Showing posts with label great romances. Show all posts
Showing posts with label great romances. Show all posts

The House of the Spirits (1994) Review

The House of the Spirits (1994)
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I love this movie! It has a stellar cast, who give top notch performances. How can you go wrong with Jeremy Irons, Meryl Streep, Glenn Close, Antonio Banderas, Winona Ryder, Vanessa Redgrave, and Armin Muehler-Stahl? The answer is that you can't. It is a riveting piece of film making, based loosely upon Isabelle Allende's wonderful book of the same name.
The film delicately captures the mysticism of the book, rendering those scenes in which such is the focal point highly believable. This is no mean feat given the subject matter. The story takes place in South America. The saga begins in the nineteen thirties.
Vanessa Redgrave and Armin Muehler-Stahl play the wealthy and liberal parents of two daughters, Rosa and Clara Del Valle. Rosa is the beautiful, older daughter. Clara, played by Meryl Streep's real life daughter, is a lovely child with exceptional, psychic gifts. Jeremy Irons plays the part of Esteban Trueba, an impoverished young man in love with Rosa. Vowing to make his fortune in order to marry her and provide her with the comforts to which she is accustomed, he succeeds in making his fortune. He loses Rosa, however, before being able to marry her, when she drinks poisoned wine intended for her liberal party father.
Esteban, broken hearted, leaves with his fortune and buys an estancia, where he sternly rules with an iron fist over the peasants who work the land for him. They obsequiously refer to him as "Patron". He takes what he wants, even the women, with the expected result. He has a bastard son whom he does not acknowledge.
Esteban has a spinster sister, Ferla, well acted by Glenn Close, who, for the past twenty years, has lived a grim existence in the city with their ailing mother, whom she has taken care of. When their mother dies, Esteban, now a bitter and lonely man, returns to the city from his estancia to attend his mother's funeral. In doing so, he spots Clara, who is now all grown up and ethereally portrayed by the very talented Meryl Streep. Not wasting a moment, he goes to her home. She, luminous, and mystical, already knows that he is there to ask for her hand in marriage and happily accepts. After all, she has loved him ever since she first saw him all those years ago.
Clara lovingly embraces his sister, Ferla, into the bosom of her househould, when they move to her Esteban's estancia. Ferla blossoms from a bitter old maid into a companionable and pleasant woman, under Clara's warmth. Esteban and Clara eventually have a child, Blanca, who grows up playing with Pedro, the son of the estancia's indigenous indian foreperson. When Esteban discovers this, he sends Blanca away to boarding school. He does not want his daughter fraternizing with the peasants.
Clara, loving and pure of heart, is his exact opposite. When their daughter finally grows up and returns home from school, she knows that the independent Blanca, well played by Winona Ryder, has fallen in love with her childhood playmate, Pedro, passionately portrayed by Antonio Banderas. Esteban hates Pedro, as Pedro is a liberal inciting the peasants to unionize and demand their rights, whipping them into a frenzy against the "Patron", or so Esteban sees it. He drives Pedro off his land. He also drives Ferla off, as he believes her to have unatural feelings for his wife, Clara. Possessive to a fault, he is consumed by jealousy. Clara and Esteban have a fight over his cruelties, and she finally leaves him, taking Blanca with her to the Del Valle family home in the city.
Meanwhile, life goes on. Blanca, pregnant by Pedro, has his child, believing that Pedro has been killed by her father. Esteban, representing the wealthy, becomes senator. He reigns for years, until the liberals win power. When they do, however, their tenure is short lived, as a militairy coup sets up a reign of terror and his old sins come home to roost. Meanwhile, Blanca discovers that Pedro is alive, and they joyously hook up again. When Blanca is picked up as a political dissident and tortured for her political views, Esteban, old and broken, is now just a bit player in a larger arena. Too late, he tries to right some wrongs. Some of the wrongs, however, can never be righted.
This is a magnificent, multi-generational family epic, that holds the viewer in its thrall. While it only loosely follows Isabelle Allende's wonderful book of the same name, it is a winner in its own right. It has something for everyone, as it deals with human nature, as well as the complex emotions, forces, and events that shape one. The film is about a family struggling to find its place in our ever changing world, and the relationships that each member of that family forges. It is a rich and vibrant tapestry, which succeeds in capturing the viewer.

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West Side Story (1961) Review

West Side Story (1961)
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Wow. What a great DVD.
The one hour documentary featuring interviews with some of the cast, Robert Wise, Harold Prince, Sondheim, and some key crew members is completely engrossing. Home movie footage showing the filming of the movie is included. Examples of the techniques that the movie makers used to film a musical are fascinating. I was amazed that the knife scene, for example, is COMPLETELY counted out and the actor/dancers' movements were choreographed down to the second (breath, two, three, four; stab, two three; look, two, three, four). Incredible! Rita Morena is particularly informative regarding the dubbing of her song "A Boy Like That". The Robbins/Wise codirecting of the film is explained. And some of Natalie Wood's original vocals are included. The documentary is invaluable for fans of the film.
As for the film itself, it looks and sounds incredible on my widescreen HDTV. The anamorphic transfer is very good.
The DVD is packaged very well. The book which accompanies the set is very cool, with a great introduction by screenwriter Ernest Lehman (who is one of my movie heros).
I'm very impressed with this special edition of WEST SIDE STORY. The film is a classic, and deserves such treatment.

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Item Name: West Side Story (Special Edition Collector's Set); Studio:MGM (Video & DVD)

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Brief Encounter - Criterion Collection (1946) Review

Brief Encounter - Criterion Collection (1946)
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Master director David Lean's reputation undoubtedly consists mostly of his brilliance with his epic panoramas, such as the classics THE BRIDGE ON THE RIVER KWAI, LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, and A PASSAGE TO INDIA. Of course those who look closely in these films will see that Lean chose only the best actors to flesh out real, true characters caught in the midst of overwhelming events--witness Peter O'Toole's vivid characterization of T. E. Lawrence and Peggy Ashcroft's beautiful, indelible Mrs Moore from A PASSAGE TO INDIA. With BRIEF ENCOUNTER, the actors are everything, too.
The story is simple--in a very sad, post-WWII London, two married people meet by chance at a (glorious) train station and begin a friendship which slips quickly into love. The depth of their feelings is never in question, as Trevor Howard and the incandescent Celia Johnson portray these feelings honestly and without pretense, clutter, or the manneredness of modern depicitions of love. Whether the characters will be adulterers or not is important to them; they have principles and do truly care for their existing families. Again, they are two ordinary adults in the midst of something overwhelming; how they handle the situation is what gives them grace and dignity. The use of Rachmaninoff's Concerto no. 2 in C minor, especially the adagio section, was a stroke of genius. One cannot hear the piece ever again without imagining a tear streaming from Miss Johnson's large, soulful blue eyes. Fans of romance, classic cinema, or simply great acting should not miss this experience. The DVD transfer is excellent and Criterion should be applauded again for restoring a vital classic to modern audiences.

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From Noël Coward's play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score. Criterion is proud to present Lean's award-winning masterpiece a beautifully restored digital transfer.

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The Snows of Kilimanjaro (1952) Review

The Snows of Kilimanjaro (1952)
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For the first time in home video history, Twentieth Century-Fox Home Entertainment has released "The Snows of Kilimanjaro" in a NON-public domain edition. Since the advent of the VCR, "The Snows of Kilimanjaro" has been resigned to crappy, public domain videos from just about every cheapy distributor around. FINALLY Twentieth Century-Fox, the original studio behind this classic, has taken it from the public domain and given it a proper home video release on DVD. If you love this fan, you can use all previous DVDs of this film for coasters for your drink as you enjoy this marvel. Completely remastered and restored, "Snows" is nothing less than a technical wonder. For years I thought the only way to watch this film was on washed out, dark and scratchy prints. No more! Twentieth Century-Fox gives us a glowing transfer, superb soundtrack and loads of extras. Included as part of the "Ernest Hemmingway Film Collection", this DVD is also sold separately, which is basis for this review. Do not hesitiate to buy this version, which currently retails for under 20 bucks. It is worth every penny! Good-bye poor quality PD DVDs, hello "Snows of Kilimanjaro" the way it was meant to be seen!

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SNOWS OF KILIMANJARO - DVD Movie

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The Clock (1945) Review

The Clock (1945)
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A charming, intelligent and pleasantly sentimental wartime comedy-romance, featuring a winsome Judy Garland and a babyfaced Robert Walker as a star-crossed young couple who meet in the waning days of WWII. He's a soldier from a small town who has a couple of days layover in New York City before shipping off to Europe. They meet by accident and slowly, but inexorably fall in love. The delicate, deliberate pace of their budding romance swiftly gives way to a panicked rush to marry, as they realize he's about to leave within hours, possibly never to return... This is one of director Vincente Minnelli's most heartfelt films, a really sweet, nostalgic ode to the meeting of old and new America, as the still-young nation strode into superpower status. One of my favorite old films... Fun supporting cast as well, with several broadly-drawn cariacatures of the nice folks you can meet in the Big City, if you can only still find its heart.

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Soldier Joe Allen is on a two-day leave in New York, and there he meets Alice. She agrees to show him the sights and they spend the day together. In this short time they find themselves falling in love with each other, and they decide to get married before Joe has to return to camp.

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The Cary Grant Signature Collection (Mr. Blandings Builds His Dream House / Destination Tokyo / The Bachelor and the Bobby-Soxer / My Favorite Wife / Night and Day) (1946) Review

The Cary Grant Signature Collection (Mr. Blandings Builds His Dream House / Destination Tokyo / The Bachelor and the Bobby-Soxer / My Favorite Wife / Night and Day) (1946)
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This Signature Series effectively brings together some stellar examples of the suave, urbane sophistication and light-hearted good humor that was Cary Grant. However, the absence of "Bringing Up Baby" and "Dream Wife" from this DVD collection is - quite simply - inexcusable! Having said that, this box set is comprised of 3 hilarious comedies (Mr. Blandings Builds His Dream House, My Favorite Wife, The Bachelor and the Bobby-soxer), one highly enjoyable musical (Night & Day) and one thrilling WWII drama (Destination Tokyo). "Mr. Blandings" is a sort of 1940s rendition of "The Money Pit" - about a couple desperately trying to build their dream house despite overwhelmingly hilarious adversity. It co-stars Melvyn Douglas and Myrna Loy. "My Favorite Wife" is the most outstanding of the three comedies. It stars Irene Dunne (who previously costarred with Grant in "The Awful Truth"), as Grant's wife - presumed dead at the start of the film, but resurfacing shortly thereafter to throw a monkey wrench into Grant's second marriage to Gail Patrick. "The Bachelor and The Bobby-soxer" is a quaint romantic triangle between Grant, Shirley Temple and Myrna Loy. He's a playboy writer unwillingly and romantically tied to a 17-year-old schoolgirl (Temple) but more interested in her older sister (Loy). "Night & Day" is the outstanding and tuneful musical loosely based on the life of composer, Cole Porter. Actually, there's no hint of Porter's real life in it at all, other than Grant assigned to play the flamboyantly homosexual real-life man as a playfully womanizing heterosexual. Faux reality aside, the film contains wonderful production numbers to some wonderful tunes including "You're The Top" sung by Grant and "My Heart Belongs to Daddy", a Mary Martin specialty that stops the show. "Destination Tokyo" is a stark shift from all the lighthearted playfulness discussed thus far. Grant is the captain of a submarine during WWII, sent to gather information for the coming Doolittle Raid. John Garfield is magnificent as the torpedo man with a bitter grudge against the Axis powers. A tad weighty on war time propaganda, this film is nevertheless, one of a handful of truly outstanding films based upon reality.
THE TRANSFERS: All of these films have been given an upgraded treatment by Warner Brothers and the clean up most definitely shows - most noticeably on "My Favorite Wife" which previously has looked very poor on home video formats. Overall, the gray scale on each of these films (with the exception of "Night & Day" which is in Technicolor) is wonderfully balanced with clean whites and solid blacks. There's very little in the way of age related artifacts for a collection of digital transfers that will surely NOT disappoint. There is some pixelization and edge enhancement present on "Destination Tokyo" as well as considerable film grain present in several rear projection shots from the same film, but these are to be expected in the quality of films of this vintage. Of special note: the Technicolor transfer on "Night And Day" suffers from periodic mis-registration that creates distracting halos or out of focus image quality from time to time. At its best the color is rich and well balanced. The audio is mono for all the titles but very nicely balanced. Of special merit: the songs in "Night And Day" are wonderfully spatial.
EXTRAS: It is somewhat disappointing that the Cary Grant Bio currently airing on Turner Classic movies as part of their month long tribute has not been included as part of this box set. We get only scant features here - some audio commentaries - resourceful if brief - some theatrical trailers and some publicity stills. Perhaps Warner is waiting to do a Cary Grant Vol. II. We'll see.
BOTTOM LINE: This is definitely one to add to your collection. Even if the transfers had not been so beautifully rendered - owning a bit of that old Cary Grant magic is never a waste of money.

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Mr. Blandings Builds His Dream HouseThe Bachelor and The Bobby-SoxerMy Favorite WifeDestination Tokyo Night and Day

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A Farewell to Arms (1957) Review

A Farewell to Arms (1957)
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When David O. Selznick undertook to remake "A Farewell to Arms" he was hoping to top Gone With the Wind. Needless to say, every movie he made after GWTW would be compared to it and deemed inferior. Most of his films have merit. However, "A Farewell to Arms" is a bona-fide disaster on most counts. David O. Selznick, who broke up Jennifer Jones and Robert Walker, was only concerned with Jones and her portrayal. Unfortunately, Jennifer Jones with her distracting facial contortions (which the director should have kept in check) is terrible in this film right down to the last reel where we have to endure an interminable child birth scene and her subsequent death. "A Farewell to Arms" could have been a superb film. Instead, it is an overlong, talky, mishmash of romanticism between two characters who are portrayed by good actors who have no chemistry between them. Hudson was perfect. He did the best he could under less than ideal circumstances. But Jones is the flaw in this film. A fine actress if directed properly and that twisted mouth and deep voice inflection distracting kept in check, Jones is horribly miscast. At the age of 38 she is certainly too old to be playing Catherine, a 23 year old nurse. She is supposed to be british but her playing is stilted and forced, not to mention over-intense. Even the musical score is unmemorable. No wonder this film failed at the box office. And no wonder David O. Selznick never made another film. He was an anachronism by this time. Skip this one folks unless you are a die hard JOnes and Hudson fan. I recommend "Song of Bernadette", "Portait of Jennie" or "Love Letters" if you want to see Jones at her best!

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Set against the backdrop of the Italian front during World War I, an American Army volunteer (Rock Hudson) meets a British nurse (Jennifer Jones) on the eve of the big offensive in the Alps and they fall passionately in love. Torn apart, then reunited, they escape to Switzerland to await the birth of their child - and the tragic conclusion to their once-in-a-lifetime romance. "Moving and realistic" (The Hollywood Reporter), this sweeping epic remains a powerful and emotional experience.

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Taras Bulba (1962) Review

Taras Bulba (1962)
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Taras Bulba could have been a very good film - possibly even a great one. But Hollywood values killed any chance of that. Instead, we have a reasonably enjoyable mess of a movie with two outstanding ingredients that rise above the rest - Franz Waxman's rousingly inventive music and a suitably over the top performance by Yul Brynner. As the title character, Brynner looks every inch a Cossack - swaggering and posing like a macho peacock, delivering his lines with that growling accent, and wearing his costumes as though he had lived in them all his life. Brynner was a hugely undervalued actor - a larger than life performer whose presence saved many a film. But the odds were really against him here.
Instead of focusing on Brynner, the film makes Tony Curtis, as his son, the central character. Curtis makes absolutely no effort to look like a Cossack so it is not surprising that he doesn't act like one either. While the rest of the Cossacks are swarthy, burly, scalplocked he-men, the sons of Taras Bulba look more like a couple of surfers who have wandered in from the film next door. Worse still is Curtis's love interest - the enemy girl he falls in love and betrays the Cossack Brotherhood for. She is played with wan listlessness by Christine Kaufmann in a performance so wooden it's a wonder Curtis didn't get splinters in their love scenes. Still, in real life, he must have fancied her because he left Janet Leigh to marry her.
Even with its insipid love story, Taras Bulba could still have achieved greatness through sheer spectacle. The costume department certainly did their bit - although some of the Polish uniforms are needlessly naff. The music thunders and roars - except for the obligatory love song sung by an oversweetened choir over the equally obligatory sixties montage sequence. Filming in Argentina may have been a good fiscal decision, but it doesn't help the look of the film - pampas are not steppes. Still, there are some exciting and effective sequences, notably the Ride To Dubno during which Brynner's followers grow from a handful to an army. The battles scenes are as lively as the Polish university scenes are dull. Sometimes the scale of the enterprise impresses. But you end up wanting to like the film more than you do.
Perhaps the film's uncertain tone is best illustrated by a post-production anecdote. At a pre-release screening, director J. Lee Thompson supposedly turned to Yul Brynner and said: "I still don't see why you had to shoot Tony."

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Studio: Tcfhe/mgmRelease Date: 09/23/2008Run time: 122 minutesRating: Pg13

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A Midsummer Night's Dream (1935) Review

A Midsummer Night's Dream (1935)
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There have been criticisms here of Reinhardt's AMND as "un-Shakespearean," but truly: who among us would really want to sit in a theater with almost no props or backdrops, minimal costuming, men performing the women's parts, and audiences that were anything but quiet during the show? -For that's exactly what Shakespearean theater conditions amounted to. Our idea of Shakespeare derives simply from modern Masterpiece Theater style productions, which make a virtue of sober lucidity, and do a fine job of it, too.
But Reinhardt gives us a German High Romantic version of AMND, and displays a very different virtue, seldom seen in modern screen transcriptions of older works: a sense of well-conceived and executed style. You may not like his Mendelssohnian fairies, but their integration into the play--by choice of dialog, imaginative staging and costuming, brilliant special effects and incidental music--is consistent. Mendelssohn's music was in fact intended to accompany actual performances many years previously; and the ballet sequences built around it have a way of stopping time even today with their visionary beauty, a matter of movement, staging, lighting (the remarkable Hal Mohr), editing and effects. A book in fact could be written on Reinhardt's multi-level application of thematic materials, which is done in a manner that's far less boring than the way it sounds. This is a brilliant conception of Shakespeare, far from the "let's be different to grab attention" Shakespeare of punk Romeos that have fled across our screens in recent years.
The casting is generally very good. Mickey Rooney, in his first film role, displays all the remarkable energy and focus which were his greatest gifts. (What a shame the film industry kissed him off when he matured into a short, pudgy man, who was just as talented!) No prim, polite observer, his Puck is an elemental force, taking malicious delight in the strongly felt emotions of the humans that have come to the forest. Everything is brilliant, bright mockery: his deliberately garbled imitation of the speech and gestures of Lysander prior to the latter's magical sleep is a good example. This is not a Puck you would want call Robin Goodfellow, not unless you wanted to please him--and you most definitely would want to please him. It is a taut, kaleidoscopically varied performance.
The comic players are also well cast. James Cagney is superb as Bottom, particularly in the monologue that follows waking from what he considers "his dream." Hugh Herbert brings more variation to a giddy giggle, both for accompanying expression and meaning, than any other human being probably ever has. Frank McHugh is a delight as Peter Quince. Only Joe E Brown, as Flute, goes overboard, trying to steal the scene from others during their lines; but he makes up for it with a delightful Thisbe. Arthur Treacher is very much wasted, with nothing to say; and their are indications in the action that more may have been filmed, or at least planned of their material to film. Considerations of length and/or budget probably intervened.
Victor Jory, so well known even today for his villainous roles (especially in Flash Gordon serials), is a superbly dark Oberon: not sinister, but more of a somber Herne the Hunter type, in contrast to Anita Louise, who is all Elven gossamer. Presumably Reinhardt saw them as a balance of light and dark, perhaps with an overlay of contemporary Austrian psychoanalysis: masculine/dark/forceful against feminine/light/receptive. No, I don't buy the silly pop analysis of Men Are From Mars, Women From Venus; but in Reinhardt's AMND, we may be looking at an earlier incarnation of the same values, definitely presented on a more creative level. I don't buy into Reinhardt's portrayal of Oberon's followers as a bunch of anthrompomorphized bats, but I have to admit it works in context. This especially holds true for the ballet sequence where one bat follower symbolically forces a fairy follower of Titania to the ground, overshadows her, then bears her off, horizontal, her hands waving delicately in the air. I suppose we can only be thankful that the Hayes Office wasn't really paying attention to high prestige Art films.
The lovers are not quite as effective. All four are good, with Olivia de Haviland perhaps the best of the lot; but there's little sense of emotional depth in their performances, at least enough to draw forth Puck's disparaging remark about "what fools these mortals be." Some of this, again, may be due to the director's conception. Reinhardt clearly plays them more for laughs, cutting a fair amount of the four-way badinage, and deliberately staging at least one famous piece of it as a four-way, non-stop, unintelligble harrangue, in which opponents trade off to continue arguing. The quartet in Adrian Noble's 1996 AMND is to be preferred, here (though the staging is, IMO, awful).
To round out, I have to return to Reinhardt. He gave many of Hollywood's greatest talents during the 1920s-40s their apprenticeships. The contemporary notices for his productions are unanimous raves for his artistic insight, integrity, intelligence, directorial ability, and brillance of execution. Yet he would be no more than a footnote in some theatrical encyclopedia if it were not for this single film, made after Reinhardt escaped from the Nazis. A modest success in box offices at the time, Hollywood could not countenance the huge expenditure of resources on such a film, and Reinhardt was a respected pariah in the film community until his death in the early 1940s. But AMND lives on, and provides an excellent sense of what all the excitement was about this master visionary of theater...and potentially, cinema.

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Love is blind, fickle and true. And under the sway of capricious fairies it becomes blinder ( a queen romances as donkey), more fickle (best friends swoon over each other's beau) and truest of all (lovers repledge their devotion). "Lord, what fools these mortals be!" in Shakespeare's bewitching comedy!

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Australia (2008) Review

Australia (2008)
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I love Howard Hawks' films...Bringing Up Baby, His Girl Friday, Red River, and Rio Bravo are amazing pieces of entertainment. As I was watching Australia, the new Baz Luhrmann movie with Hugh Jackman and Nicole Kidman, I kept thinking...man, Baz must really love Hawks' movies, too.
As evidenced by the films above, the mismatched couple who fight and fight until they realize they're perfect for each other (see Much Ado About Nothing, Taming of the Shrew, and Moonlighting as other examples of the form) and the group of underestimated misfits who come together to fight evil are two big elements used again and again by Hawks. Throw in a bit of John Ford's The Searchers and its hard look at racism leading to inhuman deeds and mix well and you have...Australia.
The problem modern audiences may have with Luhrmann's new movie is it's very, very earnest. This is straight ahead epic storytelling with its heart on its sleeve and hat and boots with never a wink to the crowd in the theater to say "ain't these people quaint". You either buy in or you don't. If you do, like I did, you're in for a hell of a ride.
This, I feel, is the flip-side to The Dark Knight. Good and evil are trapped in something akin to a battle and an embrace in Nolan's Gotham City. You root for Batman, but he does stuff that is on the wrong side of freedom and civil rights. The Joker is pure crazy, but he's the most mesmerizing character in the film. In Australia, there are good guys and bad guys and you are either really good or twirl your mustache evil. The main villain actually may be a bit too two-dimensional in that aspect, but it didn't hurt my overall enjoyment.
Why? Well, epic melodrama is hard to pull off...I'm talking about the real stuff here. The recent BBC production of Bleak House is a great example. There are very good and very, very bad people in that story, but the acting is so fantastic you rarely if ever catch yourself rolling your eyes (like whenever I've watched Smallville...see: bad epic melodrama). Kidman and Jackman sell their characters...the displaced Englishwoman and the rough-hewn "Drover". They are thrown together just to, initially it seems, thwart a nasty cattle baron from monopolizing the beef industry in the country. But the other big story, the main one in fact, centers around Australia's "lost generation". These were Aboriginal children who were fathered by white men who didn't claim them. They were taken by the government, the mothers had no rights, and handed over to the church to be taught to "act white" and then work in the servant class. Nullah, played by the fantastic child actor Brandon Walters, is one of these "creamies" who has been hidden on the ranch now owned by Lady Sarah Ashley (Kidman). Lady Ashley discovers what is going on, is horrified by the law, and works to keep him hidden as well. Why the Drover cares so much about Nullah becomes clear later in the film (no, it's not what you think...that would be too easy) and Jackman's experience with stage and musical work does him proud here. He can do earnest better than almost any actor alive when he needs to and his later use of the f-word (the only curse I can remember from the entire film) hits so hard, in just the right emotional moment, that it kills. Russell Crowe was originally cast as the Drover but backed out. If Crowe had done the film, and I have liked him in other things...the Napoleon-era British navy film that I can't remember the name of right now, it would not have worked. Crowe never loses that bit of edge and the Drover, at one point, really has to fully break down and become completely vulnerable. Jackman shines at that point.
Anyway...a warning, the movie is long 2 hours and 40something minutes, but I didn't realize that until I had left the theater. I saw it alone...I was out of town at a pediatrics meeting...and that's a good thing. I didn't have to hide from Holly the few times the movie hit me a bit too hard and do that cough-throat clearing thing we dudes do to cover up a stray tear.

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A romantic action-adventure epic set in Australia prior to World War II that centers on an English aristocrat (Nicole Kidman) who inherits a large ranch. When English cattle barons plot to take her land, she reluctantly joins forces with a rough-hewn cattle drover (Hugh Jackman) to protect her ranch. Together they experience four life-altering years, a love affair and the bombing of Darwin during World War II.
Audio: English, French & Spanish: 5.1 Dolby Surround
Language: Dubbed & Subtitled: English, French & Spanish
Aspect Ratio: Widescreen: 2.35:1


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Hellcats of the Navy (1957) Review

Hellcats of the Navy (1957)
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I am writing this review to correct a previous reviewer. Instead of discussing the pros and cons of this movie "laddie5" simply engaged in a character assassination of Ronald and Nancy Reagan. Having actually seen this movie, I can tell you that it is definitely a good one--and also highly underrated! The movie was well adapted from a novel by Vice-Admiral Charles A. Lockwood. In other words, the movie creates a very good image of what it was like on a WWII submarine. Furthermore, the acting is not stiff! The characters all really get into their roles and everything goes smoothly. I strongly recommend this movie to everyone and hope that my fellow reviewers will be more objective from now on.

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Ronald Reagan plays Casey Abbott, commander of a WW2 submarine, while Nancy Davis portrays Helen, a navy nurse, Abbott's off-and-on girlfriend. Abbott is forced to leave a frogman behind to save the rest of his crew. But Abbott's second-in-command is convincedthat Abbott's sacrifice of Barton was due to the fact that the dead man had been amorously pursuing Helen.

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Gone With the Wind (1939) Review

Gone With the Wind (1939)
Average Reviews:

(More customer reviews)
It seems like a 'new, improved' edition of "Gone With the Wind" has appeared every couple of years, offering the 'ultimate' in picture and sound reproduction, and extras. It can become expensive keeping up, and frustrating (much like buying a classic Disney DVD, when you know a more complete "Special Edition" will soon render your "First Time on Video" copy obsolete), but the new GWTW Four-Disc Collector's Edition most assuredly deserves a place in your collection.
First off, the picture and sound quality is astonishing. Warner's Ultra-Resolution process, which 'locks' the three Technicolor strips into exact alignment, provides a clarity and 'crispness' to the images that even the 1939 original print couldn't achieve. You'll honestly believe your TV is picking up HD, whether you're HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale hiss and scratchiness of the opening credit title music, still discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a good workout. (Listen to the brass in this sequence, and you'll notice what I'm talking about...)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, superb. Beginning with the excellent "Making of a Legend" (narrated by Christopher Plummer), Disc Three offers fascinating overviews about the film, the amazing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to explain the Civil War to foreign audiences), and a 1940 MGM documentary on the "Old South" (directed by Fred Zinneman) memorable today for it's simplistic view of the time, and stereotypical portrayal of blacks.
Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more interested in discussing her wardrobe than on-set tension...although a prank she pulled on Gable is amusing), and the Clark Gable Profile is superficial (A&E's biography of 'The King' is far superior). Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a WONDERFUL section devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George 'Superman' Reeves).
All in all, the GWTW Four-Disc Collector's Edition isn't perfect, but offers so much terrific material that it is CERTAINLY the one to own!



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Gone With the Wind (1941) Review

Gone With the Wind  (1941)
Average Reviews:

(More customer reviews)
It seems like a 'new, improved' edition of "Gone With the Wind" has appeared every couple of years, offering the 'ultimate' in picture and sound reproduction, and extras. It can become expensive keeping up, and frustrating (much like buying a classic Disney DVD, when you know a more complete "Special Edition" will soon render your "First Time on Video" copy obsolete), but the new GWTW Four-Disc Collector's Edition most assuredly deserves a place in your collection.
First off, the picture and sound quality is astonishing. Warner's Ultra-Resolution process, which 'locks' the three Technicolor strips into exact alignment, provides a clarity and 'crispness' to the images that even the 1939 original print couldn't achieve. You'll honestly believe your TV is picking up HD, whether you're HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale hiss and scratchiness of the opening credit title music, still discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a good workout. (Listen to the brass in this sequence, and you'll notice what I'm talking about...)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, superb. Beginning with the excellent "Making of a Legend" (narrated by Christopher Plummer), Disc Three offers fascinating overviews about the film, the amazing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to explain the Civil War to foreign audiences), and a 1940 MGM documentary on the "Old South" (directed by Fred Zinneman) memorable today for it's simplistic view of the time, and stereotypical portrayal of blacks.
Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more interested in discussing her wardrobe than on-set tension...although a prank she pulled on Gable is amusing), and the Clark Gable Profile is superficial (A&E's biography of 'The King' is far superior). Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a WONDERFUL section devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George 'Superman' Reeves).
All in all, the GWTW Four-Disc Collector's Edition isn't perfect, but offers so much terrific material that it is CERTAINLY the one to own!



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Gone with the Wind (Two-Disc Edition) (1941) Review

Gone with the Wind (Two-Disc Edition) (1941)
Average Reviews:

(More customer reviews)
It seems like a 'new, improved' edition of "Gone With the Wind" has appeared every couple of years, offering the 'ultimate' in picture and sound reproduction, and extras. It can become expensive keeping up, and frustrating (much like buying a classic Disney DVD, when you know a more complete "Special Edition" will soon render your "First Time on Video" copy obsolete), but the new GWTW Four-Disc Collector's Edition most assuredly deserves a place in your collection.
First off, the picture and sound quality is astonishing. Warner's Ultra-Resolution process, which 'locks' the three Technicolor strips into exact alignment, provides a clarity and 'crispness' to the images that even the 1939 original print couldn't achieve. You'll honestly believe your TV is picking up HD, whether you're HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale hiss and scratchiness of the opening credit title music, still discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a good workout. (Listen to the brass in this sequence, and you'll notice what I'm talking about...)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, superb. Beginning with the excellent "Making of a Legend" (narrated by Christopher Plummer), Disc Three offers fascinating overviews about the film, the amazing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to explain the Civil War to foreign audiences), and a 1940 MGM documentary on the "Old South" (directed by Fred Zinneman) memorable today for it's simplistic view of the time, and stereotypical portrayal of blacks.
Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more interested in discussing her wardrobe than on-set tension...although a prank she pulled on Gable is amusing), and the Clark Gable Profile is superficial (A&E's biography of 'The King' is far superior). Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a WONDERFUL section devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George 'Superman' Reeves).
All in all, the GWTW Four-Disc Collector's Edition isn't perfect, but offers so much terrific material that it is CERTAINLY the one to own!



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Gone with the Wind (Four-Disc Collector's Edition) (1941) Review

Gone with the Wind (Four-Disc Collector's Edition) (1941)
Average Reviews:

(More customer reviews)
It seems like a 'new, improved' edition of "Gone With the Wind" has appeared every couple of years, offering the 'ultimate' in picture and sound reproduction, and extras. It can become expensive keeping up, and frustrating (much like buying a classic Disney DVD, when you know a more complete "Special Edition" will soon render your "First Time on Video" copy obsolete), but the new GWTW Four-Disc Collector's Edition most assuredly deserves a place in your collection.
First off, the picture and sound quality is astonishing. Warner's Ultra-Resolution process, which 'locks' the three Technicolor strips into exact alignment, provides a clarity and 'crispness' to the images that even the 1939 original print couldn't achieve. You'll honestly believe your TV is picking up HD, whether you're HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale hiss and scratchiness of the opening credit title music, still discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a good workout. (Listen to the brass in this sequence, and you'll notice what I'm talking about...)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, superb. Beginning with the excellent "Making of a Legend" (narrated by Christopher Plummer), Disc Three offers fascinating overviews about the film, the amazing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to explain the Civil War to foreign audiences), and a 1940 MGM documentary on the "Old South" (directed by Fred Zinneman) memorable today for it's simplistic view of the time, and stereotypical portrayal of blacks.
Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more interested in discussing her wardrobe than on-set tension...although a prank she pulled on Gable is amusing), and the Clark Gable Profile is superficial (A&E's biography of 'The King' is far superior). Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a WONDERFUL section devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George 'Superman' Reeves).
All in all, the GWTW Four-Disc Collector's Edition isn't perfect, but offers so much terrific material that it is CERTAINLY the one to own!



Click Here to see more reviews about: Gone with the Wind (Four-Disc Collector's Edition) (1941)

DVD Features: Disc 1 & 2 (The Film) * Commentary by film historian Rudy Behlmer * 5.1 Dolby Digital Soundtrack * Original Mono Soundtrack
DVD Features: Disc 3 * The Making of a Legend: Gone With The Wind the acclaimed 1989 documentary made by Selznick's sons and narrated by Christopher Plummer (125 Minutes, Never-before-available on DVD) * Restoring a Legend- An in-depth look at the restoration and Ultra-Resolution process utilized by Warner Bros. For this new DVD presentation * Footage from 1939 Atlanta and 1961 Civil War Centennial Atlanta premieres * The Old South - Fred Zinnerman directed this historical 1940 theatrical short, which was shown by MGM intheatres prior to the release of Gone With The Wind
DVD Features: Disc 4 * Melanie Remembers: Olivia de Havilland Recalls Gone With The Wind - All new documentary produced especially for this new DVD set, features Ms. de Havilland's personal recollections of the film * Clark Gable: A King Remembered - A Portrait of the legendary actor's long and distinguished career as M-G-M's most famous leading man * Vivien Leigh: Scarlett and Beyond hosted by Jessica Lange, this is an insightful look at Leigh's short and troubled life * Mini documentaries covering lives and careers of the most prominent cast members

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War & Peace (1956) Review

War and Peace  (1956)
Average Reviews:

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With 10 years in the making, two years of filming and (as a previous reviewer noted) no less than six writers, Tolstoy's epic masterpiece à la Hollywood does get a bit muddled and lost at times, but who cares!?!? The film's cast is stellar. Audrey Hepburn, Mel Ferrer and Henry Fonda were each born to play their respective roles in this monumental film. Fonda plays the quixotic Pierre almost as good as Sergei Bondarchuk does in the more accurate (though also more brutal and heart-wrenching) 1967 Russian version. Hepburn, as the dazzling and ingenuous Natasha is a perfect foil to Mel Ferrer's Prince Andre, who loses his melancholy and determined seriousness only in the presence of Natasha (the same could almost be said of the film!).
Where the Hollywood version is lacking in battle scenes, historic detail, commentary from ordinary Russians and several key character developments (Mary Oblonsky, Nicholas Rostov, the Tsar, Denisov et al), it more than makes up for it with personal performances (above mentioned actors), set and costume design and an overall mood and tone consistent with the book.
This film should not be seen by people who demand faithful and tireless book-to-screen adaptations (the Sergei Bondarchuk version might be a better choice), but by people who want to get a sublime essence of one of the greatest novels ever written.

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