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The highlight of Mutiny on the Bounty is undoubtedly Charles Laughton's bracingly evil performance as Captain Bligh, a man so mean that he insists on having a dead sailor flogged. Bligh pushes his men beyond physical endurance, slashes their rations for his own profit, and drastically cuts down their frolicking time with scantily clad Tahitians. Finally, the moment everyone has been waiting for arrives: first mate Fletcher Christian (Clark Gable) hits his limit and all hell breaks loose. Gable holds doggedly onto his American accent through the entire movie, but in a way it makes Christian come off as a Regular Guy in opposition to Bligh's institutionalized cruelty. Once you get past the hurdle of his diphthongs, Gable makes an excellent Fletcher Christian--strong, fair, and noble, and he effectively conveys the struggle of a man who loathes the idea of mutiny but can't stand see his men mistreated. And Charles Laughton is just superb. His Bligh is thoroughly appalling, yes, but it's far from a one-note performance--when he is cast adrift on the open sea in a lifeboat and tries to make an impossible journey to land, you can't help but root for him. Mutiny on the Bounty won the 1935 Academy Award for Best Picture and picked up a Leading Actor nomination for each of its male leads. Check it out or be tied to the mizzenmast. --Ali Davis ... Read more

Reviews (28)

One of Hollywood's best classic films
Charles Laughton is pure martinet evil, and Clark Cable is a sizzling hunka studmuffin in this classic version of the famous (and famously fictionalized) story of the 1787 rebellion aboard the HMS Bounty. Laughton's Captain Bligh embodies cruelty itself as he terrorizes, tortures and flogs the poor souls toiling under his command, Clark is noble and true to his morals, even as he forsakes his country in order to stand up to the tyranny of the mad ship's captain. This film is magnificently made, filmed in black & white that's as crisp and clear-cut as the plot itself... Best of all, though, is Gable at his most dashing and magnetic -- if you've ever wondered whee his star appeal came from, then check this film out. (For an interesting contrast, try out the 1962 remake, with Marlon Brando, of all people, taking a cool turn at the Gable character...)

It's naval, not navels...
Charles Laughton gives the standout performance in this classic retelling of the Bounty mutiny. Gable appears properly confounded and gives a believable and sympathetic rendering of Fletcher Christian. The movie holds up remarkably well despite some awkward editing and gaps in the story line. Still, at 133 minutes it is a relatively long film but it never drags. In spite of allegations made in other reviews there are no "white girls in blackface" or "boats in a bathtub" scenes. True, navels are concealed but the two female leads are obviously and revealingly topless in several scenes. As for "toy boats in a bathtub" there is only one sequence that obviously utilizes a model and it isn't all that obvious. Laughton is the luminary here and his Bligh stays with you. In fact it has stayed with the culture for sixty-five years. His performance is without fault and repeated watchings bear this out. A couple of sequences bear a closer look: The mutiny montage is startlingly effective and intense. It is a realistic portrayal of sudden violence; short, confusing, and graphic. The Sunday morning prayers on deck sequence is poetic and approaches the sublime. The ship's sails gleam translucent in the sun, the Union Jack floats majestically in the breeze, sunlight reflects brightly on faces as the Captain invokes God's blessings on the voyage. The extreme contrast of light and dark in the black and white print and the metaphorical contrast of good against Bligh, the epitome of evil, is subtle yet effective. It is a beautiful few moments. In every way but gloss this film is superior to the 1962 version. The 1984 "Bounty" with Mel Gibson is a fine film but it fades in the memory. This version lingers in the subconsious.

The definitive version
Skip the 1962-version with Brando or the 1984-effort with Mel Gibson...

THIS is the 1. The production values are very high(of course - it`s from Metro-Goldwyn-Mayer) and the star performances still survives... With MGM`s "San Francisco", the best b&w melodrama of the 30s... No wonder they called Clark Gable "The King of Hollywood" - here the monarch is at his youthful and masculine BEST:-)

Good Quality DVD of classic adventure!
Okay, so there are some corny MGM movie moments here and there, but on the whole this is a timeless adventure classic with standout performances by Laughton, Gable and Tone. Truly thrilling and gut wrenching, deserving of a place in your collection. A few additional bonus features compliment this Best Picture Oscar winner.

Mutiny on the Bounty 1962 version better
I wish they would release it in DVD, I saw the 3 versions.
I prefer the 1962 version it's a lot better, can't wet
to buy it (The DVD 1962) rate 4 1/2 stars.

michel lebrun
sherbrooke, qué. ... Read more

Amazon.com

With its straightforward retelling of events leading up to the American Revolution, The Howards of Virginia is a standard slice of patriotism from Hollywood's golden age. Adapted by noted screenwriter Sidney Buchman from Elizabeth Page's 1939 bestseller Tree of Liberty, this colonial melodrama is notorious for saddling Cary Grant with one of his most ill-fitting roles, and it's true that Grant's 20th-century style clashes with his portrayal of buckskinned rebel Matt Howard. Still, his performance is far from being "really bad" (as critic Pauline Kael harshly opined), and Martha Scott brings tenacious dignity to her role as Howard's pragmatic wife, who defies her aristocratic family to join her new husband in the wilderness of Ohio. The stirrings of rebellion clash with some thankfully outmoded Hollywood clichés (such as Howard's initial rejection of his mildly disabled son), but overall this remains a respectable and altogether engaging historical adventure, encompassing the early career of Thomas Jefferson and noteworthy for its meticulous attention to period detail. --Jeff Shannon ... Read more

Reviews (6)

Anyone who loves the history of Virginia . . ..
Being from Virginia, I am of course partial to movies about it. Having spent a lot of time touring historical homes in and around the state, this movie in particular stands out. Part of the movie was filmed at Carters Grove Plantation, one of the James River Plantations. Cary Grant was great friends with the McCrea's who owned the plantation in the 1930's-40's. He loved the house so much that he recommended to the film company that they use the house for the home of inlaws in the movie. (The plantation was also used for the George Washington miniseries with Barry Bostwick/as the Fairfax home)
I recommend this movie to anyone that loves Cary Grant. Mr Grant's portrayal is very moving, Richard Carlson as Thomas Jefferson isn't so bad either !

A very big Cary Fan Hates This One!
As much as it pains me to say, this is a terrible movie for Cary-and a terrible movie in general. All of Grant's strengths are hidden while he is asked to play a rugged, outdoorsman with no polish, class or sophistication. It sounds like a bad joke, doesn't it? Well it is. It hurts to watch this great actor stumble through this movie. Please keep in mind that I am a huge(maybe even obsessive) Grant fan, owning over 30 of his DVDs. This is, however, by far my least favorite. Sorry. Save your money and invest in the new Criterion edition of "Notorious."

Cary Grant -- miscast but still fun to watch
At 115 minutes, this Hollywood historical film runs a bit long, and Cary Grant isn't the best fit for Matt Howard, but he is still fun to watch and the film covers interesting bits of the events leading up to the American Revolution, such as the Boston Tea Party. We also meet Thomas Jefferson and listen to Patrick Henry. The film's tension comes from the class differences between rebel Matt and his conservative wife, Jane. While the sets and costumes look good, the story lags at times, but this would be a worthwhile rental for Grant fans or Revolution cinephiles.

The dvd features are: subtitles in English, French or Japanese, and trailers for three other classic films.

Worthwhile viewing
This is a fine movie for adults to watch along with their children. I totally enjoyed the political IN-correctness of this movie. Filmed on location in Willimsburg before the town was turned into Revolutionary Themepark, the street scenes truly were what they would have been during the revolution. Historical movies today work too hard at either beating us over the head with societal inequalities or pretending they didn't exist. In the 1700s Legislators were men, women stayed on the sidelines, black people were slaves. To deny the truths of the period is to deny the valour of the people who fought for change since then. The story moved quickly and the reasons for Revolution were clearly spelled out as affecting the whole nation, not just about one or two people as we have recently seen in movies like "The Patriot". Although most of the women's costumes were awful (zippers were obvious), the furniture detail and most of the men's costumes were well done. I would recommend this movie as worthwhile viewing.

If it weren't for Cary Grant...
If it weren't for Cary Grant, I would never have finished watching this video/film. I was bored by the lack of character development, but Cary Grant's smoldering presence makes the movie worth seeing once. ... Read more

Amazon.com

Jackie Coogan had made his name as the spunky waif in Chaplin'sThe Kid when he took on the role of Charles Dickens's plucky orphanhero in Oliver Twist. It's dream casting: wide-eyed Coogan is aninnocent with a heart of gold dropped into a den of thieves, notably LonChaney's Fagin, a heartless conniver with long whiskers, a hook nose, rottenteeth and skeletal fingers. The entire production is peopled with perfecttypes--a rotund bulldog of a Mr. Brumble, a barrel-chested bully of a BillSykes, a ragged dandy of an Artful Dodger--but it rather misses the point ofDickens. "I know of two kinds of boys: good and bad," sniffs one high-societygentleman, and sure enough, director Frank Lloyd gives us heroes and villainswithout the energetic, colorful portrayals of the Dodger (who has littledramatic presence) and Fagin that enrich later versions of the novel. Theentire novel is packed into 74 breakneck minutes, but the lavish productionis richly atmospheric and beautiful to look at, and Coogan's cute, sprightlyperformance keeps the story bouncing along. The print is well worn and inplaces quite damaged, but it's presentable, nicely tinted, and accompanied byan organ score by John Muri.

This disc also includes Lon Chaney in The Light of Faith (an abridgedversion of Clarence Brown's The Light in the Dark). Chaney plays athief who, inspired by the story of the Holy Grail, risks his life to rob arich man of his ancient goblet in the hopes that it may save a sick girl.There's little room for dramatic resonance in such a digest-sized version,but Chaney shines as a reformed roughneck, and the lavish production is wellpreserved in this excellent restoration, which has been tinted and set to anorgan score by Hank Troy. --Sean Axmaker ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more

Amazon.com

A slow-moving but historic attempt to bolster the British War Reliefeffort in 1943, Forever and a Day is a drama about the inhabitants of amagnificent English home, beginning in the early 19th century. The story isn't much, but there's a charming spirituality about the house and what happens to those who nurture it and abuse it. It's a metaphor, of course, for England itself. Most of all, the celebrity lineup is a real treat: There are 80 stars, including Brian Aherne, Robert Cummings, Ida Lupino, Charles Laughton, Herbert Marshall, Ray Milland, Merle Oberon, Claude Rains, Victor McLaglen, Buster Keaton, C. Aubrey Smith, Elsa Lanchester, and Edmund Gwenn. Talent wasstacked up behind the camera as well: René Clair, Edmund Goulding, and Cedric Hardwicke are among the directors. --Bill Desowitz ... Read more

Reviews (3)

Amazing collection of stars in a classic epic film
Forever and a Day is a marvelous, lyrical piece of World War II propaganda that boasts one of the most amazing casts and crew ever assembled for a motion picture.

As the film begins, the Nazis are bombing London and an American visitor, Gates T. Pomfret (Kent Smith), journeys into the city searching for a house his father owns and that the current boarder, Lesley Trimble (Ruth Warrick), wishes to purchase. Gates' sarcastic attitude about the house leads Lesley to relate the history of the manse, and how both of their families have been intertwined since Admiral Trimble (C. Aubrey Smith) built it back in 1804. The house eventually fell into the hands of the Pomfrets, who later leased it out as a hotel during the First World War. Now, the building is only used as a bomb raid shelter.

In the late 1930s and early 1940s, Hollywood was inundated with a phalanx of British actors and directors seeking refuge from the war while continuing the careers. Forever and a Day was specifically designed as a morale booster for the folks back home as well as a bit of propaganda for American audiences. The house, of course, is a metaphor for England herself--stalwart, traditional, broken but defiant and ultimately triumphant. The film combines laughter and tears to achieve its end, and though the fadeout is bittersweet, it's still incredibly uplifting.

To create the film, one of the largest all-star casts imaginable was assembled to portray the various personalities who inhabit the house during the century and a half. Besides those mentioned above, there's also Ray Milland, Victor McLaglan, Anna Neagle, Herbert Marshall, Claude Rains, Dame May Whitty, Gene Lockhart, Anna Lee, Buster Keaton, June Duprez, Nigel Bruce, Elsa Lanchester, Donald Crisp, and many, many others. My favorites in the cast include Smith, who's alternately amusing and moving; Charles Laughton as a tippling butler; Ida Lupino and Brian Aherne as a maid and coal tender (respectively) who develop a romance during Queen Victoria's jubilee; Gladys Cooper and Roland Young as parents awaiting the return of their son from World War I; and Robert Cummings as an American doughboy and Merle Oberon as a hotel secretary who fall in love during that war.

There was an all-star line-up behind the camera as well, with such acclaimed directors as Rene Clair, Edmund Goulding, Cedric Hardwicke, Frank Lloyd, Victor Saville, Robert Stevenson, and Herbert Wilcox. The writing credits are equally diverse, including such names as C.S. Forester, James Hilton, Christopher Isherwood, Donald Ogden Stewart, and John Van Druten. I can't say who wrote or directed which episodes, because it's all been so seamlessly and exquisitely combined.

Students of history and classic film are sure to thrill to Forever and a Day; modern audiences that just like a good story well-told are bound to enjoy it as well.

The DVD is a bare-bones presentation, with just the film and chapter selections. The picture is a bit dark at times, showing its age, but the sound is marvelous.

Struggles To Maintain Your Interest
This film suffers slightly from being a product of its times. The Second World War was in full cry and to help raise morale (and money) well-meaning directors and actors got together to make 'Forever and a Day'. In fact the cast list is one of the prime reasons for buying this DVD - it's certainly why I bought it. Jessie Matthews, Elsa Lanchester, Claude Rains, Charles Laughton - even Buster Keaton - they're all here! But you can't escape the feeling that this is a 1940's 'USA for Africa'. Whilst you loved hearing Lionel Ritchie, Michael Jackson & all singing 'We are the World', it was never as good as listening to their solo work. 'Forever and a Day' just has too many actors and directors to produce a fully coherent movie. I may be mistaken, but I'm sure somebody once said of this film 'Never have so many given so much for something so dull'. That's a little harsh but for once I have to disagree with Leonard Maltin and award this only average marks. I'm still glad I have it in my film collection - if only for that great cast and it's historical interest.

One Of The Best Epical Films Yet...
The British, and some American, cast shines in thiswnderful depiction of a grand English mansion and its inhabitants for over one-hundred years. The scenes of this picture are geniusely executed and planned out to the second! The efforts of actors such as Ray Milland, C. Aubrey Smith and Claude Rains were beyond words. Anyway, to all those not familiar with "Forever and a Day," it beigns with one grand-scale English being built in 1804 during the Napoleonic Era. This film advances through all the years up to then present day World War II with humor, adventure, and historical grandeur. Even though going through rough times, the house withstands the outside threats of enemy nations until 1940. By then, the manor is bombarded by one A. Hitler and inspectors are sent to report on the tragedies. However, on the wall of the house, the portrait of C. Aubrey Smith, head master and founder of the house, remains intact and shows England's durability during its darkest hours. You can also see that in this fim, the darndest guest appearences are made by veteran actors such as Buster Keaton, Charles Laughton, etc. All the actors did this film for free and looked to help the war effort in 1943, when truly the world was involved. This film is very hard to get. However, when it first opened, I saw it in my local motion picture theatre and have yet to forget the details. They are symbolic and still stand out in my mind. The message here is simple. It just tells you to smile, for tomorrow is another day. ... Read more

Description

4 movies / 2 DVD's

1. Blood on the Sun (1945, 98 minutes) Also starring Sylvia Sidney
Nick Condon (Cagney) a newspaper reporter working in Tokyo, gets wind of Japanese plans to bomb the US.Fans will enjoy an exciting Judo sequence as Cagney avoids the clutches of interrogators who wish to dispose of him.Academy Award for Best Art Direction.

2. Time of Your Life (1948, 105 minutes) Also starring William Bendix
Cagney plays Joe 'T' in this whimsical film version of William Saroyan's Pulitzer Prize-winning play about a rundown San Francisco waterfront bar, populated by a group of lovable characters.

3. Great Guy (1936, 75 minutes) Also starring Robert Gleckler
Corruption and violence have gnawed to the core of democratic society. Cagney, as pugnacious Johnny 'Red' Cave, uses his brains, fists and attitude to battle for truth and justice against crooked city politicians.

4. Something to Sing About (1937, 93 minutes) Also starring Evelyn Daw and William Frawley
In this musical comedy, Cagney, as New York band leader Terry Rooney, journeys to Hollywood looking for a big break.He gets married, and when the happy couple returns from a honeymoon, a movie contract is offered--if he remains single! Academy Award Nomination for Best Score. ... Read more

Reviews (2)

james cagney classics-DVD-Genius-AMC
i am a big cagney fan, and i am accustomed to AMC playing quality prints of classic movies, so you can understand my disappointment in seeing these poor quality transfers, especially since it says "digitally remastered" on the front cover. save your money and hopefully a remastered set of cagney movies will appear soon.

This is a great 4 movie 2 DVD set - from AMC Movies series!
American Movie Classics (AMC) Movies presents a digitally remastered "Hollywood Classics" series.

This installment is James Cagney in 4 very enjoyable less known movies of this infamous dramatic , song & dance actor.

Summary: Disc 1 : includes feature "Blood on the Sun" (1945, 98 minutes) Cagney plays NICK CONDON a newspaper reporter working in Tokyo, discovers the Japanese plan to bomb the United States. Cagney is delightful and this film has a fast moving plot. the 2nd feature is, "Time of Your Life" (1948, 105 minutes) Joe T (Cagney) leads a whimsical cast of lovable characters in a San Francisco waterfront bar. Disc 2 : the 1st feature "Great Guys" (1936, 75 minutes) Corruption and violence have gnawed away at democratic society. Cagney plays Johnny Cave a U.S. Weights and Measures official trying to right the wrong using his brains, fists and attitude to battle the truth and justice against crookrd city politicians. A great flick!!! and finally the 4th feature, "Something To Sing About" (1937, 93 minutes) A musical comedy Cagney is a New York Band Leader Terry Rooney, journeys to Hollywood looking for a movie break. (This is a fun lovable story - early display of Cagneys dancing ability - later winning an Oscar in "Yankee Doodle Dandy".

Extras a fun fact question about each movie.

This is a great Cagney package, good quality, all black/white Standard format. Great addition to the DVD library. Enjoy. ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more

Amazon.com

Cagney is a crusading newspaper editor in 1930s Japan who's come into possession of the "Tanaka Plan" for world domination.Amidst political intrigue and crossed loyalties, Cagney must now find a way to warn the outside world. A fine, entertaining melodrama that's based in fact, with Cagney as good as ever, but this time with judo chops. If only the Japanese knew some kind of hand-to-hand combat, they might be able to stand a chance against Cagney.Dated only by its condescension towards the Japanese, Blood on the Sun never slacks its pace, providing quick-witted patter all along in the mark of the classic Hollywood style.It seems peculiarly American (in an inadvertent way, of course) that in the film's final moments the day should be saved by none other than Ward Cleaver (Hugh Beaumont). Unfortunately, this disc by Madacy has very poor visual quality, having been apparently tranferred from tape, thus subverting the benefits possible with DVD's higher definition format. --Jim Gay ... Read more

Reviews (12)

For Cagney fans only
(Please note that of the eight DVD versions of BLOOD ON THE SUN that are currently listed on Amazon.com, I am reviewing the Laserlight "Special Edition" release. That's the one that comes with a documentary on the film career of James Cagney and a goofier-than-thou introduction by Tony Curtis.)

To be honest, I didn't find the feature film on this DVD to be all that exciting. The plot is coherent and without any obvious flaws, and the characters have a lot of promise. It just isn't terribly enthralling. There's a fairly good fight sequence near the end, if that sort of thing interests you. Unfortunately, that sort of thing doesn't usually interest me, and nothing leading up to that had given me any emotional investment in either of the factions. James Cagney's acting is quite good, and, as always, he commands quite a presence on the screen. It's unfortunate that he's one of the only interesting things to watch in this film.

The picture quality is actually fairly good which is a bonus when you consider how cheap the disc is. The picture is the tiniest bit fuzzy at points, but for the most part it's ahead of many other budget DVDs. The sound quality is certainly acceptable, if not the clearest thing you'll ever hear. If you've already seen and enjoyed this movie and are wondering which DVD version you should buy, know that you could do a lot worse than the Laserlight edition.

The included documentary JAMES CAGNEY ON FILM runs 36 minutes long and is a fairly formulaic piece, very similar to the other such programs that Laserlight has included on their DVDs. It's a fairly tame short piece, made up primarily of an uninspired voice-over speaking while the camera pans over numerous black and white publicity shots of Cagney. A few film trailers make up the rest of the action. I didn't know much of anything about James Cagney before, so I found the information to be interesting, albeit a bit dry. I speculate that any real Cagney fans would probably know much, if not everything that this documentary covers.

Tony Curtis' introduction here sees the man in one of his most bizarre spots yet. The short, black, leather gloves from his other Laserlight DVD comments are back with a vengeance here, and they help turn what would otherwise be a short, forgettable James Cagney impersonation into good old-fashioned nightmare fuel. He gives a brief history of James Cagney's career that manages to be utterly divergent from the story that the documentary gave. I can only assume that someone held the wrong cue-cards that day.

All in all, I didn't care much for this DVD. If you're a huge fan of James Cagney's work, then it might be worth your while to pick up, but if not, I'd recommend trying something else. The documentary isn't bad, but it's not something that makes the disc attractive by itself.

Overlooked Cagney Gem
Blood on the Sun is a rousing post war film, a true product of its time. One minor fault with the movie is that it takes place in the 1930's, and everyone is wearing post war fashions. The supporting cast has a few surprises, Hugh Beaumont(Ward Cleaver) and Robert Armstrong (King Kong) as Col. Tojo. Sylvia Sydney is very alluring as Ms. Hilliard, she brings a sophistication to the movie that is usually absent in a Cagney thriller. The climactic battle with Oshima has been described in other reviews here as corny and outdated, but I think they have missed the mark. Judo is a sport, and is not Jujitsu, Judo is mostly throws and locks which the combatants in this movie do quite well. It may not be flashy like todays martial arts, but that is the stuff that I think is corny, defying gravity, impossible moves, and so on. when the battles seem believable, then it is more exciting, Bruce Lee for instance, I think there is no doubt that he could have executed all the moves in his movies in a street fight. That is one of the reasons he will always be the remembered as the best. Another interesting point, the actor who plays Oshima (Jack Halloran) was a LA cop and a master of Judo, Cagney was his student and became a black belt, hollywood's first! Cagney would go on to showcase more martial arts in the movies 13 Rue Madelaine, and White Heat, where he uses a forward choke on Virginia Mayo.

America will be crushed, never to rise again
Based on a true story, BLOOD ON THE SUN is an entertaining little stewpot of a movie.
James Cagney plays Nick Condon, managing editor of the Tokyo Chronicle. It's 1920-something and the United States and Japan share an uneasy peace. That peace threatens to be broken violently when the "Tanaka Plan," a Japanese government document outlining a blueprint for world domination, falls into Condon's possession. Condon has to get the document out of Japan and announce its contents to the world, the Japanese have to stop him.
When I first saw BLOOD ON THE SUN I shrugged it off as a piece of late-war propaganda. There ARE a lot of stereotypical portrayals and attitudes coursing through this one- the Japanese are portrayed for the most part as buck toothed, diabolical schemers. Cagney is attacked from behind twice in this movie. The officials present trumped up charges in their attempt to stop his muck-raking ways. The outrageousness of a foreign correspondent stealing and threatening to publish a secret state paper seems lost on this movie. Then I did a computer search of "Tanaka Memorial" and had a chance to read the document in question. If it's not a forgery (the Japanese government claimed it was), it dwarfs the movie's presumptions. As a side note, the web site I visited informs us that the Chinese, and not a crusading American editor, originally released the document.
As usual, Cagney is a bundle of energy and is great fun to watch. I've read that he took judo classes in preparation for this part, and it seems he's doing a lot of his own stunt work. Sylvia Sydney plays Iris Hilliard, Cagney's love interest and someone interested in the document as well. Soon after her character is introduced we learn she is half-Chinese, which should alert us to the fact that she isn't quite as sinister as she appears. The Chinese were our allies during to the war. They were the good Asians. Another fun character in this one is Capt. Oshima (John Halloran), one of many Caucasian actors partially hidden behind false teeth and taped eyelids. Oshima is a menacing, murderous, towering brute of a cop. Symbolically he's the first to attack the American Cagney with a karate chop from behind, a blow that knocks Cagney out. Later, when the gloves are off and the two square off against each other in a fair fight the results are decidedly different.
Wiard Ihnen & A. Roland Fields won a little statuette for Best Art Direction for their work on BLOOD ON THE SUN. The sets do look pretty good.
BLOOD ON THE SUN is in the public domain, so anyone can copy and sell it. If you get the Delta version be warned that their logo will appear periodically in the lower-right hand corner. They've included a short documentary (still photos with a voice over narration- yawn) and an intro and outro by Tony Curtis. Unforgivably, Curtis tells us in the intro that Cagney plays a newspaperman "right after World War Two." It may seem a minor point, but couldn't somebody on the set have reminded him that the movie took place after World War One?

Cagney Elevates Formulaic 'Yellow Peril' Film
By 1945, the war in the Pacific was rapidly drawing to a close, and one would think that Hollywood would have presented a then contemporary view of America's relation with Japan. Surprisingly enough, director Frank LLoyd harkens back to a pre-Pearl Harbor take on Japanese, which is to say that as far as Orientals were concerned, Charley Chan was mainstream America's image of the Asian. It took the events of 12/7 to awaken America to a newer, more lethal yellow peril. What is remarkable about LLoyd's BLOOD ON THE SUN is that nearly every one of the Asian characters is played by an American wearing some really bad makeup. Since political correctness was non-existant then, no one seemed to mind the incongruous accents and eye makeup. Into this mess of a national antipathy towards anything Japanese comes James Cagney, a Tokyo-based American news editor who somehow comes into possession of a secret Japanese document that outlines nothing less than a domination of the world by the Japanese emperor. The plot revolves around efforts by the Japanese to regain custody of this document before Cagney has a chance to publicize it. From a purely dramatic point of view, the interest of the film lies less in the race for possession of the document and more in a not so subtle expose of what passed for an anger towards all things Japanese. Most of the Japanese were of the buck-toothed, slanty-eyed, grinning widely school of acting. The only true oriental who radiated any genuine emotion was the Chinese veteran character actor Philip Ahn, who has made a career of playing rogues and coolies with an impressive depth of dignity. Here Ahn has a bit part as a sadistic Kampetai (Japanese secret police) official who nevertheless gives a chilling performance as a officer who exudes menace with each soft-spoken word. Most of the action revolves around Cagney who must navigate his way through a series of political roadblocks put there by those who may or may not be on his side. Sylvia Sidney is a half-oriental woman with whom Cagney has an unlikely romance and is on screen mostly to give Cagney something to do when he is not being pursued by the local cops. Early on, a hulking Japanese officer suggests that he would like a Judo match with Cagney. Such subtle foreshadowing sets up a climactic grappling bout that is far more realistic than what is found in most chop-socky kung fu films. The ending, of course, is sheer nonsense and bears as much resemblance to real world intrigue as, say, this movie. Still, BLOOD ON THE SUN has its charm as long as one can plow through mounds of cinematic and ethnic implausibilities.

Genuine Cagney
If you're a Cagney fan (especially a female one) I think you'll love this film. Cagney lays down some classic lines and is invloved in a number of romantic moments which will make the ladies swoon (well, I did anyway). Despite the fact that this is one of his later films, Cagney still bring to the film a certain sexiness and assertiveness that I have come to love him for. Not to mention that he gets to throw a few punches! If you are truly a diehard Cagney fan, this is a must see. ... Read more