Reviews (499)

What else is left to say?
This is the greatest American film ever made, as entertaining as it is revolutionary.

When it was made, Orson Welles tackled a seemingly simple topic, a reflection back on a dead man's search for love and happiness in his life, and made a film that's epic in scope, gorgeous in its visual execution, brilliantly written, incredibly acted.

All in all, it's inspiring to filmmakers looking for a great debut film from a new director. "Citizen Kane" also works for regular moviegoers just looking for a good drama.

Using interviews with all his closest friends and colleagues, Welles uses flashback to create a portrait of the life of millionaire media magnate Charles Foster Kane. Kane was, in conflicting accounts of those who knew him, a man of great character and potential or a wealthy, cold, manipulative scoundrel.

What, if anything, can be learned about the man from his last word? What does "Rosebud" mean?

The answer makes for good mystery, and it leads the viewer to ask key questions about what defines our lives and gives them meaning.

This film is fantastic, one that should be watched once a year to help you keep perspective on life.

One of the Best.
Even after sixty years, CITIZEN KANE remains as one of the greatest movies of all time. Though it is true that some are bored by the movie because it's "just a boring black-and-white movie with no action", those who hold that opinion are in the minority. KANE is often held as the pinnacle of filmmaking by movie buffs not just because of the advances the movie made in film production, but also because it set the standard that all filmmakers wish to reach: the total director's vision; a movie made with total control and no studio intervention. With that said, what does KANE hold for the average film-goer? The movie has an excellent script (it won an Oscar), great acting, and a haunting score. The story, though loosely based on the life of William Randolph Hearst, is an old one: powerful man starts out promising and full of ideals, becomes consumed by greed and looses his vision, and ends up loosing it all (anyone read MacBeth or ALL THE KING'S MEN?). Overall, a deeply penetrating and thinking movie that film buffs usually love and that most everyone else will at least enjoy if they don't mind a strong drama filmed in black and white.

AFI got this one right
Can you imagine what the perception of RKO was at the time they made this decision? Let's see, how about we give complete control of a major film to a twenty five year old radio voice with zero film experience (whose claim to fame was scaring the life out of the public with a fake story about aliens landing on earth) and even better, let him staff the movie with actors who have little to no screen experience. On top of that, we'll let it become one of the most controversial pictures of its time because it mirrors the life of one of the biggest names in America today. Why, it may never be able to be released because of the lawsuits-- Great idea!

I have just described Citizen Kane. All of the above is true, which makes the fact that it is possibly the greatest film in American Film History even more amazing. Everything is perfect. The script (which Welles co-wrote), the actors (all relative unknowns except Welles and Joseph Cotton), the special effects (listen to Roger Ebert's Commentary on this special edition for details) and finally, the makeup-- You won't believe how great a job they do making 25 year old Welles look 60.

As for the story, it's done in a most interesting fashion. Charles Foster Kane (Welles) dies at the very beginning of the movie and utters his famous last word "Rosebud". A reporter is given the task of finding out just what that one word meant. So he goes and interviews all the people who knew Kane to try to learn the meaning of the word. In the process, we are shown Kane through the eyes of those who knew him. We never see Kane through his own eyes, always what his former associates saw.

This is interesting, because Kane is a tragic figure as seen by just about everyone. He is unhappy and lonely. We as an audience eventually learn the meaning of Rosebud. I have read reviews that complain that the movie is about this one thing (I won't reveal what it is). But long before we learn the identity of Rosebud, the film has made its point. What is the point? My opinion is that the film shows us basically the worthlessness and despair of materialism. Loving "stuff" or money will ultimately lead to unhappiness.

By the way, this movie almost was never seen. The man I spoke of at the beginning of the review is William Randolph Hearst, former newspaper magnate. He saw too much of himself in the film and sued to squash it. Fortunately he lost. The second disc in the set is a two hour documentary on this topic. It is also excellent and well worth a viewing.

One last thing. Although this movie has been ranked on the AFI list as number one American movie of all time, it did NOT win Best Picture in 1941. That film? "How Green was my Valley"

Review of Review
The best review of Citizen Kane - perhaps of any film - I've ever read is the one titled "Narrative and Eye Disconnect" posted by "A viewer from Richmond, VA USA" on March 21, 2004. I recommend searching through Amazon's reviews to find it, then watching Citizen Kane and re-reading that review. Even though the reviewer gives Kane just one star, s/he writes with great insight into the movie and cinema in general, and has enhanced my appreciation of Citizen Kane exponentially. Thank you, "Viewer from Richmond," whoever you are!

Works on the basic levels as well as artistically
So many of the films that critics unanimously pick as the greatest of all time are overrated, confusing, ponderous, overly symbolic art pieces that leave viewers scratching their heads. The collective reaction is, "What in the hell was the director smoking?" Arty camera work and tons of symbolism and metaphors can never take the place of good acting, solid direction and, most importantly, a good script.

Much has been made of Citizen Kane's technical brilliance -- Welles' use of overlapping conversations, Gregg Toland's deep focus photography, set design that incorporates ceilings, etc. However, none of this would really mean anything if the film didn't have a great story and screenplay. Citizen Kane may be a triumph in filmmaking technique, but it is also a deeply engrossing story with characters we can relate to and sympathize with. Welles' Kane is a selfish, unhappy, overly controlling dictator who has everything and yet still manages to make himself more and more unhappy. Most of us know the feeling of not appreciating someone or something good in our lives until he/she/it is gone. We see the promise and idealism in Kane's early life, like him and believe, as Joseph Cotten's Jed Leland does, that Kane is a great man who can do so much good in society. As Kane's life progresses, however, he becomes more and more bitter, alienates everyone who cares about him and dies alone, longing for the simplicity of his early life before he became wealthy. When Kane, as an old man, loses control when his second wife Susan Alexander (Dorothy Comingore) leaves him, we can't help but feel for him -- even though most or all of his unhappiness is his fault. That the audience feels such empathy for such a flawed character is Citizen Kane's greatest triumph and is the true basis for Kane's reputation as one of the greatest films of all time. ... Read more

Amazon.com essential video

One of the first Hollywood films to deal openly with white racism toward Japanese Americans during World War II, this drama directed by 1950s action maestro John Sturges (The Great Escape) stars Spencer Tracy as a one-armed stranger named MacReedy, who arrives in the tiny town of Black Rock on a hot day in 1945. Seeking a hotel room and the whereabouts of an ethnic Japanese farmer named Komoko, MacReedy runs smack into a wall of hostility that escalates into serious threats. In time it becomes apparent that Komoko has been murdered by a local, racist chieftain, Reno Smith (Robert Ryan), who also plans on dispensing with MacReedy. Tracy's hero is forced to fight his way past Smith's goons (among them Ernest Borgnine and Lee Marvin) and sundry allies (Anne Francis) to keep alive, setting the stage for memorable suspense crisply orchestrated by Sturges. Casting is the film's principal strength, however: Tracy, the indispensable icon of integrity, and Ryan, the indispensable noir image of spiritual blight, are as creatively unlikely a pairing as Sturges's shotgun marriage of Yul Brynner and Steve McQueen in The Magnificent Seven. --Tom Keogh ... Read more

Reviews (30)

Solid "Rock"
This is a thrilling suspense film from start to finish.Though set apparently in post World War II Arizona the film has the feel of a traditional western.One could draw parallels to another classic western, "High Noon", in that the film's protagonist MacCreedy (Spencer Tracy) is confronted with sociopathic bullies and has difficulty enlisting the aid of the few people of good will in Black Rock.Whereas "High Noon" was considered a metaphor for McCarthyism, "Bad Day at Black Rock" tackles the theme of racism, in this case the prejudice that was prevalent at the time against Americans of Japanese descent.John Sturges crafts such an effective tale that you don't feel you are being preached to.Tracy is solid as the one-armed inquisitor.The supporting cast is all first-rate with Robert Ryan, Ernest Borgnine, and Lee Marvin especially good as the creepy heavies.Great Technicolor and tremendous use of widescreen on display here.Andre Previn contributes an effective score.

Audio track for french language - discusting
The english audio track is good, but as far as the french track it's not worth a penny, noise on the track are so loud; My French friends we're so disappointed.
I think WB is producing full sh.. DVD and have no respect for customer. They don't do quality testing on DVD products...
It's an excellent movie, but not the right compagny to produce a DVD...

Excellent!
Spencer Tracy as the mysterious man in black. What is he doing in a small middle of nowhere desert town? It's film noir in color! It's absolutely fascinating and when it's ended, one has to see it over again because it's almost a perfect movie. There are no wasted shots. And the music score by Andre Previn is a perfect compliment to this widescreen thriller. It has Ernest Borgnine, Lee Marvin, and Robert Ryan at their nastiest!! It's great!!

Tracy at his best
Tracy portrays a one-armed man who arrived in a small town only
to discover it is hiding things.Led by Robert Ryan he is stonewalled in discovering the truth but eventually does. This
film also features Lee Marvin and Ernest Borgnine in supporting
roles.This is a perfect film to watch Tracy.He appears to be
doing nothing but is absolutely wonderful.Anne Francis is very
good also.This is one of Tracy's finest efforts and the dvd
release is most welcome.

Myfavourite film
This is a really good thriller Weston.The cast is wonderful all first class performers especially Tracy and Ryan. It has been around in the pan form. It will be great in wide screen with a good sound track.I can't recommend it enough. ... Read more

Description

Available for the first time on DVD! All episodes are in chronological order by airdate.

The Monkees scored four consecutive #1 albums and a half-dozen Top 10 singles. The Monkees Anthem "Daydream Believer" voted #3 teen idol song of all time by VH1 viewers. Original Monkees episodes are still being shown on VH1 and a new Monkees show is being developed for the fall 2003 network schedule. "I'm A Believer" was recently popularized in the feature film, Shrek. The Monkees have a dedicated fan base that continues to collect all things Peter, Davy, Micky and Mike.

5.1 audio. Play song romps feature. Commentary on Episode 1 by director James Frawley and Davy Jones. Separate commentaries on Episode 3 by Peter Tork and Monkees creator and director Robert Rafelson. Separate commentaries on Episode 10 by Michael Nesmith and Peter Tork. Commentary on Episode 12 by Michael Nesmith. Commentary on Episode 14 by director James Frawley. Commentary on Episode 15 by Davy Jones. Monkees Pilot (16 mm version). Monkees Discography. Vintage Monkees Kelloggs commercials. Separate commentaries on Episode 32 by Michael Nesmith, Peter Tork and songwriter Bobby Hart. Interview with songwriter, Bobby Hart. Monkees Memorabilia Gallery. ... Read more

Reviews (42)

What Monkee Fans Have Been Waiting For
This box set from Rhino has been worth the wait for Monkees fans. The audio and video are excellent for the most part, which make these first season episodes a pleasure to watch. The picture quality is so good that you will see things in the background that you have never noticed before, even if you've seen the episodes dozens of times.

The packaging for this six-disc set is outstanding. The box looks like a little record player and the discs are inside little cardboard sleeves that replicate actual Monkee 45s.

Select episodes have audio commentary from various people connected with the Monkees, except for Micky Dolenz who is sorely missed. He was hilarious on the audio commentary for the "Daydream Believers" DVD and would have had some entertaining things to say about these episodes. Here's hoping he will be on the second series box set.

The booklet that comes with the set is a bit lacking but the discs make up for this by including trivia on each episode from a well-known Monkee website. However, some trivia that has previously not been seen before would have been nice.

When I reviewed Rhino's Monkees Volume One & Two on Amazon, I mentioned several things that I thought would make good extras when the entire Monkees series came out on DVD. Rhino has lived up to most of my expectations, including putting the alternate version of the pilot in the set and most of the Monkees TV commercials. That being said, most of the commercials are of poor quality and look like they were taken off of a bootleg tape called "Secret Video Files" that is in wide circulation among Monkee fans. I still appreciate them being included though. I was also a bit disappointed that the episodes did not feature the alternate music soundtracks from reruns and syndication.

Despite these minor flaws, here's hoping the same creative people work on the release and packaging of the Monkees Season Two DVD set.

Great set! Buy it, but know the caveats...
Hey, what can you say BAD about a DVD box with ALL the episodes of Season One of The Monkees? Not much! The shows themselves are a JOY to watch in the newly restored glory. Unlike most hardcore Monkees fans, I've always preferred Season One over Season Two (sure, some of Season One's episodes are goofy, but Season Two - while showcasing the superior tunes - just gets a little too self-indulgent at times for my delecate palate). Having said that, I STILL can't wait for Season Two!

Now, the minuses. The packaging, while certainly cute, is not very user-friendly or storage-friendly. If you're a 'cute gimmick' fan, you'll love it. If you're more inclined to appreciate practicality, get out the swear word thesaurus.

Unfortunately, I'm guessing it's the gimmicky packaging that has pushed the price tag into the upper-stratosphere. Compare the cost of this box to OTHER single-season DVD compilations and you'll see what I mean;...P>... Even if you're NOT hip to these things, buy it anyway!

One hopes a sclaed-down version will follow and encourage more average buyers to invest in these gems.

Silly Sitcom! (And I Mean That In a Good Way!)
I was a baby when The Monkees aired on television for the first time so of course I didn't wach it back then but as a little girl in the 70s I watched the reruns. It was a wonderful show, silly in a fun and entertaining way and I'm glad that the first season is on DVD in a complete set though I would have preferred a normal TV boxset instead of this oddly shaped one but that's a minor complaint and I still have to highly recommend this show on DVD! BTW: I remember a lot of girls having crushes on Davey Jones, yes he was a good looking guy but I remember having a crush on Mickey Dolenz who was also cute and I loved his witty personality.

A second generation fan
I love these DVD's. My mom was a fan when she was a kid and got me hooked on them 2 summers ago.

At first glance, it doesn't look like it would be funny to a 19 year old. I'm not saying it's falling over hilarious, but it certainly keeps you smiling. Some of the stuff they get away with alone is laugh worthy. If nothing else you're thinking "What in the world are they doing?". "Too Many Girls" and "Monkees On The Line" are two of my favorites. First season is more formula than second season, but it also has more of the guys when they still liked each other. Peter's commentary is enlightening and really funny.

I highly recommend this to anyone with a whimsical sense of humor. Too cute :)

Hey, Hey! It's The First Season!
I enjoyed this DVD. While some people may feel it's beneath them or others to enjoy this show for its "childish" humor, keep in mind that the Three Stooges, the Marx Brothers, Laurel & Hardy, etc. are still funny. The Monkees are in good company. For me, the music is what I mostly enjoy. No, they're not the Beatles. But who is? If some people don't like this show then perhaps they shouldn't watch it or do audio commentaries on it. You don't have to like it. But don't impugn those of us who do. ... Read more

Reviews (79)

"Hello, Dolly!"
Mrs. Dolly Levi is inarguably the most endearing film character I have ever encountered. She is beautiful, fashionable, clever, and humorous. One cannot help but wish that Dolly actually existed. Indoubtedly, I cannot imagine anyone other than Barbra Streisand playing the part of Dolly. Her stunning voice and captivating performance make "Hello, Dolly!" a truly wonderful movie.
Besides Streisand's amazing performance, this movie includes some wonderful songs and exciting dancing scenes. However, the dancing scenes do become a bit tedious and long.
What is "Hello, Dolly!" all about? It is the story of a widow who arranges an unimaginable amount of events and places. She assists a couple's elopement, two friends' trip to New York City, and a bored man's romance.
This film features other loveable characters, too, such as a head waiter in a posh restaurant, an orchestra conductor at the same restaurant, and a hatmaker who desires to be "evil."
I would highly recommend this romantic comedy to anyone. Although the dance and song scenes are too long, watch the complete movie. Streisand's performance is extremely wonderful and endearing.

Hello, Dolly! Barbra's best intentions
Only Streisand's second movie, filmed during the politically and meteorlogically hot summer of 1968, Ms. Streisand turns in a performance that could have won her first best actress Oscar, instead of the much better "Funny Girl," filmed in 1967. Why an Oscar? Streisand knew from the start that she was terribly miscast as the middle-aged widow, Dolly Levi. Opposite Walter Matthau, twice her age at the time, it's not a believable story. The Oscar comes from Barbra's totally tongue-in-cheek performance. She is not Dolly Levi, she's really Mae West, Fanny Brice, Brooklyn Barbra, even a twinge of pre-star Dolly Parton. Listen as Barbra throws in a little southern accent here and there. But mostly watch an incredible actress do what she can with a story so silly that by the end of the film, 26 year-old Streisand changes the supposed-to-be 50+ widow into one of the sexiest screen performances in film history. Even Matthau can't hold back his disbelief when watching Barbra do her numbers. When there's no Barbra on screen, there's no film. You watch in anticipation until Barbra's next scene, wondering who she'll be. The film looks like Gene Kelly directed it in three days with many technical flaws in the continuity of blocking scenes and dialogue. Just watch Barbra. Forget that she's the best female singer of the 20th century (no pun intended). Think of her as a young, sexy actress who has such energy, fearless ambition to get her movie career going. Of course, the sets are incredible and her duet with Louis Armstrong (his last film performance) is classic, albeit about two minutes long. Watch Barbra whisper under her breath while filming the dance numbers in The Harmonia Gardens with seasoned dancers. She looks like she's saying, "What the hell am I doing here?" Actually, she's making pure movie magic happen, almost impromptu. Movie: three stars, Barbra: Five plus stars. Nice to see Michael (Phantom of the Opera) Crawford pretend he can't dance. Barbra doesn't talk about this movie, but being the most costly musical in history up to that time, 20th Century Fox got their money's worth a million times over by convincing the apprehensive Barbra Streisand to star. Sorry Carol Channing, but Barbra was the best choice.

Elephantitis
Thornton Wilder's modest little play "The Matchmaker" has been blown up as big as a zeppelin in this out-of-control Streisand vehicle. A couple of songs had been added in the original musical conversion of the play on Broadway but this Hollywood monstrosity was never on Wilder's drawing board. The play had in fact been filmed ten years earlier with Shirley Booth, Paul Ford, Anthony Perkins and Shirley MacLaine in the leads. They should have left it at that. The original point of the story of the middle-aged Dolly Levi's pursuit of Horace Vander Geller is swallowed up here by the vast sets (the New York street set was one of the largest ever constructed and was forbidden to Paul Newman for "Butch Cassidy and the Sundance Kid" for fear "Butch" would reach the theaters before "Dolly") and interminable and generally idiotic production numbers. This must be some of the worst dancing ever filmed. Hard to believe a couple of Hollywood veterans like Gene Kelly and Ernest Lehman rode herd on this fiasco.

Tune Vs Crawford: Palpable Onscreen Tension
The tension that erupted between Tommy Tune and Michael Crawford whenever they were onscreen together in this fine film was delightfully electric. Their intramural competition propagated palpable intensity not really visible or audible (they had no exchange of dialogue) -- it was more a matter of pride between two spunky bachelors, a jousting of the male wills: Tune's learned dance talent meets Crawford's raw dance energy. Both portraying young men pursuing women in the movie, their performances conveyed much more deep and lusty a purpose between them, a cocksure attitude of stretched wide smiles and leggy high-hop dancing, a genuine duel of actors in their prime. Don't miss this one because, despite their competition, both Crawford and Tune emerged victorious and grand.

The Last of the Great Movie Musicals
By Streisand's own admission, she was too young in 1967 to have made a movie about an middle-aged woman making a personal "comeback"... and we all know how wonderfully different and marvelous the film would have been with Carol Channing... however, this does not take away from the fact that this is an incredible, lush, entertaining and musically rich film. The transfer to DVD is superb and crystal clear in picture and sound. The widescreen is anamorphic and color corrected. The only drawback is Walter Matteau's typical characterization which often detracts from the scenes he appears in, and his song "It takes a woman" is only saved by the beautiful setting and the male singers and dancers that accompany him. His voice really should have been dubbed by someone who could sing. Not to worry, Marianne McAndrew (who is stunningly beautiful) is a treasure in this film.... and her songs are wonderful (not sure if that is really hear voice, but its terrific). The sets are incredible and who wouldn't give anything to dine and dance at the Harmonia Gardens? The set designs, art direction, cinematography and costumes are exquisite. ... Read more

Amazon.com

Otto Preminger expanded his vision in the 1960s with a whole series of ambitious, expansive dramas with huge casts and big themes. Advise and Consent, an examination of deal making, party politics, and congressional diplomacy in Washington's legislative halls (based on the novel by Allen Drury), is one of his best. Preminger broke the blacklist with his previous film, Exodus, and it rings through in this drama about a controversial nominee for secretary of state (a confident, stately Henry Fonda) accused of being a Communist. The nomination process becomes the center ring of the political circus, with fidgety accuser Burgess Meredith in the spotlight; devious, silver-tongued Charles Laughton cracking the whip as a southern senator with a grudge against Fonda; and party whip Walter Pidgeon lining up votes behind the scenes. Arm twisting and diplomatic hardball turns to perjury and blackmail, and a melodramatic twist gives this lesson in party politics a salacious soap opera dimension. Preminger's style has been hailed as "objective," but it's really a matter of attentiveness: he gives all the character their due and their say, eschewing heroes and villains for an exploration of people clashing over opposing goals. In fact, the weakest elements of the film are the unscrupulous populist senator played by George Grizzard and the badly dated caricatures that populate a notorious underground club. The video preserves the handsome widescreen black-and-white photography, keeping Preminger's careful and measured editing intact. --Sean Axmaker ... Read more

Reviews (12)

Mildly Interesting Political Drama
Anybody who has seen C-Span can verify the authenticity of the Senate debates portrayed in the film.All the rhetoric and long-winded posturing on display here feels real.The film is long and at times it borders on the tedious, but so is alot of Senate debate.The film is almost torpedoed by a subplot involving the skeletons in one senator's closet.The film recovers at the end for a thrilling floor vote of a controversial Secretary-of-State nominee(Henry Fonda).Probably the film's best performances come from the older cast members, Walter Pidgeon, Lew Ayres, and Paul Ford.Fonda, the film's ostensible star, basically appears in a glorified cameo and seems to be phoning it in.

Not as goodas"The Manchurian Canidate", from the same
year, (1962).But it is still a very good political mellow drama.The excellent cast presents a primer on how congress works, the presidency, succession & party politics. An almost comatose Henry Fonda plays the Secretary of State nominee, Robert Leffington & suspected Communist. Walter Pidgeon does a fine job as the Majority Leader sheparding the nomination through the Senate. The real scene stealer is Charles Laughton in maybe his best role as Senator Seab Cooley, a red-baiting, red-neck determined to destroy Leffington at all costs.
A fine well know cast included, Lew Ayres, Peter Lawford, Gene Tierney & Burgess Meridith. Charles Laughton however, saved his best performance for last.

A classic for all times
This book is a classic.The acotrs are marvelous.Orrin Knox could have been more involved in the movie like he was in the book.I really didn't like the actor who protrayed Orrin Knox.The ending of the movie was brilliant.Seab Cooley and the vice president have always been two of my favorite characters.The movie is just as good as book (which I have read numerous times) and this is unusal.Both the book and the movied should be required in both high schools and colleges.

"C'mon in! Don't just stand there!"
Talk about an all-star cast: when Otto Preminger brought Allan Drury's epic study of a Senate confirmation of a morally ambiguous nominee for Secretary of State, he got just about everyone in Hollywood to participate. Though the best roles go to Charles Laughton as a manipulative (but intensely likeable) South Carolina senator and Franchot Tone as the tortured President, not everyone got so lucky; the novel had so many characters that some big actors (like Gene Tierney, wasted as a Washington hostess) are pretty much trapped in throwaway roles.

Preminger was pretty progressive by Hollywood standards, and so the Senate he depicts is remarkably diverse, with senators of many ethnic backgrounds. There's a great cameo (the film's standout moment) from Betty White, who, as a shrewd Kansas senator, trounces George Grizzard, the despicable Senator Van Ackerman (from Wyoming, of course, so as to offend the least number of audience members possible) in open debate on the Senate floor. Preminger was really daring (for the time) in his willingness to tackle the subject of the blackmail of homosexuals in the film. It should be said, however, that the film's notorious depiction of a gay bar (the first Hollywood film to do so openly since the institution of the Hays code) as a nightmarish cesspool of vice, where the fat effeminate bartender hysterically beckons in the horrified Don Murray (see my title), probably did more to keep gay men in the closet in the Sixties than anything Hollywood ever did.

The Granddaddy Of Political Movies!
This ultra-realistic 1962 drama of the goings-on in Washington, D.C. must rank as one of the best films of its type ever made. It's a lengthy one (2 hrs., 19 min.), but it never gets dry.The many veteran actors assembled to comprise this cast see to that.The roster includes Henry Fonda, Franchot Tone, Charles Laughton, Lew Ayres, Walter Pidgeon, and Burgess Meredith!There's also Don Murray, who probably gets more screen time here than anyone else. And I think Murray shines bright in his role as the senator with a deep, dark secret!Pidgeon is also particularly convincing in this film.This was Mr. Laughton's final motion picture.

If you've never seen Advise & Consent ..... then get it today!It's a thoroughly engrossing and powerful movie experience! ... Read more

Amazon.com

Despite forced changes in executive and creative personnel, plummeting ratings and the constant threat of cancellation, the truncated second season of The Outer Limits (1964-65) yielded some of the series' finest episodes. While The Twilight Zone was fading fast on CBS, the bean-counters at ABC used focus groups and ratings statistics to enforce their previous mandate for a "monster of the week" format for their flagging science-fiction series, and after a few promising episodes early in the season, Outer Limits settled into a regrettable routine of reduced budgets and rubber-suit creatures that wouldn't pass inspection at a drunken Halloween party. A former network executive with minimal creative input, Perry Mason producer Ben Brady struggled to keep the doomed series alive while coproducer Seeleg Lester sought legitimacy by courting respected writers and material.

As Harlan Ellison observes in David J. Schow's indispensable book The Outer Limits Companion, weak ratings allowed quality episodes to slip under the radar of ABC executives. Ellison's own classic teleplays--"Soldier" (which would later inspire The Terminator and subsequent legal squabbles) and "Demon with a Glass Hand"--yielded the season's finest stand-alone episodes, while the two-part "The Inheritors" (featuring the young Robert Duvall) fulfilled the series' neglected potential for longer-form plotlines. While these highlights redeem the season, "Wolf 359" (a title that would later factor in Star Trek: The Next Generation) is eerily effective despite low-tech restrictions, and "Behold Eck!" is the "best" (relatively speaking) of the tepid monster-themed shows that ABC demanded. It wasn't enough: After 17 episodes against the Saturday-night dominance of The Jackie Gleason Show, the greatest science-fiction anthology series of the 1960s was mercifully canceled, primed for phenomenal success in syndication and eventual revival as the "new" Outer Limits in 1995. --Jeff Shannon ... Read more

Reviews (24)

The First Season's Better
This series was outstanding. In addition to clever anti-war and other relevant themes, it consisted of a series of science fiction fables, including the moral at the end.

I like these of the second season. "Soldier" is clever, led, in fact, to the theme of at least one "Star Trek: The Next Generation," in which a young man was bred to be a soldier, found it all but impossible to transcend that breeding. The 2-part "The Inheritors" was even a little sentimental: Must all "invaders" be malevolent? Robert Culp in "Demon With a Glass Hand" was clever, despite the rather silly costumes. And that leads to the ultimate criticism of this collection of episodes: the sets were so poorly done as to almost resemble Ed Wood style production.

I reiterate that I like them, but the first season was more creative, more stimulating. Frankly, I prefer the music from the first season too.

Long ago, I reviewed "The Outer Limits Companion" which I'd purchased from Amazon.com. If you really liked The Outer Limits, and especially if you have this set, I further recommend that book. When I feel a little let down by the set, I read the reviews in that volume and find out WHY they weren't as good as I'd like.

Aside from that, again, the stories are good, but don't expect the special effects quality of the first season.

Good writing, interestingly dated effects and plotlines.
This is a little treasure for Sci-Fi fans.

Here's a short-list of what to expect:

1) Star power. See William Shatner (Captian Kirk) and Leonard Nimoy (Spock) before they landed their Star Trek roles.

2) No-holds-barred, top nothc Sci-Fi names writing for the series. Harlan Ellison, for example. In terms of writing, the only thing more I could have hoped for would have been Stanley Kubrick, Arthur C. Clarke, and Steven King-- and the time machine they would have needed to have been part of this project that was before their time.

3) It's Not Twiighlight Zone. This is the series that was the edgier, less-successful contemporary of Rod Serling's "Twighlight Zone". In some ways, it's easy to understand that this series was trapped by its own format. While The Twighlight Zone could explore outside the strict Sci-Fi genre (much as the X Files do), Outer Limits was stuck firmly in SciFi. However, where TTZ stayed away from social fireworks, TOL aims straight at issues that were volatile in their day, with the notable exception of feminism, which is entirely absent.

4) Landmark, interestingly-aging plotlines. You'll see discussions about whether drugs are a way to access a higher reality, and debates about whether artificial life is human. You'll see Utopianism. You'll see blacks given prominent, intelligent roles (rare, in the days before Star Trek had the first onscreen interracial kiss). Yet, you'll see women repeatedly thrust into demeaning roles. You can see how these pieces fit nicely into their time period, with a distinct rift between then and now. These're DISCUSSION PIECES, better than any coffee-table book. Show'em at a houseparty, and talk about them afterward.

5) Now that Mystery Science Theater 3000 is off the air, where can you see cheesy, dated Sci-Fi special effects ? Here. It's disrespectful of the series' writing, to laugh at the technology & special effects, but genuinely, this adds a large dimension to your enjoyment (& discussion).

6) This is not to be compared with the recent HBO series by the same name. This older series is vintage pre-60s with good writing and zero budget for special effects, while the later HBO TV series is a special effects fest, with markedly less-often-inspired writing.

Exceptional Series, Lousy Studio
As a child I watched this series and was mesmerized. It and Twilight Zone were the key reasons I became a fan of Science Fiction. Like the original Star Trek series that came a few years later, in it's last season it was weak. Both series however had good episodes in their last season. This set is not worth the same as the first season if for no other reason than it has half the episodes.

I find it appalling the studio got everyone into buying the first season with a reasonable price, then figured they will all pay just to finish their set. Well at least in my case guess again. As much as I would like to have the complete series I refuse to pay any studio a price that is unjustified for what they are giving us. I too would have given four or five stars if this had a price comparable to the product.

Episodes reviewed, not nostalgia
I grew up with this show, as many of you have I suspect. It would be easy to review this in a nostalgic haze and give it 5 stars "just because". However, I have taken a step back and have reviewed each episode rationally, based on budget, cast, writers, etc. Along the way, it may appear as though I am overly concerned with the "not-so-special-effects" of the series but trust me, it is a point of minor contension. Still, since great effect based movies like 2001: A Space Odyssey and Planet of the Apes are barely three years away, I can't shake the notion that if the purse-strings were relaxed a little and it would have paid off big for a show that seemed doomed from the start. Often, the show could rise above it all, with superb acting, like in the first seasons "The Mutant", but why make a show work harder than necessary and potentially leave an accomplished actor looking foolish and silly?

Picture/sound/packaging: 4/5 Dissappointing yet predictable lack of 5.1 DD remastered sound. Original Star Trek seems to have proven to be the exception and not the rule in so far as sound. The picture is often nice, but varies from scene to scene on certain eps. I have no problem with the way the packaging is put together. So many complaints about the two sided discs? None here. And I think the packaging color scheme is an excellant compliment to Season One. My only real complaint is the cancellation of this series in the middle of season two, gosh, at least let the season finish!

--Episodes--Season 2--

(I consider 3 and above good, 2 or below poor.)

Soldier: 5/5
Cold Hands, Warm Heart: 2.5/5
Behold Eck!: 1/5
Expanding Human: 2.5/5
Cry of Silence: 3.5/5
Demon With a Glass Hand: 3/5
Wolf 359: 4/5
I, Robot: 4/5
The Invisible Enemy: 1/5
The Inheritors 1&2: 5/5
Keeper of the Purple Twilight: 3.5/5
Counterweight: 2/5
The Brain of Col. Barham: 1.5/5
The Premonition: 2.5/5
The Duplicate Man: 3.5/5
The Probe: 2.5/5

Wrap-up:
Still, in spite of all the hokey props, there lurks delicious camera angles, glorious sound, odd lighting, and most importantly, a fun sense of adventure that has all but since evaporated from the airwaves. In spite of the 3 stars, I cannot reccommend this set enough. Not because I'm caught like "the enemy" in the never-never, but because I'm trapped in a time period that uses "effects" to convey awe and mystery instead of imagination. The Outer Limits is a welcome look back at a future gone by.

I review the shows, not nostalgia
--Episodes--Season 2--

(I consider 3 and above good, 2 or below poor.)

Soldier: 5/5 Off and running in Season 2. Despite how cheesy the outfit looks, this episode has a sort of undefined magic. Micheal Ansara should have won something for his portrayal of the soldier, I honestly believed he was a soldier from the future. Although, I never have understood the effect of "the enemy" being trapped, it looks odd even today. I often wished this script could have been reworked in which the Soldier never comes home with Kagen, I think it loses some of its believeability once he does. However, even here it has brightspots like Quarlo's interest in the cat Mcbeth, and the reason for the interest. Think-speak? Odd.

Cold Hands, Warm Heart: 2.5/5 This ep. has elements that make it watchable, particularly, Shats insistance on the keeping warm. I think this is a decent ep. that could have been better, barring better effects. I always laugh at the term "Project Vulcan"... a precursor of things to come? This ep. is a great example of why Shat refers to himself as the Ham-o-saurus.

Behold Eck!: 1/5 Despite Eck! being a memorable character, well outside the usual gloom and doom of sci-fi, I find the story to be proposterous (um, a spectacle), yes, even for sci-fi. The "building effect" on the news looked neat-o though:) A glaring problem with this ep. stems from Season One's "Galaxy Being", that is similar to this but much, much better. Just watch that instead.

Expanding Human: 2.5/5 Not a bad ep. but considering the cast it should have probably been better. It's nice to see James Doohans suspicious wit and sarcasm formulating in this. I think this ep. was fair but not one I'd watch over and over, middle of the road. I wish James had a larger role, he is quite good.

Cry of Silence: 3.5/5 I really like this one. It has a forboding quality to it that still is effective today. And oddly enough this ep. opens with city-boy Eddie Albert wanting to give it all up to become a farmer... sound familiar? His wife in this gives a fine performance as a frightened woman just wishing it would all end, convincing but not overdone.

Demon With a Glass Hand: 3/5 I like Robert Culp in this quite a bit, unfortunately, the story, even though it's Ellison isn't very good. I am probably in the minority here, but I think this ep. is average at best. This always seems to come off like a "pilot" for a new series, similar to how Assignment Earth for Star Trek does, probably because Culp is so darn good. Tell it to the hand!

Wolf 359: 4/5 Great Sci-fi. This is a finely balanced episode that is interesting and yet doesn't try too hard. The effects are of coarse primitive, but the point is made. I like the cast, they are also well balanced and believeable. The subject matter is interesting but this show loses a point for slow pacing. Looking through the scope at the created world was quite effective.

I, Robot: 4/5 Even though I give this show a pretty high rating, I think the cast is primarily strained and wooden. The high rating is given in large part to the character Adam Link. The odd tone in his voice and the look of sentimentality may be all robot, but to me Adam is more human than most of the actors. Nimoy is fair in this, but nothing terribly memorable, a bit overzelous.

The Invisible Enemy: 1/5 There are few Outer Limits with no redeeming qualities, IMO, this is close to being one of them. Typical, predictable, and stale are words that come to mind. Adam West heads a cast of astronaughts that refer to women as "dames and broads". The rocket effects appear to be 50's quality and even though there is some tension near the end, it's far too little, too late.

The Inheritors 1&2: 5/5 I struggle with this dual episode despite the score. I think it is superbly acted, wonderfully directed, but what worries me is the conclusion one draws from the ending. Are we to understand that people can only truly be happy if they are "normal"? Even though I ponder the conclusion, I marvel at the great acting along the way, probably the best. Great story, also. MGM should have seen fit to put these on the same side of a disc however!

Keeper of the Purple Twilight: 3.5/5 In terms of dialogue, there's quite a bit to like here. Some meaningful exchanges about the meaning of love and life seem heartfelt. The acting is more than adequate although I must say the rubber suit costumes are again, just not very good. Even in '65 they were probably barely passable, and now they seem silly and are a bit distracting. Certainly, not the worst ever, but the immobile eyes and mouth take away from the reality of fantasy greatly.

Counterweight: 2/5 A show of this nature lives and dies depending on how well defined the individual characters are drawn up ( as in 5 Characters in Search of an Exit 5/5), in this case, it's a true failure. I think a redeeming factor is the soaring "vocal" score that gives it a dreamy essence, the odd ending of the reintroducing of characters, and a few other small factors, but this show just lacks any insight or punch.

The Brain of Col. Barham: 1.5/5 Some of the Outer Limits fail because of one simple reason; they are attempting to perform concepts 40 years ago that couldn't even be attempted now, when that unravels, the jig is up. They should have at least draped the set in a futuristic aura in hopes of pulling this off. On top of that the actors never seem to deliver lines with any sort of spontenaity. The sets aren't even half bad, but the concept is ridiculous, and the characters are hollow and vague.

The Premonition: 2.5/5 Ahhh... the obligatory "freeze frame" episode, which actually exceeds expectations in so far as the effect. Some really clever uses of the technique actually one ups the mighty TZ uses (not the picture stills though). However, having said that, this story has many, many holes. Far more than I could expound on here. And I never have understood why the title was used. The term "premonition" really doesn't apply in this case. Fair acting abounds, but doesn't cover the huge plot holes. Ok, I can't resist, why not tie the childs feet around the bike? Tying the bike in some way would have been far easier. Too easy? :)

The Duplicate Man: 3.5/5 There's quite a bit to like about this one. The sets, props, and feel are just right for the subject matter. The acting is quite good, the plot is interesting, and the payoff is rewarding. Had this been a typical monster hunt it wouldn't have worked. The Megasoid is as amusing as it is menacing and for a creature that is so "evolved" it isn't very bright. I would have liked to see this ep. as a two parter like The Inheritors, but as it stands, it's well crafted. For a series that had to cut corners on costumes, I'm surprised an attempt wasn't made to show the creatures as little as possible, it would have helped.

The Probe: 2.5/5 Not really out with a whimper or a bang. Nice cast, nice acting jobs all around, but the mood is quite sterile and ineffective. The concept of this last episode is interesting but the direction never rises above ordinary The "germs" design seems to be a pre-Horta from Star Trek.

Wrap-up:
Still, in spite of all the hokey props, there lurks delicious camera angles, glorious sound, odd lighting, and most importantly, a fun sense of adventure that has all but since evaporated from the airwaves. In spite of the 3 stars, I cannot reccommend this set enough. Not because I'm caught like "the enemy" in the never-never, but because I'm trapped in a time period that uses "effects" to convey awe and mystery instead of imagination. The Outer Limits is a welcome look back at a future gone by. ... Read more

Amazon.com

This lavish set contains film versions of the five major works byRichard Rodgers and Oscar Hammerstein II, who helped define the American musicallandscape and rewrite the direction of musical theater. After enjoying extremelysuccessful careers working with others, Rodgers and Hammerstein first teamed upin 1943 for the prairie tale Oklahoma!, with songs including "Oh, What aBeautiful Mornin'" and "People Will Say We're in Love." The subsequent 1955 filmstarred Gordon MacRae and Shirley Jones, who teamed up again for 1956'sCarousel. While that film's dark nature made it less popular than itspredecessor, the score ("If I Loved You," "You'll Never Walk Alone") wasRodgers's favorite. The King and I (also 1956) featured stage star YulBrynner as the King of Siam and Deborah Kerr as schoolteacher Anna Leonowens,who must learn Asian customs even as she tries to instill some of her Westernones. The somewhat bloated version of South Pacific (1958) follows twocouples during World War II and features standards such as "Some EnchantedEvening" and "I'm Gonna Wash That Man Right Outta My Hair" from stars MitziGaynor and Rossano Brazzi. The last film, The Sound of Music (1965),proved to be the most popular, with Julie Andrews winning the hearts of sevenchildren and their father with her blissful songs. And if the perhaps saccharinemusic and plot may test the patience of some, there's no doubt that songs suchas "My Favorite Things" and "Climb Ev'ry Mountain" have charmed audiences aroundthe world for decades.

Accompanying the Big 5 in this set is the relatively minor State Fairfrom 1945 (though it does have "It Might as Well Be Spring" and "It's a GrandNight for Singing"). Some may prefer other entries in the R&H canon such asFlower Drum Song or the television production Cinderella, butthose were produced by different studios.Five of these films(all exceptSound of Music) were released in 1999 in sumptuous remasterings thatallow their scores and locales to truly shine. The remasterings ensure goodsound and picture quality throughout this historic collection. --DavidHoriuchi ... Read more

Reviews (7)

Great to share with your kids
I received this set of movie musicals as a gift last year and I have really enjoyed sharing these classic movie musicals with my kids. We've also purchased the sound track for The Sound of Music and at once point we rounded up theater tickets to a live performance of The Sound of Music -- something the kids really enjoyed. So don't assume that these classic movie musicals aren't going to have any appeal for today's generation of kids. They've certainly been a hit with mine.

Classic Musicals
Growing up in the 50s and 60s Rogers and Hammerstein musicals were the highlight of a trip to the theatre or the movies. Now they still provide great music and, even if the style of the drama seems a little outdated, a wonderful glimpse of the simpler genre that we had then. It seems that recent musicals such as Moulin Rouge and Chigago have taken many of the best features of the old R & H musicals and given them a new high-tech flair. It will be interesting to see if these modern productions are still as loved in forty or fifty years.
This boxed set gives a good balance of the R & H musicals and shows the creativity and flexibility that this duo added to theatre in their day.
Students of modern music and drama could do well to have these assigned as compulsory viewing.

Bravo for Rogers and Hammerstein!
The wonders of Rogers and Hammerstein are displayed beautifully in this DVD set. Sound quality and picture quality are excellent; I've even got my two young sons interested in musicals. I had seen all of the movies before except for Carousel, so I was very pleased with "Oklahoma!", "Sound of Music", "South Pacific" and "The King and I"; but my family and I didn't enjoy "Carousel" as much as we had hoped. While I read that it was Rogers' favorite, I found it dull and tedious. The songs were much too long, and the story moves on quite slowly. At a backwards glance, I may have saved money by purchasing the movies I liked separately.

Greatest Musical Collection of Movies, Poorest Presentation
This review is about the DVD presentation only. The movies are ALL CLASSICS and worth the price of admission. But I must caution the investor of the this Box Set.

THE GOOD NEWS: These are the greatest Rodgers & Hammerstien II musicals now in a Box set. They have all been digitally remastered both picture & sound. The colors, picture quality excellent and the sound crystal clear. THE BAD NEWS: All this work but "State Fair" is lost in the WideScreen aspect ratio presentation.

Qualifying Statement: I am a Home Theatre, HDTV - 55" x 16:9 WidesScreen, Progressive Scan DVD, Dolby Prologic Sound System owner. I have over 400 DVD movies ,mostly remastered, WideScreen (preserved in the original theatrical aspect ratio), Anamorphic or enhanced for 16:9 TV's.

NOTE: Full Screen - 4:3 (1:33 to 1 ratio) made for TV or film before 1953. WideScreen - 4:3 letterbox (horizontal top & bottom black bars adjusted for any aspect ratio 165/185/225 to 1 etc. It is still letterbox) are movies made after 1953. (to compete with the popularity of Television) ANAMORPHIC WIDESCREEN IS THE ONLY TRUE HDTV 16:9 PRESENTATION. This format automatically adjusts to the Television being used. To get the High Definition picture the DVD MUST BE ANAMORPHIC & ENHANCED FOR 16:9 TELEVISIONS!!!!!!

Now in SUMMARY: STATE FAIR Full Screen Technicolor is the best presentation and the movie. Oklahoma, Carousal, The King & I and South Pacific are WideScreen (4:3 Letterbox - small picture horizontal & vertical black bars) great color, music but small picture very disappointing. Finally the Sound of Music was adjusted to an Anamorphic WideScreen but was not enhanced for the HDTV 16:9 format. The results is a very grainy picture.

Bottomline - Now that the Home Theatre environment is becoming more common it is time to sort the GOOD from the BAD DVD's. This is only from a dedicated videophile of old classic movies who enjoys the total viewing & listening Home Theatre experience. The movies themselves are the main ingredient but unfortunately Film Studios don't always give us what we think we are getting. (Quality vs Quantity) Another words they are already re-releasing DVD movies with these mentioned enhancements & special features for WideScreen TV's etc SO WE NEED TO BUY RIGHT THE FIRST TIME & not repeat buying on the same movie as we upgrade our Televisions & Home Theatres. REMEMBER - ANAMORPHIC WIDESCREEN & ENHANCED FOR 16:9 TELEVISIONS adjusts automatically to any size aspect ratio television!!!!! ENJOY.

It's Some Enchanted Evening
The collaboration of Richard Rodgers and Oscar Hammerstein 2nd was for the 20th century what the genius of William Shakespeare was in the Bard's time. As the two songwriters moved from other collaborators to create what became "Oklahoma!" they took theater to a new height, by turning the musical play into the most effective, persuasive form of entertainment conceivable. (That is until the death of Hammerstein, and the inability of today's craftsmen of musicals to really understand the revolutionary nature of Rodgers and Hammerstein, the evolution of song styles, and the inability of the musical of today to associate itself with the popular music of our time.) These are the film versions of their major plays, and the 1945 version of "State Fair." For the most part, these are very good adaptations of the stage works, finally presented in their widescreen format so the viewer can see what it was that awed the audience of the 1950s. "Oklahoma!" is the Todd-AO version which, until now, had never been presented outside its initial 1955 theatrical release in specially-equipped theaters. "South Pacific," which like "Oklahoma!" Rodgers and Hammerstein produced themselves, finally gives the viewer the spectacular view of the Hawaiian scenery that supports the film. And, perhaps because it is widescreen (or perhaps because the 2001 remake stunk so bad), the film really seems finally to work for the home viewer, colored filters and all. In fact, the widescreen ratio of the film seems to make the colored filters of "South Pacific" less jarring. Some of the DVD's in this collection contain the original theatrical trailers, while others do not. "The Sound of Music" is a two-disc set which has more than enough supplemental material to please anyone. The problem is, "The Sound of Music," with all its niceness, has given Rodgers and Hammerstein a bad rap. All of their major works deal with political strife, murder,racism, war, death, or culture clashes. When Hammerstein's book and lyrics are coupled with Rodgers' music, they're able to present the most-effective indictments of whatever cause they're taking on. Rodgers and Hammerstein is not all bright copper kettles. The plays are about the dark side of humanity, and about that dark side eventually losing because of the basic human spirit. Characters in these plays and films are transformed much the way Prince Hal is transformed into King Henry. Any student of drama, music, literature, theater, or political science would be well-advised to study these films, learn from them, and then master their craft. ... Read more

Amazon.com

Divorce Italian Style is a comedy milestone--a brilliant, biting satire that was originally conceived as a drama; directed with nonstop inventiveness by a filmmaker who had never done comedy; and featuring an actor who, though not even among the first dozen players considered, cemented his international stardom with this performance. The movie also marked a breakthrough for foreign film in America, winning popular as well art-house success, Academy Award nominations for director Pietro Germi and star Marcello Mastroianni, and--the first of only a few foreign-language films to do so--the Oscar itself for Original Screenplay.

On the sun-blasted island of Sicily, Baron Ferdinand "Fefè" Cefalù (Mastroianni) breaks out of his heat- and boredom-induced stupor long enough to be smitten with mad passion for his 16-year-old cousin Angela (Stefania Sandrelli). But he's married--to Rosalia (Daniela Rocca), she of the unfortunate mustache--and the Italian Penal Code gives him no way out... except, of course, for catching his wife in adultery and availing himself of the patriarchal license to commit a "crime of honor." So Fefè searches for a way to fling Rosalia into the arms of another man.

Mastroianni's Fefè is an indelible masterpiece, visually and behaviorally: a portrait in painterly chiaroscuro, with brilliantined hair, eternally drooping eyelids, a cigarette holder angled in perpetual salute, and a manic, conspiratorial slouch, like Groucho Marx on painkillers. Germi's direction hustles the film along with bold, mobile camerawork, stream-of-consciousness lurches into fantasy and flashback, Fefè's feverish voiceover commentary, and a wonderfully propulsive music score by the late Carlo Rustichelli. --Richard T. Jameson ... Read more

Reviews (11)

High-Styled Hijinks!
Pietro Germi's companion piece to his earlier "Seduced and Abandoned," this comedy comes so close to tragedy it takes your breath away. Only the director's insight into theocracy and Italian mores keeps "Divorce Italian Style" from succumbing to the darkness that lurks inside this material. Although Marcello Mastroianni and Stefania Sandrelli are the big names, in star-making performances, the picture is really held together by Daniela Rocca's tricky and subtle work as the dutiful wife who must be murdered to have a happy ending. This was very daring stuff in the 1960s, and Criterion's jaunty DVD transfer does it full justice (don't miss the nifty interview supplement). Germi's satirical epilogue will remind you of the one in "All About Eve," it's that good.

When Love Withers in Brilliant Comedy...
A flower's life span is nothing compared to humans, yet flowers go through similar developmental stages.The most memorable part of a flower's growth is the blossoming progress where it goes from being a small bud until it dwindles to the ground in a rapid withering phase.Occasionally, love uses the life span of a flower as a symbol for the affectionate spell under which two individuals bond.When the flower withers, the relationship turns numb, which is the case with Ferdinando "Fefé" Cefalú (Marcello Mastroianni).Fefé merely stays with his wife Rosalia (Daniela Rocca), as societal restrictions are enforced by the Catholic Church, family, and public, which forces people to remain married until death do they part.In the light of this notion, the audience will truly experience a socially important comedy, which plays with the ideas of divorce through more hideous plots such as murder, deceit, and other troublemaking.

The film opens on a moving train as Fefé exits the public toilet while he bumps into two Sicilian police officers.Quickly Fefé leaves them behind, as he slowly makes his way through gentle zigzagging around other passengers to the dining car.Seated while ordering roast beef and two potatoes, Fefé continues to gaze upon the passing Sicilian countryside, which does not seem to have changed much since the Roman Empire.This is a familiar place for Fefé who begins to disclose an amusing tale of why he is on his way home, as he recollects in homesick manner his hometown Agramonte. This opening has several suggestive nods towards Fefé's character, his family and what is important in Agramonte, which will be comically and profoundly illustrated as the story unfolds.

In the introduction by Fefé the audience learns through his words, the camera, and the actions of the characters that societal progress does not seem to be high on the agenda.Instead the audience learns about how politics and the Catholic Church seem to be intertwined in this small town.The slow progress has generated some very rigid guidelines, which no one seems willing to challenge.In this societal stalemate the men only seem to pay attention and gossip about one thing - women.This is essential information, as it depicts the boredom that helps the withering of the flowers.

The story goes into great detail to depict Fefé's monotonous life.He is unemployed due to social status because he is a Baron, which means that he often sleeps in.Whenever he does not sleep his exceedingly caring and nurturing Rosalia tends to his needs while it actually seems as if she is only annoying him.There is a wonderful scene where Fefé escapes everyone to read in peace and enjoy the soothingbreeze from a small fan in his study while Rosalia enters with coffee and turns off the fan.Fefé turns the fan on again while Rosalia turns it off with a smile, as she serves him the coffee.This scene oozes of tension between the two while Fefé keeps his cool and Rosalia tries her best to be a good wife. Yet, it offers him an opportunity to begin to imagine different methods of how he could kill her.

In between Fefé's annoyance and boredom he discovers the stunning teen Angela (Stefania Sandrelli) whom infatuates him with a brief look at mass.Fefé begins to think about Angela while he sneaks to the bathroom to steal a peak at the youthful girl through the window.Eventually, Angela expresses her mutual desire for Fefé, but they have to be careful so they do not cause a scandal, or worse.This provides an opportunity for Fefé to begin to actually think of how to get rid off Rosalia, which turns out to be a comically ugly event as he cannot divorce her by law.

The audience will feel empathy for Rosalia who tries to be a good wife, but Fefé does not allow it by being distant.Simultaneously, one cannot help to feel understanding for Fefé who now begins to study the law and how he possibly could get away with murder.It is a sad thought, even though the presentation of the topic is jovial, that the people are ready to commit the worst possible act in the name of love.Yet, it is also here where the film's strength lays, as it delivers a funny depiction of how a passé society can squelch life and frown upon societal progress, which was a big deal in the 1960s.A notion arises in regards to progress--should one have the freedom to find their own blossoming flower?

Divorce Italian Style offers a well-written and genuine comedy with deliberate intentions for the audience to ponder regarding the society and the social restrictions that govern the unhappy.The cast does a marvelous job in portraying the different characters.For example, Daniela Rocca's illustration of Rosalia provides authentic view of a woman who seeks love form her husband, but does not receive it.In addition, Marcello Mastroianni does a brilliant job through his dual performance in the film by also being in the Fellini's La Dolce Vita, which is shown in the film.However, Mastroianni's visual persona suggests his infatuation with beautiful women that can be explored if one views La Dolce Vita.Lastly, the camera work, mise-en-scene, and the framing of each scene enhance the complete ideas, as they transcends the expectations of the film.

That's it, I want a divorce!
Just so you know, divorce is now permitted in Italy. But in 1962, the only way you could get a divorce was by... well, "Divorce Italian Style," a ka bumping off your adulterous spouse. This delightfully warped black comedy focuses on that very idea -- a disgruntled husband who goes to absurd lengths to get a "divorce."

Ferdinando Cefalú (Marcello Mastroianni) is a middle-aged Sicialian noble who is displeased with his life, and his adoring wife Rosalia (Daniela Rocca). In true midlife-crisis fashion, he falls for his angelic-looking cousin Angela (Stefania Sandrelli), but he can't get a divorce. Divorce isn't allowed in Italy at this time, so Ferdinando is left stewing over his problems, fantasizing about murdering Rosalia.

But then he hears about an odd law: if an adulterous spouse is caught in flagrante, then the wronged spouse can kill the adulterer and get off with a light prison sentence. So Ferdinando starts desperately searching for a potential lover for Rosalia, but she remains faithful. Then he locates an ex-boyfriend of hers, hoping to rekindle the old flame. But nothing goes quite according to plan...

Yes, it's a bit sick. But in such a funny way that it really doesn't offend. At a certain point it becomes less about Ferdinando trying to murder his wife, as it is an increasingly overwrought attempt to get her to commit adultery. Not to mention a spoof on traditional views on "family honor," where it is more shocking to NOT kill your adulterous spouse than it is to do so.

Ferdinando carefully straddles the line between being slime and being a funny character -- his surreal murder fantasies are hilarious, such as when he shoves Rosalia into a vat of soap. And in keeping with the spoof atmosphere, the romance is overemotional, the fighting is overwrought, and the contrived adultery/murder scheme is absurd. The final scene is the final tragicomic flourish, hinting at future disaster that Ferdinando deserves.

Pietro Germi at first seems to be making an offensive movie, but viewing it with a sense of humor shows that he's poking fun, and making wry social observations. He was also not above plugging Mastroianni's other movies -- one scene has a priest denouncing "La Dolce Vita," followed by crowds rushing to see it. Ferdinando's future brother-in-law ogles the beautiful Anita Eckberg, then hastily tells his fiancee that Eckberg is pretty, but "she has no soul."

The immortal Mastroianni injects just enough humanity into Ferdinando to keep us from loathing him -- in the middle of a midlife crisis, he seems increasingly confused as the movie goes on. Daniela Rocca sits on the fence between being devoted and annoying, while Sandrelli plays a girl who acts like an angel, but definitely isn't.

Thankfully Italian spouses no longer have to bump each other off to get a "divorce," but "Divorce Italian Style" remains a classic black comedy/social satire.

Amusing
Charming story indeed.Baron Pepe Cerafulu gets bored with his wife's over nuturing and nagging ways.Oh how he yearns for his teenage cousin, Angelina.Baron does give us some amusing facial gestures.

His schemes to arrange for this divorce are kind of far fetched.They will certainly have you chuckling especially when the tape recorder fails to catch his wife in the act. Carmello is quite charming in his role as the painter.

The Black and White Cinematography works well depicting Italy several decades ago.The subtitles are a little out of synch but otherwise this old movie is certainly a goodie.

The Film Is Great, The DVD Is Not
Divorce, Italian Style is a superb movie from the 1960's genre.The story is highly entertaining and the characters are witty, especially Marcello Mastroianni, whose dry, cynical humour is an absolute pleasure.However, the DVD from Hen's Tooth could certainly be better.The excessive scratches do take away from some stunning black and white cinematography, but the film itself more than makes up for it.The film is definitely worthy a spot in the Italian film aficionados' collection, but wait for a new DVD version. ... Read more

Reviews (66)

Bless them all...bless them all....
I am unable to recall another film whose opening and closing scenes are more effective than those in this brilliant portrayal of the 918th Bombardment group based in England which flew almost daily missions to Germany during World War II. The character of General Frank Savage (Gregory Peck) is reputedly based on Brigadier General Frank A. Armstrong, Jr. Sy Bartlett wrote the book and then the screenplay. Brilliantly directed by Henry King, we are introduced to a combination of combat fatigue and self-pity which results in the replacement of Colonel Keith Davenport by his friend Savage who is told by his commanding officer, General Pritchard (Millard Mitchell), to shape up the 918th while avoiding Davenport's problem: Becoming overly involved emotionally in decisions to send B-17 crews on exceptionally dangerous missions, day after day after day. Savage immediately establishes his authority and almost immediately loses whatever goodwill he may have had. He applies and then maintains constant pressure on the crews to improve their performance in all areas of flight operations. Underachievers are reassigned to one B-17 renamed "The Leper Colony." Morale deteriorates to such a point that those at headquarters become concerned. A formal investigation of the situation is conducted. This is a critical moment for Savage. If he has "lost" his men, he cannot continue. In fact, he expects to be relieved and begins to pack his personal items. However, for reasons revealed in the film, Savage remains in command. And then....

It would be a disservice to those who have not as yet seen this film to say any more about the plot. Suffice to say that brilliant direction, great acting by everyone involved (notably by Dean Jagger who received an Academy Award for best actor in a supporting role), superb cinematography (Leon Shamroy), and haunting music (Alfred Newman) are seamlessly integrated in this analysis of effective leadership (especially decision-making) under wartime conditions. The film begins when Harry Stovall (Jagger) makes an especially significant purchase in an antique store and then proceeds to what has by then become an abandoned air base. As we begin to hear the bombers' propellers whine as the engines roar to life, we are transported back in time. Later, as the film ends, civilian Stovall climbs back on his rented bike and departs what is again an abandoned air base. Stunning images throughout both sequences.

Peck included this among his favorite films, while adding that he was especially proud of his performance as Frank Savage. When first released more than 50 years ago, it did not receive the recognition (much less the appreciation) it so obviously deserves. Whenever CEOs and other senior-level executives ask me to suggest war films which offer important lessons about leadership and management, Twelve O'Clock High is first on the list, joined by (in alphabetical order) Command Decision, The Dirty Dozen, The Enemy Below, Fort Apache, The Hunt for Red October, Paths of Glory, Pork Chop Hill, The Red Badge of Courage, They Were Expendable, and Zulu.

The best war movie I've ever seen. Magnificent!
Twelve "O'Clock High is a powerful and true-to-life film dealing with the early days of the 8th US Air Force in Great Britain. Its mission: to bomb Germany not by night in saturation bombings as the British were doing, but instead to boldly engage in "precision daylight bombing." No one knew if the concept was viable because no one had ever dared try it before on a large scale. Gregory Peck plays the role of a leader suddenly thrust into command of a deeply troubled, demoralized, and shot-up bomber squadron. How he motivates the men and overcomes the fact that the men well know that their chances of survival were poor (the worst survival odds of any American combat assignment in the war) is a deeply moving, powerful, indeed unforgettable story. This is a great movie.

The cinematography of this movie is wonderful, featuring actual combat footage of B-17s engaging German Focke-Wulf fighters in deadly combat. The sense of authenticity that this movie brings to the screen is total. One feels transposed back into England in 1942, engaged in a life-and-death struggle in the air against the Germans. The uniforms, dialogue, everything, about this movie reeks of authenticity. The storyline moves along at a breakneck pace--no dull interludes. And yet this is not just a "shoot-em-up" war flick. It is a stirring story of leadership, personality clashes, honest fear and human imperfections that reminds us what an incredible debt we all owe to the men who fought and won the air war over Nazi Germany.

This is a DVD movie to keep and watch repeatedly over the years. It is not only a great movie, it is wonderfully entertaining. This is truly one of the all-time great war movies.

The best review from someone who lived it.
My father, a b-17 bomber pilot, flew 52 missions out of England (Bassingbourn) during WWII. He spoke very little about his war-time experiences, but he said that this was the closest that Hollywood ever came to capturing what it was like for the B-17 bomber squadrons during WWII. It is a great film about human beings under extraordinary stress, making extremely difficult choices and living with their consequences - but most especially it is a moving portrayal of the complexities of leadership and friendship, and the trust needed to get others to do difficult, if not impossible things.

the meaning of "Maximum Effort"
This is a magnificent World War II film about U.S. airmen stationed in Britain in the fall of 1942, and so much more; it's about the psychology that goes into situations of extreme stress, and what makes a man a winner or loser when put to the test. As General Savage (Peck) says in his pep talk, "fear is normal, but stop worrying about it". Savage has no time for self pity, for himself or anyone else, and his toughness and high principles bring out the best in his men, and it also points up the dangers of emotional attachment in the wrong situations.
The script by Sy Bartlett and Beirne Lay Jr., from their book which is loosely based on a true story, is intelligent and insightful, and the direction by Henry King meticulous. The cinematography by Leon Shamroy is crisp and marvelous, and also includes riveting portions of actual WWII battle footage interspersed in the aerial shots.
The Alfred Newman score also adds much to the film.

Gregory Peck is perfect as General Savage, fabulously handsome, with one of the greatest voices of the 20th century, one cannot imagine a better actor for the part. Dean Jagger is also splendid as Major Harvey Stovall; wise and often witty, it is through his eyes that we see the story, told in flashback as he wanders the deserted airfield in 1949.
Other excellent performances come from Gary Merrill and Hugh Marlowe, but every cast member is good, with strong turns from all.

Nominated for a Best Actor and Best Picture Oscar (losing out to "All the King's Men" on both counts), "Twelve O'Clock High" spawned a much better than average TV series (1964-67) that I enjoyed watching, especially in its first season when it starred Robert Lansing.
This is a film that is actually used in "leadership seminars" for business executives, and by the U.S. Airforce as a teaching tool. It has lessons for the average person too, but most of all, it's a superb film, with memorable performances. Total running time is 132 minutes.

Excellent Movie for Leadership
This movie is a classic tool used by the USAF Squadron Officer School. It is a great way to see the different styles of leadership. When we viewed it in an educational fashion the movie carried a much greater sense of meaning for us. For all military buffs this movie has to be in your collection. Tobey Jugs, leather caps, B-17s...Bless them all, bless them all... ... Read more

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Leading off the set of four Akira Kurosawa classics is Seven Samurai (1954), unanimously hailed as one of the greatest masterpieces in the history of the motion picture. It was the inspiration for countless films modeled after its basic premise, but has never been surpassed in terms of sheer power of emotion, kinetic energy, and dynamic character development. The story is set in the 1600s, when the residents of a small Japanese village seek protection against repeated attacks by a band of marauding thieves and hire seven unemployed "ronin" (masterless samurai), including a boastful swordsman (Toshiro Mifune), who is actually a farmer's son desperately seeking glory and acceptance. The climactic battle remains one of the most breathtaking sequences ever filmed and one of Kurosawa's crowning cinematic achievements.

In another of the many Kurosawa-Mifune collaborations, The Hidden Fortress (1958) tells the story of a warrior and a princess trying against all odds to return to their homeland with their fortune. Along the way, they are simultaneously assisted and thwarted by two itinerant and not-too-bright farmers with their own designs on the treasure. Frequently cited for its thematic influences on Star Wars, The Hidden Fortress combines an epic tale of struggle and honor with modern comic sensibilities.

The partly comic Yojimbo (1961) was inspired by the American Western genre. Mifune plays a drifting samurai for hire who plays both ends against the middle with two warring factions, surviving on his wits and his ability to outrun his own bad luck. Yojimbo is striking for its unorthodox treatment of violence and morality, reserving judgment on the actions of its main character and instead presenting an entertaining tale with humor and much visual excitement. One of the inspirations for the spaghetti Westerns of director Sergio Leone and the 1996 Bruce Willis vehicle Last Man Standing, this film offers insight into a director who influenced American films even as he was influenced by them. The 1963 sequel, Sanjuro, is more lighthearted and less cynical, a rousing adventure with Mifune becoming an unlikely big brother to a troupe of nine naive samurai. It isn't the subtlest of Kurosawa's films, but it's one of his most entertaining. ... Read more

Reviews (12)

Must-buy for anyone even interested in Kurosawa...
I bought this as a "blind buy" at Best Buy. I had never seen any of the 4 films and had about 100 dollars in my pocket. I had been wanting to see "Seven Samurai" for the longest time but could never find it. I saw that my local Best Buy actually had a few copies and immediately picked it up. I was sure I was going to buy it when someone who worked there asked me if I had seen the box set. So he pointed me to the box set and I bought it without a second thought.

When I put in "Seven Samurai" I had never seen a Kurosawa film and 3 and a half hours later I had a new favorite film and new favorite director. The other three films, "The Hidden Fortress," "Yojimbo," and "Sanjuro" were equally amazing, most notably "Yojimbo." These films were so great that two days after buying it I bought Rashomon. I would recommend this to anyone with 80 dollars lying around and even a slight interest in seeing a Kurosawa film. You will not regret it.

It's no newborn, but it's a bundle of joy!
While I certainly can't fully recommend this set to those who already own most or all of the DVDs included within, I can recommend it to those who don't. And I do so, wholeheartedly. Not only does it look great sitting on a shelf, but the four DVDs inside are all absolute classics (all the DVDs are the exact ones released already, individually, by Criterion). Seven Samurai is, I believe, one of the greatest films ever made (perhaps THE greatest as my Listmania List suggests). Yojimbo is simply excellent as well. It's funny, phenomenally shot, terrifically acted, and contains a brilliant climax. Mifune is the ultimate screen bad @$$ in Yojimbo, and while Sanjuro isn't quite as good, it's a ton of fun just seeing Mifune reprise the role. Then there's The Hidden Fortress, the film that inspired R2-D2 and C-3PO in Star Wars. The Hidden Fortress is a superior film to the original Star Wars with excellent c