Reviews (48)

Kate Beckinsale shines in this delightful comedy
Cold Comfort Farm is a wonderful mixture of offbeat characters and strange situations that make for some of the grandest comedy on screen in some time. If you think you won't like it because it's an English period comedy abandon that notion and dive in. This movie is one you will enjoy. The actors are perfect for bringing this off and it is a pleasure just to watch them tangle with this material. Ian McKellen and Rufus Sewell are particularly quirky as is Maria Miles as Elphine, but Sheila Burrel as Aunt Ada gets the best line: "I saw something nasty in the woodshed!" But the key character is Flora, played to perfection by the delectable Kate Beckinsale. It is Flora's good sense and practicality that master the situation and win the day. She sets the world right with her refusal to allow it to be otherwise. This mix of wacky characters needs the grounding of Flora to allow us a point of view and Kate Beckinsale establishes that perfectly. Ms. Beckinsale has done the kind of exceptional work here that we've come to expect from her. Get this video and get ready to laugh long and hard.

Quirky British humor, Emma meets hillbillies...
I watched this movie on the recommendation of a couple of frequent movie viewers. This film was fun to watch on a rainy Sunday morning. It was not profound, and while most of the characters have a happy resolution of their problems, the film will not appeal to all. If you are a Jane Austen fan and love Emma in particular, the film will appeal to you for three reasons - firstly, the heroine Flora Poste slings off Jane Austen quotes and references (beginning with her intention to write her "Persuasion" when she is 53); secondly, because Flora acts much like Emma in trying to improve and manage the lives of others (without being blind to her own true love); and lastly, because the heroine Flora is played by Kate Beckinsale (who will go to to play Emma in the Andrew Davis/A&E version, called Emma 3). There are also a number of other stellar actors, most notably Sir Ian McKellen (playing a hell-raising preacher) and Eileen Atkins (playing his sad-sack cousin/wife).

I have not read the book nor seen the 1971 version, and therefore can judge the film only by its own merits. While the film left me with a smile on my face, it also left me a little puzzled. What was Judith Starkadder's real problem, why does she feel the family owes something to Robert Poste's child, and what did Aunt Ada Doom see in the woodshed?

A brief plot summary: London society girl Flora Poste discovers that she has only 100 pounds a year, which will not keep her in stockings. She decides to write to her many relatives to see if one of them will take her in (this is the 1930s, I believe). Flora decides to go to the most interesting set of relatives - the Starkadder cousins on Cold Comfort Farm. The family are portrayed as hillbillies in the worst sense, completely wedded to tradition, dirty and ignorant, unwilling to reform (such as using a dishmop instead of twigs). [Warning: this depiction of British farmers of the 1930s may be offensive to some].
Flora arrives at Cold Comfort Farm to discover that the farm and the family are apparently cursed. The family seems to feel that it owes something to her as Robert Poste's child (this is never explained in the film) but her cousins deeply resent her. The cousins are Amos and Judith Starkadder (cousins who married), their sons Reuben and Seth (the latter a lusty young man who loves the talkies), and several others. Gradually, Flora changes the way in which her Starkadder cousins live (by cleaning up the house, beginning with her bedroom curtains), persuades nearly each member of the family to make some critical changes, and also brings about three marriages in the future. All this, while also dangling along a London-based "embryo parson" with his own airplane and a locally-based "writer" who fancies himself in love with her.

Quick summary: The film was entertaining as long as it is not taken seriously. There was an element of snobbery in the relations between the city people and the country people that I did not quite like (even if it is true of this period and of today). The depiction of the gulf between the "county" families and the farmers is hinted at, but made light of. However, there is enough interest sustained in the movie, aided with strong acting from Kate Beckinsale (Flora Poste), Sir Ian McKellan (Amos Starkadder), Eileen Atkins (Judith Starkadder), and Rufus Sewell (Seth Starkadder) that carries the viewer along. Recommended for lovers of Jane Austen, or for lovers of eccentric British films. Some crudity but not as much as in WITHNAIL AND I or the BLACKADDER series.

Farm house with a view....
Kate Beckensale might be best remembered for her role in PEARL HARBOR, but I first became aware of her in EMMA. I am very happy to see that CCF has finally been 'uncoupled' from the porm film one used to find for sale with it. I have been replacing my lazer disks one by one as films become available on DVD and had waited for a long while for this DVD.

The film is a gem. Joanna Lumley makes a rather brief appearance although she is pictured on the DVD cover. I suppose Universal Studios thought we Americans might recognize Lumley before Eileen Atkins, who also plays in this film although she was recently seen in COLD MOUNTAIN as the 'old goat woman' or Ian McKellen who played Gandalf in the Ring triogy, or Stephen Fry who played Jeeves in the JEEVES AND WOSTER series.

CCF is funny and sentimental in a British sort of manner. Who else but the British could envision the salvation of one of their own farm oafs as an offer from Hollywood to play in what undoubtedly will be romantic film productions. (Hey, we aren't all boobs who shoot from the lip!!). And, Joanna Lumley is superb as a slightly weird single girl who spends her down time fondling mannequins.

In spite of the tongue and cheek sexual innuendo, I think this film is suitable for family watching. The sly sexy humor is probably over the heads of most American kids. But what do I know, I don't watch American tv, I watch BBC America.

An affectionate, funny film
I saw this film soon after its 1995 release and thought it wonderful, all the more so because Kate Beckinsale's interpretation of Flora Poste reminded me very much of my oldest daughter. So I was pleased to see that it has finally come out on DVD; I bought a copy, watched it again, and still think it wonderful.

You should be warned that you may have a hard time understanding what some of the inhabitants of Cold Comfort Farm are saying. However, that's intentional and straight from the novel, where the accents and strange word usages often leave Flora puzzled. Here's an exchange (from the novel) that I believe is reproduced pretty much verbatim in the movie, when Reuben comes in after working out in the fields not long after Flora has started living at Cold Comfort Farm:

========
...After another minute Reuben brought forth the following sentence:

'I ha' scranleted two hundred furrows come five o'clock down i' the bute.'

It was a difficult remark, Flora felt, to which to reply. Was it a complaint? If so, one might say, 'My dear, how too sickening for you!' But then, it might be a boast, in which case the correct reply would be, 'Attaboy!' or more simply, 'Come, that's capital.' Weakly she fell back on the comparativel safe remark:

'Did you?' in a bright interested voice.
========

Speaking of which, the original novel (written in 1932 by Stella Gibbons) is just as wonderful, and the film is a remarkably faithful adaptation, if (understandably) a bit trimmed and modified. I read the book for the first time after watching the DVD release of the movie and was delighted to see that most of the dialog comes straight from the book, including my favorite line (the interchange between Neck, the movie producer, and Aunt Ada), if a bit punched up.

Finally, for the reviewers who are frustrated that we never find out what Ada saw in the woodshed, what wrongs were done to Robert Poste by Amos Starkadder, and what Flora Poste's rights were...well, the novel leaves us pretty much in the dark as well. In the book, Aunt Ada _does_ answer the second question for Flora--though we as readers don't get to hear the answer--and Ada is interrupted before she can answer Flora's intriguing follow up question, "And did the goat die?"

The movie and the book are both delightful; enjoy. ..bruce..

"While I'm here, might I make a few changes?"
Cold Comfort Farm is a jolly film that bounces along as merrily as its theme tune. It's a rollicking good comedy with a laugh-out-loud collection of Dickensian characters (the doom-stricken Starkadders, the rustic Adam Lambsbreath, and the upper crust Hawk-Monitors). Certainly the film is very over-the-top and silly, but it's light-hearted fun - a welcome alternative to the glut of psychological, heart-wrenching, blood-and-guts fare on the market.

The Starkadders live on the bleak acres of Cold Comfort Farm, where "the cows are barren and the sows are farren". Into this gloomy and eccentric setting comes young, 1930s-modern Flora Poste, who sets to winning the hearts and minds of Cold Comfort's inhabitants, and dragging the Starkadders into the twentieth century. Along the way she manages to rearrange and enliven her own life too.

Kate Beckinsale (prior to her arrival on the scene of big-budget American flicks) is a likeable and chirpy young lady with a talent for organisation. In the supporting roles, Joanna Lumley is delightfully sarcastic as Flora's incongruously named aunt, Mary Smiling, who has a rather unusual hobby. And Ian McKellen is a real scene-stealer as the fire-and-brimstone preacher of the Church of the Quivering Brethren.

The plot revolves around Great Aunt Ada Doom and the 'narsty' thing she saw in the woodshed nigh on 70 years ago. There is also the mysterious wrong perpetrated on Flora's father by the Starkadders sometime in the dim and misty past. So it is a tad frustrating that the audience is never let in on either of these secrets! But these are minor quibbles in what is otherwise an excellent comedic romp, with some interesting and atmospheric cinematography. A very good (and very British) laugh. ... Read more

Reviews (36)

Perhaps the best thriller ever made?
Suspenseful, smart, and jolting, the effects of Marathon Man still resonate after more than twenty years. Dustin Hoffman is spectacular as a graduate student running from people that think he knows more than he does. Everything about it is classic. Among the memorable scenes is the "Zell, Zell, Zell" scene in which an ex-concentration camp prisoner confronts the Nazi diamond theif in a crowded street. The torture scene with Dustin Hoffman is also very memorable. The car and running chases will quicken your heart beat. The performances are amazing. Laurence Olivier brilliantly plays the role of a Nazi so greedy and diabolical, that he would eat diamonds rather than give them up to their rightful owners. William Devane is equally as awesome as an agent who isn't what he appears to be. This movie will leave you feeling breathless, and somewhat disturbed. If you want to watch an intelligent,well-directed, well-acted, and well-thought-out movie, GET THIS MOVIE!

A '70s Classic - on DVD
John Schlesinger's Marathon Man is a well-made, cryptic thriller from the '70s, rekindling the old murder / intrigue / government paranoia style of the '60s (see also Charade and The Manchurian Candidate). Dustin Hoffman plays an introverted graduate student from Columbia Univ. who is thrust into a plot involving an old Nazi escapee (Lawrence Olivier) and diamond smuggling. Kind of a cryptic synopsis, but part of the allure of this film is the methodical way in which the enigmatic plot threads fit together. Oh, and you may want to reschedule that dentist appointment...

Regarding the DVD transfer - keep in mind that despite the fact that it has a new Dolby Digital 5.1 mix, the original sound was recorded in mono, so much of the sound is coming through the center channel. The score by Michael Small well-utilizes the remaining channels, but don't expect to be blown away. At least the dialogue is more understandable than the VHS version.
Besides the fact that Marathon Man is a great film, there are 2 good reasons to buy this DVD. First, there are 2 documentaries plus some really neat rehearsal footage. Second, the picture quality is great, and the film preserves its original 1.85:1 aspect ratio.

THEY DO NOT MAKE MOVIES THIS GOOD ANY MORE
The conspiracy movies included two fictional stories, "Marathon Man" and "The Parallax View", as well as the Watergate movie, "All the President's Men" (which Robert Redford produced after giving long consideration to a movie about how Kennedy stole the 1960 election...not!).
"Marathon Man" was directed by John Schlesinger, written by the great William Goldman (based on his novel), and produced by Bob Evans. Goldman, along with Towne, is considered one of the best screenwriters of all time. "Butch Cassidy and the Sundance Kid" (1968) is an original screenplay that gets as much study as "Chinatown", and his book "Adventures in the Screen Trade" is a must-read for industry insiders. "Marathon Man" stars Dustin Hoffman as a Columbia doctoral student, obsessed with his thesis about his father, who committed suicide when he was "victimized" by McCarthyism. His brother is Roy Scheider, a super-secret agent for an organization that handles, apparently, what the FBI cannot and the CIA will not. His pal is William DeVane, and he is in league with the devil, a former Nazi dentist named Christian Zsell (played to perfection by Laurence Olivier), based on Joseph Mengele. Zsell is also known as the "White Angel". The plot revolves around millions of dollars worth of diamonds, smuggled to the U.S. by Zsell with DeVane's (and Sheider's) help. Hoffman accidentally gets involved and foils the plot. It is brilliant stuff in every way, shape and form, but coming on the heels of the Church hearings, the film plays on the public's belief that the CIA is corrupt, bent more on money and power than protecting the interests of freedom. The anti-hero is Hoffman. The backstory of his persecuted Jewish father strengthens the myth that fine liberals of conscience were the victims of the McCarthy witch-hunt. Like all films depicting McCarthyism, the victim is fictional and there are no scenes based on real events. This is because actual scenes of actual "victims," if they hold to the truth, will show actual Communists being caught in lies by public officials using perfectly normally and legal techniques of American justice.

(...)

Suspense!
Dustin Hoffman has the incredible ability to make suspense come alive, like no other actor. This is one of his best roles.

Bravo!!

A Great American Thriller
Dustin Hoffman is Thomas Levy, history graduate student at Columbia and obsessive runner. He's obsessed too with the death of his father, another historian, who was driven to suicide by the McCarthy witch-hunts, a preoccupation distrusted both by his pompous and disagreeable professor (Fritz Weaver) and by his brother Henry (Roy Scheider). Henry is believed by Thomas to be a bigshot executive for an oil company but in fact he is an undercover agent working for some obscure special operations outfit. In this capacity he is embroiled with the plans of evil former Nazi torturer Dr. Christian Szell (Olivier) to come to America to pick up a collection of diamonds extorted from Jews during the war, now in a New York bank. Things seem to be turning nasty. People are trying to kill Henry. And indeed the bad guys seem to be taking a bit of an interest in Thomas too as well as in his new Swiss (or is she?) girlfriend Elsa (Marthe Keller).

This great thriller is one of the highpoints of 1970 American cinema. Everyone involved is at the height of their powers. For both Hoffman and writer William Goldman it was project that followed "All the President's Men". For Scheider it followed fairly hot on the heels of "Jaws". And it's one of the high points in the career of distinguished British director John Schlesinger who died just a few months back. Schlesinger's direction is brilliant. The set pieces are extraordinarily well put together starting right at the front in a brilliant scene where an initially innocuous road rage incident turns into a catastrophic road accident. And the atmosphere of New York's streets is superbly captured throughout, in the scenes that track Hoffman's running forays, in the famous scene where former inmates of Auschwitz recognize Szell in the street; and throughout; indeed it counts as one of the great New York movies.

The acting is splendid too. Hoffman and Scheider on excellent form. Keller and the plot line involving her work less well and that is perhaps the movie's weakest aspect. But it's more than compensated by Olivier whose Dr Szell, a.k.a. "Der Weisse Engel", is one of the greatest and most frightening of screen baddies and makes Hannibal Lecter look like a pussycat. (A story I remember hearing about the movie that may very well be apocryphal but is still fun. Apparently when Hoffman was required to enter a room after supposedly having been out running, he would go running for real first to create the requisite exhausted, out of breath effect. Olivier, on having this explained to him, is said to have inquired: "Why not try ACTING, dear boy?"). And of course he gets centre-stage in one of the scariest scenes ever. "Jaws" played on our fears of large unseen marine predators; "Nightmare on Elm Street" on our fear of nightmares; "Arachnophobia" on our fear of spiders. But Goldman and Schlesinger are cleverer than any of these and tap into our deepest and most primal fear of all, fear of visiting the dentist, with unforgettable effect. ... Read more

Amazon.com

Sally Field stars in this well-crafted revenge thriller. Eye for anEye follows Karen McCann (Field) after her teenage daughter is raped and murdered. At first, she sinks into depression and paranoia; but, when the killer (Kiefer Sutherland) is caught, then released on a technicality, she becomes obsessed and begins to track him in his neighborhood. Her single-mindedness begins to distance her from her husband (Ed Harris). Finally, when the killer threatens her younger daughter, she decides to take matters into her own hands. Eye for an Eye is not exactly a balanced examination of justice and revenge--Sutherland's killer is a relentless monster--but it does approach the conflict from many points of view, articulated by a superb supporting cast, including Joe Mantegna, Beverly D'Angelo, Charlayne Woodard, Philip Baker Hall, Keith David, and Donal Logue. It's directed with professional skill by John Schlesinger (Midnight Cowboy, Marathon Man). --Bret Fetzer ... Read more

Reviews (20)

TURN ABOUT IS FAIR PLAY
Justice? Revenge? It's really not that big an issue. Thanks to a gruesomely powerful turn by Kiefer Sutherland as a killer/rapist, the audience cannot help but stand with Sally Field in her quest for justice. Whether this justice comes through our legal system (which is never truly just), or whether it comes at her hands, Kiefer is definitely not an addition to the social world. Director John Schlesinger reinforces this sociopathic person by showing Kiefer pour hot coffee on a stray dog; drive like he owned the road; sneers at Sally and Ed in the courtroom, knowing he will get off.
Sally Field is one of those actresses many people find obnoxious, mainly because of her infamous "You really like me" speech at the Oscars. One cannot deny however her ferocity and dedication in this role. Sutherland of course is perfect, and there's some good support from Joe Mantegna and Beverly D'Angelo. Ed Harris' performance isn't as emotional as I would have liked, but one can understand his understated delivery.
The movie is another DEATH WISH, but it packs a powerful wallop and the rape scenes are truly despicable.

Justice or Revenge
Sally Field plays a mother whose daughter was raped and murdered by a repeat offender played by Keifer Sutherland. She seeks justice through the courts but is devastated and angered that her daughter's killer is scot-free. She goes to a support group for families who lost loved ones. But some members of the group are seeking revenge for those that have killed their loved ones and she decides that vengeance is the way to go. Her daughter's murderer walks the streets while she is in a state of mental anguish and distress. The family is nearly falling apart. What would you do if a criminal walked free for murdering your child? Would you seek revenge or rely on the justice system? That is what the movie questions.

RIGHT ON, REVIEWER GOTSTUFF!
I first saw this movie on television. This is one of the best revenge movies I've seen. Justice is finally done, legally....
just like the guilty rapist and murderer got off legally...
This movie, somehow, gave me emotional release. When I was four years old, a little neighbor boy killed my kitten with a toy metal rake. I saw him from the window, I ran screaming..the kitten was dead. He ran, throwing the rake down the alley. He denied he did it to his parents, to my parents, to me. My kitten was still just as dead, and his parents said he was incapable of doing such a horrible thing. This is how this movie makes you feel, except now substitue a human life for a kitten, and a gloating, smurking murderer for a little boy.
Donald Sutherland portrays to perfection the villain you love to hate. Sally Field, as ever, flawless. I was amazed at how much better I felt after seeing this movie.

Great Movie,Great Acting,Great Script.
Eye For An Eye is one of those films where you know through the whole movie who the killer is but it still surprises you through the whole movie.Sally Field plays a mother who is talking to her daughter on the phone when her daughter explains she has to answer the door.After that we see and hear screaming and a man who you clearly see as Kiefer Sutherland raping and torturing her.The mother now devestated begins to seek revenge on the man when the case goes to trial but is botched by a dumb attorney.
Now the man is walking the streets even though he raped and murdered her daughter.She starts by just spying on the man watching him pick his next target,but when he realizes it things do get sort of ugly.The supporting cast which includes Ed Harris as the husband are characters which aren't even really needed for they could take all of Harris scenes out and wouldn't have to edit any thing else.But the film is a great thriller with great performances by Field and Sutherland.

hard to chew
Sally Field and Ed Harris' daughter is brutally murdered and raped by Kiefer Sutherland(evil) but they dont have a case on him and they let him go and he comes after Sally..the attack scenes are hard to chew..I mean really..but it runs out of steam and we cant truly feel what Field is feeling ... Read more

Reviews (15)

Cockroaches & Power Tools & Destruction, OH MY!!!
The seemingly charming, but sadistic, brutal, destructive & oh yeah... homicidal, Carter Hayes (Michael Keaton) puts
yuppies-cum-landlords, Patty Palmer and Drake Goodman (Melanie Griffith & Matthew Modine) through their paces as they experience the WORST tenant in the history of landlord lore!

Carter Hayes, armed with power tools, garbage, his little cockroach friends, and the law on his side, are GUARANTEED to drive Patty and Drake out of their beautiful victorian fixer-upper that they have just purchased. It seems like Carter would like to pick up the house for himself and thus, tries his darndest to make Patty and Drake default on their huge mortgage.

Tippi Hedren, Laurie Metcalf and Dan Hedaya also star.

This is a great suspense filled movie with a "killer" ending. Michael Keaton is perfect in the role as Carter Hayes. He is one of the most flexible and versatile actors, playing good guys (Mr. Mom & The Dream Team), bad guys (Pacific Heights & Desparate Measures), cartoon characters (Batman & Beatlejuice), & a dying man (My Life).

This is a most excellent suspense film and highly recommended!

Happy Watching!

A must have thriller!
This is a must have for your average movie buff. Matthew Modine and Melanie Griffith play a nice couple trying to rent out their spacious house to make the mortgage. Then along comes Michael Keaton who puts on a brillant performance as the well mannered/psycho Carter Hayes. And wastes no time at making their life hell so he can keep the house for himself. The directing is nicely done and pretty convincing. Keaton's performance is much like that of the movie "Desperate Measures." And so good you'll wonder if Carter Hayes could ever lose. Definitely a great flick!

Not what I expected.
It was about 8 years ago at least when I first seen this film. At that time I was young and I couldn't remember it, but I just bought it the other day. I watched it, and it was totally different from what I expected. I could only remember this film being very nasty and the villain (played by the excellent Michael Keaton) to be more scarier. Even though the film wasn't what I expected it was still good. Many people hate Michael Keaton's character in this, I can see why, but the character I more hate in this is Matthew Modine's. His character always treats Keaton's very badly in it, and he never treats him nice in it. The ending is quite tense (it was the only part I remember from when I saw it 8 years ago), a bity predictable, but it was good. The film can also try to be funny in places, it can be too.
So, you might not expect such a psychological thriller that much in this, but it does reach a point in the film where it does become psychological as it nears the end.

Beware Of Tenants Bearing Trust Funds!....
This review refers to the DVD edition(Warner) of "Pacific Heights".....

A really good thriller for me, is one that not only grabs me and keeps me in suspense the first time around, but one that keeps me on the edge of my seat on repeated viewings as well. "Pacific Heights" is one of those thrillers, that makes buying the DVD worthwhile, as I know this one will not be collecting dust on the shelves.

The very cool and respectable looking Carter Hayes(Michael Keaton) is new to San Francisco. He's looking for an apartment and his done his homework well. He's found the perfect place and has even taken the time to check out his landlords.Drake and Patty(Matthew Modine/Melanie Griffith) are the eptiome of Yuppiedom. Unmarried, but a couple, they bury themselves in debt buying the Victorian fixer-er-upper, that they will renovate and make a huge profit on when it's complete. In the meantime they will simply rent out the two apartments downstairs to help pay the bills. They should have done their homework as well as Hayes.

The smooth talking Hayes worms his way into one of the apartments and promises payment when his expected funds arrive, which of course will be very soon. It doesn't take long for Patty and Drake, as well as the other tenants, to discover the Carter is the tenant from Hell.He has a few social and psychological problems. He imposes a frightening presence and knows all the legal manuevers, and scare tatics to take over the house for himself. It's a journey frought with fear and suspense as Patty and Drake try to reclaim their home and their sanity.

A nice clear picture with good color is presented in widescreen. The Dolby Dig 5.1 Surround was excellent. The haunting score by Hans Zimmer, all background and surrounding sound effects, and the dialouge all came through beautifully. No special features on this one. It may also be viewed in French (2.0), but there are no subtitles in any langauge for those who may need them. There is also a short theatrical trailer.

Modine and Griffith are very believable as the beleagured and frightened but determined landlords. Michael Keaton pulls off this repulsive villain amazingly well. His versitility is unending.Directed by John Schlesinger("Midnight Cowboy"), it also stars Laurie Metcalf,Mako and Dorian Harewood. Also look for Dan Hedaya and a real special treat and rare appearance by Tippi Hedren.

Get the popcorn ready and don't watch this one alone! Oh and remember to always check refrences!.....Laurie

Is Anyone Home?
Drake (Modine) and Patty (Griffith) are the average, healthy, nonchalant couple who having just purchased their dream Victorian house in Pacific Heights, San Francisco; get themselves further into debt as they delightfully tend to both the interior & exterior of the residence to a surpassed point. Fortunately within days, one of the flats is rented by gentle elderly pair who, like Drake and Patty, are pushed to the limits by new resident, Carter Hayes who rents out flat No. 2.

A smooth operator in both person and when away, hypothetically on business, Hayes brusquely tears their lives apart in what would seem like revenge for something they seemingly did not commit. Asking candidly for their first instalment of rent from the now-missing Mr Hayes, Drake loses his temper and gets physical with the slippery weasel and ends up naively in police cuffs. With Drake away, Patty resumes regular duties in the house which alas results in a terrifying experience for the broken lovers. A few drill holes and clunking-around later, Drake attempts to access the flat, but when his master key fails to work on Hayes' new lock, Drake pulls a berserker and decides to cut off the tenant's gas and disconnects his electricity. Living on Squatters Law, Hayes & Co. takes as much as they can as quick as they can, until Drake & Patty uncover the brutal truth of their new inexplicable tenant.

Michael Keaton with one of his alien straighter roles, as was he a year earlier in Tim Burton's 'Batman', he acquaints us with another beguiling character from his mental library of personalities. Melanie Griffith is stupendous as the tormented wife and Matthew Modine as the everyday nonentity pushed to his individual limitations, is in an all-out performance in one of his more fashionable years when he also starred in the smash-hit war epic, 'Memphis Belle'. With no bona fide soundtrack, of course excusing the sporadic classical wipe over, the film breeds on its sinister sound effects of creaking floorboards and mechanical shrills from an assortment of industrial tools. Griffith must have thanked her lucky stars after the flop of the highly anticipated film from Brian DePalma, 'The Bonfire of the Vanities'. John Schlesinger brings an incredibly tight-knit story with menacing and suffocating direction that barley pauses for breath. One of his more finer recent pieces that only has the unbelievably underrated Richard Gere movie 'Yanks' to battle with in terms of best contemporary movie from his catalogue. A brightly written script by Daniel Pyne, with one of the most far-fetched productions by Scott Rudin and William Sackheim.

Includes an Alfred Hitchcock style cameo from British-born director Schlesinger as an elevator passenger as does Griffiths mother, Tippi Hedren as a millionaire charmed by Hayes. ... Read more

Amazon.com

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson ... Read more

Reviews (83)

After Midnight
1969's Midnight Cowboy helped usher in a new era in filmmaking. The industry was no longer saddled with the studio's moral standard codes that did not allow nudity, cursing or violence and directors set out to depict life in graphic detail. British director John Schlesinger's first American film adapted the novel of James Leo Herlihy and follows the paths of two lowlifes living in New York City. Jon Voight appears in his star-making role of Joe Buck, a dreamer who comes to New York from Texas to live what he thinks will be the easy life as a gigolo. He quickly finds out hustling isn't as easy as he'd thought it would be when he actually ends up paying for the first trick he turns. He then runs into Enrico "Ratso" Rizzo, a sickly, gimpy con man who swindles money out of Joe. Ratso is played by Dustin Hoffman who fulfilled the promise he showed in The Graduate with a gritty, gutsy performance. Ratso takes pity on Joe afterwards and invites him to stay in his apartment, which is actually in a condemned building. They try to eke out a living and Joe actually gets his first legitimate customer who takes him to a weird, psychedelic party. This scene is dated with its counterculture imagery, but it doesn't detract from the power of the film. Ratso's illness is too far gone for him to survive the New York winter, so Joe in one act of selflessness turns a homosexual trick to get money for them to take a bus to Florida. The film is filled with what was at the time shocking sexual commentary and scenes that today are commonplace in films and even appear on television. The film received an X rating and became the only X-rated film to win the Best Picture Oscar. Mr. Schlesinger won for Best Director and Waldo Salt won for Best Adapted Screenplay. Mr. Voight & Mr. Hoffman were both nominated for Best Actor, but probably cancelled each other out and paved the way for John Wayne to win his only Oscar. Midnight Cowboy is no longer shocking by today's standards, but it is still a powerful and moving film and captures what the feeling of the New York underworld must have been like in the late sixties.

Who can ever forget Ratzo?
They look soooo young, Jon Voight and Dustin Hoffman. Watching this film for the 2nd or 3rd time, I realize not only how old they are now, but also how old I must be!
Midnight Cowboy was really revolutionary for its time, but by today's standards it's kinda tame. Still, what a great flick. After all, it put Jon Voight on the map, and if it weren't for that signature move, where would we be today without Angelina Jolie, his daughter?
In the movie, Jon Voight plays Joe Buck, a naive dude from Nowheresville, TX, who goes to NYC with aspirations of being a gigolo. He quickly finds it difficult to make a go of it and ends up in a dump with Ratzo Rizzo (Dustin Hoffman), a crippled con man and thief who apparently has TB.
One of my favorite blips in movies of all times if Ratzo smacking the hood of a taxi and yelling, "I'm walkin' here, I'm walkin' here!" - not to mention the madman religious freak who turns his toilet into a psychedelic shrine to Jesus.
Basically, though, at its heart the movie is a pathetic tale of friendship between 2 lost losers. A film classic.

A STORY ABOUT THE TRUE FRIENDSHIP.
"Midnight Cowboy" is not easy to see. Even though it has lost a good deal of its original impact, this movie has visually striking scenes and powerful images. But underneath that though surface, "Midnight Cowboy" is a story about the unconditional friendship.

Joe Buck (played by Jon Voight) and "Razzo" Rizzo (played by Dustin Hoffman) are apparently the two more different persons in the whole New York City, but actually they share more in common than they and the audience think at the beginning of the film. Despite the fact that their origins are completely different, Joe and Razzo eventually understand that they only have each other in the tough Big City.

The song "Everybody Is Talking" is very good, and it is a great musical background to the gray streets of New York City. The director John Schlesinger never was known for finesse and subtlety, and this movie proves that he was a risky director. Jon Voight became well-known thanks to his portrayal of Joe Buck, and Dustin Hoffman portrayed a lovable loser with his usual skills.

"Midnight Cowboy" is a very dark film, but intelligent and influential at the same time. Perhaps some elements have lost their original impact, but still this is a powerful movie.

The crude crash against the reality
Midnight cowboy is a bitter and satirical story about the dreams and fantasies which turn around a smart boy village (Jon Voight) who thinks, he is the master of the world and so New York is another land to domain, but this will be a wrong choice as you can imagine.
Our boy goes to NYC and meets an outsider (Dustin Hoffman) who will feed his dreams. But the crude reality will show those men how far and wrong they are about New York as a promised land.
With surrealistic situations , the texan boy will experience slow but progressively, the dissapointment process , and his desired gigolo proyect will become in ashes ; and still yet ...
Well, Dustin is amazing as the uncommitmed street man, the locations in NYC look like a hell's preview; the sense of anguish and claustrophobia are notorius. Hunger, loneliness and hopeless will be his true colleagues in this nightmarish journey.
A well made fable about the dream and reality; the ancient myth of Eros and Psyque ; fantasy against imagination. A methaporical slap for those who still hope that NYC will receive you with open arms without any effort.
An extraordinary film who won the Academy Award and threw the gladiator actoral sand to Jon Voight.
Unforgettable and even recognized soundtrack even now.
Undoubtly the masterpiece of John Schlessinger and one of the most solid gems of the american cinema in any age.
A milestone.

Sappy & sentimental & so manipulative.
This contrived piece of sentimental quasi-gay Hollywood indulgence must really have titillated them back 35 or so years ago, same people who thought Hair was a racy musical. Jon Voight does a fine Elvis impression but Dustin sounds like he's doing a puppet act from an old radio show. I lived in NYC for umpteen years from the 50s on & never ever saw anyone who talked or walked like Hoffman does in this, except maybe outside Actors Studio on 45th street.

Great if too quick shots of Hubert's Museum & Flea Circus & other 42nd street nostalgia, though, makes it worth a couple stars anyway. ... Read more

Reviews (12)

View the Power of the essence of Love.......
Wow, I don't know where to begin. I always wondered where the days went, when a man would kiss a woman and she would lift her leg behind her. As a man who is married with two young kids, I found this movie to be beyond romantic. I pursued my wife in college with the same vigor as Matt (Richard Gere) pursued Jean (Lisa Eichhorn). In an odd kind of way my wife resembles Jean, a naive beautiful woman whom I decided that I could not live without. As a self-proclaimed romantic and one regularly read Frost, this movie captured my heart. I can't stop talking about the subtlness of the love between Matt and Jean. Also, I found Helen (Vanessa Redgrave) and John (William Devane) to be absoulety devine, their story touched my soul. Specifically, toward the end while she was in the church. The ending of this movie is a marvel, I can only hope that it is nominated or re-nominated for an Oscar... Thank you Matt, Jean, Helen, and John, thank you for allowing Love to be so Real.......

Frost once said, " Love is the irrestible desire of being irrestibly desired". I'm a life long fan...Thanks

A sweet love story
Richard Gere has said this was one of his favorite movies. It's a tender love story and a study in cultural contrasts between the U. S. soldiers camped all over England in the days before D-Day, and the local British citizens. As a young soldier in foreign surroundings, facing the upcoming test of battle, Richard Gere shows the gentleness of heart which has endeared him to movie audiences in later films.

Pretty good, unusual movie.
The film covers the impact on a small yorkshire town of the arrival of american GIs from 1942 to 1944. The main thrust is that of a love story rather than a war film.

Although the writing is not going to set anyone on fire with excitement, the subject and the emotions of the characters are handled well. All the leads (Gere, DeVane, Eichorn, Redgrave) are at their best, although Eichorns performance does show some signs of the fact it is her debut.

The film works as entertainment rather than art, and is more an interesting study of the impact of loneliness than as a historical piece. In essence, the film could have been an hour long and acheived all that it does. Having said that, it can hold your attention for the full runnning time, and only one or two scenes are really unnecessary (such as the racist fight scenes at the dance).

Overall, I quite liked this film, and it was quite refreshing to have Yorkshire accented English people alongside Americans (although Eichorn's accent is terrible!) rather than the ubiquitous cockneys we usually get.

My main criticism is that it would work better on TV, by which I mean it is too fragmented. For instance the relationship between Redgrave and her son at school and the effect of an absent father figure, is touched on but not fully explored. The characters could have been much better exploited in this format, giving the audience more opportunity to care and become involved. Mini-series, people!

It was also a shock to see that the film was produced in 1979. Watch it, and wonder why a lot of american films of the same time are so shoddily produced.

and english review
Just to let you know that I watched this film many years ago and have been ever since trying to get hold of it. It is a must to watch and brings to life the war when the americans came over to britain. I am still waiting for it to come out on DVD and trying to find it so i can play it on my vhs, ( i am from england and i will keep looking!!!!) Any way i highly recommend this and you will be very satisfied.

Beautifully made, romantic wonder
This is full out one of the most moving romances ever made - the last scenes are so gripping, so heartfelt, so overpowering in their romantic feeling.

It also succeeds superbly as social history of the impact of American soldiers on a British town in W.W.II.

I completely agree with the reviewer below about falling in love with the American actress Lisa Eichhorn playing a northern English shopkeeper's daughter in love with Richard Gere- I've been smitten ever since. Her beauty, reserve, intelligence, grace are extraordinary - she can somehow project vast depth in her character. (She does the same in her other movies - check out her name in imdb.com to rent them).

Gere is awfully good - unassuming, usually courteous, sweet -I like his dashing self in most other movies but he's just right here. Vanessa Redgrave is superb - Devane is ok - I might have preferred someone a bit more like Cliff Robertson in look, voice, gesture and manner to play the American officer so at ease with an English upper class woman - borrowing books, opining on English public schools, listening to her play the cello. Devane's voice is more that of a tough guy.

I'd also say the screenwriters skimp a bit in fleshing out the charcters of the two 'chippy' working class characters.

Gee - these are minor criticisms - this is a wonderful, heart swelling movie. That old phrase "see it with someone you love" is definitely appropriate - yet it's very much a movie with appeal to men and women. ... Read more

Reviews (99)

The Madonna next best thing
Madonna is a real movie star and she proved that on this movie. She plays the role of a single mother( Abby )and in every scene you could see that she enjoyed not been the super female icon role and just been a mother who wants the best for her son. The movie is fantastic . The first part is very funny and step by step took the drama with it and the release end is one memorable and simply.

You have to wacth it if you don't and buy it if you haven't.

I liked it, it was funny, My mom cry when she saw it
Madonna's acting was great in this movie. I hated Madonna (But in real life I love her) on how she took San (Their Love Child) away from Robert (Evertt) and treated him. Madonna (Abby) plays a yoga teacher whom has prolbem in the love area of her life. One night with a good cry with Robert, too many drinks, lead to a night of passion. The movie moves on and she meets this guy (Can't remember his name) and they fall in love. Then she decide to run away with her new lover to New York, but Robert get pissed and sued Abby. She later tell him that Sam is not his child that Sam real dad is the last guy she was with (That was when I got pissed at Madonna) and then......I should not say anymore, I don't want to spoil it for you. But it was and is a great movie. I will buy it when it comes out.

THE NEXT BEST THING is AWESOME!
MADONNA did a Great job! THE NEXT BEST THING is a GREAT movie! Madonna plays a women named Abby who happens to get pregnant by her best friend Robert (Rupert Everett) who is gay. Now after a few to many drinks the two end up having sex, and you guessed it Abby gets pregnant. Now Abby and Robert have agreed to live together and raise there son Sam together, but there is a unexpected turn of events when Abby meets a Guy named Ben (Benjamin Bratt) and the two just seem to hit it off. Robert suddenly finds himself in a horrible position when Abby and Ben tell him they are going to get married, move out of state and take Sam with them. Now Robert then does what he has to do to keep his son from moving, however he discovers a Horriblre hidden truth along the way. Now i will not say any more other than this movie is one of the Best MADONNA movies ever! MADONNA does a amazing acting job despite what some of the critics said, but what do they know anyway! It's us the MOVIE GOERS that ultimatly know a GOOD movie when we see one. THE NEXT BEST THING is a GREAT MOVIE with many laughs and many tears! I highly recommend this Movie!

ENTERTAINING AND EDUCATIONAL
This may not be the next best thing, but it is entertaining and deals with issues that most of us are faced with on a daily basis. It shows that gay people are no different to any one else and deep down they want stability, a home and the opportunity to raise children. The other issue dealt with involves using children as a tool when a relationship / marriage hits the rocks. All to often it is the children that suffer and this film brings the message across that no matter who or what you are or what happens in a relationship, think of the childrens needs above all else, after all the children are innocent pawns. So, wether you are gay or straight, this movie is highly recommended. Rupert Everett is a great performer of which Madonna is not, but somehow they manage to pull this flawed movie through. ... Read more

Amazon.com essential video

Julie Christie's miracle year of 1965 (she was also in Doctor Zhivago) was capped by a best-actress Oscar® for this sardonic take on Swinging London. Looking about as gorgeous as women get, Christie ascends the ladder of social success, trampling everybody in her path--an ascent that allows writer Frederic Raphael and director John Schlesinger to slash away at the morally bankrupt world that would enable such a person to triumph. Cynics might suggest that Schlesinger's approach, rife with the experiments of New Wave filmmaking, is nearly as empty and showy as the world it describes... which may be why this movie seems more dated than, say, Richard Lester's films from the '60s. Still, with Christie getting generous and suave support from two of the top British stars of the day, Dirk Bogarde and Laurence Harvey, Darling remains a watchable missive from a volatile era. --Robert Horton ... Read more

Reviews (22)

unforgettable psychological drama
Julie Christie gives an acclaimed Oscar-winning performance as ambitious, bed-hopping young model Diana Scott in John Schlesinger's DARLING, an unforgettable psychological drama.

Diana Scott bullies, bluffs and beds her way to "success" only to find life at the top of the heap empty and unfulfilling.

She begins her rapid climb with married reporter Robert Gold (Dirk Bogarde - MODESTY BLAISE, SO LONG AT THE FAIR), only to dump him for sharp businessman Miles Brand (Laurence Harvey - BUTTERFIELD 8). She abandons him for a carefree life with her gay photographer, before settling for the Italian Prince. Diana at first revels in her success before realizing that the Prince will always put his country before private life. Confused and angry, Diana returns to England and to Robert, but he pushes her away and sends her back to her self-made prison in Italy.

DARLING candidly depicts the crazed and debauched lifestyle led by many in Britain in the 60's. At first shockingly controversial, the film was nominated for Best Picture in 1965.

Princess Diana
"Darling" is a searing look into the shallow life of a London girl during the mid-60's. It stars Julie Christie in the title role of Diana Scott and takes us through a few years of her life from mod-model to wife of an Italian prince. Dianna's messy life and total disregard for others is brilliantly shown through the convention of her telling "My Story" to a magazine while contrasting her tale with the actual facts of her life.
Co-stars Dirk Bogarde, Laurence Harvey each serves the story in their unique and gifted ways. Bogarde as Robert Gold is Diana's one brush with real emotion and possible salvation is at the top of his form giving yet another fine performance in support of Miss Christie. Laurence Harvey is cold and calculating as the bored playboy Miles Brand. He has never been better or has his angular face been shown to be more sardonic and deceitful than here in this film.
The direction by John Schlesinger is razor sharp and never misses the truth behind each scene. Cinematographer Kenneth Higgins captures the feel of mid-60's London, Pairs and Italy in crisp and clean shots. His close-ups are nearly surgical in what they render visible to the eye.
John Dankworth executed the composition of one of the most haunting themes from the sixties, which plays over the brilliant opening credits. His score is perfect and underscores Diana's story so well.
Finally there is Julie Christie in her Oscar winning performance. What a revelation this film and Miss Christie were at the time. Movies were changing so rapidly from what they had been all along to a more adult and honest look at life. The cracks began to appear after WW II. They widened in the 1950's but by the time "Darling' came along the movie industry had changed, imploded then exploded into a new and freer form of expression. Riding this wave to triumph in 1965 was the nearly unknown Miss Christie. Her Diana is unapologetic, raw and wonderful. She never holds back in showing us the ugly side of this beautiful vacuous woman and by the last scene she commands the screen with the authority of a truly perfect performance.

Cutting out the charm and character...
This MGM Home Video version of Darling (#1005693) is not a full version of the film. It was enjoyable but rings of media puritanism. A number of defining scenes, albe-them mildly risque, are missing. This is cultural and historical bleaching. We must discourage companies from ruining films. Do not buy it. I am now out the money and looking for the full version on DVD.

Great transfer but..........
MGM's new release of DARLING looks beautiful and more pristine than the Criterion Collection's laserdisc edition from 1995. There are no features aside from the (very dated) trailer; commentary from Christie would have been a welcome feature and made this a great one for your collection. The greatest disappointment is in the brief editing within the Parisian brothel sequence: the standard VHS tape that had been floating around for years omitted Christie's nude scene, a couple of shots hinting at oral sex between she and Laurence Harvey, and the brothel sequence. The DVD keeps almost everything in tact except a shot of a man rushing into a room to 'perform' with his cigarette smoking female partner. What you're left watching is a close-up of Julie Christie's shocked face as she stares at a woman smoking. The impact of the scene is gone. Now, the only version of DARLING that is fully intact is the laserdisc from Criterion and late-night showings on TCM. What gives MGM? Are they afraid viewers might not be able to handle such 'shocking' material?

What a jewel of a movie!
This is the movie that made Julie Christie a star on this side of the Atlantic. (1965 Academy Award for Best Actress.) It is truly a masterpiece that still hits the mark almost 40 years later. Inexpicably, it remains somewhat of a "sleeper"--a delight to discover, but not nearly as celebrated as it should be. Directed by John Scheslinger (at the top of his craft here), this is a beautifully acted, visually stunning examination of the mores of the European mid-1960's "Jet Set." The characters "swing" their way through a hedonistic search for meaning, but don't seem to find what they are looking for. Some of this movie may look dated now, but to me,that just enhances the viewing experience. Watching "Darling" is like finding a time capsule that clearly evokes the feel of a certain time and place. The story is told in a sophisticated satirical style, following the Julie Christie character through amorous opportunism. She sleeps her way to the top of the international fashion world, only to find her success and fame to be empty and soulless. This movie is perfectly poised between serious drama and romantic comedy. It is never preachy; the viewer is allowed the independence and maturity to draw his own moral conclusions. Remarkably appealing in tone and mood-- this is moviemaking as an art form. Do yourself a favor and discover it for yourself! ... Read more

Reviews (16)

Christopher Boyce
I enjoyed this movie immensely. It was fairly true to life and very well done. Hutton and Penn are terrific and Schlesinger does an excellent job in directing.
For those of you that are curious, Christopher Boyce will be released from a halfway house in San Francisco on March 15, 2003. He will be paroled after 25 years in prison, including spending time in SuperMax in Colorado, alongside Oklahoma City bombers Timothy J. McVeigh and Terry L. Nichols, and the Unabomber, Theodore J. Kaczynski. (Information taken from the LA Times story "The Falcon and the Fallout" by Richard A. Serrano, published March 2, 2003.)

The spy next door
Based on a true story, the film details how two young men sold U.S. secrets to the Soviets in the mid-seventies during the height of American apathy and disillusion.

Taken from the excellent non-fiction book by Robert Lindsey, director John Schlesinger's film does a fine job of creating the feeling and temperament of the time but stumbles in a couple of important areas, though the leads, Timothy Hutton as Christopher Boyce and Sean Penn as Daulton Lee, are in terrific form.

Boyce was the "falcon" as he dabbled in falconry, Daulton the "snowman" due to his dealing cocaine, or snow.

Boyce was the oldest of a large Catholic family whose father was retired FBI. Boyce was given a job too quickly with TRW, at the time working with the CIA on secret projects. Working from the "Black Vault," Boyce eventually decided to sell the information he saw to the Soviets. His drug dealing childhood friend Lee became the courier who transported the data to the Russian Embassy in Mexico.

While the story flows well on screen, the film cannot deliver what the novel makes apparent, namely WHY Boyce became a traitor. Other minor nitpicks include a scene (that never occured in real life) of Boyce seeing his ex-girlfriend Alana before impending arrest added for schmaltz effect only, and a badly edited moment of him ripping apart a gift from his co-workers that leaves the viewer puzzled.

However, everything else is fine. The cast is superb, particularly Pat Hingle as Boyce's father. The look of the film is true to the era it occured in. Pat Metheny and Lyle Mays produced a compelling score, collaborating with David Bowie on the theme song.

This is not an action film, and the better for it. Instead The Falcon And The Snowman gives the viewer psychological insight into espionage. It does not go far enough but is a solidly enjoyable film and deserves your attention.

still looks great
This has become one of my very favorite films. One reason is that this is when I began to see how really brilliant Sean Penn is, but I think it's more about how this film captures its time, and the dangers of naive idealism. The affluent surburban young men here both find ways to reject the perceived shallowness of their parents, the corruption of their government and the numbing reality of their circumscribed lives, but end up discovering even darker and more painful realities.

Schlesinger makes the most of his excellent cast and gets some of the most memorable performances ever from veterans like Pat Hingle and Richard Dysart. David Suchet is fantastic in his portrayal of a cold, professional KGB operative trying to deal with Sean Penn as a rapidly unravelling drug dealer.

Skip the useless scenes between Tim Hutton and a confused-looking Lori Singer and what remains is a memorable film really worth owning.

good movie
this true life storey was good, timothy hutton and sean penns
portrayal of..wannabee spies , was a tale that needed to be told in modern day america, showing the powers that be...that it can still happen....sell out your country for the almighty dollar

Dorian Harewood Is Very Good
Dorian Harewood gives a brilliant performance in his tiny part that is worth remembering, he should be given more important roles, he is also in Full Metal Jacket, remember his name, Dorian Harewood, and help him get some respect. He is just as good as Sean Penn who is great in the lead role. One day Dorian Harewood will earn the respect that he deserves, but until that time I'll be here, crying out his name in the dark to anyone who will listen. Actually I'm going to sleep. Dorian Harewood Appreciation Foundation, President, (currently 1 members but steadily growing) ... Read more

Description

Tom Courtenay gives a flawlessly nuanced performance as Billy Fisher, the underachieving undertaker's assistant whose constant daydreams and truth-deficient stories earn him the nickname "Billy Liar." Julie Christie is the handbag-swinging charmer whose free spirit just might inspire Billy to finally move out of his parents' house. Deftly veering from gritty realism to flamboyant fantasy, Billy Liar is a dazzling and uproarious classic. ... Read more

Amazon.com

Nathanael West's The Day of the Locust is by consensus the great Hollywood novel, a poison-pen letter aimed squarely at the tinsel heart of the movie biz. Only in the 1970s could Hollywood actually hazard a film of this story, and the result is suitably corrosive. William Atherton is the observer Tod, Karen Black the blond starlet Faye, and Donald Sutherland the hulking Homer--but they are easily out-acted by the colorful supporting cast. In particular, Burgess Meredith's exhausted showbizzy salesman and Billy Barty's strutting dwarf are superbly crafted gargoyles in this Hollywood wax museum. Director John Schlesinger piles on the rancid atmosphere and rampant hypocrisy until the movie fairly drowns in its own grotesque vision. Long before the climactic apocalyptic riot, the film has torn itself up. There's no substitute for West's wicked prose, so the adaptation comes across as a literal-minded screech rather than a true bonfire of the vanities. --Robert Horton ... Read more

Reviews (17)

You're in the movie now.
A naive young art director played by William Atherton takes a job in a Hollywood studio in the 1930s and sinks into a bleak nightmare of crushed hopes and failed dreams. Nathanael West's novel reaches the screen with none of its impact diminished. Donald Sutherland's performance as a simple Midwesterner who falls in love with a venal bit player (Karen Black) is astonishingly good. Burgess Meredith is also good as Black's father, an ex-vaundevillian who struggles to make a living as a door-to-door salesman. Disturbing and fascinating, the film is brilliantly photographed by the great Conrad Hall and amply directed by John Schlesinger. It's a shame more people don't know about this film, and it's a shame that it hasn't yet been released on DVD.

unknown and neglected masterpiece
the day of the locust is a fascinating look at the people who go to hollywood and dont make it. it is brilliantly directed by the great john schlesinger ( midnight cowboy) but it was hated by the hollywood community itself for showing the seamy side of hollywood. when the acadamy awards presented the nominations that year this film was nominated for only one category (burgess merideth in a supporting actor role). the movie was clearly snubbed because it dared to show hollywood in this light and what a horrible light indeed. witness the disaster that takes place on a stage set that collapses because of shody materials or the incredible ending thats is one of the most night marish sequences ever filmed. richard atherton whom i thought would be a super star after this role is great as the new comer to hollywood who wants to be a set designer. he falls for a ditzy blond played very well by karen black whos carachter is so despicable and hatefull that we dont wether to be sorry for her or just hate her. donald sutherland is magnificent as the shy almost retarded rich man who holds in so much of his hate that your just waiting for it to explode ( of course it does). each scene unfolds so brilliantly under the direction of schlesinger that i would recommend it alone as a directors training guide on " how to direct a movie". why this film is not on dvd is beyond me. the film is a dark,brooding sad and powerfull story on human failure and dreams that can go wrong. it reminds me of something eric von stroheim would have done. in fact it is very much like his silent masterpiece GREED filmed in 1924. i have this movie on vhs but i cant wait for a dvd

Amazing film ..lousy and i do mean LOUSY DVD!
Oh my god the picture quality on this classic film is just horrible.
There is so much grain through out this film that I thought I was loosing my eye site. My VHS copy looks better!

There aren't any extra features on this dvd as well as 90% of Paramount home video's older films.

I am never buying another DVD from Paramount until they shape up with their releases.
:(

A movie like this deserves better treatment ...I feel robbed.

THE MECCA OF BROKEN DREAMS....
In the 1970's, a slew of films set in the 30's came out---evidently a vogue at the time. Two stand out in my mind. "They Shoot Horses Don't They?" and "Day of the Locust". "Locust" is a particularly corrosive portrait of 30's Hollywood based on the Nathaniel West novel. A young artist (William Atherton) comes to Hollywood and finds success as a scenarist for Paramount. He watches as people sell their souls for the Dream (whatever it is to them) and finally sees Hollywood turn into Hell. "Day of the Locust" won Oscars for Burgess Meredith (as a washed up vaudvillian) and the cinematography. But I thought John Schlesinger should have won for director as well. He paints such a nightmarish picture of a debauched and decadent 1930's Hollywood that you can almost smell and taste it. Donald Sutherland also should have won for his portrayel of Homer Simpson (yes, that's the name), a frighteningly insecure simpleton who becomes Karen Black's benefactor and lives to regret it. He's also the catalyst for the horrifying climax. Black is excellent as Faye Greener (the daughter of Meredith's character)---a callous, hopelessly star struck extra in films using anyone to get ahead...or to just buy her a Dream. Many familiar faces populate the film including Natalie Schafer as a Madam, Geraldine Page as Big Sister (an Aimee McPherson type evangelist), 70's disco artist Paul Jabara as a drag entertainer performing the Dietrich song "Hot Voodoo" and Billy Barty as...a midget. Atherton is superb as the artist and should have been a bigger star after this. Many disturbing images are here including a disgusting cock fight and the brutal murder of a child but even these upsetting scenes contribute to the fabric of the film...their impact is intentional. The DVD print is beautiful, you can see how this won for cinematography. The film is a bit long (144 min.) but not a scene is wasted. Highly recommended viewing all the way.

This movie will tear you up...
If you are an avid movie fan, then you probably know how it is to no longer have the ability to be tremendously affected by great movies, although you can still recognize their greatness. An example would be All About Eve. I have overwhelming respect for this film, but it has always left me relatively unmoved. Another example would be Dogville. I definitely could not bring myself to say that about The Day of the Locust, which is a massive artistic achievement, which speaks the truth, and speaks it directly to the heart. Truth is so rare today that when it hits you, it hits hard, and that is exactly what this film has to offer.

The Day of the Locust is inherently ambitious, and that is commendable regardless of how effective the final piece is. It is fortunate that all the artistic elements combined so seemlessly and movingly. The film, although it may not be readily apparent, is extremely well casted. Karen Black gives a career-best performance as Faye Greener, a creature so messed up inside that it is easy to love her in spite of her flaws, and that was just the mistake Todd (Donald Sutherland) made. In an ideal world, people meet and fall in love. But this is the dark, seamy, loveless side of Hollywood and the ability to love is all but forgotten (one could see parallels in our world today, that our world has in fact fallen prey to these loveless creatures, making the film ever more relavent), except in the heart of Todd who seems to be the hero of this rather tragic film.

There are many, many moments and lines that will make a kind of jarring imprint on your memory. One of the most horrific, nightmarish scenes occurs at the end of the film, when Faye is finally burned from Todd's memory forever, but, as we soon find, that loss is not too much of a bother for Faye...and that may just be the one great flaw of her character, and of Hollywood. There are no emotional attachments. There is no sincerity or truth. It is an illusion, a fantasy. Faye's heart was part of the illusion, for where it should have been was just empty space, compensated by an appearance that was all flashy and tinsel.

Sorry that is the best I can do to describe a film that defies accurate description or criticism--masterpieces always do, except by masterful writers. The DVD quality? Well, there are no extra features to speak of, but for the price I am very satisfied. The picture and sound quality are both excellent, and that is all that really matters.

Like another reviewer said, seeing this movie will leave you as emotional wreckage and you would be well-advised to take a day off to think about it. However, I disagree with the reviewer who urged depressed people not to see this. On the contrary, that this movie is depressing is only consequently, for it provides truth and, maybe if you look deep enough, answers. ... Read more

Reviews (10)

Fascinating Premise
This film follows the fascinating relationship between three Londoners--a 50 plus homosexual man, a 40ish straight woman, and the 20 something young man they are both in love with. The idea is a fascinating one, and the screenplay examines and analyses the nature and limitations of this kind of love.
It all sounds great, but there are definate problems in the execution. Firstly, the film is long and somewhat slow-moving, which is a fairly minor complaint. More importantly, the character with whom we are supposed to identify the most, and certainly the one with the most screen time, is Glenda Jackson's Alex, and she proves to be the most frustrating of the three. Her possessive need to have Bob to herself is understandable as a concept, but Jackson fails to make it seem reasonable, and the character comes accross as selfish, especially as Peter Finch's Daniel seems to pose very little threat, and to be able to subsist on only occasional visits from the beloved Bob. It's easy to see why Bob loves the older doctor, it is less apparant what he sees in Alex, who never seems to be much fun. She should be a little more likable if we are to be caught up in the film.

"BUY - BI - 'BYE LOVE"
AH YES! All of the above is in this one - and what a cast!

PETER FINCH [possibly at his greatest - pre-'Network'] and GLENDA JACKSON. It's all very elegant, and quite upper-class.

The story? Written by PENELOPE GILLIATT [The New Yorker film critic] , it's about Alex [Jackson] as the vibrant divorcee, Daniel [Finch] the handsome, middle-aged professional bachelor with one common iterest - 'Bob' the young man who moves into their respective lives, all connected by a somewhat erratic telephone service. As the tag line states: "It's about three decenet people - they will break your heart". The dialogue is witty and wry - look for the party sequence with Peter Finch and a somewhat tipsy friend's wife - HIS comment as 'wife' disrobes ....... priceless.

FINCH is very moving in the closing monologue - as he concludes towards the end "we were something" all of this augmented with music by Mozart. Alonely life ......

It's actually post 'swinging London' but still quite contemporary - even in today's climate.

Companions? "Jules & Jim" and "Small Circle of Friends".

[Trivia? Danie Day-Lewis makes his debut in this film as one of the children. Finch and Jackson were previously teamed in the period "BEQUEST TO A NATION" with Margaret Leighton - another rare menage!]

Location location location
The film is quite dreary - a man trying to decide if wants to poke or be poked. But the location shots are suberb. Part of it is filmed in Pembroke Square, London W8, a gorgeous and very bohemian part of London. Definitely the place to be, live or be seen, or at the very least - have seen.
Watch the film for the background footage alone - and don't pay too much attention to the ins and outs of the story - if you see what I mean.

Lovely Bloody Lovely
This civilized movie, of autumnal sadness, is such an actors' film.
Especially when those actors are Peter Finch and Glenda Jackson.
It is a pleasure to watch them at their craft. John Schlesinger has
directed Penelope Gilliatt's script with an eye for rich detail, and
such seemingly minimal emotions of the leads that comes through
the performances so perfectly, as delicately formed and precise as
snowflakes. They feel deeply, do Daniel (Finch) and Alex
(Jackson). Though they must not let on. It would be bad form to.

That they both love Bob (Murray Head) seems a conundrum. But
Daniel and Alex are of an age when there might be no one else,
save Bob, who is one of those curious, mercurial people who can
go from person to person, without caring one bit, beginning,
during, after. He literally feels nothing, save the rudimentary ( the
word is full of them) but he is perhaps seen by Daniel and Alex as
what they want him to be. Such is love. They recreate him from his

vagueness. And of course they must not be jealous of Bob's other
lovers. Such as Bob always require that, and consider otherwise to
be so bloody selfish.

He doesn't intentionally hurt anyone. He uses people as things, so,
to him, they are replaceable. When he is the replaceable one, if only
they could see it. He is not worth their integrity, and intelligence
and complexity of heart. Yet, when one loves, one cannot think of
him or her without making them, perhaps, mythic. To someone

else, they would be just another person, for others see them as
ordinary. This, the film explores with such finesse and grace.

Daniel has a monologue, told to us personally, the words of which
are beautiful and touching, that just about rips your heart out. Finch
adds to the words, so seemingly somewhat matter of factly saying
them, ( a person has to comport themselves properly after all)
though from deep inside, with such thought and honesty, and
searching still in these later years, and with no apology. You see the
worth and goodness of the man most especially then. You want to
put your arms around Daniel and Alex and hug them, for their love
is doomed, as they know too well. They are having to deal with the
loss, the void, to reconcile themselves to it, even during Bob, and
learning how to get through the day, routinely, like everyone else
pretends to.

"Sunday Bloody Sunday" is a film that one feels honored to see. Its
ad line-- "This is a story about three decent people. They will break
your heart." Indeed.

LEGENDARY CLASSIC RETAINS ITS POWER.
While I concur with many of the reviews posted here, there is not enough praise bestowed on the sublime Glenda Jackson, who remains the great lost actress of her generation. Though the recipient of two Oscars ("Women In Love", "A Touch of Class") and two other nominations ("Sunday.." and "Hedda"), as well as a criminal snub for the landmark "Stevie", Ms. Jackson seems to be little remembered today. It seems inconceivable now, since in the early Seventies, only Jane Fonda and Vanessa Redgrave could be considered her equals. For me, her Alex in "Sunday, Bloody Sunday" is my favorite of her rich performances. She is conflicted with her obviously unsatisfying affair with her bisexual (and, more importantly, shallow) lover, unfulfilled at her job, and basically adrift, just marking time in her life. The simple, yet powerfully suggestive emotions Jackson offers do much to help us identify strongly with her character. Who hasn't felt that, at times, their life is merely counting days, waiting for weekends which ironically do little to feed our spiritual or emotional needs? And the pattern continues, which to me is what the somewhat cryptic title implies. So much pressure is put on "the weekends" to make us happy that we can easily just wish our lives away, as Alex seems to. Its hard to find the final straw which Alex finds to salvage her life and begin again without this crippling relationship, but Jackson's brilliantly layered performance is a wonder throughout. Mr. Finch received many plaudits and is very respectable, but seems to be playing it safe here. His Dr. Hirsch is supposed to be the emotional, reasonable center of the movie, but Finch is a bit too reserved; the events don't seem to really happen to him at all. He stands curiously to the side, which may have been the author/director/actor's intent, but we don't have enough of the character's back-life for this to register. Murray Head is simply a cipher, which is all that is required, but a pleasant one. And any chance to see the divine Peggy Ashcroft and Bessie Love again is welcome.

When this movie first came out, it had that wonderful aura that many of the pictures of that era did: the essence of the forbidden--the promise that new and undiscovered worlds and situations would be examined that had never been dealt with in film before. I remember the same feeling accompanying "Cries and Whispers", "McCabe and Mrs. Miller", and "Women in Love", movies which have stood the test of time. "Sunday, Bloody Sunday", though not without its flaws, has also held up. Its a perfect time capsule of a certain period of time and change for working-class Londoners still woozy from the Sixties and not anywhere near ready for what would be the Eighties. Its also a remarkable document of a brilliant actress at the height of her estimable powers. Highly recommended. ... Read more