Reviews

I find the performances of Jane Fonda and Lily Tomlin terrific. I think the criticism of the acting is a misunderstanding of possible real life circumstances. Sam Waterston's character is probably what you might expect from someone married thirty five years, and in the same relationship for twenty years... my dull life continues. Martin Sheen seems to make his character more "Birdcage" and is not quite as enthusiastic as I would expect in view of "the odd couples'" engagement.

I loved Lily Tomlin's beach scene. It reminded me of a scene from the movie CONNIE AND CARLA. The two women will carry this show. Their performances in NINE TO FIVE have given them the cooperative experience to make this show work.

For an audience which contain millennial, their heads and sexuality views are expecting too much from characters that are in their seventies.

I don't know any senior same sex marrieds, but I would assume they have the same lives as many bored "traditional" couples.

I will admit that if the men cast were Spencer Tracy and Cary Grant, and the women cast were Kathryn Hepburn and Lucille Ball, everyone would be screaming, Bravo, Encore (and not the television networks).

A truly delightful and enlightening experience. Fran Lebowitz guides the viewer through her experience with a multitude of famous, and now deceased, great artists. Although Fran is 14 years my junior, she has grasped the essence of America. A scene with Pack Paar and Oscar Levant is gracefully mixed with sound bites from William Buckley, Jr and the fine playwrights of the last century. I felt a great deal of empathy for her when she discussed what turned out to be a big guffaw at an outdoor rally organized by Joe Papp. Arts oriented persons should feel perfectly at home listening to her monologue. Whether I watch the History Channel, PBS or HBO, seldom is there as entertaining a story as this. This is a solid recommendation for anyone who wants an in depth personal account of the arts.

SHAWFAN has the issue correct. The problem is that he does not have a full sense of history. This movie was made in 1951, and there was constant pressure on the motion picture industry to tone down hints of "radicalism".

Joan Crawford's attack on the right wing trustee for forsaking the education of these college age students with "entertaining" motion pictures; prevents the message of the film she has brought to campus.

Simply, without images, the result of letting the National Socialists destroy education in Germany from 1933-1945, resulted in hanging and executions of the teachers.

The trustee in question expressed that buildings were more important than a good education.

Yes, there are those gooey moments. They are not there because the film story has a need for it, but rather that the various "approval" boards would have forced the filmmakers to put it in to water down the content.

Robert Young's role proves that he is just a weak person. Not the person to stand up for what is right. Even his mealy mouth response to the film being shown AND THE STUDENT'S APPROVAL over everyone's objections prove that.

BUT, run this film with two others, THIS LAND IS MINE (1943) and PEOPLE WILL TALK (1951). Then the message of what the film is about comes through like a bell.

IN OUR DEMOCRACY EDUCATORS MUST BE BACKED. When cities, states and even your congress-persons yell, CUT EDUCATION SPENDING, these are just three films with which you can relate.

peter22060 PS Truth through learning, and a focus on history, should make these three movies text material.

A good mystery by S. S. Van Dine. If you are a mystery buff, then you will enjoy the story line. Please remember that this was filmed by Vitaphone in 1932, so the acting is a bit wooden. One gets the impression that the cast probably thinks that microphones are near them, so that the dialogue is a bit more emoting than speaking. If it was filmed three years later this short would probably get an 8 from the viewing audience. Donald Meek, Neil Hamilton and Douglas Dumbrille later in their careers prove this point. Reference Donald Meek in the Nick Carter series. Reference Neil Hamilton in his many character roles through television. Douglas Dumbrille reprises his usual roles, see CASTLE IN THE DESERT and THE BIG STORE. If you can sit back and overlook the vintage of the filming, enjoy a good murder mystery.

The arrest of Henry Louis Gates Jr., Harvard University's top expert on African-American history and culture, sounded a familiar note, the plot of AMOS AND ANDREW.

Samuel L. Jackson playing an internationally known author is presumed to be a burglar in his own home by passers-by. A siege of his home by local police caricatures the Cambridge police department.

The film's supporting cast of Michael Lerner and Margaret Colin as well as Dabney Coleman make this a light comic view of what could have become a raw, racial confrontation.

Leonard Maltin after commenting that this was like a 1960's Disney film, continues, "maybe they should have called this THAT DARN AFRO-American.

If Nicholas Cage played his role with more fervor the IMDb rating would be higher. But in view of current events, screenings should skyrocket.

Thirty five years after THE DAMNED, the Danes produced Festen. Family secrets shared with a cinema audience are more powerful today, because of the freedoms permitted to the movie producers. I believe you should watch THE DAMNED first, and then you will be in the mood for FESTEN. I have given this film a ten because I remember THE DAMNED and can appreciate the two films and their impact. Both films celebrate birthdays. Both films exploit sexual activity within the family. THE DAMNED is set in early Nazi Germany so there is some political variations that are not included in the FESTEN. I'm sure watching the two films will add commentary to the web site.

My how lucky I was to have taped this off of NBC television back in 1988. The real time for this mini-series is four hours and 23.5 minutes. My Beta recording was still perfect after 19 years. I am writing this at 4:12 AM. I could not leave my television set until the production ended. The casting of Ronny Cox and John Mahoney was also perfect. I enjoyed this movie even though I could see bits and pieces from movies as diverse as DAVE and THE DEAD ZONE. James Whitmore gives his role a very sincere and strong performance. Harry Hamlin who portrays a "scrungy" US Senator leaves you with the feeling that you should wash your hands if you had shaken his hand. Linda Kozlowski's performance throughout the film is very remarkable. Her final scene with Lance Guest as agent David Ross glues the viewer to the television. I hope that the producers re-release the mini-series in its entirety. I noticed that a VHS tape was available, but that only ran 115 minutes instead of the full 264 minutes.

One must only assume that the low negative votes are from children expecting sugar plum fairies in their beds. Contemporary versions of classic production from Shakespeare to opera are relegated to the depths by some viewer watching, because of their inability to comprehend innovation from tradition.

Romeo and Juliet with its modern setting brings to the screen a new view of the story in its contemporary reality. La Boheme in the Australian production is another example.

If we step back and think, then maybe the box-office success of TITANIC when compared to the actual horror of the events will aid these uninformed viewers. A bit of 21st century education should put THE NUTCRACKER at a higher rating.

This documentary narrated by Alec Baldwin is shown as created in 1995 and is 59 minutes. Although many of the newsreel clips have been seen before, the interviews with stars of the period like Marsha Hunt must be seen to see how witch hunts against sympathizers not members of the Communist party were shunned from working in their profession and shunted in their private lives.

It is an important film documentary because it can be related to life in the United States today. Alleged loyal Americans expressed their beliefs against members of their unions that threatened their potential rise to power in the film industry.

Today, any American that may question this nation's posture towards despotic governments with which it does not agree are automatically tarred with the same brush and innocents are treated like Salem witches.

It is important as well, because there is another film, Hollywood On Trial narrated by John Huston which apparently has received more air time. People can only get a passing view of the witch hunt and subsequent McCarthy hearings in "Good Night and Good Luck".

The viewing public of ages 12-30 can only remember, from the film libraries, "All the President's Men". It is incumbent upon the library networks and History Channel to enlighten all Americans about the dangers of hate mongering.

We who are Americans believe that Americans are innocent until proved guilty.

I have not read the book, nor do I want the opportunity. The lead reviewer takes the movie and in his review encapsulates his personal beliefs. I, on the other hand, just sat back in my theater chair and watched the film unwind. Direction, settings, color, acting ... every cinema aspect superb.

Several scenes appear as though they were lifted from INDIANA JONES AND THE LAST CRUSADE. But where Harrison Ford played to an audience seeking excitement, Tom Hanks plays the "same" role with more aplomb. The albino, Paul Bettany, gives a unique performance. If I could, I would nominate him for best supporting actor. I kept thinking about "The Albino" in FOUL PLAY. But Paul Bettany gives the role a deep meaning.

Whether the Mary Magdalene theory is fact or fiction should certainly not dissuade any movie goer from seeing this film. It is the same as watching the Darwin theory on film, and a horde of strict constructionists cry out "Blasphemy! Adam and Eve were created to populate the world".

The simple fact is, I enjoyed the film. My only historical reference question was the commentary on the slaughter of the Knights Templar in the 14th Century. Were they murdered by order of the Papacy or by the King of France?

Yes, I would like to know. Do any of the author's theories sway my thinking? As an educated person, I can stand away and say ... anything is possible.

In conclusion, enjoy the movie as a movie.

How lucky we are that the Vitaphone Collection was found. Those of us older movie buffs have vague reminisces of the Hippodrome Theatre and the Palace in New York City. We were not old enough to have attended. We have only seen later performances of those comics such as George Jessel on "The telephone" doing their sketches on early television. Some of the entertainers of the period made it to the Milton Berle show. The reparteé between the Howard Brothers was typical. Early TV viewers had a taste, updated, with George Burns and Gracie Allen. This is not 21st century comedy, but rather an insight of what amused your grand-parents and great-grandparents back when a roast beef sandwich cost a quarter.

I just watched my beta max copy of the television showing of "She Knows Too Much". Fred Silverman should be ashamed of himself for ever releasing this film. Leonard Maltin's NO REVIEW should give the reader a reason why there are only 24 votes for this film. The acting is not bad,but I think the story basis is a stretch, at best. Robert Urich buffoons too much. I did enjoy Meredith Baxter. If the balance of the cast could have maintained her level of performance the film might attain a six vote. All I can say is Erik Estrada is wasted in this film. For a quick reference to the type of film this is, just watch an episode of Scarecrow and Mrs. King. It says the same thing in less viewing time.

It appears that this film documentary was shown as part of my local PBS station's program series, FILM ON FILM. In addition to the standard interviews with Robert Mitchum and Robert Wagner, I was shown scenes from the film THE MISFITS with Montgomery Clift and Clark Gable. Although I remembered that Clark Gable had a heart attack after filming this movie, written for his wife by Arthur Miller, I had no knowledge that Clark Gable's stress in filming this movie was the cause of his fatal heart attack. Little nuances, such as the filming of the christening of the Gable baby and Marilyn's unexpected attendance was enlightening. It is somewhat sad that the many new tributes filmed today by the Turner Group are enhanced with restoration of period film and the film direction gives some additional zest that only a historic perspective will allow. The recent MARION DAVIES piece is a documentary, this study is filmed as remembrances by friends of Marilyn. Let's hope that restorers get their hands on the film and bring out those color images for the many fans who would be more enthralled with a restored version.

The audience was gripped by the tight woven artistry of the filming of rural Kansas, and the fantastic image of Truman Capote on screen. It seems that the "moral" of this film is, "today as in 1960 you cannot place your trust in anyone who appears to champion your cause".

The Capote biographical reflections and comparisons allow the viewer a deep insight into both the author and his subjects.

This review is short as the viewer needs to capture the entire film without any substantiative information. Watching the film is like tasting a fine wine. You smell and taste. You don't Gulp.

Enjoy it.

This morning from midnight to 3:30, I watched my original taped broadcast from 1992, and was enthralled by this incredible treatment of our 16th president.

I have seen the Raymond Massey performance of ABE LINCOLN IN ILLINOIS, 1940 and he gave Abraham Lincoln such a great human presence. The performance of Henry Fonda as young Abe Lincoln, trial lawyer added some great humanity. Even Walter Huston's early thirties talkie added dimension to The Great Emancipator.

This production, Lincoln's own words spoken by Jason Robards gives the audience a complete portrait, the internal tortures of this self educated man. The death of his favorite son to typhoid fever in his first term, his struggles within his marriage and his constant torment with the reality of the War Between the States breathe new life into Abraham Lincoln the man.

Although this nation has sought to make festive weekends out of national holidays, maybe the media will once again separate the birthdays of George Washigton and Abraham Lincoln from President's Day and do homage by broadcasting this program once again on Lincoln's birthday.

The comparison made by the previous reviewer is reasonably correct if one makes a comparison between 1945 productions and 2005 productions.

In addition, even today, if this story was updated from Germans in New York in 1937-1941 to Muslim extremists in this country from 1984-2004,facts would be surprisingly lacking.

I would expect a serious student of this film to review the whole genre of FBI movies to include PICKUP ON SOUTH STREET, 1953 and THE F.B.I. STORY, 1959.

In addition, a student who wanted to make a serious approach to the story line and how it was presented would listen to the radio broadcasts of the era, THE F.B.I. IN PEACE AND WAR and THIS IS YOUR F.B.I.

The reviewer probably heard people in the audience saying, "Well why didn't they beep the agent via satellite pager, or use your cell phone stupid?"

A better movie to compare with rather than MINISTRY OF FEAR would be 13 RUE MADELEINE.

In just ten years, the film industry has taken the motion picture, HIS

DOUBLE LIFE, and with the assistance of a far superior cast

produced HOLY MATRIMONY in 1943.

Roland Young, famed for his role as Cosmo Topper, bumbles

through his role of Priam Farrel, while Monty Wooley brings the

power of the recluse role into the tower of strength it must be.

Gracie Fields brings a profound heart warming love to the role so

adequately played by Lillian Gish.

Laird Cregar is the scheming art dealer, whose greed brings the

remake a far superior production.

I have always regarded HOLY MATRIMONY as a TEN. HIS DOUBLE LIFE is only a five, when one compares the true

emotions of love and greed so prominent in the remake.

When I was only six, my mother and father sent my older brother to

take me to watch the Olson and Johnson routine at a New York

City nightclub called THE CARNIVAL. I had been aware of the

antics of the Three Stooges, Laurel and Hardy and Abbott and

Costello, but now I could see first hand the live slapstick of

involved comedy.

The film "Crazy House" is a perfect example of keeping the wild art

of updated slapstick alive on film. It is an update of the pie

throwing of early silents and the progression from Charlie Chaplin

to Charlie Chase. This film even has small roles for all the lesser

known comics of that era. Their roles in this movie are much the

same as the bit inserts into "It's a Mad, Mad, Mad, Mad World".

For those a little bit younger than myself, this film would be called

the progenitor of "Rowan & Martin's Laugh In", a TV series that ran

from 1968-1973.

All I can say is, "If you want to see the visualization of one liners as

presented in the 1940's try and get to see this film". In the short

while, watch "Laugh In" reruns and prep yourself for a look back

into comedy history.

I read the review of the English production. It matches one which was filmed for the TV series, LIGHTS OUT as well as the one for SUSPENSE. This story is the reason that so many short horror and mystery stories broadcast on radio in the 1940's should be brought back by the mega film producers of today.

A fine half hour show, broadcast weekly would spellbind their audiences. Hitchcock's, "Hands of Mr. Ottermole" and "Banquo's Chair" were this kind of remake. The fabulous, "Lamb for the Slaughter" was great, but it made murder into a light comedy fantasy.

No major staging, no great sets, just ordinary actors in fear and terror trying to get some advantage from this curious monkey's paw was so powerful. The classic radio show and subsequent motion picture 'Sorry, Wrong Number" should make people see the power of the short story.

Those jokes about three wishes from a genie in a bottle make light of the potential terror from getting what you wish for, with an amulet made from a monkey's paw.

A very well made film of all of the above sins: Folly, Stupidity,

Racism, Fear and Uncertainty. One watches the total absurdity of

direct confrontation in a confined area. From the Hatfields and

McCoys, to a neighbor's dog or fence, some seemingly petty

grudge escalates between people who in this film can share the

memory of a woman.

Nothing can match the film, ALL QUIET ON THE WESTERN FRONT for the senselessness of war between the common peoples of the world.

This very funny comedy is about guilt and guilt trips. It lays it on

everybody. If you have not experienced "guilt" laid upon you by

those who "love you", than sit down and watch this movie.

Everyone has his or her turn ladling out the pain in a very funny

comedy. Paul Sorvino plays the Italian father even better than

Michael Constantine in My Big Fat Greek Wedding.

Claudia Ferri, plays the neurotic, pill popping sister, who goes for

help and then explains to each and every analyst, that she only

sees them once, because she doesn't want them to know her.

Mary Walsh's confrontation with her son's sexual involvement with

the son of a close friend and her subsequent plans for a cure and sexual transformation completes the cycle of guilt.

Three cheers for the writers Steve Galluccio and Emile Gaudreault.

"Oh, Canada", thanks for this film.

This very funny comedy is about guilt and guilt trips. It lays it on

everybody. If you have not experienced "guilt" laid upon you by

those who "love you", than sit down and watch this movie.

Everyone has his or her turn ladling out the pain in a very funny

comedy. Paul Sorvino plays the Italian father even better than

Michael Constantine in My Big Fat Greek Wedding.

Claudia Ferri, plays the neurotic, pill popping sister, who goes for

help and then explains to each and every analyst, that she only

sees them once, because she doesn't want them to know her.

Ginette Reno's confrontation with her son's sexual involvement

with the son of a close friend and her subsequent plans for a cure and sexual transformation completes the cycle of guilt.

Three cheers for the writers Steve Galluccio and Emile Gaudreault.

"Oh, Canada", thanks for this film.

I watched the newly released DVD, and totally enjoyed watching

the professional acting ability of both Lucille Ball and the

heretofore emoting of George Zucco. The cast is outstanding, and

they play their parts very effectively. The only "minor flaw" seems to

be a pair of glasses worn by one of the stars. It reminded me of

those worn by George Coulouris in "Sleep my Love", and led me to

the killer.

This independent feature had been written about in major volumes

of mystery movies. The cast is generally outstanding, and the use

of Boris Karloff and Alan Mowbray add to the film.

The classic Noir film, Phantom Lady, seems to have a better

reputation, but you will certainly enjoy watching this picture. There

is a small parallel.

At least Quiz Show had a deeper character in Charles Van Doren. Watching this movie was sheer agony. You could shut it off let it run 20 minutes and not miss anything.

This Fox portrait glows on the video screen. President Wilson has

been regarded as one of our greatest presidents. Time constraints did not permit the studio to dwell on some of the great

historic milestones of his career. The message that HE KEPT US

OUT OF WAR is true, but the role of his cabinet member, William

Jennings Bryan, is kept to one line. The LUSITANIA incident from

May 1915 and the subsequent cabinet meeting is not accurate, but

makes the character of Wilson stronger.

I would have preferred that the screen writers prepared a better

confrontational scene with the German Ambassador in January,

1917 over the Zimmerman Note attempting a secret alliance with

Mexico.

This is still a "ten", and should inspire all young students to look

into the work of a President whose objectives were in the best

interest of America, as he saw it. The lightest scene was "high tea"

at the White House, when the President asks Mrs. Galt if she

played golf. Her response makes us recall that even Chief

Executives have a human side to their life.