Description

Academy Award winner Denzel Washington stars in this powerful drama about a father who takes extreme measures to save his son's life when his insurance company refuses to cover his heart transplant surgery. ... Read more

Reviews (184)

John Q.- An Emotional Drama
An interesting film, but it could be improved in some ways. I must say that Denzel Washington gives a good strong performance as a father who needs to gets his son a heart transplant, but doesn't have the money and his insurance company won't cover the operation. So, he does the unbelievable and takes a hospital hostage until his son gets the medical attention he needs. From here, we also get strong performances from Robert Duvall, Anne Heche, Ray Liotta, James Woods and Kimberly Elise. Elise, gives a very emotional and sad performance as John Q.'s wife. Woods also performs well. I sadly missed out on this film while it was playing in theatres, but I am glad I finally saw it. I really wished I had seen it in theatres though. Available on July 16 to own on video and DVD. I wouldn't mind getting it, but I should say that this is not an extrodinary film. The PG-13 covers understated violence, emotional intensity and some emergency room gore. Not a bad choice for the family. The film basically explains the American Care Health system, the procedures and of course the prices. A film with a fine plot, but could have had an improved script. Though if you haven't seen John Q., you definetly should because you're missing out on a great film! So see John Q., if you know what's good for you!

A Big Heart
What a touching movie.This movie star's Denzel Washington(a terrific actor ), he plays the role of a caring father that would sacrifice his life for his son.
John Q. lives a normal life with his wife and 9 year old son.John's whole life is about to change all at his son's baseball game.at the game he uncovers that his son has a physical problem.he rushes his son to the hospital.the doctors tell him that his son has a deadly heart disease and will need a heart transplant.JOhn will stop at nothing to get a heart fof his son.It will cost $250,000 to do the surgery the down payment is $75,000 ,he cant come up with that amount of money.He makes many sacrifices but still does not even come close to that amount of money.
He decides to keep the heart surgeon hostage untill they put his sons name on the donors list.he ends up with the whole hospital hostage,all of this is happening while his son is dying
This movie has a great story and a terrific ending.Their were short scenes of a woman in a car accident she ties up with the whole story at the end.the interesting thing about this movie is that it is a true story!
a great quote is when John wants to kill himself because the chances for his son's heart is coming out pretty slim he says "I will die, but my son will live......"

The superb :"John Q" with Denzel Washington
JOHN Q was an amazing , important piece of work by Nick Cassavetes. Wow. Seems both sad and ironic that I watch this during Fourth of July weekend, when we boast again about our Independence from England, yet our country is in a pitiful mess. This is a great performance by Denzel ranking up there with "Training Day", "Glory" and "Philadelphia". A couple of times he goes over the top as John Q, but his acting and emotions make his character believable. John Q is a working man, whose family is just getting by, you can say their poor, as when his wife car becomes repossessed by the bank. His family has medical insurance, where he pays $100 a month or so, although as we learn doesn't mean a damn thing when it REALLY MATTERS. His kid becomes sick and we learn that he has a bad heart. Q's only recourse is to give his kid a heart transplant at the behest of a greedy HMO Chiropractor played James Woods and the greedy , white hospital director Rebecca Payne played Anne Heche. These are some vile characters. Despite the claims that Hope Memorial hospital helps out everyone, in reality they help out the rich with fat checkbooks.

Q learns that PPO former medical plan has changed and that the hospital wont offer any help. So basically he has to watch his son die with the Hospital Director with her million dollar salary and others not giving a damn. Aint that sweet Capitalism and Greed triumphs over Loyalty and Values in America. Q takes matter into his own hands and well the rest is history. Nick Cassavetes through this powerful, great film brings into the focus the Disarray , and Greed in Medical Care in America. Despite the fact that we boast about being the greatest superpower, WE CANT even take care of our people and, sadly it seems that the person in charge don't care. Talk about impact this movie makes it. Sad to say I don't think the situation will change whether a Democrat or Republic will take office. See John Q!!! I bet Michael Moore has as his next movie will supposedly tackle the Health Care Industry. Cassavetes does a great job here I wouldn't be surprised if Moore borrows a lot for that films from this one.

Also look for James Woods as the equally vile rich pathetic
Dr. Raymond Turner. He is the other part of the problem in
this epidemic of greedy HMO's who don't care about the patient.

Ray Liotta coming his pathetic performance in "Hannibal" gives
a somewhat better average performance as the corrupted Chief
Police along with his main kissbutt sidekick LT. Frank Grimes
played by Robert Duvall.

Too true for words
For those who reviewed this movie that stated that this movie was 'unreal' and this 'would not happen' and it's just a propaganda for the democrats are living in dream land. Maybe they are single, healthy and never get to go to the Dr., and are not aware of the pathetic state of health care of America.

I've had to deal myself since my son was born. My son has Recessive Dystrophic Epidermolysis Bullosa. His skin basically falls apart at the slightest touch. It is awful, brutal (see some clinical pics at my website, silviaskingdom.com). The only treatment that my son has is basically take care of the wounds, which cover, at times, as much as 60-75% of his body. Some of these wounds are chronic and take months to heal. Taking care of wounds is vital because if a bad infection occurs, my son could die. Infection is the number one killer of persons diagnosed with my son's condition. You would think that insurance companies would cover the medical supplies, the ointments, the bandages and everything involved in taking care of the wounds, but the reality is, the vast majority of HMOs do not. They don't because bandages and related products to care for wounds are 'over the counter', hence not covered under insurances.

Sounds crazy? It is. And there is nothing I can do about it. Some states, if the income is low enough, provide some services that include coverage for bandages, and that is what fortunately is saving us, because I could never afford to pay the tens of thousands of dollars it takes each year just to purchase the various skin care products my son needs. I know what you're thinking... there is no way bandages cost that much! Yes they do actually... for example: an 8x10 sheet of Mepitel for deep wound coverage is $40. A roll of 1" gauze to bandage my son's hand is $1, and he goes through 4-6 of those per week, and that is just on his hands!

It gets crazier... the various HMOs that we've had over the years have also denied to have my son seen by specialists too because they were 'out of network'. Of course they are out of network, my son's condition is one in a million, we can't expect to see a 'specialist' on this condition in every corner of the country, are we?

I know what you're thinking... it's all my fault, yeah, the evil HMOs -- how dare they actually have the audacity to enforce the contracts people choose to purchase! Choose to purchase? I never had that choice. I never had the choice to choose between HMOs, let alone even have the opportunity to get PPOs. Medical care won't be legitimate in this country until we stop seeing ten-dollar boxes of Kleenex on the bills. Everyone gasps when I tell them how much my son's power chair cost... yes, $7,000, and there is no way it's worth that much. It is all outrageous, and the movie John Q. eloquently and effectively addresses the needs of families in a most poignant manner.

Horrible
I was utterly surprised at the reactions of the audience when I went to see this in the theater. I could not believe that I appeared to be the only person who was totally apalled to the plot of this story.

Denzel...always great. With the exception of Training Day. But the plot and premise of this movie is not plausible at all. I understand that one would do anything for their child ( I probably would to), but there is no way I am condoning the taking hostage of a group of individuals. Totally ridiculous.

This movie, itself, had good acting. But that's about it. The storyline was too ridiculous. ... Read more

Amazon.com

The show that first defined the Broadway musical has never come to thescreen intact, despite three tries. But take this splashy 1951 MGM extravaganzaon its own terms, and it boggles the eyes. Not to mention the ears:The Kern-Hammerstein score includes some staples of the American songbook, such as "MakeBelieve," "After the Ball," and "Can't Help Lovin' That Man." Perhaps ariverboat gambler is almost too-easy casting for Howard Keel, and KathrynGrayson is overly twittery, which may be why the film's middle sags when theytake center stage. But any time the uncannily beautiful Ava Gardner smolders, alush tragic undertone takes over (even if the most interesting parts of herstory seem to take place offscreen). The physical production is extraordinary: the busy riverside setting, the outrageous color design, and best of all an "OldMan River" (sung by William Warfield) staged in the mists of morning. -- Robert Horton ... Read more

Reviews (22)

Close, but no cigar
I have seen both this film and its 1936 predecessor of the same name, and a number of film critics and viewers believe the remake to be inferior--I suppose it's because this one seems to lack the freshness, spunk, and level of poignancy. Also, in the earlier version you had greats such as Irene Dunne, Paul Robeson and Helen Morgan who can never be outdone. However, this later film has a power and charm all its own. "Show Boat" is a lavish technicolor extravaganza about the life and times aboard a Mississippi riverboat. Howard Keel with his deep, rich baritone is perfect as the reckless and restless gambler Gaylord Ravenal, as is lovely Kathryn Grayson with her delightful coloratura soprano voice, as Magnolia Hawks, the sheltered good girl who falls for Gaylord like a ton of bricks, only to be brought (unintended) heartbreak and despair by him. However, the one who steals the show by far is gorgeous Ava Gardner as Julie Laverne (cast among much indignant hullaballo as replacement for an ill Judy Garland), the mulatto conflicted between two worlds. In previous films she was for the most part wasted in, one never really got a glimmer as to her abilities (an exception being "The Killers"), but in this film Gardner is amazing as she displays the emotional range and depths she was fully capable of when given the chance. Her performance here is heartbreaking and utterly poignant, especially when she sings (it's dubbed, but that hardly matters) "Can't Help Lovin' That Man of Mine" in a period of content and romantic bliss, and "Bill," by which time her character is in a heartbroken, destructive decline--those are scenes not soon to be forgotten. The story appropriately ends with the haunting image of Gardner/Julie's haggard yet breathtaking face emerging from the shadows as she bids a distant farewell to the showboat. Go and watch this film if you love MGM musicals--it's one of their best with sumptious color, fine performances, and plenty of memorable songs.

I LOVE THIS MOVIE, AND SO WILL YOU
So what if this isn't very faithful scriptwise. The story they did have, plus the music, plus the singing, kept me glued to my seat, unable to take my eyes off it. Not since West Side Story has a movie musical had this effect on me. I suppose that if you grew up seeing the stage play, you might be taken aback by the cuts, but how many of you would really be willing to sit and watch a movie for the four hours that the original play takes? You can't even sit through Gone With the Wind without taking a little "intermission." The singing is incredible. I love to hear Kathryn Grayson hit those oh-so-high notes, and I love to hear Howard Keel, well, anytime. After hearing the soundtrack I was kind of mad that they didn't let Ava Gardner do her own singing, but her wonderful performance makes you forget about it. One reason I am glad they changed the story for the movie is when we see Julie at the very end. It's the kind of bittersweet finishing touch that gets ya choked up no matter how many times you see it. So buy this movie, gosh darnit, and be prepared to sit back and enjoy a cinematic masterpiece.

OL' MAN RIVER KEEPS ON ROLLIN' ON DVD
"Show Boat" was Jerome Kern's immortal gift to the Broadway stage. An instant hit upon its initial release, the movies just couldn't wait to capitalize on its success. The plot concerns a river boat performer who just happens to be mulato(Ava Gardner in this version) (a big "No, No" in the old south and it gets her broomed). On board is also Magnolia (Kathryn Grayson), a naive child who discovers her own heart break when she marries gambling scallywag, Gaylord Ravenal (Howard Keel). This version of the stage play tempers the racial undertones with more baritone and schmaltz than was previously showcased or, for that matter, necessary. Nevertheless, the results a la MGM's sterling production values, is astoundingly beautiful. Marge & Gower Champion, Joe E. Brown and Agnes Moorehead also headline.
TRANSFER: VERY NICE! A clean, bright, bold and beautiful print that is long on quality and short on digital anomalies. Blacks are solid and deep. Colors are rich and vibrant. Very few scenes illustrate that the original film elements are sixty years old. Though there is some minor pixelization and edge enhancement neither distract from your viewing enjoyment. The audio is mono but remarkably well balanced.
EXTRAS: Sorry. Not a one!
Bottom Line: Must have!

Does anyone have a torpedo handy?
Oh, oh Kathryn Grayson--you are so far from anything resembling the character of Magnolia, it is almost comical (I can't write her off totally as a movie star, because she was actually good once...ONCE: in "Kiss Me Kate"). Anyway, onto this turkey. Like almost all 1950s musicals from MGM, it is colorful nothingness. There is no edge, no wit, plenty of misguided "style" and heaps of artificiality. There is not once convincing moment in this film, all it has going for it is beautiful color (and this DVD is indeed a wonderful transfer). Lets not forget that the 1936 version--with its to-die-for cast--was withdrawn from circulation for decades because MGM wanted this to be the ONLY version available. Perish the thought! Even the small Show Boat sequence in the film "Till The Clouds Roll By" is more memorable than this.

Show Boat(1951)
Excellent Service, excellent condition, just as promised.Thank you VERY much! ... Read more

Description

A Star is Born marked Judy Garland's return to movies after a four-year absence, director George Cukor's first musical and first color film, and a showcase for great Harold Arden/Ira Gershwin songs in state-of-the-art stereo.One of the most beloved show-business stories of all time, it represents a career peak for many involved.Garland is singer Esther Blodgett, an undeniable talent on the rise.She catches the eye of Norman Maine (James Mason), an alcoholic actor in career decline.Their intense love transforms them both.Only one will survive Hollywood's slings and arrows.Shortened in response to exhibitor complaints after its premiers, the movie underwent one rebirth in 1983 when film historian Ronald Haver found almost all the cut sequences and supervised a reconstruction to near its original length.Its new rebirth is this breathtaking digital surround stereo track and incorporating picture and musical material recently found in the vaults.Star always had a shine to it.Now watch it sparkle as never before. ... Read more

Reviews (64)

One of the Greatest
This film belongs in the library of any serious collector. It is a beautiful love story involvong two people whose mutual dependency on each other deepens as the story progresses. Much of the credit for a job well done of course goes to the films director George Cukor. Judy Garland returns to the screen after a prolonged absence, and reaches her peak both dramatically and vocally. A pinacle I don't believe she ever achieved again. Her musical interpretations are a credit to George Gershwin and Harold Arlen James Mason, in his portrayal of an alcoholic movie star, gives a sterling performance. He is always aware of his tendency toward self destruction."I destroy everything I touch," he warns Vickie. Comparing this performance to his portrayal of Brutus in Shakespeares' "Julius Ceasar" indeed shows a wide dramatic talent. All the supporting players turn in solid performances with Charles Bickford as Oliver the studio head and friend to Vickie and Norman, Jack Carson as the studio Mr Fixit and Tommy Noonan as the friend in need. Truly a movie that is not to be missed.

A Star is Re-Born!
Returning to the screen four years after leaving Metro-Goldwyn-Mayer, Judy Garland is just superb in A Star is Born. Always giveing an honest performance, Judy gives it her all in this classic! This movie has it all, comedy, drama, and most of all, music! Co-staring with James Mason, Garland was nominated for an Oscar for her performace! Although she lost is to Grace Kelly (Judy was beat by only one vote I'll have you know! "The Biggest Robbery Since Brinks!")she deserved that Oscar! This film is simply great!
The widescreen aspect, offered by this DVD, is an extra treat. Also included are outtakes from the film: including three versions of "The Man That Got Away", the broadcast of the premire of the film, tape of the after party at the Coconut Grove, and the film's trailer!
This film is well worth every penny, since it was reconstructed in 1982, after being butchered before it's release in 1954! Buy the video if you have to, but the picture and sound, oh the sound, make me recomend the DVD although it costs a little more it's well worth it!
Lastly, buy this if you just love a great film, or of course, if you love Judy Garland!

I Couldn't Be More Pleased
The film A STAR IS BORN, the 1954 Judy Garland musical for Warner Bros., has been through nearly as many trials and tribulations as any real-life movie-star wannabe to maintain its reputation and realism. The director--George Cukor's--love/hate letter to the joys and sorrows of Hollywood stardom came in just over three hours long--181 minutes. In an ironic affirmation of the film's recognition that "the lush days are over" for Hollywood, the studio cut the actual release print down to 154 minutes so that theater owners could squeeze in one extra screening per evening. That is the only version we had between 1954 and 1983, and any revivals, cinematheque offerings or TV broadcasts--quite enough to sustain the cult of the movie and Judy Garland's bravura performance as a Hollywood star married to an alcoholic has-been--sprang from that truncated release.

In 1983, a partially restored, 170-minute-long version of A STAR IS BORN hit first-run movie screens after long and loving archival and editorial struggle. It was a matter of using anything available to make up for the scenes Warner Bros. had hacked out--stills, amateur home movies made from the set, audio tracks--anything. Most significantly, the restoration reinstituted the entire portion of the movie which appear in the DVD as all of Chapters 14, 15 and 16 in which Garland's character takes a long-shot chance at an acting career; but although that enhanced plot-line was reintegrated into the movie, the static and museum-like restoration was in many ways more admirable than lovable. Still, it gets across the idea that Judy Garland's character--singer Esther Blodgett--faced her own trials and tribulations on the way to becoming "Vicki Lester" the film star.

The current 1999 DVD goes the 1983 theatrical release two better: it incorporates even more material previously thought lost--in particular audio--and the newer computer technology was used for a thorough digital "scrub" of the already handsome restoration. Previous reviewers are right: the restored sequences can still be a bit off-putting, but the DVD now for sale at 176 minutes is a noticeable improvement over the 1983 release and probably the closest we'll ever get to Cukor's original masterpiece. Is the color perfect? No, 1954 Technicolor was still garish and candy-colored; interestingly, the scenes filmed outdoors at night come across as more realistic than some of the interiors, and the character's facial tones look more realistic. Is the sound perfect? It's a good 5.1 multitrack engineering that sounded good on my budget-level home theater, and it certainly holds better aural technology than was available in 1950s movie houses.

A STAR IS BORN is very much a movie about movies, a "backstage" musical something like CABARET where the singing and dancing occur as staged performances or otherwise make sense as something the screen characters would naturally do. (As opposed to the more impressionistic, SINGIN' IN THE RAIN type of movie where characters break character and burst into song artificially.) Judy belts Harold Arlen and Ira Gershwin's unforgettable "The Man That Got Away" in an after-hours club, an impromptu performance later described by eavesdropping leading man Norman Maine (James Mason) as "singing just for yourself and 'the boys in the band.'" (And with those last five words, a play was born.)

The performance-within-a-performance element that any backstage music requires come from two indelible production numbers from Vicki Lester's films. "Born in a Trunk" is by far the better known but the restoration added the endearing "Lose That Long Face," in which another unsinkable Vicki character sings a message of undying optimism as she tap-dances and flat-foots through studio-set rainy streets (Hmm, wonder where they got that idea?)

But most of Garland's performances are in more intimate venues. After rising starlet Vicki Lester becomes Mrs. Norman Maine, her husband puts her to use as "my own little jukebox" as she sings hit songs from her movies. In a particularly charming sequence, Garland's character plays homage to--and gently spoofs--the Fifties penchant for grandiose fantasy production numbers by acting out the round-the-world extravaganza ("Somewhere There's) A Someone At Last" to a background record, using what's available in the living room to mimic props and delighting the sophisticated Mason. The message is clear: it's the star, not the production values, that matter most.

Indeed, Judy Garland IS the star who makes this movie; her fictional Vicki Lester comes alive when fused with elements of Garland's own poignant and turbulent life as an all-too-visible film personality. In this movie her performances--as actor and song stylist--were never better; volumes of praise have been written to which I happily agree. But those who surround "Vicki Lester" are a key component of the film's success, too: James Mason's "Norman Maine" confronts his wife's tendency to overdramatize with a subtle performance as the self-deprecating, self-loathing alcoholic who increasingly becomes the object of his wife's charity. Jack Carson the perennial WB "heavy" of the postwar years (recall him from "Mildred Pierce" and "Cat on a Hot Tin Roof") is in full force as Matt Libby, the gladhanding and cynical studio publicist. Charles Bickford, perhaps best remembered today as father to Lee Remick's character in "The Days of Wine and Roses," adds humanity to the thankless role of the authoritarian film-studio owner Oliver Niles. And Tom Noonan is perfect as the buddy to impart real-life wisdom to "Mrs. Norman Maine."

People who love Judy Garland certainly should go for this improved and more watchable classic, even if they already have a prior version at home. I think lovers of musicals in general will agree that A STAR IS BORN deserves a place among the tip-top musicals of the 1950s, whether or not they are satisfied with the cardboardish ersatz for Chapters 14-16. Just hop over those with your DVD remote and find out what Warner Bros. left after its butchering! A great film at a great price; go for it.

A Star is Born
I read all the reviews listed prior to purchasing and I didn't read anywhere that reconstruction actually meant that they put black and white still pictures in the place of the missing moving picture sequences. At one point I felt like I was watching a slideshow presentation with music and sound! I had no idea the movie would be so choppy and for that I'm deeply disappointed.

I don't feel like it was worth the price and I probably won't ever watch it again. Too bad too, because what I did see of the performance was good. Unfortunately, I felt like I only got 3/4 of the movie and the rest was fill in the blanks.

The Ultimate Musical
The best. Absolutely the best film Hollywood has ever offered. It is a musical which has not only heartwarming songs and dances but one with a real plot, a story so often repeated in this world- a story of dizzying rise and dizzying fall- and a story which stood up to being exposed without the songs. ... Read more

Amazon.com

The first thing you need to know about Sleepers is that it's based on a novel by Lorenzo Carcaterra that was allegedly based on a true story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, Sleepers can be a problematic movie because it's too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, the movie succeeds as gripping entertainment, and its tale of complex morality--despite a dubious emphasis on homophobic revenge--is sufficiently provocative. It's about four boys in New York's Hell's Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there's never any doubt about how we're supposed to feel, and the screenplay glosses over the story's most difficult moral dilemmas. And yet, Sleepers grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie's New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. --Jeff Shannon ... Read more

Reviews (81)

Solemn drama gets the all-star treatment
By virtue of its all-star cast, handsome production values and solemn subject matter, Barry Levinson's "Sleepers" (1996) was clearly intended as a Major Motion Picture from the outset. Based on the harrowing true-life bestseller by journalist Lorenzo Carcaterra - first published in 1995 - book and film describe the appalling fate of four Hell's Kitchen kids (played as children by Joe Perrino, Brad Renfro, Geoffrey Wigdor and Jonathan Tucker) who, in 1967, were sentenced to confinement in the 'Wilkinson Home for Boys' following a near-fatal accident involving a hot dog vending machine which they had stolen as a prank. Inside the reformatory, all four boys are sexually and emotionally abused by a group of sadistic guards led by the sinister Nokes (Kevin Bacon at his slimiest). More than a decade later, traumatized by their experiences, two of the now grown-up boys (Ron Eldard and Billy Crudup) corner Nokes unexpectedly in a local diner and murder him in cold blood. The other members of the group - one a prosecuting attorney (Brad Pitt), the other an aspiring writer and journalist (Jason Patric) - formulate a daring plan to have their friends acquitted, expiose the reformatory's dark secrets, and take revenge on their abusers...

Such an extraordinary tale was always going to be controversial, of course, and so it proved. Upon release, book and film drew immediate fire from critics who accused author and filmmakers of embellishment and exaggeration, since no records could be found to prove that the trial depicted in the film ever took place within the Manhattan district, or that the Wilkinson Home for Boys ever existed - even though Carcaterra's book (and Levinson's script) makes it clear that most of the names, dates and locations have been changed or fictionalized to protect those involved, and that the records of all children held in institutions like Wilkinson are routinely deleted after seven years. Further scandal ensued when the movie ignited protests from those who believed the story drew unfortunate parallels between pedophilia and homosexuality, thereby reinforcing the worst kind of homophobic stereotype. The point is certainly valid, given Hollywood's shameful mistreatment of gay themes and characters over the years, but "Sleepers" doesn't seek to draw any kind of parallels, unconsciously or otherwise, merely to recreate events described in Carcaterra's book. Besides, monsters are monsters, whoever their victims may be.

As a movie, "Sleepers" is competent, briskly paced, and beautifully acted by a dream cast of old pro's (including Robert De Niro and Dustin Hoffman in key roles) and a new generation of rising stars. It's an ensemble piece, and the lack of grandstanding - in favor of narrative momentum - is admirable. But while the film is consistently intelligent and engaging, it's drawbacks are significant: The kids are terrific, especially Perrino, but the adults are burdened by the gravity of the subject matter, and Patric's sombre narration seems a little too laidback at times, lacking warmth or even genuine emotion, while John Williams' rambling score clashes resolutely with the film's epic visual sweep. Also, for obvious reasons, the moviemakers were unable to depict the kind of sexual atrocities outlined in the original book, with unfortunate consequences: Here, Nokes' murder seems more like the result of a petulant outburst by a couple of thugs, rather than the inevitable outcome of horrendous physical abuse. And during the subsequent trial, it defies belief that the prosecution's key witness - a former guard at Wilkinson - would incriminate himself so readily on the stand, as depicted here. That said, however, the movie is still a worthwhile erntry, but the book is better.

Warner Bros.' region 1 DVD - one of their first releases on this newfangled disc format - runs exactly 147:00 and is spread over two sides in a manner that wouldn't be acceptable today. The glorious Super 35 compositions are preserved in letterbox format (a little overmatted at 2.40:1), anamorphically enhanced, though the 5.1 Dolby soundtrack is fairly subdued, selling the drama without drawing too much attention to itself. There's a trailer and brief cast biographies, along with English captions and subtitles. Missing from this print is a brief intertitle which originally appeared before the closing credits, outlining some of the criticisms levelled against Carcaterra's original account.

Sleepers is an excellent, haunting tale
Rare is a movie that completely holds your attention for 2 1/2 hours but Sleepers is that movie. Played out by an exceptional ensemble cast (Brad Pitt, Jason Patric, Dustin Hoffman, Brad Renfro), it tells the tale of four young Hell's Kitchen boys who after pulling a seamingly harmless prank, are sent to a juvenile facility where they face unspeakable horrors at the hands of ther wardens. This trauma follows 2 of the boys into adulthood where they enter a life of crime. When they take their revenge on a particularly sadistic guard, it's up to the other boys, along with a childhood gal pal and a loving priest to save them. Every performance in this movie makes an indelible impression but the standouts are Deniro as Father Bobby, Frank Medrano as neighborhhod shopowner Fatman, Minnie Driver as Carol and Geoffrey Wigdor as young John. I watch this movie every November(it feels like a Fall time movie) and it never fails to amaze me. It is tense, heartwrenching, touching and at times funny. However the final 5 minutes always hit me where it hurts. When I think of how those kids were robbed of a normal life it sickens me. Sleepers is a phenomenal film that will leave a deep impression.

Supporting Characters Saved the Movie
Boys from hell's kitchen get in jail. Tortured and raped by guards. Grow up and seek a Monte-Christo revenge. The plot is good, if a little bit too straightforward.

The most interesting character in the movie by far is Father Bobby (De Niro), a 'cool' priest who is as comfortable beating up an abusive father as preaching. There's Fat Mancho who gives out street wisdom to kids; Danny Snyder (Dustin Hoffman), the lawyer who mutters as if to himself in court. These characters keep the movie interesting.

The boys themselves, however, have little individuality. And like all coming-of-age movies (American Graffiti, Stand By Me, October Sky) there has to be oldies playing, and the number of boys has to be 4. Young Carol is an underdeveloped character whom the director expects the audience to remember later on. The prison guards (Kevin Bacon, Terry Kinney) do what the plot expects them to do, and King Benny provides simple mob flick entertainment. The grown-up boys developed some characters but, ironically, even with the Monte Christo plot, one cannot help but get the sense that the boys, whose lives would have otherwise been very unextraordinary, were saved by the dramatic event.

Powerful
This is a very dramatic and gripping film. The cast is great for the movie, though Brad Pitt is underused, and Dustin Hoffman may seem miscast. But overall a very good and extremely underrated movie.

NOT FOR THE SQUEAMISH, BUT A GRIPPING FILM
Making a movie of such a controversial account that is told in the stunning book (with the same name) must have been a daunting task, especially when you fill it with A-list movie stars, some of which are not known for their sentimental sides.

However, Levinson has created a masterpiece, and a film that everyone should watch. Sleepers might've not been the most eloquent courtroom drama, and the tactics used might be unrefined, but I absolutely loved it. It showed the consequences of prison guards' sadism, which affected the boys for the rest of their lives.

All the actors give mindblowing performances, with no conceivable weak link. This includes the four child actors, who dominate half of the movie, but obviously don't receive as much press as their older counterparts. These four kids were outstanding in roles that must have been truly harrowing to play, especially the young boy who played John. Even Brad Pitt shows that under the right direction he can be more than a candy face.

Add to this a great score from John Williams, and you will come back to this film time and time again. The DVD has great features too so in all a very worthy purchase. ... Read more

Reviews (13)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cookieman108

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

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

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

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

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

Amazon.com

Having apparently anointed himself the American cinema's poet ofdecadence, filmmaker Larry Clark follows his critically acclaimed Kids with yet another tour through the darker regions of American squalor. Another Day in Paradise--even the title screams of amateurish irony--may be powerfully acted by a fine cast of new and familiar faces, but how many times can we eavesdrop on the lives of murderous, self-destructive heroin junkie thieves before we just get morosely depressed? James Woods and Melanie Griffith are superb as a pair of surrogate parents to the young couple (Vincent Kartheiser, Natasha Gregson Wagner) whom they recruit as accomplices in a series of robberies and dangerous deals, but what exactly is the point of this overindulgent, gutter-mouthed, and ultimately sickening portrait of sickening people? Clark may be good at providing an authentic vision of America's ugly underbelly, but before this movie's half over you're likely to be screaming, "Enough already!" By the time Kartheiser's character has finally escaped from his dreadful "parents," it's clear that Clark has very little story to tell, and not much of it is really worth telling. As for why Woods's character gets such a kick out of saying "Boo-Yah!"--well, your guess is as good as ours. --Jeff Shannon ... Read more

Amazon.com

One of the most famous tap numbers in film history distinguishesBroadway Melody of 1940, the fourth and final installment in MGM's Broadway Melody series. When Clare Bennett (Eleanor Powell, who had appeared in Broadway Melody of 1936 and 1938) needs a new partner for her hit Broadway show, small-time hoofers Johnny Brett (Fred Astaire in his MGM debut) and King Shaw (George Murphy) get their big chance.But due to a case of mistaken identity, King, rather than the more talented Johnny, gets the job, and the girl. Astaire and Powell can't match the chemistry he had with Ginger Rogers at RKO, but she was the best technical dancer he was ever teamed with, and the sense of fun they share is infectious.Their above-mentioned tap duet to Cole Porter's "Begin the Beguine" is legendary, but there are other fine moments as well: Astaire and Murphy's duet "Please Don't Monkey with Broadway," Powell's athletic number with a chorus of sailors "I Am the Captain," Astaire playing the piano and singing "I've Got My Eyes on You," and his and Powell's high-velocity duet "Jukebox Dance."--David Horiuchi ... Read more

Reviews (17)

INCONSISTANT IMAGE QUALITY - A REAL LET DOWN!
"Broadway Melody of 1940" was MGM's final film in a series that began with the original Oscar-winning movie from 1929/30. After nearly a decade of big time hits with Ginger Rogers, Fred Astaire made the trek from RKO to MGM to star opposite the best tap dancing lady of them all - Eleanor Powell. The two hoofers are ably assisted in the comedy portion of this fun-loving movie by costar George Murphy and the inimitable Frank Morgan (the wizard from "The Wizard of Oz"), here, playing a bumbling Broadway producer. The plot, generic by any standards, has Astaire mistaken for Murphy and falling in love with Powell. What sets the production apart is a series of mind-boggling dance routines capped off by a mesmorizing set piece to the tune of Cole Porter's evergreen hit, "Begin The Beguine".
Warner's DVD suffers from an inconsistently rendered picture. The opening credits are clear as a bell. So is the opening musical number "Please Don't Monkey With Broadway". But then we get into scene upon scene of low contrast, bad shadow and shutter flickering that creates a distraction impossible to overlook and made all the more evident by more than a hint of edge enhancement and shimmering of fine details. Contrast levels are particularly bad during Astaire's solo "I've Got My Eye On You" as well as Murphy and Powell's art decco dance number "I Concentrate On You". The one saving grace on this disc is that none of the above mentioned problems intrudes on the film's climactic show stopper "Begin The Beguine". It remains an untainted spell-binding display of tap dancing from two professionals at the top of their game. The audio on this disc is mono, as originally recorded, but extremely well represented with low background hiss and little distortion.
Extras: A toss-away featurette hosted by Ann Miller and a theatrical trailer are the only things worth mentioning.
Bottom Line: Disappointing - considering Warners usual sterling efforts for classic movies on DVD. Let's hope that this disc, along with "High Society" and "Kiss Me Kate" are flukes and not what is going to become the norm for a studio with such a rich film heritage, worthy of great pains in preservation.

Nice story, great dancing, good movie.
I admit to being no fan of overblown musicals, but I love this film.

A wonderful little movie, with some big production numbers, Broadway Melody of 1940 revisits the old 'mistaken identity' premise. Our hero Johnny Brett (Fred Astaire) briefly assumes his partner, King Shaw's identity (George Murphy) and misses the opportunity of a lifetime to dance with the wonderful Claire Bennett (Eleanor Powell).

When King is chosen to star in the big new Broadway show instead of Johnny, he gets only support from his slighted partner.

Will Ms. Powell and Mr. Astaire get together in the end? I leave that for you to find out. Look for Frank Morgan (The Wizard of Oz) as Bennett's skatter-brained talent agent, and great dance numbers from all the principals.

A feel good-er, and it's timeless.

The only teaming of the King and Queen of Tap!
One of the last, big B&W musical extravaganzas, BROADWAY MELODY OF 1940 is a joy from start to finish. The incomparable Fred Astaire and the unforgettable Eleanor Powell only made this one film together, but it's one for the ages!

Terrific tunes by Cole Porter make up a nifty score, which comes to a thrilling conclusion featuring Fred & Eleanor's amazing BEGIN THE BEGUINE.

A must-have for film musical fans!

Underappreciated
The art direction in this movie is incredible. It is one of the ultimate "New York as nightlife fantasyland" films (like the 1936 Melody, and Astaire's own "Swing Time"). The DVD replicates the silky B&W images just fine, especially the finale, which looks incredible on a big screen TV. Though Astaire tended to blow this off as "one of those big Metro things", it is a fun movie with a cool Big Band feel and a dream soundtrack, and Eleanor Powell is a revelation--it's too bad she isn't as well known today. Though the silly harlequin ballet doesn't really belong, I'll still take this over the pretentious MGM musicals of the 50s.

if you have a tapper at home; don't miss this movie
Right after watching this, my wife and I called our (now) 14 yo dancer in to see it. She in turn had her dance buddies watch it the next time they were over. The look of amazement on ALL of our faces as we watched some of the best there ever was worth the price of admission. Like the commercial says; DVD player; $200, DVD; $15, Watching your daughter work ten times harder on her tapping-priceless. ... 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

Fritz Lang's scathing critique of fifties America's hunger for bloodshed and scandal. Classic Hollywood film noir with a feminine twist, "The Blue Gardenia" stars Anne Baxter (All About Eve) as Norah Larkin, a working girl who wakes up a murderess after passing out in the apartment of brutish playboy Harry Prebble (Raymond Burr). Branded "The Blue Gardenia" by a sensational columnist (Richard Conte), Norah dodges dragnets, informants and the cruel hand of fate as she struggles to conceal her involvement with Prebble and to remember the details of her ill fated night. As her hopes for justice fade, she decides to gamble her future on the journalist who transformed her into such a notorious public figure. Enhancing the melancholy mood of the film is the haunting theme song arranged by Nelson Riddle and performed to perfection by Nat "King" Cole. ... Read more

Reviews (11)

THE THREE BLONDE SISTERS
In my opinion, a film noir DVD library never would be complete without the movies directed by german director Fritz Lang in Hollywood in the 1940-1950 period. They simply have to be in it. THE BLUE GARDENIA is the first of these Fritz Lang movies to hit the DVD market thanks to Image. Starring Richard Conte, Anne Baxter, Raymond Burr and Ann Sothern, THE BLUE GARDENIA is about murder, trust and guilt.

Anne Baxter thinks she has killed Raymond Burr, the police knows she has killed him because a lot of evidences have been found on the scene of the murder and we know that she's guilty because we have seen the scene with our very eyes. So what ? Where's the suspense ? Nowhere, because there isn't suspense in THE BLUE GARDENIA. Fritz Lang is more interested in describing the behaviour of Anne Baxter who really doesn't act as if she doesn't want to be rediscovered. The director has read the complete works of Freud and is playing with his heroine tortured by guilt.

No extra features with this Image presentation except for a scene access. Too bad.

A DVD for your library.

Fritz Lang Lite -- more murder mystery than noir
No doubt hoping that a title reminiscent of the Alan Ladd/Veronica Lake hit The Blue Dahlia (itself a knockoff of the notorious 1946 Black Dahlia murder in L.A.), the minds behind this movie set Fritz Lang to directing Anne Baxter, Raymond Burr and Ann Sothern in this tame but stylish and watchable thriller. Baxter, on the rebound, agrees to date the boorish Burr. Having drunk lagoons of Zombies at the Polynesian palace that gives the film its name, Baxter tries to fend off Burr. When he's found dead, she remembers nothing.... Fans who know how shocking Lang's The Big Heat still is will find this entry rather tepid, but it's an effective murder story, with half a dozen moments of stunning noir photography and, better yet, with Ann Sothern as Baxter's roommate, smoking a cigarette with rubber gloves while she scrubs the dishes.

"Sudden death sells papers."
In "The Blue Gardenia" Norah Larkin (Anne Baxter) is a naive telephone operator who sits at home most evenings. Her fiance is stationed in Korea, so while Norah's two roommates enjoy their social lives, Norah turns down offers and stays home to read letters from Korea. Artist/playboy Harry Prebble (Raymond Burr) telephones one evening--he thinks he's calling one of Norah's roommates, but he gets a distraught Norah instead. Norah accepts Prebble's invitation to meet for dinner at the Blue Gardenia. After downing half a dozen Polynesian Pearl Divers, a very inebriated Norah accompanies Prebble to his home. The next day, Norah can't remember a thing, but newspaper headlines announce Prebble's murder--and a hunt begins for the mysterious blonde murderess now known as "the Blue Gardenia."

"The Blue Gardenia"--directed by Fritz Lang--is film noir, but it is also considered an entry in the sub-genre of newspaper noir. A great deal of the plot focuses on newspaperman Casey Mayo's unethical attempts to contact the murderess and get an exclusive story. Mayo (Richard Conte) will stop at nothing to sell the paper, and he capitalizes on sensationalism and the sleazy aspects of the murder. "The Blue Gardenia" is an interesting film as it has a few twists on some familiar themes--for example, the killer is a woman, and a male offers comfort (although it's a false offer). Plus Norah's reputation is at risk by even admitting she's stepped into a man's apartment--anyone who downs 6 Polynesian Pearl Divers is a real floozy in everyone's eyes. There's also an appearance of Nat King Cole singing Blue Gardenia. The initial set-up with Norah and her roommates was refreshingly original, and Anne Baxter gave a credible performance as the naive Norah. Unfortunately the plot denouement was contrived, hasty and far too simplistic. Film noir fans will enjoy the film for its novelties, but it's not one of the greats--displacedhuman

Classic Film Noir With A Feminine Twist
The acting by both Anne Baxter and Raymond Burr is exceptional and elevates this to one of my favorite film noirs. Baxter is the young innocent Norah Larkin who is crushed when she receives a 'Dear Jane' letter from her boyfriend in Korea. Devastated and alone, she is easy prey for the slimey Harry Prebble portrayed by Raymond Burr in his pre-Perry Mason period. After a drunken night, Norah can't remember anything except that she was fighting off advances from Prebble. The newspapers are filled with the story of his murder and the mysterious blonde who left a blue gardenia behind. Viewers watch Norah slip deeper and deeper into paraonia as she frantically tries to conceal her involvement yet remember the details of her ill-fated night. Adding to the outstanding cast are Ann Sothern and Jeff Donnell as her roommates and Richard Conte as the newspaper reporter who makes an open appeal for the Blue Gardenia killer to come forward and trust him. As the police web (led by TV's Superman George Reeves) tightens around her, Norah turns to the reporter to help her, but....suffice it to say the happy-ever-after ending is a little too quick and easy. However, this is definitely worth watching and as an added plus you will be treated to the melodic voice of Nat "King" Cole singing the title song throughout the movie.

Be Forewarned.
Having seen and enjoyed most of Fritz Lang's movies from his Berlin period, I bought this highly recommended DVD sight unseen. It was a great disappointment. Where to begin? The story is weak and predictable; the dialogue is very cliched; the acting--excepting Raymond Burr's wonderful performance as a sleazy artist--is unconvincing. Don't expect what the DVD label tells you--this is no "noir thriller" and it doesn't do anything to expose McCarthyism, despite Lang's pretentious comments. One nice touch: there is a brief 5 minute scene with Nat King Cole singing "Blue Gardenia" in what was becoming a new trend in early 1950's America: a Chinese restaurant. As a period piece, this film has some merit, but don't expect a well crafted noir film like the "Maltese Falcon", "Sunset Boulevard", or even "M" or "Dr Mabuse". ... Read more

Description

A most acclaimed discovery, I Am Cuba will change your view ofcinema forever! Filmed by great Russian director Mikhail Kalatozov(The Cranes Are Flying), I Am Cuba is an epic poem to Communistkitsch--a whirling, feverish dance through the sensuous decadence ofBattista's Havana and the grinding poverty and oppression of theCuban people. Presented jointly by master directors Francis FordCoppola and Martin Scorsese, I Am Cuba has received universalacclaim and admiration from around the world as a true classic ofworld cinema. In Spanish and Russian with English subtitles. 140 minutes. ... Read more

Reviews (37)

Soy Cuba
La película "Soy Cuba" es un drama en negro y blanco que es muy fuerte y me produjo un gran impacto. El director de "Soy Cuba" (1964) es Mikheil Kalatozov, un Ruso famoso. El hizo muchas película, pero los dramas muy popular son "Salt of Svanetia" (1930) y "The Nail in the Boot" (1932). En 1995, "Soy Cuba" fue restrenada por Francis Ford Coppola. La película es en tres lenguas- inglés, español, y ruso. Las estrellas son Sergio Corrieri, Salvador Wood, José Gallardo, Raul Garcia, y Luz María Collazo. "Soy Cuba" tiene que ver con la colaboración rusa y cubana y lleva atención a la injusticia y opresión en cuba. Por la película, uno quede ver que para un grupo de gente (los hombres de negocios, los ricos) las cosas van bien, pero para otro grupo de gente (los pobres, campesinos) las cosas no van bien. "Soy Cuba" muestra partes de la revolución cubana en cuatro partes. Los cuatro episodios en "Soy Cuba" toman lugar en La Habana y el campo. El primero episodio toma lugar en La Habana. Hay hombres de negocios que hablan inglés y cubanas prostitutas. Hay una mujer, María-Betty, que está viviendo dos vidas. María tiene un novio que se llama René que es vendor de frutas. Por otro lado, Betty es una prostituta. María-Betty sirve para representar Cuba y las relaciones divididas. El segundo episodio toma lugar en el campo y tiene que ver con los compesinos y United Fruit. En este episodio, las cosecha es quemada. En el campo, uno puede ver un estilo de vida muy diferente de la vida en la Habana. He tecer episodio toma lugar en la Habana otra vez. Tiene que ver con Enrique, un estudiante que quería matar a jefe de la policía pero no podía porque el jefe estaban con sus niños. El jefe de la policía mató a Enrique en el fin. En este episodio también hay una mujer que se llama Gloria y algunos marineros estado unidos. El cuaro episodio forma parte de la revolución de la guerrilla en el campo otra vez. Uno puede ver un lado, La Habana de Batista, y también la pobreza y opresión de la gente de Cuba. También, hay mucha naturaleza (como el cielo y el mar) que tiene un espacio central en la película. Cuba es su gente y también es la tierra. Cuba incluye los campesinos, estudiantes, prostitutas, extranjeros de los Estados Unidos, el gobierno, hombres de negocios, marineros, los rebeldes, los dueños de tierra, los niños, los trabajadores urbanos, y la policía cubana. Esta película muestra bien la injusticia y opresión en Cuba antes y durante la revolución, una parte muy importante de la historía. "Soy Cuba" es una película muy conmevedor a que merece la pena verla.

'Soy Cuba'-----muy interesante
'Soy Cuba' es una película muy buena. Aunque esta película es en blanco y negro es tan buena que no se observa la falta de color. Hay cuatro episodios separados en esta película, pero todos están conectados con un mensaje igual. El primer episodio es de una mujer joven. Ella tiene dos nombres, María y Betty porque ella es prostitua. Creo que ella quiere dos nombres como una manera de separar sus "dos vidas". Un nombre es muy importante. Cuando usa un nombre diferente, siente como una persona diferente. A ella no le gusta su vida pero es muy pobre y la prositución es su decisión proque no encuentra otro trabajo. Algunas personas pueden pensar que María/Betty tiene otras alternativas pero creo que es facíl pensar esto cuando no está en su situación. María tiene un novio y cosas empeoran mala cuando él encuentra del trabajo secreto de María. El segundo episodio consiste en una familia, un padre y su hijo y hija. Esta familia trabaja la tierra y cultivan azucar. La familia es pobre pero en el principio pensé que estaba muy contenta. Pero todo lo que tienen es llevado cuando los dueños de la tierra donde la familia vive y trabaja le dicen al padre que todas las cosas se vendieron a la compañía, United Fruit. El padre reacciona en una manera extraña, pero pienso que una manera buena también. Mire la película y vea por su mismo. El tercer episodio es de los estudiantes libres que quieren política revolucionaria. Hay un grupo de estudiantes que toman las cosas en sus manos y tienen algunos problemas durante sus tentativas rebeldes. Esta parte es triste tambíen proque se ve que personas buenas mueren. El último episodio está en el campo. Una familia, Amelia y Mariano y sus hijos viven en el campo y quieren vivir una vida tranquila aunque el ejército bombardea todo. Pero cuando su casa es destruido un hijo muere, Mariano decide juntarse con un grupo de rebeldes. La película termina sobre una nota buena. Todos los episodios son de cuentos diferents pero todos consisten en personas de Cuba. ¿Qué/quién es Cuba? Cuba es todo lo que está en Cuba, todas las personas, los estudiantes, las prostitutas, los extranjeros, el gobierno, los rebeldes, y la tierra, y los pueblos. Todo esto es Cuba.

Half masterpiece, half junk
One critic once wrote of the 1957 film version of "Peyton Place" that it was "half masterpiece and half junk". The same can almost be said for I Am Cuba. Long admired by filmmakers such as Scorcese and Coppola, this film to some represents the low-point of Soviet cinema -i.e., anything post-Eisenstein and pre-Tarkovsky- and to others it is a wonderful -if melodramatic- exercise in the technique of "pure cinema": sweeping hand-held camera, ultra-long takes (surely influential on the work of Bela Tarr) and knife-edge chariscouro imagery.

While overtly propagandistic, showing the suffering of decent Cubans at the hands of mainly American "imperialists", the film's technique is dazzling, with brilliantly expressive camerawork and strong performances from all involved. Although the dubbing -there is both Russian and Spanish in there- can be irritating, the story is so effectively visually as to overcome these deficencies. Highly recommended for any fan of how to tell a story with the maximum of show and style.

fidel, sinverguenza!
This film is stunning and mesmerizing,definitely worth seeing.
However, its message is definitely pro-Fidel, pro-revolution, pro-Cuba as a romantic, idyllic, desirable, utopic mecca of ideals. If one can keep in check the political perspective/vantage point of the filmmaker, and not get carried away with fantasies that would lead one away from the reality of the horror/lack of freedom of expression/oppression/ incarceration of dissidents whose "crime" is setting up free access libraries, (these are just a sampling of the horrors...)/that has existed and progressively worsened since January 1959, then one can objectively say that this movie is art, and as art it is provocative and beautiful.

I Am Cuba
I don't know any filmmakers who are not stunned by this visual masterpiece. The hand held shot that traverses a hotel in decadent, pre-Castro Cuba is the stuff of legend- a long moving camera shot that floats through space as if suspended by magic. And this was before the steady-cam was invented. The opening aerials shot with infrared film alone justify this film's 5 star rating. You don't have to take the politics seriously to admire the fluid camera work and unique aural-visual style of this little seen master work. ... Read more

Amazon.com

John Sayles tackles one of his most provocative projects in Silver City, a broadside on politics and campaigning. It's one of Sayles's multi-character tapestries, set during a tarnished governor's race in Colorado. Chris Cooper has kicky fun as a feather-brained candidate, whose nonsensical speeches deliberately evoke the 43rd U.S. president. He doesn't get nearly enough screen time, because the film follows a burned-out private detective (the awkward Danny Huston) as he tugs at conspiracies. Sayles's understanding of the connected relationships in the political world is keen, and his malignant ending scores points--though the issues are more convincing than the characters. A subplot romance between Huston and journalist Maria Bello is tired, and there's a rushed quality that undercuts the political barbs. The crowded cast helps it perk along. This is a companion piece to Sayles's City of Hope and Sunshine State, and proves his teeth are only getting sharper. --Robert Horton ... Read more