Chain Lightning Review

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(More customer reviews)My daughter's review:
This is a lesser-known Bogie film that I think is overlooked and underrated. The story is good, moves fairly quickly, has some surprises and fun/thrilling parts. Ok, of course the special effects aren't up to today's standards, but hey, it was the 50's. I enjoyed it completely. Bogie is absolutely wonderful. His acting, his yumminess - 5 stars from me! There is one scene, ok TWO scenes, that I can rewind over and over and never get tired of. Bogie is a MAN! I love it. 5 stars and a big shout out for this movie to come out on DVD! Please!

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Matt Brennan knows how to open eyes to the potential of the experimental jet, the JA-3. He'll pilot it from Nome over the North Pole to Washington DC and land it on the Pentagon's lap. The distance is beyond the JA-3's tested range. Nor can the craft provide the pressurization needed for flight at 80,000 feet. But Brennan has some modifications in mind. And the courage to put them to the test. Humphrey Bogart plays Brennan in Chain Lightning's lofth mix of adventure and romance. Eleanor Parker, as a World War II flame who reenters Brennan's life, helps fuel the romance. And the adventure takes wing with a story that, like Breaking the Sound Barrier, The McConnell Story and other postawr films, taps into the era'sfascination with jet aviation. Cleared for takeoff. Year: 1950Director: Stuart Heisler Starring:Humphrey Bogart, Eleanor Parker Special Feature: Original Theatrical TrailerB&W/94 Mins.

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The Citizen Kane (Gold Edition Box Set) (1941) Review

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(More customer reviews)Probably the most unfortunate thing that ever happened to `Citizen Kane' was that it found itself atop the AFI top film list. Now, no one can simply enjoy the film. Everyone feels compelled to scrutinize it and make a decision about its greatness. Asking whether `Citizen Kane' is the best film of the century is like asking if Marilyn Monroe was the most beautiful woman. It depends on whom you ask.
`Citizen Kane' is not the most entertaining film I've ever seen, but it is certainly one of the most important. It is a vanguard motion picture and a gargantuan achievement for Orson Welles. If you consider the fact that Welles was a 24 year old Hollywood outsider who had only done radio and theater when he landed the contract for this film, you begin to appreciate what a big deal it was. This was during a time when a few studios controlled every film that was made. How many 24 year old actor/directors can you name today, even in a world where independents abound?
The story is based on the life of William Randolph Hearst. Writer Herman Mankiewicz had an up-close look at Hearst as he had been an occasional house guest at the Hearst mansion. The similarities were striking, right down to the paramour whose career Hearst promoted, who loved to do jigsaw puzzles. The fact that this film was released at all is a marvel in itself. Hearst went on a personal campaign to crush the film and enlisted every powerful friend he had to stop it. Louis B. Mayer offered RKO $800,000 to destroy the print. John D. Rockefeller ordered the Radio City premier cancelled. All of Hearst's newspapers were forbidden to mention the film.
Hollywood was uniformly against it and Welles was branded an insolent maverick. The film was snubbed by the Academy. It was nominated for 9 Oscars and won only best screenplay. The film turned out to be a commercial failure, losing $150,000. With all the forces stacked against it, we are lucky to be having this best film debate at all.
The story has a simple moral; that money and power can't buy happiness. We see Kane's progress from a happy child, to an idealistic young journalist intent on helping the common man, and finally to a bitter and angry old man whose innocence has slipped from him. One of the most effective scenes that illustrated this was the two minute overlay of breakfast conversations with his wife. It starts with cooing lovers and progresses through increasing levels of discord. It ends in silence with the two reading separate newspapers, her disdain for him subtly indicated by her choice of the hated Chronicle as her newspaper.
What is so remarkable about this film is the filmmaking. Director after director has pointed to some aspect of this film as having influenced them. The use of shadows and various perspective shots was not unprecedented in 1941, but never before had they been used with so much dramatic impact. What was unprecedented was that `Citizen Kane' was the first film ever to depart from the strict narrative format, which moves forward chronologically. The film starts at the end and jumps around in time based upon the perspective of the person who is telling his or her story about Kane. So the next time you see a flashback, remember it started here.
The makeup was revolutionary. Welles often went through four hours or more of makeup to be properly aged for each scene. The film also launched a number of brilliant careers. Besides Welles, Joseph Cotton and Agnes Moorehead went on to long and prominent film careers.
If `Citizen Kane' is not the best film of the century it is certainly one of them. Its influence on a generation of filmmakers cannot be ignored in the equation. People who watch this film and ask, "What's the big deal?" are comparing it with modern films that have borrowed from this film's techniques and undergone 60 years of evolution. It's like going back to Kitty Hawk and saying, "What's the big deal, the flight only lasted a few seconds."
There is only one rating to give to a film of such monumental importance. It is the consummate 10.

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Tomorrow Is Forever (1946) Review

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(More customer reviews)I find with each viewing of the classic "Tomorrow Is Forever" I find I like the production more and more. It is such a totally rich film in so many ways, whether it be the sterling central performance from Claudette Colbert in what I'm convinced is one of her finest performances, Orson Welles's charmed under playing of a role that could have been simply sentimental, or the haunting anti-war message it puts forward in its telling of life through two world wars.
"Tomorrow Is Forever" has so much to offer to the viewer in so many different ways. Claudette Colbert always a favourite actress of mine proves once and for all what a superb dramatic actress she can be. Long regarded as one of the premier comedy actresses of the 1930's and 40's here she excels in the role of a young bride who believes she has lost her husband in WW1 action only to find that years later after she has re married that a stranger who comes into her families life gives her a eerie sense that that might not be the case. In this film she is at times touchingly lovely, stubborn, full of anger and full of hope, in short she has a wonderful well rounded character to work with and she makes the most of it.
Claudette is blessed with two excellent leading men in this production in Orson Welles and George Brent. Welles, so often prone to bellicose overplaying of roles that require a bit of restraint, here delivers a beautiful modulated performance as Claudette's first husband who seemingly has come back from the grave. His scenes after he has returned to Colbert's home are wonderful and full of tension as to whether he will reveal his real identity. The conclusion of the film is a tour de force for Welles as he decides to sacrifice his own potential happiness and to remain a mystery to the family and tells Colbert that "Tomorrow is forever and not to look back to a romantised past". George Brent, so often stiff on screen here delivers one of his best performances as the man who has loved Claudette through two world wars and provides her with the home and family she craves so much. He is entirely believable and warm in his playing and he and Colbert reveal a wonderful chemistry in their playing together. Natalie Wood also makes a rare childhood appearance in this film as an Austrian orphan, the daughter of the doctor who saved Welles's life but was killed by the Nazi's, who Welles adapts and brings to America. She is a delight in her scenes and you can see the tremendous acting talent that she possessed even at this early age. Richard Long playes Welles's and Colbert's son who doesn't know the identity of his real father and brings great depth to his playing of the treasured son who comes into conflict with Colbert over his decision to join the fighting early in WW2 thus causing history to repeat itself.
"Tomorrow Is Forever" can be regarded as a real tear drenced drama for the matinee crowd however its worth goes way beyond that. It covers many issues just as relevant today such as those about the human cost of war, the issue of whether we should involve ourselves in others problems and whether we should allow our past experiences to rule how we behave. It is a beautifully put together drama full of rich performances that really stay in your mind. I'm quite surprised that this wonderful film is not better remembered today. I sense that it has been forgotten because of the more famous roles that all the main performers have undertaken. Claudette Colbert in particular is totally awe inspiring in her dramatic delivery of the tortured young bride who has been robbed of her life and spends a lifetime trying to recapture it. She will have you alternately crying, laughing and saying "bravo" up to the wonderous finale.
I cannot recommend "Tomorrow Is Forever" highly enough. For all those who enjoy well acted dramas with fine writing, a non preaching message and performers delivering often unexpectedly restrained acting work, none come finer than the anti-war "Tomorrow Is Forever".

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Catch-22 (1970) Review

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(More customer reviews)Finally ...... one of those DVD re-releases I've been practically holding my breath for, and was not disappointed. This criminally overlooked gem was trashed by critics upon its release in 1970, and never enjoyed a video transfer worthy of the filmmaker's effort, not even on laserdisc! And as you can see from the varying reviews, the controversy rages on. Which just proves how alive and well and timely a film Catch-22 truly is.
Mike Nichols captures the essence of Joseph Heller's defining anti-war classic quite admirably, with a faithful adaptation by Buck Henry (who can be seen along with a veritable Who's Who period ensemble cast), with an eye as removed and objective as Kubrick, yet at times very visually subjective ..... an approach used to great advantage in his previous hit film The Graduate. All the verbal and ethical contradictions of the book bring its dark humor to demented life, through a kaleidoscopic cavalcade of archtypical characters who make up the living nightmare of one Captain Yossarian, who has decided he can no longer bear to fly the combat missions his superiors have made it impossible to get out of. To get out of flying, he has to be officially diagnosed as "crazy", and must request to be grounded ..... but if he requests to be grounded, then he's not really crazy, and is therefore eligible to keep flying missions. That's some catch, that Catch-22.
This film, like the book on which it's based, is not so much an indictment of the insanity of war as it is a look at how the corporate mentality can find its way into the noblest of causes, and how beurocratic manipulations devaluate basic human principles, which take a back seat to merely "looking good". A timeless theme indeed. This skewed logic is cheerfully accepted by all the story's characters ..... until our Yossarian's eyes are opened to the product of that logic literally disemboweled at his fingertips (yes, that scene was put back in!), and suddenly he is the outsider whose prime mission is to avoid any more missions. Which is not an easy thing to do when Brass keeps adding more after you've completed your tour of duty.
As far as the transfer itself: It has probably never looked better since the original theatrical release over 30 years ago, especially being the first widescreen release of this title, which is the only way to experience it as intended. The transfer team did the best they could with the mono soundtrack, I'm sure, which does get compressed and distorted at times, something we enthusiasts of early films live with.
Mike Nichols' Catch-22 may only enjoy cult status, but it is DVD releases like this (and that other oddball, star-studded 60's curiosity Candy) that make one truly appreciate what is being done with this revolutionary medium. Hey, not all movies can be for everybody. Long live the Anti-Blockbusters!

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John Wayne DVD Gift Set (The Shootist/ The Sons of Katie Elder/ True Grit/ El Dorado/ The Man Who Shot Liberty Valance) (1965) Review

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(More customer reviews)While a Western 'purist' would certainly prefer seeing a 'dream' boxed set of John Ford/John Wayne's 'Cavalry' trilogy, "Stagecoach", and "The Searchers" released together, the "John Wayne DVD Gift Set" is an excellent collection of some of the Duke's finest westerns from his last two decades.
The classic of the collection is "The Man Who Shot Liberty Valance", John Ford's 1962 'deconstruction' of the genre he'd helped to create. A visually simple, yet deeply layered tale of how a western legend was born, the film echoes Ford's "The Last Hurrah", as well as taking a tongue-in-cheek 'jab' at critics of his more idealized earlier westerns. While Jimmy Stewart, at 55, is far too old to play an idealistic young lawyer, his confrontations with desperado Lee Marvin, and pragmatic (yet ultimately doomed romantic) Wayne are terrific. And don't miss Edmund O'Brien's 'takeoff' on actor Thomas Mitchell, in support...Ford's directorial 'style' was never better than in this remarkable film.
"The Sons of Katie Elder" is an important film in Wayne's career, as it marked his 'comeback' after losing a lung to cancer. While much of his dialogue had to be 'looped', and oxygen was kept nearby throughout the filming, Wayne proved that he could still play an action hero believably. Certainly, he looked all of his 58 years, and the idea of Dean Martin being one of his brothers is farfetched, but when Wayne first appeared on the screen, 1965 film audiences stood and cheered...and his dominating presence still makes the film 'work', today.
"El Dorado" is, if you are unfamiliar with the film, simply a reworking of 1959's Hawks/Wayne classic, "Rio Bravo", but it stands very well on it's own merits, beginning with the terrific chemistry between Wayne and co-star Robert Mitchum. A very young James Caan offers a funny counterpoint to the two veteran stars, and wonderful character actor, Arthur Hunnicutt (who, for trivia fans, played Davy Crockett in 1955's "The Last Command"...thus making this a unique opportunity to see TWO Davy Crocketts in one film!) plays a rustic variation of Walter Brennan from the earlier film. With plenty of Howard Hawks' signature comraderie, the film is very entertaining.
"True Grit" is, of course, John Wayne's Oscar-winning role, as pot-bellied, one-eyed Rooster Cogburn. While many believe Wayne won for his career longevity rather than his performance, the film is, in fact, very entertaining and lyrical, and Wayne's portrayal is the glue that holds it together. Certainly, Glen Campbell offers a less-than-stellar performance, but it is more than compensated for by Kim Darby and Robert Duvall, and Wayne, guns blazing, reins clenched in his teeth, provides an image that has become classic.
Finally, there is "The Shootist", Wayne's final film. Shot as the Duke's health was declining, dramatically, the production was a difficult one, with director Don Siegel struggling to work with the ailing actor (Co-star Ron Howard would say he learned more about directing from this film, than any other). Because of the Duke's fragile condition, many friends took roles at far below their usual salaries to work with him a last time (including James Stewart, Richard Boone, and Lauren Bacall). The finished film is a labor of love, from the "Classic Wayne" film clips that open the story, to the final gunbattle, with Wayne's character, the cancer-ridden John Bernard Books, going out in a blaze of glory. It may not have been among Wayne's 'best' films, but it was certainly a most fitting end to his career.
It's easy to see why this is a worthy Wayne collection to own...But don't take my word for it; buy it, and see for yourself!


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Legendary producer-director Howard Hawks teams with two equally legendary stars, John Wayne and Robert Mitchum, in this classic Western drama. Mitchum plays to perfection an alcoholic but gutsy sheriff who relentlessly battles the dark side of the wild West, ruthless cattle barons and crooked "businessmen." The Duke gives an equally adept performance as the sheriff's old friend who knows his way around a gunfight. Filled with brawling action and humor, El Dorado delivers the goods. James Caan and Ed Asner co-star.Ranking with Stagecoach as one of the greatest of its genre, The Man Who Shot Liberty Valance is the modern-day Western to beat all Westerns. John Ford, whose very name is synonymous with "Westerns," directed the ideal cast. Jimmy Stewart plays the bungling but charming big-city lawyer determined to rid the fair village of Shinbone of its number one nuisance and Bad Man: Liberty Valance (Lee Marvin). And as if all that weren't enough, the biggest star that ever aimed a six-shooter plays the Man of the title: John Wayne. Super-sincere Stewart and rugged rancher Wayne also share the same love interest (Vera Miles). One gets the gunman but the other gets the gal.Afflicted with a terminal illness, John Bernard Brooks (John Wayne), the last of the legendary gunfighters, quietly returns to Carson City for medical attention from his old friend Dr. Hostetler (James Stewart). Aware that his days are numbered, the troubled man seeks solace and peace in a boarding house run by a widow (Lauren Bacall) and her son (Ron Howard). However, it is not Brook's fate to die in peace, as he becomes embroiled in one last valiant battle.Katie Elder bore four sons. The day she is buried they all return home to Clearwater, Texas, to pay their last respects. John Wayne is the eldest and toughest son, the gunslinger. Tom (Dean Martin) is good with a deck of cards and good with a gun when he has to be. Matt (Earl Holliman) is the quiet one - nobody ever called him yellow...twice. Bud (Michael Anderson, Jr.) is the youngest. Any hope for respectability lies with him. Directed by Henry Hathaway (True Grit), an acknowledged master of the Western, the story has a dual theme: not only is this a he-man's story, but it is also a drama of the maternal influence of Katie Elder, movingly portrayed from beginning to conclusion.In 1970, John Wayne won an Academy Award. for his larger-than-life performance as the drunken, uncouth and totally fearless one-eyed U.S. Marshall, Rooster Cogburn. The cantankerous Rooster is hired by a headstrong young girl (Kim Darby) to find the man who murdered her father and fled with the family savings. When Cogburn's employer insists on accompanying the old gunfighter, sparks fly. And the situation goes from troubled to disastrous when an inexperienced but enthusiastic Texas Ranger (Glen Campbell) joins the party. Laughter and tears punctuate the wild action in this extraordinary Western which features performances by Robert Duvall and Strother Martin.

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Plenty (1985) Review

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(More customer reviews)Meryl Streep gives a heartbreaking performance in this deeply affecting and brilliant film about a woman trapped forever in the past. Susan Traherne might appear on paper to be a selfish and unlikable woman, but Streep somehow manages to let the audience see her inner anguish and restlessness, and her quiet desperation at not being able to recapture the feeling of living life to its fullest; something she experienced during WWII as a Resistance fighter in France. It is one of the most exquisite performances ever captured on film.
Fred Schepisi crafted this Edward R. Pressman produced RKO film from a play by David Hare. There is a fine cast which lend support to Meryl Streep, including a winning turn from Tracey Ullman as Susan's wild and irreverent friend, Alice Park. Beautifully shot in several countries, the viewer feels as if they too are trapped in a moment in time. It is a poignant and wistfull moment, however, and in the end, the ache that runs through this story is fully driven home by a flashback of a joyful Susan shortly after the war ended.
When the film opens, Susan is waiting in the dark with other Resistance fighters when a paratrooper they had not been expecting lands in their area. Sam Neill is Lazar, who has landed far from his intended location. Once the weapons are lowered and he is identified, Susan will escort him to the nearby village. Lazar saves her life from a group of Germans on night patrol, and Susan's vulnerability in that moment bonds the two together in a tender manner brought about by war.
Susan and Lazar will share a brief but intense intimacy only those who have shared some danger with another can understand. When he gets the message to leave due to impending danger, he will leave behind a momento of the time they shared that she will carry with her for life; a reminder of a life with meaning she longs to return to. The Germans murder a man in the streets they believe to be Lazar, while he escapes by bicycle. Susan watches as her life disappears with a touch of the cap; the only gesture he dare show.
Susan after the war is restless and strong willed. She wants to change everything but does not know how. She is unable to remain ensconced in a job or situation for any length of time and longs for that hour or two during the Resistance when she saw bravery, and the best in people. It is much more than nostalgia, but a paralyzing ache that will cause her to always move on. Streep lets us see into Susan's soul, and rather than being unsympathetic because of her character's outward actions, we fall in love with her from the inside out and want to save her.
She meets a diplomat named Raymond Brock (Charles Dance) who shows kindness to her in a sensitive situation. They have a romance that will eventually come to an end, or so it would seem, when she can not leave the past in France behind and move forward with her life. The one constant during all this turmoil is the spirited Alice (Tracey Ullman). She is a free soul and lives her life as she pleases, which is often to her detriment.
Susan's anguish begins to worsen, and once she makes a proposition to a bloke named Mick, her world begins to unravel. Sting is very good as Mick, who is in way over his head with Susan and her friend Alice. Just over his head is where the bullets will land when Susan finally has a mental breakdown. It is Raymond who will return to pick up the pieces. When the ambassador, portrayed with stoic flair by John Gielgud, decides to resign, Raymond will get a post in Egypt, where Susan is far from Europe and her memories.
She is also far from herself, as her friend Alice will discover when she comes to visit. The languid pace and sandy colors of Egypt would seem to agree with Susan. She is lovely and sedate, but it is because she is, in fact, sedated. Susan is a picture of serenity, but her spirit is not in evidence. It is only when Alice speaks to Raymond in her defence that she shows a glimmer of her former self.
The seed has been planted, and when the ambassador dies, Susan decides to return to England for the funeral, against her husband's wishes. It is in England she will remain, forcing Raymond to abandon his post, effectively ruining his career. Susan does not want him to suffer because of her, and has a talk with his superior with disastrous results. It will force a confrontation between she and Raymond in which she will leave her home. It is a poignant scene as she walks down the street, a bit unsteady. We know she will never return.
Lazar tracks her down from a BBC broadcast about the Resistance, and they have a reunion which proves to be too late. France is too far away to reach after so much damage has been done. We will see a joyful and hopeful Susan in a golden field in France after the war, and our hearts will break at a life which never happened.
Magnificent is not a strong enough word for Meryl Streep's performance in "Plenty." It is one of the most memorable you will ever see in film. A beautiful refrain played by the London Symphony Orchestra haunts this film, and each time I hear it still, I see Meryl Streep in that field in France, with a world of promise in front of her. This is a movie, and a performance, no film lover should miss.

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The Hasty Heart (1949) Review

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(More customer reviews)Richard Todd stars as a proud, stubborn Scottish soldier who learns some lessons about friendship in this little known film from 1949. At the close of World War Two, and following surgery for the removal of a kidney, he recovers in a jungle hospital, with the truth about his very serious condition being kept from him. His anger over his lack of a discharge, coupled with his hard attitude and demeanor, keeps him separated from fellow patients and nurse Patricia Neal. Attempts are made to befriend him, but it only leads to conflict. Ronald Reagan is the American patient "Yank" and he gives one of his better performances. Neal is also good, although a little detached, as the nurse trying to keep the peace. But it's Todd who really stands out, giving a moving performance as the friend-less Scotsman who has never fit in and has been hardened by the experience. The scenes are played with honesty, and although the film reveals its stage origins, it doesn't seem static. Director Vincent Sherman lets the characters and conflict drive this story about man's need for friendship, and the results are memorable.

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This is an authentic Region 1 DVD released by Warner Brothers on August 15th, 2006.

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Little Women (1933) (1933) Review

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(More customer reviews)Based upon Louisa May Alcott's beloved book of the same name, this black and white film lovingly captures its charm. It is also a pretty faithful adaptation of Ms. Alcott's classic. Though there may be a half dozen adaptations, of the three that I have seen this one is, undoubtedly, the best. Its writing deservedly won the Academy Award in 1933 for Best Screenplay Adaptation. It is unfortunate, however, that although the film was also nominated for the Best Picture Award, it lost to "Cavalcade", a largely forgotten, lesser film.
Deftly directed by George Cukor, the film tells the story of the March family, whose patriarch has gone off to fight in the Union Army during the Civil War. Mrs. March is left to raise her four daughters, Meg, Jo, Beth, and Amy, in nineteenth century New England. The film focuses on the personal interactions family members have with each other, as well as with their friends and neighbors, in order to create a portrait of an idealized, loving family held together during trying times. It is also a very poignant coming of age film.
The film primarily revolves around the March sisters, with the focus on independent and headstrong Jo, an aspiring writer, as well as a tomboy and second oldest of the four sisters. In addition to the March family, a wealthy neighbor's nephew, Laurie, plays a prominent role in the life of the March family, with a lesser one played by the family's wealthy Aunt March.
This film is beautifully cast, with a luminous Katherine Hepburn perfect in the lead role. As Jo March, Ms. Hepburn captures the essence of this beloved character. Feisty, independent, loving, and intelligent, her characterization of Jo is inspired, though Ms. Hepburn may not have strayed too far from her own persona.
Spring Byington is wonderful as mother to the March daughters, while Frances Dee, Jean Parker, and Joan Bennett are uniformly excellent in the respective roles of Meg, Beth, and Amy, the sisters whom Jo so dearly loves. Douglass Montgomery is superb as Laurie, Jo's best friend, though his painted lips and shadowed eyelids are a bit anachronistic and a style holdover from the silent screen era.
Paul Lukas is endearing as the Professor, Jo's mature love interest. Henry Stephensen is effective as the generous, elderly neighbor, Mr. James Lawrence, uncle to Laurie. Veteran character actress, Edna Mae Oliver, rounds out this superlative cast as cantankerous Aunt March and shamelessly steals every scene in which she appears.
This is a wonderful vintage film that would be a welcome addition to the personal collection of those who love beautifully made, classic films. Bravo!

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LITTLE WOMEN IS A COMING OF AGE DRAMA TRACING THE LIVES OFFOUR SISTERS: MEG, JO, BETH AND AMY.

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John Paul Jones (1959) Review

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(More customer reviews)The only movie portrayal done to my knowledge of John Paul Jones. That alone makes it worth while for any American history fan. Robert Stack does a pretty good job as the man and soldier. The movie is fairly historically accurate with some "Hollywood artistic" liberty taken and a bit of swashbuckling too. An entertaining movie all in all.

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The swashbuckling adventures of the 18th century American war hero.

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Where Eagles Dare (1969) Review

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(More customer reviews)Quite simply one of the greatest war movies ever made. A top notch thriller loaded with action, espionage and double crosses, "Where Eagles Dare" is the kind of movie that Hollywood just doesn't make anymore. This isn't some politically correct drama steeped in reality. No, this is good guys vs. bad guys. This is pure unabashed fantasy which keeps the audience on the edge of its seat. This is just darn good entertainment!
Richard Burton is absolutely cunning as the British agent who leads an elite group of soldiers behind enemy lines and into a seemingly unpenetrable German castle to rescue an imprisoned American General. A young Clint Eastwood is the only American on the mission. Clint is his usual cool and calm self. However he, like the audience, isn't sure who to trust. Somebody's a double agent, but exactly who is anyone's guess. Don't worry about figuring it out, just sit back and enjoy the drama. You'll love the growing tension and suspicion between Burton and Eastwood.
The journey into the castle is classic heart-stopping drama. Even better is Burton's fight with a German soldier high atop a ski lift -- truly one of the most riveting action sequences ever filmed. Bullets are flyin' and bombs are blastin' throughout. In the end, heroes emerge while evil perpetrators get their just due. Classic, absolutely classic!
And yes, as several reviewers have noted, the stunning scenery and beautiful cinematography in this film would greatly benefit from a widescreen DVD treatment. So, how 'bout it, I want my DVD!

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TENSE AND SUSPENSEFUL WORLD WAR II ADVENTURE IN WHICH TWO ALLIESMUST RESCUE A CAPTURED AMERICAN GENERAL BEING HELD IN A FORTIFIED GERMAN CASTLE BEFORE THE NAZIS GET SECRET INFO ON HIM.

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Humphrey Bogart - The Signature Collection, Vol. 2 (The Maltese Falcon Three-Disc Special Edition / Across the Pacific / Action in the North Atlantic / All Through the Night / Passage to Marseille) (1944) Review

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(More customer reviews)"Humphrey Bogart - The Signature Collection, Vol. 2" may be as entertaining a collection of Bogart films, as he emerged as a major WB star, as you'll ever find. They run the gamut of early classic noir, espionage, action/adventure, broad comedy, and moody morality tale, each exceptional, and stamped with the distinctive Bogie 'style'.
"The Maltese Falcon" (1941) - One of the earliest examples of the style that became known as Film Noir, John Huston's crime classic has been described as the finest detective film ever made, and certainly deserves the title! The second teaming of the director and star ("High Sierra" had been released earlier that year), both films had a common history, as George Raft 'passed' on both properties (not wanting to work with an 'untested' director), and the films would launch Bogie into the superstardom that had eluded him in the 30s.
Dashiell Hammett's tale of amoral detective Sam Spade, the murder of his partner, and the offbeat collection of characters in pursuit of a fabulous, jewel-encrusted statue, had been filmed twice by WB in the thirties, but never truly captured the 'flavor' of the novel. Huston, with his eye for characterization, and use of light and shadow, not only got it 'right', but popularized a new genre, of beat-up, world-weary anti-heroes with their own 'codes of honor', duplicitous women, and endings where things seldom end 'happily ever after'. While Film Noir wouldn't become a film staple until after WWII, it seldom got better than this!
I could say MUCH more, but this 3-Disc collection says it FAR better...it is, simply, a MUST OWN!
"Across the Pacific" (1942) - The next teaming of Huston and Bogie may be one of the most enjoyable espionage comedy/dramas of WWII, made even more entertaining by the film's back story; Huston, who wanted, desperately, to get into WWII, managed to leave for the war after writing Bogie into 'certain-death' film climax, without a resolution! While the director and star thought it was hilarious, poor Vincent Sherman, called in to finish the film, probably lost a lot of sleep tying everything up!
Re-teaming the star with "Falcon" co-stars Mary Astor and Sydney Greenstreet (who are both superb), the film, despite obvious flaws, is eminently 'watchable', and remains one of Bogie's most popular films.
"Action in the North Atlantic" (1943) - One of WB's best wartime action/adventure films, Lloyd Bacon's tribute to the merchant marine is a marvelous ensemble piece, with great acting compensating for obvious stereotypes. Bogie isn't the focus of the story, but a team player, on a ship commanded by Raymond Massey (in one of his warmest, most ingratiating portrayals). This film has a famous back-story, as well; watching their stunt men performing a dive off a burning ship, Bogie and Massey, both a bit intoxicated (being 'off-duty'), started making bets on which stunt-man was braver...one thing led to another, until the stars, themselves, made the dive (which must have driven Jack Warner into apoplexy!)
"All Through the Night" (1942) - Humphrey Bogart made few comedies (mostly later in his career), but this 'Damon Runyon-Types vs. the Nazis', filmed just after "Falcon", is breezy fun, if totally outrageous! The story of gambler/promoter Bogie, investigating (for his mother!) strange goings-on, getting framed for murder, and discovering a Nazi cell in Manhattan with evil intentions, is so loaded with funny one-liners that you never miss the lack of logic.
Supported by a cast of GREAT comic actors (including William Demarest, Frank McHugh, Jackie Gleason, and Phil Silvers), hiss-able villains (headed by Conrad Veidt and Peter Lorre, who would re-team with Bogie in "Casablanca"), and lovely Kaaren Verne (the future Mrs. Peter Lorre) for romance, "All Through the Night" may not be a classic, but is FABULOUS fun!
"Passage to Marseille" (1944) - After the huge success of "Casablanca", WB attempted to find similar vehicles for Bogie, to attempt to recapture the magic. Some would work very well ("To Have and Have Not"); most didn't. This was one of the misfires, but it does offer "Casablanca" co-stars Claude Rains, Sydney Greenstreet, Peter Lorre, and Helmut Dantine, in a tale of Devil's Island escapees, dealing with Vichy plots, finding their 'souls', and rejoining the fight to rid France of the Nazis. Atmospheric, if occasionally slow-moving, the film is not among Bogie's best, but is certainly watchable, and has WB's distinctive 'gloss'...
Quite a collection!

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Includes:The Maltese Falcon (Three-Disc Special Edition), Across the Pacific, Action in the North Atlantic, All Through the Night, and Passage to Marseille.

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Bogart & Bacall Collection (The Big Sleep / Dark Passage / Key Largo / To Have and Have Not / Bacall on Bogart) (1947) Review

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(More customer reviews)First, this collection contains FIVE tapes, although there are FOUR movies in this exquisite collection celebrating one of the great couples on and off screen in the history of Hollywood. The fifth tape is the 1988 documentary "Bacall on Bogart," which serves as a fitting capstone to the four films included in this collection, three of which are outright classics. The legend begins in the Howard Hawks directed "To Have and Have Not" (1944), with the most famous whistle in movie history. Based on one of Hemingway's lesser novels with dialogue from no less than William Faulkner, this "Casablanca" clone features Bogart reluctantly becoming involved with the French Resistance, not to mention Bacall, stunning in her film debut. Hawks also directs "The Big Sleep" (1946), the classic mystery thriller adapted from Raymond Chandler's first novel (again with Faulkner's help) with Bogart as Philip Marlowe and Bacall as the rich lady in trouble. If you like convoluted plotlines, this one is for you. John Houston's "Key Largo" (1948) adapts Maxwell Anderson's play about Edward G. Robinson's tough gangster holding Bogart, Bacall and Best Supporting Actress Oscar winner Claire Trevor captive in a Florida hotel during a tropical storm. The one lesser work in the group is "Dark Passage" (1947), directed by Delmer Daves, but it is still an above-average film. Bogart is an escaped convict who undergoes plastic surgery and is hiding out in Bacall's apartment until his face heals. A bit contrived, but Bogart and Bacall are well worth watching, which is the entire point of this collection. Now if somebody would be something similar next Christmas for Tracy and Hepburn.

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Little Women (1949) Review

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(More customer reviews)This version of Louisa May Alcott's classic book, "Little Women," starring June Allyson, Janet Leigh, Liz Taylor and Margaret O'Brien, was the first remake of the film (which originally starred Kathryn Hepburn) and the version that is truest to the book.
The Wynona Ryder film, the third and latest version, was seriously flawed, especially by the inclusion of "politically correct" and contemporary social views like the scene in which Ryder, playing Jo, expresses feminist sympathies to young men in a bar. I've read the book: there's nothing like that in it. In fact, the book is practically a morality play and in the earlier film versions the girls' struggle to improve their characters is portrayed, if somewhat lightly. These struggles, which are necessary to the accurate portrayal of each character and the time in which they lived, was totally deleted from the most recent version.
Both the Hepburn version and the Allyson version use quite a bit of Alcott's original text in the screenplay and characters in both films follow the book almost to the proverbial "T." The Ryder film, on the other hand, is a blatant and successful attempt to "modernize" Louisa Alcott, resulting in a totally inferior production.

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Louisa May Alcott's famous novel of the March family, brought to the screen.

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The Essential Steve McQueen Collection (Bullitt Two-Disc Special Edition / The Getaway Deluxe Edition / The Cincinnati Kid / Papillon / Tom Horn / Never So Few) (1965) Review

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(More customer reviews)You could call him the quiet one. McQueen had a talent for portraying quite a lot with minimal dialog and that's the way he liked it. He has maybe 75 lines off dialog in "The Magnificent Seven" yet his presence is equal to that of star Yul Brynner. You'd be forgiven for being confused about which Steve McQueen boxed set to purchase. MGM has recently released "The Steve McQueen Collection" which features four McQueen classics that have previously been available on DVD; "The Thomas Crown Affair", "The Magnificent Seven", "Junior Bonner" and "The Great Escape".
"The Essential Steve McQueen Collection" is a different beast entirely; it does feature 1 title that is no different than the previously issued version -"Papillon". All the rest have either never been issued or, in the case of "Bullitt", are now in two disc deluxe editions that make this set a worthwhile addition to any collection.
The crown jewel of this set is the new deluxe edition of "Bullitt". McQueen plays San Francisco detective Frank Bullitt. He's been assigned to protect a witness for a major trial. The witness, though, is murdered. Before the post-mortem has begun, Bullitt hunts for the killers and plans on nailing them. Featuring an amazing high speed chase through the streets of San Francisco and shot entirely on location, "Bullitt" was Peter Yates' first major US film and it crackles with energy.
"Papillon" tells the story of a thief nick-named Papillon for the large butterfly tattooed on his chest. (McQueen) framed for murder in France and sent to Devil's Island for life. From the moment he steps on the boat headed to the prison he's planning his escape. He agrees to protect a financial thief Louis Dega (Dustin Hoffman). Schaffner's film portrays Papillon's attempt to survive on Devil's Island until he can figure out an escape plan. Although this isn't Schaffner's best film, it has a number of powerful moments that equal his classic films "Patton", "Planet of the Apes" and "The War Lord". McQueen more than holds his own with method actor Hoffman.
"The Cincinnati Kid" features McQueen as Eric Stoner a poke playing ace who challenges the best gambler around "the Man" Lancey Howard (Edward G. Robinson). A terrific performance by Edward G. Robinson allows Robinson to almost steal the picture under McQueen's nose. With a terrific supporting cast, "The Cincinnati Kid" would be one of the most memorable films about gambling until "Rounders" three decades later.
"Never So Few" features McQueen in the third billed role of Bill Ringa a member of the O.S.S. fighting the Japanese during World War II in Burma. Ringa and his Captain Tom Reynolds (Frank Sinatra) are in Burma to train the Kachin natives in how to fight the Japanese. Reynolds fights dirty when Chinese rebels cross over to Burma to kill and loot the American soldiers stationed there. Although it's not one of director John Sturges ("The Magnificent Seven". "Ice Station Zebra") best films, "Never So Few" provides McQueen with a role that continued his breakthrough as a actor. It also inspired Sturges to cast McQueen in "The Magnificent Seven".
"The Getaway" almost got away without being made. Originally Peter Bogdanovich was to direct with his girlfriend actress Cybil Shepherd in the lead. When she dropped out so did Bogdanovich. Luckily director Sam Peckinpah stepped in and the rewritten script by Walter Hill was tooled for McQueen. Scandal broke out on the set when McQueen became involved with his co-star Ali McGraw (who was then married to Paramount head Robert Evans). McQueen plays thief Doc McCoy who has been paroled. The only problem is that Sheriff Beynon (Ben Johnson) expects him to do a big robbery for him. He plans on killing McCoy afterward but things don't quite work out the way that Beynon intended.
"Tom Horn" (McQueen) a tracker and "enforcer" who dispensed justice in the old west takes a job to stop cattle thieves. When things get messy and Horn has to kill some of the rustlers, the ranchers who hired him want Horn stopped. He's put on trial for the murder of a 15 year old boy. The next to last film McQueen made before he died in 1980, is a surprisingly powerful and great western. The screenplay by novelist/screenwriter Thomas McGuane ("The Missouri Breaks", "92 in the Shade", "Rancho Deluxe") and Bub Shrake ("Nightwing", "J.W. Coop", "Songwriter") portrays a character out of time; Horn's style of dispensing justice faces the gray world of corruption and politics. McQueen gives one of his best nuanced performances in a film that didn't do all that well at the box office. It's a pity as it's a great movie that deserves a wider audience. Luckily, for those who buy the boxed set they'll finally get a chance to see this classic western.
The previous DVD edition of "Bullitt" looked quite good but can't compare to the newly digitally remastered transfer here. Image clarity, color and detail for "Bullitt" is superb. The sound is surprisingly spry with a nice 5.1 remix that doesn't quite use the format to its best advantage but that's not a surprise given that the film is nearly 40 years old. "Papillon" comes with the same transfer as it received in 2000. Image quality is good but the negative could use restoration and/or digital filtering to clean up the print/improve it. It does feature a recent 5.1 remix (which wasn't advertised on the box of the previous release and I don't recall if it had it or not on the 1999 release but I suspect not).The colors aren't bright and vibrant but they fit the general atmosphere of the film and are fairly true to the original theatrical exhibition if a bit faded. "The Getaway" looks terrific again considering the age of the movie. The blacks are rock solid and the colors as vivid and bright as they've ever been. There's the occasionally soft image but, on the whole, "The Getaway" looks marvelous. "Never So Few" also looks quite good particularly when you consider the age of the negative. It receives a solid transfer with bright colors and nice image clarity. "The Cincinnati Kid" also looks exceptionally good with nice color reproduction and image quality. It's clear that some digital restoration was done to the most recent releases here and "Kid" does benefit from it. "Tom Horn" looks extremely good with sharp images, bright and vivid colors. Although a tad grainy (like most of the films here) that has more to do with the stock used to shoot the films and the condition of the negative than the transfer. In most cases, the graininess adds to the character of the films. All six films feature 2.0 Dolby Digital Surround soundtracks (in addition to the 5.1 remasters for "Papillon"). All sound crisp with nice clarity to the dialog and music.
"Bullitt" gets the most attention here. Featuring two fine documentaries on the film and McQueen, we also get the original vintage featurette on the film. "The Cutting Edge" examines the the art of movie editing with a glimpse into other films during the editing process as well. "Steve McQueen: The Essence of Cool" is a terrific biography on McQueen that provides a lot of information previously unknown about the actor. There's also the original theatrical trailer included as well. "The Getaway" features the original theatrical trailer only. "Papillon" has the original promotional featurette produced for the film as part of the extras as well as the trailer. "The Cincinnati Kid", "Never So Few" and "Tom Horn" all have only the original theatrical trailer for the respective films. It's a pity that Warner chose not to do a documentary or at the very least a featurette on "Tom Horn". Since it's about a real historical figure and making the film was a passion for McQueen, it would have been appropriate and provided much needed information on the historical figure and the production of this fine overlooked film.
"Bullitt" comes with an excellent commentary by director Peter Yates. "The Getaway" features a "virtual" commentary culled from interviews of McQueen, Peckinpah and McGraw as well as a commentary by Peckinpah biographers/documentarians Nick Redman, Paul Seydor, Garner Simmons and David Weddle. "The Cincinnati Kid" has a marvelous trivia filled commentary track by director Norman Jewison.
Between this release and "The Steve McQueen Collection", McQueen fans will have most of his essential films. Although there are a few gems missing from these collections (due to contractual issues no doubt), most of the films here are among the best McQueen made. "The Getaway" and "Bullitt" receive most of the attention here with terrific commentary tracks and extras. "Papillon" probably could have used a face lift with a new digital transfer and a commentary track by a film historian (or Dustin Hoffman) but it looks like we'll have to wait for this minor classic to get its due another time. The other missed opportunity in this superb set is the lack of extras for "Tom Horn" One of McQueen's finest later films and a terrific western that presaged films like "The Unforgiven", "Open Range" and "Wyatt Earp", it's a perfect period piece about the transition of the old west into civilization and those who were lost along the way.

Click Here to see more reviews about: The Essential Steve McQueen Collection (Bullitt Two-Disc Special Edition / The Getaway Deluxe Edition / The Cincinnati Kid / Papillon / Tom Horn / Never So Few) (1965)

6 Steve McQueen classic movies are now available in one giftset -- THE ESSENTIAL STEVE McQUEEN COLLECTION! BULLITT TWO DISC-SPECIAL EDITION: Buckle up for gritty police procedure and a wild, trend-setting chase over Frisco's hills with THE GETAWAY DELUXE EDITION A heist gone wrong is dead-right in the hands of McQueen and director Sam Peckinpah. THE CINCINNATI KID McQueen and Edward G. Robinson ante up. Norman Jewison guides the big-time poker flick. NEVER SO FEW Commando action in World War II Burma! McQueen's first big-budget film. Frank Sinatra stars. PAPILLON Can McQueen and Dustin Hoffman escape Devil's Island? From the director of Patton. TOM HORN True to the cowboy way! McQueen rides tall in a star-packed elegy to a changing West. Titles also available separately.

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Yanks (1979) Review

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(More customer reviews)My husband and I have watched Yanks many times on VHS. I am glad to see that it is finally available on DVD. Every time I watch this movie I marvel at the small touches that bring this era to life, from the tiny grocers shop with lines to the boredom of the men in the barracks.
All the actors have a freshness in their roles. I don't know if Richard Gere every played a more grounded, real character. Vanessa Redgrave has a bittersweet role as the married woman who enjoys a dalliance with dashing American William Devane.
From the arrival of the soldiers until their departure for the the D-day invasion, the movie sweeps through the changes wrought on the lives of English and Americans. The stories of the various characters intertwine, and it is not until the end that we realize how interconnected they hae become.

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Brief Encounter - Criterion Collection (1946) Review

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(More customer reviews)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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O.S.S. (1946) Review

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(More customer reviews)A great supporting cast which makes the movie happen and a great semi-documentary story of action and drama. A real cliff-hanger based on files of the OSS so it plays well.
Alan Ladd and Geraldine Fitzgerald (who's worth the price of admission just to look at) both early in career's do a great job. He was an exceptional natural athelete which shows well in the movie, and their obvious acting talent really come out.
Well worth seeing. She is also excellent in that time in Watch On The Rhine, a real classic of the war and the movies.

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