Reviews (2)

Stanwyck Lashes Out ... Brilliantly
Movie: ***** DVD Transfer: ****1/2 Extras: ****

Barbara Stanwyck is rougher than rawhide as Jessica Drummond, the high-riding "Woman With a Whip" (the film's pre-production title) in writer-producer-director Sam Fuller's movie about the female ruler of rugged Cochise County, Arizona.Armed with determination, wiles, and a savage lash, Drummond has firm control over the territory ... and she's backed up by a gang of forty sharp-shooting killers who follow her orders without question.Everything's going her way until a former gunslinger turned marshal (Barry Sullivan) arrives with his two brothers and begins to chip away at Drummond's power by attempting to restore law and order to the territory.Soon enough the lady and the lawman are engaged in a deadly battle of equals that will eventually engulf the entire community.

It's hard to believe that "Forty Guns" proved to be Stanwyck's last big screen appearance for five long years, a period in which she didn't make films because, in her own words, "no one asked me."Her performance is simply astonishing, and superbly nuanced: her voice and physical bearing communicate all too clearly that Jessica is not a woman to be trifled with.Stanwyck's triumph is even more complete when one realizes that the fifty-year-old actress performed all her own stunts in the film --- including being dragged by a horse during a harrowing tornado sequence!The rest of the cast is excellent throughout: Sullivan pulls off the difficult task of matching Stanwyck's energy without attempting to steal scenes; and nice work is also turned in by supporting players Gene Barry, John Ericson, and Dean Jagger.However, this is Stanwyck's movie all the way; her presence infuses every scene, even when she's off-camera.

The DVD presentation of this film is a credit to 20th Century-Fox Home Video.Both widescreen (Cinemascope) and pan-and-scan versions are included on the disc, and although it's not mentioned on the packaging, the DVD also includes the film's Original Theatrical Trailer.Picture and sound quality are superb throughout ... even the trailer is beautifully transferred.Overall, this is a magnificent release of a rarely screened film, enthusiastically recommended for fans of Samuel Fuller, Barbara Stanwyck, and the Western genre.

Forty Guns
The imminent release of this 1957 DVD is well worth waiting for especially in showing the fim in its original widescreen format. FORTY GUNS is a creative Fuller reworking of the western genre turning stereotypes on their heads, revealing the raw emotionalism and insecurity affecting various characters, and containing brilliant examples of crane and tracking shots representing key elements of this cinematic genius.
FORRTY GUNS has received good critical comment in the past. But what is most notable in this film is the reworking of previouswesterns such as THE GUNFIGHT AT THE O.K CORRAL and THE FURIES into a Fulleresque cinematic battleground. The Bonnell brothers (led by Barry Sullivan now reluctant to kill) are reworked versions of the Earpps while Barbara Stanwyck's sexually assertive Jessica Drummond is Fuller's masculinized version of Vance Jeffords from Anthony Mann's THE FURIES and her previous "Cattle Queen of Montana." Stanwyck, of course, personified the strong woman on screen in the pre-feminist era and this is one of her best performances. In this film, all conventions are overturned resulting in one of the most iconoclastic endings ever to appear in a Western. I will not spoil it for those who have not seen it but merely point out that Fuller directs the studio's "official climax" in a deliberately unbelievable manner. This is one of the best westerns of its kind directed by one of the major artists of Hollywood cinema. Cliches are absent and Stanwyck's character represents one of the most amazing inversions of classical Hollywood gender stereotypes ever to appear outside "film noir."

Companies should now follow Criterion's DVD release of PICK UP ON SOUTH STREET (1952)by releasing restored widescreen versions of Fuller's early Vietnam War entry CHINA GATE (1957) and MERRILL'S MARAUDERS (1961). In this current age of Hollywood creative bankruptcy, a return to the legacy of one of its greatest exponents is long overdue. ... Read more

Amazon.com

In Saving Private Ryan, Steven Spielberg depicts the D-day landings with a realism lauded by veterans. The Big Red One depicts the D-day landings, too, and it was made by a veteran. Writer-director Samuel Fuller, who served in the First Infantry Division from North Africa to Czechoslovakia (including the Normandy landings), made a career out of swift, punchy B movies, such as Pickup on South Street and The Naked Kiss. The Big Red One became Fuller's nod to A-movie filmmaking, yet it has the solid, matter-of-fact perspective of the ground-level infantryman. The episodic action ranges all over the European theater, as a tough squad of American GIs (including Mark Hamill and Robert Carradine) follow their hard-bitten sergeant (Lee Marvin, at his best) and try to stay alive. Filmed mostly in Israel, the film delivers on the requisite war-movie conventions and tough-guy humor but also introduces notes of poetry. Fuller's D-day doesn't match the pyrotechnics of Spielberg's version, but it creates power from the simple image of a dead soldier's watch, ticking away in blood-soaked surf. A fine and memorable picture, The Big Red One might have been even greater had it been released in Fuller's full-length cut--someday perhaps a restoration will allow the director's vision to be seen for the first time. --Robert Horton ... Read more

Reviews (41)

Big acting by Marvin; Red Normandy beaches; One good ending
Sarge (Lee Marvin), first saw combat near the end of WWI. Now, years later, in North Africa in WWII he is a grizzled, war weary, seen it all veteran. Nevertheless, he's still resolute in his duty and a proud wearer of the Red #1 arm patch insignia of the US 1st Infantry Division. He is leader, father, mother, coach and whatever else he needs to be to get his rifle squad through the war. The four principal characters of interest are Griff (Mark Hamill), an expert riflemen but one who can't shoot the enemy if he sees his eyes; he calls it murder, Sarge says otherwise. There is Zab (Robert Carradine) who's main purpose is narrator, his musings provide background and setting; the other two are Johnson and Vinci. We follow this group throughout the movie and the war from North Africa, Sicily, Normandy, Belgium and finally to a concentration camp in Czechoslovakia for a series of emotionally powerful concluding scenes.

There is no glorification of war here; indeed the message is very clear - the only glory in war is surviving. The movie is very creative in introducing characters whose sole purpose, with their demise, is to underline this message. The short careers of both Lemchek and Kaiser are cases in point. The battle scenes are weak and unrealistic but that's not the emphasis. The action scenes that are memorable are the ones with a subtle message; the camera focusing in on the dead soldiers wristwatch in the surf of Normandy, the water turning red with the passing of time; the scene at the asylum in France and the concentration camp scene where Griff overcomes his compunction about shooting while seeing the whites of his enemies eyes.

It's a well crafted movie, with some strong acting from Lee Marvin and Mark Hamill and a movie which delivers it's message in a well thought out and strong ending.

Awe Inspiring Title, Segmented Movie
In World War Two the US 1st Infantry Division earned its colors in constant battle from North Africa, Sicily and Northern Europe. Because of its distictive shoulder patch the division became known as The Big Red One. Samuel Fuller's motion picture of the same name does not quite hit the mark with respect to conveying the battle scars endured by the division. Fuller focuses on a squad of soldiers, led by Lee Marvin (The Dirty Dozen), in a story told by one of the squad members, Robert Carradine (Revenge of the Nerds). The picture has potential. Indeed there is information to suggest that there is a longer uncut version of the movie mouldering away someplace. The film currently available on VHS and DVD -- the same version that was projected in movie theaters -- seems more like a television movie than major motion picture. Granted, the special effects were good for their day, but you do not have to look too far to see the obvious shortcomings. For the most part the dialogue is contrived and somewhat phony. Lee Marvin, a magnificent actor, was too old to play the part of a junior noncommissioned officer. In two of the beach invasion landing scenes (North Africa and Normandy) and despite a downward camera angle there is a total absence of ships to be seen anywhere on the water except for one token landing craft lingering in the distance. The greatest shortcoming of the film is that it is composed of a series of disjointed vignettes sewn together into one story. The most powerful part of the movie are the last minutes of the film when the squad liberates a concentration camp in Czechoslovakia. This scene alone could have been flushed out and served as the backdrop for a whole movie; or possibly been a vehicle for flashbacks of the what the squad had endured leading up to the end of the war. Filmed primarily in Israel THE BIG RED ONE reflects what appears to be a reflective personal journey designed to entertain the storyteller alone. With the exception of this film's stars, I found this movie very similar to A MIDNIGHT CLEAR. If you are a fan of war movies then this movie will probably find its way into your collection.

Worst war film ever?
This film is a disgrace, the combat is unrealistic and i'm sure the tanks in it are all the same for americans and germans alike. The narration is very annoying and quite pointless. I know the film is trying to put across an important message but it could have done it better; better actors for a start, Lee Marvin is not exactly my favourite. Overall leave this film alone, if you want to see a good war film watch Patton, A Bridge too Far or The Longest Day.

OVERALL SCORE: (B+)
This is one of the more stunning and profound cinematic portraits of the Second World War. It is an unflinching window into the surrealistic exploits of warriors in combat. This is by far a more worthwhile movie then many later attempts, that fail to emotionally grip you, instead relying on computer effects for drama.

OVERALL SCORE: (B+)

PLOT: (B), ACTING: (B-), DIALOGUE: (B-), SETTING: (C), ACTION/COMBAT: (B), ANTAGONISTS: (B), ROMANCE: (n/a), AGE LEVEL: (PG)

Other great war movies; The Longest Day (1962), We Were Soldiers (2002), Gallipoli (1981), Attack Force Z (1982), Cross of Iron (1976), A Bridge Too Far (1977), or The Dirty Dozen (1967).

The "Definitive" Bad Review
This is one of those movies that you either love or hate. I'm guessing the lovers like the interesting combat action and episodic nature of the movie, which keeps up a fast pace and allows for multiple locations and perspectives on the war.

Unfortunately, this movie is ruined by the Voice Narrator - none other than future star of "Revenge of the Nerds." Whether it's the actor chosen or bad direction, it is easily the most annoying voice over in "A-movie" history. Particularly since we have all seen this done much more effectively in war movies released since this picture was made in 1980. I have no doubt that these movies owe a debt to the Big Red One, with the directors saying, "Stop, you sound like the nerd in the Big Red One. Try it again."

My "favorite" scene: The squad delivers a baby during D-Day (you can't make this crap up folks-oh wait, I guess they did). Dialogue of soldier delivering baby: "Lady, I'm a hell of a lot more scared than you are...just take it easy." (uh, Hello, this film was robbed of an Oscar for screenwriting)

My "favorite" voice over narration line:
"We got a bunch of medals...not for delivering the kid, but for killing Krauts."

My all time "favorite" dialogue:
Soldier: "What's the French word for PUSH?"
Marvin Lee: "Pussay" (Which he repeats multiple times as we see the pregnant woman writhing in labor, her legs spread over Lee Marvin's shoulders...."pussay, pussay, pussay...he shouts" (now that's some serious double entendre, folks)

My "favorite" cowboy moment as the soldier's creep through enemy lines. Lee Marvin: "It's a bushwack." (not related to the labor scene folks)

My "favorite" movie message, from this actual dialogue at an insane assylum the GIs comes across in France:

Marvin: "Killing insane people is not good for public relations."
Soldier: "But killing sane people is?"
Marvin: "That's Right."

Wow, that's powerful stuff.

In summary, the acting is sophomoric (gotta love the off-screen screams when someone gets it - no, it's not your little brother playing in the other room--it's the movie), the writing and dialogue is stilted and corny and the tone/direction awkwardly switches from whimsical to melodramatic and back again.

Still, it's not bad Sunday afternoon viewing if you like war action and enjoy making fun of old movies - the best thing to do, though, is watch it with a remote control and hit mute every time the annoying/cloying narrator speaks. For added interest, print off a script of the movie and read the narration at the appropriate points, since on rare occassions the narrator does say something interesting. ... Read more

Amazon.com

Maverick film director Samuel Fuller was doing some of his best work in the late 1950s and early 1960s, and in the years since its release in 1963, Shock Corridor has become a B-movie classic and a prime example of Fuller's gritty tabloid style. Never hesitant to explore the darkened corners of contemporary life, Fuller depicts the chambers of an insane asylum as a microcosm of American society, telling the story of a cynical, ambitious journalist (Peter Breck) whose obsessive quest for a Pulitzer Prize leads him into the depths of madness. To investigate a murder, the reporter goes undercover in a mental hospital, having convinced a psychiatrist that he needs treatment. Once inside the asylum, he pieces together clues to the murder, but his own mind begins to deteriorate until he's trapped in a downward spiral towards insanity. Fuller heightens the melodrama with his aggressive style of filmmaking (his next film, The Naked Kiss, proved even more effective), and his imaginative use of black-and-white cinematography (by noted cameraman Stanley Cortez) fills the movie with raw, emotional power. It's the kind of film one would expect from a rebellious director on the Hollywood fringe, and that's why Shock Corridor remains an enduring low-budget examination of the "rat race" and the consequences of pursuing success at any cost. The Criterion Collection DVD presents the film in its original 1.85:1 aspect ratio, and a rarely seen color dream sequence has been fully restored. --Jeff Shannon ... Read more

Description

Petty crook Skip McCoy (Richard Widmark) has his eyes fixed on thebig score, but when he picks the purse of unsuspecting Candy (Jean Peters) he finds ahaul bigger than he could imagine: a strip of microfilm bearing confidential U.S. secrets.Tailed by both Feds and the unwitting courier's Communist puppeteers, Skip and Candyfind themselves in a precarious gambit that pits greed against redemption, Right versusRed, and passion against self preservation. A dazzling cast, hardboiled repartee anddirector Samuel Fuller's signature raw energy combine to create a true film noir classic. ... Read more

Reviews (20)

"You know people who know people."
"Pick Up On South Street" is yet another great film from cult director, Sam Fuller. Pickpocket Skip McCoy (Richard Widmark), a three-time loser, is on probation for only a week when he picks the wallet from a woman's handbag on the subway. He thinks he's lifting money, but he actually steals microfilm--copies of classified government documents containing a patent for a chemical formula. The woman, hard and mouthy, Candy (Jean Peters) is unaware of the true nature of the envelope she is about to pass to a communist agent. She thinks she's just doing her old boyfriend, Joey, a favour.

Soon Candy's ex, the police, and communist agents are all looking for Skip. Everyone--sooner or later--contacts the best snitch in town, Moe (Thelma Ritter). Moe's dread of being buried in Potter's field when she longs for a fancy plot in Long Island ensures that she'll sell information--after all, "every extra buck has a meaning of its own." Moe may have her price, but she doesn't do business with 'commies.' The film emphasizes the idea that thievery is one thing, but treason is a different matter. In the film, the criminal characters (Skip, Moe, and Lightning Louie) all live on the fringes of society in out-of-the-way dives and hovels. Their survival is based on not being too picky about how they make ends meet, so they have a certain tolerant co-existence with each other.

This film works so well due to the fine characterizations. There's Skip--he's not fussy who buys the film--and the whole patriotism argument just doesn't matter as far as he's concerned. The police detective in charge of the case isn't exactly an old friend, and so Skip's not about to hand over the stolen film. This is my personal favourite of all Sam Fuller's films. On the surface, it may seem that Fuller is paying court to the fear of Communism with this film's plot. But protagonist Skip McCoy isn't part of the society he's suddenly supposed to respect and protect. He's on the outside looking in, and his "what's in it for me attitude" leads him to make some tough choices. He's not a patriot--he's a survivor. Candy is as hard as nails--she's hardly naive or innocent, but even she's shocked to find herself mixed up with Communists. Thelma Ritter in an Oscar nominated role for best supporting actress is amazing. Her scenes are incredible. I love the scene when Moe questions the police detectives about Skip's technique. Also the amazingly violent subway chase was brilliantly executed. This Criterion DVD contains many extras that make the extra expense worthwhile for the film aficionado. There's an interview with Sam Fuller and trailers for his films (some of them are now sadly out-of-print). For the Sam Fuller fan, this Criterion DVD package is both fascinating and essential--displacedhuman

top-level film noir
Better than most film noir entries, Samuel Fuller's PICKUP ON SOUTH STREET explores the life of a pickpocket who gets in over his head. Skip McCoy picks a pocket on the subway, and gets classified government documents for his troubles.

The police convince a woman to help them find Skip and the microfilm, and heavy drama ensues. Thelma Ritter is especially good as the informant. Today her acting would be considered over-the-top and unconvincing, but for the time, it was a standout performance. Widmark is excellent as the pickpocket, with his portrayal only rivalled by his work in KISS OF DEATH (also a must-see film noir).

As a landmark film for Widmark and Ritter, as well as for director Samuel Fuller, PICKUP ON SOUTH STREET is a must-see for fans of 1940s cinema and film noir.

ken32

missed opportunity
Made during the height of the cold war hysteria,
this film gets sidetracked by mindless red baiting.
It also descends into cheesy melodrama on a couple of
occasions marring the pacing of the movie. It's too
bad but pickup doesn't live up to its reputation as
top notch noir.

A 1950's classic
For those who appreciate the fine acting of Thelma Ritter, this film is a must-have (along with Alfred Hitchcock's "Rear Window"). Her portrayal as the informant is a classic role for one of the best supporting actresses Hollywood has ever seen.

Richard Widmark also lends one of the greatest performances of his career, right up there with his roles in "Kiss of Death" (1947) and "Judgement at Nuremburg" (1961). The Criterion release provides a magnificent restoration of this underrated film noir gem.

I am rather baffled as to the clueless wonder at Amazon.com who tagged this motion picture with an NC-17 rating. Either that person didn't see the film, or the lights are on but nobody's home. "Pickup on South Street" isn't a skin flick. It is one of the greatest dramatic thrillers of the 1950's.

Get this DVD on Criterion. It's an essential classic for any serious film collector.

A top notch film noir
Skip Mc Coy (Richard Widmark) is a person without colective importance; a rough pickpocket , a scroungy pretty gangster who sneeks a look into a woman's handbag, turns up some microfilm and finds himself dealing with communist agents.
This is a well made film, with a lot of issues. Moe (Thelma Ritter)overtakes this role as a street peddler who sells information.
A film which reveals as a few, the sordid and sinister underworld linked with the spy world which is blackmailed by a pedestrian thief.
Fuller's view is incisive, bitter and ironical. Nevetheless the film has unforgettable funny situations.
Thelma Ritter was a very talented actress and bowever, she never won an Academy Award ; but her shinning presence gives to the clever script that touch of class and outrageous fierce character; and of course don't forget adding the charismatical performance of Richard Widmark.
One of the most imaginative and powerful film noir made in any age. ... Read more

Amazon.com Review

Until Sam Fuller came along, movies in the 1960s were stillbound by Hollywood's self-imposed and often hypocritical rules ofdiscretion. The crimes and misdemeanors of lurid pulp fiction remainedon drugstore spin-racks and newsstands, diluted on screen until Fuller,with his cigar-chomping audacity and confrontational style, liberatedmovies from artificial restraint and kicked them into the meaner,darker, but more honest maturity of the post-Kennedy era. ShockCorridor announced Fuller's brazen agenda a year earlier, butThe Naked Kiss is even more astonishing because its trashy,provocative plot dares to find depth and humanity beneath the hardenedshells of corrupted souls.

The film begins like no other before it: Kelly (Constance Towers) beatsher pimp with a handbag, grabs the cash he owes her, adjusts hertelltale wig and makeup, and sets out to begin life anew, free from theshame of prostitution. Two years later she's in Grantville, a typicallyRockwellian slice of Americana, working wonders with disabled kids andgaining distance from her miserable past. She's even engaged to thetown's most respected citizen, but dark clouds are gathering: a corruptcop knows Kelly's hidden secrets; a nearby brothel taints thecommunity; and a pedophile is lurking in the shadows. Through it all,Fuller calibrates The Naked Kiss with such precision thatsentiment and sordidness can run parallel without colliding, shiftingfrom outrageous vice to shameless tear-jerking with equal facility.With twisted tricks up his sleeve, Fuller can be accused of tabloidtackiness, but that would be missing the point: In Fuller's cruel andugly world, compassion still finds a way to survive. --JeffShannon ... Read more

Reviews (20)

CRIPPLED SOULS
Produced, written and directed by Samuel Fuller, THE NAKED KISS is a little jewel. Constance Towers, in a " à la Gena Rowlands " role, gives a performance you won't forget easily. A great thanks then to Criterion which allows us to rediscover this wonderful movie.

Samuel Fuller, from his 1940 debut in Hollywood until his last movies in France, deserves to be considered as one of the great american directors of the last fifty years. He mainly visited the western, war movies and film noir genres and gave us such masterpieces as FORTY GUNS, SHOCK CORRIDOR and UNDERWORLD, U.S.A. With no big stars but with a style of its own. Raw, violent and provocative, for the eyes and also for the intellect.

THE NAKED KISS is a movie destined to shock the audience. An emotionally ultra-violent first scene prepares us to a journey through Cinderella Land and the Garden of Evil. Samuel Fuller won't let anybody unharm. The Charming Prince, the Hooker with a heart big as the world, the Cop blasé : everybody will suffer in front of Fuller's camera.

It's the third time I watch THE NAKED KISS, the first time on DVD, and I like it even more now. Its atmosphere is one of the strangest you can find on film. Remember Charles Laughton's NIGHT OF THE HUNTER ? One can feel a bit of this dreamy atmosphere in Fuller's movie. The child song Constance Towers sings with the handicapped children will give you the chill.

Image is great, a few white spots now and then coming from a non-perfect copy. The sound is good but you'll have to turn your volume control. Scene access and theatrical trailer as bonus features.

A DVD for your library.

The double moral
Fuller gave us a ravishing work. plenty of kinetic energy, without anu pause, directly he engages the viewer, around a prostitute who refuses making that job, and to establish in another land with the illusion of reborn with a new name and profession.
She turns in nurse and works in a hospital. she's very pretty and soon she'll meet a man who ask for her to marry him.
Suddenly she finds out awful who'll give her life a twist of fate.
You are the judge and make your own opinion. But meanwhile her past is known by the little neighborhood and you can imagine what that means.
After inquiring her, she'll be free, but she'll let the town, because it doesn't deserve the efforts made for her.
Fuller established this bitter film just in the middle of the sixties in a world shocked by high tension : Vietnam's war, Kennedy's murder, and the racial issues.
May be this was the main reason why this film was underrated. Too much high point temperature in the social body of USA in that moment. Please notice the films awarded by the Academy in that age, there were elusive pictures, think it Mary Poppins, My fair Lady, Tom Jones , Irma la dulce , for avoid to remind the troubled state of things for that special moment.
However the film has prevailed and thanks to the efforts of Criterion it's possible to appreciatte this cult movie.
Don't miss this one.

Whatever you were expecting....
doesn't prepare you for the musical number halfway through the picture. Jarring is perhaps the best description. Just roll with it and enjoy the denouement.

an interesting and unusual film
This review is for the Criterion Collection edition

In this film a former prostitute who moves to a small town to try and get on with her life. She takes a job as a nurse in a children's hospital. She makes several friends in the town and later finds herself in trouble.

This movie has a very interesting plot and touching end but I don't want to give any spoilers

Criterion only added a theatrical trailer for special features making it kind of dull. The accompanying paper still has the standard essay on the film though.

So bad its...bad.
Don't get me wrong; I like trash. But this manages to be both very dull and very over the top at the same time. Constance Towers is ok (its no wonder she ended up doing soaps; she has that "almost convincing" way of acting). Anthony Eisley is fair. The movie has some of the absolute worst, terrible, shockingly bad child actors imaginable.

The bad acting, fake streets and sets, stereotypical characters and sheer length make this painful. Nothing rings true enough to take it seriously--but how can you laugh at crippled children and child molesters? Its like Roger Corman without the fun.

Worth seeing--maybe--but how people can attach such importance to imcompetant schlock..... ... Read more

Amazon.com,

Troma Studios' 35th anniversary reissue of the 1969 Samuel Fuller film Shark highlights the raw materials that made Burt Reynolds a movie star.This movie is a treasure hunt/double-cross/adventure story set in Northern Africa.The sharks are both real (a stunt man was killed filming one of the underwater scenes) and metaphorical as evidenced by the behavior of Reynolds's character and his co-stars, Arthur Kennedy and Sylvia Pinal.Reynolds stars as Kane, a gun smuggler who loses his stash and goes on the take for a quick buck.Kennedy and Pinal share Reynolds's desperation as they have trouble rounding up locals to help with Kennedy's "research" after a shark attacks and kills a young local diver.The double-crosses lead up to a climactic underwater crescendo.Overall, the film is a basic adventure story that will appeal to Reynolds's current camp appeal.The DVD print quality is poor in most of the land scenes, though the water scenes are quite good.This version of the film includes a number of Troma extras such as interviews and typical self-promotional Troma Studio videos.--Brian Saltzman ... Read more

Reviews (2)

All Star B-Movie !!!
Burt Reynolds, Barry Sullivan, Silvia Pinal, Arthur Kennedy - WOW!!!! - What a cast ! I can really see why Mr. Reynolds was considered for the James Bond part (1969); after seeing him in this action flick. Although, Sam Fuller had problems finishing this low budget movie - he still got the job done. While the story is uneven at times; Arthur Kennedy is a total delight as a(n)alcoholic physician (with a heart of gold !). This movie can be purchased for a very small amount of change - It's well worth it. One of my favorites !

Excellent Shark/Adventure Movie!!
Burt Reynolds does an excellent job in this 1969 shark/adventure movie.It's a must see!! ... Read more

Description

Keith Carradine (Nashville, The Tie That Binds) stars asia former pop star who have it all, until he felliin love with theiwrong gangster's girl andihad his throat cutifor his sins. Nowia drifter, he lives inia haze of amnesia, alcohol andimisery, until one day, he rediscovers himself andia chanceifor vengeance. Legendary director Samuel Fuller's (Naked Kiss, Pickup oniSouth Street)final film isia raw, powerful andistylish masterpieceiin theigenre that he helpedito define. Based onitheiclassic crime-novel byiDavid Goodis (Shoot theiPiano Player), this brutal tale strikes withtheiimpact ofia hammer blowito theihead (literally!). Fantomaisiproudito present theiU.S. premiere of this modern classic, from oneof cinema's most original visionaries, inia special new edition. ... Read more

Reviews (2)

A must-own for Fuller fans
Jean-Luc Godard described Samuel Fuller's films as "cinema fist," and that's certainly true of Fuller's last film, the underrated _Street of No Return_. A bizarre, fast-moving noirish cocktail of love and death (with an unexpected ending that feels more like fantasy than fact), _Street_ bears the director's indelible stamp on every frame. The use of Lisbon locations to stand in for an unnamed American city creates a perverse visual poetry out of the production's budgetary constraints.

Keith Carradine acquits himself well as the film's male lead, but it's Bill Duke as a Black police chief who explodes all over the screen. The DVD from Fantoma features a very good video transfer and remixed audio; special features include an atrocious audio commentary from Carradine (couldn't they have roped a few film scholars into doing this instead?), a text interview with Fuller, and a marvelous new featurette with plenty of screen time devoted to Fuller's outsized personality.

Fuller's autobiography _A Third Face_ mentions that, as was often the case with his projects in the '70s and '80s, this film was taken out of his hands at the last minute and re-edited. The version of _Street of No Return_ that he intended us to see is probably lost by now. But even in this shortened version, it's a ripping good swan song. No one before or since has made films like Fuller, and it's our loss.

Truncated Fuller
This is Samuel Fuller's last film, 1989, starring Keith Carradine as a former pop star (wearing overly glam clothes and singing schmaltzy guitar and orchestra 80s pop songs to an adoring audience in flashback) who loses the girl of his dreams and wanders into the life of a drunken bum after getting his vocal cords cut for his dallying with the girl, a mobster's babe. No cords, no singing. No singing, no money. Et cetera.

Based on a strong hard boiled novel by David Goodis, ca. 1950s, the film is, unfortunately, a travesty of the novel. While the book does a great job of linking Eugene's (Michael in the movie) descent into the lower depths with the corruption of the world around him--cop and criminal both--the movie short changes the viewer on everything: the plot, the characters, emotional resonance.

The movie was made in Portugal with Portuguese and French actors in most roles, along with Americans Keith Carradine and Bill Duke. In fact, the film feels way too much like it's a B minus movie made exclusively for the European market, with its truncated, cliched dialogue. You've seen these movies before, in which just about all the characters spout dialogue that's tailor made for actors who struggle with English, since it's not their native language. Because of that, the script is made up of short lines, easy to memorize and pronounce for non-English speaking folks. This, of course, tends to substantially limit the depth of emotion at any given point in any of these films. And that is, unfortunately, the case with Street of No Return.

Carradine is fine, but he doesn't have much to do. The book portrays Eugene's emotions far more deeply than does the film, so that the reader understands--FEELS--how it is that this man could sink so low after the loss of a love. The movie moves through this plot point(s) so abruptly that it's basically impossible to sympathize with Michael/Eugene; we merely watch him go through the motions of drinking and reacting to stuff as it happens. But even the stuff that happens is cursorily or tritely portrayed. A race riot in the beginning of the film is much too stagey to look credible, for example.

The three stars are for the concept of the film which is great, and also for the extras, principally the terrific 32-minute featurette on the Making of Street of No Return, in which Fuller is interviewed on the set. He's quite a character and evokes great sympathy, with his strong views on society, violence, and hypocrisy. Moving around the set with an 11-inch cigar in his mouth, he looks like--and was--the last of the legendary maverick directors.

The featurette gets five stars; the film gets about 2 and a half. Hence the three stars for the DVD. ... Read more

Reviews (20)

CRIPPLED SOULS
Produced, written and directed by Samuel Fuller, THE NAKED KISS is a little jewel. Constance Towers, in a " à la Gena Rowlands " role, gives a performance you won't forget easily. A great thanks then to Criterion which allows us to rediscover this wonderful movie.

Samuel Fuller, from his 1940 debut in Hollywood until his last movies in France, deserves to be considered as one of the great american directors of the last fifty years. He mainly visited the western, war movies and film noir genres and gave us such masterpieces as FORTY GUNS, SHOCK CORRIDOR and UNDERWORLD, U.S.A. With no big stars but with a style of its own. Raw, violent and provocative, for the eyes and also for the intellect.

THE NAKED KISS is a movie destined to shock the audience. An emotionally ultra-violent first scene prepares us to a journey through Cinderella Land and the Garden of Evil. Samuel Fuller won't let anybody unharm. The Charming Prince, the Hooker with a heart big as the world, the Cop blasé : everybody will suffer in front of Fuller's camera.

It's the third time I watch THE NAKED KISS, the first time on DVD, and I like it even more now. Its atmosphere is one of the strangest you can find on film. Remember Charles Laughton's NIGHT OF THE HUNTER ? One can feel a bit of this dreamy atmosphere in Fuller's movie. The child song Constance Towers sings with the handicapped children will give you the chill.

Image is great, a few white spots now and then coming from a non-perfect copy. The sound is good but you'll have to turn your volume control. Scene access and theatrical trailer as bonus features.

A DVD for your library.

The double moral
Fuller gave us a ravishing work. plenty of kinetic energy, without anu pause, directly he engages the viewer, around a prostitute who refuses making that job, and to establish in another land with the illusion of reborn with a new name and profession.
She turns in nurse and works in a hospital. she's very pretty and soon she'll meet a man who ask for her to marry him.
Suddenly she finds out awful who'll give her life a twist of fate.
You are the judge and make your own opinion. But meanwhile her past is known by the little neighborhood and you can imagine what that means.
After inquiring her, she'll be free, but she'll let the town, because it doesn't deserve the efforts made for her.
Fuller established this bitter film just in the middle of the sixties in a world shocked by high tension : Vietnam's war, Kennedy's murder, and the racial issues.
May be this was the main reason why this film was underrated. Too much high point temperature in the social body of USA in that moment. Please notice the films awarded by the Academy in that age, there were elusive pictures, think it Mary Poppins, My fair Lady, Tom Jones , Irma la dulce , for avoid to remind the troubled state of things for that special moment.
However the film has prevailed and thanks to the efforts of Criterion it's possible to appreciatte this cult movie.
Don't miss this one.

Whatever you were expecting....
doesn't prepare you for the musical number halfway through the picture. Jarring is perhaps the best description. Just roll with it and enjoy the denouement.

an interesting and unusual film
This review is for the Criterion Collection edition

In this film a former prostitute who moves to a small town to try and get on with her life. She takes a job as a nurse in a children's hospital. She makes several friends in the town and later finds herself in trouble.

This movie has a very interesting plot and touching end but I don't want to give any spoilers

Criterion only added a theatrical trailer for special features making it kind of dull. The accompanying paper still has the standard essay on the film though.

So bad its...bad.
Don't get me wrong; I like trash. But this manages to be both very dull and very over the top at the same time. Constance Towers is ok (its no wonder she ended up doing soaps; she has that "almost convincing" way of acting). Anthony Eisley is fair. The movie has some of the absolute worst, terrible, shockingly bad child actors imaginable.

The bad acting, fake streets and sets, stereotypical characters and sheer length make this painful. Nothing rings true enough to take it seriously--but how can you laugh at crippled children and child molesters? Its like Roger Corman without the fun.

Worth seeing--maybe--but how people can attach such importance to imcompetant schlock..... ... Read more

Reviews (3)

At least they tried
What this is is an attempt to edit two seperate episodes of The Virginian tv series into one story. The story line of two brothers (Bronson and Marvin) and the seperate paths they took would have worked better had there been smoother editing. It becomes most painfully obvious during the final five minutes. Beyond that, if you would like to see both actors in their earlier years, rent if possible.

HOW DID THIS HAPPEN?
I'm still wondering how in the world Hollywood's two of the best stars got into this terrible mess! What a waste! Charlie & Marvin fans should stay away from this one. Regardless of the reviews that I read from IMDB I bought this DVD last year & I'm still regreting it. Take my advise, keep this away from your collection.

Too expensive for an EP tape.
I'd advice anybody to stay away from this tape, even Bronson-fans. Don't get me wrong; it's a fine little TV-western, Bronson's good as always, it's a good cast in general, but the picture quality is not very good. -But that's just a minor problem. In fact, the tape's in the awful EP mode. -And at such a hefty price, too. Very disappointing, indeed. Shame on you "Goodtimes Home Video", for releasing something like this, at a price the double of what it's really worth. It would be nice if "Amazon.com" could note the speed-mode of the tapes. ... Read more

Description

From master filmmaker Samuel Fuller (The Naked Kiss) comes this twisted tale of revenge and redemption! Keith Carradine (Nashville) stars as a former pop star who had it all until he fell in love with the wrong gangster's girl and had his throat cut for his sins. Now a drifter, he lives in a haze of amnesia and misery until one day he rediscovers himself and a chance for vengeance. Based on the classic crime novel by David Goodis (Shoot the Piano Player), Fuller's final film is a raw, powerful, and stylish masterpiece in the genre he helped define. This brutal tale, a modern classic from one of cinema's most original visionaries, strikes with the impact of a hammer blow to the head, literally! ... Read more

Reviews (2)

A must-own for Fuller fans
Jean-Luc Godard described Samuel Fuller's films as "cinema fist," and that's certainly true of Fuller's last film, the underrated _Street of No Return_. A bizarre, fast-moving noirish cocktail of love and death (with an unexpected ending that feels more like fantasy than fact), _Street_ bears the director's indelible stamp on every frame. The use of Lisbon locations to stand in for an unnamed American city creates a perverse visual poetry out of the production's budgetary constraints.

Keith Carradine acquits himself well as the film's male lead, but it's Bill Duke as a Black police chief who explodes all over the screen. The DVD from Fantoma features a very good video transfer and remixed audio; special features include an atrocious audio commentary from Carradine (couldn't they have roped a few film scholars into doing this instead?), a text interview with Fuller, and a marvelous new featurette with plenty of screen time devoted to Fuller's outsized personality.

Fuller's autobiography _A Third Face_ mentions that, as was often the case with his projects in the '70s and '80s, this film was taken out of his hands at the last minute and re-edited. The version of _Street of No Return_ that he intended us to see is probably lost by now. But even in this shortened version, it's a ripping good swan song. No one before or since has made films like Fuller, and it's our loss.

Truncated Fuller
This is Samuel Fuller's last film, 1989, starring Keith Carradine as a former pop star (wearing overly glam clothes and singing schmaltzy guitar and orchestra 80s pop songs to an adoring audience in flashback) who loses the girl of his dreams and wanders into the life of a drunken bum after getting his vocal cords cut for his dallying with the girl, a mobster's babe. No cords, no singing. No singing, no money. Et cetera.

Based on a strong hard boiled novel by David Goodis, ca. 1950s, the film is, unfortunately, a travesty of the novel. While the book does a great job of linking Eugene's (Michael in the movie) descent into the lower depths with the corruption of the world around him--cop and criminal both--the movie short changes the viewer on everything: the plot, the characters, emotional resonance.

The movie was made in Portugal with Portuguese and French actors in most roles, along with Americans Keith Carradine and Bill Duke. In fact, the film feels way too much like it's a B minus movie made exclusively for the European market, with its truncated, cliched dialogue. You've seen these movies before, in which just about all the characters spout dialogue that's tailor made for actors who struggle with English, since it's not their native language. Because of that, the script is made up of short lines, easy to memorize and pronounce for non-English speaking folks. This, of course, tends to substantially limit the depth of emotion at any given point in any of these films. And that is, unfortunately, the case with Street of No Return.

Carradine is fine, but he doesn't have much to do. The book portrays Eugene's emotions far more deeply than does the film, so that the reader understands--FEELS--how it is that this man could sink so low after the loss of a love. The movie moves through this plot point(s) so abruptly that it's basically impossible to sympathize with Michael/Eugene; we merely watch him go through the motions of drinking and reacting to stuff as it happens. But even the stuff that happens is cursorily or tritely portrayed. A race riot in the beginning of the film is much too stagey to look credible, for example.

The three stars are for the concept of the film which is great, and also for the extras, principally the terrific 32-minute featurette on the Making of Street of No Return, in which Fuller is interviewed on the set. He's quite a character and evokes great sympathy, with his strong views on society, violence, and hypocrisy. Moving around the set with an 11-inch cigar in his mouth, he looks like--and was--the last of the legendary maverick directors.

The featurette gets five stars; the film gets about 2 and a half. Hence the three stars for the DVD. ... Read more

Description

A swarthy, good looking American named Caine (Burt Reynolds) arrives in a small, dusty, "hole-in-the-ground" town in the Sudan after having escaped government soldiers who nearly seized him with a truckload of illegal arms.Later, Caine, looking for an escape from the police, meets up with Anna (Silvia Pinal) and Dr. Mallare (Barry Sullivan), an ichthyologist looking for rare fish specimens. Anna convinces Caine to sign on as a deck hand.That night, however, Caine finds out that he is more than just a deck hand - he is a partner. The drama grows as they dive for $2 Million worth of gold in shark-infested waters, and Caine realizes he is off to an appointment with dangerous sharks - and with death. - Staring Burt Reynlds with Arthur Kennedy, Manuel Alvarado, Carlos Barry, Barry Sullivan & Silvia Pinal Original Music by Rafael Moroyoqui - Cinematography by Raúl Martínez Solares Art Direction by Manuel Fontanals - Film Editing by Carlos SavageAssociate Producer José Luis CalderónProduced by Mark Cooper & Skip Steloff Directed by Samuel Fuller ... Read more