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This big, boisterous adventure is more inspired by than based on Rudyard Kipling's famous poem. Legendary screenwriters Ben Hecht and Charles MacArthur have fashioned a rousing Hollywood movie full of high adventure, knockabout comedy, and old-fashioned male bonding. And old-fashioned it is: the trio of British officers and best friends who form the core of the film are a 19th-century three musketeers in India, threatened by the interventions of a woman who means to marry the dashing Ballantine (Douglas Fairbanks Jr.). Blustery commander MacChesney (Victor McLaglen) schemes to keep Ballantine in the army while his second in command, the treasure-hunting Cutter (Cary Grant in a hopelessly mugging comic performance), continues searching for his elusive mother lode, but all their plans are thrown into chaos when the rise of the bloodthirsty Thugs threaten Britannia's soldiers. Sam Jaffe takes up the rear guard in turban, loin, and full-body make-up as the titular Gunga Din, the loyal water carrier who dreams of becoming a soldier. Bombastically chauvinist and naively imperialist, the film is bound to rub some people wrong, but Stevens creates a thrilling spectacle in the grand Hollywood mold, a handsome, exciting classic comic adventure that helped make 1939 Hollywood's grandest year. --Sean Axmaker ... Read more

Reviews (14)

Rollicking Adventure in Late Nineteenth Century India
GUNGA DIN is a great story about British army life in India in the late nineteenth century. It contains plenty of military action reminiscent of BEAU GESTE and a lot of humor.

Victor McLaglen, Cary Grant and Douglas Fairbanks Jr. are superb as they play three veteran non-coms. The supporting cast of Sam Jaffe, Edwardo Ciannelli, Joan Fontaine, Montagu Love and Robert Coote is excellent. Jaffe excells as the native water carrier and Ciannelli gives a memorable performance as the crazed leader of a group of rebel religious fanatics.

The film received no Oscars mainly because the 1939 Academy Awards competition was dominated by GONE WITH THE WIND and THE WIZARD OF OZ.

George Stevens is also remembered for his fine work as director of SHANE, GIANT and A PLACE IN THE SUN. He received Oscars for the latter two movies.

A classic adventure movie...
Gunga Din is truly a classic adventure movie. Furthermore, in addition to being very exciting, it is quite humorous and is perhaps the original "buddy" movie. Often imitated but never surpassed, Gunga Din is essentially the story of three British Army men stationed in India who get involved with an evil cult known as the Thugees (I'm not quite sure on the spelling), which worships their god, Kali, by strangling people.

The movie features many exciting and funny scenes - and it also has spendid black-and-white cinematography. And it is well acted: Cary Grant is hilarious as the clownish Sgt. Cutter, and Victor McLagen and Douglas Fairbanks Jr. are very good as his brave companions. The other actors give good performances as well, especially the actors playing Gunga Din himself and the evil leader of the cult.

My only complaint about this movie is that it condones, if not totally supports, British Imperialism in India and to some extent presents the natives as savages. Although this view is not totally surprising given that the movie was made in 1938 - before the days of politically correct movies - it is somewhat irritating to see the British Imperialists portrayed so heroically.

Nevertheless, the sheer entertainment value of Gunga Din balances out its Imperialist tendencies and political incorrectness. It is a fun adventure movie the whole family can watch and enjoy!

"Kill, Kill, Kill for the Love of Kali!"
Just one of the lines that makes your hair stand on end in this best of all 1930s action films, "Gunga Din". I recently rediscovered this old classic in the New York Public Library while hunting for something to occupy my four-year nephew while I was going to baby-sit him. Since he loves Flynn's "Robin Hood", Power's "Mark of Zorro", and Wilcoxin's "The Crusades", I thought that the little guy would probably take to "Gunga Din" like a duck to water, and was I ever right! Not only that, but even I, Aunt TutorGal, bought my own used copy because I just had such a good time with it. As far as I know, this is Cary Grant's only true swashbuckler, and he and the gang are A-one!

Here we're back in Colonial India again, with three soldier comrades: Cary Grant, a Cockney always looking for hidden treasure; Victor McLaglin, a blustery two-fisted elephant lover; and Douglas Fairbanks, the most elegant of the three and the best swordsman of the lot. The crisis comes early when Fairbanks reluctantly announces to the other two that he's not going to renew his term with the British Army because he's going to marry Joan Fontaine and go into the tea business. Classic case of two angry friends trying to bust up a guy's romance or at least find a way to get Doug to re-enlist, even by tricks if necessary.

So who's Gunga Din? Why, he's the Indian water carrier of the regiment who longs to be a soldier-bugler himself. Unfortunately, he has to endure a lot of racist remarks from the prejudiced McLaglen, but at least Cary Grant takes a shine to him, though perhaps he's a little patronizing himself. Sam Jaffee, later Ben-Hur's father-in-law, does a creditable job as eponymous Din. Montague Love, erstwhile Bishop of the Black Canon from "Robin Hood", checks in as the commanding officer, and turns in a good job. Joan Fontaine, in an early role, hasn't much to do as Doug's fiancee, except be a figure of scorn for the other two buddies.

Kudos to Eduardo Cianelli as the evil Guru who has resurrected the devilish Tugghee cult. It's he who directs his swarms of shrouded followers to go out there and strangle as many British soldiers as possible, for the love of Kali, their blood goddess.

Every time The Nephew and I watch the movie, he always asks me in a very worried voice, "But the British are going to win, aren't they?" as though the ending might change while sitting in the video case. But rest assured, that "Gunga Din" satisfies its viewers with action, thrills, and even some tears for A Noble Sacrifice on one character's part. If you really want to have a rollicking good time, "Gunga Din"'s your man.

The Template
Possibly the best pure action film ever made and certainly the inspiration for many that have followed. Inspired by, rather than based on, a poem by Rudyard Kipling (who briefly appears as a character in the uncut version of the film in the guise of a journalist traveling with the British army) this tale of adventure, comedy, and action in 19th-century India under the British Raj has it all. Superb b&w cinematography (nominated for an Academy Award in Hollywood's greatest year). Perfect casting, with Cary "Archie" Grant as the cockney Sgt. Cutter, Victor McLaghlen as gruff Master Sgt. MacChesney, Douglas Fairbanks, Jr. as the dashing Sgt. Ballantine, Sam Jaffee (in full body makeup) as the humble water carrier Gunga Din, and the scene-stealing Eduardo Cianelli as a ferociously intelligent villain who is far more frightening than any '30's movie monster.

The setting, outside the small town of Lone Pine, in California's eastern Sierras, beautifully mirrors that of northwestern India. Filmed in 100 degree heat, the picture's sets and backgrounds have a look of sere authenticity rarely achieved by location filming in the '30's. The superb score borders on the operatic, with leitmotifs for characters as well as scenes.

I vividly remember thinking as a child, when I first saw a grainy print on our b&w tv, that this was the first time I had seen a non-white person in a film who was obviously smarter than the Caucasian heroes. Yes, Cianelli's guru is a fanatic at the head of a cult of ritual murderers, but his discourse on what makes a good officer ("Great generals, gentlemen, are not made of jeweled swords and mustache wax. They are made of what is here [touches hand to head] and here [touches hand to heart]!") has stayed with me ever since. Not to mention, before throwing himself into the cobra pit so that his soldiers will move against the British, that "India is my country, and I can die for my country as well as you for yours".

Of course, there is also his rousing speech in the temple to his devotees to "Kill for the love of Kali, kill as you yourselves would be killed, kill for the love of killing...kill, kill, kill!" that carries rather chilling relevance to all too many fanatical groups today (though not worshippers of poor slandered Kali, whose temple in Kolkata I have visited). And it's the bravery of a mistreated Hindu, Gunga Din, who saves the day, and British behinds.

This is a film that functions on many levels and inspired far more than the forgettable remake (SOLDIERS THREE). Its lack of availability on DVD in a fully restored version, together with the accompanying George Stevens, Jr. documentary footage on its making (including color film shot on the location), makes it the number one omission in the current DVD catalog.

KALI!!! KALI!!!
This is THE greatest adventure movie of ANY time. I agree with every reviewer who has pointed out that this movie really ought to be on DVD (and to think its even out of print??? I guess that's because Hollywood doesn't want us to know they've been `homaging' this movie for the past forty years). I remember when I first picked this up...just thinking `hmmm...Cary Grant and Victor McLaglen, can't be all that bad...' I was utterly rapt when I finally watched it. When they find that deserted town and the one prisoner starts calling out `Kaalii!! Kaalii!' and all those figures appear in the hills, MAN OH MAN! After that, your face is inches from the screen! Three brawling British soldiers (Cary Grant, Victor McGlaglen, and Douglas Fairbanks Jr.) go toe-to-toe with the murderous Thuggee cult in India (years before Indiana Jones knew what a Thuggee was). The action in this picture is stupendous! Douglas Fairbanks Jr. CATCHES a hurled throwing axe and returns it to its owner!! Cary Grant drops a stick of dynamite on a cultist, the guy bends over to pick it up, and EXPLODES! This is inspired by the Rudyard Kipling poem of the same name, which concerns a plucky Hindu waterbearer who proves to be the best man of all in the climactic battle sequence at the end. The villainous Guru-head of the Kali worshippers is played with sinister, quiet menace, the heroes are as likable and swashbuckling as you can get, and when young Mr. Kipling reads that poem at the end, you WILL be in tears (manly tears, of course...) This movie is astounding! Great black and white cinematography that really ought to get the digital treatment. ... Read more

Reviews (62)

A Bad Life Decision
A Place in the Sun, 1951
Running time: 120 minutes in black & white
Director: George Stephens
Studio: Paramount Studio
Actors/Actresses: Montgomery Clift (George Eastman)
Elizabeth Taylor (Angela Vickers)
Shelly Winters (Alice Tripp--name is symbolic of her behavior)
Awards/Nominations: Oscar won in 1952 for best cinematography, black & white; best costume design, black & white; best director; best film editing; best music; and best writing.
Nominated for an Oscar in 1952 for best actor and actress in a leading role and best picture.
DGA Award won in 1952 for outstanding directorial achievement in motion pictures.
Golden Globe won in 1952 for best motion picture drama.
Silver Ribbon Award won in 1952 for best director of a foreign film.
NBR Award won in 1951 for best picture.
PGA Hall of Fame for Motion Pictures Award won in 1997.
WGA Screen Award won in 1952 for best written American drama and nominated for the Robert Meltzer Award.
Genre: Romantic Tragedy

In summary, the movie includes the trials and tribulations of a love triangle between a smart nice guy, a rich nice woman, and a manipulating possessive working-class woman. George Eastman hitchhikes from Kansas City to his uncle's swimsuit factory to work. Once there, he is given a position boxing merchandise by his not-too-friendly cousin. Prior to his employment, George is informed that he is not to have romantic relations with his fellow co-workers as a condition of employment. Unfortunately, George broke this rule by dating and ultimately getting one of his coworkers pregnant. While dating her (Alice), he falls in love with Angela Vickers, a high-class woman that is well-known throughout the comunity and by Charles Eastman (George's rich uncle). Instead of telling Angela about Alice and vice versa, George "drives himself crazy" and eventually commits the ultimate crime. What may astonish the viewer is that even after learning of George's hideous crime, Angela confesses that she still loves him.

Both George and Alice would have different lives at the end of the movie if George had stayed in Kansas City! He also should have been honest with both women in order to alleviate stress for both he and Alice. This movie was given four stars due to its relativeness to society and its great plot for the time period. It was interesting throughout the whole movie.

What Chemistry
The first time I viewed A Place In The Sun it did not have much of an impact on me. Perhaps I was too young, plus I did not understand Montgomery Clift's acting style. Subsequent viewings have made me realize the quality of this film. Clift stars as the poor relation of an important family who begins to work his way up. He first has a relationship with plain working girl Shelley Winters. Then he meets the real love of his life, beautiful, wealthy Elizabeth Taylor. From that point, things become very complicated for all concerned. Clift was an actor that played everything deeply, and his performances are always painfully real, just like this one, in which you can feel the conflicts that tear him apart. Winters is excellent in her tragic role, while Taylor, besides looking unbelievably beautiful, brings a lot of honesty to her character. The chemistry between the Clift and Taylor is palpable, and their on screen kiss is one of the most memorable you will ever see. Although there is a sense of doom that permeates the movie, the actors make every moment a great one. Some of elements of the story may seem dated, but it is played with such honesty and intensity that you will appreciate it for the very fine film it is.

Heartbreaking & Realistic
Ever wanted something you couldn't have? Ever wanted it so badly you'd kill to have it? In "A Place in the Sun" George Eastman (Montgomery Clift), a poor young man with big dreams, deals with these questions as he tries to make it to the top of the social ladder in spite of social prejudices from the richer Eastman clan.
As he pursues his dream of social grandeur, he falls in love with the beautiful and unatttainable Angela Vickers (Elizabeth Taylor), a rich socialite. But just as his dreams begin to come true, George is confronted by his ex girlfriend (Shelly Winters), a poor factory employee, who is pregnant with his baby and threatens to destroy his newly attained social lifestyle. Having made it to the top, however, George is determined to stay there at any cost - a decision that leads to tragic results.

Memorable performances
Excellent movie about the tragic consequences of pushing too hard to obtain the american dream. Montgomery Clift gives a realistic performance as the poor kid who makes it to the top at a high price. Liz Taylor is believable as the rich beauty who falls in love with Clift, and Shelly Winters is especially memorable as the poor factory worker who gets shoved aside by Clift after he meets Taylor. Beautifully made movie that makes you really get into the mind and heart of its protagonists. Highly Recommended.

Tragedy Turned to Melodrama
It was probably inevitable that "An American Tragedy," in its evolution to screen, would become more about the doomed love affair of Montgomery Clift and Elizabeth Taylor than the moral and ethical dilemmas that really form the foundation of Theodore Dreiser's novel. After all, doomed love is a bigger sell, especially when you have the romantic faces of Clift and Taylor swooning together in extreme close-up.

I'm not a fan of doing book to movie comparisons. I figure that film and literature are two different art forms, so I shouldn't compare their rendering of the story anymore than I would compare the same story as presented in a painting as opposed to a ballet. So I tried to take the film on its own merits (admittedly difficult to do, since I watched the movie on the same day I finished the book), but even at that, I think the movie falls short.

Clift plays George Eastman, poor nephew to a rich, socially elite family in a small New York state factory town. He's been invited by his uncle to come and work in the Eastman factory, giving him an entre into a world of luxury that has always been out of his grasp due to his family's humble position (they run a mission and preach on the streets). George strikes up a love affair with Alice Tripp (Shelley Winters), a girl who works with him in the factory, but his attentions for her quickly fade when he becomes interested in Angela Vickers, another member of the rich set, played by Liz Taylor. Complications ensue, and George finds himself and his situation spiralling drastically out of control, with an ending more tragic than he ever thought possible.

George Stevens directs the film with a sure hand, and there are some breathtaking displays of directorial skill. For example, one that stands out in my mind comes when the camera focuses on a radio reporting a possible murder, while the young, rich kids with whom George has struck up a friendship goof off in the water in the background. There are also some great uses of dissolve editing, though the technique is somewhat overused.

But there are many problems with the film, notably its pacing. Much time is spent on George's love triangle with Alice and Angela, while the script races through the trial and George's ultimate fate, as if the screenwriter realized he only had two hours to tell his story when he'd already wasted an hour and a half on front-end material. Rushing through the end blunts much of the story's original intent and power, as that is where the majority of moral questions arise.

Also, the character Shelley Winters plays is so drab and mousy, that one doesn't understand why George would entangle himself with her in the first place. But Clift does a great job with the lead role, delivering a performance of raw nerve.

It befuddles me somewhat as to why this movie is quite so acclaimed. I can only imagine that its reception has to do with cultural moods at the time it was released and that it just hasn't aged well. It came out in 1951, a big year for literary adaptations ("A Streetcar Named Desire" and "Death of a Salesman" were both given big-screen treatments that year), and you only need to compare "Sun" to "Streetcar" to see how short it falls at capturing the essence of a ture literary classic.

Grade: B- ... Read more

Description

Texan rancher Bick Benedict visits a Maryland farm to buy a prize horse. Whilst there he meets and falls in love with the owner's daughter Leslie, they are married immediately and return to his ranch. The story of their family and its rivalry with cowboy and (later oil tycoon) Jett Rink unfolds across two generations. ... Read more

Reviews (62)

The quintessential Texas epic loaded with stars!
This 202-minute slow-paced drama exemplifies the lives of three generations of cattlemen on a grandiose west Texas cattle ranch at the onset of the oil boom. Being a native Texan with relatives living close to the area near Marfa, Tx where GIANT was filmed, I LOVE this movie for the sheer drama and myth of our state. (and yes, there ARE some exaggerations) But it's also a well-crafted movie with exemplary performances by Rock Hudson, Elizabeth Taylor, James Dean, and a very young Dennis Hopper! Viewers seeking a fast-action adrenaline-pumping film probably will be bored by GIANT, but viewers who enjoy classical performances, historical sagas, (and old movies) will cherish this movie. It's sort of like a western "GWTW"! They don't make 'em like this anymore!

A gigantic screen presence
What about this movie isn't big? Big stars (Elizabeth Taylor and Rock Hudson); big state (Texas); big ranch (2 million acres of prime cattle land), and big length; at 202 minutes, this film runs about 45 minutes too long. The story is the familiar one about grandiosity run amok; the moral, which has been done to death, is that the simple life is the one best worth living. We've seen it all before. So why see this movie? In two words: James Dean. In his last film before his tragic death on the Freeway at the age of 24, Dean showed that he was what his legion of fans always claimed: a true genius. Try to imagine anyone else in the role of Jett Rink , and the character remains a cipher - lifeless, dull, nothing. It took Dean to bring it to life and make it his own. In this movie, James Dean and Jett Rink become indistinguishable from each other. And perhaps only an actor as brilliant as Dean could turn Rink from a character we love in the first half of the film, to a character we hate at the end. His drunken tirade near the movie's end is a tour de force. Dean's magnificent performance doesn't take away from the very creditable acting by Rock Hudson as the millionaire rancher Bick Benedict, Elizabeth Taylor as his wife Leslie, the young Sal Mineo, and especially Mercedes McCambridge as Bick's bitter, sexually frustrated sister with an unrequited passion for Jett Rink; but next to Dean's knockout performance, they pale into mere adequacy. Forget everything else; this is Dean's movie.

This is Texas?
I recently decided to view this film. Let's see - a reference to Neiman-Marcus - some wide open spaces, some cattle and oil wells. O.K. - but this film does not really tell about Texas and Texans. Thankfully, Chill Wills (from Seagoville, TX) was in it. He was the most Texan thing about this film. I wish I had something more positive to say - but I don't.

Giant Is Not A Widescreen Film
The product information here should be carefully read, as it reveals that this edition of Giant has been transferred in a 1:1.66 letterbox transfer. This is a travesty. Giant was filmed and released in the classic 1:1.33 "Academy" aspect ratio, which also happens to be the aspect ratio for NTSC analog television. George Stevens disliked widescreen processes, although he was forced to use them by studios on later films.
The time has come to put a stop to these unnecessary, phoney "restored" versions of classics. It's just a marketing ploy to squeeze more money out of old warhorses. Going back to the good old days of the laserdisc, I never much cared about the extras that were first introduced by Criterion and later imitated by the major studios. I've always responded to a high quality video transfer taken from the best film elements available. Getting the aspect ratio wrong and mutilating the images of Steven's classic film makes everything else irrelevant.
Thank goodness I still have my laserdiscs. Failing that, grab a copy on VHS.

FANTASTIC!
The DVD is superb -- I do not know what all the complaints about sound, etc. are all about! My goodness, this film is almost 50 years old -- and I think it is in wonderful shape!

I purchased this video because I have become a big James Dean film, but the acting of Elizabeth Taylor, Rock Hudson, Carol Baker, and Dennis Hopper were splendid.

To think that Hudson was a mere 29, Taylor 23, and Dean 23 and could play characters who age 30 years with such reality is a true testament to their genius! Of course, the makeup artists must also receive recognition.

The most disturbing portion of the film to me is when Hudson confronts "Sarge" the restaurant owner in a fist fight and when "Sarge" lands into the juke box, "The Yellow Rose of Texas" begins to play. However, this epic film is full of irony and subtle twists and nuances -- to really grasp the entire message this film needs to be viewed more than one time.

The irony of the Mexican children singing The National Anthem during the funeral of Angel (played by a very young Sal Mineo) touched me. Little Angel was a person who died for the United States and yet was the focus of bigotry from his impoverished birth until his death.

Or course, in my opinion, there was and never will be another James Dean -- it is heartbreaking to watch this dramatic genius in the final film performance before his untimely demise. Like Buddy Holly, I will always wonder where Dean's career would have gone.

Carol Baker is fantastic in her first film role and the very young Dennis Hopper's performance is equally memorable.

This film speaks to the injustices of racial bigotry that unfortunately will always exist except in a utopian world.

The additions to this DVD make it a must-buy!

Please don't hesitate to purchase -- this DVD is worth every penny -- and then some!

Oh, the editorial review refers to Elizabeth Taylor as a Southern Belle and this is incorrect. Leslie Benedict is from Maryland and even makes the comment to Hudson and his crownies that she was from the "Center of Politics" when Hudson tries to push her aside so the men can talk "Business and Politics". ... Read more

Reviews (93)

Farmers vs. Ranchers
Shane is the title of the movie and the main character of this well-made Western. Alan Ladd plays the stranger who arrives in a Western community where a range war between farmers and ranchers is about to play out. The farmers' leader is Joe Starrett, played by tough, reliable Van Heflin. He wants the farmers to stay, to stand up to rancher Rufe Riker and his hired hands.

Riker tries to buy Starrett out, but Starrett won't go. Then Riker hires a gunman - Wilson - played by Jack Palance. He's as mean as they come and he verbally goads one of the farmers into trying to "draw" on him. Wilson(Palance) kills the farmer without blinking.

The farmers are about ready to give up. But when Riker sets fire to a farmer's home as the community gathers to bury its dead, the farmers vow to "play one more hand." Riker sends men to Starrett's ranch to tell him that Riker wants to see him. But Shane stops Starrett by physically knocking him out. He knows that he must go into town to "talk" to Riker.

Civilization is fast approaching on the Western range. And Shane is going to hasten that change by going into battle against Riker.

Western Classic
Shane might well be the greatest western ever made and a true American classic. Recently in a New York Times article, Woody Allen of all people considered it the best American film of all time. The movie is about a mysterious stranger who unexpectently comes into a homestead family's life and helps in their battle against a greedy landowner who is threatening them to move off their land. Alan Ladd stars in the title role and he exudes an air of calm control and dark mystery. Shane is an expert gunman and a skilled fighter, but he doesn't want any trouble. He tries hard to avoid a fight in the local saloon, but no matter how hard he tries, trouble finds him. The homestead family is played by Van Heflin, Jean Arthur and the young Brandon De Wilde. Mr. De Wilde is excellent as a wild-eyed youngster who grows to idolize Shane. Mr. Heflin plays the strong, defiant landowner, but also loving husband to his devoted wife, played tenderly by Ms. Arthur, and his son. He stands by his new friend Shane, when the other homesteaders want him to leave when they feel he's stirring up trouble. A young Jack Palance is menacing as an icy hired gun hired to drive the homesteaders off their land. The showdown between him and Shane is a tense and taut showdown. Director George Stevens captures the breathtaking beauty of the American Old West. Shane was nominated for several Academy Awards, but failed to win any. Despite that fact, it remains a brilliant film worth repeated viewings.

Revisionist History as Entertainment
A lone rider approaches a family ranch. He observes a gang riding up to order the owner off his land. There is an economic conflict between a big land owner and small ranchers who are bringing in Jersey cows and working the land for agriculture. The big land owner wants to eliminate competition from small businesses; his government contract shows his political connections. The film shows the use of barbed wire, the invention that put an end to the open range. The settlers go into town for supplies. A barroom brawl occurs when Shane is attacked; Joe Starrett joins in to help his hired hand. Tavern owner Riker sends to Cheyenne for a hired gun, Jack Wilson, for a final solution to the homesteader problem.

The settlers gather for a July 4th celebration. They hear of Riker's hired gunfighter. That evening Riker show up to make a final offer to Starrett: join him for a good price, and abandon the other small ranchers. This offer is refused. The next day the gunfighter insults Torrey to force a duel, and kills him. Joe Starrett announces he will go into town next, without waiting for the other settlers. The question is: shall the people be oppressed and swindled by a rich powerful landowner? (Most of the large ranches were owned by corporations from back East.) Some of the small ranchers decide to abandon their claims. Yet they have the right to settle and farm the land. "This country wasn't made for just one man." The burning of one home makes the settlers decide to hang on for a while.

Riker makes an offer to draw Starret to his place (for an ambush). Calloway turns up to warn Shane of this trick. Starrett's wife argues for giving up and moving out now. (Credible?). Shane tries to stop Starrett, and they fight in the dark (to hide their body doubles?). Shane wins and leaves to keep the appointment, and force a final showdown. Shane successfully resolves the problem of Jack Wilson, then Riker, and moves on to new territory. [This avoids any retribution by Riker's allies.) {This film uses the dime-novel fantasy of a "fast-draw", which did not occur in historical records.]

This story is loosely based on the Powder River war. In reality, the settler's militia drove off the armed gang hired by the large landowners. The large ranchers tried to get rid of small ranchers by passing a law that gave them sole rights to all cattle in the state! Read the chapter in William Weir's "Written With Lead" for more details. "Unhappy are the people who want a hero."

Two stars. One for each time it put me to sleep.
Don't get me wrong, folks ,I am A HUGE fan of classic Westerns! This one, it just doesn't make it for me. Don't even get me started about Alan Ladd's "tough but gentle" potrayal of Shane. Ladd is unconvincing to this reviewer not only in the tough guy category, but his dramatic side is very, very "Ward Cleaver." AND THAT KID!!! That blasted kid. Joey, played by Brandon De Wilde. Good gawd, if he wasn't the most annoying little snot that came out of Hollywood. (before the debut of Pauly Shore) "Shane, are you gonna shoot that man? "Shane, are you gonna let me look through your Playboys?" I spent half the film (before I fell asleep) hoping Shane would say, "Come here, Joey, and help me change the wheel on this stagecoach" and have a little "accident." Joey's absence from the second half of this movie MAY have kept me awake. (but I doubt it.)

miscast but still legendary
SHANE is among the most renowned westerns in motion picture history, inspite of the miscasting of Alan Ladd in the title role. many other more accomplished actors come to mind of whom could have assumed the role, and many of these were offered the role. however it was Alan Ladd who was awarded the role.

Ladd was a formidable actor and delivered a fine performance inspite of the other more accomplished actors who may have given better performances.

regardless of Ladd in the role of SHANE, the movie was legendary and considered a true classic to this day. the other actors, which include: Van Heflin, Jean Arthur, Brandon De Wilde, Emile Meyer and Jack Palance all gave stellar performances. however it was George Stevens, a director whose name is synonymous with great filmmaking who was solely responsible for the renowned success of this truly legendary western classic. a true masterpiece. ... Read more

Amazon.com essential video

George Stevens (Giant) directed this 1959 film adaptation of the hit play based on the writings of Anne Frank, the Jewish girl from Amsterdam who hid in an attic with her family and others during the Nazi occupation. As Anne, Millie Perkins is something of a milky eyed enigma and--in retrospect--too old for the part; but she is surrounded by an outstanding cast, including Joseph Schildkraut as Anne's patient father, Ed Wynn as a cranky dentist who moves into Anne's "room," and Shelley Winters as the loud Mrs. Van Daan. Stevens turns the many overlapping dramas of the caged characters into the foundation of Anne's growth as a young woman, ready for life and love just at the moment the dream comes to an end. Beautifully shot by cinematographer William C. Mellor, and written by Frances Goodrich and Albert Hackett from their stage production. --Tom Keogh ... Read more

Reviews (58)

It's Okay, But It Doesn't Do the Play Justice
"The Diary of Anne Frank," as directed by George Stevens, is certainly not a bad movie. However, it seems to lack the certain spark, sincerity, and tight acting of a truly great movie, and come to think of it, the play on which it is based. The movie is hurt severely by Millie Perkin's, who is whiney and lifeless as Anne Frank. Of all the worthy talent out there, why did they have to pick someone who was not only bad, but 10 years to old for the part. Ed Wynn is dreadfully miscast as grumpy dentist Dussel, and the whole movie is dragged on for so long that the ending is anticlimatic. On the positive side, Joseph Schildkraut and Lou Jacobi recreate the roles they held on Broadway with sincerity and gusto, and Shelly Winters won an Oscar for her delightful performence as Mrs. Van Daan. The screanplay by Albert Hacket and Francis Goodrich is also quite moving. Not a bad showing, but Stevens could have done better.

This play is an inspriation to me&I'm sure to others as well
I rented this movie from Blockbuster last night and I watched it (I'm watching it again right now).It is a wonderful movie.I know that it was/is based on the real thing and I am glad to know that I can not only read her diary and other books to know what Anne,her family,and the Van Daans suffered through,I can watch a movie and/or play about it as well~! I really did enjoy it and I reccomend it to everyone,old or young.It should make you think that no one in this world should be killed just because they are Jewish,America,Chinese or any other race.We are all one and will always be one as long as we all work together.I honestly believe what Anne said:
(quote)Anne Frank:"In spite of everything,I still believe people are really good at heart."(/quote)So please,watch and/or read "The Diary of Anne Frank".I guarentee that it will touch your heart;it touched mine all 10 times (and forever more when I read about Anne Frank)! =}~Jackie

Anne Deserves Better
There is no excuse why the best and most widely read Holocaust narrative couldn't have been made into a far superior movie than this disorganized and boring flick. For most Americans, The Diary of Anne Frank is the only Holocaust book they will ever read and most Americans won't even read that. Consequently, it is vitally important there be an excellent film adaptation of the book. This dull, watered down and not particularly well cast or acted film is not the perfect film memorial to the 7 million victims it needs to be.

This is the definitive movie for Anne's Diary
*** SPOILER if you have not read the diary or seen any of its movies yet

Absolutely no scene in movie history is as simultaneously gripping and gently conveyed as the final scene, when Peter Van Damme and Anne Frank hold hands and look out to the sky as the Gestapo beat down their door to take them to a death camp. The adults look down in the direction of the door and stand or sit still and wait for them to enter, resigned to the fact that they just can not escape the fate that the Nazis have assigned to them.

Nobody runs or even speaks, and Otto Frank puts down the newspaper and hands his wife her bag, as if they are going on a trip. Such small simple movments convey such finality for these 7 people who have shared the unimaginable experience of being caged liked animals to escape being killed like animals, because one man in power decided people of their religion and race should not live.

That scene says more than a million car chases and explosions. Watch it and see what I mean.

unfortunate timing
there was only one reason this monumental film was not awarded the "Best Picture" oscar at the academy awards. that reason is simple; the year of its release. 1959 was an unfortunate year for George Stevens to release this masterpiece of filmmaking, because released that same year was "Ben-Hur". any connesieur of classic films can attest to the magnitude of "Ben-Hur", winner of 11 academy awards. inspite of the legendary status of "Ben-Hur", "The Diary Of Anne Frank" deserves just as much recognition.
"The Diary Of Anne Frank" deserved the oscar just as much if not more than "Ben-Hur". the film was based on the diary written by Anne Frank while she was hiding out in the attic of an old house with her family and several others to avoid Nazi capture during those tragic days of WWII.
the movie is nothing less than monumental and a perfect tribute to Anne Frank and her family. it is nearly 3 hrs. long but easily maintains one's interest throughout.

there exist no words to justly express greatness of this magnificent opus of filmmaking. accolades to George Stevens for giving us this film. and God bless the entire Frank family for continuing to bring hope to the hearts of people globally for over 60 years. AMEN ... Read more

Amazon.com essential video

This high point in the 1940s vogue for movies about family life at the turn of the century was directed by George Stevens (Shane), and stars Irene Dunne as the matriarch of a Norwegian family that faces hard knocks with grace in 1910 (or so) San Francisco. Based on John Van Druten's hit play (derived from Kathryn Forbes's autobiographical memoir), the film is gorgeously rendered and quite moving as an act of memory. The sterling cast of character actors--Edgar Bergen, Rudy Vallee, Oscar Homolka, Barbara Bel Geddes, Ellen Corby, Cedric Hardwicke--add great texture and a depth of experience that make the film feel quite lived-in. Hardwicke's turn as a penniless boarder who "pays" his rent by reciting from classic literature is a special highlight. --Tom Keogh ... Read more

Reviews (20)

Mama as Memory
Few films can tug at the heart strings as well as I REMEMBER MAMA. Adapted from the John Van Druten play, which was itself taken from the Kathryn Forbes novel, I REMEMBER MAMA captures indelibly slices of time in the life of a Norwegian family living in San Francisco at the turn of the 19th century. Narrated by a grown up Katrin (Barbara Bel Geddes), the film combines the problems of adapting to life in the United States with solutions that seem unworkable to those still steeped in the ways of the Old Country. At the center is Mama(Irene Dunne), who orchestrates the lives of her large extended family. Irene Dunne is superb with her profound understanding of human nature. She shows in scene after scene that a matriarch must be flexible enough to account for and guide the divergent personalities of her family. For her sisters, Mama makes it clear that she will not permit them to bully her vulnerable children. For her children, she extends praise when it is needed and stoicism when that is needed too. And for the boarder who skips town without paying his owed rent, she resigns herself that he has paid in a different coin, that of reading the classics to her children, thus inculcating in them a love of words. Surrounding Irene Dunne is a group of superb supporting actors, all of whom add flavor to a film that is linked only by the memories of Katrin. Perhaps the most outstanding job is the one done by the non-paying boarder, Mr.Hyde (Cedric Hardwicke), who nightly regales the family with timeless tales narrated in his booming voice, the sum total of which is to create a story within a story with each passing tale. Although the years pass, no one seems to age, and that is all right since the segue from scene to scene is accomplished so seamlessly that the audience scarcely notices. Oscar Homolka as Uncle Chris hits just the right note as the blustery yet kindly man who hides his kindness beneath a pushy attitude. Interspersed through key scenes in the movie are the appearances of Katrin, who interrupts the narrative to talk directly to the audience, commenting like a subdued omniscient narrator on the plot. Again, rather than putting off the audience with a style of narration that in another film would surely be seen as intrusive, in I REMEMBER MAMA, Katrin's comments, as well as all the various strands of the film, are seen instead as welcome threads that unite what could have been an aimless, disjointed movie into a chronicle of a family that rings true with each passing scene. Not many movies can come close to accomplishing this. Homolka, Bel Gedddes, and Dunne were all nominated for Academy Awards. This is truly one of the most heart-warming films of all time.

A families common goal
I enjoyed watching this film. Irene Dunn, who plays "Mama", does an excellent job holding this family together. She, also, does a great job of establishing and holding onto the treasures that makes this family blend together. What good memories I will have of this movie when I drink a cup of coffee. The movie is narrated by Barbara Bel Geddes. She brings the love this family has for each other by her presentation of the story. How many families do we know today who would share all aspects of the ups and downs a family faces, especially financial? Nothing was held back from anyone in the family which allowed them all to work towards one common goal.

they don't make them like this any more
it will make you cry and laugh a truley wonderful and memorable movie

dvd please
This is a magnificent performance by a wonderful artist, Irene Dunne, PLEASE....DVD!!!!!!!!!!!!!!!!!!!!!! Great Movie...see it!

A Hilarious, Touching Family Movie
Our whole family (ages 1-44) watched this movie together and every one of us (except the 1 yr old) laughed and cried throughout the whole thing. Dunne is an amazing actress for her day and plays "Mama" beautifully. Uncle Chris is a brilliant character that adds much color to this black-and-white film. The family- Mama's husband and children- are delightful to watch mature and grow up. The aunts are a load of fun! From beginning to end, this movie grabs your attention-and you will most certainly laugh! I also suggest reading the book "Mama's Bank Account" before or after watching the film. What a great movie! WONDERFUL! ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Reviews (16)

Now This Is Chemistry
This is the film that started it all, and movie fans ever since have been grateful. It's the first pairing of the legendary Hepburn and Tracy, and from the moment when he first sets his eyes on her (actually, her legs - a great shot!), you can feel why they were such a perfect match on screen. They star as newspaper columnists coming from different backgrounds and perspectives, who despite the odds, fall in love, even though they have no idea how to fit into each other's worlds. Both stars give their usual top performances, compensating for some slow parts and dated elements in the story. I enjoyed the film, as I have enjoyed all their films that I have seen. Katherine Hepburn and Spencer Tracy were two of the best in the business, so any opportunity to see them together should be taken!

FANTASTIC
When you have SPENCER and HEPBURN together, it's nothing less than FANTASTIC! No others in movie history can match them as a team. They're acting in a movie, but you can see the love for each other on their faces - it makes it enjoyable to watch them. Every film they have ever made together is great. In Woman of the Year, watch for the kitchen scene. Also, great to watch Desk Set;there are several scenes that were ad lib, and the director was smart in leaving them in - Spencer caught Hepburn entirely off guard with his antics.

Off to a Pretty Good Start
Kate & Spencer began a 25 year on and off the screen romance with Woman of the Year. The movie itself is fine but unspectacular. Basically, the message seems to be that a woman can't have it both ways: work and family. Odd message considering the female lead. WOTY is more important as a piece of film history for the pairing it started. Hepburn was pretty much the only woman as ahead of her times as she was. Fortunately she could put her money where her mouth was and deliver the goods. Several of her films are classics and she is a Hollywood Goddess.

"Woman Of The Year" is Great
"Woman Of The Year" is a Katherine Hepburn Spencer Tracy comedy MGM movie story of a powerful career woman "Tess Harding" who meets a powerful career man "Sam Craig" and they marry and the problems begin because they both have careers though her career is more public than his.She's a person that just about everyone knows in the world and she knows just about everyone by 1st name.There are some Great comedy scenes and the conflicts between career and home are good and they have a happy closing scene.This was the 1st of 9 movies that Katherine Hepburn and Spencer Tracy starred in and they were good together in movies especially this one if you watched any of their movies then you would know and if not this is a good movie you would enjoy.This is the best Katherine Hepburn and Spencer Tracy movie.The movie was popular with audiences and later the movie "Woman Of The Year" was made into a musical play.Barbara Eden played the role in a national touring production of "Woman Of The Year" in 1984 and it was this movie that the musical play was based on.A Great story.A Great movie.A Great DVD.

Laughs when you least expect it...
Aside from Hepburn & Tracy's debut as a team, all credit should be given to director George Stevens for putting together this very complicated story so seamlessly. Mr. Stevens finally won an Oscar in 1951 for "A Place in the Sun" and again in 1956 for "Giant". After "Woman ofthe Year", Stevens was nominated for "The More the Merrier", another complicated plot that he handled with brilliance (remade in the 60's as a Cary Grant romp). Tracy & Hepburn are wonderful (Kate getting a nomination), and Kate's pant-suits certainly must've made a fashion statement; Kate was certainly more comfortable in those clothes than the glamour girls of the time, and though not a great beauty, she was glamorous. I still don't understand why Kate became "box-office poison" in the late 30's; I thought she was brilliant in "Stage Door", "Holiday" and "Bringing Up Baby". I don't see any difference in her choice of roles as with Irene Dunne, who did crazy comedy ("The Awful Truth") as well as sensitive drama ("Love Affair"). Who's to say what tastes were at the time? Though "Woman of the Year" has a few slow, serious moments, it's the light-hearted moments that hold interest. It won an Oscar for Screenplay, much deserved by Michael Kanin and the later black-listed Ring Lardner, Jr. And there's a particularly lovely performance from Fay Bainter who seemed to be over-looked. I enjoy this film for many reasons; it was timely, due to its release during the WWII years, as well as attacking attitudes of society which are today ever-present. I think it's most entertaining. ... Read more

Amazon.com essential video

The screwball comedy was the definitive genre of the Depression, but as America edged toward war in the early '40s, it suffered some strange and wonderful mutations--none stranger than The Talk of the Town, directed by George Stevens from a script by novelist Irwin Shaw and frequent Capra collaborator (and future blacklist victim) Sidney Buchman. Cary Grant, awkwardly cast, is a small-town political agitator who is framed for the burning of a local factory; he takes refuge in the attic of a country cottage that landlady Jean Arthur is preparing to rent out to a celebrated law professor (silver-tongued Ronald Colman, perhaps the only actor in Hollywood who could make Grant look like a proletarian). Stevens, suspended between his light '30s style (Swing Time) and his heavy postwar manner (A Place in the Sun), struggles to balance a charming, surprisingly suspenseful romantic triangle with the heavy, debating-society tone of the screenplay, which pits Grant, the representative of a compassionate, emotional sense of justice, against the cool, abstract application of the law advocated by Colman. Caught between these two highly verbal characters, Jean Arthur doesn't have much to do but be adorable and provide the occasional quizzical reaction shot--two things she does with exquisite skill. Stevens and Arthur teamed up again one year later for another strange-bedfellows farce, the marvelous The More the Merrier; in 1953 Arthur made her final film appearance in Stevens's Shane. --Dave Kehr ... Read more

Reviews (18)

Pretty good mix of a serious topic and comedy...
Sometimes I am tempted to describe this movie as having split personality disorder. On one level, it seems to be a lighthearted comedy with a love triangle between Cary Grant, Ronald Coleman, and Jean Arthur. And on another level, it aims to deal with deeper issues like the role of the law in society, etc, etc. But, actually, I think a more accurate way to describe this movie would be as a late screwball comedy. During the WWII years, screwball comedy, which had been so carefree in the depression, began to take on more serious issues, leading to movies like this one - strange mixes of the screwball spirit and deeper concerns.

Regardless of its strange synthesis of screwball and serious issues, however, The Talk of the Town is a classic, and a great movie! Essentially, it is about a small town rebel (Cary Grant, in an uncharacteristic role) who escapes from prision after being wrongly accused of arson and murder. He comes across a former friend (Jean Arthur) and stays with her, posing as the gardener when a law professor (Ronald Coleman) comes to rent her house. There are many hilarious situations in the house, but the movie also discussed the role of the law in society and whether law should be interpreted coldly and to the letter or have a more personal application.

The acting is very good. Cary Grant, though in a strange role, proves his talent as a more dramatic actor (and also shows off his incredible comedic skills). Even though he was ignored by the Oscars for years, Grant really was a spectacular actor - he just wasn't given enough credit because he tended to make it all look so easy. Ronald Coleman is also good as his urbane, cold rival, and Jean Arthur is great - her reactions steal scene after scene!

Anyhow, this movie is very good. Although it is somewhat of a strange mix, it is quite enjoyable and typical of the semi-screwball comedies from the war years. Get this and enjoy!

VINTAGE HOLLYWOOD COMEDY
THE TALK OF THE TOWN manages with equal ease to deal with love and law. As the principal object of love, Jean Arthur unexpectedly finds herself hiding an escaped arsonist in her attic. As the principal object of the law, Cary Grant plays the alleged arsonist. On neutral ground, at the start, stands Ronald Colman as a distinguished dean of a law school. But before the film is over, the dean loses his detatched academic attitude towards both love and law, and even gets involved with a blonde manicurist. Grant meets his comeuppance throught his peculiar taste for a Polish soup made with eggs and beets. Jean Arthur had the unique distinction of playing her final love scenes in the U.S. Supreme Court Building! Bright and literate, this Columbia comedy from 1942 has its head in the clouds & its feet on the ground. According to a 1942 report done in VARIETY, Grade "A" movies were beating box-office records since 1927. This was partly due to the fact that better movies were now being made and a natural wartime desire for escapist entertainment (in the thirties, the reason being the Great Depression, naturally). Most of Hollywood's extra profits, however, were going up the river in extra war taxes.

Great Stars, Great movie!
This movie includes three of my very favourite movie stars, Cary Grant, Jean Arthur and Ronald Colman.

The basic story is that Cary Grant is an innocent prisoner who escapes from prison. He hides out at his friends house (Jean Arthur) because he has been hurt from his escape. He then has to hide from Ronald Colman who is renting the house for the summer. Colman is a Supreme Court candidate. Cary wants to prove his innocence, but instead of hiding away from Colman forever, he pretends he is the gardener. I wont give away the rest.

It really is a fantastic movie. One of the best. The acting is brilliant and with three top stars like these, you couldnt ask for much more. But you do get more! Its directed by one of the greatest, George Stevens.

The print on this DVD is nice too and it has very clear sound throughout the film.

A perfect combination of stars here, and a really great story. Well directed, well written, and one you can watch over and over again.

Highly recommended to anybody who has any taste in movies at all. Brilliant!

PLEASE NOTE: Owner of the Region 2 DVD. However, this one appears to be no different.

I would have given it five, but for one little detail...
If you don't want to know the ending, read no further.

I thoroughly enjoyed this movie, at least the first hour and fifty-seven minutes of it. The last minute was the most tragic thing I've seen since A Tale of Two Cities. Why, why, why did Nora go off with a loser like Dilg? Obviously, he was not a man to settle down and behave himself. He didn't even have a vision or dream that made his strangeness admirable. I thought he looked very dark and sinister most of the time and there was absolutely nothing about him that made me want her to end up with him.

Ronald, on the other hand, was everything she needed, and if she was smart, she would have snapped him up. I certainly would have. He was intelligent, stable, and madly in love with her.

Anyway, you get the idea of my feelings about the two main fellers - Nora Shelley was cute, if a little silly at times (and very idiotic in the last couple minutes of the film).

As for the film itself: It was full of great moments. The egg-falling-on-the-newspaper scene was hilarious. The borscht with egg in it was also amusing. It was over all good story, filmed well, told well. I also enjoyed the part when Lightcap was trying to get information out of Miss Bush. He was so artless about it, as well he might be - he probably never went out with a woman before in his life. Which is why he was an awfully stiff dancer, too.

So anyway, I'm sure by now you've figured the little detail that cost my rating of this film one star - JEAN WENT OFF WITH THE WRONG MAN IN THE END!!

I expect this probably isn't the best review ever and that I'll receive lots of flak from Cary Grant fans, and that is O-K. I still like Ronnie better.

The Talk of The Town!
I saw this movie on TCM, it was on very late and I wound up staying up really late to watch it. It is a good movie and I think Cary Grant, Ronald Colman and Jean Arthur were very good. The Talk of the Town is definitely a classic movie I could buy for my DVD collection and I highly recommend it to any fans of these actors! ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Amazon.com

Hollywood's ability to conjure up a bittersweet small town (on the studio back lot, to be sure) has rarely been on better display than in Alice Adams, a gentle adaptation of a Booth Tarkington novel. For that matter, Katharine Hepburn rarely had a better chance to radiate her early youthful glow. She plays the title character, a lonely misfit who tries--too hard--to fit in with the snooty debutantes in her class-conscious town. Fred MacMurray is the suitor who miraculously feels comfortable in the front-porch swing of the faded Adams home. In the exquisitely timed comedy of MacMurray's miserable dinner with Alice's family, director George Stevens displays the tools he learned directing Laurel and Hardy two-reelers, and the sequence becomes a funny-painful classic of social embarrassment. Hepburn's performance, whether Alice is chattering pretentiously or briefly lowering her guard and revealing her loneliness, is simply incandescent. --Robert Horton ... Read more

Reviews (14)

Katherine Hepburn in one of her best roles!!!
For those of us who yearned to be part of the "in crowd" in high school but never were, "Alice Adams" is a vivid reminder of that experience (1930's style). As Alice, Katherine Hepburn is the perfect example of the nobody who desperately tries to enter into a world where she clearly doesn't belong. The popular guy played by a very young and handsome Fred MacMurray falls in love with her, but by then Alice is so caught up in her own web of lies about her non-existent wealth that she loses her sense of identity and can't be honest with herself let alone with MacMurray. The story is sweet and romantic, but the main plot surrounds Alice Adams and her experiences as a nobody trying to make it in. You don't need to read the book (by Booth Tarkington) to understand and sympathize with Alice Adams's character, but I highly recommend reading the book first if you really want to appreciate Katherine Hepburn's superb performance. The Alice Adams I envisioned while reading the book was flawlessly brought to life by the very talented Ms. Hepburn.

One of Katherine Hepburn's Greatest Roles!
For those of us who yearned to be part of the "in crowd" in high school but never were, "Alice Adams" is a vivid reminder of that experience (1930's style). As Alice, Katherine Hepburn is the perfect example of the nobody who desperately tries to enter into a world where she clearly doesn't belong. The popular guy played by a very young and handsome Fred MacMurray falls in love with her, but by then Alice is so caught up in her own web of lies about her non-existent wealth that she loses her sense of identity and can't be honest with herself let alone with MacMurray. The story is sweet and romantic but the main plot focuses on Alice Adams and her experience as a nobody trying to make it in. You don't need to read the book (by Booth Tarkington) to understand and sympathize with Alice Adams' character, but I highly recommend reading the book first if you really want to appreciate Katherine Hepburn's superb performance. The Alice Adams I envisioned while reading the book was flawlessly brought to life by the very talented Ms. Hepburn.

A fine, classic melodrama
Katherine Hepburn shines in a heartrending (and hanky-twisting) role, as Alice Adams, a romantically minded teenage girl whose social prospects are continually dimmed by her lower-middleclass status in a small, gossip-laden town. She is painfully aware of her position and tries to overcompensate by putting on airs and latching onto the haughty local debutantes, who look down their noses at the poor girl who tries too hard to fit in. Enter into this miserable scenario good ole Fred Macmurray, a handsome young rich guy who's got a decent heart, and who falls for the voluble, nervous young Miss Adams. Adapted from a novel by Booth Tarkington, this film gives a glimpse into the old-fashioned mores and courtship rituals of smalltown America in the early 20th Century, and also provides Hepburn with one of her first choice roles. Her fast-talking, palpably forlorn Adams is a character who evokes both irritation and sympathy, perfectly capturing the awkward desperation of teenage longings. Quite a performance!

THE SHINE OF A VERY YOUNG KATHARINE HEPBURN FILLS THE SCREEN
"Alice Adams" is one of those movies that rarely are made in Hollywood in these days, because the whole movie is carried by the performances and the direction. "Alice Adams" is a very honest and simple movie, its only pretension is to entertain the viewers, and this movie does that.

In "Alice Adams" we can see a very young and charming Katharine Hepburn, she plays the role of Alice, she injected to the character freshness, sympathy and an aura of tenderness and innocence that rarely are seen in these days.

"Alice Adams" is a very amusing movie, specially if you are fan of the great Katharine Hepburn.

Dinner! A/C!
The whole dinner sequence is excruciatingly funny, and Hattie McDaniel shows that she was a lot funnier--some wonderful takes here--than "Mammie" ever thought about being. The film is a deft satire of small-town life, and Hepburn is adorable--in a wondefully painful way. The subplots are fairly predictable--the usual novel stuff--but the movie survives on Hepburn's performance. This is a movie that will make you squirm and laugh at the same time. ... Read more

Reviews (9)

Some brilliant moments, flawed but still classic
Too bad there's no way to post half-star ratings here, or mine would be 3-1/2 instead of 4. But I give a very, very skilled cast and good direction the benefit. Set along the lines of 30's screwball comedies, this film has the formula right but lacks inspiration after the first 30 minutes, mainly because the writers abandoned earlier plot premises along with any semblance of character consistency. Still, the first third is crackling good fun. It soon fizzles and most of the plot devices just don't work, starting with Coburn's out-of-character dirty trick (which was not at all amusing). Near the end look for a flirting and kissing sequence that stands out all the more brilliantly amid comedy routines that not only don't work but don't make any sense. Its flaws are mostly due to poor plotting and writing, not to mention weird turnarounds in character development -- but this remains a keeper because of a truly wonderful cast and skilled direction. It's also a great look at wartime living in Washington DC, which was pretty much the same zoo it is today. Jean Arthur is almost breathlessly cute, and she and the cast do as well as could be expected with some flawed writing. The movie was remade as "Walk, Don't Run" (Cary Grant's last film), which was a disastrously lame effort at "improving" the flawed original. The actor who comes off best here is McCrae, who managed to keep his character consistent and whose talent for comedic underplaying is pure genius.

Quite possibly one of the worst films ever!
I cannot recommend for anyone to purchase The More the Merrier.
The movie was made during World War II and contains extremely insensitive racial remarks. I am surprised that no one else should notice this. Furthermore this film is not at all funny in the least and contains a poor script plus poor acting
performances from every member of the cast. Personally, I also feel that compared to the other great comedians of time-Claudette Colbert, Carole Lombard, Lucille Ball,Greta Garbo, Irenne Dunne-Jean Arthur was just plain unattractive. Add to this the leading man-Joel MCcrea has no screen charisma and appears dull and wooden. I had to stop the film halfway through and throw away the videotape. A terrible waste of money for me, just don't let this happen to you. If anyone is looking for a classy comedy/romance I highly recommend Midnight starring Claudette Colbert and Don Ameche. You won't regret it.

This one is a "Keeper"
Wonderful romantic comedy with Jean Arthur, Joel McCrea & Charles Colbun (who steals the show in my opinion). This movie was remade with Cary Grant, Jim Hutton and Samantha Eggar and titled "Walk, Don't Run". The remake, like most, just doesn't have the spark of the original.

We have watched this movie so many times (can't wait for a DVD version) that my husband and I have a number of small "inside" jokes based on the dialoge.

This movie is well written and well acted, and maybe a little corny in a couple of spots, but I can't beleive anyone wouldn't enjoy it.

Swerving round the Hays Office
Not quite the best of Jean Arthur and Joel McCrae, but amusing none the less. The sit in the com is the accomodation shortage in Washington after Pearl Harbour, when the New Dealers hadn't moved out, but when FDR was drafting in all available expertise, regardless of party, to hit the Pacific running. Arthur sublets to Charles Coburn, who further sublets to McCrae, reckoning that Arthur needs a husband, and that McCrae fits the bill admirably.

The pair drive a coach-and-four through the Hayes Office's one-foot-on-the-floor rule by occuping parrallel beds visible from the foot through two adjoining windows, allowing viewers to ighore the wall between the two bedrooms.

Many pertinent cracks at politicians - times have not changed. Only the pork barrel's got bigger - and the President's brain smaller.

Two Men, a Girl and a cramped Wartime Washington Apartment
One of the best home-front comedies produced during World War II, this 1943 film from director George Stevens deals with wartime housing conditions in Washington. Not only is there a shortage of housing and hotel rooms in the nation's capital, but also men. Jean Arthur shines as Connie Milligan, a young Washington single gal who is forced by circumstances to rent half her apartment to Benjamin Dingle (Charles Coburn), a retired millionaire in town for business. In turn, he sublets half of his half of the apartment to Sgt. Joe Carter (Joel McCrea), a young Army aviation expert. Of course there are problems regarding privacy, including a futile attempt at working out a schedule for the apartment, which are helped along by Dingle playing Cupid for the young couple. In fact, Coburn