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Directed by Sidney Lumet (Serpico) and penned by Joel Schumacher (Batman and Robin), this lavish 1978 adaptation of the Broadway hit The Wiz was the biggest production filmed in New York City up to that point, utilizing the newly revamped Astoria Studios and locations around the city. Diana Ross, Michael Jackson, Nipsey Russell, and Ted Ross (reprising his Tony-winning role as the Lion) star in this Academy Award-nominated musical for the whole family.

The Wiz is probably the grandest take on L. Frank Baum's classictale The Wizard of Oz.Theproduction team created sets with a sense of urban magic and spectacle: a New York subway station literally comes to life, and the massive plaza between the World Trade Center towers is transformed into the Emerald City, featuring nearly 400 dancers with three costume changes. Like all good musicals, the Quincy Jones arrangements are highly hummable long after viewing (especially the funky "Ease On Down the Road" and the inspirational "Brand New Day"). In an era before MTV, the camera stays nearly stationary as Ross and Lena Horne vocally soar through their numbers. Their stage-like performances successfully make the leap to film, making The Wiz a testament to their singing talents and star presence. The then-thirtysomething Ross raised some eyebrows playing the traditionally teenaged Dorothy, but she and her supporting cast (including Richard Pryor as the Wiz) carry the tunes with an infectious verve that will appeal to folks of all ages. --Shannon Gee ... Read more

Reviews (120)

What Can I Say.....
Oh boy, where to start? This seems to be one of those movies where you either hate it or love it. This update of The Wizard of Oz, while for years vilified, has seemed to have gathered a cult classic-like following in recent years. It bears little resemblance to the 1939 Judy Garland masterpiece, or even for that matter, to the Broadway musical upon which it was based. The original musical was light and entertaining, inspirational and fun. This 1978 motion picture is a pretentious adaptation tht simply tries too hard. the film-makers turned the simplistic story of a young girl lost in a strange land into an overly glitzy, glamorous, and gaudy film. Despite this, there are some awesome moments in this movie, most notably: the stunning New York City visuals, great performances by Mabel King as the Wicked Witch and Ted Ross as the Cowardly Lion, wonderful music, and impressive and incredibly choreographed dances. However even that can't save the movie. It still manages to fall flat, not living up to the promise, vision, or scope of the simple story upon which it is based.

Unbelievably Fun
Boo, hiss to all the naysayers of the one and only 'Wiz'. A few of my friends got together at the DVD store the other night and out of all the available titles settled on this one, primarily for nostaligic reasons. Once we got home and popped it in, well, it was more than just simple sentimentality that carried us off to another world. This musical is awesome. The story is timeless, the songs are unforgettable and the widescreen transfer is excellent. One only wishes for more goodies on the disc.

I often scratch my head at why Sidney Lumet directed this, but knowing that he is one of the top five directors ever who understands New York City, it now makes perfect sense. The location shots are amazing, especially with the massive Albert Whitlock visuals. And as hard as it may be to watch Diana Ross play a 24 year old single woman, she achieves it with simple gestures and that pure, honey voice.

It's a huge treat to watch this movie and I look forward to repeat viewings.

THE WIZ....HAS SOUL!!!
The Wiz music will always be a classic. This is my only reason for buying this movie. It was definetly a 70's show. I was confused about certain scenes in the movie. For example, why did Aunt Em start singing "The Feeling We Once Had" to her daughter instead of Dorothy. And how did the Scarecrow know to signal Dorothy to destroy Evilene. The choreography and the music was great. Good for children to see!

BLACK PEOPLE, BUY THIS FOR YOUR KIDS!!!!
A MUST for every black child to see!! This is OUR classic production. Many great actors/actresses were young budding talents when they performed in the Wiz. It's great to see them then & know them now. My kids enjoyed the music & loved the dancing.

You should see the Whiz all over my tape!
this movie was okay, but all admit it was a disapointment. lookit dorothy with this afro, and this obese aunt em, god! you people have distoryed this tape! well hey the lion-- is lioney, the scarecrow dosen't sound like a girl and the tin mans chipper. except for the fact that they had good songs, and singers and all that other junk. the effects were sort of lacking, but hey-- it is not bad. its okay, but it is not that great, seriously people. this 3 star rating suits it. ... Read more

Reviews (112)

12 Jurors + 12 Great Performances = 1 Superlative Movie!
How many times have you seen the "One juror holdout" theme played out in movies and (especially) on TV shows? Probably quite a few. But none done so well and so very convincingly as the 1957 classic, "12 Angry Men". Henry Fonda's arguments attempting to persuade his fellow jurors of the defendant's "possible", but by no means "certain" innocence plays out exceptionally well in this film. This is due in no small part to Fonda's fine portrayal, as well as each of his 11 cohorts. For me, in addition to Fonda, the standout "jurors" are Lee J. Cobb and Ed "Ya Know What I Mean?" Begley. I've always wondered where this was filmed. All we ever see here is the jury room....drab, old, hot, high ceiling, big (sticky) windows, et al! Perfect setting! Very realistic looking....right down to the rickety electric fan that Jack Warden just can't seem to get started! Buy this video; you'll have to love it!

Quibble about VHS version ......... If you own the VHS version of this film, perhaps you've noticed something odd about it (I certainly did). .....

It's being played at the wrong speed! It's running too FAST !
It's not all that annoying, except in a few places where the dialogue is definitely noticeably sped up. (Particularly when Lee J. Cobb or Ed Begley are speaking. Their deep voices seem higher pitched than they ought to be.)

To bear out the above minor complaint, we can check out the running-time statistics on each package. ..... VHS running time is only 92 minutes. But the film SHOULD run 95 minutes. (And I'm almost certain nothing has been cut out in the video print.)
So, for some reason, the video makers saw fit to compress the 95-minute movie into 92 minutes. Most curious.

I'm getting the DVD version soon, which Amazon claims has a 96-minute run time (1 minute LONGER than the whole film). ??
I'm hoping this is accurate, and the DVD has been slowed down to the proper speed. Having this great film in widescreen will be a major plus as well!!

I Never Tire of It!
I received this video last weekend and have since watched it three times, all the way through. I am not the least bit tired of it yet! I love movies that have all-star casts but no real "starring role"; 12 ANGRY MEN is just such a movie. It is fascinating to watch the interaction between twelve superlative actors confined in a small space (the jury room) for nearly the entire film. All of the actors -- including Henry Fonda, Lee J. Cobb, Ed Begley, and Martin Balsam -- are superb. However, my favorite characters are the ones played by Jack Klugman, George Voskovec, E.G. Marshall, and Edward Binns. Klugman's character, a young man from the slums, clearly has some repressed anger but is basically a vulnerable, soft-spoken person. Voskovec's character is an immigrant from (I assume) Eastern Europe, well-mannered and thoughtful, though he becomes angry when he sees others not taking their democratic duties seriously. E.G. Marshall's character is a bit aloof and very reasoned; but unlike a couple of the others (Cobb's and Begley's characters), he is no bigot. When at the end of the movie he realizes that his judgment was wrong, he does not hesitate to admit it. Binns plays a kindly, working-class man who gives Cobb's character a few lessons in respect. And of course, Henry Fonda comes across as sincere, thoughtful, and compassionate. The superlative cast and direction (by Sidney Lumet) make 12 ANGRY MEN a classic that can be watched again and again.

Addendum
Here are two subtleties in 12 ANGRY MEN which I don't know if anyone else has remarked on. At the end of the movie, as Henry Fonda leaves the empty jury room, he looks back at the table and an odd "laughing" or braying motif plays in the music. Is Fonda inwardly "laughing" at the eleven people whom he has "put one over" on? Then he steps out of the room with a rather sinister or secretive air, looking rather like - get this - like someone LEAVING THE SCENE OF A CRIME! I believe the movie is posing the question: "Who is the real criminal, here?" Maybe that's is a little farfetched, but I think there is a reason for everything is a work of art, especially in this very subtle and psychological film.

My second observation: in the opening moments of the film, we see a series of people walking by outside the jury room. First, a young man with a suitcase and the air of a stranger, then a scholarly looking fellow, then a jovial young man congratulating a bunch of people on the happy outcome of a case, and finally a guard trying to quiet the people down. I believe that these figures are meant as types or mirror-images of Henry Fonda, E.G. Marshall, Robert Webber, and Martin Balsam.

A Masterpiece
What can I possibly say about this masterpiece? It is surely one of the greatest movies, a work full of layers of meaning, of symbolism, of psychological and artistic subtleties. You can wach this movie an infinite number of times, because each time you discover something new. I would just like to bring up one often neglected point. For me, this movie shows the shift in acting styles after World War II - a shift towards more naturalistic approach close to "method" acting. Many of the younger members of the cast - such as Martin Balsam and Jack Klugman - seem to belong to this new school. Just watch such things as Klugman's slow reaction when it dawns on him that Cobb is yelling at him, or the foreman (Balsam) as he "gives up" and sulks in the corner. The movie is full of wonderful and telling details such as these. I also think that the style of this film bears some relation to Italian Neo-Realism of the 40's and 50's (eg. stark setting, realistic dialogue, and filming in "real time", including seemingly mundane actions). And has anybody noticed that this movie obeys the "unities" of classical Greek drama (of time, place, etc.)?

And to those cynics who think that this is a movie about a clever man who manages to convince eleven men that a guilty youth is innocent - think again. I have actually lain awake at night worrying that the young man probably is, after all, guilty! But for the purpose of the film it doesn't matter. This is not a whodunnit; it is about human character and human behavior, the law, how our backgrounds color our attitudes, and countless other themes. And of course it is a showcase for twelve SUPERB actors.

(But please, who wrote the text on the back of the video cover? "Eleven jurors are convinced that the defendant is guilty of murder. The twelfth has no doubt of his innocence." WHAT?!! Did this person even watch the movie?!)

A great movie about epistemology
It always pisses me off when people give The Matrix as a philosophical movie, when there are so many much more rich sources of artistic exploration. 12 Angry Men is one such example, a great movie about epistemology.

During an unseen trial, a young man of a negatively-seen ethnicity (which is never specified) is accused of the murder of his father. It is an "open and shut case", and all the jurors agree that he is guilty, except juror #8, played by Henry Fonda.

In 95 minutes, almost shot in real-time, we observe as the jurors' prejudices and emotions churn and crash in mighty waves, as each piece of evidence is examined and examined again, as every actor plays against the others. In the process, we witness an object-lesson in epistemology : what is doubt, what is evidence, how do we prove or disprove a proposition, and how people in groups act in group dynamics that sometimes are not conductive to the truth.

Politically speaking, 12 Angry Men is a testimony against juries and capital punishment, but that is not the point of the movie. It is a movie about how we judge events and how we filter the truth. And that's something that you won't get from any action movie. ... Read more

Reviews (37)

Approved by Agatha Christie
Having read the book many times I've come to know its complexities well enough. Albert Finney embodied Poirot from top to bottem so much so that all other portrails pale by comparison. Even the remarkable work of David Suchet cannot touch Finney. Poirot is an eccentric ego-ist who is also one of the most intelligent characters ever created and Finney captures his qualities perfectly. The rest of the cast is equally superb! With an interational cast of Vanessa Redgrave, Lauren Bacall, Ingrid Bergman, Wendy Hiller, Sean Connery, Richard Widmark, Jean-Pierre Cassel etc. one wonders why all of them were not nominated for Oscars. The entire film is a work of art from the production design to the costumes, make-up and music. All these elements under the direction of Sidney Lumet are kept flowing swifty so that you have to rewind over and over till you catch all the nuances. The book can be a bit confusing and plodding despite the wonderful prose but the film clears away any clutter and solidifies the story. Yes the film changes some names and some early locations but it also clarifies some plot points particularly the Armstrong case. Agatha Christie saw this version of her story brought to life on screen and approved of it. This film will delight the viewer with each repeated playing to the point that after a while you're going to have to get another tape the old one will become so worn!

Still one of the most stylish who-dun-its
Nearly 30 years after its release, the star-studded "Murder on the Orient Express" remains one the the best of the big screen's adaptations of Agatha Christie's works. Confined to the fabled train with the richest of the ultra-privileged class and trapped by a mammoth snow drift, everyone comes under suspicion when a self-described businessman (Richard Widmark) who turns out to be the mastermind of a child kidnapping that ends in murder of the child, is himself murdered (who can ignore the obvious similarity to the Lindbergh baby kidnapping?). Everyone in the all-star cast comes under suspicion, from Lauren Bacall as a character intended to scrape the nerves raw, to Ingrid Bergman in an Oscar-winning supporting role, to the breathtakingly beautiful Jacqueline Bissett, to Anthony Perkins, the late Sir John Geilgud and a magestic Wendy Hiller. But Albert Finney, as celebrated investigator Hercule Peroit, is amazing. True to Christie form, we come to a totally unexpected solution and resolution that doesn't deter us from watching this film time and again. Lavishly produced and rich in scenery, we actually get a sense of being trapped on the motionless train wondering who of our fellow passengers did the dirty deed, which is what makes this film so enjoyable with every viewing. More satisfying is that the viewer won't feel cheated by an ending that one critic at the time dismissed as "too easy." That aside, it's little wonder the film was an Academy favorite in multiple nominations.

Can't wait...
"Murder on the Orient Express" probably had the most intense production values as any film in 1974. The period detail was exquisite and the ensemble cast was stellar, all put into perspective by the brilliant Sidney Lumet. 1974 saw "Godfather II" and "Chinatown", wonderful in their own right. Can't argue too much about comparisons, but the editing in "Orient" is a true work of art, shifting its time-frame constantly. The viewer always knows everything, but really knows nothing. Albert Finney is a terrific Hercule, and the whole ensemble cast was great! Ingrid Bergman won the Oscar for this, but I thought Rachel Roberts was the best of all. So VERY classy, and so very grisly... all done with aplomb by a brilliant cast and America's own, very underrated great director, Mr. Lumet. Don't forget, Lumet did the original "12 Angry Men" in the 50's, as well as "Long Day's Journey Into Night". The man has control. Experience it!

"...there are too many clues in this room..."
Thirty years ago in 1974, Sidney Lumet (who is known for directing "Network" in 1976, "Serpico" in 1973 and "Death Trap" in 1982) directed a murder-mystery film based upon the 1934 novel "Murder on the Orient Express" (a.k.a. "Murder in the Calais Coach"). The novel was written by the famous murder-mystery author Agatha Christie (1890-1976) and was the ninth book in the series that featured her famous fictional detective named Hercule Poirot. The Orient Express began service in 1883 as a passenger rail service between Paris and Venice. An additional southern route (known as the Simplon Orient Express) was started in 1919 that ran from Paris to Istanbul that also passed through Venice. It is upon the Simplon Orient Express that Agatha Christie placed the location for her novel.

The 1974 film adaptation included an all-star cast, including the famous actor Albert Finney who played Hercule Poirot, for which he received an Oscar nomination for Best Actor. (Albert Finney has been nominated 4 times by the Academy for Best Actor and once for Best Supporing Actor, which was for his role as Ed Masry in the 2000 film "Erin Brockovich".) Poirot boards the Orient Express on his journey home after solving a murder case. On the train, in the sleeper cabin next to his is the millionaire businessman Mr. Ratchett (Richard Widmark), who is accompanied on the train by his secretary, Hector MacQueen (Anthony Perkins, 1932-1992), and his butler, Mr. Beddoes (Sir John Gielgud, 1904-2000). Other passengers on the train include the Countess Andrenyi (Jacqueline Bisset), Greta Ohlsson (Ingrid Bergman, 1915-1982), Mrs. Harriet Belinda Hubbard (Lauren Bacall), Colonel Arbuthnot (Sean Connery), Princess Dragomiroff (Wendy Hiller, 1912-2003), Mary Debenham (Vanessa Redgrave), Hildegarde (Rachel Roberts, 1927-1980), Count Andrenyi (Michael York), Mr. Hardman (Colin Blakely, 1930-1987) and Signor Bianchi (Martin Balsam, 1914-1996). The conductor was Pierre Paul Michel (Jean-Pierre Cassel). One night with the train en route, Mr. Ratchett was murdered. When Poirot learns this, he begins an immediate investigation in the hopes of finding the murderer before the train reaches its next scheduled stop. As Poirot questions the passengers, he is amazed that many of them may share something in common from many years earlier. Tension on board mounts when the train becomes trapped following an avalanche covering the tracks ahead of it. Before the tracks can be cleared, can Poirot solve this very mysterious murder on board the Orient Express? You'll have to watch this very well made film to understand the mystery.

In addition to Albert Finney's Oscar nomination for Best Actor, "Murder on the Orient Express" received four other nominations including Best Cinematography, Best Costume Design, Best Original Score and Best Adapted Screenplay. Ingrid Bergman won her nomination for Best Supporting Actress. Overall, I rate this outstanding film with 5 out of 5 stars. It is a tribute to the great mystery and literary skills that Agatha Christie shared with the world in her many novels. I highly recommend the purchase of this film that is being released on DVD, which, thankfully, is in widescreen format.

Overall good, but as for Finney's Poirot...mon dieu!
One of Agatha Christie's most famous mysteries was adapted to the big screen in 1974, two years before the author died. Murder On The Orient Express was the first in a brief series of cinematic and TV movie Christie adaptations continuing with Death on The Nile, Evil Under The Sun, Easy To Kill, A Caribbean Mystery, The Mirror Crack'd, and Appointment With Death.

Mr. Ratchett, an American businessman, tries to employ Poirot after he has been getting threatening letters. Poirot turns him down, and the following morning, he is found dead in bed from multiple stab wounds. Clearly, it was someone on the coach, but who? And before the murder, there was a lot of weird activity going on. Someone wearing a fancy nightgown knocks on Poirot's door. Ms. Hubbard calls the wagon-lit conductor and reports a man in her room.

There then follows the usual Poirot method of questioning the suspects one by one, sifting out lies and clues, of which he notices there are too many, after speaking to them. Poirot discovers that Ratchett was the mastermind behind the kidnapping of Daisy Armstrong, a young girl who was ransomed and murdered despite the money being paid. But Daisy was not the only casualty. A maid was falsely blamed in collusion and committed suicide. Ms. Armstrong gave birth to a stillborn child and died later, and Colonel Armstrong ended up shooting himself.

One of the key motifs of Christie mysteries and others was the use of flashbacks to accompany testimony of the people being interrogated, as well as the denouement, where in tried and true Christie fashion, Poirot gathers everyone in the room and tells them who did it, with scenes of what actually happened, something used in the later movie adaptations.

Murder On The Orient Express boasts an all-star cast of the top draws at the time, Sean Connery (Colonel Arbuthnot), Vanessa Redgrave (Miss Debenheim), Jacqueline Bisset (Countess Andrenyi), and Anthony Perkins (Hector McQueen), as well as some old veterans such as Dame Wendy Hiller (Countess Dragomiroff), Martin Balsam (Mr. Bianchi), Richard Widmark (Ratchett), and George Coulouris (Doctor Constantine). Despite being more svelte than the character to the novel, Lauren Bacall is the strongest actress as Harriet Hubbard, and one who exasperates Poirot and the other passengers with her aggressive bossiness, although her character's name was Caroline Martha Hubbard in the novel. Ingrid Bergman won her third Oscar, albeit for Best Supporting Actress as the simple-minded Greta Ohlson.

Some changes made in the movie is John Gielgud as the elderly and masterfully unflappable valet Biddoes. In the novel, it was Edward Masterman, who was 39 years old! And originally, Mr. Bianchi was a Monsieur Bouc, a fellow Belgian friend of Poirot. And the second set of interviews with the suspects is deleted from the movie. Other than that, I was surprised that the movie more of less followed the book.

There is a splashy elegance to the whole thing. The music veers from the sumptuous glamorous orchestra to the eerie horror sounds given in the prologue and in the reenactment of the murder. However, the biggest debit is Albert Finney (Poirot), who doesn't fit Agatha Christie's famed dignified Belgian sleuth. He's tall, has a rough voice, laughs like he's on drugs, and looks more like a grotesque gargoyle than a calm and refined gentleman. A pity David Suchet wasn't born sooner, as Peter Ustinov's Poirot is only slightly better. ... Read more

Reviews (37)

An outstanding courtroom drama
I agree with the other reviewers that Paul Newman gives the best performance of his career in this intense, well-designed film. There are numerous scenes which are shown without a cut, providing the viewers with an uninterrupted examination of the actors' interactions. Some include (without giving away too much): Newman's character (Frank Galvin) in conflict with the judge's actions toward the court proceedings, Newman and Warden preparing for the trial and the circumstances weighing heavily against them.
All the supporting actors are excellent. Among the noteables: James Mason as the powerhouse defense attorney with a malicious underhand, Milo O'Shea as the unsympathetic judge, Jack Warden as Newman's friend, mentor, and seemingly sole supporter, Charlotte Rampling as Newman's girlfriend with a shady side to herself.
There are a few plotholes and moments of overly dramatic "courtroom hysterics" within the film. Overlook them and enjoy an otherwise very strong movie.

The Very Best of Its Genre
Simply put there is no American film of this genre that comes close. Director Lumet darkly captures the naked power and corruption of the American civil trial system. Actors O'Shea (the judge), Mason (the 'prince of darkness' defense counsel) and Charlotte Rampling (whose shock is best left unrevealed) are the epitome of the seedy wheels of what passes for justice and 'love'. Newman, an alcoholic with one last prospect, struggles for redemption against mountainous odds, giving the most honest performance of his career. Warden is Newman's essential wiser alter ego. This film is no less than that rare cimematic device -- the allegory. Each character represents a larger truth -- in addition to Mason, O'Shea, and Rampling, Joe Seneca as a black, ancient (degraded) doctor for the vegetative plaintiff; Catholic archidiocese bishop Ed Binns up to his collar in fraud; a nationally-renowned physician with secret blood on his hands; and a simple honest woman who wanted nothing more than to be a nurse - Lindsay Crouse in a career performance. And there is the superb Mamet writing throughout. This is a courtroom thriller that will nail you to your seat to the very end. And absolutely true to life -- my view, at least, after 20 years as a lawyer. I also teach law and never miss a chance to show this film to my students. An amazing cinematic achievement, disturbing in its implications.

A grand film of triumph over failure
This film is one of the best in Paul Newman's stellar career, and he carries it convincingly with a spare, taut, no-frills performance. His Frank Galvin, an alcoholic has-been attorney with a bleak future is a defeated and pathetic figure, reduced to appearing at funeral homes during visitation hours to hustle business from bereaved family members. Even when long-time friend Mickey Morrissey [Jack Warden] hands Galvin a lucrative case on a silver platter, his star witness disappears to an unknown Caribbean island after having promised to testify against the hospital and Catholic Church for malpractice. Galvin's determination to see the case through is the first step to his recovery from the bottle and self-pity. The comatose woman's sister and brother-in-law who he represents in court have lost confidence in Galvin, he seems overmatched by the glib and polished Ed Concannon [James Mason] who represents the interests of the Church, and he has incurred the wrath of a biased, mean-spirited judge [Milo O'Shea]. To make matters worse, his girlfriend Laura [Charlotte Rampling] is little more than a Trojan horse in the Galvan camp and her true intentions come to light only after Mickey stumbles on the truth quite by chance. The movie was filmed under Boston's gray, overcast skies and has a gloomy forecast for Galvin in his quest for redemption and reward for a man who has been defeated by life but makes one last attempt to get off the deck and regain his self-respect and stature in his profession.

the film lets down the star
THE VERDICT is one of Paul Newman's most celebrated performances. He plays a down-at-the-heels lawyer named Frank Galvin who lucks his way into a big case involving two doctors who have been horribly negligent, sending a young woman into a coma.
Newman wonderfully gets at Galvin's desperation, and how he fights through an alcoholic haze. It's a thoughtfully worked out performance centered around Newman's wonderfully expressive eyes. Sadly, the rest of THE VERDICT could be taught in a Courtroom Movie Cliche 101 class. The lone lawyer vs the big firm (led by James Mason), altered documents, surprise witnesses, shenanigans by the hospital, it's all here. Even though I enjoyed the acting and the Boston atmosphere, I saw a lot of the plot coming.
The cast includes Jack Warden as Newman's only friend, Joe Seneca, Lindsay Crouse, Wesley Addy, and a chilly Charlotte Rampling as a mysterious woman who crosses Newman's path. The commentary by director Sidney Lumet is of the "everybody was great/this is where we shot" variety.

A Monumental Cinematic Treasure
THE VERDICT may date back to 1982, but few courtroom films since then can come close to matching the powerful production in this near perfect film written by David Mamet and directed with tension, grit, and tenderness by Sidney Lumet. Paul Newman's performance as the alcoholic has-been lawyer called upon to try a case of medical malpractice is one of the finest acting performances in history. He is more than ably abetted by his sidekick Jack Warden. The lawyer for the defense is the haughty and evil James Mason and the real surprise in the cast is Milo O'Shea in a terrifyingly real role of a smarmy Judge. Charlotte Rampling, still one of today's finest actresses, plays the understated love interest. Minor roles become major when they are in the hands of such gifted actors as Lindsay Crouse and Julia Bravasso. But one unsung hero of this fine film is the cinematographer who manages to make every shot appear like a Renaissance painting, so sensitive is he to light and shadow and frame composition.

THE VERDICT is a powerful story of the underdog's struggle for truth in the judicial system and as such is a reminder of how the Law, when stripped to its essentials, is there to protect us. There is no pat ending, only a feeling of breathlessness as all of the details of the story are left to our imagination - well, almost. A strikingly powerful, meaningful, brilliantly executed film. ... Read more

Reviews (36)

One Good Cop
Al Pacino became a star thanks to his role as Michael Corleone in The Godfather. The film that cemented Mr. Pacino as one of the best actors of his generation was Serpico. Based on the Peter Maas book of the same name, Serpico is the true story of a New York undercover cop who seems to be the only honest cop on the force. Due to his honest nature, the other cops are leery of him and refuse to accept him as a real cop. To that end, he moves from precinct to precinct in search of a friendly work environment, but wherever he goes, he finds the same old situation. Serpico then goes to the higher-ups in the department, but they too have no use for his accusations. Finally, he goes public with his accusations and that triggers an investigation into the dealings of police officers. Serpico becomes a marked man and is nearly intentionally killed by another cop who while Serpico is on an undercover operation. Mr. Pacino brings a realistic approach to the role and you feel sympathy for Serpico. He is not a great man, he has his faults, but he believes in what he does and he takes a stand for his belief that policeman should serve the public and not illegally benefit from their position of power.

Very compelling story.
The story of Frank Serpico, an honest Nyc cop, is one of the most compelling police movies ever made. Al Pacino gives the character a lot of class and cool. Serpico is an easy-going guy with very clear morals about what's right and what's wrong. As he moves from precinct to precinct in dire hope of finding an honest place to work, all he finds are more and more corrupt cops...and it seems to be driving him insane both morally, and insane because the cops aren't comfortable with cops who don't take money. The film does a great job of displaying how the corruption is corrosive and unjust to the people of our country...but esp. interesting is that this wonderfully directed Sidney Lumet film is really very much like a suspense adventure chase...but at a much slower speed in which you can watch as things crumble and go to pot. Pacino plays the role in an understated manner...perhaps due to his knowledge of the real Frank Serpico, or maybe a creative choice. Either way, it's not his usual boisterous way...no crooked looks, no playful grins, etc. You'll forget Pacino is in this character. That Academy is worthless for not handing out an Oscar for this or Scarface or for Godfather I or II...or Dog Day Afternoon or Glengarry Glen Ross.

Nothing to wonderful
I did'nt like this one to much. Al Pacino's character is ok. There where only a few parts in the movie, where he really did an amazing job. The story plot did'nt make sence, it kept jumping around, Pacino looked like a horrible Charlies Manson, look-a-like. Don't waste your time.

Slow but Compelling in its Own Way
It isn't a particularly good movie. The pacing is all wrong and none of the characters beside Serpico ever get a chance to be clearly drawn. His personal life isn't very clearly explicated. That said, Pacino does a great job portraying a complicated and iconoclastic man of immense integrity and courage. Serpico is a great role model for young men in any era. He shows you can be yourself, be cool and have integrity, guts and morals.

Pacino in one of their best!
I've always said in my personal meetings with coleagues and friends that Pacino is much more than an actor ; he's a nature force .
But back to Serpico. This movie not only remains as cult movie and one of the most`powerful works of this tireless film maker as Sidney Lumet was in that age. Serpico meant a breakthrough with the ancient patterns of good citizen and virtuosi cop.
Serpico is a simple inmigrant citizen who lives in a little department ; he brings in his mind the ancestral illusions for being part of the american dream . His inner sense of justice is not influenced for any other kind of ideology . In this sense he's naif ; suddenly he's inmersed in a double face world; the eternal game of make the things appear right ; though they are rotten really .
His search for the sense of justice prevails and becomes nowadays, in a kind of romantic knight ; but he , besides the prize he must pay for his behavior , goes ahead no matter what. Don't forget that in times of hipocrisy ; any sincerity is associated with cynism.
This film is part of the amazing sextet together with Twelve angry men, The pawnbroker , The offence , Network and Equus ; that in my opinion express the most remarkable works of that extraordinary film maker. ... Read more

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A gripping true crime yarn, a juicy slice of overheated New York atmosphere, and a splendid showcase for its young actors, Dog Day Afternoon is a minor classic of the 1970s. The opening montage of New York street life (set to Elton John's lazy "Amoreena") establishes the oppressive mood of a scorching afternoon in the city with such immediacy that you can almost smell the garbage baking in the sun and the water from the hydrants evaporating from the sizzling pavement. Al Pacino plays Sonny, who, along with his rather slow-witted accomplice Sal (John Cazale, familiar as Pacino's Godfather brother Fredo), holds hostages after a botched a bank robbery. Sonny finds himself transformed into a rebel celebrity when his standoff with police (including lead negotiator Charles Durning) is covered live on local television. The movie doesn't appear to be about anything in particular, but it really conveys the feel of wild and unpredictable events unfolding before your eyes, and the whole picture is so convincing and involving that you're glued to the screen. An Oscar winner for original screenplay, Dog Day Afternoon was also nominated for best picture, actor, supporting actor (Chris Sarandon, as a surprise figure from Sonny's past), editing, and director (Sidney Lumet of Serpico, Prince of the City, The Verdict, and Running on Empty). --Jim Emerson ... Read more

Reviews (61)

Entertaining - An Improvement From Lumet's 'Serpico'
Well-done, tense drama of a botched bank robbery in Brooklyn in which two misfits commit one absurd blunder after another and turn a criminal act into a three-ring circus, what with the police, crowds and the media swarming upon the bank to observe the comedy of errors.

Al Pacino is superb as Sonny who wants the money to finance a sex-change operation for his transsexual lover (well done by Chris Sarandon). Aiding and abetting Sonny is half-wit Sal (John Cazale in a solid characterization) who chooses Wyoming as a foreign country destination for a safe haven. Charles Durning scores as Detective Moretti who spars with Sonny throughout the afternoon and arranges "safe" passage for him and Sal to JFK and their would-be flight to freedom. There are snippets of dialogue from the 1956 feature film, "The Lone Ranger", that is heard in the background during the hostage standoff inside the bank. Ironic because the Ranger's law-and-order message falls on deaf criminal ears during the commission of the felony.

Sidney Lumet's Oscar-nominated direction is sharp throughout. Based on actual events, "Dog Day Afternoon" is another great winner from the 1970s, Hollywood's second Golden Age. 5 stars out of 5.

Exhausted
Al Pacino plays a bisexual bank robber in love with a man who needs a sex change. Al is in his twenties for this film, at the beginning of his career, around his first Godfather film. He is not the stoic mobster in this flick. He is sensitive, screwed up, and angry. I've never seen Pacino this vulnerable. Brooklyn is exploding with post-Vietnam trauma. The cops are stupid and clumsy. The neighborhood kids are high and bored. The new TV culture is on the street making the botched robbery a classic hostage study, a Stockholm Syndrome of American stupidity. The acting is so good; you swear you're watching a documentary. The fat wife is screaming. The idiot mother is crying. The gay lover is sprung from a mental hospital. America is at war with itself in 1972, panic in the streets. Sidney Lument has created a flawed masterpiece of suspense with the Oscar winning script by Frank Pierson. My two complaints: not sure why the wonderful character actor John Cazale (he died so young in real life) was considered so dangerous. The film was forty minutes too long with screaming phone conversations.

ONE OF THE GREATEST MOVIES EVER MADE!
This has got to be one of the greatest films ever. The story, the plot, the acting is just amazing. Al Pacino is an original in this film. Once you watch it once, you will want to watch it over and over again. Great movie to watch on a hot weekend, summer afternoon.

+1/2
"Dog Day Afternoon" is the true story of Sonny and Sal, two first-time bank robbers whose failed hold-up suddenly becomes a massive media event and hostage situation. These men, both veterans of the Vietnam War and open homosexuals (though not extrafilially involved), must face a war zone of life-threatening obstacles in their spontaneous decision to flee the country. Fantastic, yes, but excellent acting by Al Pacino, Charles Durning, and James Broderick makes this narrative startlingly real. Accessible to the average viewer, "Dog Day Afternoon" will find particular interest to ex-convicts, bank tellers, and all seeking a military burial.

Classic Film--Lousy Transfer
As usual, another major studio has done a lazy job of transferring to dvd with "less-than-optimum" elements. Warner is known for bad transfers, a problem which they also had when they were in the laserdisc (another "hi-end" format) business. I am amazed they didn't even bother to include the "making of" which is included on the VHS TAPE--FOR GOSH SAKES, GET WITH THE PROGRAM! ... Read more

Reviews (88)

One of my top 10 favorite movies of the 20th century!!!!!!
Network was way ahead of its time! This film shows how a television network can take something that can actually enlighten and empower people and turn it into entertainment. It's also interesting to see the network's ratings skyrocket by feeding reality TV programs into the minds of its viewers. If you look at the saturation of reality shows today you can see that screenwriter Paddy Chayesfky was an oracle of his era.

What I also got from this film is the discarding of old ideas and replacing them with new ones. The William Holden and Peter Finch characters (these guys were already established movie stars) represented the old ideas; and the Robert Duvall and Faye Dunaway characters (by this time they were becoming big movie stars) represented the new ideas-a brilliant move on the part of the casting department.

Lastly, Paddy Chayesfky's screenwriting work is superb!!!!!! The words have so much substance and color to them! These days you hardly come across a movie with rich, propelling dialogue.

This movie is worth 20 stars. But to be fair to the rating system, giving it five is still good.

"This is mass-madness, you maniacs!!!"
This was the winner of 4 Oscars back in 1976, ultimately losing the Best Picture Oscar to "Rocky." But this film garnered every acting nomination across the board, winning three: Best Actress(Faye Dunaway), Best Actor(Peter Finch), Best Supporting Actress(Beatrice Straight). Other acting nominations included William Holden for Best Actor and Ned Beatty for Best Supporting Actor. Obviously, the acting here is amazing! Sidney Lumet's direction is also stellar, with fluid transitions and a professionalism that makes one forget how well-directed this film actually is. But the star of this film is screenwriter Paddy Chayefsky. Back in 1971 he won the Oscar for Best Original Screenplay for "The Hospital" and wrote nothing else for the screen until "Network" in 1976 for which he won another Oscar for Best Original Screenplay. His writing for "The Hospital" is excellent, but his writing here is unprecedented. The writing is razor-sharp and savagely funny, primarily satirizing the television industry in all its lunacy. My favorite lines from the film are witty plays on poor journalism like the title of my review or "a wanton fiscal affront to be resolutely resisted." The next time you watch the news, particularly sporting news, listen for those annoying phrases where the newscaster uses absurd word-play, usually as a segue. This film actually changed my outlook on all entertainment industries, from television to radio, and showed me how everything is commercialized. We live in a capitalist society, so it is little wonder why networks are "in the boredom-killing business" to make money. Keep the viewers sedated with artificial bliss and you can make them believe anything. That is only one of the intelligent themes that this scathing indictment of the television industry has in store. The script is incredibly tight, with perfect concoctions of frantic word-play and insightful revelations. This is the only screenplay that I own in paperback. I believe the writing is that phenomenal. New viewers should be warned, however, that watching this film may make you never want to watch television again. I've seen this film dozens of times and I am now disgusted with the television industry, magazines, newspapers, etc. For me, this film really was a revelation. For most, in the least, it should be an intelligent and entertaining satire on a powerful part of American culture. The ideas here may not be as strartling as they were to an audience of 1976, but most of them still hold true to this day.

The reason why I'm in the Broadcasting business!
You want to see some great acting! I'm mean do you really want to see some great acting? This all star cast is a testament to the movie's greatness. William Holden, Faye Dunnaway, Robert Duvall, Ned Beatty are all outstanding. But it's Peter Finch who died just before the Academy Awards and recieved a postumous Oscar for the mad prophet himself, Howard Beale. A man who single handedly brings a Broadcasting Network from worst to first. The actions of the executives in this movie are no different then what they do today. On my top 5 list of the greatest movies ever!

We're mad as hell!
'Network' should be seen together with 'EdTv' and 'The Truman Show'. They all show the effect of television on people and also what goes on behind the scenes, the eternal fight for higher ratings, no matter what it is about.

Faye Dunaway wants to try everything to get higher ratings, she is so obsessed that even life has become a scenario to her, she almost has no ties to 'normal' life anymore, everything has become a spectacle.

When a newsbroadcaster tells his audience he is going to kill himself on tv in two weeks hell breaks loose. No one cares about human life, it's all about ratings. They would go as far as they can possibly go...

Possibly the Most Important Film Ever Made
I have put off writing a review for this film for quite a long time, but I finally decided to dive straight into the maelstrom and take a stab at it.

Network is (in my opinion) one of the most important films ever made and is essential as both an angry and cynical satire (one of the greatest) and as an eye-opening experience for our modern age. I would even venture to say that this film is even more pertinent now than when it first entered theaters 28 years ago. A huge (actually staggering) amount of events have happened since then, including the rise of the computer (which is already an average, commonplace thing now) and globalism. Corporations (the object of scorn in this film) are more powerful than ever. It makes the chilling statements in this movie even more confrontational and prophetic.

Network displays terrific ensemble acting by all of the characters involved: from "leading" figure William Holden, the old-fashioned romantic left rudderless in the wake of a new ultra-consumerist culture to his icy and mechanical love interest Faye Dunaway who is the "ugly" spirit of the Network itself to his wife Beatrice Straight, the lonely, bitter, and heartbroken woman (she won an Oscar for being in merely one scene, that's how real it was!) to Robert Duvall's exaggerated performance as a cruel and money-obsessed entrepeneur to Ned Beatty's strange, almost Shakespearean portrayal of the head executive as a sort of Antichrist for Capitalism to the small but gritty and ferocious roles of the quasi-Communist radicals who also end up tangled in the web of the Network and scrambling for their own "share".

Then we come to Peter Finch. Dunaway and Straight also won Oscars, but it was Finch's dazzling, enraged, and clownish acting feat as "mad prophet" Howard Beale that truly steals the show. His vitriolic diatribes which reveal his deepest, darkest inner secrets as well as his outer visions about society and the world end up bringing chills to the spine and are more adrenaline-pumping than any action-adventure extravaganza. He was an anomaly in the film and in the Hollywood spotlight, being the first actor awarded a posthumous Oscar.

Of course, the heart and soul of this film belong to kinetic director Sidney Lumet, who captures the zeitgeist, city, and intricate structure of modern times so well, and riddling writer Paddy Chayefsky who does some intense philosophical probing into many puzzling and disturbing issues that still ring true today.

In the end, Network is more than just another Oscar winner (being another tragic example of Hollywood's bias and/or reluctance to choose revolutionary films as Best Picture, other examples being Citizen Kane, Easy Rider, Apocalypse Now, etc.), it is also a film that makes you examine your own position in our modern society and what that society is doing (more importantly, the persons in power in that society). Network has no heroes, no happy ending, and no resolutions. It offers hard questions but few answers. I highly recommend this startling, over-the-top, and controversial film. It is provocatively honest. ... Read more

Reviews (41)

Absolutely Definitive
This is perhaps the finest film of a serious American play ever produced. The acting, the direction, the music (by Andre Previn), the cinematography, and (most of all) the timeless anguish of Eugene O'Neill's script---all come together in a film so astonishingly powerful that it will take your breath away.

If there is a complaint to be lodged about this film, it is this: that the performances of the four leads (Katherine Hepburn, Ralph Richardson, Jason Robards, and Dean Stockwell) are so definitive that, at least for me, watching any other version of this play has become impossible. I walked out on a well-reviewed live staging at intermission and turned off the PBS remake with Jack Lemmon at the end of the first act. It should not be this way, but it is: the filmmmakers did their work all too well!

Be forewarned: this film is very long (three hours), very talky, and very, very bleak. If you are expecting car crashes or hot sex scenes, look elsewhere. When Hollywood makes silly romance movies, they are often advertised as being about "the human heart." No: "Long Day's Journey Into Night" is about the human heart. And it is the most emotionally shattering motion picture I have ever seen.

Katharine Hepburn's great role in O'Neill's greatest play
Eugene O'Neill finished writing "Long Day's Journey Into Night" in 1940, but when he died in 1951 his will specifically stated the play was not to be produced until at least 25-years after his death. Because his widow relented and gave her permission for this "play of old sorrow written in tears and blood" we are left with this 1962 film and Katharine Hepburn's greatest acting performance. I first stumbled upon this film on late night television twenty years ago and I still remember staying up and crying throughout the emotionally devastating conclusion with the camera slowly pulling back from the family sitting around the table before a stunning series of emotional close ups of the doomed Tyrones.

This painfully autobiographical play is set on the long day and night in 1912 when the Tyrone family deals the news that young Edmund (Dean Stockwell) has tuberculosis. The tragedy is compounded by the rest of the family: a father (Ralph Richardson) who is a miser, a brother (Jason Robards, Jr., repeating his stage performance) who finds solace in drink, and a mother who retreats into her addiction to morphine before the night is over. Writing about his own family, O'Neill not only changed their last names to Tyrone but also switched Eugene with Edmund, the name of the infant brother who died. After watching this heartbreakingly painful story you know why the playwright wanted it tucked away until he was long gone.

Hepburn received her ninth Oscar nomination for her role as Mary Tyrone (the award went to Anne Bancroft for "The Miracle Worker"), and the four actors shared the acting award for the Cannes Film Festival along with the principals of "A Taste of Hone" (no clue how they came to that strange pairing). The almost 3-hour film is the complete O'Neill script (the key selling point for Hepburn in taking the role) and was shot by director Sidney Lumet in sequence in 37 days after the cast rehearsed for three weeks. The music score is by Andre Previn and Boris Kaufman was the cinematographer of this black and white film. O'Neill is enjoying something of a revival thanks to Kevin Spacey in "The Iceman Cometh" on Broadway, but when it comes to film this is far and away the best representation of his work. Given that he wrote extremely long plays about the early part of the last century, it is likely we will never see a greater film version of O'Neill than "Long Day's Journey Into Night."

Interesting background tidbit: Hepburn tried to talk Spencer Tracy into taking the role of the father. Tracy, who was already in failing health, turned it down, claiming it was a question of salary (Hepburn received only $25,000 for her part). Some of Tracy's biographers, wondering how one of the greatest actors of the century would have done with one of the greatest plays, have suggested that Tracy was intimidated by the role. Still, it is hard not to fantasize about the "Long Day's Journey Into Night" as a Tracy-Hepburn vehicle.

For the discerning viewer...
No doubt this filming of Eugene O'Neill's epic play will not appeal to everyone (though there are suggestions of drugs, sex & violence...) This is, in effect, an exact filming of O'Neill's play, masterfully directed by a younger Sidney Lumet (Network, Murder on the Orient Express, etc.), and his trademark of generous close-ups is haunting. This is apt, since the entire cast won top acting honors at Cannes. Indeed, aside from the autobiographical train of events, the acting is, without exception, brilliant. This is one of Robards' first film roles, as well as Stockwell, and their performances are multi-layered and mesmerizing. Also, Ralph Richardson's role fits him like a glove. The most remarkable performance is from Katherine Hepburn...as a morphine addict? Wow! I remember reading interviews years ago where Hepburn admitted that she was scared to death of the utter complexity of the role. She was at a point in her career where she was worried that no one would take her seriously, or that she'd fall short in creating any of the many facets of the character. Well, it's complete! Affection, cynicism, duality, suspicion, and her deep trips into her past, not to mention that she's aware that her life's gone to hell...it's overwhelming. The play/film is episodic, but this is OK because it gives wonderful interaction among all characters (even Jeanne Barr, as the goofy housekeeper). It's all very atmospheric and quite profound, thanks to Lumet's understanding of his material. Andre Previn's unobtrusive score properly conveys "dysfunction" when necessary. At three hours, the time flies by, thanks to impeccable production values, and acting, captured on film, that any true aficianado will cherish. Sure, it's artsy, but it would be hard to present O'Neill any other way. I usually prefer widescreen, but the close-ups may actually benefit from this full-screen version. I'm proud to have this film, finally, in my collection.

Landmark film....medicore presentation from Artisan/Republic
Another strip-down medicore presentation from Artisan....

This is a landmark brilliant film of perhaps Eugene O'Neill's great play. The directing by Sidney Lumet and the acting by Katharine Hepburn, Ralph Richardson, Jason Robards, and Dean Stockwell is nothing less than amazing. This has got to be one of the 3 all-time greatest performaces from the late Ms. Hepburn!

Simply one of the most amazing films of the 1960's.

This should have been issued on Criteron. We should have gotten a first-rate restoration job with either a good documentary/back story on the making of the film, or a commentary by the two survivors of the film, Dean Stockwell and Sidney Lumet.

Instead we get a nearly public-domain quality release.

I'm so happy to finally get this important film on DVD...but I'm utterly disappointed at the slap-dash quality one has come to expect from Artisan.

a deeply moving autumnal tragedy
This is one of the greatest and most unique films ever produced in America. This drama is an utter tragedy and the tortured Tyrone family drama plays out in real time: a long dark night of the soul. All of the roles are definitively performed. Hepburn gives the performance of a lifetime: full of pain and memories she can hardly bear to recall. There is also the remarkably simple but moving piano score of Andre Previn.

If you need constant action to be entertained, don't subject yourself to Long Day's Journey Into Night - if, however, you are interested in the depth of the human heart and the catharsis of a shattering tragedy, this film will stay with you forever. ... Read more

Reviews (59)

The "almost" Atomic War anti-fable...
The bleak black and white ...sometimes grainy, occasionally jump/jolt cut film...combined with understated dialogue, few special effects and no dramatized combat sequences produce a movie with a ONCE-UPON-A-NIGHTMARE quality. Henry Fonda is excellent as THE PRESIDENT who must convince the never-shown Soviet Premier not to unleash a retaliatory strike against The United States when a squadron of American Vindicator Bombers (decommisioned B-58 Hustlers) threatens Russia because of a computer/Black Box glitch. Walter Matthau is fascinatingly repellant as THE PROFESSOR...a Herman Kahn/Dr.Strangelove clone... who glories in his role as high-priest/adept of Nuclear Deterrence strategies. A young Larry Hagman is memorable as Buck, the President's Russian language translator. Dan O'Herlihy is convincingly tragic as an Air Force commander who must make "the sacrifice of Abraham" to save the world from WW III. There is not a single "mushroom cloud" shown. Combat actions are reduced to electronic displays on the War Room/SAC Big Board. Many opportunities for "thrills" are foresaken by Director Lumet. Instead, he relentlessly paces his "almost" Atomic War anti-fable until a telephone monitored by the US Ambassador to Moscow howls:..this tocsin signals the death of millions and the beginning of Armageddon. There is no such thing as FAIL-SAFE. The film is 40 years old. But like fable, the "sermon" speaks to today, tomorrow and...probably?...para siempre.

Brilliant, chilling "what-if" Cold War film.
When machines break down and accidentally unleash the nuclear genie out of the bottle, it's up to the President(brilliantly played by Henry Fonda) and his top military and government officials to prevent all-out war. Tensions heighten when military men like Colonel Cascio(Fritz Weaver) crack under the strain; a civilian "hawk" (Walter Matthau) argues for total committment while a military pacifist General(Dan O'Herlihy) adamantly insists that unleashing the H-Bomb would spell the end of the world. When it becomes clear the B-58 Vindicator Bombers mistakenly sent against Moscow will reach their target, the President must make the gravest sacrifice to prevent Armageddon. Lumet's directing and the all-star cast bring to life a nightmare situation that almost happened a number of times in real life. Well worth your viewing!

Fantastic!!
I've seen this movie at least 10 times, always on late night TV, and it still gets me every time. Right up until the last minute your'e hoping that all will turn out well, but of course it doesn't. It's curtains for 1964 New York, with it's World's Fair, Ed Sullivan, the Peppermint Lounge and My Fair Lady. Previously Moscow of course meets a simular horrible fate. But what a fantastic movie, full of drama and suspense. I'll never forget the reaction when the first plane is shot down, and the man who reminds them "That wer'e not at a football match" There are so many powerful scenes throughout the movie, too many to list here. It deserved a lot better recognition that what it got at the time. See it!

LIBERALISM IN HOLLYWOOD AND A TERRIBLE ENDING
In 1965, a serious nuclear movie called "Fail Safe" was released. Henry Fonda is the President. A computer glitch launches The Bomb for the U.S.S.R. Fonda cannot recall it, and apologizes to the Soviet premier. His wife is visiting New York City, and in one of the worst political decisions in Hollywood history, Fonda tells the Soviets that in order to prove to them it was an accident, he will drop a 30-megaton nuclear bomb on the Big Apple! He carries through with his decision, despite his wife's presence there. The Soviets are portrayed as suffering their fate with dignified resolve.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM

Incredibly serious and thought-provoking
The main theme of this film is that, with all of the tensions and pressures of the Cold War, and the rapid advancements in weapon development, things could go very wrong, very fast, and become unstoppable. When a drill becomes a false alarm that gets misread by some as a true Soviet nuclear attack against the U.S., American bombs destroy Moscow in "retaliation" and "counter-strike". The President and the Soviet leader try to find a way to prevent full-scale nuclear war, despite decades of mutual distrust. A radical solution is eventually found.

I was born in 1960 and, while that was after the McCarthy era, I grew up with the idea that Soviet Russia might attack at any time. This drama accurately depicts the fear, tension, and suspcion that permeated that time. It is harsh but well-done. ... Read more

Amazon.com

Jason Robards burst onto the Broadway scene in 1956 with his performancein Eugene O'Neill's devastating Iceman Cometh, playing thecentral role of Hickey, a salesman who comes to a rundown bar on amission to bring peace to its boozing denizens by lifting theirillusions--only to wreak disaster on them and himself. Four years later,director Sidney Lumet (later to direct such classics as Dog DayAfternoon and Network) made this skillful television version ofthe play, bringing back Robards, along with a sterling collection ofcharacter actors (particularly Myron McCormick as a former communist whocomes to see his reasonableness as a form of cowardice) and a young RobertRedford (in a strikingly unheroic role). Robards became famous for hisroles in many O'Neill plays; his galvanizing performance drives TheIceman Cometh and makes this production one of the landmarks oftelevision drama. --Bret Fetzer ... Read more

Reviews (8)

Robards' Astounding Performance
The chance to see Jason Robards portray his signature role as "Hickey" makes this video well worth the price. This performance of the complete "Iceman Cometh" was originally aired on CBS in 1962, as a live two-part performance, and the video and audio quality suffer from the transferral, but what remains is an extremely well-directed version of this play, which preserves Robards in the role that first brought him acclaim. The supporting cast in generaly excellent, with standout performances from James Broderick and a very young Robert Redford. This version of the play makes an interesting contrast to the 1973 film version, directed by John Frankenheimer, which features a decent, though limted, Lee Marvin as Hickey, but which also displays two incredible actors, Robert Ryan as Larry, and Frederick March as Harry Hope, who are so wonderful in their final screen roles that they overshadow the rest of the characters, Hickey included. One can only lament the director's choice not to cast Robards, thus missing the opportunity to unite three of the greatest O'Neill interpreters in these three splendid roles. Oh well.......

Mesmerizing
This DVD is a wonderful supplement to the play. Read the play first, then buy this DVD. You'll be shocked at how wonderfully portrayed the characters are, and how close they are the the characters you've conjured in your mind. One of the best plays written, a great description of the hearts and souls of humankind. As the intro says, it is a play for people with mature minds and sensitive hearts.

The Essence of Theatre
All you have to do is look at the artists involved in this production to realize the landmark importance of this staging. Robards, considered the quintessential interpreter of O'Neill, reprises the role that first caused critics to sit up and take notice that a major league actor had arrived on Broadway. O'Neill roles were more like autobiographies for Robards. He faced the same alcohol-induced demons in real life as confronted such characters as Hickey and James Tyrone.

Though Lumet may not be in the same league as Jose Quintero as far as O'Neill directors are concerned, he nevertheless wrings solid performances out of every cast member involved in this historic production.

If you can, you may want to purchase this in conjunction with the 1976 Broadway Archive tape of William Saroyan's "The Time of Your Life." Both plays have similar bar room settings, about the same size cast, and similar themes. It's interesting to see how two major playwright's handle diologue and monologue, dramatic conflict and themes of dissipation. Personally, I've always felt O'Neill digs a lot deeper than Saroyan, but both productions are superb, as are most plays in the Broadway Theater Archive series.

Almost as Good as Live
About 17 years ago I was fortunate enough to see Jason Robards perform the part of Hicky live, in Los Angeles. Needless to say, it was a riveting 5+ hours of theatre. I knew about this televised version from readings, but had never seen it - until now. It's almost as good as being there! Purests might be upset that the script IS cut - but as much as I love O'Neill, I didn't really miss the cut sections. (Much as with Lumet's "cut" version of "Long Day's Journey"). In fact, this version may actually be more palitable to the less "hard core" watchers. Interesting to see Robert Redford's rather lackluster performance; he may be the weak link in the supporting cast. In any case, a MUST for any student of the theater!

This thing vibrates.
December 20, 2002

I rented this one not long ago and sat through its
mammoth performance straight. This broadcast from
the end of the live television era reaps the benefits
of everything that was developed in that art form's
brief lifespan. 'Iceman' practically hums with the
energy, dedication and craft of its performers. It
is just plain exciting to watch.

I've never been too big a fan of Eugene O'Neil and
his (from today's vantage point) rather overworked
writing style, but I was grateful that 'Iceman' was
as long as it was, and that it permitted me as much
time with its excellent stage actors as it did. Their
work, and the earnest compassion of O'Neil's writing,
are to be savoured. In comparison to today's diet
of ego-rich, hype-rich, ironic-rich, style-rich, but
often craft-deprived efforts--faults evident even
within the independent film scene--'Iceman' is an
electric piece of work.

Jason Robards is terrific, one of my favorites. Now
if only they'd release 'A Thousand Clowns' on DVD. ... Read more

Reviews (14)

Poignant, impassioned film
This is one of my favorite films. Rod Steiger, the most underrated artist alive, in my opinion, plays a Jewish pawnbroker who struggles with memories of the war, loss of his family and the apathetic shell his life has become. When he finally realizes that the people around him need his concern and without it, they can't survive, it's too late. A young Quincy Jones composed the tremendous Jazz score that gives every scene depth and punch. The film is in black and white which makes the characters seem more shady, sad and poignant. It is filmed on location in Hell's kitchen, at that time, a derelict New York neighborhood. This gives the film an atmosphere of desperation, fear, foreboding and regret. It is a sensitive, complex film that stirs the emotions on so many levels. See it if you can.

Astounding performance
Rod Steiger's performance in this film is the best of his career. Period. He was nominated for an Academy Award for Best Actor, 1965, and should easily have won--although he did not. In this powerful film, he plays Sol Nazerman, a seedy denizen of New York's Lower East Side who makes his living as a pawnbroker. Into his store come lowlifes of all sorts--hookers, junkies, thieves. Nazerman is a survivor of the Holocaust and carries enormous psychic scars that refuse to stop tearing at his soul.

As a vicious menacing crime figure, Brock Peters is also superb--the present-day reminder to Nazerman of how evil never dies. Other cast members include Geraldine Fitzgerald as a sympathetic caseworker and Jaime Sanchez as Nazerman's young Latino assistant who is of another generation and another culture, and cannot understand his boss' terrible anguish.

Director Sidney Lumet has done an outstanding job here conveying the lifelong suffering that horrific evil brings with it. This is not a graphic film, but one that delivers its message before the days of special effects via pure drama. It is a great thing to have this now available on DVD; this is a film that should be seen by those who treasure phenomenal acting and powerful emotion.

Very highly recommended; the best American film of 1965 and one of the best American films of the 20th century.

Brilliant film but with one inexcusable flaw
"The Pawnbroker" is a bleak, shattering character study concerning the ravages of guilt on a holocaust survivor who has psychologically shut down his emotions in order to survive. Sol Nazerman's (Rod Steiger) guilt is based on his inability to save his family at Auschwitz while he himself has continued to live. His emotional shutdown results in his ability to empathize with the desperate, pathetic customers who pawn their valuables at his store, or to care about his mistress, his Puerto Rican employee, or anyone else. However, through a sort of cinematic stream of consciousness, director Sidney Lumet is able to reveal how current situations act as catalysts on Sol, enabling memories of the past, through flashback, to return and haunt him still. This is arguably the best performance of Rod Steiger's career, with exceptional support from the entire cast.

So what's the flaw? Well, the filmmakers convincingly show where the horrors of hatred and bigotry that led to the Holocaust can lead. And then the filmmakers proceed to promote another form of hatred, as if this were somehow acceptable. The problem for me is that for no positive reason, several of the arch villains in this piece are shown to be gay men, and one can't help but wonder at the homophobia behind the director or author's choice in this. The main villain of the piece is Rodriguez (excellently played by Brock Peters), who uses the pawnship as a money-laundering "front" for his personal crime syndicate, and pays Sol well for his compliance. Rodriguez is continually shown with his blond male lover, a handsome but subservient figure in a non-speaking role. After one threatening interchange between Rodriguez and Sol in Rodriguez's living room, Rodriguez and the lover are seen ascending the stairs, presumably to the bedroom, to turn in for the night, leaving the distraught and vanquished Sol by himself. [...]

And then there are the three evil thugs who decide to rob the pawnshop. Prior to this robbery attempt, we see one of robbers lovingly examining the photos in a men's muscle magazine. Again, why??

The movie even contains an East Harlem nightclub scene, in which a pathetic drag queen of advanced age struts his sad stuff in a performance worthy of "The Gong Show" before removing his wig at the dance's end. For the third time, why???

This facile use of homosexuality to highlight modern-day evil is quite frankly repugnant and both tarnishes and sabotages an otherwise brilliant film. If the filmmakers are attempting to show where hatred toward one minority group can lead, how can the writer and director justify reviling yet another persecuted minority group? Were they not aware that hundreds of thousands of gay men and women also perished in the death camps? Was the suffering of the concentration camp prisoners who were forced to wear a yellow star more valid than the suffering of the prisoners who were forced to wear a pink triangle?

Rod Steiger's best work.
This black & white art film from the Sixties holds up extremely well thanks to Rod Steiger's wonderful performance and Sidney Lumet's gritty direction. The film, not to mention the novel it was based upon, is one of my favorites because it captures graphically the way the main character's memories of the Holocaust hold him prisoner years later as a Harlem pawnbroker. With his life long ago drained of joy and feeling, he is at once the victim of his pawnshop and life, and the businessman who's lost the ability to empathize with his poor and victimized (but often amazingly hopeful) customers. Add to the drama an urban jazz score by Quincy Jones and you have a picture that belongs in any serious film lover's collection.

The Sounds of Silence
This is one of only a few films in which there are certain scenes which, for various reasons, I find almost unbearable to watch again. The others include the scene at the train station when Sophie must make her choice, the sequence of murders in In Cold Blood, the burning of the church in The Patriot, the multiple hangings in The Ox-Bow Incident, and the evisceration of William Wallace in Braveheart.

Brilliantly directed by Sidney Lumet, with equally brilliant cinematography by Boris Kaufman (both of whom should have at least been nominated for an Academy Award), this is among the first films to dramatize with high levels of seriousness and sensitivity the essential evil of the Holocaust. Sol Nazerman is the central character, played by Rod Steiger who was nominated for an Academy Award for best actor. Lee Marvin received that award for his role in Cat Ballou. (I thoroughly enjoyed Marvin's performance but still think Steiger deserved the award. To his credit, so did Marvin and said so.) Nazerman is a pawnbroker in New York City, having long ago lost (or so it seems) his ability to have an feelings for anyone else...or even for himself. His mind may be especially alert but his heart is numb.

In terms of plot, not much happens. Most of the the film focuses is on Nazerman's dysfunctional interactions with other people, notably with Marilyn Birchfield (played by Geraldine Fitzgerald) and Jose Ortiz (Jaime Sanchez) who works for Nazerman. What's Nazerman's problem? With meticulous care, Lumet gradually reveals the past from which he emerged but, in certain respects, from which he has not survived. His "problem" is that he has lost his will to live but not to exist.

Many of those who have seen the film will insist that, in the final scene, when Nazerman screams out in pain, the sound of that scream has haunted them ever since. In fact, there was no sound. Steiger later explained that his approach to that climactic moment in the film was inspired by Picasso's anti-war mural, Guernica, which portrays unprecedented atrocities committed on April 27th, 1937, against the civilian population of Guernica, a small Basque village in northern Spain. To Steiger's and Lumet's everlasting credit, Nazerman's silent scream allows the film to have the greatest possible subliminal impact on those privileged to experience it. ... Read more

Book Description

Mystery?! Well, it shouldn't be, but Connie and Dylan have gotten caught up in a mystery movie and suddenly every visitor to Whit's End looks suspicious to them.There are laughs and chills galore as Eugene tries to temper things with reason, while Connie and Dylan are positive that a stranger stranded by a storm is actually an escapee from a nearby prison!It's all downhill from there as the misguided trio learns a valuable lesson about the power of things we put into our minds.

Description

Richard Gere, Julie Christie, Gene Hackman and Denzel Washington star in director Sidney Lumet's thriller about political image making in our media manipulation age. Year: 1986 Director: Sidney Lumet Starring:Richard Gere, Julie Christie, Gene Hackman, Denzel Washington ... Read more

Reviews (4)

A blast from start to finish - plus a message
Maybe I just don't get it. But I've loved this film ever since I first saw it in the eighties, and was mesmerized and thrilled by the opening sequence of Mr Gere practising drumming on a practise drum skin to the music of Benny Goodman's version of SING SING SING with Gene Krupa drumming. An opening sequence does not a movie make, but I knew I was in for an exciting ride with Mr Lumet who has rarely failed to thrill me from his first film TWELVE ANGRY MEN, and thereafter with PRINCE OF THE CITY, THE ANDERSON TAPES, DOG DAY AFTERNOON, NETWORK et al. In POWER, part of the deal is to GO WITH IT, that is, willingly suspend disbelief and take the dramatic ride. For my own part the ability of Pete St John (Mr Gere) to manipulate public opinion and get politicians elected has more than a touch of truth about it and the relish with which St John does his job is fascinating to see - he's a professional without a principled bone in his being and Mr Gere (ironically a professed Budhhist) is brilliant , playing that character. He survives - one of the great lines he gives to his ex-lover (played by Ms Julie Christie) is "don't blame yourself". Those in the film who HAVE principles, either commit suicide (Senator played by the great Mr E.G. Mars