Description

The Battle of the Bulge: Nazi Panzer forces stage a last-ditch Belgian front offensive that could turn the tide of WWII. Henry Fonda, Robert Shaw and Robert Ryan in the spectacular recreation of a crucial campaign.

Battleground: Van Johnson, Ricardo Montalban and George Murphy star in this remarkable war film, nominated for six Oscars(R) (including Best Picture) about courageous American G.I.s caught up in the battle at Bastogne.

The Big Red One Special Edition: "The real glory of war," Samuel Fuller said, "is surviving."A decorated combatant with the famed U.S. First Infantry in WWII, Fuller survived.His 1980 film version of his war experiences did not...until now.Working with 70,000 feet of vault materials and Fuller's shooting script, critic/filmmaker Richard Schickel heads a reconstruction that adds over 40 minutes and transforms a truncated but admired war film into an epic masterwork.Lee Marvin, in a richly layered performance now revealed as one of his finest, stars as the sergeant of peach-fuzzed riflemen fighting from North Africa to Normandy and across Europe.The film is the squad's combat diary, war as it's fought and sweated and bled, and, maybe, survived.

The Dirty Dozen: Twelve jailbirds will earn their freedom...if they survive a suicide mission against the Nazi brass. Tough-as-nails Lee Marvin leads a nothing-to-lose convict squad of Charles Bronson, Jim Brown, John Cassavetes, Trini Lopez, Telly Savalas, Donald Sutherland, Clint Walker and more in the all-time action trendsetter.Where Eagles

Dare: The mission is clear. Get in. Get the general. Get out. Commandos charged with freeing a U.S. general from an Alpine fortress should also be told to trust nothing - including the search-and-rescue orders just issued. Richard Burton and Clint Eastwood go Where Eagles Dare in this twisty World War II thriller written by action master Alistair MacLean (The Guns of Navarone, Ice Station Zebra) and directed by Brian G.Hutton (Kelly's Heroes). Known for fiery dramatic roles, Burton ventures into the realm of movie pyrotechnics with dynamic efficiency. And Eastwood's cool-fire presence heightens one searing action sequence after another. The film became Eastwood's then-largest hit and its studio's #1 moneymaker of the year. ... Read more

Reviews (142)

Fasten your seatbelts, you're in for a bumpy ride!
Bette Davis is perfect as aging movie star who takes newcomer Anne Baxter under her wing. Little does Bette know that Anne is only too happy to walk all over Bette as the former climbs the ladder of success. -- This is Hollywood looking at Hollywood; with all it's glamour, back stabbing and the insatiable desire to be on top. The story line as well as the acting are dated, but even today you can have a grand 'ol time with this entertaining classic! Look for a young Marilyn Monroe in a bit part as a party guest!

Classic NY Theatre comedy
Biting, satiric comedy of the New York theater world. Bette Davis is aging stage actress Margo Channing who finds her career (and her romantic life) threatened when "adoring" fan Eve Harrington (Anne Baxter) worms her way into a job as Margo's assistant. Seems Eve has plans of her own for her future and they may include Margo's next stage role and her fiance. Incredibly witty script by director Joseph Mankiewicz is acted to the hilt by all, especially Davis and Baxter and, in standout supporting roles, George Sanders as a bitchy critic and Celeste Holm as Margo's loyal, long-suffering best friend.

Bette Davis, Bette Davis, oh why are you so great?
And god she is. The Best actress ever, in the best screenplay ever. If I had one thing to say about "All About Eve", it would probably be about Bette Davis. There's nothing else to say. If the film had been less witty, less wise, it would still be a classic because of her performance. She just put herself right on the showcase and and did it. She never wondered, or feared anything. She pushed everybody out to make her way, and changed herself into an instrument for Margo Channing. There's no doubt that Bette Davis was very like Margo Channing in real life. But that just adds to the character, she knew she was Margo Channing, and used it to push the boundaries further to what and actress could do, to what was the limit of what was tolerable or not. But she didn't mind that, and look how it paid off at the end. Never, and I insist on never, is there a moment in the film where you don't believe here. Not a second, not the blink of an eye. It is the perfect performance. And the movie has everything else as good as Bette Davis. When you think of Thelma Ritter, or Celeste Holm, or Marilyn Monroe, or George Sanders, or even Hugh Marlowe, in this picture, they're all astonishing. The dialogue is so brilliant you just can't help to wonder, how long can a writer take to write this? A month? A year? A decade? I don,t know, but it every word in it is placed there for a reason. That's "All About Eve". Every bit of it is carfully put in the perfect ensemble, surrounded by Bette Davis. And to say that Claudette Colbert was suppose to do it...

No good deed goes unpunished
"All About Eve" excels on so many levels it's hard to keep track of them all. It won eight Oscars and was nominated for 14 (a record that wasn't tied until "Titanic"). It has been called "The bitchiest film ever made." It's probably one of the most literate films ever made, too, with references to "paranoic outbursts," Fort Sumter and the dramatists Beaumont and Fletcher. (It's unlikely that its screenplay could be produced today.)

The story of how an innocent-seeming young ingenue slowly worms her way into an older actress's heart and takes her career away from her is now fifty years old but is as fresh as if it were filmed yesterday. The performances are outstanding across the board, and feature Bette Davis as star Margo Channing, Anne Baxter as usurper Eve Harrington, Celeste Holm as Eve's best friend, Thelma Ritter as Eve's live-in companion, and Marilyn Monroe in a small role as Miss Caswell, "a graduate of the Copacabana School of Dramatic Art." This is a film to treasure and to enjoy over and over.

There is also a brand-new book devoted to the movie: "All About 'All About Eve'" by Sam Staggs.

"You can always put THAT where your heart ought to be"
This film is an example of the superb writing talent that Hollywood boasted before the 80's and 90's (when American filmgoers became addicted to special effects and vulgar physical comedy). Whereas the film was one of the most successful of 1950, chances are today even with the Best Picture Oscar under its belt, 50% of Americans would probably lose interest halfway through. The casting is perfect - there was no better choice for Margo Channing than Bette Davis (by the way - stage actress Tallulah Bankhead thought the character was a sendup of herself, and granted, there are shades of Tallulah in Margo). And if I had one wish, it would be to have George Sanders's deep, snide voice - you can just hear the sarcasm dripping in every line he speaks. Some feel that "Sunset Boulevard" lost Best Picture to "Eve" because where the former directed its animosity toward Hollywood, the latter took exception with the theatre; yet after viewing the film several times, it becomes apparent that "Eve" aimed its barbs at all forms of media (stage, screen, television, and even newspapers - the party scene alone sufficiently skewers the glamorous yet empty side of Hollywood and television). It makes one think - just how real ARE these actors and actresses we see on the screen, and how exactly did they get where they are today? The acting business is certainly one of the most competitive, and I can't imagine they all got where they are by being sweet and gentle.

By far, the lion's share of praise belongs to Mankiewicz, who had just won an Oscar for "A Letter to Three Wives" and not only directed this masterpiece but WROTE it (and before simply dismissing such an accomplishment, I dare you to compare a script of this film to any of today's film scripts - 90% aren't NEARLY this tight or fluid). Just one thing - toward the end, what exactly happens to Thelma Ritter's character? She just kind of vanishes, and yet she's one of the most lovable characters in the film. I think it would have made a nice touch if Mankiewicz could have given her a chance to get a couple zingers in on Eve at the end, too. But that's light criticism - this film is one of the most flawless Hollywood films ever made and, if you haven't treated yourself to it, by all means, do so immediately. ... Read more

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Since its network debut in 1960, The Andy Griffith Show has been a viewer favorite thanks to its folksy, nostalgic charm and memorable cast, both of which shine in this set featuring the series' debut season. Originally spun off from an episode of Make Room for Daddy (both series shared producers Sheldon Leonard and Danny Thomas), The Andy Griffith Show centered around the lives of small-town sheriff Andy Taylor (the marvelously dry Griffith), his son Opie (Ron Howard), cousin and deputy Barney Fife (multiple Emmy winner Don Knotts), and the other gentle eccentrics of Mayberry (which was based on Griffith's real hometown). But while other "rural" programs poked fun at its characters (The Real McCoys, The Beverly Hillbillies), The Andy Griffith Show never stooped to stereotypes, preferring instead to draw its humor from the fine writing and cast, which counted Frances Bavier as Aunt Bee, Howard McNear as Floyd the Barber, and Hal Campbell as Mayberry's benevolent drunk, Otis, among the first season ensemble. All 32 episodes (including the epilogues, which are rarely aired in syndication) are compiled on this four-disc set, which regrettably lacks any supplemental features. --Paul Gaita ... Read more

Reviews (4)

A mixed bag of Hitchcock classics and also rans
This second boxed set has a number of stunning works by Hitchcock; Vertigo and The Birds are stunning masterpieces from the Master of Suspense. The former film is his most personal while the latter his most expansive in scope and a radical departure from what had come before. These two films represent Hitchcock's brilliance at its best.

Torn Curtain isn't a complete disaster but is far from a perfect film. Marnie is downright embarrassing. I know a number of Hitchcock scholars consider it his last great work; I'd argue that this misogynistic Freudian work of mumbo jumbo is among Hitchcock's worst films. Sure, it has a couple of stunning set pieces but the film script has clearly traveled through too many hands (although it was based on Hitchcock's concept of the film and Evan Hunter is the only screenwriter credited, Ernest Lehman, Joseph Stefano and a couple of other writers tried their hand at adapting this meandering mess). It suffers from flaws that Hitchcock had worked through earlier in his career (with the flawed but interesting Spellbound).

The only other film that comes close to Vertigo and The Birds is the minor masterpiece Frenzy. Hitchcock was clearly energized by the competition of young upstarts following in his footsteps. Frenzy, again, demonstrates that Hitchcock could be at his best even this late in his long career.

The Trouble with Harry is a fine dark comedy from Hitchcock and, although it hasn't aged all that well, still features sparkling dialogue (courtesy of writer John Michael Hayes)and strong performances.

Saboteur is another minor masterpiece from Hitchcock that still manages to be engaging. The sequence set on the Statue of Liberty as Robert Cummings tries to save the foreign spy (played by Hitchcock regular Norman Lloyd)is still gripping and powerful today.

The real reason to own this set is the episodes of Alfred Hitchcock Presents included on the bonus DVD. Hitchcock directed all these himself. They vary in quality from good to exceptional. Since they aren't available indivdually, it's a must have for fans of the director's work.

If you want to purchase Hitchcock's best films, get them individually but if you need this bonus disc, this set is the expensive way to go.

GREAT COLLECTION OF THE MASTER'S WORK
I loved all the selections offered in this boxed set. I especially enjoyed the additional commentary offered by Pat Hitchcock (his daughter) - it provided a great perspective of Hitch's intentions for each of these films. I loved the bonus disc of 4 episodes from his TV show "Alfred Hitchcock Presents" and wish more of these were made available in this format. I always enjoyed his television show especially his intros and summations at their beginnings and endings. Truly funny stuff!! My only dissatisfaction was with "Saboteur" - I have a Panasonic Portable DVD player and during playback there were times the picture broke up and pixilized - not always in the same place. That may be a problem with this particular player but since I didn't have another brand to test it on - I'm not sure. Anyway - a great collection!! A MUST HAVE FOR ALL HITCHCOCK FANS!

A Fine Sampling Of The Master At Work!
The "A" films for me in this collection are "Marnie", "The Birds", "Frenzy" and "Vertigo", all of which I've seen multiple times. I never tire of seeing these Hitchcock classics. "Marnie" is a husband and wife story between Sean Connery and Tipi Hendren. Marnie, coerced into marrying Connery, has led a life of crime based on a past that Connery seeks to uncover. It took the public some years to warm up to this film but I loved it at once. "The Birds" is one of Hitchcock's instant hits where he literally has the birds in a coastal California community go on the attack against the populace. Just seeing the birds line up on the telephone wires, ready to attack the people, is chilling! "Frenzy" was made in the '70s, set in London, and involves two men, one who sets the other up to be the fall guy for the necktie stranglings that he himself is committing. There is a scene is a truckload of potatotes where the killer needs to get a piece of jewelry back from a corpse that is absolutely unforgettable. "Vertigo" showcases Jimmy Stewart, who is rendered powerless by heights by an earlier mishap, who falls in love with a mysterious woman, Kim Novak that he follows. She seems to be fatally drawn to the bell tower of a church on the California coast. The remaining films in the collection range from B- ("Torn Curtain") to B+ ("Saboteur"). I've viewed them all at least once, sometimes twice. Most movie directors would claim them as their "A" work but Hitchcock's "A" work was so fabulous that it is indeed his lesser work. In any event, once you've started watching Hitchcock's work, you've got to see all of it. It's as simple as that.

THE ULTIMATE COLLECTION
Vol. 2 is just as great as Vol. 1! It has all of Hitchcock's best classics which include, "Torn Curtain","Marnie" "The Birds", "Vertigo", "Frenzy", "Sabotuer",and "The Trouble with Harry". Plus as a special BONUS DISC, three episodes from the original HITCHCOCK TV SHOW!! This is a great collection to own and anybody who is a major Hitchcock fan like me, must own this collection! No Hitchcock Collection is complete without it! So don't miss out! Buy it today! You will not regret it!! ... Read more

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House of Wax brought Vincent Price into the horror genre, where he fit as snugly as a scalpel in a mad scientist's hand. A remake of the 1933 film Mystery of the Wax Museum, this entertaining Gothic shocker casts Price as a sculptor of wax figures; his unwilling victims--er, "models"--lend their bodies to his lifelike depictions of Marie Antoinette and Joan of Arc. The film was one of the top 10 moneymakers of its year, thanks in part to the 3-D gimmick, which explains why so many things are aimed at the camera (why else would the paddleball man be there?). Footnote to history:director Andre De Toth was blind in one eye, and thus could not see in three dimensions.

Not at all a musty relic of the early-sound era, the original Mystery of the Wax Museum (shot in a soft, trial version of Technicolor) is saucy, pre-Code fun. As corpses disappear from the morgue, Lionel Atwill's wax museum adds to its displays. Coincidence, or the work of the hideously deformed fiend stalking the Manhattan night? Most of the snappy dialogue comes courtesy of reporter Glenda Farrell, a vintage wisecracking dame. --Robert Horton ... Read more

Reviews (39)

Allow me to "wax" poetic
HOUSE OF WAX was the film that, for better or worse, changed the course of Vincent Price's career. It's still one of his best starring vehicles, and gave Price a great opportunity to display his frequent characterization of a madman who evokes sympathy and chills at the same time! The 3-D effects of the original release enhance the film, instead of overwhelming it (This was probably due to the fact that director Andre de Toth had only one eye and couldn't experience the 3-D effect). As a result, the film is enjoyable even without wearing those silly cardboard glasses. The turn of the century sets and costumes look great and among the supporting cast, Carolyn Jones is a standout in a small but pivotal role.

A Classic Double - Dip
This marvelous DVD offers two versions of the same story! First, the 1953 "House of Wax" starring Vincent Price ... plus the original film on which it was based, the 1933 "Mystery of the Wax Museum" starring Lionel Atwill. Each film offered viewers a technological gimmick when first released to theatres: "House" was exhibited in 3-D, and "Museum" was filmed in early two-strip Technicolor.

The Vincent Price remake is arguably the scarier of the two versions. Although it duplicates many scenes and sections of dialogue from the earlier film, it adds a couple of effective sequences involving the villain of the piece. In one, the scarred fiend chases heroine Phyllis Kirk through dark, rain-slicked streets in the dead of night; in the other, he commits a gruesome murder. Price is deliciously hammy in the role. He constantly threatens to go over the top, but pulls back just in time (at least until the end, when he lets go with relish). Miss Kirk, with her china doll beauty and deep modulated voice makes a wonderful heroine, and Charles Buchinsky (later Bronson) stands out as a muscled and menacing deaf-mute who lurks among the shadows of the museum. The production's color and lighting are outstanding ... the viewer is often left wondering which figures are human and which are wax, and there are several shocks and surprises along the way. The DVD offers an exceptionally fine film-to-video transfer, and don't forget to watch the Original Theatrical Trailer! It's an example of Hollywood ballyhoo at its best, and features some gorgeous color graphics.

The legendary 1933 original version was believed, for decades, to be a "lost film". Film buffs all over the world rejoiced when a surviving print was finally located in the late 1970's; unfortunately, (and unsurprisingly) the actual film was unable to live up to the hype that built up around it during its absence. Despite its considerable virtues, including great performances from Lionel Atwill as the villain and Fay Wray as the gorgeous screaming heroine, "Mystery of the Wax Museum" is marred by an over-abundance of comic relief. Playing a hard-boiled newspaper "dame" who delivers her peppery dialogue in machine gun fashion, Glenda Farrell is neither comic nor a relief. She's simply obnoxious. Still, she's lovely to look at in early two-strip Technicolor. This process, which registers color most heavily in hues of blue and orange, was a crude forerunner of the three-strip "candy-box" Technicolor that made its feature-film debut two years later in the 1935 production of "Becky Sharp". It should be noted that this DVD offers the best restored version of "Wax Museum" yet seen; the color is more vivid and the sound much clearer than that featured on any TV prints or on the earlier MGM VHS version.

All in all, this is a DVD package that should please both horror buffs and film historians alike; it's certainly a great value to receive the 1933 version as a "bonus feature". Here's a double feature made to order for a chilly evening; enjoy it with a bowl of popcorn ... and maybe a burning candle.

Great flick!
Has anyone ever portrayed the Nice Man Gone Crazy as well as Vincent Price? Of course not, and in House of Wax, Price is in top form as a loving sculptor who emerges from a fire with a different, errr, method for creating his wax sculptures. I don't know about you, but just the thought of being alone in a wax museum after dark gives me the creeps. Add a dose of homicidal mania, and there's your recipe for terror.

Most people will find this movie creepy even today; those who love camp will enjoy the prolonged ping-pong paddle scene catered to the orginal 3-D audience.

All in all, one of Vincent Price's best films, proving once again that nobody goes horribly insane quite like Vincent Price.

Should have included a Field Seqential 3-D version!
Not that many people are aware of the Field Sequential 3-D.
This is a 3-D TV system that uses special shutter glasses that can be purchased here through Amazon in a set that includes 3 DVD's using this process. This system Is the only way to view a 3-D film effectively on TV to date. The result is about 90% close to the effect you will see in a theatre showing.. like IMAX and Disney and Universal.
These glasses are made of sturdy plastic and clear not these cardboard red and blue pieces of garbage, so you can view the film without constricted to seeing red and blue colors and with this system you will see more actual 3-D depth with the films true colors.. It's really amazing!
For some add reason the big studios haven't adapted to include a separate version of a 3-D title in this great format.
Films like:
"House of Wax","Kiss Me Kate","Friday the 13th Part 3", "Robot Monster, "Cat Woman on the Moon", "Creature from the Black Lagoon" and "Jaws 3" are all now in 2-D DVD, but were originally shown in 3-D and could have been included using the Field Seqential 3-D system on the same disc with the 2-D version.
In Japan in the late 80's there were a few 3-D titles released using Field Sequential and can be found on e-bay converted to DVD and VHS.
Why aren't the studios producing these now!
I boycott any film DVD release that was originally intended to be seen in 3-D that's only presented in a 2-D version or anaglyph (Red and Blue Glasses).

The studios should really be awaken to this great 3-D system.

A Great Horror Film!
I mananged to see a version of "House of Wax" on Turner Classic Movies and I thought that it was a great horror movie. Not being a big fan of horror films, I can't compare to other ones of that time, but this one was great. It stars horror movie legend Vincent Price and a young Charles Bronson who is credited as Charles Buchinsky. Having been to wax museums in the past, I can relate to the fact that after seeing the was figures for so long, you could begin to believe that all of the people around you who are not moving are actually made of wax, something that was briefly mentioned in the movie. A big problem with the movie was that it was made in 3D during its first release. This could create a problem for the present viewings because some things are pointless. They made things for the movie just so people can see the 3D effect. For example, a three minute sequence of women dancing, throwing their legs in the air. When it was made, it was cool seeing the legs come out of the screen, but while I was watching it, it was pretty much pointless.

The movie begins with Vincent Price as Professor Henry Jarrod. He takes pride in his wax figures which he often refers to as his friends. They speak to him, and he understands them well, and how they want to be made. In a way to make more money, an investor burns up the museum and flees the sight leaving Jarrod for dead. A couple of years later, people begin to disappear, kidnapped in the night. This happens at the same time that Jarrod, who is now in a wheelchair, wants to reopen his museum, with new figures that resemble some of the people that disappeared. He claims that he uses pictures of the missing people in the paper as a muse for the figures, but a women named Sue knows better. She swears that the figure of Marie Antoinette looks like her kidnapped friend Cathy Grey. Sue decides to make it her mission to find out what is going on at the house of wax.

Another great thing in "House of Wax" is the acting. In the recent Harry Potter film, the director has long takes. Scenes of about five minutes all in one take. The same happens in "House of Wax" except some scenes could be closer to eight or nine minutes. This is amazing considering some actors nowadays act for about thirty seconds before cutting away. The actors back then really had to act for many minutes at a time. "House of Wax" is a great horror film, and try and catch it on tv.

ENJOY!

Rated Approved back in 1953, but if I had to rated it probably a PG for brief violence. ... Read more

Amazon.com

To call Orson Welles's F For Fake a documentary would be somewhat deceitful, but deceit itself is very much the subject of this curious film essay. Welles ruminates on the nature of artistic fakery through two examples, that of infamous art forger Elmyr de Hory and the writer Clifford Irving, whose bogus autobiography of Howard Hughes set off a minor media flurry in the 1970s. Postmodernist that he is, Wells then proceeds to narrate and edit the film in such a perversely frenetic way as to blur the lines between what is real and what is deception, making for an often confusing but engaging work of art in itself. We even see the footage we've been watching as it's being spliced together in Welles's editing room. The specter of Welles's often maligned later career hangs over the proceedings like a challenge--is he going to actually complete this strange movie about chicanery, or will it become one of the many unfinished experiments of his twilight years? Happily, Welles concludes the proceedings with a delightful sequence about Picasso, lust, and what constitutes real art. F For Fake is a fine example of a master filmmaker who had at least a couple tricks left up his sleeve. --Ryan Boudinot ... Read more

Reviews (17)

G For Great
Orson Welles' "For for Fake" can be at times a very confusing movie. But, if you find yourself confused, the problem is your thinking to hard. You're trying to make sense of a movie that simply doesn't want you to make sense of it. Think of the film as a magic act. You know you're being fooled, but you sit and watch anyways because you are being entertained. To think how the trick was done that's away from the mystery. And just like a magican Welles' doesn't want to reveal his secrets.

"F for Fake" is supposedly about a famous art forger, Elmyr de Hory and the relationship between himself and a man named Clifford Irving. Right from the beginning Welles tells us we are going to watch a movie about lies and deception.

At first the film, notice a called it a film not a documentary, plays off as real. We think we are seeing a movie that is examing how in fact is Elmyr de Hory. At admittedly it is very interesting. Welles comprises this material in a very effective way. Though all the while we are asking ourselves, just how much as this can we trust?

The film zips through three main plot points. One dealing with de Hory another involving Howard Hughes,which leads us back to Clifford Irving, and then finally a segment about Welles himself and some of the tricks he has pulled off, namely his famous "War of the Worlds" radio broadcast.

"F for Fake" I believe was the last film Welles directed, and while it may not be in the same league as his other works; "Citizen Kane", "Touch of Evil", or "Chimes at Midnight" it is still an enjoyable film. In some ways it is quite fitting that this would be his last film. He was a man who had to struggle to find a place in the Hollywood studio system to get his films made and here he has the last laugh.

Bottom-line: Highly entertaining film about lies and deception. The movie has the ability to suck us into its story, and manages to fool us. Worthwhile for fans of Orson Welles.

A rich film, nothing else like it
Orson Welles's F For Fake is a great film, and it's surprising to me that it isn't more widely acclaimed.A brilliant investigation into lying, manipulation, and the chicanery that forms the foundation of high culture, it reminds me of something Michael Moore might do if he were more concerned with metaphysics than politics, or Ross McElwee if he wore a cape and was outwardly self-obsessed.Great stuff, especially for anyone jaded by the b.s. flowing from the art world.
My one complaint-a few too many shots of Kodar prancing around in high heels-Welles's work in those sections was like a twelve year old's idea of what sexually attractive looks like.
Brilliantly shot and edited, narrated with style and panache by Welles, and it has substance to back up the style.
Criterion added some good extras.The unreleased trailer for F For Fake might be even better than the movie itself--it makes promises God himself couldn't keep.The documentary on Welles's late period of unfinished work is enjoyable, but by no means a revelation.The clips that are shown are intriguing, but a more penetrating and honest analysis of his later years by someone more removed from the subject would have been preferable to Kodar's well-intentioned puff piece.The swinging london skit shown in the film is hilarious.
The documentary on De Hory is okay, a bit dry, and has a bit of a smell of "expert" posturing about it.The 60 minutes interview with Clifford Irving is strange.The man reveals nothing that rings sincerely.Based on it, Irving comes off to me as the most dangerous and desperate man involved in the proceedings.There doesn't seem to be anything there beyond an enthusiasm for finding an angle and playing it successfully.Hughes's telephone interview is sad for the promises he makes and the potential he had.
In all, a great package and nearly worth the steep price tag

Fake in the most truthful way possible.
Sure, I saw Citizen Kane. It was pretty good, but despite what all the experts said, it wasn't the best film I'd ever seen, let alone of all time. After seeing Kane I was utterly convinced of Greg Tolland's genius but Orson Welles? Eh, not so much. Having seen him in Kane I thought he was terribly overrated, because I just couldn't see what the whole fuss was about. I wasn't impressed because the first time I saw Kane, it reminded me of the Simpsons episode that paid homage to the movie--and I thought the Simpsons was better! I thought that it was so full of cliches, but then I remembered it's like that joke about the person who went to see Hamlet for the first time and came back pouting that it was full of cliches.

But because I'm a sporting type of person, I finally decided to watch F for Fake just to figure out if Welles really was as good a director as everyone in the world seemed to think he was. I'd give him one more film, I said to myself, but really I'd written him off. I thought I was going to unmask the fake--I'd expose Welles for the overrated, overblown director he was.

Boy, was I wrong. This movie is like nothing else I've ever seen; as someone else remarked, this is MTV before MTV, this is meta before meta, this movie blows Kane out of the water and more. Oja Kodar said that Orson Welles often edited his films with an ear for music, and if that's the case then this film is pure jazz. Such unparalleled virtuoso narration is nothing short of AMAZING. Prior to seeing this film, I'd fallen in love with Michael Winterbottom's 24 Hour Party People released in 2002 which is a pretty good send-up of the Manchester scene, that also takes place in the editing room. But F for Fake came out a full 25 years before that movie and despite the retro feel, it blows it out of the water.

The extra features on the second disc are quite noteworthy, if only because they showcase footage from Kodar and Welles' unfinished movies, a veritable treasure trove of lost masterpieces. Watching Kodar and Welles together, one gets a sense of a real, loving, creative partnership between the two of them.

On a sidenote, I left this film with a great appreciation for Orson's "intractable contrariness" and his great desire to always push the envelope in service of his Art. Though Welles does claim to be a charlatan, a fraud, an utter fake, he was perhaps the very best at using lies to tell the truth.

Genius Stifled
Orson Welles' 1937 "Julius Caesar" is the longest running Broadway production of the play. Welles played Brutus. In 1938, Welles' On-the-Air Mercury Theatre broadcast "War of the Worlds". It was a hoax. But it caused a nationwide panic. Listeners were convinced that the Earth was being invaded by Mars. RKO Studios signed Welles to direct "Citizen Kane" in 1941. It is regarded by many as the Best Film ever made. Welles had conquered stage, radio, and the cinema. Criterion has just released the flawless, two-disc DVD, "F For Fake", an anamorphic, digitally-restored transfer(1.66:1).Disc One is Welles' 1976 essay/documentary; a non-linear, freeze-frame interview of art forger Elmyr De Hory, culled from 35mm and blown-up 16mm. Elmyr's biographer, Clifford Irving, is later exposed as the fraudulent chronicler of Howard Hughes. "F For Fake" features Joseph Cotten, Laurence Harvey, and Welles' mistress, Oja Kodar. Filmed in France, Rome, and southern California, "F For Fake" includes shots of Howard Hughes' bungalow at the Beverly Hills Hotel. It was the last film Welles ever directed. Extras include a Peter Bogdanovich introduction, a nine-minute trailer(curiously un-restored), and a commentary track. Disc Two contains the elusive 88-minute documentary, "One-Man Band". It has never been available before on film, video, or DVD( I saw it once 2 years ago on late-night cable). The 1995 "One-Man Band" examines Welles' lost/unfinished movies. This treasure trove includes scenes from "The Other Side of the Wind", "The Deep", and, reportedly, his mysterious "Don Quixote(A work in progress, on-and-off, for 15 years)". Welles stares into the camera, pauses, and recites Herman Melville in fragments of his "Moby Dick". He is electrifying. The process is staggering; and finally heart-breaking. So much talent, and finally, a sense of loss. Disc Two has another stunning documentary, an essay, a 60 Minutes excerpt, and a Howard Hughes press conference. Director, actor, writer, painter, magician. Orson Welles was, perhaps, the greatest auteur of the 20th Century. Big words. Big man. Big cigar. Welles once said that we are all really 2 or 3 different people inside. Or none of these at all. Was Orson Welles a fake?Welles' classic 1958 "Touch of Evil" ended in these last lines:Tanya: Isn't somebody gonna come and take him away?Schwartz: Yeah, in just a few minutes. You really liked him, didn't you?Tanya: The cop did..the one who killed him...he loved him.Schwartz:Is that all you have to say for him? Tanya:He was some kind of a man...What does it matter what you say about people?

Film Unlike Other Films - A Cinematic Thesis...
Society consists of symbols with a wide range of meanings within the world.The alphabet is one of most commonly used code systems of symbols.The letters in the alphabet have the power to form words and every single word has a meaning.When a number of words such as nouns, verbs, and adjectives fuse together, they form a sentence.The structure of a sentence is to produce a contextual meaning, which sometimes uses symbolism to enhance the sentences in regards to the theme of the topic.Several joined sentences create a paragraph, which usually focuses on one idea that also could be a symbol.A number of ideas compiled into a narrative form makes a thesis for readers to contemplate, which could help the person either assimilate, or adapt the new ideas to previous knowledge and wisdom.This is due to the notion that new ideas comprise a symbolic meaning for the individual.Orson Welles seems to have used this concept when he made the film, F for Fake.

F for Fake playfully utilizes every single scene while maximizing the symbolic value of words, images, and behavior among the individuals portrayed in the film.These scenes offer several representational impressions to the audience, as Welles' meticulous editing seems to have the same meaning a typewriter has to a writer.In this sense, F for Fake does not offer a conventional film or documentary, as Welles uses both authentic film clips edited with stage performances.Instead, Welles advocates his ideas in neither a fictionalized nor a non-documentary manner, as he fuses these two into a notion of deceit, forgery, trickery, and any other way that could deceive the audience.In 1972 over a Parisian lunch with writer and film essayist Jonathan Rosenbaum he expressed that he was working on this film, which Welles referred to as a new kind of film.The structure of the film brings the notion of a thesis where the candidate attempts to support his or her own thesis from a wide range of angles.Each visual symbol has a meaning while the scenes form the visual sentences, as the different acts form paragraphs in this cinematic thesis.The heavy editing, which Welles spent over a year on, describes Welles' cerebrally complexity while trying to defend this extraordinarily cinematic thesis.

In the beginning of the film Welles implies that a key he used for a magic trick "...was not symbolic of anything."This, however, suggests another deceit, as the audience has already seen the sequence and had time to ponder the meaning of the key to which Welles is fully aware.The pondering has already caused the audience to give the key a visual meaning, which the viewer has either assimilated or adapted to previous knowledge.There is also a scene where the audience gets to follow a stunning woman in high heels and a short miniskirt , as several people open their eyes starring while salivating and car horns honk in the background.Suggestively, the scene causes the audience to think that all the men probably are secretively wishing for the woman's company.This too is a clever lie, as Welles simply has edited together a number of scenes which insinuate that people are starring while horns can be heard in the background.Welles seems to suggest that what one sees cannot be believed, as what one sees might only be a fabricated version of the truth.

To comfort the audience Welles informs that the viewers that they will not be victims to deception as he places in writing that "For the next hour everything in this film is strictly based on the available facts."This portion of the film leads the audience through a two-piece sequence about a famous art forger named Elmyr de Hory, Cliff Irving, and the eccentric billionaire Howard Hughes.One focuses on Elmyr while the second part emphasizes Elmyr's biographer Irving who also was into forgery, as he wrote a forged autobiography by Howard Hughes who then lived secretively in a luxury Las Vegas penthouse.This brings several of the previous notions back, as Welles continues to discuss the idea of deceit.One of the interesting ideas in this sequence explains the meaninglessness of experts, as fakers cannot be troubled by experts.One thing that Elmyr advises of is that no one should have the ultimate power to decide quality, as he himself probably fooled many so-called experts with his own forgeries.This also implies that the expert could as well be the faker, if this one person knew what was good.This notion would also suggest that this very review would be a fake, as it also does not express anything unique while it merely retells the design and purpose of the film.

F for Fake offers an intriguing cinematic thesis that crawls within the brain causing an itch that does not seem to want to leave.The film is nothing like anything that Welles has done before, or after this film, which also supports what he has said in regards to the film.One reason that no other film that he created since did not mimic this film could be the concept of the film, as it provides an opportunity for him to play with his own ideas in a visual manner.This film took over a year for him to make, as it also seems to be a film of personal growth and understanding of the world as a whole.The personal aspect of the film seems to saturate the whole experience, as he refers to himself while acting and making comments in regards to the people in film from behind the cutting board.Ultimately, Welles attempts to erase the idea of him being the "expert", as he provides examples of his own forgery from when he provided the War of the Worlds over the radio, which caused mass hysteria throughout the United States. ... Read more

Reviews (61)

Loneliness, Love, Solitude, Eternity
"The Ghost and Mrs Muir" is one of those extraodinary films that works on a deeply emotional level. One would think, "A romance between a woman and a ghost? How silly!" Well, that kind of reasoning does not apply here. Joseph Mankiewicz, along with splendid performances by Tierney, Harrison, Sanders, along with the rest of the cast (including a very young Natalie Wood) achieve a very moving, touching story about loneliness and unrequited love. Miss Tierney, one of my favorite actresses, portrays Lucy Muir-a young widow of strong character who moves into a haunted cottage by the sea, and develops a friendship/romance with the cottage's ghostly former owner, Captain Gregg, played with great charm and gusto by Rex Harrison. This "love that can never be" will only reach fruition when Lucy dies. Captain Gregg, knowing this, decides to leave Lucy, leaving her with no memory of him. After a disastrous affair with a philandering author, played by George Sanders in one of his signature "cad" roles, Mrs. Muir resolves to live her life companionless-until her true love comes to claim her in death. Lucy grows old and finally dies, Captain Gregg returns for her, and the two walk off together into the mists of eternity. This film has a very quiet charm-it never bashes you over the head with pathos-it just works its way into your heart. Even its humor is very subtle-not the thigh-slapping kind, but far more subtle. Add to this lovely photography, and, of course, Bernard Herrmann's remarkable score. Herrmann proclaimed this score his personal favorite, even jokingly referring to it as "my Max Steiner score". It is filled with great warmth and longing, and, even listening to it by itself without the images, brings tears to my eyes. It is very hard, in my opinion, to pull off romantic films without becoming maudlin and sappy. Happily, this gem of a film pulls it off beautifully. They certainly DON'T make them like this anymore!

A Little Gem
This is a fabulous film. The gorgeous Gene Tierney was born to play the widowed Lucy Muir--a young woman seeking personal fulfillment, as well as financial independence from her loathsome in-laws for herself and her young daughter, Anna (portrayed by Natalie Wood). While house hunting, she finds herself irresistibly drawn to a seaside dwelling considered uninhabitable by its agent and, after taking up residence, falls in love with the spectral former owner, Daniel Gregg (Rex Harrison), a full-of-himself sea captain who hasn't quite come to terms with his accidentally having taken his own life. After helping Lucy to acquire financial security, Gregg unselfishly opts to make the ultimate sacrifice for the sake of his soulmate: concerned that she feels divided between his world and that of the living, he suggests to her while she sleeps that her recollection of their association, if any, is a dream and so it is until the film's climax. This tender, perfectly-cast love story is presented without the slightest trace of mawkishness under Joseph L. Mankewicz' direction and the performances are all stellar--George Sanders as Lucy's caddish suitor is particularly entertaining. Bernard Herrmann's appropriately haunting soundtrack is justifiably famous--one can detect the direction he'll take in his future work--and is available on CD from Amazon. It's entertaining on its own and definitely worth having.
The DVD is mastered from a good print and has nice, crisp contrast; the audio is fine, too. I haven't watched the film with the commentary, but the extras are nice and include an A&E Biography segment of the life of Rex Harrison, a theatrical trailer, and a collection of stills. Viewers are offered a choice of Spanish or French dubbing, as well as Spanish or English subtitles, and the menus are easily navigable. This film spawned a short-lived, late-60's TV show starring Edward Mulhare and Hope Lange in the title roles, as well as a condensed, made-for-TV production on Fox's Hour of Stars in the late 50's that has only recently resurfaced--it stars Michael Wilding and Joan Fontaine.
Kudos to Fox for staying competitive with the likes of heavyweights such as Criterion and Kino in their treatment of the classics in their catalogue. They provide quality (including nice keep cases as opposed to Warner's crummy cardboard "snappers") at very attractive prices and are clearly attuned to the public's expectations unlike, for instance, Universal. Fox has made it very easy on the wallet to own some of the finest movies ever made. If you agree with me that they're doing a good job, drop them a line at FoxDrop@4icc.com to let them know.

Unexpectedly wonderful love story
On paper, the premise of the movie sounds ridiculous. A ghost and a woman falling in love with one another? But watch what happens and you'll totally be drawn in. After Lucy Muir moves with her young daughter and trusted servant to a seaside cottage, she discovers that it's haunted. However, she is so in love with the house - it suits her in a way she can't define - that she can't stand the thought of leaving. After the ghost, a sea captain named Daniel, fails to scare her away, they reach an agreement to live amicably with one another.

The conversations between the two are initially hilarious, but gain a strong emotional dimension as the prim Victorian woman and coarse sea captain get to know each other better. Their connection becomes so powerful, you almost forget at times that the captain is a spirit. However, as right as they are for one another, there is still that physical barrier between the living and the fleshless. What's also interesting about the film is its psychology. Daniel is Lucy's ideal man - is he really a ghost, or just the product of her overactive imagination? Regardless of what you think the answer is, the question becomes increasingly important during the second half of the movie, when Lucy is pursued by a flesh-and-blood man, a suave and oily writer, who is certainly not her ideal but makes her commitment to the sea captain waver.

As Lucy, Gene Tierney is wonderful - she is great in both the humorous scenes and the troubled, emotional ones. She makes Lucy come alive as the proper, well-bred lady who also has a quirky side to her, and a resilience not found in many women of the time. And Rex Harrison is marvelous as Daniel. Though I first cracked up when hearing his gruff, earthy voice, he quickly won me over. Especially memorable is his bedside monologue to Lucy, which will bring tears to your eyes.

An unusual film with spectacular music and cinematography
More of a romance and a mood piece than a ghost story, this lovely little one-of-a-kind work from Fox (of all studios) brought out the very best in most of the people concerned. The score by Bernard Herrmann, has been justly praised again and again, and its evocative and sophisticated (and extremely non-sugary) romanticism it rivals his later beautiful work for Hitchcock and Truffaut. The gorgeous cinematography (eloquently described on the commentary by Greg Kimball) is exceptional, with exceptional black and white tonalities and use of mise en scene. And Gene Tierney, that most beautiful and inconstant of Hollywood actresses, was never more up to a script than here: her manneredness never seemed more charming, and she is quite fine in her later scenes when she's asked to be her character in middle age (and then old age). Only Rex Harrison, in a barking performance as the dead Captain Gregg, doesn't seem up to standards of the others. The film has nice extras, especially in Kimball's very informative commentary, which gives fine background material about how things were filmed and how Fox operated.

Poodle rates this 5 wags of a tail
This great film touched me deeply.
I love everything about it.
Please do not forgett the tissues. ... Read more

Reviews (71)

Finally An Affair To Remember is on DVD
In April of this year I bought this DVD. I love it so much. I remember when I was little and saw it . It brought tears to my eyes. I especially love the special features that are on this DVD. I have always loved The Extremely hansome an Debonair Cary Grant. He is a role model of what Male Actors Should Be.

Cary Grant, and Deborah Kerr meet on a Ocean Cruise well they meet and they fall in love. But one problem They are both already engaged to different people. Well as the Ocean Voyage goes on they get more and more romantic. Well when they get off the boat they make an agreement that 6 Months from that day they would meet at the top of the Empire State Building to see if they still love each other. Well that day comes and Cary Grant is on the top floor. But as Deborah Kerr is running to the Empire State Building she gets ran into by a car and is paralyzed. But at the end Cary Grant finds her and they Kiss and Get Married. Great Movie. The way that all movies are supposed to be.

Better than I anticipated....
"An Affair to Remember" with Cary Grant and Deborah Kerr has a lot to offer. I was skeptical when my wife brought this video home for "us" to watch, but I decided to give it an honest try. Once the movie got underway, and the character development started to take place, I became interested. There was more to Grant than a womanizing cad (thought it took a while for him to shake that image in the movie), and Kerr came across as a world-wise, yet innocent (in a sense), former night club singer.

While they are both committed to other people, Grant and Kerr meet and fall in love on a ship cruising from Europe to America.

Some of the dialogue and situations appear to be somewhat contrived, but the acting and story line development stirs true emotion.

This is probably not a movie for the bump and grind Monday Night Football crowd, but it is both watchable and enjoyable. Maybe I was primed to watch it by seeing "Sleepless in Seattle" recently, a movie that my wife and I both enjoy.

Anyway, give this movie a chance...it's somewhat dated, but it's still got something to offer.

Overrated Tearjerker
The first part aboard the boat seems convenient & affected. The bit where she takes him to meet her relative is charming and pretty but pointless. The accident and her subsequent behavior bespeaks of underlying insecurities and purhaps subconcious concerns about his character. I didn't feel particularly sympathetic toward either character and, thus, the reunion doesn't touch me.

One of my favourite movies
While I haven't seen the remake of this film, I have seen the original, and this is by far one of my favourite movies ever. The picture is beautiful, the casting is flawless, and the story timeless. I would recommend this for chick-flick lovers and even those who aren't particularly fond of romantic-comedies.

Practically nobody, huh?
Amazon says "practically nobody" likes the 1994 remake with Warren Beatty and Annette Bening, but actually I would prefer that one to this any day. However, if you have to see the original, amazon is where to get it. ... Read more

Reviews (98)

Solid, entertaining classic restored
It's a fun movie. You can argue with the the "science"; you can argue with some of the optical effects (the use of poorly matted lizards vs. stop motion animation is a minor drawback to the film)and you can argue with some of the deviations from Verne's classic novel but none of this off sets the sheer aura of fun that surrounds this 50's classic. Made at the tail end of the science fiction boom that made the cinema profitable again during the threat of television, Journey succeeds through the top flight direction, witty dialog and performances of the cast.

James Mason is perfectly cast as Professor Lidenbrook and Arlene Dahl plays his spirited romantic interest. The plot is fairly well known so I'll stick to the quality of the film, restoration and DVD transfer. Pat Boone's career as an actor was often blighted by his singing career. He wasn't considered a "serious" actor. He gives a energetic performance that counter balances Mason's intense take as Liddenbrook.

The direction by Hollywood vet Henry Levin sparkles with a number of inventive set pieces. Michael Todd's spare no expense production allows this lavish production to continue to shine nearly 45 years later. The art direction is often imaginative and, despite the limitations of the time, manage to convey the wonder of Verne's original novel.

The optical effects are quite good half a century later. The matte paintings and miniatures still allow one to suspend disbelief and sink into the world portrayed here. The use of redressed lizards for the grand finale does undermine the conclusion a bit. Surprisingly, Todd and director Levin opted for using this approach instead of the more time consuming stop motion animation of Ray Harryhausen or Willis O'Brien. Although it would have delayed the film a bit and increased the budget as well, this brief sequence would have been more believable and lively if it had been made using O'Brien or Harryhausen.

All of this would have been to no avail if not for Bernard Herrmann's moody, inventive and idiosyncratic score for the film. Herrmann's best scores (North by Northwest, Psycho, Citizen Kane among many other classic scores)helped elevate the quality of many films. Hitchcock, Welles, Ray Harryhausen, Brian DePalma and Martin Scorese all recognized that Herrmann's scores were important characters in the films they directed.

The transfer is beautiful given the age of the original negative and condition of many of the films from this time frame. While the restoraation isn't as rich as that given to cinematic classics like Vertigo and Spartacus, the film benefits from the restoration efforts. The colors are vibrant and rich and, with few exceptions, the transfer is sharp and not as grainy as one would expect (particulary during the optical effects sequences).

The DVD transfer is quite good as well. Again, grain problems to crop up now and again and the widescreen transfer isn't flawless but these are fairly minor complaints. Fox has, on the whole, done a marvelous job restoring this classic adventure film. Sadly, Mason, director Levin and Todd are all deceased so we don't get any first person observations about the production of the film on a second audio track. Since Pat Boone is still very much with us, it would have been interesting to hear his memories on the production of this fine film.

I have very fond memories of watching this on the 3:30 Afternoon movie on KGO-TV in San Francisco (and, if memory serves, a couple of times on John Stanley's Creature Feature program as well). It's a perfect rainy day Saturday movie. It's enjoyable for the kids and, yes, even for this adult despite the wonderous explosion in visual effects over the years. While you're at it, you might also enjoy Jon Amiel's The Core an update of sorts of this classic film. Amiel's film vividly recaptures the sense of wonder and power of this type of film with his modern day take on the same theme.

Grand "Cinemascope" family entertainment from the 1950s!
OK, there's been some controversy here about the quality of this release, so let me put it to rest. This DVD is spledid! I think this adaptation of Jules Verne's 1864 French novel is a prime example of 1950's wide-screen motion picture family entertainment -- it's wholesome and has a little something for everyone. This is the best film version of this story, the most recent of which was done for the USA Channel on cable in 1999 and was very campy. They couldn't match the 1959 production values of this 20th Century-Fox film that has excellent color photography and art direction, and Bernard Herrmann's wonderfully atmospheric music score. These elements have continued to make it a favorite with fantasy film fans who can appreciate older movies, though it's true that some of it is silly at times, but I don't think the film's makers were trying for a serious movie. It also contains one of James Mason's best performances (He was always good). It's wonderful "Cinemascope" escapism from the bygone Eisenhower-era of the 1950s. Even though I've been watching it on TV since I was a kid in the sixties, I'd only seen pan&scan versions, and it wasn't until I got it letterboxed on laserdisc that I finally saw what a big-screen entertainment this movie was meant to be. It has splendid scope and a score by Bernard Herrmann that takes you right down into the bowels of the earth. Listen to it and you'll notice what I mean, as the movie progresses the music keeps going into a lower and lower register. Five organs were used, including one meant for a Cathedral. (The complete original recordings of the score are available on CD from Varese Sarabande.) Sure it's long in the telling and takes a while to get you down that extinct volcano in Iceland, but it's fun all the way with great special effects work by L.B. Abbott and matte paintings by Emil Kosa Jr. It's been a long wait for this to come out on DVD but it's now worth it. Although Fox should have known that fans would want more extras, including a production and poster still gallery and audio commentary by Pat Boone and Arlene Dahl perhaps?, or an expert on the production? (Perhaps we'll get it in a future release?), they have thankfully included the original theatrical trailer, whic is a lot of fun. They've also gone to great efforts to restore the color negative, and this 16X9 ANAMORPHIC TRANSFER has been struck from a newly made interpositive print, and has been further enhanced with digital video. The original 4-track MagOptical soundtrack is here offered in Dolby Digital 4.0 surround. Although the directionalized dialogue is often off the mark, the aged soundtrack sounds great and will really rumble your room if you've got a subwoofer. If you are a fan of 1959's JOURNEY TO THE CENTER OF THE EARTH, you'll be very happy with this DVD. I'd give this DVD five stars but for Fox skimping on the extras. Boy, you people at Fox can be real dummies!

A film for the whole family
Fox Studios was so successful with this film that they immediately made another Verne classic, "The Lost World" with Claude Raines as Professor Challenger. "Lost World" didn't fare as well. The reasons were obvious.

"Journey" was put together by a team of Hollywood professionsls at all levels: script, direction, actors, production deisgners. They were all dedicated to one goal: to entertain the audience while not pandering to them. The actors take their roles seriously, bringing them to vivid life.

This is a long film for a general release, family oriented project. It goes into good, solid character development, rather than settling for action over story, as they did with "The Lost World." The only thing both films have in common appear to be dinosaurs.

The special effects are excellent. Try not to compare them to what can be computer-generated today. Matte painting artists of the old Hollywood studio system could truly be called artists; this film is a prime example of this art.

Bernard Hermann's score is one of the true stars of the picture. It supports the film; it is like a character all its own; it complements the story rather than overpowering it.

This is a movie that can be seen over and over through the years and it still appeals. Once again, the DVD format presents the film in its original CinemaScope aspect ratio, which is the only way to appreciate a truly excellent example of the old Hollywood in its finest form.

all time classic
i remember seeing this movie as a re-release in t he 1960's
these are the type of movies that should never be put to dvd,
instead released to the theatres every so often where
mom's can drop off the kids for saturday afternoon fun.
james mason did a great job
alene dahl was hot to trot
pat boone played a 2nd fiddle good performance
thayer david ( what a wimpy creep..!)

Rated "G" for "Great"
This movie captured my imagination as a child, and I'm pleased to say that it retains all its adventurous charm twenty-five years later.

Based loosely on the Jules Verne novel, the movie tells the story of a group of scientists (and a scientist's widow ... and a hunky Icelander ... and a duck) as they follow the trail of a long-dead explorer into - wait for it - the center of the Earth. The film is partly a vehicle for Pat Boone's singing career, partly an excuse to design one fantastic set after another (partly filmed in Carlsbad Cavern National Park), but it's mostly a decent adventure story with the ever-wonderful James Mason leading the way. Sure, some effects are poorly done with blue screens, matte paintings, and miniatures (not bad by late '50s standards, though), but it doesn't take much suspension of disbelief to get into spirit of the thing (my 4-year-old screamed at the Dimetrodons), and an emotional connection is built between the audience and the characters (Count Saknussem's fate is richly deserved). Be sure to watch for Alfred the Butler (Alan Napier) as a University of Edinburgh dean.

The limited bonus materials are all worthwhile (as opposed to DVDs that cram in the extras, mostly mediocre). Included are movie trailers for nine Fox sci-fi movies (Sean Connery's Zardoz must be seen to be believed) as well as the trailer for Journey. The only other bonus is a before-and-after comparison of how the film was restored. There's no documentary showing the process, but the side-by-side and split-screen comparisons help you realize how close this treasure was to being lost.

This is a great film that deserves to be part of anyone's collection. The effects may be dated, but the adventure and characterizations are as powerful today as they were in 1959. If you're looking for a film the whole family can enjoy that isn't so sugary sweet it necessitates a visit to the dentist, Journey to the Center of the Earth fits the bill. ... Read more

Amazon.com

For years, animation buffs have waited impatiently for the Warner Bros.cartoons to appear on DVD. The Warner shorts never commanded the budgets andprestige of the Disney and MGM films, and won fewer Oscars than they deserved. Butdecades after the best ones were created, they remain the quintessentialHollywood cartoons: brash, fast-paced, aggressively funny and uniquely American.Virtually everyone in the U.S. under the age of 60 grew up on these films, intheaters and on TV. The 56 cartoons in the set (out of a studio output of over 1,000) weretransferred from good prints--which means the viewer can see dust, scratches, andoccasional mistakes by the cel painters. The films are all presented uncut, indefiance of the killjoys who have insisted on censoring alleged "violence" inthe versions shown on television. Warner Bros. is obviously testing consumer response with this set. Althoughthe erratic selection includes many classics, purists will argue (correctly)that it offers neither a fair representation of the directors' oeuvres,nor anything approaching a coherent history of the characters or studio style. (Nearly half the films were directed by Chuck Jones; only three are by BobClampett, and there's nothing by Tex Avery or Frank Tashlin.)But it seems petty to carp about omissions and biases when the discs offerexcellent, uncensored prints of some of the funniest films ever made in theU.S.--or anywhere else. (Rated G, suitable for all ages: cartoon violence)--Charles Solomon ... Read more

Reviews (211)

This Is the One To Buy
Looney Tunes and Merrie Melodies cartoons. You know the characters: Bugs Bunny, Daffy Duck, Porky Pig, Sylvester, Tweety, Yosemite Sam, Foghorn Leghorn, Elmer Fudd. You love the cartoons, with the hilarious gags and sharp dialogue, the superb animation and design, the great voice acting and music. Well, let me tell you this: If you're looking for these cartoons on DVD, GET THIS SET and this set alone. The Looney Tunes Golden Collection features 56 cartoons from the 1940s and '50s, fully restored from the original negatives (so that they look better than you've ever seen them on TV). The cartoons will be uncut, so you'll get to see the gags they won't show on TV: the suicide gags in "The Scarlet Pumpernickel" and "Tortoise Wins By a Hare," the Russian-Roulette game at the end of "Ballot Box Bunny." And the set includes an incredible number of extras, including: audio commentaries by animation experts and voice actor Stan Freberg (who provides the voice of Pete Puma in "Rabbit's Kin" and Junyer Bear in "Bugs Bunny and the Three Bears"); excerpts from TV shows and recording sessions; storyboards; featurettes; a new documentary on the making of Looney Tunes; music-only tracks for Carl Stalling's musical scores; and more, much, much more than I can list here.

It's hard to believe, but Warner Brothers is reportedly not sure that these cartoons can sell. This set is a test to see whether DVD collectors are in the market for Looney Tunes fully restored and presented with in-depth extras. If the set sells well, there will be more big boxes like this one, with still more cartoons (including earlier classics that are still in the process of restoration). If it doesn't sell, all we'll get is bare-bones samplers aimed at kids alone. So don't buy the bare-bones "Premiere Collection," a poorly presented kid-oriented release with no extras and only half of the cartoons on this set. Get the Golden Collection, and you'll not only get the extras, but you'll get Bugs posing as conductor Leopold Stokowski ("Leopold!") and getting revenge on an arrogant opera singer in "Long-Haired Hare"; Daffy and Porky battling Marvin the Martian for control of Planet X in "Duck Dodgers in the 24 & 1/2th Century"; Porky and Sylvester dealing with psycho-killer mice in "Scaredy Cat"; Bugs playing against an entire baseball team by himself in "Baseball Bugs"; Daffy as the host of the game show "Truth or AAAAAGGGGH!" in "The Ducksters," and on and on and on. 56 cartoons. Great extras. Help make "The Looney Tunes Golden Collection" a best-seller and you'll not only be helping the cause of classic animation on DVD, you'll be getting some of the best comedy films ever produced, animated or live-action. You'll be getting fascinating extras and supplements. You'll be getting hours and hours of great entertainment. What could be better than getting great entertainment in a good cause? Buy this set, and if enough people do, we'll get to see more sets of Bugs, Daffy, and the rest, to enjoy at home as often as we want -- and believe me, we'll want to watch it often.

Total Hilarity, Smartly Assembled, and BEAUTIFULLY RESTORED!
QUERY: "What's Up, Doc?"
ANSWER: My favorite DVD of the year. Possibly of all time.

The original LOONEY TUNES gang is back, and boy do they look terrific. Warner Home Video has compiled a terrific selection of 56 animated gems starring Bugs Bunny, Daffy Duck, Porky, Pig, Elmer Fudd, along with dozens of other characters, and added hours and hours of bonus features and documentaries. This is sure to become a perennial in anyone's serious DVD collection.

Best of all, the cartoons have been GORGEOUSLY restored. Restoration means bringing something back to its ORIGINAL form, and that's what Warner Bros. has lovingly done here. The glorious Technicolor imagery is mind-boggling, the animation art is sharp and clear. So sharp and clear that you see can even see the dust that was on the original cels these cartoons were painted on.

THAT'S restoration.

Thank heavens Warner didn't go the route that Disney did with SLEEPING BEAUTY and monkey around with these images, wiping out all traces of the original cel animation and making them look like CGI. No, it's beautiful old-style animation, and each cartoon has been restored to look as they did when they first hit theater screens decades ago.

Each cartoon on this collection is an American classic in its own right. Happily these classics have not been tampered with, but are presented with the utmost respect and attention for the masterpieces they truly are.

Just rented these...now I have to buy them...
We rented all four DVDs from Netflix (my husband, who will be 40 next week LOVES Warner Bros cartoons!). After watching them with our 7- and 3-year-old children, I have to get it for his birthday, because he was such a kid again! He did notice that some of his "favorites" were not included (even without reading the amazon.com reviews) but he said he would love to own this set anyway. Can't wait to receive it!

Saturday Morning Is Back at our house!!!
This collection is great! I love the old cartoons. They are timeless. The DVD pictures are clear and look wonderful! All my kids love them. (Ages 15, 11, 4 & 2) We watch them over and over and over. Add a little School House Rock and we are in business. Saturday Morning Cartoons are back at my house! Enough said!

Just Get It
They've given me approximately 300 words to review Looney Tunes: The Golden Collection 4-disc DVD collection of classic Warner Brothers cartoons, but I could do it in 1/100th of the verbiage-just get it!

Whether you're a casual fan of Warner Brothers stable of cartoon crazies or a rabid die hard animation maniac, you need this set in your DVD library. It is quite simply the best collection of animated shorts that have been released in the format.

Spread across four discs are 56 beautifully restored animated shorts featuring Bugs Bunny, Daffy Duck, Porky Pig, Speedy Gonzalez and many other favorites from the Warner Brothers Studio's stable of characters. The shorts include such classics as "Rabbit of Seville", "Baseball Bugs," "Duck Amuck," Duck Dogers in the 24 1/2th Century," "Bugs Bunny and the Three Bears," "The Foghorn Leghorn" and the first appearance of Speedy Gonzalez in his eponymously named short.

The restoration work on these cartoons is amazing. The line art is crisp and sharp and colors pop off the screen. In addition, the set is decked out with a generous selection of extras including several documentaries, stills galleries, pencil tests and more. Twenty-six of the shorts have commentary tracks from the likes of animation historians Jerry Beck, Michael Barrier and Greg Ford, which fill in many behind-the-scenes details about the cartoons' creation. The glimpses of some of the wartime cartoons in the documentaries are enough to make you want more.

Even with the lavishness of the set, there are a few nits to be picked. Everyone will have a favorite cartoon or two that didn't make it onto the set. The selected shorts are weighted towards director Jones, who is represented by almost half of the set's 56 cartoons. Sadly, not one of Tex Avery's 60 some cartoons have made this set. The year range of the selected cartoons is a little narrow with all but ten produced between 1948 and 1953. Among the documentaries I would have liked to see more about Warner's other great vocal talents like Elmer Fudd's original voice Arthur Q. Bryan, Bea Benaderet, who provided the voices for Ma Bear, Witch Hazel and Granny, and June Foray, who wound up taking over many of Benaderet's roles in the mid-`50s and others.

Fortunately, Warner has stated that they're committed to the restoration of their entire cartoon catalog and eventual release on DVD. So don't worry, this isn't all, folks!
- Rich Drees

www.PortHalcyon.com ... Read more

Description

Nazi Panzer forces stage a last-ditch Belgian front offensive that could turn the tide of WWII. Henry Fonda, Robert Shaw and Robert Ryan in the spectacular recreation of a crucial campaign. ... Read more

Reviews (81)

A seemingly controversial film!
Judging from all the previous opinions written on this movie, it is obvious few see it in the same light.This movie, while highly Hollywoodized (is there such a word?) is entertaining and only remotely connected to any historical reality. There is a star-studded cast with heavyweights (all gone now, I believe) like Henry Fonda, Robert Shaw, Robert Ryan, and Dana Andrews, among many others, and it is an interesting, and I found it to be, a very entertaining movie. I have owned this movie for many years on VHS and was disappointed for many of those years that it was unavailable on DVD.Why was it not available?Who cares now--it is finally out on DVD.If you don't like the movie, DVD won't change that, however.

This movie, with whatever faults (and it has many) you wish to attribute to it, is a must in any collection of war genre movies simply because of the stars and the insight it gives to movies made in 1965 while another, but realtively unpopular, war was going on. Even if you're not into war movies per se, I think it is enjoyable to watch.

If you are looking for a documentary on the history of The Battle Of the Bulge, this isn't it. As others more knowledgable than I have pointed out already, there are many inaccuracies, historically, with equipment, etc,etc.Most Hollywood movies are that way--Saving Private Ryan, Pearl Harbor, MacArthur, Patton--that's just a movie fact of life.I am sure only period films of actual combat would please some purests, so put that aside, it is worth a look soley as entertainment.In my opinion, a movie that generates this much controversy also generates curiosity as to why the controversy.See it, if you can, before buying and make up your own minds.

As comic book man would say..."Worst War Movie Ever!"
Mildly entertaining, this movie lacks in so many areas I don't know where to begin. I like to watch war movies to relive my days in the Army (I was in a tanker unit for awhile), and this movie just loses all realism and historical accuracy to the point that it resembles a circus. I saw it as a kid and liked it of course, and viewers who aren't so discerning might actually like it also, but watching it as an adult who has already watched the greatest war movies ever, I now have to give a thumbs down to this flick.
There are no unit patches on any of the soldiers whatsover. Obviously the studio must have had to cut costs somewhere. The German Tiger and Panther tanks suspiciously resemble American made tanks, the acting is so horrendous and hollywoodish, that I actually found myself rooting for the Nazis to kill them so I would no longer have to listen to their phony imitation of real soldiers over and over. Yes it was a big budget film and yes they did assemble a very all star cast, but did any of those actors ever spend 15 minutes trying to learn how actual soldiers act and talk? Actors are supposed to be believable in their roles, and this group just couldn't do it. They obviously didn't even know the right military expressions or jargon at all. Example: One of the generals making a call to HQ asks for "One hundred and fifty fives" (Howitzers), which to my knowledge has always been called one five fives (especially over a radio). Small error though it is, to me it's enough to remove any belivabilitythat the actor has ever spent a day in uniform.
The special effects are laughable, but you do have to remember the era in which this movie was filmed.High explosive tank rounds only cause a puff of smoke on enemy tanks followed by gasoline being lit on the turret.Dont expect to see turrets flying off as would be the case, oh and, soldiers don't bleed when shot either.
The end of the movie was so preposterous that I couldn't help but chuckling as Henry Fonda and Savalas rolled barrels of gasoline towards an entire column of German tanks and then tossed grenades at them and singlehandedly won the Battle of the Bulge.
This movie just seems like a sorry excuse to put Charles Bronson and Telly Savalas in other movie together to attempt to entertain the public.I'll stick to "Band Of Brothers", "When Trumpets Fade", "The Thin Red Line" or even "The Big Red One", when I need my WWII fix.

WW II Action Drama of the 1944 Ardennes Counter-Offensive
Warner Brother's 1965 epic war movie that portrays the German Ardennes Counter-Offensive in December of 1944 during WWII."Battle of the Bulge" depicts Adolf Hitler's gamble that committed three German armies to attack west to Antwerp, Belgium, and halt the Allies to force a negotiation for peace.Producer Milton Sperling and Director Ken Annakin created a movie of grand scale, but apparently chose big-screen action over historical precision to maximize box office revenue.Long relegated to infrequent television play and a chopped video tape edition, it returns on DVD restored for movie fans who like tanks and a screenplay that borders on camp by contemporary standards.

The movie depicts this historic battle through several fictional characters that eventually meet in a climatic battle that seals the Germans' fate.Henry Fonda is Lieutenant Colonel Dan Kiley, an American intelligence officer whose warnings of the coming attack fall on deaf ears.Robert Shaw is Colonel Hessler, the charismatic German Panzer (tank) commander who leads the armor spearhead towards Belgium.Charles Bronson is Major Wolinski, a tough American commander fighting the German onslaught to the last man.Telly Savalas is Sergeant Guffy, a jaded American tanker who is in the thick of the battle facing superior German tanks that relegate his to a tin can.James MacArther is Lieutenant Weaver, a slack infantry leader who survives a massacre of Allied prisoners by German soldiers.Sperling and Annakin appear to have chosen this simpler screenplay to create a few heroes who fight to overcome a seemingly invincible villain-forgoing a complex storyline as used in 20th Century Fox's 1962 "Longest Day."It works OK, certainly not on the level of "Band of Brothers," and lends a somewhat campy appeal for this 1960's action flick.

The movie does portray actual events with German paratroopers disguised as American soldiers who disrupt Allied operations, the Malmedy Massacre, and the siege of Bastogne.Their depictions contain a lot of artistic manipulation, and the relatively simple storyline faults the German defeat to depleted gasoline reserves-setting the stage for a climatic battle when Kiley, Guffy, and Weaver find themselves face-to-face with Hessler at a gasoline dump.Another gross oversight is a massive tank battle in the latter part of the movie that was apparently filmed during the spring-summer season in Spain-deplete of snow.

As long as viewers don't mind these faults-this is an entertaining movie.The M24 Chafee and M47 Patton tanks rented from the Spanish Army serve well as facsimiles for American Sherman and German Tiger tanks, and the live sets look great on the wide screen.Robert Shaw is the most charismatic in this feature and the Panzerlied chorus near the beginning of the movie is rousing.

I've always enjoyed this movie and I'm pleased with the DVD edition's restored imagery and Dolby Digital 5.1 sound, particularly the restoration of footage that I've not seen in years.

A good transfer
I will not review the movie but the DVD. It's in Widescreen. No scenes have been cut. Every minute of the movie is on this DVD. It has the overture, intermission & exit music.I saw no pops or lines in the picture. The sound & pitcure quality of this 60s movie is as good as any DVD I have. I like the movie & wish all old movies on DVD were as well done as this DVD.

dump your VHS version
I'm not going to waste your time telling you about the movie, and how great it is.
The only thing I have to say is someone did something right for a change. Whoever put this one together gave you the full version as it was first shown.
My advice if you know and love this movie, this is the one to buy, and dump your VHS. ... Read more