Amazon.com

Would you believe the most enchanting musical of the year is an almost four-hour-long epic about a ragtag group of 19th-century Indian farmers who form a cricket team to take on an arrogant British captain? The old-fashioned Hollywood musical is alive and well in India's Bollywood industry, where the joyful explosion of music and dance and innocent romance abounds in sweeping epics. In this infectious tale of bloodless revolution, the underdog outcasts and oddballs of a fractured village pull together into a unified team to take on the oppressive colonial Brits at their own game. Think The Longest Yard meets The Seven Samurai by way of Rudyard Kipling, with cricket bats, choreographed dance numbers, romantic triangles, and a rousing call to solidarity. There are no surprises, but what spirit, what color, what good fun! --Sean Axmaker ... Read more

Reviews (124)

One of India's best
"Sach Aur Sahas Hai Jiske Maan Mein, Aanth Mein Jeeth Ussi Ke Rahe".
Literally translated, this means "He who has truth and courage on his side is the winner in the end"
This is the main message preached by Lagaan. Lagaan is not a movie about cricket. Lagaan is a movie about the triumph of human spirit. It is a movie about unity of people of all races, genders, religions, and classes. It is a movie about a war without bloodshed.

Though Lagaan may be a product of India, it is a film with universal appeal. Lagaan is not only a meaningful film, but it's also a great entertainer.

Referring to the dvd itself, it is a bit disappointing for such an excellent film. Breaking it down into subsections:

Video Quality: Excellent. Compared to other Indian dvds, this is truly excellent quality. One really gets the true feel of Champaner.

Audio Quality: Exclellent. The 5.1 surround sound is great quality, and is really noticable udring the songs.

Extras: Above-average. This is where the disappointment sets in. The only true extra on the dvd is a deleted scene. That itself is wonderful to watch, but that's all there is, along with some written filmographies. No interviews, no award ceremonies, no other deleted scene, no commentary, nothing. Additionally, the menus are boring and static.

Lagaan truly is a movie that all should see. While the dvd may not be perfect, it still is a great opportunity. Those who haven't seen Lagaan, especially non-Indians, should grab this opportunity, and rent a copy as soon as possible. Not an experience to be missed out on.

My 1st Bollywood Film was Worth the 4 Hours!
Despite the fact that I bought the DVD some time ago, it took me a couple of months and 2 tries to actually get into it enough to watch. Knowing that it's approx. 4 hours long, the first time I popped it in and started struggling through the subtitles, that baby was out of the recorder about 2 minutes later! Well, it took being held up in bed sick to finally motivate me to try again.

Lagaan is an enchanting film that works on several levels: as an exciting sports film, as a poignant triangular love story and as a social and political drama. I like all of the above-mentioned genres with the major exception of sports films. However, I found myself thoroughly caught up in the big game, which actually adds at least one hour to the film's length. It is through this game that so many of the wonderful characters that are introduced throughout the film get their moment to shine: the fortune-teller, the crippled low-cast outcast, the village "idiot", the reformed Judas, etc.

I also appreciated the film's attempt to be fair: it would have been very easy to make the Brits all look like "bloody colonial twats", and the Indians smell like roses. We get to see Brits who where appalled by the way that their fellow countrymen behaved towards the Indians, and Indians discriminating amongst themselves due to their cast system. These areas of grey add layers to what might have been a fairly one-dimensional, Indian version of Mighty Ducks! That said, the very clear lines between good and bad help one cheer the underdogs on and ultimately make this a warm and fuzzy, feel-good-movie.

The cast, lead by Aamir Khan - a wonderful mixture between Tom Hanks and Elvis Presley (!) - is wonderfully diverse, and the films length allows us to get to know each and every one of them. It is my understanding that Khan is somewhat of a superstar in India, which probably means he'll never have the desire to breakout and start an international career. I guess we'll just have to keep watching him in Bollywood films - if his other films are as charming as this one, however, than I certainly don't mind.

If it was not all about Bhuvan
India during the British Raj. Colorfully dressed dancing farmers are worried about their crops because there has been no rain. To top it, the arrogant British major, complete with wiggly mustache decides he is going to levy double taxes this year because they got off easy the previous year by paying 1/2 tax. The villagers go to beseech the milquetoast king of the province, and witness a game of cricket which they watch in fascinated confusion and finally dismiss as a silly children's game.

Raja Milquetoast cannot accede to their demands, but the mustache man takes offence to one of the villagers making a crack at the `silly' game he was playing and says that if the village can beat him in a game of cricket, he will exempt them from taxes for four years. The villager agrees because he is the male protagonist Bhuvan and his fellow villagers give him the cold shoulder for weeks even as he tries to put together a motley crew of villagers to play based on laterally suited skills. If a man can chase chickens, he can catch a ball, if a man can fling the bola, he can `pitch' the ball, and if a man can play the drums really hard, he can pinch hit. They find a low caste guy who can spin the ball because he has a deformed hand and finally the team, is a vertible advertisement for a united India comprising of all the religions. Even Christianity gets an honorable mention in the form of the British officer's sister who appalled at her brother's unfairness offers to teach them how to play. Of course, she falls in love with him and she is not the only one.

Americans might feel they won't `get' the film because it is mostly about cricket, but they really don't need to worry. It works like this. Lets use baseball as comparison. There are only two `bases' in cricket and they are opposite each other. Two batsman play at a time and they stand at one `base' each. The batsman hits the ball and runs to the other base, for a run which is completed only when the batsman with him runs to his base. You have bowlers, like pitchers, but each gets to bowl a max of 10 overs (6 ball spells) a match. You have batsman, like hitters, but if they are out, they cannot play again during the innings. The main ways they can get out is if they miss the ball and it knocks over their stumps or if they are not in their bases and someone in the oppoing side knocks the stumps (three sticks that mark an area as a base) over. You can also get caught like in baseball if you hit the ball into the air and someone in the opposing team catches it before it bounces. A sixer is a home run equivalent, hitting the ball out of the boundary and the batsman gets six runs, but there is also the four where the ball touches the ground in the field and crosses over or rolls over the boundary without being intercepted. The objective is to beat the team that batted first by making more runs than them or to defend your score from being beaten. A hatrick, a term you will encounter is when a bowler gets three batsman out in successive balls. But the game really isn't about cricket as much as it is about the underdog who comes through and wins.

The other characters are what make the movie; even if Aamir Bhuvan Khan who ghost directed the movie, tends to keep the focus solely on himself. The eccenteric fortune teller, the awkward cripple who makes the hattrick, the farmer and his fued with the man who sells eggs, and his errant chickens, and even the reformed envious suitor who comes through in the end for the team; all in all, it is all about those old fashioned values like fighting for what is yours, believing in yourself and being rewarded for it.

THE BEST OF BOLLYWOOD...
I admit that I love films with Anglo-Indian themes. I also love period pieces. So, when I discovered Lagaan, I was intrigued, though somewhat skeptical about its being a musical and about its underlying story. Still, I thought it was worth a shot. I am delighted that I took a chance, as I was riveted for the nearly four hours the film was on the screen. It is little wonder that it was a 2001 Academy Award nominee for best foreign language film.

The film takes place in late nineteenth century India, during the time of the British Raj, in the small rural village of Champaner. It is a poor village against whom a tax, called a lagaan, is levied by the British. It appears that the lagaan goes to support the British cantonment that rules over the Central Indian province in which Champaner sits. The cantonment is commanded by an arrogant Captain Russell, who seems to care little for the customs, culture, and people of India. He typifies all that is bad about the reign of the British Raj.

Champaner has, unfortunately, had a long lasting drought and, as a farming community, the dry spell has been devastating, leaving the villagers on the brink of agricultural disaster. They have been awaiting the seasonal monsoon rains to no avail. When the villagers are told that Captain Russell has doubled the lagaan, as it had been cut in half the previous year due to the drought, they are angry. It is a now an issue of life and death for them.

This brings Bhuvan, a handsome, young, spirited farmer to the fore. Before he knows it, Bhuvan finds himself wagering the future of his village and province on a cricket game, as he has likened it to a local game played by the villagers. The stakes are now higher, for if they lose, Captain Russell has decreed that not only will Champaner have to pay a triple lagaan but the entire province will have to do so, as well. If they win, however, the lagaan will be stayed for three years.

So, it begins. The villagers are a colorful and motley cast of characters, both Hindu and Muslim. It is interesting to see how Bhuvan organizes and trains them to meet the British on what will be the functional equivalent of a field of battle. Village blood feuds and caste prejudices are laid aside in order to do wage their own unique war against the onerous lagaan. They are assisted by Captain Russell's tenderhearted and beautiful sister, Elizabeth, who is disgusted by her brother's meanness towards a people and culture that she embraces. This leads to a love triangle, as Elizabeth finds herself falling in love with Bhuvan, to the consternation of Gauri, a beautiful village girl who loves Bhuvan. He, however, remains somewhat oblivious to the romantic portents swirling about him.

The film take the viewer through the preparations for the game by the villagers, the nefarious duplicity of one villager, and the game itself, which is a tense, three day match in which the rag-tag group of villagers meet the crisply dressed British on the cricket field. The hopes and dreams of the villagers hang on the result of the game, as does the career of the unlikable Captain Russell, whose superior officers have looked askance at his unseemly proposition to the villagers. The match itself, which consumes nearly a third of the film, is exciting to watch. The film is a thrilling epic with masterful performances and occasional exuberant musical numbers that are sparsely interjected at appropriate times throughout the film.

This multi-faceted film is deftly directed by Ashutosh Cowariker, who wrote the excellent screenplay. The acting by the entire cast is stellar. It is also easy to see why Aamir Khan is such a super star in India, as he has all the attributes of a leading man. He is simply sensational. The lovely and graceful Gracy Singh, in her debut role, is wonderful as the lovesick Gauri, and Rachel Shelley is terrific as Elizabeth. The cinematography is spectacular, as are the production values. Altogether they provide a sumptuous feast for the eyes. This film is certainly representative of the best that Bollywood has to offer.

The DVD has excellent audio and crystal clear visuals. The film is shown in letterbox format, and the subtitles are clear and easy to read as they are displayed against a black backdrop. The subtitles are available in English, French, Spanish, Chinese, Korean, Portuguese, and Thai. There is also a long deleted scene included that is very worthwhile, as well as filmographies for the principals in this film.

All told, this is a very fine, worthwhile film to add to one's personal collection. Bravo!

Not the best of Bollywood
I am married with an woman origanally from India. Therefore been able to see Bollywood movies, even more then i wanted. But i have come to enjoy some of the Bollywood movies. Lagaan was definitally NOT one of them.

If you are looking for a first time experience with Indian Bollywood movies i guess Lagaan will not give you the best of Bollywood movies which are around. It gives you some highlights of Indian Movie making with great scenery, dancing and music. But the storyline, is even for Bollywood movies standard, incredible weak. The second part of the movie shows a cricket match where all Indians cooperate to beat the evil British Empire (in a cricket match!)...it's boring, totally unbelievable, not funny, patriotic and therefore a waste of time.

If you want to have your first time good bollywood experience, try movies like: "Bombay" or "Monsoon Wedding" ... Read more

Reviews (494)

Simply in the wrong place at the wrong time
The world was not ready for a return to the days of the movie-musical when "Newsies" was released in 1992. A box-office flop, it has quickly risen to cult classic status with fans everywhere. Newsies is based on the true story of the New York newsboys' strike of 1899. Granted, Disney is guilty of "improving the truth a little", but doesn't any musical, where people break out in spontaneous song and dance, require one to put reality aside for a while? This film tells the tale of the newsies, led by tough, street-smart Jack Kelly (Christian Bale) and intelligent, reasonable David Jacobs (David Moscow), who form a union when Joseph Pulitzer (Robert Duvall) ups the price of newspapers from fifty to sixty cents a hundred. The street children - with names like Racetrack (Max Casella), a compulsive gambler who steals many scenes with his wisecracks - are aided by a newspaper reporter named Brian Denton (Bill Pullman). Together the unlikely company endures many troubles, including run-ins with the police and their leader's betrayal, throughout the strike. The actors are believable as poor orphans and runaways during the turn of the century, and one look at any of them shows that they've poured their heart and soul into this movie. The lack of depth in some characters - especially Sarah (Ele Keats) and Medda Larkson (Ann-Margret), roles that serve no discernable purpose other than sex appeal - is my only qualm with the film. Looking past that and the many continuity errors (some of which are actually quite amusing), this is a highly enjoyable movie for the entire family to share. Not a masterpiece, but plenty of entertainment!

Extra! Extra! See All About It!
An uplifting story portraying the greatest accomplishment children have made in our entire lifetime. Well directed by Kenny Ortega with amazing choreography (Kenny Ortega/Peggy Holmes) with amazing music by Alan Menken and creative lyrics by Jack Feldman. This motion picture has a wonderful cst including stars such as Robert Duvall (Joeseph Pulitzer), Ann-Margret (Medda Larkson), and Christian Bale (Jack Kelly). Other actors in this film include David Moscow, Aaron Lohr, Max Casella, Gabriel Damon, Luke Edwards and many more.
Set in 1899, this courageous group of newsboys from New York City, organize with other newsies from all to take on the most powerful man in New York City, newspaper giant Joeseph Pulitzer, to make their dreams come true. Through all the difficulties, the boys stay srong and become unlikely heroes by challenging the powerful.
After seeing it in my history class, i soon became a big fan and have researched everything from the actors to the acrual story. this motion picture gives accurate information and is fun for the whole family.

Newsies Rocks my Sox!
Wow. This movie has got to be one of the best ever. I was visiting a friend in St. Louis who had gone to a musical camp, and they watched it there, and she made her mom go out and get it for us. We watched it 5 times! It really is that good. It's got great singing and dancing, an awesome story line, catchy songs, and plus it's based on real events. And Christian Bale is sooooo cute! If you haven't seen it yet, go rent it NOW!

NEWSIES IS THE BEST!!!!! I love this movie!
Well, if you didn't already read my title NEWSIES IS THE BEST! And I love it. It's a great story about friendship and sticking up for what you believe in. Plus, it's Christian Bale and David Moscow...how can you go wrong with those two! I love the singing and dancing too. If you love the music as much as I did I suggest you buy the soundtrack because it's awesome! I'm telling you girls, if you have a bad day, pop this movie in and watch it. I mean it's a bunch of cute boys singing and dancing...it works everytime. I recomend this movie to anyone who likes musicals, boys, and great Disney magic. Watch it...trust me. It's probably one of my favorites movies of all time! If your cool you won't regret it.

Newsies
I love the Newsies....if your into musical's this is a must see! ... Read more

Reviews (50)

Total BS, but great music
ok ok this movie had great music and the dancing was the real star. I remember seeing this movie with my mother, who was a real construction worker. we both laught. No way she could do construction all day and dance all night, but its a movie right. Jennifer Beals was so hot when she did this movie, why didn't she do more films? Oh yeah, she can't act to save her life, but never mind that lets get back to the dancing. The Choreography was so cutting edge for the 80's. If you can choke down the bad acting and the weak story this is not such a bad film. If you like good dancing,and some of the best 80's music see it.

Great Cinematography and directing
This movie has some good music and dancing, in a sappy plot. But the music and dancing are not integral to the plot development; they do not carry the film in the way dancing carries "Dirty Dancing" or "The Turning Point" (both of which have better dancing, by the way.)

But it's one of my favorite movies. Why? The director, Adrian Lyne, got his experience directing TV commercials, where the entire message has to be conveyed in 60 seconds, and in Flashdance every moment is contributing something. The key is the cinematography. Leonard Maltin calls Lyne a "visual stylist", and he is, but he's more. He takes Roman Polanski's cinematographic innovations and pushes them to new limits; the camera tells the story.

When you watch "Flashdance", watch how light and camera angle are used. Light: Pittsburgh light, hazy, smoky, dull, reflecting off puddles, blazing from lamps, dim, bright, strobe, whatever; lighting carries the mood of each scene. As for camera angle, in most movies we are observers, outside the movie, watching the actors. In some of "Flashdance" that is also true, but then in many places the camera angle shifts so we are inside the movie, seeing what one of the actors, or several of the actors, see at that moment. It just pulls you in. If you're not familiar with the film, the first time you watch it wait for the final "audition" scene, and watch how the camera is first an observer, before the dancer enters the audition room, then sees from the dancer's view as the audition begins, and then shifts to show us what the judges see, as the dancing becomes compelling. I don't know about you, but this grabs me and pulls me in; I could watch that scene five times running. And there are many other scenes in which camera angle is used similarly but not quite as obviously. I give this movie four stars; I would give it five if the music and dancing were as well integrated with the plot as in some other movies.

A Believable story that any dreamer can identify with.
Flashdance is one of the most remembered films of the 1980s. It is full of rythym and fast paced tempo that most people were used to seeing in the popular dance movies like Footloose and Dirty Dancing. Jennifer Beals plays her best role as the young wannabe ballet dancer who strives to make it in a rough neighborhood. This film whould be nothing without its music or dancing. It is one of the best date movies too. I highly reccomend this film to anyone with a dream or anyone who is a fan of films from the 1980s.

The dream is eternal
The film is an image of what the 1980s were, of Pittsburgh in the 1980s, this temple of heavy industry coming to an end and starting to look for a new future, due to its industrial crisis. Yet this film has not lost any charm and meaning. The young Alex, an 18 year old girl, is the symbol of this city, an industrial worker during the day and a dancer at night, with a dream : to join the ballet company of the city. Industry producing art. Industrial work producing the dream of art. Alex is a willful young woman who follows the road of her desire, if not ambition, but keeping her ethics pure all along. Pure by looking for love and not pure pleasure. Pure by refusing any favor in her quest and longing for a victory that can be called her own because it owes nothing to anyone and any help from outside herself. Pure because she salvages her friend from becoming a gogo girl in a shady place where dancing is just some kind of dressing for enticing prostitution. Pure because she finds her energy in an old friendship with an old dancer who is encouraging her in getting started and competing for an audition that could open the door to a new artistic life. Pure because she is not soiled by all those who would like to drag her down into the mud of selling her young beauty and art to the gloating eyes of perverse and lustful males. And she can succeed because she never lets her dream die. In life the dream is the almighty sign on the road to epiphany and Alex will meet with this epiphany of hers, the one she has dreamed of for years and she can find only in the energy that comes from her mind and her body, from her unconquerable soul. This film has not aged in spite of all the changes that have occurred in our societies. The dream is the energizing force that leads the way, too often of some Cross, to transcendency.

Dr Jacques COULARDEAU

typical 80's flick
Alex is a welder by day and an exotic dancer by night, her true passion is dancing and she dreams of being accepted into a professional dance school, except that she lacks the confidence to go after her dream. This type of story, Cinderella goes after her dreams and makes it, is cliched and I love it. Instead of seeing glossy characters with ravishing careers, how about those of us who actually live in the real world and are very much like Alex, we want to see characters like her who are struggling and actually make it! Its a very encouraging and inspiring film for those of us pursuing our dreams. I really like it, I could have done without the naked bar scene later on in the movie. Jennifer Lopez recently did a video based on flashdance and I got to say she was really good. There was a rumor a while back that there might be a flashdance remake with her, and I think that she should do it. J.Lo is perfect for the part! It'd be awesome if she did it. ... Read more

Amazon.com

Few things can be more noble than a wholehearted effort to tell thestory of black secular music in America, especially through the eyes of a mid-20th century rhythm-and-blues vocal group breaking through race barriers to popular success. Comedian and filmmaker Robert Townsend's The Five Heartbeats (1991) is one such ambitious effort. If its story frequently sagsunder epochal burdens, the film makes up for it with a surprisingly tough lookat the music business and classy appearances by Diahann Carroll and hoofer Harold Nicholas. Townsend plays one-fifth of the titular act, whose collective life and times we follow from 1965 to the 1990s, through friendships, break-ups, and re-groupings. The director's script, cowritten with Keenen Ivory Wayans, is wobbly and short on good material for the women in the cast. But several of the male actors are quite strong, particularly John Canada Terrell as an original Heartbeats replacement. --Tom Keogh ... Read more

Reviews (59)

The rise and fall of a '60s group
"The Five Heartbeats", one of my favorite films by Robert Townsend, is a wonderful movie about a fictional singing quintet's rise to fame in the 1960s. It somewhat echoes the story of the Temptations, but in actuality, it could have been a profile of just about any black male singing group of that era (it was supposedly based on the story of The Dells). The struggles to get to the top, what happens when you get there, the egos, trying to keep up with musical trends and of course, the racism, backstabbing, and shady characters -- it's all included here as a very real look into just how ruthless the recording industry can be. There are scenes that will make you laugh, make you cry, and just make you feel good all over!

With strong performances from Leon, Robert Townsend and Michael Wright, this movie is a CLASSIC and extremely enjoyable. Also included in the cast are Hollywood legends Diahann Carroll and dancer Harold Nicholas. I highly recommend this...great acting and great musical scenes add up to a GREAT FILM. Get it today!

This is a must have
The Five Heartbeats is one of my favorite movies. Robert Townsend does an excellent job. This movie is action packed (The beginning), funny (Big red), and heartbreaking (Eddie on drugs). This movie is one of the best. This is a must have.

Much Dap to Robert Townsend
for telling the Story od the Dells&congradulations to them for fianlly getting into the Rock&Roll Hall of Fame after waiting way to long. this story deals with the Music Industry&Mirriors alot of the same Politics you see today.Racisim,Sexisim,Bad Contracts,Drugs,Hustling,Pimping,&all still waiting on that Hit to Emerge.the Cast was Strong in this Film.Dap for Holding it down.Brother Townsend knocked this Film out just as he did with "Hollywood Shuffle".also He had a cool Role in "Cooley High".this is a Film that spoke then&Speaks even more today about the Shady Industry.

Wonderful Movie!!
Wow, what a film! It is a movie about a fictional vocal group from the 60's that is loosely based on The Dells( as opposed to The Temptations, like a lot of people thought). Writer/director/actor Robert Townsend works overtime to make sure we get the whole story of how a vocal group had to make it in the 60's. Michael Wright steals the show as the lead singer who is asked to leave after showing up too late, too many times due to drug and alcohol abuse. Michael Wright has a (should have been) Academy Award winning scene in a parking lot after a show where he sings to prove he still has the chops, only to embarrass himself in front of his ex- group members. The pathos is palpable as the rest of the cast hits the right note of sorrow showing that they still respect him, but now pity him. There are plenty of moments like this, both dramatic and musical that will make the hair stand up on your neck. The soundtrack really resembles songs from this era and I am definately interested in getting the soundtrack.

Good Movie
It's one of the better films on black music group singers. the casting and acting was one of the better. I would recommedn this movies for entertainment. ... Read more

Reviews (28)

The man who invented big band!
"The Glenn Miller Story" can be enjoyed even by someone who's not a fan of big band or jazz music. It's for everyone especially music lovers of all tastes. Jimmy Stewart is cast superbly here and at times you're thinking you're watching the actual Glenn Miller himself and not the actor. The music of Glenn Miller is brought to life so magically with its captivating soundtrack filled with his most memorable tunes and melodies like "Chattanooga Choo-Choo" and the one everyone knows: "Moonlight Serenade." The colors on this film are vivid and make you wish you'd want to be there. It was indeed tragic to lose such a great musician all too soon. You still hear his music in movies, nightclubs, theaters and more. All in all, it is a neat movie to look at and to hear remembering the trombonist who became the leader of the band: Glenn Miller.

5 stars for the music.....as for the story.....well.......
This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

That Sound
This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

Evocative and Amazing
It happens every time. When you watch a film with James Stewart in it certain things happen.

The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing.

He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really.
Those who carp about accuracy should pick up a biography. Those who love the mystique will watch and enjoy the timeless Glenn Miller through James Stewart.

I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history.

Finally, I was not around during during the Miller era however,

after viewing this film .. " I was there"

C Pope

Another mistreatment of a classic
Let's clarify a couple of things.

First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such.

Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies".

Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history.

Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release.

The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie.

Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal.

As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more

Amazon.com

It's not exactly Fred Astaire and Ginger Rogers, but this 1998 entry, starring Vanessa Williams and newcomer Chayanne offers its own terpsichorean pleasures. The story centers on Rafael Infante (Chayanne), a Cuban émigré to Texas, where he takes a menial job at a local dance studio run by John Burnett (Kris Kristofferson). There, he falls for Ruby Sinclair (Vanessa Williams), a one-time ballroom championship contender looking for the opportunity to compete for the title once more. The romance seems a foregone conclusion but has some snap thanks to a crisp performance by Williams and a sunny (if limited) one by Chayanne, a singing star in Puerto Rico. Best of all is the dancing itself. In terms of both energy, exuberance, and style, this film's dance sequences rank with the best of the decade's limited celebration of the kinetic art, such as Strictly Ballroom and Shall We Dance. Though the movie's central plot secret seems obvious from the first downbeat, the film takes off every time the dance music kicks in. --Marshall Fine ... Read more

Reviews (85)

Fantastic
"Dance With Me" was a really great movie that worked on manylevels. It had great music, an enthusiastic, fun-loving cast, a great storyline, believable characters, sensitivity, romance, and a happy ending. This was accomplished without the use of gratuitios sex, violence, and bad language that seems to be all too common in todays movies of lesser character. Vanessa L. Williams was great as dancer Ruby, and Chayanne was wonderful and romantic as her male love-interest, though he did have a tendency to smile way too much. They were amazingly romantic, full of chemistry, Chayanne was very convincing in his role as a man with dubious parentage. Chayanne is hot, yes, but even hotter was the man who played Vanessa L. William's ex-partner, the father of her son, and competetion partner during the Latin dance contest sequence. He is an extremely sexy man! I only wish that he, Valenzuela (the male Valenzuela--not the woman one), could have gotten WAY more screen time. This movie makes you want to get up and dance. It moves you in more ways than one. I've watched it at least twenty-five times since it was released (very limitedly in the theaters), and I will watch it, no doubt, twenty-five more times before it's all over. This is a fantastic, glamourous movie, and if you prefer a little "ethnicity" in your movies as opposed to formulaic movies like "Strictly Ballroom" or "Dirty Dancing," and if you want to hear great Afro-Carribbean-Latin sounds and see some of the best dancers in the world, this movie is for you.

Great, wonderful, highly enjoyable movie!
"Dance With Me" was a really great movie that worked on many levels. It had great music, an enthusiastic, fun-loving cast, a great storyline, believable characters, sensitivity, romance, and a happy ending. This was accomplished without the use of gratuitios sex, violence, and bad language that seems to be all too common in todays movies of lesser character. Vanessa L. Williams was great as dancer Ruby, and Chayanne was wonderful and romantic as her male love-interest, though he did have a tendency to smile way too much. They were amazingly romantic, full of chemistry, Chayanne was very convincing in his role as a man with dubious parentage. Chayanne is hot, yes, but even hotter was the man who played Vanessa L. William's ex-partner, the father of her son, and competetion partner during the Latin dance contest sequence. He is an extremely sexy man! I only wish that he, Valenzuela (the male Valenzuela--not the woman one), could have gotten WAY more screen time. This movie makes you want to get up and dance. It moves you in more ways than one. I've watched it at least twenty-five times since it was released (very limitedly in the theaters), and I will watch it, no doubt, twenty-five more times before it's all over. This is a fantastic, glamourous movie, and if you prefer a little "ethnicity" in your movies as opposed to formulaic movies like "Strictly Ballroom" or "Dirty Dancing," and if you want to hear great Afro-Carribbean-Latin sounds and see some of the best dancers in the world, this movie is for you.

Good, but I've seen better
I enjoy this show, but as a ballroom dancer, this movie did have a lot of problems. The competition scene itself was hopelessly off. If you're going to display a ballroom competition, at LEAST get it right! The comp they showed is nothing like a real competition, you get nothing of the real feel of what ballroom is. Someone looking to get hooked on the dance style will be sorely disappointed if that's what they're expecting. There's a lot more to it than this movie shows. More to the point, I'd like to see a ballroom movie that employs REAL ballroom dancers, people who actually know what they're doing. That could bring a whole new kind of charisma to the screen. Other than that, though...the music was incredible, very dance-able, it made me want to get out and samba the night away. The story was only halfway, and sort of muddy at times, like they were trying to put TOO much into it, but not too bad. Still, give me Strictly Ballroom any day.

slow & predictable
some good dancing/music & an occassional laugh; however, i found the story slow, cliche & predictable. did i miss the scene where the us/cuban governments began allowing hassle free travel for citizens between the us & cuba??? a 2 star film with an extra star for vanessa williams, who is unbelievably gorgeous.

A real feel good film
A glimpse of beautiful, stylish dance entertainment and a capture of smooth passionate heat. Vanessa L. Williams and Chayanne worked well together. A great feel good movie. ... Read more

Album Description

1995 reissue of the soundtrack to director Bob Fosse's acclaimed 1979 musical co-starring Roy Scheider and Jessica Lange. Ralph Burns arranged & conducted all 14 tracks, whichinclude performances by George Benson, Sandahl Bergman and Ben Vereen with Scheider. A Spectrum/ Karussell release. ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

Reviews (853)

One of the best movies EVER!
As a musical theater purist, I was concerned that a movie musical with 3 of Hollywoods A list stars would be a hinderance rather than a help in the "revival" of the genre. I must say that I was blown away by the sheer genius and excellence of the film.
Catherine Zeta-Jones' Velma was equal to, if not better than Bebe Neuwerth's ( Brodway revival). Her beautiful voice and masterful dance skill is worthy of the great white way. A Tony may have been a more appropriate award as opposed to her much deserved Oscar. Although Rene Zellwegers voice was a little shaky in the begining she brought out a tough side in Roxy that was not there in neither the original nor the revival stage versions. Then my biggest fear, Richard Gere as Billy Flinn, was in a word perfect. You can't ask for a better fit, and what a shocker to see that wonderful tapdance!
With great costumes,Fosse-like choreography, expert lighting and singing (by many broadway veterans in the chours as extras) this dark comedy shines. Also with great cameos and supporting performances by the great Chita Rivera ( original broadway cast),John C. Reily (oscar nominated),Lucy Liu, and Christine Baranski this film shines as one of the greatest ever made, not just as a musical, but as a film. Rob Marshall's directorial debut deserves all of it's accolades...and all that jazz.

Sizzling and sexy musical entertainment.
I have just seen one of the best movie musicals in years. "Chicago," directed by Rob Marshall and starring Catherine Zeta-Jones, Renee Zellweger and Richard Gere, will knock you out of your seats. This stylish adaptation is smart, sassy and gorgeously put together.

Catherine Zeta-Jones is red hot as the murderous Velma Kelly. Velma washes the blood of her victims off her hands, and then sings and dances on stage as if killing people is all in a day's work. Zeta-Jones struts across the screen as if she owns it. She is sultry, sexy and a very talented singer and dancer. Renee Zellweger does fine work as the low class Roxie Hart, a selfish and conniving young woman who longs to be a musical star. Like Velma, Roxie lands in jail after committing murder. Richard Gere effectively plays their shyster lawyer, Billy Flynn, with roguish charm and a twinkle in his eye. Also outstanding are Queen Latifah, as an avaricious warden, and John C. Reilly, as Roxie's hapless husband.

The movie takes place in the 1920's during the Jazz Age. It is the era of Prohibition, fast women, and an "anything goes" attitude. Rob Marshall has an assured touch, and he directs this material with panache. The swinging score by Kander and Ebb goes perfectly with the wonderful costumes, sets and choreography. I have not enjoyed a movie musical this much in years, and I recommend "Chicago" highly.

Manipulating the System
The 2002 Oscar winner for Best Picture,"Chicago" is a musical which has the late Bob Fosse's choreography stamped all over it, although it's really anybody's guess as to whether or not he would have been pleased with this film version of his 1975 stage hit. Happily, the acting was great and the leads did their own singing and dancing.
The story is based on the real-life cases of Beulah Annan and Belva Gaertner, renamed respectively as Roxie Hart and Velma Kelly (There was a real Roxie Hart as well, who committed murder in Indiana in the 1910s), who were exhonerated of murder charges by a flashy lawyer in the 1920s.
The story begins on a snowy night at the Onyx Club in the Chicago of Al Capone, where the booze flows heavily despite Prohibition laws, and a brassy Velma (Catherine Zeta-Jones) arrives at work late, stopping to hide the gun she has just used to kill her husband and sister after catching them in bed together. She performs the rousing number, "All That Jazz" shortly thereafter as if nothing has happened.
Watching her is ex-chorine Roxie, played by a slender, shiny-complexioned and pixie-faced Renee Zellweger, whose unquenchable desire for fame has led her to cheat on her mechanic husband with a slickster furniture salesman (Dominic West)who falsely claims he has connections that can revamp Roxie's career.
Soon, Roxie and Fred Casley scurry over to the Hart's apartment to continue their affair. When Roxie asks Fred, as she has before, when he will introduce her to the club manager, and help her return to showbusiness, Fred admits that he lied. The following confrontation becomes violent and Roxie fatally shoots Fred as he tries to leave.
Amos Hart, Roxie's dim-witted but devoted husband(John C. Reilly) tries to cover for her at first as Taye Diggs' Bandleader/Announcer leads us further into the action by introducing Roxie's first number, "That Funny Honey", which changes tones as the investigator mentions the victim's name and Amos becomes aware of his wife's infidelity.
Roxie is arrested and taken to the Cook County Jail, where Chita Rivera, who originated the role of Velma Kelly on Broadway,has a cameo appearance as inmate Nickie.
We are then introduced to Matron Mama Morton(a pretty, regal, and matronly Queen Latifah), and the vaudville numbers continue as she sings the racy and more-than-highly suggestive "When You're Good to Mama".
As she begins her time in prison, we get to know Roxie's inmates during "The Cell Block Tango". Judging from the visuals, where most of the inmates' handkerchiefs came out red as they finished giving details of their crimes and the Hungarian immigrant's was white, we are to believe that Katalin Helinszki (Ekaterina Chtchelkanova), who was accused of the most heinous of the murders, is innocent.
Soon after, Mama Morton pulls a few strings, Defense Attorney Billy Flynn (Richard Gere, whose early training in stage musicals, like that of Catherine Zeta-Jones' serves him well here) arrives to represent Roxie, who also has push-over journalist/sob-sister, Mary Sunshine(Christine Baranski)in her corner.
The song "We Both Reached for the Gun" is based on headlines from the actual case, and has the feel of a hymn sung at a revival meeting. It is reflective of Roxie's false repentance for her misdeeds.
As the publicity surrounding Roxie grows, and the opportunistic Flynn begins to devote more time to her than to his previous client, Velma, another potentially lucrative case appears for Billy when Lucy Liu's pineapple heiress, Kitty Baxter committs a triple homicide(Note that his discussion of this case with dinner guests would not have taken place today), forcing Roxie and Velma to use a few tricks to win back Billy's attention, including a fake pregnancy.
Onstage, as the murder-as-entertainment scenario continues, we are treated to the long-suffering but loyal Amos' "Mr. Cellophane", and his devotion to his unfaithful and ungrateful wife is heart-rending. But at least he gets more attention than the offscreen family of Fred Casley, who might have given the story an interesting perspective if included.
Roxie's falling-out with Billy over his selected courtroom attire for her ends abruptly upon her observation of the tragic results of a poor woman's inability to get proper representation. Noteworthy is the strong anti-immigrant sentiment of the time.
Ultimately, Flynn, Velma, and Roxie, razzle-dazzle 'em in court. Lies win out over truth, and style, in the form of Flynn, Velma and Roxie, wins over substance in the form of Colm Feore's prosecutor, Martin Harrison, Katalin Helinszki, and Amos, and the Hart's neighbor, Mrs. Borusewiz (Jayne Eastwood), who also took the witness stand, as often happens in life.
Although acquitted, things didn't end so happily for the real Beulah Annan, whose life ended in a sanitarium in 1928.Belva Gaertner lived to see her story told onstage the year before.
But the man-manipulating Roxie Hart and Velma Kelly live to dazzle the world again, and our rollicking tale of cynical truth ends on a positive note for our main players.
All one could do in the end is heave a sigh, enjoy the show, and "All That Jazz"!

Too Much Music
I saw nothing on the cover to indicate this was mainly a musical. The minimal story line was squeezed in between 110 minutes of singing and dancing..... I would describe as "interpretive modern jazz". We finally used "fast forward" to speed through this dancing and at the end threw the VHS tape in the rubbish. What a disappointment.

The DVD release is shameful
Don't get me wrong. I love this movie more than just about any other movie in existence. The problem is that whenever you get a big-budget, Oscar-winning movie, the initial release on DVD is always going to have at least 2 discs and 2-3 hours of special features. So naturally, I eagerly awaited the release, so I could bask in the sheer excessiveness of the entire product, but instead, I watched as the curtain rose to reveal a DVD that, from my perspective, can only boast of having a 3-minute-long musical number deleted from the theatrical cut of the film. I was crestfallen, and proceeded to wait until they unveiled the real prize, the multi-disc extravaganza that I had expected from the start. But still I wait, so I am forced to say that the DVD is only worth renting, but not worth the $20.00 that the distributors continue to ask for. The movie is incredible from start to finish, but it's just not worth spending $20.00 on this, only to see Miramax release a 4-disc set the moment you take the plastic off the case. I personally will wait until they release it in a DVD set that truly does this masterpiece justice. ... Read more

Description

A movie musical landmark that won eight Academy Awards(R)! Liza Minnelli and Joel Grey star in Bob Fosse's smashing film version of the Broadway hit set in pre-Nazi era Berlin. ... Read more

Reviews (89)

Life is a cabaret, old chum...
It's often been said about old musical movies that they went too far in the conceit of people "bursting out in song" during a scene. Well, in his film version of Kander & Ebb's masterful Cabaret, Bob Fosse completely got around that problem by presenting the songs on stage. It was handled brilliantly, the choreography was incredible, and the movie just plain works.

Cabaret the movie doesn't share many songs in common with the original stage version - it still has "Willkommen," "Two Ladies," "Tomorrow Belongs To Me," a German version of "Married," "If You Could See Her," and "Cabaret" - but that's it. A few new songs were added - "Mein Herr," "Maybe This Time," "Money, Money," - but for the most part it's a lot less sung than the staged version. A lot of musical numbers dealing with the world outside the Kit Kat Klub were used as underscoring, preserving John Kander's great tunes. But this doesn't detract from it being one of the best filmed musicals out there.

Fosse's direction is a big help; it has a great eye for early 1930s Berlin, and presents the decadence and foreshadows the Nazis brilliantly. Fosse created great, sensual choreography for the film, and it is completely entrancing to watch the musical numbers. And the rest is worth it, too.

Flipflops aside, the couples are presented well; Liza Minelli's portrayal of Sally Bowles is definitely the acting part of a lifetime. She was just completely *convincing* as Sally, from end to end. Michael York as Brian is very reserved, very British, and very studied. Helmut Griem is entirely convincing as Max, who creates tension between the couple after befriending them. The secondary couple is played to perfection by Fritz Wepper and Marisa Berenson, as opportunistic Fritz Wendel who falls in love with the rich young Jewess Natalia Landauer, respectively. And, of course, Joel Grey is spectacular as the haunting, Puckish Emcee.

In general, this movie presents itself as a stunning revelation to viewers of a story that will stick around for a very long time. It's a virtuoso interpretation of one of the greatest American musicals, and deserves to be seen.

wonderful new collector's edition
CABARET has never looked better, remastered for it's 25th anniversary, with additional features.

Liza Minnelli gives the performance of her career as the singer Sally Bowles, on a self-imposed exile in Berlin, entertaining at the seedy Kit Kat Klub.

Into her life comes Brian Roberts (Michael York), a mild-mannered English bisexual who falls in love with her. Both are seduced by the wealthy Maximillian (Helmut Griem) before Sally falls pregnant, aborts the child and Brian leaves Berlin just as the Nazi's gain power.

The musical, set against the stormy backdrop of Berlin in the 1930's, is a marvellous piece of film making. Directed and choreographed by maestro Bob Fosse, CABARET also boasts original Broadway performer Joel Grey as the Master of Ceremonies, and Fritz Wepper and Marisa Berenson.

Also includes reminiscences by Liza Minnelli, Joel Grey, Michael York, Cy Feuer, John Kander and others from the creative team, an old featurette on the making of the film, and the original theatrical trailer.

THE BEST
As for musical-drama concerned... THIS IS IT! The producers of Chicago should have seen this(indeed they did - every major moment in that film is "stolen" from Cabaret) and put REAL musical stars in the film.

When u have Joel and Liza u are not let down... I give flowergreetings to the entire cast and crew... The filmversion of Cabaret has a lot of "new songs"(Maybe This Time, Mein Herr, The Money Song) and the plot follows the 1955-movie "I AM A CAMERA" more than the stage musical. Since then; the Liza-songs have found themselves in numerous revivals of this stageplay since this 1972-masterpiece. The film is still frightening and raw......Trivia: The scene in which Liza meets Marisa they talk about diseases... On video, here in Europe at least, that was cut....

Don't pass on this
I almost passed over this DVD because a couple of Amazon reviewers forcefully complained about the presentation. I'm glad I bought it. The widescreen was just as I expected, and picture and sound quality were fine. Anyone who's seen the movie knows how good it is. If you haven't seen it, you're in for a treat; and this DVD serves it well. (A five-star review is for the absolutely superlative.)

PLEASE PLEASE Don't buy this!
CABARET is one of the greatest movie musicals ever. I adore it. It is flawless, IMHO.
Why, then am I giving it one star? Because, as others have said, Warners should be ashamed of themselves. This is not the first, but the SECOND release of this movie in a non-anamorphic transfer. I bought the original and was mighty p****ed because it was non-anamorphic. I thought they would have honored this magnificent film in the "anniversary" release. But no. It is, as stated by another reviewer, the same disc as before, in terms of picture quality.
On a small TV you won't notice. But if you care about these things, then believe me, this release sucks big time. As did the first one.
I'm angry, not at being ripped off (I sent this one back for a refund) but because a wonderful work of art has been abused by a greedy, careless film company. And I have been robbed of the chance to see the film in its glory.
Having said that, nothing could improve the truly dreadful sound quality - which was terrible from day one.
I don't suppose there ever will be another release of this movie. What a terrible shame. ... Read more

Reviews (217)

Amazing....but missing something
I eagerly bought this movie after finishing the novel. I know that a lot of movies based on books are different from the original story, but this really isn't one of them, at least not exactly. Almost all of the main and important aspects of the novel are included in the movie. The time constraints obviously play a part of the limited detail, at least compared to the novel, but what seems most annoying is the fact that different characters play the parts of characters in the book. For example, Susan Stern, who travelled in Stu Redman's group originally suddenly is part of Mother Abigail's group. It's small differences like this that get to me in this movie.

Other than that, the movie is awesome. The makeup effects used are amazing. The actors chosen to portray the characters seem perfect, especially Gary Sinise, Adam Storke, Ray Walston, Bill Fagerbakke, Jamey Sheridan and particularly Rob Lowe, who plays a wonderful Nick Andros. I've already watched this movie a number of times, and there are scenes I can't get enough of. I really like it, but I'm going to have to say, read the book first, because it will not only help you keep better track of what's going on in the movie, but it will you keep you informed on the characters as well. Plus, the book is definitely worth it's 1141 pages and you'll be really missing something without it!

Greatness Has a Name
First off, I'd like to say I have never read the book. But I will soon. Even though, I absolutely LOVED this movie. The acting was amazing, especially the performances by Gary Sinise (can that guy play a bad role? Knock on wood) and Rob Lowe, supposedly in a comeback role. It was probably very hard for poor Rob to play a deaf mute! Anyway, the story goes that a virus created by the Army gets loose at it's base and spreads through the United States. Only a few people survive, and the ones that do are separated into two groups. One group is called in dreams by Mother Abigail (played by Ruby Dee) and the other is called by Randall Flagg, the devil (played by Jamey Sheridan, who did an awesome job). Mother Abigail's group is led by Gary Sinise, Molly Ringwald, Adam Storke, and Rob Lowe (although he didn't lead the group, he played an incredibly important part as a retarded man named Tom Cullen. I'm talking about Bill Fagerbakke). The bad guys, led by Flagg, flock to Las Vegas (yes, Sin City itself) and the good guys go to Boulder, Colorado. I won't give away the ending, but it is truly a wonderful movie with many twists and surprises. It made me jump, scream, say aww, and at times cry ew! It is incredible!

It's not the book, but what movie is?
I was disappointed in the amount of changes in the mini-series; I found the book much more filled out. However, this movie brings about all my greatest fears about the end of our way of life. I have worked in the medical field for a number of years and I have often imagined this kind of scenario. Many people focus on the religious aura of this film, but I enjoyed the all encompassing nature. Stephen King did not write about religion, or how one faith survived while all other belivers died. He wrote a story about good versus evil. Don't look for a hinted meaning and enjoy the movie; it's well worth it.

Religious propaganda - cheap and blatant
I feel that I genuinely wasted my time watching this excessively long DVD (TV series).
It is a cheap production, proving how celebrity does not equate to talent.
Worse of all is the blatant religious "stand" which the story takes... It reminds me of the awful movie productions used by missionaries uninvitedly imposing their beliefs upon others.
Oh! And it is worth pointing out that Mr. King should stick to writing and NOT acting....
Although, it would probably appease many, and reinforce their monochrome ideas and perceptions of good and evil.....

Worth it
I am a relatively new fan of Mr. Kings work. My first exposure to his material was when The Stand miniseries aired. I recently read the book and find the movie adaptation to be just about as complete as you could hope for.

The performances are good, with some nice peaks into the early works of some now well known actors.

The only disappointment for me... in both the book and the miniseries.... is that ending. Won't spoil it here. For me it was a sort of "thats it?" moment. ... Read more

Reviews (40)

An Entertaining and Clever Landmark
Breathless, or A Bout de Souffle, is arguably one of the ten most important films of the last fifty years because it demonstrates a new, and eye-popping editing style that has now become common-place among Indie and European cinema.

Francois Truffaut, who is responsible for the script, once said all that you needed to make a movie was 'a girl and a gun.' Breathless appears to be Truffaut putting his theory into action, but there's a little more going on than that suggests.

It is a film that transports classic era Hollywood to the Paris of the late 50's. Jean-Paul Belmondo's character is obsessed with Humphrey Bogart. He is also on the run from the police, and off to visit his girl, Jean Seberg in Paris.

So far, so blah. But what director Godard does with this simple 40's noir plotline is to treat it in a way that feels intuitively wrong. He promotes the relationship between Belmondo and Seberg to centre stage and leaves the man-on-the-run-from-the-police story as a virtual subplot. To this end there is a lengthy scene of the couple talking in a bedroom - it must last twelve minutes. You practically forget that there's a Hollywood B-movie plot somewhere in the background.

It is testament to the performances, and particularly to Truffaut's script that you really don't mind. You just sort of get carried along by the thing.

It's important not only because it's dead, dead good and genuinely entertaining rather than just clever for the sake of it, but also because it plays so loose with genre and structure, it gave subsequent directors the right to experiment as well. No Breathless, no Pulp Fiction - despite Tarantino's claim to prefer the (much inferior) American remake with Richard Gere.

Jean-Luc Godard subsequently disowned the movie, considering it to be far too conventional. Perhaps he also disliked Truffaut's humanism, which shines through as it does in everything he was involved in.

Godard went on to make more challengingly, more confrontational pictures but never really recaptured the youthful exuberance of Breathless.

Think of a movie like Citizen Kane. If you've seen Kane you'll recall that the viewer feels Welles's joyful iconaclysm, even sixty years or so on. Same deal with Breathless. Even though the jump cut and gleeful genre-bending have both become standard you can still feel the exhiliration from everyone concerned in doing something genuinely new.

A must own.

Yes, the film is important, but it's also a lot of fun.
"Breathless," Jean-Luc Godard's tribute to moviemaking itself and one of the seminal titles of the French New Wave, is, jump-cuts and all, a film that changed the way movies were made. It introduced audiences and critics alike to new voices in the cinema, to a newer and cheaper guerrilla-style film made on location and to the sort of movie aware of the fact that it was just a movie.

That said, though, this movie is a lot of just pure fun. In the leads, Jean-Paul Belmondo and the absolutely gorgeous Jean Seberg seem to inject their portrayals of young thief-and-killer Michel Poiccard and his indecisive American girlfriend Patricia with a sense of humor and joy. The couple they portray are given moments where they're not really pushing the action forward, where they're reveling in what it feels like to be young and in lust, if not love. The scenes where they're lying in bed just talking or riding together in a car and talking about Paris are perhaps the most delightful aspect of the film.

Even though the character of Michel is almost certainly doomed from the moment he steals a car and guns down a police officer, he has a lot of fun with his last days, wandering the streets, stealing from friends and trying to get Patricia to sleep with him. Patricia, likewise, is given moments of joy, despite worrying about her pregnancy and job, wondering if she should betray the man she loves to the police or run away with him to Rome.

That spirit, in addition to its technical wizardry and the passion of its makers, is what made the film different in 1960, and it's the spirit behind it that just makes "Breathless" fun Sunday-afternoon viewing now.

The first of the New Wave, but not the best...
All right - Breathless is an important film and I can see why. This is the film that gave birth to the French New Wave. Before this, films look like they were shot in a studio. This film made the gritty look of seventies filmmaking - and indeed, today's independent filmmaking - possible. This film has a guerrilla feel to it, which makes it seem very modern. Goddard films on actual locations with handheld cameras. The most obvious innovation is the deliberate use of "jump cuts", which goes against the traditional theory of "invisible edits." The story itself (by Francois Truffaut) is innovative - it foreshadows Quentin Tarantino with its non-moralistic account of a cold-blooded, Bogart-worshipping killer (wonderfully played by Jean-Paul Belmondo) and his crazy/beautiful American girlfriend.

That having been said, the style of this film is really what is important. Looked at today, when its innovations have been absorbed into mainstream film, TV, and commercials, some of the flaws are more apparent. Especially towards the end of the film, when the story gets wackier and the style gets over-the-top, it became hard to restrain my Mystery Science Theater comments. That is the problem with being the first in anything - you go too far and you date yourself. Although Goddard started the Nouvelle Vague, I think that Truffaut - as evidenced by his script here - is the more important artist. This is the film that paves the way for better films like The 400 Blows. However, Breathless is still a good film and a must for any serious student of cinema. Although there are few extras on this DVD, the film looks great. For all its flaws, Breathless still has an air of authenticity that few films today can dream of.

Slow moving crap
This movie is full of a bunch of slow moving character developments. There's a bunch of long dialogues between men and women that are very drab and superficial. People tell me to watch this film for the amazing jump cut edits...well I did and big deal. Let's face it this guy is no Scorcese when it comes to doing innovative stuff with the camera, writing compelling scripts, and getting a likable cast up on the screen. Personally I think this guy just writes films for film school types and completely ignore us the audience.

Of Historical Interest Only?
The reaction of someone who is not a film historian:

This is obviously not intended as a work of surrealism or Dada. Godard has a story to tell, and two characters to introduce to us. I suggest that the film techniques be measured by whether they contribute to these goals. The use of handheld camera, long shots, candid shots of Paris do. They give the film a sense of energy and reality, and have perhaps been adopted by others because of this. The "jump cuts" (which I take to mean the abrupt cuts in the middle of scenes, with no attempt to maintain continuity) do not. They are distracting and remind you, with a jolt, and indeed never permit you to forget, that you are watching a film. This is not like noticing that a great painting is made up of the artist's individual brushstrokes; more like brushstrokes that keep you from seeing the overall picture. It just comes off as amateurish, and interfers with plot and character development.

Seborg didn't seem to me to work in this role. I think Godard means to tell us that she is not vulnerable but in fact the same sort of animal as Belmondo, but the toughness was not persuasive (esp. the obvious self consciousness of the closing shot). If this is not what was meant, then she failed to communicate to this viewer what exactly it was that motivated her character. Does that mean she is "deep"? ... Read more

Reviews (27)

Doris Day: Greatest Pop Vocalist, Great Actress & Person !
In the annals of pop music, musical films and outstanding entertainment careers few can match that of Doris Day, either in longevity or quality.Her naturally superb vocal talents were honed at a very early age (17) singing with top territorial big bands and ultimately with the great Les Brown Band of Renown with whom she had her first hit record, "Sentimental Journey", in 1945.That experience helped her develop the power, depth, phrasing and lyrical vocal style that made her the finest pop vocalist of all time.Nowhere is that talent more evident than in this Academy Award nominated film on the life of songstress Ruth Etting.Music wise the songs are incomparable as are the orchestrations and Doris' renditions.One need only to listen to the emotion and purity of "Never Look Back", "It All Depends On You" and "I'll Never Stop Loving You" with just piano accompaniment to hear how she had no rivals then, and especially now, in the vocal arena.

The film takes some liberties with facts and characterizations as all bio films do but who cares?The acting is first rate with Jimmy Cagney as the controlling minor league thug, Marty Snyder, Cameron Michell as her real love and musical director, Johnny, and veteran character actor, Robert Keith, as the faithful supporting booking agent.It is said that Cagney, who was nominated for his third Oscar as Snyder, had no qualms about getting second billing to the much younger Day.

As film bios go, this one is hard to beat.Outstnding talent, a great script, incredible music and outstanding musical performances puts "Love Me Or Leave Me" at the top of all music biographies.I first viewed this film in 1955 as a very young and impressionable kid.It has not lost a thing over time, especially when weighed against the tripe and fluff that eminates from Hollywood now.I recently got the soundtrack CD and it is outstanding in sound quality.Miss Day recently turned 81 and is still beautiful and active in Carmel California.This performance and her equally great 1951 performance in "Young Man With A Horn" remain my favorite Doris Day films.

No Tacky Virgin in This One!
I'd seen clips of Doris' more "known" movies and never thought I'd be purchasing a Doris Day flick.Then, I saw Doris' interpretation of "Shakin' the Blues Away" on "That's Entertainment III."Amazing.Had to buy the DVD "Love Me or Leave Me."

The film showcases an awesome vocal performer and surprisingly good acting on the part of Ms. Day. It made me feel that most of the other films of her career were a waste of her obvious talent. Let's put it this way--at many points of the film, she convinced me to be more sympathetic to her gangs