This CinemaScope treatment of Frank Loesser's hit Broadway musical Guys and Dolls is a deeply rewarding visual and musical experience. Frank Sinatra turns in one of his best screen performances running a close second to Marlon Brando and Jean Simmons, looking adorable and singing sweetly. In essence this is a piece of photographed theatre mounted on a handsome scale. The striking set designs and a brilliantly executed soundtrack are courtesy of two Broadway craftsmen Oliver Smith and conductor Jay Blackton. Photographer Harry Stradling brings a meticulous eye for detail when his camera stationed on the auditorium side of the frame, peers into Miss Adelaide's bathroom cupboard as she views the lines of medicine bottles in her celebrated "lament". Sinatra, in his vocal prime, sings a new number to Adelaide (Vivian Blaine)--arranged by Nelson Riddle--and Brando and Simmons strike chords in all their scenes from their opening duet "I'll Know" through to their evening out at a Havana bistro where she gets pie-eyed on a Bacardi milk-shake, tipsily wondering "If I were a Bell". Stubby Kaye also from the Broadway cast recreates the show-stopping "Sit Down You're Rockin' the Boat". Michael Kidd's choreography for "Luck Be a Lady" is razor-sharp and superbly captured in the CinemaScope format, though the formalised staging of the opening ought to have been rethought for this medium. The biggest pity is that Loesser amended some of his lyrics and replaced several tunes from his original score with inferior material. On the DVD: The DVD trailer hosted by Ed Sullivan makes much of the $1,000,000 cheque producer Samuel Goldwyn paid for the rights and the previews of the picture he obtained for his weekly television show. There's no denying that the remastered stereophonic soundtrack captures the Broadway sound to thrilling effect without it being overglamorised. The picture looks splendid too--never settle for the compromise version we've endured all these years on television! --Adrian Edwards
Humphrey Bogart and Lauren Bacall made screen history together more than once, but they were never more popular than in this 1946 adaptation of Raymond Chandler's novel, directed by Howard Hawks (To Have and Have Not). Bogart plays private eye Philip Marlowe, who is hired by a wealthy socialite (Bacall) to look into troubles stirred up by her wild, young sister (Martha Vickers). Legendarily complicated (so much so that even Chandler had trouble following the plot), the film is nonetheless hugely entertaining and atmospheric, an electrifying plunge into the exotica of detective fiction. William Faulkner wrote the screenplay. --Tom Keogh
This CinemaScope treatment of Frank Loesser's hit Broadway musical Guys and Dolls is a deeply rewarding visual and musical experience. Frank Sinatra turns in one of his best screen performances running a close second to Marlon Brando and Jean Simmons, looking adorable and singing sweetly. In essence this is a piece of photographed theatre mounted on a handsome scale. The striking set designs and a brilliantly executed soundtrack are courtesy of two Broadway craftsmen Oliver Smith and conductor Jay Blackton. Photographer Harry Stradling brings a meticulous eye for detail when his camera stationed on the auditorium side of the frame, peers into Miss Adelaide's bathroom cupboard as she views the lines of medicine bottles in her celebrated "lament". Sinatra, in his vocal prime, sings a new number to Adelaide (Vivian Blaine)--arranged by Nelson Riddle--and Brando and Simmons strike chords in all their scenes from their opening duet "I'll Know" through to their evening out at a Havana bistro where she gets pie-eyed on a Bacardi milk-shake, tipsily wondering "If I were a Bell". Stubby Kaye also from the Broadway cast recreates the show-stopping "Sit Down You're Rockin' the Boat". Michael Kidd's choreography for "Luck Be a Lady" is razor-sharp and superbly captured in the CinemaScope format, though the formalised staging of the opening ought to have been rethought for this medium. The biggest pity is that Loesser amended some of his lyrics and replaced several tunes from his original score with inferior material. On the DVD: The DVD trailer hosted by Ed Sullivan makes much of the $1,000,000 cheque producer Samuel Goldwyn paid for the rights and the previews of the picture he obtained for his weekly television show. There's no denying that the remastered stereophonic soundtrack captures the Broadway sound to thrilling effect without it being overglamorised. The picture looks splendid too--never settle for the compromise version we've endured all these years on television! --Adrian Edwards
Elvis in his last scripted screen role plays a hip young doctor who sets up a clinic in the inner-city slums of New York. Three nuns forsake their habits to join forces with the doctor and help him out in his clinic full of abused children and stubborn parents. One of the nurses (Mary Tyler Moore) falls in love with the guitar-playing doctor and has to decide whether to stay with him or go back to the church.
Heavenly bells are ringing jubilant choirs are singing and Christmas joy is blanketing the world like freshly fallen snow. But the Yuletide spirit has yet to warm Bishop Henry Brougham's Victorian home. Struggling to raise funds for a new cathedral the preoccupied young clergyman has neglected his loving wife Julia and now only divine intervention can save their marriage! But the powerful and handsome angel sent from above has a mind of his own... and teaching mortal Henry an immor
With war approaching a new flight surgeon and a Navy pilot overcome personal differences to work on solving the problem of altitude sickness which causes blackouts at high altitude...
His Girl Friday is one of the five greatest dialogue comedies ever made. Howard Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Rosalind Russell, not Hawks' first choice to play Hildy Johnson--the ace newsperson whom demonic editor Walter Burns is trying to keep from quitting and getting married--is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Cary Grant's Walter Burns is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T Jameson, Amazon.com
Hollywood legends Marlon Brando Frank Sinatra Jean Simmons and Vivian Blaine (from the original Broadway cast) are dazzling in this masterpiece unleashing a spectacular song-and-dance show that's loaded with entertainment. The slickest big-time New York City gamblers Sky Masterson (Brando) and Nathan Detroit (Sinatra) can't resist making or taking a bet on anything. So when a pretty missionary (Simmons) sets up shop in the neighbourhood Nathan stakes a grand that Sky can't sed
His Girl Friday is one of the five greatest dialogue comedies ever made. Howard Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Rosalind Russell, not Hawks' first choice to play Hildy Johnson--the ace newsperson whom demonic editor Walter Burns is trying to keep from quitting and getting married--is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Cary Grant's Walter Burns is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T Jameson, Amazon.com
Rip Smith's opinion-poll business is a failure...until he discovers that the small town of Grandview is statistically identical to the entire country. He and his assistants go there to run polls cheaply and easily, in total secrecy. Civic crusader Mary Peterman must be kept from changing things. But romantic involvement with Mary complicates life for Rip; then suddenly everything changes...
Renowned producer Irwin Allen (The Master Of Disaster) produces and directs an all-star cast including Joan Fontaine Barbara Eden Peter Lorre and Frankie Avalon. The stunning visual effects and breathtaking underwater photography make this one of the most respected sci-fi adventure classics of all time. A routine scientific expedition to the North Pole turns into a race to save all mankind when a radiation belt in space causes a fiery inferno on Earth. Admiral Nelson (Walt
His Girl Friday is one of the five greatest dialogue comedies ever made. Howard Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Rosalind Russell, not Hawks' first choice to play Hildy Johnson--the ace newsperson whom demonic editor Walter Burns is trying to keep from quitting and getting married--is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Cary Grant's Walter Burns is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T Jameson, Amazon.com
In protest at the corruption and hypocrisy he sees all around him an unemployed man calling himself ""John Doe"" has written to the New Bulletin newspaper pledging to throw himself from the top of City Hall on Christmas Eve. Written by a discharged journalist as a publicity stunt and as a parting shot at the paper's new editor the premise of the letter unexpectedly fires the imagination of the bulletin's readers and the wider American public. Its real author Ann Mitchell (Barbara Stanwyck) is rehired and now needs to find someone to play the part of the fictional ""John Doe""... Meet John Doe is often held to be part of a thematic trilogy that includes Mister Deeds Goes To Town and Mister Smith Goes To Washington. It explores a recurring notion in Capra's work that of the universal everyman exploited by a corrupt and powerful establishment. The film's reflections on corporate control of both the media and of ordinary people's lives is still as resonant as ever.
Infested with criminals the town of Warlock is in serious need of a strong marshal. Enter Clay Blaisdell (Henry Fonda) a man with a reputation for some serious gun-slinging. Accompanied by his gambler friend Tom Morgan (Anthony Quinn) the two find themselves as the centre of many a controversy due to their brutal methods in dispatching with the criminal element. Eventually a reformed outlaw in town named Johnny (Richard Widmark) is elected sheriff and a showdown with Clay seems i
Irwin Allen's visually impressive but scientifically silly Voyage to the Bottom of the Sea updates 20,000 Leagues Under the Sea as the world's most advanced experimental submarine manoeuvres under the North Pole while the Van Allen radiation belt catches fire, giving the concept "global warming" an entirely new dimension. As the Earth broils in temperatures approaching 170 degrees F, Walter Pidgeon's maniacally driven Admiral Nelson hijacks the Seaview sub and plays tag with the world's combined naval forces on a race to the South Pacific, where he plans to extinguish the interstellar fire with a well-placed nuclear missile. But first he has to fight a mutinous crew, an alarmingly effective saboteur, not one but two giant squid attacks and a host of design flaws that nearly cripple the mission (note to Nelson: think backup generators). Barbara Eden shimmies to Frankie Avalon's trumpet solos in the most form-fitting naval uniform you've ever seen; fish-loving Peter Lorre plays in the shark tank; gloomy religious fanatic Michael Ansara preaches Armageddon; and Joan Fontaine looks very uncomfortable playing an armchair psychoanalyst. It's all pretty absurd, but Allen pumps it up with larger-than-life spectacle and lovely miniature work. Fantastic Voyage is the original psychedelic inner-space adventure. When a brilliant scientist falls into a coma with an inoperable blood clot in the brain, a surgical team embarks on a top-secret journey to the centre of the mind in a high-tech military submarine shrunk to microbial dimensions. Stephen Boyd stars as a colourless commander sent to keep an eye on things (though his eyes stay mostly on shapely medical assistant Raquel Welch), while Donald Pleasence is suitably twitchy as the claustrophobic medical consultant. The science is shaky at best, but the imaginative spectacle is marvellous: scuba-diving surgeons battle white blood cells, tap the lungs to replenish the oxygen supply and shoot the aorta like daredevil surfers. The film took home a well-deserved Oscar for Best Visual Effects. Director Richard Fleischer, who had previously turned Disney's 1954 20,000 Leagues Under the Sea into one of the most riveting submarine adventures of all time, creates a picture so taut with cold-war tensions and cloak-and-dagger secrecy that niggling scientific contradictions (such as, how do miniaturised humans breathe full-sized air molecules?) seem moot. --Sean Axmaker
Rip Smith (Stewart) discovers a town statistically identical to the entire country so he and his assistants go there to run polls easily and cheaply. When he meets local civic cruader Mary Peterman (Wyman) romantic involvement follows and things start to change rapidly...
His Girl Friday is one of the five greatest dialogue comedies ever made. Howard Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Rosalind Russell, not Hawks' first choice to play Hildy Johnson--the ace newsperson whom demonic editor Walter Burns is trying to keep from quitting and getting married--is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Cary Grant's Walter Burns is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. --Richard T Jameson, Amazon.com
In protest at the corruption and hypocrisy he sees all around him an unemployed man calling himself ""John Doe"" has written to the New Bulletin newspaper pledging to throw himself from the top of City Hall on Christmas Eve. Written by a discharged journalist as a publicity stunt and as a parting shot at the paper's new editor the premise of the letter unexpectedly fires the imagination of the bulletin's readers and the wider American public. Its real author Ann Mitchell (Barbara S
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