical version, then buy and enjoy it!

Yes, producer Edward Small deliberately imitated Harryhausens' "7th Voyage of Sinbad" (which Small had actually turned down in the mid-50's; when "Sinbad" went on to reap huge profits, Small was kicking himself and thus set out to produce his "own" version). Yes, the animation isn't as polished as Harryhausen's......yes, the production values were not as high... But "Jack" is still something that Harryhausen films could never be....ENGAGING on a human level...fresh, quick-moving, genuinely enchanting. The crude animation, in a way, adds to the charm of the film, which manages to capture the essential fantasy, fairy-tale world in a way which Harryhausen's humorless, heavy-handed approach could not.

Kerwin Matthews is, as always, sincere and engaging, Torin Thatcher is more controlled than in "Sinbad", Dayton Lummis is a cool King Mark, Barry Kelley is a hoot as Sigurd the Viking. Don Beddoe...always a fine, understated actor, here performs wonders of subtlety and telling characterization while stuck inside a giant prop bottle. Even Robert Gist, who portrayed "Hal" (Jack Buchanan's side-kick) in "The Band Waqon" turns up briefly as the ill-fated ship's captain. And, of course, my FAVORITE character actor of all time...the underrated, forgotten WAlter Burke plays Garna, Pendragon's henchman, in his usual skilled way (Anyone ever seen him in the episode of "Ben Casey" called "The Men Who Raised Rabbits?"-he's superb). Only Anna Lee's "witch" scene is embarrasingly bad, as is the bulk of Judy Meredith's Princess Elaine (she was Frank Sinatra's main squeeze at the time the principal photography was done (Summer, 1960).

Yes....the music of Paul Sawtell is no match for Herrmann's "7th Voyage" score, but it is rousing, tuneful and, in the case of the mechanical doll dance, absolutely enchanting. The final harpy scene (designed and animated by Jim Danforth) is first-rate, the Wah Chang-designed giants are bizarre and fantastic, the witches, who due to complications during filming were never realized on screen as the designers intended, are still cool in a child-like, imaginative way (a "Fish" witch?..a "Bunny" witch?...a mini-Godzilla witch with a harp-like mouth that emits a gale-force wind....? ).

And those rockin', swaying' KNights of the Dragon's Teeth, always my favorite sequence and, as director Nathan Juran said, a scene which "didn't contain one dollar's worth of special effects" (!)....just stop & start the camera, explode some powder, march in those Knights, and add Sawtell's mechanized music....voila! .....another simple, exciting fantasy sequence that keeps the film bubbling along.

Yeah, I know it ain't Citizen Kane.....but "Jack The Giant Killer" gets my "Special Place of Honor" award; I saw it on its first release when I was 11, and it became the final, yet most endearing example of cinematic magic (next to "The Wizard of OZ")that I was ever to experience as a child.

Generally sharp DVD
The DVD is free of blemishes and is quite colorful; however, some images are pale, no doubt due to the aging of the original materials. This is especially apparent in composite shots where the models look bright but the backgrounds don't. Probably the best this film is going to look.

We have failed master, we have failed.
I grew up and loved the musical version of this film as shown on the disney channel. I was disappointed to learn that only the dry and humorless version has been released on dvd. The masters at GoodTimes DVD made a crippling mistake and failed miserably by not making this version the musical version. This version of the movie is not worth the mere $4.95 that it costs here. The layer that the music adds is priceless...I watched the musical version of the movie with my girlfriend, and it was like falling in love all over again. You don't get that feeling from the original version.

I'm planning on doing my own transfer of the musical version from VHS to DVD (for personal uses only, sorry guys, you're just going to have to wait until they come out with the musical version. I bet you're jealous.) I'm also going to add a special feature that will allow me to loop the songs over and over again, and I'll be singing "a spectacle" until the wee hours of the morning. Non-musical version=1 star. Musical-version=5 stars.

Sadly this is not the horrifically wonderful Musical version
The obviously over-dubbed musical numbers which elevate this film into a comedy classic are sadly missing from this DVD version. The insipid acting, asinine dialogue, goofy clay monsters, even the appearence of a chipanzee. All this hilarious comic potential seems wasted without the "positive" and "inspirational" musical numbers. I mean come on people, "We have failed master, we have failed" it's a freaking classic! Wake up!
Looks like it's back to that worn VHS copy of the musical version I taped off T.V. (musical version = five stars) ... Read more

Reviews (30)

Poor Man's Harryhausen Film
I don't mean to berate the great Jim Danforth, but this is an extremely low budget rip-off of The 7TH Voyage of Sinbad. The legend is that producer Edward Small turned down Harryhausen's pitch for 7th Voyage. Ray went to Columbia, and the finished product was a huge hit, making 12 mill in America alone in 1958!!
Small probably kicked himself a few times, and decided to make an exact duplicate of the film at MGM. He hired the same director (Nathan Juran) and same stars (Kerwin Mathews and Torin Thatcher).Unfortunately, the animation models were not of the quality of Sinbad, and the stop motion is rushed (Small had a very tight budget. The result is a fun film for kids, but fantasy film fanatics do not regard this as a classic. Jack (Mathews) must rescue a possessed Princess from an evil sorcerer who wants to take over the Kingdom.
Columbia actually sued Small for ripping off Sinbad, and the film remained in limbo for many years. In the late 80's, MGM turned the movie into a musical!!!!!! They dubbed over dialogue and made it look like the characters are singing! This version was shown on the Disney channel for a few years, and it is a sight to behold. In the mid ninties, MGM restored the film for a VHS release, and now the "widescreen" DVD. There is some controversy regarding the films original aspect ratio (see stopmotionanimation.com).
Kids will enjoy, but stop motion fans regard this film as a footnote in history.

"Special Place of Honor"
MGM/UA/s PREVIOUS release (VHS and Laser Disc) of "Jack the Giant Killer" was, in fact,the ORIGINAL NON-MUSICAL version (thank god), even though the box described it as "Complete with musical songs..". If the current version IS the musical, AVOID IT AT ALL COSTS;...it is trash! However, if it is the original NON-musical version, then buy and enjoy it!

Yes, producer Edward Small deliberately imitated Harryhausens' "7th Voyage of Sinbad" (which Small had actually turned down in the mid-50's; when "Sinbad" went on to reap huge profits, Small was kicking himself and thus set out to produce his "own" version). Yes, the animation isn't as polished as Harryhausen's......yes, the production values were not as high... But "Jack" is still something that Harryhausen films could never be....ENGAGING on a human level...fresh, quick-moving, genuinely enchanting. The crude animation, in a way, adds to the charm of the film, which manages to capture the essential fantasy, fairy-tale world in a way which Harryhausen's humorless, heavy-handed approach could not.

Kerwin Matthews is, as always, sincere and engaging, Torin Thatcher is more controlled than in "Sinbad", Dayton Lummis is a cool King Mark, Barry Kelley is a hoot as Sigurd the Viking. Don Beddoe...always a fine, understated actor, here performs wonders of subtlety and telling characterization while stuck inside a giant prop bottle. Even Robert Gist, who portrayed "Hal" (Jack Buchanan's side-kick) in "The Band Waqon" turns up briefly as the ill-fated ship's captain. And, of course, my FAVORITE character actor of all time...the underrated, forgotten WAlter Burke plays Garna, Pendragon's henchman, in his usual skilled way (Anyone ever seen him in the episode of "Ben Casey" called "The Men Who Raised Rabbits?"-he's superb). Only Anna Lee's "witch" scene is embarrasingly bad, as is the bulk of Judy Meredith's Princess Elaine (she was Frank Sinatra's main squeeze at the time the principal photography was done (Summer, 1960).

Yes....the music of Paul Sawtell is no match for Herrmann's "7th Voyage" score, but it is rousing, tuneful and, in the case of the mechanical doll dance, absolutely enchanting. The final harpy scene (designed and animated by Jim Danforth) is first-rate, the Wah Chang-designed giants are bizarre and fantastic, the witches, who due to complications during filming were never realized on screen as the designers intended, are still cool in a child-like, imaginative way (a "Fish" witch?..a "Bunny" witch?...a mini-Godzilla witch with a harp-like mouth that emits a gale-force wind....? ).

And those rockin', swaying' KNights of the Dragon's Teeth, always my favorite sequence and, as director Nathan Juran said, a scene which "didn't contain one dollar's worth of special effects" (!)....just stop & start the camera, explode some powder, march in those Knights, and add Sawtell's mechanized music....voila! .....another simple, exciting fantasy sequence that keeps the film bubbling along.

Yeah, I know it ain't Citizen Kane.....but "Jack The Giant Killer" gets my "Special Place of Honor" award; I saw it on its first release when I was 11, and it became the final, yet most endearing example of cinematic magic (next to "The Wizard of OZ")that I was ever to experience as a child.

Generally sharp DVD
The DVD is free of blemishes and is quite colorful; however, some images are pale, no doubt due to the aging of the original materials. This is especially apparent in composite shots where the models look bright but the backgrounds don't. Probably the best this film is going to look.

We have failed master, we have failed.
I grew up and loved the musical version of this film as shown on the disney channel. I was disappointed to learn that only the dry and humorless version has been released on dvd. The masters at GoodTimes DVD made a crippling mistake and failed miserably by not making this version the musical version. This version of the movie is not worth the mere $4.95 that it costs here. The layer that the music adds is priceless...I watched the musical version of the movie with my girlfriend, and it was like falling in love all over again. You don't get that feeling from the original version.

I'm planning on doing my own transfer of the musical version from VHS to DVD (for personal uses only, sorry guys, you're just going to have to wait until they come out with the musical version. I bet you're jealous.) I'm also going to add a special feature that will allow me to loop the songs over and over again, and I'll be singing "a spectacle" until the wee hours of the morning. Non-musical version=1 star. Musical-version=5 stars.

Sadly this is not the horrifically wonderful Musical version
The obviously over-dubbed musical numbers which elevate this film into a comedy classic are sadly missing from this DVD version. The insipid acting, asinine dialogue, goofy clay monsters, even the appearence of a chipanzee. All this hilarious comic potential seems wasted without the "positive" and "inspirational" musical numbers. I mean come on people, "We have failed master, we have failed" it's a freaking classic! Wake up!
Looks like it's back to that worn VHS copy of the musical version I taped off T.V. (musical version = five stars) ... Read more