Amazon.com

Walter Matthau is in peak form in Hopscotch, a featherweight spy-game comedy in which he plays a CIA agent who's way smarter than his dimwitted superiors. That's the fantasy part--this amusing cat-and-mouse game is so lopsided that you can't take it seriously. The movie's charm is derived from the sardonic pleasure with which Matthau makes his pursuers look like idiots, after they've targeted him for "termination" for publishing a tell-all memoir about his tenure in "the Company." He's no stool pigeon, however; it's his boss (played with blustery thick-headedness by the great Ned Beatty) who's abusing his power, so Matthau recruits an old lover (Glenda Jackson) to join him in a globetrotting game of clandestine cleverness. Under Ronald Neame's too-casual direction, this is a not-so-wild goose chase, but Matthau and Jackson (reuniting after they had fun making the 1978 comedy House Calls) have an easygoing chemistry that's nicely balanced with Matthau's cantankerous shenanigans. --Jeff Shannon ... Read more

Reviews (116)

I love this movie!
Miles Kendig (played Walter Matthau) is a CIA agent who is used to doing things his way. When his new chief, the abusive and bombastic G.P. Myerson (Ned Beatty), decides to retire him behind a desk, Kendig decides that the CIA needs a house cleaning--and that his memoirs would make the perfect broom. Now Kendig is on the run from the Agency: sending out new chapters, playing hide-and-seek with old associates. It's all a game, a game of hopscotch, and Kendig needs to keep one step ahead. Will he succeed? [Color, released in 1980, with a running time of 1 hour, 44 minutes.]

I have loved this movie since it came out in 1980! It is just the perfect mix of adventure and humor. Humorous, but not a comedy movie--it's an adventure story with a sense of humor. And now for the bad news: to make his character more dislikable, Ned Beatty swears incessantly in this movie, which makes it a little much to watch in front of small children (I have two). That said, though, I do not know why this movie deserved its R rating. There is no nudity, and practically no violence. And I must add, the swearing is not too much for adult viewers; I have yet to meet anyone who doesn't break into uproarious laughter when Myerson angrily gives his opinion of what FBI stands for!

Smart, Stylish Comedy
We saw this movie back in the early 1980's and loved it, but by the time we tried to get a copy, it had gone out of print. Many thanks to Criterion for releasing it on DVD! This film is superb, well-written and directed, with a cast of very gifted performers. The actors play their roles to the hilt and have a terrific chemistry onscreen.

The plot is basic revenge, perpetrated on the CIA by one of its top operatives. Walter Matthau plays the amiable Kendig, a man who's served in the field for decades and is an excellent agent. He's smart yet still down-to-earth; his reputation among the underworld of spydom is the stuff of legends. Kendig is respected even by his enemies for his savvy decisions and sense of fair play, and his reluctance to resort to dirty tricks. His new boss, Meyerson (Ned Beatty) resents his underling's popularity and decides to neutralize Kendig's effectiveness by yanking him from the field and assigning him to a desk job as a file clerk.

To say that Kendig despises his new boss would be a gross understatement. A switched file is shredded and Kendig vanishes, fleeing to Austria and his lover Isobel (Glenda Jackson). From there, he nurses his wounds and launches on his vengeance against Meyerson and the CIA by writing a book that reveals the agency's dirty tricks and botched missions. Meyerson is livid and assigns Joe Cutter (Sam Waterston) to put a stop to Kendig by any means necessary, especially assassination. Cutter admires Kendig and is torn by his personal feelings for the man and his desire to serve his country.

The story then twists and turns as Kendig leads his former employers on a huge wild goose chase. He calls them from a phone booth right near the CIA headquarters, hides out in Meyerson's southern house---which is later demolished by the feds themselves---, and feeds chapters of the book to Meyerson to whip him into a frenzy of ineffectual rage. He plans on getting the entire book to a publisher, and his means for doing so and ensuring his own protection from future assassination attempts are ingenious.

We are very happy that this movie was released to the public once again. Matthau is superb as a real man working in an unreal world of espionage. Herbert Lom is great for the role of his KGB counterpart, and Glenda Jackson is both tart and elegant as the enigmatic Isobel, who frankly adores Kendig. Ned Beatty plays the part of the oafish Meyerson to perfection, making the viewer hate him thoroughly. Waterston is in excellent form as the good-hearted and conflicted Cutter, and shows hints of his mildly acerbic wit that would come to fruition in his later role of McCoy. The supporting players are fine, too, and the plot is well-crafted and believable.

The DVD is nicely done. There aren't many extras, but it's beautifully produced and does have a nice feature: an alternate soundtrack that deletes the foul language, so even kids can watch it with their parents. We are pleased with our investment, and highly recommend "Hopscotch" to anyone who enjoys a well-done and stylish comedy. It's also perfect for fans of Walter Matthau!

He's about to expose the CIA, the FBI, the KGB...and himself
Off the top of your head, how many funny spy films can you think of? The James Colburn 'Flint' films of the 60's? The Austin Powers movies perhaps? Or that incredibly lame Leslie Nielsen film...Spy Hard (1996)? Over-the-top silliness seems to be a common theme in these films, but Hopscotch (1980), based on a book written by Brian Garfield, also a comedy involving spies, manages to rise above, avoiding the slapsticky and crude humor, rather providing a charming and intelligent story that entertains throughout. Directed by Ronald Neame (Prudence and the Pill, The Poseidon Adventure, The Odessa File), the film stars a wonderful and accomplished cast of actors including Walter Matthau, Glenda Jackson, Sam Waterston, Herbert Lom, and Ned Beatty.

Matthau plays Miles Kendig, one of the CIA's top field agents who suddenly finds himself relegated to a desk job after control of the department he works for is taken over by a petty, vindictive, and less than capable man named Myerson (Beatty) who seems to harbor a personal grudge against Kendig. Unable to deal with riding his career out behind a desk, Kendig leaves the agency, and, after much thought, decides to write his memoirs, detailing all kinds of juicy, sensitive stuff about not only his own agency, but also intelligence agencies throughout the world. After being in the biz for thirty years, he certainly has the inside scoop on all kinds of things, causing his former boss to put out the order for his termination, elimination, liquidation, extermination, what have you...with the aid of a wealthy widow and love interest named Isobel who was also once in the game, played by Jackson, Kendig begins leading his former colleagues on a chase that spans halfway around the globe, always managing to stay one or two steps ahead. Will he be able to finish his book before his old agency or that of a foreign power catches up to him? Even if he does, will he live to see his work published?

Hopscotch is a wonderfully witty, light comedy with a dash of sophistication that nearly everyone can enjoy. Matthau plays his role so perfectly that after seeing the film, you could imagine no one else in the part. He's certainly got that whole irascible charm thing down, and it fits with the character very well here. I loved how his character never seemed to lose his calm composure, constantly outwitting and outsmarting his former co-workers in leisure like fashion, given that he probably wrote the book and trained half the men now chasing him. The element of Kendig using the notion of a book for revenge at first, but then once removed from the work he participated in for so long and seeing just how nasty it is from an outside perspective decides to follow through with his initial threat of finishing the book and getting it published. Jackson plays so very well off Matthau, and they create a level of chemistry that's pretty rare, in my opinion, between on screen couples. They just seem to fit so naturally together, creating a level of believability to counteract the somewhat unrealistic element that the CIA are a mostly a bunch of bumbling buffoons. Did anyone else think her hair was a bit too short, giving her the appearance of a young boy? Maybe it was just me... I really enjoyed a young looking Waterston (Law and Order) as Cutter, Kendig's competent and intelligent protégé now responsible for finding and eliminating his former mentor. I read that he'd actually come into shooting late due to the film he was working on prior, Heaven's Gate (1980) ran past its' shooting schedule, and is the reason why Waterston looks so very tired in some of the scenes in Hopscotch. Herbert Lom is also very good as a Soviet agent named Yaskov, one "who's seen Casablanca one too many times", although I felt he deserved a bit more screen time. Ned (Squeal like a pig for me, boy) Beatty is a riot as Myerson, constantly exasperated by his group's futile attempts to put a lid on the loose cannon he himself let loose due to his own petty dislikes for Kendig. Imagine someone you work with that no one likes, and then that person finally getting a little bit of power, lording over certain individuals, power tripping here and there, but mostly tripping over his own feet, and you basically have Myerson. The direction by Neame was most excellent, keeping the viewer (me) engaged throughout, with a smooth, steady pace as the story unfolded, which is a bit light in some parts, but did nothing to reduce my enjoyment of this charming, funny film.

Criterion provides a superior high-definition digital transfer here in wide screen format and a cleaned up soundtrack. The quality of the picture is really fabulous, especially when compared to my old VHS copy. As far as special features are concerned, there's not as much as I would have thought from a Criterion release, but what's here is very worthy. There's liner notes on the insert inside the DVD case by Bruce Eder, a video introduction by writer Brian Garfield and director Roland Neame along with interviews, a separate audio track, a clean version created for television broadcast along with the original version (there's very little profanity in the film, but what this is comes from Ned Beatty's character Myerson) and an original theatrical trailer along with a teaser trailer for the film. If you're looking for a smartly funny engaging comedy that only gets better after repeated viewings, then Hopscotch is for you.

Cookieman108

Ughhh! What a Waste of Major Talents!
Rarely have such major talents (Matthau, Jackson and Beatty) been wasted in a film.

Matthau plays a CIA station chief who is called back to Washington when - against CIA instructions - he allows the KGB's top agent to go free after catching him dead to rights in an espionage sting.

How does Kendig (Matthau's character) deal with being "taken out of the game"? Against CIA policy, he proceeds to sell out U.S. national security interests by writing a best-selling expose of CIA covert operations. Ha, Ha! Real funny! What a laugh riot! The entire movie is standard liberal Hollywood fare - the CIA is stupid, the FBI is stupid, the iconoclast is irrascible and superior (he must be, he loves opera), yada, yada, yada.

And what, do you ask, is Kendig's stated motive in disclosing U.S. secrets in a best-selling book? To expose CIA wrong-doing? Uh, no. Is it to expose a rogue agent in the upper reaches of the CIA? No, not that either. To quote the film, it's payback because his boss "emasculated" him. I do not kid. That's what he says. Wow! What a riot! Get back at your boss by selling out your country!

I was in the last PATH train to be diverted from the World Trade Center PATH stop and watched the buildings go down - not on TV. I have subscriptions to the Metropolitan Opera and the City Opera. I DID NOT FIND THE PREMISE OF THIS FILM THE LEAST BIT FUNNY.

"Hopscotch"..."Good Title"
was suprised to see criterion release hopscotch, but glad they did. here matthau is repremanded for allowing a wanted KGB agent to walk. matthau's integrity is too precious to take guff from even the CIA. subsequently, he does not take the news of being reassigned to the job of file clerk very well so he begins to write his memoires, leaking secret information to the opposition. the ensuing chase is slapstick, a spy vs. spy comedy with great international locations. frankly, using the cold war as a catalyst for comedy was long overdue by 1980. ... Read more

Reviews (41)

LOVE & SPITE IN 1932 EDINBURGH.
Miss Brodie is the kind of teacher who wants to inspire her "gurls" rather than teach them; she's the kind of teacher little girls get crushes on...As Muriel Spark's witty, fey and romantic crackpot teacher, Maggie Smith does a magnificent job conveying comedic elements of mimicry, affectations and sheer snobbery: Miss Brodie is so entertaining that we become entranced by this Scottish lass with a jumble shop mind - she's very funny. It becomes hard to accept her as a dangerous influence when the plot turns dramatic, but her scene where she states that she's "PROUD"! copped her the AA. Celia Johnson has a genuine triumph as her adversary, Mrs. Mackay, and Robert Stephens does a lot with his role as her art instructor lover. Jay Presson Allen wrote the script from his stage version, and the film was rather too conventionally directed by Ronald Neame. Unfortunately, Pamela Franklin's big confrontation scene is something of a disappointment (the fault goes back to the original novel). Overall, however, the film is a fey and rather unique treat for those who enjoy character studies of eccentric people. The song JEAN was a huge pop hit when released by the artist OLIVER back in 1969.

IN HER PRIME AND HOLDING HER OWN ON DVD
Maggie Smith is the elegantly pert Miss Brodie, a 1930s Edinburgh school marm of immense panache, charm and wit in a film that's sort of a cross between a female version of "Goodbye Mr. Chips" and "To Sir With Love." Smith's performance easily commands "The Prime of Miss Jean Brodie" beyond cliche and its theatrical trappings as she becomes the ultimate self-deluding spinster to whom Mussolini is a treasure on par with the Mona Lisa, and passionate love is but a taboo. Dame Brodie marks her existance on over-inflated romantic notions about art and beauty. Adapting from the novel by Muriel Spark, director Robert Neame keeps the pacing sweet and nimble, touching on all the right points without dwelling on any of them. Also in the cast are real-life husband, Robert Stephens as Jean's married lover and Celia Johnson who is marvelously insideous as the hostile headmistress. The film score by Rod McKuen may have been Oscar nominated but it betrays its 60s origins and really pigeon-holes the film as a production of that decade instead of seeming a vital tableau of the 30s.
THE TRANSFER: Fox has done a marvelous job remastering "Miss Brodie" on DVD. Colors are lush and nicely balanced. Black levels are deep and solid. Contrast and shadow levels are bang on. Some of the long shots suffer from pixelization which breaks up fine detail and there is also a very small trace of age related artifacts. These do not necessarily distract. The audio is stereo. Though dialogue does not sound natural it is nevertheless very clearly presented. The score - in all it's twinkle-twinkle get down of 60s flashback is amply displayed.
EXTRAS: An audio commentary and very sparce stills gallery. It really is a mystery to me why Fox's continues to benchmark certain catalogue titles as part of their Studio Series when their attention to suppliments continues to grow more scant by every release. Just call this a general release and be done with it. There's nothing special apart from the film to recommend such titles as part of a special series.
BOTTOM LINE: Recommended.

Great film
What do you get when you cross great writing, a great story, an excellent cast, and one of the world's greatest actresses? This film. It's certainly one of the most unusual films ever made, and especially when you consider WHEN it was made. I didn't see the initial release many years ago, but can only imagine what the American public made of a teenage girl in a married, much older, man's bed. Maggie Smith carries the film and her reputation on this one alone should seal her claim to best actress in the world. It doesn't get any better than this.

"POINTLESS"
This is one of the worst movies I ever saw. I saw it theatrically when it came out and then saw it again twenty years later on TV, when I had hoped that a more adult perspective would enable me to appreciate the initial critics' reviews. WRONG! It was still awful. There didn't seem to be any point to character motivation (what little motivation there was). Then one day I saw the book in the library, and since the book is always better than the movie, I read it. No wonder the movie was pointless. The book was the same. Better to watch one or other of the versions of "Goodbye, Mr. Chips".

Maggie and Celia At Their Finest
This has always been a favorite film of mine and now that is it
on DVD we have a letterboxed version. From the opening shots we
know we are in for a real treat. Maggie was just starting out in
the movies when she snared this role. Fox wanted Audrey Hepburn
or Deborah Kerr but Maggie made the role her own. She is not
alone. Celia Johnson as headmistress Miss Mackay is fabulous and
Gordon Jackson who later achieved world fame as Hudson in
UPSTAIRS, DOWNSTAIRS is a superb Gordie Lowther. Smith and Johnson
both won British Academy Awards and a few weeks later Maggie was
an upset winner at the Oscars and there was hooting and hollering
and mass celebrations at our house. I am delighted that Fox has
put this on DVD. ... Read more

Amazon.com

Venerable British actors Alec Guinness and John Mills give two of their finest performances in Tunes of Glory, a compelling, emotionally charged study of leadership in a peacetime Scottish battalion. In one of his most memorable roles, Guinness plays Jock Sinclair, the brash, red-haired colonel who temporarily commands his regiment of loyal, devoted soldiers. He's quick with a drink and hearty tales of military bravado, placing him in fun-loving contrast to his replacement, Col. Barrow (Mills), a hot-tempered martinet whose by-the-book style couldn't be more different, or less likable, than Sinclair's. In adapting his own novel for director Ronald Neame, James Kennaway keenly establishes the psychological opposition of these two stubborn men, demonstrating the equal merit of their military careers while exploring class distinctions and, ultimately, the inevitable tragedy of their failure to reach a mutual understanding. Ironically, Guinness was originally offered Mills's role, but suggested a switch to avoid comparison to his role in The Bridge on the River Kwai. It was an inspired decision, allowing each actor to shine in a timeless film that speaks volumes about military men and the winning (or losing) of hearts and minds. --Jeff Shannon ... Read more

Reviews (17)

a tour de force of acting!
Alec Guinness and John Mills - two of the best actors for decades, though I don't think either really received their full dues. Face it, a lot of people's awareness of Guinness came from Star Wars. And that is a shame. He was a brilliant actor with a touch of comedic genius, and he shines in this battle of wits and wills with Mills, another great.

It's basically a two man film, though there is a fine supporting cast of John Fraser, Dennis Price, Susannah York, Gordon Jackson, Percy Herbert and Peter McEnery.

Guinness is Major Jock Sinclair who has been with this Highland regiment since he joined as a boy piper, and rose to Second-in-Command during war time. The unit is now back in Scotland during peace time. Had he stayed as second-in-command, it might now have set tone for the conflict with Lt. Col. Basil Barrow (John Mills). But Jock has been Acting-Commander, so he fully expected to be promoted to full command. The men love him, he's a real man's man. He is devastated, a blow to his ego, when they bring in Barrow to assume command.

Barrow is not a very likable character, a martinet, so it's easy for Jock to wage psychological warfare by undermining Barrow at every turn. A Sandhurst trained disciplinarian, Barrows quickly alienates everyone with his prissy by the book ways, giving Jock the power to slowly rot Barrows authority, ultimately shaking Barrows mental foundations.

While Jock is doing all he can to send Barrows into a tissy fit, Jock's daughter is slipping around meeting John Fraser, which is pushing Jock to the edge as well.

There is a coming confrontation and only one man will survive.

This is acting at is best, and this film really should get more attention.

An astonishing story by Ronald Neame...
The sociable and veteran Major Jock Sinclair (Alec Guinness) has been the acting as Commanding Officer for the Highland Regiment since World War II where he once began as a piper. However, Jock is about to be replaced by a new Commanding Officer, Lt. Col. Basil Barrow (John MIlls), and the mere thought of being swapped with another officer upsets Jock. Colonel Barrow is an aloof and pedant officer with deep scares from the war where he spent most of his time in a prison camp. When Colonel Barrow takes over he immediately begins to set his changes into action, which upsets the lenient Jock who does not like Colonel Barrow or his new strict changes that he has brought to the Highland Regiment. These changes instigate Jock to begin a private psychological warfare toward Colonel Barrow where he plays on the fact that the other officers are not used to changes.

Tunes of Glory is an astonishing story as it displays the rough surface of the Highland military, but at the same time presents the affectionate side of grown men that have returned from war. On top of this the audience gets to see two outstanding performances by Alec Guinness and John Mills that are supported by a terrific cast. In the end the audience will have experienced a wonderful film that leaves them with thoughts and stirred feelings.

One astonishing movie
This smart film shows us one true tour de force between John Mills and Alec Guiness.
Besides all the technical aspects that support this work, the dramatic nucleus deserves be remarked.
Yet this film was made in 1960 ; this script turns around one the essentials lines that support the question about what an effective leader must be.
Look inside what Guiness means; he has set up his mood leadership in a crowd of soldiers accostumed to his irreverent behavior.
He shares what they like; he drinks and he's vulgar too; in other words he flies with them , even ridiculizes the essential role of the authority. This a style yet employed for many managements specially in organizations composed by people of medium professional rank ; this leader stans up about the warm scent of the charisma; that behavior lets to Guiness smell and know the hidden weakness of every man under his power.
This approach is suddenly disturbed when an officer (John Mills) comes for him to replace. Obviously; that fact generates an inmediat reaction state in all the officers. Guiness knows his days are gone and yet he fights with his rules ; you disagree with his psycolghical handles; but you think that Mills a distingued officer, will be capable to end with this screwy state of things.
The obstacle are countless: some are direct and the rest you can imagine: that invisible match to establish the real rules of game , will turn in an unexpected twist ending.
The script is very carefully made ; just remember just two years before Stanley Kubrick had filmed Paths of Glory. This is important due the bitter atmosphere about every item related with the authority excess was not accepted in any society status.
Add to this, the Korea Cold War from the fifties ; the russian invassion over Hungary ; the growing nuclear tension around the nuclear weapons and the visible increase of peace movements all around the world in multiple facets as Litherature; poetry ; painting (Jason Pollock) ; music (rock & roll); cinema (New Wave birth) and challenging films as Baby doll, On the waterfront or Anatomy of a crime ; the raising movements for protecting the nature ; at this decade (fifties) the society was opened for new discoveries and sensations search (remember that the pill was discovered in the middle of the fifties) ; and this mood made the loss of certain principles you assumed as permanent.
And this movie walks in that direction. Watch this one; because its values and intentions goes far beyond a mere entertainment , the movie inquires you ; it challenges you and invites you to react.
Another superb achievement.

Fine DVD for a Guinness classic
No need to say much about the film itself: it is superb as others have agreed, with a phenomenally compelling performance from Sir Alec Guinness, with Sir John Mills (who won Best Actor prize at the 1960 Venice Film Festival) and the rest of the cast giving great support.

The Criterion DVD offers a really fine transfer: colours are rich, and there is a total absence of any artefacts, nicks or blemishes in the print. Sharpness is also very good, there is a hint of occasional grain but this is in the original celluloid I think - and anyway is nothing to worry about.

One slight caveat which has been commented upon by various review sites (so is not just a flaw in my DVD copy) is near the end of the film the appearance on the transfer of an opaque vertical line close to the right edge of the image, about a centimetre wide on my 28" screen. This is not really as distracting as it sounds and was presumably unfixable by Criterion from the source print. It starts near the end of the snooker room scene and stays for about 5 minutes - disappearing during Guinness's tour-de-force final scene where he addresses the assembled officers in a bravura display of fine acting - which leads to the unforgettable (and very moving) climax of the film. Certainly no-one should be put off by this slight flaw as it didn't interfere with my enjoyment of the film.

Soundwise this film offers a straight mono track - which with a 5 channel set-up will unusually use only the centre speaker. Manually adjusting my amp I was able to switch to the two fronts (minus the centre) which gives a slightly wider soundstage. In any event the dialogue is clear (subtitles will help with some of the more inpenetrable lines) and Malcolm Arnold'd bagpipe-based score comes through well.

The extras are slight but OK: the audio-only interview with the aged John Mills in 2002 is not too revealing but he is a lovely man, as comes across well here. The filmed interview with Guinness is better but covers his whole career rather than this film - and he doesn't give too much away of the real man. The trailer is interesting - because it is so appallingly (and hilariously) bad, with a dreadful voiceover and bizarre captions.

Get this DVD for the fine transfer of a brilliant film, which at the end of the day is the prime reason for any DVD package.

Och aye, a supairrb disc!
One of my favorite films has finally made it to DVD. One of the true gems of the postwar British cinema, by a director who often gets short shrift alongside his illustrious contemporaries, Ronald Neame. Everything about the picture's been said - some of the best screen acting of all time in this one. The disc does it justice. The delicate color balance is magnificently rendered,
and the sound is equally well-presented. The real kicker, tho',
is in the extras. The Neame interview is a delight, as is the Guinness one. The Mills one is marred slightly by the rather fatuous questions he is aked, but still quite fine. In short, Criterion hits another one out of the park. Pour yersailf a
wee dram, sit down, and enjoy a bona-fide classic. ... Read more

Reviews (95)

4.5 stars -- more enjoyable than "Titanic."
"The Poseidon Adventure" is the quintessential disaster movie -- the very best of the disaster film genre that reigned through the 70's and early 80's.

This particular disaster flick involves a ocean liner capsized by a tidal wave (on New Year's Eve of all times!)and the ten survivors who struggle to make it up to the hull (which is actually the bottom of the ship) to possibly find a way out through the stern. Being that everything is upside down presents major obstacles to the cast.

The pic features a stellar cast, including a young Gene Hackman and a fit Ernest Borgnine, who are constantly at each others throats because, as the Hackman character points out, they're two of a kind and Borgnine simply doesn't like what he sees in the mirror. The female cast includes Pamela Sue Martin (Nancy Drew), Carol Lynley and Stella Stevens, all well-cast as scantily-clad babes in distress. Also, Shelley Winters does a nice job as an overweight heroine. Red Buttons, Roddy McDowall and Leslie Nielson (in a serious role as The Captain) are also on hand.

The sets of the sinking, upside down ship are absolutely outstanding. The scene wherein the ship tips over showing the party-goers fall/slide to the ceiling is superb.

The characters are great and you really start to care for them. Okay, there is admittedly some silly dialogue, but I KNOW people who talk like this in real life, so it's not as campy and unrealistic as some criticize.

Hackman as the fiery-passionate rebel preacher is excellent. His real struggle is ultimately with his Creator, who he "has it out" with at the end. Unspiritual people will no doubt tend to laugh at this scene, but it powerfully portrays humanity's grappling with the universal question "Why does a righteous God allow evil and hardship to exist?"

The "Preacher" is nicely balanced out by the Pamela Sue Martin character who loves him and the Borgnine character who despises him; but observe Borgnine's nice change-of-heart at the very end.

It's interesting to note that, even though some say this flick has campy aspects, everyone highly rates it. "The Poseidon Adventure" is just a very entertaining and moving motion picture. It's got "cult movie" written all over it.

I find it of interest that many reviewers state how they like "The Poseidon Adventure" better than "Titanic." "Titanic" is hailed as one of the greatest, most popular pics of all time, yet all these folks say they prefer to see the former. I'd have to agree. "Titanic" is a good flick, there's no doubt; but given the choice I'd much rather see "The Poseidon Adventure."

the mother of all disaster movies
Irwin Allen's THE POSEIDON ADVENTURE is regarded as being the forerunner of the myriad of disaster movies that reigned supreme at the box-office through the 70's and into the 80's.

In this enjoyable and quite campy film, we see the "stock characters" that would become a fixture in the disaster movie genre; the Jewish couple (Jack Albertson and Shelley Winters), the swashbuckling ah...priest? (Gene Hackman), the rowdy policeman and his ex-hooker wife (Ernest Borgnine and Stella Stevens), the nervous little singer (Carol Lynley), the bachelor (Red Buttons), the leggy teen (Pamela Sue Martin) and the know-it-all little brat (Eric Shea).

Mind you, the ship was bound to sink with Leslie Nielsen (AKA Frank Drebin) at the helm...

When the SS Poseidon capsizes in a tidal wave on New Year's Eve, this motley bunch of survivors try to climb to the thinnest part of the hull to escape. Climbing up a huge Christmas tree to begin the adventure, the Priest first makes some convienient "alterations" to the women's outfits. First he orders Stella Stevens to take off her evening gown and put on a short pink shirt; then he orders Pamela Sue Martin to take off her red mini-skirt, which she does, only to reveal a matching pair of red hotpants beneath!!

Then sit back and watch as our vaccuous and totally unbelievable band of dim-wits try to thwart the crumbling wreckage that is continually exploding around them. I mean really, what is Stella Stevens thinking that she can climb through vents and up ladders in silver stilettos?!!

Featuring the theme song "The Morning After" (mimed convincingly by Carol Lynley) and some marvellous miniature effects techniques.

My Favorite Disaster Movie!
I have written a review of The Poseidon Adventure before but that was before I got the DVD and in that review I basically was reviewing the movie so I thought I would write a new review. I received the DVD for Christmas and just watched it a little while ago and though I do think that they should release a new special Edition DVD with anamorphic widescreen and more extra features I'm pleased with this letterbox widescreen for now but will definitely think of getting a special Edition DVD if one is ever released. I enjoyed watching this movie and I think this is the best disaster movie I have ever seen and the whole cast is great. Gene Hackman (The French Connection), Ernest Borgnine (The Dirty Dozen), Shelley Winters (Night of the Hunter), Stella Stevens (Where Angels Go, Trouble Follows), Jack Albertson (Chico and the Man), Pamela Sue Martin (Dynasty), etc. If you are looking for great extra features on this DVD you will find that this is a bare bones DVD and the features are rather sparse and are only the trailer and a couple of short biographies and filmographies of only a couple of the actors from the cast and I hope that if a new DVD is released that it will have more special features that will include a biography and filmography of the whole cast and also cast interviews, deleted scenes and all of the usual extras. Well anyway until a better DVD comes along I'm actually content with this one.

SPECIAL EDITION!
Come on, everybody, just keep chanting it 'til we get it:
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!
SPECIAL EDITION!

ALL STAR DISASTER CLASSIC!
As far as disaster flicks go, it's hard to find one as effective and engrossing as THE POSEIDON ADVENTURE. Director Ronald Neame, and the astute guidance of Irwin Allen, forged this riveting tale of a world turned upside down. Remember, they didn't have CGI back then, but the set builders and other technical crews gave us a ship turned topsy turvy by a monstrous tidal wave. While all the performers did very well, my favorites were Stella Stevens as the foul-mouthed ex-hooker starting a new life with her cop husband; Ernest Borgnine as Rogo, the aforementioned cop who brought all his trademark bluster, and innocence, to the role; Roddy McDowall, the oh-so-polite steward who always called everybody sir or ma'am; and Jack Albertson, the devoted husband of the doomed Shelley Winters.
THE POSEIDON ADVENTURE will always be one of (if not the) best disaster films----it has all the necessary ingredients and yes, it even had THE MORNING AFTER.
A good film!!!! ... Read more

Reviews (13)

Holds your attention
I am glad I did not read the book first as this film has to tell the story minus many of the sub plots. However there are enough left to keep you well off balance. If it is your first time through the movie some of the plots are evasive.

It is definitely a Forsyth story with a good mixture of fact, myth, and plausibility. Well it could happen. The film is permeated with rising action; in several places you have no time to catch your breath. You will find your self kibitzing as "Don't make that phone call!"

The story was best told with black and white flashbacks to explain what happened in history to support today's (1974) action.

Reporter, Peter Miller comes in possession of a diary of a man that survived Riga concentration camp. Something he reads encourages him to seek SS Captain Eduard Roschmann, the commandant of the camp, who was presumed dead. In his endeavor he is thwarted at every turn by the authorities. Finally one posing as a doctor confirms Roshmann's existence by his very insistent that Roschmann is dead.

In the beginning we hear of President Kennedy's death which triggers the end of innocents. This combined with the overlapping plot of the Egyptians to build missiles, overlays Peter's personal pursuit with that of a Jewish organization attempting to infiltrate the Odessa (Organisation der ehemaligen SS-Angehörigen),an organization to reorganize and protect prominent people that where in the "National Socialist German Workers' Party".

Will Peter succeed with his mission (what ever it is) or will he be hindered by the Jewish organization? Will the organization succeed in thwarting the Egyptian missile plot or be hindered by Peter? Is SS Captain Roschmann still alive and if so what is he up to.

A great suspensful tale and excellent acting
This is a very good movie that will get the viewer on the edge of their seat as the tale of a man who is out to get justice against the ODESSA who are former SS soldiers hiding out after World War II. Jon Voigt portrays a German who infiltrates the highly secretive and guarded ODESSA with help from the Israeli's, who's ultimate goal is to capture a former high ranking SS officer portrayed by Maximillian Schell and get a full list of ODESSA members.

What makes this movie a cut above the average suspense style of movie is the superior acting by the lead characters. They are believeable and draw the viewer in for more. An excellent plot adapted from a novel by Frederick Forsythe has twists and turns at every corner, and finally the reason why Voigt is on the mission to either kill or kidnap Schell for the Israeli's is answered at the end.

This is highly recommended to all movie fans who enjoy an excellent suspensful plot and great acting from all the lead characters in this movie.

A well-crafted suspense thriller
The year is 1963...as the world is reeling from the assassination of President Kennedy, Egypt has missiles posed to annihilate Israel. The only thing preventing this is the lack of guidance technology to properly target the missiles, which Egypt is on the verge of obtaining with assistance from a group of Germans, once officers within the SS during World War II, now members of a group called Odessa, a clandestine organization designed to assist ex-German military personal gain new identities and lives, thereby avoiding capture, after the end of the war.

The Odessa File (1974) takes the popular Frederick Forsyth novel of the same name, which is supposedly based on actual facts and events, and presents it as a truly wonderful, tense thriller that I really enjoyed. Directed by accomplished cinematographer and director Ronald Neame, the film stars Jon Voight as freelance German journalist Peter Miller and Maximilian Schell as an ex-German officer named Eduard Roschmann, a man responsible for horrible atrocities, earning him the nickname 'The Butcher', during his tenure as head of a concentration camp which housed Jewish prisoners. After the passing of an elderly Jewish survivor of a WWII concentration camp, Miller comes into possession of a diary kept by the man, one which detailed, in particular, the various crimes against humanity by Roschmann, and also seemed to indicate that the war criminal may still be alive. As Miller begins delving into the story, uncovering tidbits of information, he meets resistance in the form of various individuals, many of which turn out to be members of the secret Odessa organization, and are now actively working against Miller for fears that he may uncover their secrets.

As Miller gets closer to uncovering the truths, the resistance against him grows, and takes the form of actual attempts on his life. Around this time he comes into contact with a Jewish group, working to locate the site within Germany that's developing the guidance system for the Egyptian rockets, and Miller agrees to work with them, changing his identity in order to become an ex-German officer and enable him access to the Odessa organization. In exchange for this, Miller will supply the group with information, while he himself tries to get closer to Roschmann. As Miller infiltrates the group, his cover is eventually blown, but not before he learns of the existence of the Odessa file, documents that detail many of the members within the group, including Roschmann. The goal now is survival, and given the circumstances, his chances seem pretty slim.

I have not actually read the book, but I really liked this film. Jon Voight is wonderful and believable, German accent and all, as a reporter, seemingly driven by a determination to expose a subversive hideousness, once prominent in his country, that has now gone underground, and threatens yet again a great many peoples of the world. Listed as a thriller/drama, The Odessa File certainly doesn't disappoint. The plot, while having many twists and turns, keeps focused, and rarely falters in its' progression. The development of the characters is carefully planned, but not so to bring attention to the fact, allowing for the viewer to become drawn into the film. The exposition at the beginning was a little awkward to me, but I didn't see any other way around it, so I accepted it. Schell provides an excellent performance as an ex-German officer hiding in broad daylight, one who will resort to any means necessary to protect his secrets, along with those of the Odessa group. One point I enjoyed was near the end, as a particular revelation was made. Prior to that point, I had started to question one of the main character's motivations, and, as if the film knew what I was thinking, it answered my question in a completely satisfying manner. The film runs just over two hours, and the first half may seem slow, but I felt as if this was deliberate, allowing time for the story to develop. During the second half the film picks up speed as the tension mounts, drawing on the momentum carefully constructed in the beginning, resulting in a wholly enjoyable conclusion. Given the nature of realizing novels to film, I suspect a number of plot elements were left out, but what was left seemed to be missing very little, at least anything that left a glaring hole which would pull the viewer out of the movie with its' obviousness, which indicates a skillful adaptation of original source material, done with care to preserve the elements which made the book so very popular and well received. All in all, this is a really thrilling outing, one that requires a little patience, but provides a rewarding experience overall.

Presented on this release are really good looking prints, both in wide screen and full screen formats (it's double-sided). The audio seems a bit soft, but there are English subtitles, so I missed nothing. As far as special features, there are some well put together production notes in a four page booklet within the DVD case, an original theatrical trailer, talent biographies for actors Voight, Schell, and director Neame, and trailers for Anaconda (1997) and Oliver Stone's U-Turn (1997), neither film as good as this one, but both certainly benefiting from Voight's appearance...and that's another thing...remember when Jon Voight appeared in good films? Along with this film, I also count Midnight Cowboy (1969), Catch-22 (1970), Deliverance (1972), and Runaway Train (1985) to be some real highlights of his career...and let's look at some of his more recent films...Most Wanted (1997), The Karate Dog (2004), and Baby Geniuses 2 (2004)...not exactly the caliber of films early in his career, but who knows what the future holds?

Cookieman108

Detective story dressed up as thriller
This was the second of the two Frederick Forsyth classic thrillers set in recent history. Forsyth had a wonderful talent for setting taut detective stories in what-if scenarios. Here he connects the secretive Odessa unit, dedicated to protecting former SS soldiers, with a plot to drop onto Israel WMDs loaded with bubonic plague, around 1963/64. Sadly little is made of this second element -- a pro-Israeli secret service unit features strongly in the film, but it seems to have no awareness of the threat that Kiefel Industries and Egpyt's Nasser pose to Israel.

This is a great detective story, but there is little action, no sex and almost no humour. Many would argue that one should not expect these elements in a plot set against the historical background of the Holocaust. Nearly all the Germans are heavy stereotypes -- humourless, cold, threatening, and occasionally explosive.

This DVD is definitely worth watching every 10 years or so, but I cannot say that it rewards more frequently repeated viewing.

The score, such as it is, reveals Andrew Lloyd Webber in his jazz-rock phase between 'Jesus Christ Superstar' and 'Variations'. Jon Voight does a great job as the sincere protagonist freelance journalist. Perhaps the big winner from this movie was Derek Jacobi, playing the troubled printer of false papers for the Odessa. He demonstrated that, with a couple of orange eyebrows stuck on, he could become a totally different personality -- ideal preparation for his masterful role in BBC's I CLAUDIUS a couple of years later.

not as good as the book but pretty decent
The book is better (it usually is) but the movie stays true to it and is a pretty decent one overall. Absolutely nothing fancy about it; no exotic sets and no dazzling special effects or stunts. This isn't an action movie, so there's not any real action sequences either. What it is is a suspense tale, a story of one man's quest for the truth. A nice blend of history and current events, which derives from the book the movie is based on; its author, Frederick Forsyth, is one of the best storytellers around. If you like the movie, you'll definitely enjoy his books. ... Read more

Reviews (12)

Fantastic Film, Exemplary DVD
Gulley Jimson is an unappreciated painter, loopily passionate about his art, and defiantly inured to the rigors of poverty & the fear of giving offense.

"The Horse's Mouth" wears its 45 years effortlessly. We are fortunate that Alec Guinness poured his unique talents into imagining the genius of this comic character, getting it down as a screenplay, and rendering so inspired a performance. The result defies imitation. Intelligent viewers will find the comedy as delightfully quick as it must have been when it was first shown.

The Criterion Collection DVD has preserved the Technicolor gorgeously. We are spared the customary tedium of "DVD filler" but given a wonderful short interview with director Ronald Neame.

Alec Guinness is fantastic!
Alec Guiness is fantastic as a sort of likeable but stubborn starving artist. It's a great character and probably my favorite performance from him(he's so much more abrasive than most of his other films). To be sought out at whatever cost(it seems to be not widely availabe right now)-find it, watch it! From the director of TUNES OF GLORY(also with Alec Gunness) and GAMBIT(soon to be remade by the Coen Brothers).

How To Out Bluff A Film Buff
If a film buff askes you to name a classic film you realy like you can do no worse than to answer "The Horse's Mouth". Try to suppress a smile as the buff looks at first puzzled and then cautiously admits that they have never heard of let alone seen that movie so can it be that good?

Well actually yes it is explain to them then casually mention that it is the only film that Alec Guinness ever wrote a screenplay for and that he gained an Academy Award nomination for his trouble and that in his "Parkinson" interview in 1977 he almost (but not quite) admitted that it was his favourite film in his long career.

Then you can go on to tell that it is one of the few films from the 1950's that shows London in colour and the music adapted from Sergei Prokofieff's "Lieutenant Kije" gives the film a touch of class and a unique sense of style not to be found in other films of the period.

You may then mention that the acting is superb; as well as Guinness' faultless study of an obsessive and slightly desturbed artist Gulley Jimson. Kay Walsh(Mrs. David Lean)adds humour and pathos as Miss Coker the comugenly woman who none the less has a soft spot for Jimson and music hall turn Renee Houston as Sara Munday (Gulley's ex-wife) adds a bit of bawdy fun to the proceedings. Young actor Mike Morgan gives an energetic perfomance all the more sad because he died before the film's release.

As the discussion continues you may point out that there are a few technical problems; the original three strip Technicolour camaras were so heavy, with their sound blimps, that the camera doesn't move that much during dialoge shots but that makes the actors move more especially when Gulley and Coker are escaping from the police . Also because the film was assembled onto one roll of negative (a common practice in British films until the 1960's )the dissolves are a bit klunky. But any discerning viewer will forgive such imperfections like the bullet holes in a Jimson painting.

You can then round off your discourse by stating that the end of the film, when Jimson sets sail in his wreck of a boat (a metaphor for his own body?), to find something new to paint is sublime.

Then if the film buff is still a bit bemused you can tell them that there is an excellent DVD of the film including an interview with director Ronald Neame and a D.A. Pennebacker Short that accompanied the film on it's original release from Criterion and that no serious DVD collection should be with out it and that comes, as they say, from the horse's mouth.

A Must see for will-be artists or art lovers in general.
I saw this movie with Spanish subtitles for the first time in 1964 as I turned ten years old. It was shown in a public channel in Puerto Rico. That was my first contact with Art in general.
As I watched the movie I realized that I identified strongly with the artist character played by Alec Guiness. Eveything seemed so cool about him.
I also loved the image of the sculptor wearing the long scarf and creating an abstract image as he worked inspired by a nude female model.
My whole life was tranformed at the end of this movie. I was only ten years old but I was decided to be myself like the artists in the movie. Sure enough I became an artist painter!
I travelled the world and lived in Paris for ten years.
After all those years I still trace the root of my artistic life to that wonderful and providential film.
It amazes me how powerful and influential
the art of Cinema could be.

"Burning bright" indeed
I recently purchased this film from Amazon as well as "The Alec Guinness Collection" which includes Kind Hearts and Coronets (1949) plus four others: The Man in the White Suit (1951), The Lavender Hill Mob (1951), The Captain's Paradise (1953), and The Ladykillers (1955). Frankly, I was amazed how well each of the six films has held up since I first saw it.

This film is based on a novel by Joyce Carey, The Horse's Mouth. Guinness wrote the screenplay which was nominated for an Academy Award. The director was Ronald Neame who also produced it. Special credit should also be given to the cinematographer, Arthur Ibbetson, who brilliantly captures the beauty of London while sustaining the viewer's focus on both the splendor and squalor of Gulley Jimson's passions. For me, Guinness' portrayal of that aging and impoverished but obsessed painter gives a whole new meaning to the word "eccentric." As in the novel, the spirit of William Blake is very evident. Art is Jimson's religion for which he is not only willing but eager to make whatever sacrifice may be necessary, his or another's. There are both lambs and tigers in Blake's world. As portrayed by Guinness, Jimson seems to combine their dominant characteristics in his own personality and behavior.

Members of the supporting cast are outstanding, notably Mike Morgan (Nosey) and Kay Walsh (Coker) who remain devoted to Jimson throughout his constant use and abuse of them. I hasten to add that, after recently watching this bittersweet film again, I found its several comic moments hilarious. The best of Guinness' comic films always include special "touches" which enrich their appeal. Whether it was his idea or Neame's (or theirs together), clever use is made of Sergei Prokofiev's "Lieutenant Kije" suite throughout the film. I am unable to explain why so few people who claim to be "film buffs" know about this classic...nor why even fewer people have seen it. ... Read more

Reviews (16)

Judy Garland's last, and perhaps best, film
Yes, you read that title right. I think "I Could Go On Singing" is greatly underrated. I actually consider it better than the excellent "A Star Is Born," which frankly -- George Cukor, forgive me -- needed some of the cuts it got.

In the semi-autobiographical role of Jenny Bowman, Garland gives an amazingly vulnerable and vital performance. She's in great vocal and physical form for the musical numbers, and although she doesn't look her best (you'd swear she was 10 years older than her actual age), she's fully engaged dramatically as well. Her hospital scene with Dirk Bogarde, where she talks about the life of a performer, has so much subtle shifting between emotions that it takes one's breath away. That alone should have earned her an Academy Award for this performance.

But the film offers even more than that. It's extremely well directed by Ronald Neame. The musical numbers boast very creative camerawork that considerably heightens the excitement -- "It Never Was You" is a case in point. They are the closest we have to seeing Judy Garland "in concert" in a movie (it can be argued that her TV series did the same on the smaller screen).

And the supporting performances are very fine. Bogarde, always an excellent actor, holds his own against the force of nature that is Garland by playing ying to her yang. The other actors are equally good. The script, too, is solid, and it refuses to take the easy "happy ending" route at the end, to its credit.

Unfortunately, MGM has released this movie with minimal care. The image transfer should have been much better (the reds, in particular, are highly unstable). As another reviewer mentioned, the DVD should have been anamorphic (enhanced for widescreen television). This film also deserved a commentary track and other extras, and there are none here. But, that said, this bare-bones DVD is inexpensive, so don't hesitate to buy it. Perhaps if MGM sees a high demand for this title, it will release a Special Edition in the future -- not likely, I know, but we can always hope.

Judy went out with a Bang!
This is probably in my top five favorite Judy movies! She is and always will be the greatest entertainer who ever lived. This film shows that Judy was an amazing actress! In the early MGM days, she made some fabulous films, but they never gave her the chance to play a dramatic role she deserved. I think another reason Judy was so amazing in this film is that she practically lived the life of Jenny Bowman. I also love the plot, Judy is kind of an Auntie Mame charecter, anyone who's seen the film knows what I'm talking about. It's a great movie for anyone who likes Judy, drama, or just a damned good film! What's also interesting is that in the hospitol scene (which I'm sure most of you know) Judy helped write a great deal of the dialogue. I'm glad they finally gave us a dvd of this film. I've been waiting forever! I actually paid $80 for a vhs copy of it a few years ago! But of course I still bought the dvd lol, after all, IT'S JUDY!

Judys last is her best
Judy is without a doubt at her best in her last movie role. She plays the title role with such pazazz that you would think its her life shes playing. A big plus is all the songs she sings are from one of her concerts. A must have for any Judy fan!!!!!!!

CLASSIC GARLAND TOUR-DE-FORCE!!! BRAVO JUDY!!!
By the time Judy Garland filmed her final classic "I Could Go On Singing", she knew how to act and pull out all the stops better than anyone and was in superb voice giving many of the most powerful film vocal performances ever in this sadly overlooked brilliant motion picture that has for years been one of my favorites!!! Judy looked sophiscated and every inch the superstar that she was and had a great supporting cast who were all perfectly cast including an engaging performance from Jack Klugman as her fiesty manager. Musical numbers filmed before a live audience added so much excitement to Judy's magnificent performances and the electricity of Judy's preparation moments before her entrance before the audience are incredible to experience!! Garland was the most soulful performer around and this performance should have been nominated for an Academy Award just as Miss Garland should have won Best Actress for the classic "A Star Is Born" but that is a totally different story that is one of the legendary "Oscar Blew Stories"! I was in High School when this classic came out and played at the Chinese Theatre on Hollywood Blvd. and people wildly applauded after the musical numbers and I have only witnessed this in the musical films of Judy, Barbra, and Liza!! The power of Judy's performances of the riviting "By Myself" which is a powerful vocal masterpiece and the stunning "Hello Bluebird" are among the all time top performances ever in motion picture history. The quite and haunting "It Never Was You" which has Judy just with a piano is a masterful live take that is Judy at her sublime best and again incredibly riviting on the great title song "I Could Go On Singing" and you just wish she would have! Dramatic scenes are intense and try not to be incredibly moved when you watch the brilliant interplay between Judy and Dirk during the amazing hospital scene!! Throughout Judy is at a dramatic peak playing out each scene with her "Son" and his "Dad" with remarkable depth and sensitivity. Thankfully this movie has been preserved first with its VHS release and now on DVD for anyone wanting to enjoy the best entertainer of the century giving one of the greatest performances of her incredible lifetime!! Bravo Judy!!! I am happy that this classic Legend happened in my lifetime...Enjoy!!!!!!

Garland Shines In Simple Story
Where does Jenny Bowman end and Judy Garland begin? That is the question one asks when viewing her last completed film, "I Could Go On Singing." It is a modest little film with a weak story about a singing mega-star who tries to reconnect with her child some fourteen years after giving him up to his English father.
Dirk Bogarde gives a solid and thankless performance as Jenny's lost love and father of her son. He seems to be present only to give Miss Garland something to rail against. Gregory Phillips plays the young son with charm and genuine gentleness. Jack Klugmann is the irascible manager to Jenny during her tour. The ever wise and understanding Aline MacMahon presents the ever wise and understanding Ida, assistant and soggy shoulder to Jenny.
What holds this film together is the incomparable talent and presence of Judy Garland. She gives it her all and shows us something of what the mythmakers might call "a glimpse of the really Judy Garland" in several scenes. In particular the scene in the hospital room with Dirk Bogarde seems to slide from fiction to a revelation by Miss Garland of what it cost her each time she walks out on a stage to sing. There is no doubt that we get to see Miss Garland at the peak of her performing style both as an actress and a singer. For this reason she raises the film to the level of beyond what could be expected of a lesser talent. The concert segments of the film are particular highlight and have a wonderful documentary feel to them. We are given a view of her transformation just before going on stage at which point Miss Garland sings at the top of her form and is both stunningly powerful and touchingly vulnerable. The highlights are "So Long Bluebird" and "By My Self".
The DVD is picture is fine despite a few odd lights that pop up from time to time. The monophonic sound is clear and clean giving a wonderful fullness to the songs. And the DVD can be viewed in either widescreen or full screen.
This film is well worth adding to your library and is a fitting end to Judy Garland's fine film career. ... Read more

Amazon.com

Judicial debate gets a lively cinematic treatment in First Monday inOctober, starring the odd couple pairing of Walter Matthau and JillClayburgh. When a justice of the Supreme Court dies, his appointedreplacement is a witty but deeply conservative woman, Ruth Loomis(Clayburgh, An Unmarried Woman, Silver Streak). Loomisimmediately raises the hackles of Dan Snow (Matthau, The Bad NewsBears, California Suite), a fervent liberal in the minority onthe bench. For a while, First Monday in October succeeds in makingLoomis and Snow's debates about pornography and censorship lucid andengaging, aided greatly bythe actors' obvious intelligence and grasp ofthe issues. But the movie gets sidetracked by an aimless corporateconspiracy plot and what can only be described as an intellectual romancebetween the two leads, which never quite catches fire. Still, aninteresting effort. --Bret Fetzer ... Read more

Reviews (6)

A Treat for Smart People
It's always a pleasure to see a movie that presents both sides of a complex issue (in this case, liberals vs. conservatives) in an even-handed and enjoyable way. The characterization of First Monday is superb, particularly the antagonism between Matthau and Clayburgh. I chuckled numerous times over the dialog. Example: after hearing that the chief justice had flowers sent to the new female Supreme Court justice, Matthau muttered, "How come you don't send ME flowers anymore, CJ"? I hope this movie is released sometime in DVD, in letterbox, along with commentary.

Among My Top 5
'"Bet you anything" that Sandra D. Oconner thoroughly appreciated this "right on the mark" movie.

Ho Hum
From my seat as an amateur movie reviewer, First Monday In October ranks as a dissappointment. I always enjoy Walter Matheau as an actor. He has a special charm to his acting style. However, his humor is pretty stifled here. Also the he vs she plot just seems a bit too tiresome here. Matheau argues for the sake of arguing and that is never too pleasant.

Jill Clayburgh is mis-cast as the first woman Supreme Court Justice. She is way too young for such a role and that hampers the film from the get go.

The pornographic subplot also is addressed in such a boring way. The general plot does not excite me in anyway. I tried viewing this a second time to give it the benefit of the doubt. However, the arguing between Matheau and Clayburgh became more annoying than funny.

Walter Matheau's presence is probably the only reason this movie even earns two stars. His charm shines thru every now and then. Otherwise this movie is a flop.

A Treat for Smart People
It's always a pleasure to see a movie that presents both sides of a complex issue (in this case, liberals vs. conservatives) in an even-handed and enjoyable way. The characterization of First Monday is superb, particularly the antagonism between Matthau and Clayburgh. I chuckled numerous times over the dialog. Example: after hearing that the chief justice had flowers sent to the new female Supreme Court justice, Matthau muttered, "How come you don't send ME flowers anymore, CJ"? I hope this movie is released sometime in DVD, in letterbox, along with commentary.

The Supreme Court is nothing like this
This is the only movie I know whose subject is the Supreme Court. Maybe after this one nobody wanted to make another one. Silly plot, ridiculous dialog, cliched he vs. she storyline. I think they wanted this to resemble one of the old Tracy/Hepburn films but this is far from that league. It also doesn't in the slightest resemble the actual Supreme Court. Can anyone imagine a justice as young as Jill Clayburgh is in this movie? ... Read more

Reviews (249)

a delight for any season
truly a wonderful telling of the charles dickens classic. albert finney is perfect as old ebenezer scrooge, and sir alec guiness (obi wan kenobi of "star wars" fame) gives a "spirited" performance as the ghost of jacob marley. the songs are wonderful, too, making this an all-around magical holiday treat.

however, i do feel that the G rating is a little misleading. even though this is a very enjoyable film for the entire family, i feel that parents should be warned that there are a few scenes that may frighten small children. for example, as scrooge is walking up the stairway to his bedroom a ghostly carriage comes flying through the air at him. the whole scene with the spirit of jacob and scrooge is chilling, especially when jacob takes scrooge for a flight through a ghost-filled night sky. another scene that may frighten members of the younger audience is when the ghost of christmas future (a grim reaper-type character)shows scrooge his own gravestone and then pushes him down a large hole that leads to hell. then there is the actual scene set in hell (which was edited out for the TV version).

don't get me wrong. over all this a wholesome and very enjoyable film and one that should not be missed. i think that parents and children alike will find it to be high quality family entertainment. in my opinion it is by far one of the best screen adaptions of charles dickins' "a christmas carol", surpassed only by disney's "mickey's christmas carol".

Thank You Very Much...This Treasure is Now On DVD
This version of A Christmas Carol has always been my favorite. Finney is superb as Scrooge. I first saw this as an 8 year old in the movies (1970). As I grew up I looked forward to TV viewings...always to be disappointed in how it was chopped up for time and content. The VHS and DVD versions restore the 'Scrooge in hell' sequence and shot of the Grim Reaper as a skeleton (this scene can be scary for youngsters...I remember I was). These scenes are always missing on commercially televised versions. The music is fine: don't listen to the Amazon reviewer. I particularly like 'December the 25th' (with a jovial Fezziwig played by Laurence Naismith), 'I Hate People' and of course 'Thank You Very Much'. Finney's performance as an old man is truly convincing...and poignant. I still get choked up at the end when he says he's having Christmas dinner with his family. For me, no other version of A Christmas Carol comes close. This film is highly under-rated. It deserved a Special Edition but I'm not complaining; at least we get a 16x9 enhanced presentation.

musical Scrooge - Finney rules
Scrooge is a wonderful musical version of Dicken's "A Christmas Carol." It is my favorite version, with the 1951 Alistair Sim (black and white, non-musical) version a close second. I saw this in the theater, and loved it so much I bought a $90 rental market-priced VHS copy as soon as it was available. The DVD is far superior to the VHS tape, particularly since the letterbox lets one see the whole picture instead of the panned and cropped stuff on tape.

Albert Finney is, of course, fantastic as Scrooge, and the supporting cast is excellent as well. My favorite has to be Kenneth More as the Ghost of Christmas Present. He is one of my favorite British actors anyway, and he sets the high mark for that role, IMHO.

The scene in the future with the song "Thank You Very Much" and the Hell scene are on the DVD in their full length (or nearly so). They are usually edited out partially or completely when the movie is aired on TV, because apparently they offend some people. This ruins the film and essentially makes nonsense of the scene back in his room with the sheet knottted around his neck. While not identical to the book, these scenes are well integrated into the movement of the plot, and the reprise of the song after Scrooge's transformation underscores that change beautifully. The blending of this song being sung by the "common folk" of the town with the choir from church singing a more religious-sounding tune could be seen as a symbolic blending of Christian and Pagan Winter holiday celebrations, if one were so inclined as to look for that kind of symbolism. While the film is spiritually oriented, there is not a Christian focus. It is almost a secular spirituality, if there is such a thing. It is well to remember that Christmas is actually a Pagan holiday with a thin veneer of Christianity on top.

The dialog is witty and well done, even if it is not exactly verbatim from Dicken's text. The staging, scenery and production values all show up very well in the DVD transfer. I found myself pointing out all sorts of detail in the sets that I hadn't seen in the other versions, to the point of annoying others watching the film with me.

The story is a classic one of redemption, and this version is energetic, uplifting, and fun. It is one of those films that leaves you singing the songs and dancing around the dinner table. (And I don't even like musicals! My attitude toward most musicals is summed up beautifully by MAD magazine's spoof of Sound of Music; which opens with the Julie Andrews character singing "How come I'm alone, and there's so much music?") (And yes, I do realize I just revealed how old I am.) The only exception to liking the music is that I always fast forward through the Tiny Tim song. (Sorry, dude. Just not my cup of tea.)

This is a great Christmas movie, of course. I use it and a few others, (It's a Wonderful Life, The Bishop's Wife - Cary Grant version, White Christmas, Miracle on 34th Street, etc.) to build up a bit of extra holiday cheer. I heartily recommend this movie to those who like good musicals, uplifting movies, and well produced films in general. As far as which film version is better, most of the major ones, including "Scrooged" with Bill Murray, have something interesting to offer. I enjoy having the variety of different versions to explore the different ways the story can be told, and see the different intrepretations of the characters.

The most sympathetic Scrooge
This musical adaptation of Dicken's classic is not a musical at all. The songs are actually good and fit into the story nicely. Albert Finney is the most sympathetic Scrooge yet.

[DW]

A Favorite Christmas Movie
This Movie is a true family favorite.My entire family really enjoys the great cast(btw,Albert Finney is a GREAT Scrooge!),the comedy,and the incredible musical score.It is one of our family's favorite Christmas movies along with I'ts a Wonderful Life.This should definitly be a Favorite of your family's too!Check it out!!!!!!!! ... Read more

Amazon.com

Sean Connery leads a team of asteroid-battling astronomers in Meteor, one of the last and most unusual examples of the disaster movie craze of the 1970s. In this one, a killer asteroid named Orpheus threatens to collide with the Earth, and Connery must come up with a plan to stop it. Cold war politics date the picture a bit, but they also add some weight to the impending doom facing humanity. Like any good disaster flick, it's populated by an all-star cast, including Karl Malden, Martin Landau, Natalie Wood, Richard Dysart, Henry Fonda, and Trevor Howard.Brian Keith plays Connery's opposite number in the U.S.S.R. While the pacing and special effects are weak compared to similar celestial menaces depicted in Armageddon and Deep Impact, Meteor displays all the benefits of its more powerful cast… not to mention Hank Fonda as President. --Mark Savary ... Read more

Reviews (14)

The first meteor-hits-earth movie - solid performances.
This is the first movie (1979) to deal with the subject of a meteor hitting the earth and what the scenerio or consequences might be like. For its day, a very well done film. The acting is very good with performances by many well known experienced actors and actresses. By today's standards the special effects seem a bit like spliced in stock footage, but is convincing enough not to distract from the performances of the stars. The story is believable and engaging, as well as the realism the actors and actresses portray. The art direction is superb, as you feel you are really at the places the scenes depict; subway tunnels, missle control centers, etc. Though not a high-end "Sci-Fi Special Effects Thriller" like we may see today (sometimes devoid of believable or understandable plot and full of bad acting!), Meteor is very entertaining and generally a good watch; an example of solid filmaking where all the parts come together harmoniously...and who knows, it may have stayed within budget!

Superb forerunner of recent hits
When you see this, you may learn where some of the inspirations for ARMAGEDDON and DEEP IMPACT came from. Sean Connery gives a strong performance as a scientist trying to convince the military and government that a giant meteor five miles wide(apparently a rock from the producer's back garden was used and it shows!) is heading for Earth, preceeded by deadly fragments. After the talk comes some action and effects which were good for the time, and sometimes still look great even now. An avalanche in Switzerland, a tidal wave flooding Hong Kong, and as a preview of ARMAGEDDON, a huge fragment demolishes New York(although you can tell it's stock film in parts, even though it's kept to a minimum). And the space scenes towards the end of the movie are great! The characters are much more well-created and acted than in many films of this genre from the 1970s, particularly Connery(he makes anything worth watching when he's in it, with the obvious exceptions of ZARDOZ and HIGHLANDER 2: THE QUICKENING), Henry Fonda(as the President), Brian Keith not speaking a word of English except when he mocks the Brooklyn Dodgers(!), Natalie Wood as his interpreter and MISSION IMPOSSIBLE's Martin Landau as a caricature hot-headed Air Force general! Altogether, if you enjoyed DEEP IMPACT and ARMAGEDDON, don't miss METEOR. You'll be just as entertained!

How The Heck?
In 1979, I would probably guess that big name studios like MGM would have better morals than to put out this pathetic excuse of a movie. Boring, unintriging, and badly acted, this movie will have you on the edge of your seat, to run into the next room covering your eyes at it's badness.

I don't mean to diss, but man. This movie is awful. Why would I recommend this? How can I? I'll just simply put it like this. I'm not.

Cooperating to Save the World
This 1979 movie presents a real threat from Outer Space. An asteroid is hit by a comet and explodes into a million pieces. One piece destroys the observing space shuttle; another is heading for earth - a big one. Orpheus is five miles wide! Even if it only hit the Atlantic, the result would be a cataclysm creating another Ice Age and the possible extinction of most life. The problem is that destroying the asteroid would reveal the presence of nuclear rockets in space, a violation of numerous treaties!

The President addresses the nation to tell of this emergency, and Project Hercules as the solution. Cooperation with the Soviet Union is needed to destroy this meteor. But it is hard to change old ways. The film shows a meteor striking in Siberia, and creating earthquake-like tremors. (Something like this did happen circa 1911.) The first meteors enter the atmosphere and burn up harmlessly. But a bigger chunk hits a snow mountain, causing an avalanche that destroys a small village. One hits the Pacific and creates a tidal wave that wipes out Taiwan. The threat is real and imminent. There is one political problem: because of the difference in orbits, the Soviet rockets would have to be fired first. Trust is needed.

But a new threat arises: a "splinter" is headed for the Eastern Seaboard of the US. It strikes Manhattan, damaging the Twin Towers and other buildings. The command center is damaged, but most survive to escape by a subway tunnel. Then the river starts to break through and threaten the survivors; they muddle through to hear that Orpheus was destroyed.

This story recalls "Ragnarok" by Ignatius Donnelly which analyzed the common legends of mankind and explained them as the remembrance of a comet hitting the earth and causing great climatic changes. Read this 1883 international best seller for its pioneering story.

GREAT MOVIE!
I love this movie! It is a great "feel good" movie. The Russians and Americans working together to save the world. What could be a better movie concept in the Cold War era in which this movie was made. Two great ideas for an exciting movie are brought together beautifully: a meteor five miles wide striking the Earth and a satellite orbiting the Earth armed with the devestating destructive power of nuclear missles now forced to be used to save the planet. If you want great special effects, forget it. This move was made in 1979 when special effects were still in their infancy. But, I still think the special effects are more than adequate and quite believeable. The makers of Meteor did a fine job. The story is believeable and the director lets you feel the emotions of the moment through the characters involved using the little side stories without making the movie to complex. In short, Meteor is one of my favorite movies and one I enjoy watching again and again. If you want to see a lousy movie, try one of the new Star Wars films. ... Read more

Reviews (5)

A Genuinely Fun Movie
Gambit shows us two superbly developing stars, Shirley MacLaine and Michael Caine -- and in restrospect, you realize from watching this fine movie that they had what it takes, even back in the 1960s. Shirley was just superb as a street-wise nightclub dancer, and Michael was perfect as the crook with grand plans who never could seem to make things work just right. This is a funny film. Your kids will like it, if you can convince them to actually sit and watch it with you, and follow the plot. Gambit was a good precursor to Caine's best finagling movie, Dirty Rotten Scoundrels... you can see where he got practice appearing frustrated, the way his plans with Shirley kept going off track.
Enjoy.

First a classic heist film, then a clever romantic comedy.
Gambit is a marvelous film full of style as well as substance. Much as I'd like to discuss the plot, I dare not because much of the film's special surprises stem directly from telling the plot. So just trust me when I say grab it- if for no other reason the exotic locales, Shirley MacLaine's beauty, charm, and smarts (not to mention the stunning wardrobe by costumer Jean Louis), and the fun interplay between MacLaine, relative newcomer Michael Caine, and the urbane and charming Herbert Lom. A perfect film for the Sunday afternoon you're not going anywhere.

Another great heist movie!
Very enjoyable caper comedy with Shirley Maclaine and Michael Caine(plus Herbert Lom from the Pink Panther films). Has a neat gimmick to it(as the slogan goes-"don't tell the beginning"), but is really just and overlooked little gem of a comedy-check it out!!

Gambit Gambit Gambit
This is an excellent comedy adventure film full of action and suspense. It's one of those heist movies that used to be popular. Ronald Neame tightly directed this film for full dramatic-comic impact. It contains an admirable score by Maurice Jarre. Not bad.

Very Entertaining
An extremely amusing film.The first half is quite serious but the second half sweeps you off on a rollercoaster ride of humour,romance and sheer unpredictablity!My favourite line in the movie is when the millionaire asks what is said about amber Michael Caine doesn`t have a clue and tries to bluster his way out when Shirley Maclaine smiles sweetly and remarks coolly,"amber is the soul of the tiger trapped in stone" She is just lovely in it ... Read more