The Claim

Starring:Peter Mullan, Milla Jovovich, Wes Bentley, Nastassja Kinski, Sarah Polley, Shirley Henderson, Julian Richings, Sean McGinley, Randy Birch, Tom McCamus, Frank Zotter, Artur Ciastkowski, Barry Ward, Karolina Muller, David Lereaney, Valerie Planche, Grant Linneberg, Jimmy Herman, Marie Brassard, Phillipa Peak
Director: Michael Winterbottom
Studio: MGM (Video & DVD)
Product Type: DVD

Amazon.com essential video

Ranking No. 21 on the American Film Institute's list of the 100 greatest American films, this 1940 classic is a bit dated in its noble sentimentality, but it remains a luminous example of Hollywood classicism from the peerless director of mythic Americana, John Ford. Adapted by Nunnally Johnson from John Steinbeck's classic novel, the film tells a simple story about Oklahoma farmers leaving the depression-era dustbowl for the promised land of California, but it's the story's emotional resonance and theme of human perseverance that makes the movie so richly and timelessly rewarding. It's all about the humble Joad family's cross-country trek to escape the economic devastation of their ruined farmland, beginning when Tom Joad (Henry Fonda) returns from a four-year prison term to discover that his family home is empty. He's reunited with his family just as they're setting out for the westbound journey, and thus begins an odyssey of saddening losses and strengthening hopes. As Ma Joad, Oscar-winner Jane Darwell is the embodiment of one of America's greatest social tragedies and the "Okie" spirit of pressing forward against all odds (as she says, "because we're the people"). A documentary-styled production for which Ford and cinematographer Gregg Toland demanded painstaking authenticity, The Grapes of Wrath is much more than a classy, old-fashioned history lesson. With dialogue and scenes that rank among the most moving and memorable ever filmed, it's a classic among classics--simply put, one of the finest films ever made. --Jeff Shannon

Description

This remarkable film version of Steinbeck?s novel was nominated for seven Academy Awards®, including for Best Picture, Actor (Henry Fonda), Film Editing, Sound and Writing. John Ford won the Best Director Oscar® and actress Jane Darwell won Best Actress for her portrayal of Ma Joad, the matriarch of the struggling migrant farmer family. Following a prison term he served for manslaughter, Tom Joad returns to find his family homestead overwhelmed by weather and the greed of the banking industry. With little work potential on the horizon of the Oklahoma dust bowls, the entire family packs up and heads for the promised land ? California. But the arduous trip and harsh living conditions they encounter offer little hope, and family unity proves as daunting a challenge as any other they face.

Customer Reviews:

The government supplied farm and the Joads struggle shows who a welfare system is in place for, and how manipulated it is today........2007-07-03

To quote the amazon.com editorial review, "Ranking No. 21 on the American Film Institute's list of the 100 greatest American films, this 1940 classic is a bit dated in its noble sentimentality".
Now in 2007 it drops to 23rd place on AFIs list and a point i find that people don't bring up is the welfare system and how in that respect it is more important today than ever in showing why and for who a welfare system is in place for and how terribly flawed and manipulated it is today.
I know this movie is a classic and won oscars and was directed by one of the great directors John Ford. Most know the story, or had to read it in high school, and it makes most best lists. It is a history lesson and teaches unionization, and it is all these things.
The thing that stuck with me the most was the end and what a safe haven the agricultural farm put in place by the government was for the Joads. It safed there lives. There were dances and they could eat and help pay there way by helping in the camp. However the Joads did not want a hand out and even though if work came after all they had been through, starvation, losing family members, treated like pigs, they deserved the right to stay in that safe camp, nobody would criticize them for not jumping at the first job that came along that might turn out to be another nothing.
As soon as 20 days of work came up they packed everything they owned into that car that might not even make their destination and they left the government camp, and happily. All they wanted to do was work and they basically were taken advantage of and walked on and not allowed to do the one thing they wanted.
In 2007 we have totally healthy and able bodied people in there early twenties collecting social security, or waiting for the end of the month for the welfare check to come in. Perhaps have more and more children because that check at the end of the month will be fatter. I knew a kid when i was in the national guard that unknowingly to the government stayed with his girlfriend on welfare rent free while he worked, he actually said he loved the ghetto and he d stay there forever. I actually liked him barring the last ignorant statement but he was young and i'm guessing didn't have the best influences to think like that. The Joads didn't have money to eat but you can bet most now a day that are able bodied and can work and choose not to will get there cigarettes. Say you get involved with drugs mess yourself up and you can't work well then you can get disability.
So with everything this movie is, in this day and age that is the message that rang loudest to me. I also realize there are many like the Joads today that fall upon hard times and a government assisted program is a safe haven to them also, and i am not judging all, but talking about the one's that are manipulating and taking advantage.
Perhaps before you are allowed to go on housing or welfare maybe it should be mandatory to watch The Grapes of Wrath and the Joads struggle.

Great movie.......2007-06-27

If anyone has not seen this movie, please do, it is great. So is the book, by the way.

"Mine eyes have seen the glory...".......2007-06-23

Once in a while there comes a film that completely moves you. THE GRAPES OF WRATH is one of those films. The movie has three major components that make it an excellent film, a story based on the classic novel by John Steinbeck, the magnificent cinematography, and the historical significance in terms of American history. The film undoubtedly defines the unending relevance of the American dream and manifest destiny, and John Ford depicts those themes with the Joad family's cross-country trek from Oklahoma to California seeking better opportunities further west after losing their land.

John Ford shows how far the American Dream has come. The film is a reflection of the workingman and American society during the Great Depression as well of the results of the New Deal - the revitalization of the American landscape. However, the film is about one family and their perseverance to survive in an ever-changing society, but always keeping the past in mind. Ford shows the Joad's unfortunate circumstance from a family who owned their own land to a nomadic family who became migrant workers; their story represents more than a thousand families' experiences.

The film has its defining moments. In one of the scenes mother Joad (Jane Darwell) is preparing to leave her homestead in Oklahoma and discards a few mementos she has collected over the years from a newspaper article and a postcard depicting the Statue of Liberty, but she happens to keep what looks like a porcelain dog that commemorates the St. Louis Expo of 1904. Another defining moment is the last few minutes of the film. It is one of the most legendary and empowering scenes in American film history, which shows Tom Joad (Henry Fonda) making his most moving soliloquy.

THE GRAPES OF WRATH will tug at the heartstrings. Although some may refer the film as out-dated, the story is a part of American history, and it brings an understanding and realization of the hardships that those who owned and lived on farms from the Midwest and dust bowl states experienced during the late 1920s and 1930s in order to continue to live the American dream. It is not a film that should be missed in one's lifetime.

Enriching film for all ages.......2007-05-27

In an emotionally stunning and perpetually twisting depression-era tale of survival and perseverance, this classic film adapted from historic author John Steinbeck delves into the lives of the tired and weary Joad family as they make their way from their recently relinquished farm in Oklahoma to the promising orange fields of California. As we watch their journey unfold, we witness just how emotionally and psychically demanding their campaign for a better life becomes while the lives of those around them are simultaneously affected at a similar cost.

The film stars legendary screen actor Henry Fonda as Tom Joad, a recently paroled convict coming home only to find that his once promising dream of re-acquaintance and celebration are marred by an open and desolate field of depression. Banks have been ordered to collect any salvageable assets during this economic hardship, thus using landowners and the companies that employ them to drive sharecroppers from their leased properties. I viewed the film in an edited form in my Modern American History class, starting at Scene 4 and watching up to a scene in which we witness the death of Grandma Joad (played dramatically by Zeffie Tilbury). Award-winning actress Jane Darwell and John Carradine as Casy stand out as the more memorable of this immediate cast of tireless crusaders in a time of drought and migration.
I feel Nunnally Johnson did a great job in adapting this film from Steinbeck's version, which I had read in high school a few years previous. Few moderate changes were made, notably the death of a pregnant Ruthie (Shirley Mills), but I believe the film had the advantage of being given the added impact of a 1939 release (a time when the Great Depression and Dust Bowl Migration was still a fresh memory for many). Also we see various themes portrayed in the film. The social stigma of sharecroppers and their plight, the tense rivalry of workers for jobs, even the ignorance of truck drivers at a diner pop up in the film to build on the story. In the end, this movie serves as a constant reminder of a period in history when so many people lost everything they had worked their whole lives for, only to find they could still hold onto their dreams...for this is the only thing that truly matters.

IF YOU AINT GOT THE DO RE MI.......2007-04-18

This review was written for John Steinbeck's book of the same name. The main points here also apply to the movie. Take advantage of both media to get a real feel for this classic of the 1930's.

Oddly, I first read John Steinbeck's classic tale of the 1930's depression, Grapes of Wrath, as a result of listening to Woody Guthrie's also classic Dustbowl Ballads. In that album Woody sings/narrates the trials and tribulations of the Joad family as they get the hell out of drought-stricken Oklahoma and headed for the land of milk and honey in California. After listening to that rendition I wanted to get the full story and Steinbeck did not fail me. His tightly-woven story stands as a very strong exposition of the plight of rural America as they tried to make sense of a vengeful God, unrelenting Nature and the down-side of the American dream. For those who have seem Walker Evans's and other photographers pictures of the Okies, Arkies, etc. of the period this is the story behind those forlorn, if stoic, faces.

The story line is actually very simple. The land in Oklahoma was played out, the banks nevertheless were pressing for payment or threatening foreclosure and for the Joads, as for others, time had run out. In classic American tradition they pulled up stakes and headed west to get a new start. With great hopes and no few illusions they set out as a family for the sunny and plentiful California of their dreams. Their struggle along the way is a modern day version of the struggles of the old Westward heading wagon trains-including the causalities. But, that is not the least of it. Apparently they had not read Frederick Jackson Turner's thesis that the frontier was gone- the land was taken. The bulk of the story centers of what happened when they get to the golden land-and it is not pretty. Day labor, work camps, strike action, murder, and mayhem-you know, California, the real California of the day. Not the Chamber of Commerce version. In short, as Woody sang, no hope if you aint got the do re mi.

Grapes of Wrath was made into a starkly beautiful film starring a young Henry Fonda as Tom Joad. On a day when you are not depressed it is a film you want to see, if only for the photography. So here is the list. Listen to Woody sing the tale. Watch Henry Fonda to act it out. And by all means read Steinbeck. He had an ear for the 1930's struggle of the Okies and their ilk as they hit California. What happened to those people later and their influence on California culture and those who didn't make it are chronicled by others like Howard Fast and Nelson Algren. But for this period your man is Steinbeck.

Average customer rating:

black and white
Great Performances In A Picture That Tries Really, Really, Really Hard To Be Both Outrageous And Lovable
A White movie that came out of the Blue...
Held my attention
A Nice Diversion. 79 out of 100

The Big White
Starring: Robin Williams , Holly Hunter , Giovanni Ribisi , Tim Blake Nelson , and W. Earl Brown
Director: Mark Mylod
Manufacturer: Echo Bridge Home Entertainment
ProductGroup: DVD
Binding: DVD

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ASIN: B000FDEVA2
Release Date: 2006-06-06

Amazon.com

In The Big White, a failing Alaskan travel agent hopes he's found the answer to his problems when a couple of thugs leave a dead body in a dumpster outside his business. The lack of a body has prevented Paul Barnell (Robin Williams, The Birdcage, One Hour Photo) from claiming his missing brother's life insurance. Unfortunately, the thugs who dumped the body in the first place (Tim Blake Nelson, O Brother, Where Art Thou?, and W. Earl Brown, Deadwood) want it back, so they kidnap Barnell's wife (Holly Hunter, Raising Arizona), who may or may not have Tourette's Syndrome. Meanwhile, an obsessive insurance agent (Giovanni Ribisi, Saving Private Ryan) smells something fishy and thinks he's found the case that will get him and his phone psychic girlfriend (Alison Lohman, White Oleander) transferred to warmer climes, and Barnell's long-missing brother (Woody Harrelson, White Men Can't Jump) returns, a bit perturbed to learn he's dead. The Big White suffers from an overload of quirkiness--phone psychics, Tourette's, and possibly gay hit men are a lot of whimsy for one movie--but the actors commit themselves to their roles with gusto. The movie misses the bullseye that Fargo hit, but fans of macabre comedy may enjoy The Big White. --Bret Fetzer

Product Description

Outstanding performances are delivered by an all-star cast in this quirky black comedy centered on Paul Barnell (Robin Williams), a down on his luck Alaska travel agent who's on the brink of bankruptcy and whose beloved wife, Margaret (Holly Hunter), is on the brink of insanity. Special Features include: Behind the Scenes Featurette, and Photo Gallery.

Customer Reviews:

black and white .......2007-01-12

the big white is a black comedy shot in a white setting....just like life.

This genre is one of my favorites and in spite of it's flaws this film does not disappoint.
Other reviewers have written of the plot and summarized the story but I don't think they give the dialogue the credit it deserves nor the commentary on topics such as love,psychics,syndromes,relationships etc.
Sure there were flaws and the ending was a bit corny but with all the laugh out loud moments it was worth it.

Great Performances In A Picture That Tries Really, Really, Really Hard To Be Both Outrageous And Lovable.......2006-12-28

Mark Mylod's largest film to date has been "Ali G Indahouse," a sporadically funny (but often silly) Sasha Baron Cohen character picture. For those now on a "Borat" high, you might want to catch up on another Cohen creation. Ali G can be an amusing hip-hop poser, but the film done as a conventional narrative lacks much of "Borat"'s imagination or ingenuity. So, several years later, it's impressive that he has aligned a cast of such magnitude as was assembled for the black comedy "The Big White." We've got Robin Williams, Holly Hunter, Woody Harrelson, Tim Blake Nelson, Giovanni Ribisi, and Alison Lohman in a comedy of murder, kidnapping, insurance fraud, phone psychics, and mental illness. Set in a small Alaskan hamlet, many people would like to compare this film to "Fargo." While the film shares some of the same comic sensibilities and a similar wintry locale, it's kind of like comparing "Casablanca" to "Pretty Woman." Both films may have a certain appeal, but they are definitely in different leagues.

Williams plays a down-on-his-luck travel agent with financial difficulties and a wife with Tourette's (Hunter). Needing cash, he tries to collect on his missing brother's insurance policy. Ribisi, as the insurance investigator, informs him that his brother has not been missing long enough to be considered legally dead and there's nothing that can be done. In a coincidence, a couple of amateur hitmen dump a body in the dumpster outside Williams' agency. Williams, on discovering the corpse, masterminds a plot to get his brother declared dead. The hitmen, then, are ordered to retrieve the body (which is now missing) and all types of mayhem ensues.

I will say that "The Big White" has a lot going for it, and I can imagine some people really enjoying it. For myself, however, the picture was always trying too hard to be outrageous--it's not grounded in the reality, heart, and subtlety that accompanied "Fargo." Yet it isn't played as an outright comedy either, it does expect you to care about the characters (which I really didn't, except as a mild diversion). I give all the actors credit for giving robust and committed performances. While not a huge Ribisi fan, I actually thought this was one of his better performances. And Tim Blake Nelson, as one of the hitmen, continues to be an underrated presence in any movie. A few words for Holly Hunter, whom I miss as a major actress. She is appealing, as always, in a cringeworthy conception--the Tourette's as a "cute" disease syndrome.

There are plenty of funny bits, some macabre humor--but there is so much going on (there's another story involving Ribisi's home life, and then there's Harrelson), the picture always felt slightly off balance. I certainly didn't regret watching "The Big White," it just never engaged me the way I wanted it too. A mild recommendation (especially if you like the actors), it might be a slight and enjoyable romp for you. About 3 1/2 stars. KGHarris, 12/06.

A White movie that came out of the Blue..........2006-11-05

According to Wikipedia, "Black comedy, also known as black humor or dark comedy, is a sub-genre of comedy and satire where topics and events that are usually treated seriously - death, mass murder, sickness, madness, terror, drug abuse, rape, war etc. - are treated in a humorous or satirical manner. Synonyms include dark humor, morbid humor, gallows humor and off-color humor."

Ergo, The Big White is "dark comedy." To appreciate this movie, you have to appreciate the genre. Almost every character has a likable side (with the obvious exception of the "living dead brother").

This film reminded me in many ways of the film starring Steve Martin as the dentist with cascading problems (Novocaine, 2001).

My son says, "I thought it was very well done, with amazing acting, and with Robin Williams surprising you with the range of his acting ability."

My wife says, "Very intriguing. Beautiful scenery. Holly Hunter is great."

I say, "This is a great movie for a night with friends."

And... you have to love the "sub-genre"!

Held my attention.......2006-09-04

Usually I find that dramatic comedies have a few 'drag' areas, but this one held my attention from start to finish. Holly Hunter is always a 'hoot', but her role is especially funny when paired with Robin Williams. Great casting and great fun!
Chrissy K. McVay - Author

A Nice Diversion. 79 out of 100.......2006-08-17

The Big White is a tale of an Alaskan man by the name of Paul Barnell (played by Robin Williams) who has a sick wife and mounting bills, and is in need of some quick cash. Paul decides to cash in a life insurance claim on his long since missing brother. It is here that the chaos ensues.

The Big White was a nice diversion, and a fun film to watch. Robin Williams does a good job of creating sympathy for his situation. Holly Hunter, as Margaret Barnell, is one of the true gems in the film. Her character is very lovable and extremely well acted.

The supporting cast in Big White is put together well. There are plenty of oddball, quirky people like Giovanni Ribisi, W. Earl Brown, and Tim Blake Nelson. Lets not forget Woody Harrelson. Woody is wonderful in the film as well.

The story doesn't have a lot of "roll on the floor" laughing moments, but it is funny and a pleasure to watch. Some folks have compared it to Fargo. I don't think that's fair. Just because it is in a similar genre with a classic doesn't make a film bad. Both films are good for different reasons.

I didn't think of Fargo when watching the Big White. The Big White is good enough to stand on it's own.

This is a movie you will enjoy watching, a movie that you would probably watch again, and a movie worthy of purchasing.

Total Score (out of 100) = 79

40 (out of 50). Enjoyment. A rating based on my overall enjoyment of the film.
9 (out of 10). Acting. How good was the acting?
9 (out of 10). Immersion. Did the movie suck me into the story?
9 (out of 10). Intangibles. Special effects. Movie pace. Is the movie forgettable, or something you will talk about and remember for weeks? Years?
7 (out of 10). Must see. Is this movie worth seeing/renting?
5 (out of 10). Must buy. Is this movie a must buy/purchase?

Average customer rating:

Do you really know the one you love?
"I like you, that's the problem."
AN AFFAIR AT HOTEL CHANDELER
Dream Lovers Dream Small
Simply One of My Favorites...

Dream Lover
Starring: James Spader , Mädchen Amick , Fredric Lehne , Bess Armstrong , and Larry Miller
Director: Nicholas Kazan
Manufacturer: MGM (Video & DVD)
ProductGroup: DVD
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ASIN: B0001VTPUE
Release Date: 2004-06-01

Description

How well can you really know the one you love? OscarÂ(r) nominee* Nicholas Kazan explores this question in his "sensuous, deadly game of romantic cat-and-mouse" (Roger Ebert) that features "terrific" (The Hollywood Reporter) performances by James Spader and MÃ¤dchen Amick and weaves "a tight web of suspense" (Playboy)! After a bitter divorce, wealthy architect Ray (Spader) fears he'll never love again until he bumps into sexy, sophisticated Lena (Amick) and sparks begin to fly. Before long, they are happily married and have a family. But when Ray's suspicious nature gets the best of him and he begins to investigate Lena's past, what he finds may not only threaten the state of their marriage but also Ray's life! *1990: Adapted Screenplay, Reversal of Fortune

Customer Reviews:

Do you really know the one you love?.......2007-06-28

James Spader plays a wealthy architect named Ray who divorces from his first wife then fears he may never find love again until one day he bumps into a woman who he thinks is perfect for him. They meet again a couple weeks down the road and end up hitting it off. Not long after that they end up getting married, wife, kids, the usual deal.. then Ray becomes suspicious..he starts to investigate and what he finds you wont believe.

Picture this: Your own wife is a psychopath and you dont find out until 2-3 years into the marriage and start piecing together clues as the years go by and then all of a sudden you find out this woman isnt who she says she is, everything shes said has been a lie and worse..

When he finds out and confronts her... well i'll let you find out for yourself, all i can tell you is its insane what she does to him, she fools and manipulates everyone into believing hes the 'crazy' one, then the twist of an ending.. This is the worst case scenario that could happen to someone. This woman is your worst nightmare. This combined with weird dreamlike carnival sequences make this a very good thriller. It also has a dark humor to it. Excellent performance by Spader. Highly Recommended.

"I like you, that's the problem.".......2007-03-26

I've lived this. James Spader as a successful architect who meets then unfortunately marries my ex-wife played by the insanely gorgeous and totally fruitcake Madchen Amick.

Gaslighting ensues while wifey goes about having babies, laying in the sun, and screwing all of Spader's best friends. Like I said...I lived it, and my only advice is to kill the bitch. I want royalties. "Sometimes what you think is paranoia is actually heightened awareness." Great line, great flick, Spader is weird and Amick is HOT! 4 Lenas

AN AFFAIR AT HOTEL CHANDELER.......2006-09-08

A small little seen intriguing thriller about outer beauty and inner lies of some sort. A recently divorced successful bachelor runs into and meets an unlikely beauty in a supermarket, they meet up for drinks. He becomes infactuated with her beauty and her reserved lady like qualities. Eventually hook up, fall in love and get married, everything is so perfect. OR IS IT? I like this movie because it tells the tale of what everyone looks for in a mate complete perfection but nothing and noone is perfect. Be careful what you wish for. Get to know someone completely before all those emotions take over because there is always a price to pay good or bad. GOOD MOVIE AND A SHOCKER OF AN ENDING.

Dream Lovers Dream Small.......2005-11-01

Plot is a good thing with this movie. It's entertaining and worth the price of the video/DVD. It's about a couple working together to legally rob his friend. And it's a good idea with a little twist on the ending that's pretty clever. 'The friend' comes out ahead and clean. The Spader Sex is good and it's filmed well with colors that seem dark. The bad thing about this movie is it's dream sequences: they are 100% dumb; I cannot figure out a reason for them. Viewers understand 'the friend' - Spader - the Dream Lover is living a dream...and we can SEE that it's becoming a nightmare, we don't need foolish clowns cut-ins to bop us on the heads and say, "DREAM!" I personaly find it a tad bit unbeliveable that a hot, sweet Sexy Spader would not be the 'dream' of any woman. The female lead in this movie is beautiful. Watch it.

Simply One of My Favorites..........2005-08-20

In order that I do not spoil the plot for you...I just want to say that 'you never know what you're going to get'...never...so be careful with every single relationship! It is so true.
Of course, this story is an extreme but it's also a wake up call. It's simply one of my favorite films. It's one smart diabolical thriller. Oh yeah...go for it! This is a great DVD for anyone's library. It will bring about good dinner table conversation for a good week afterwards.

Average customer rating:

Great technical achievements with stereotypes galore
a hard to find movie worth seeking out
"The Devil's Cabaret" is on this disc!
Cimarron
A profound old movie

Cimarron
Starring: Richard Dix , Irene Dunne , Estelle Taylor , Nance O'Neil , and William Collier Jr.
Director: Wesley Ruggles , Nick Grinde , and Rudolf Ising
Manufacturer: Warner Home Video
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ASIN: B000BYA4HE
Release Date: 2006-01-31

Amazon.com

This epic Western won the 1931 Academy Award for Best Picture. Heartthrob Richard Dix plays Yancey Cravat (yes, really, that's his name) a frontiersman, newspaper editor, and former gunslinger who's studly enough to fill in as preacher or lawyer should the situation demand. Yancey brings his young bride Sabra to the wild Oklahoma territory to taste the adventure, crusade for social justice, and leave his family for years at a time. Modern viewers will have trouble making it past one or two horrifying racist caricatures at the start, made doubly odd because of the film's intended message of tolerance. Once it gets underway, though, Cimarron can be quite a bit of fun. Most of its pleasures are of the guilty variety--Dix's performance in particular is endearingly huge--but there are a few genuine highlights. The Oklahoma Land Rush sequence is still exciting and wet blanket Sabra turns out to have far more gumption than anyone imagined. --Ali Davis

Description

Spaces were neither wide nor open in most early Sound Westerns. Not so in Cimarron. It starts with one of the most renowned giddy-ups in cinema history: a thundering recreation of the 1889 Oklahoma Land Rush. From there Cimarron, based on the bestselling epic by Giant and Show Boat novelist Edna Ferber, traces the generations-spanning saga of that land. There rugged Yancey Cravat (Richard Dix) and his resourceful pioneer wife Sabra (Irene Dunne) sink roots, persevere, give shape to their dreams. It's a saga of change, told with an authenticity that moviegoers who had lived through that era recognized - and told with a skill that earned it three Academy Awards * including Best Picture!

Customer Reviews:

Great technical achievements with stereotypes galore.......2006-12-22

Often, in the early talkies, you'll notice what you thought were sane actors talking to inanimate objects instead of their fellow castmembers. Of course, what they were really doing was talking into the hidden microphones, but the whole image can be quite a hilarious spectacle to the unknowing audience. Cimarron was an early talkie that made great strides in sound, allowing natural interaction between the cast and a more natural movement of the camera, allowing the filming of some truly spectacular scenes.

The film is very impressive when taken in the context of its technical achievements. The shots of the opening of the Oklahoma Land Rush, and the Land Rush stampede itself involve ground-breaking sound and cinematography that make it one of the most realistically shot scenes up to that time. Other well filmed scenes include those of Osage's dusty streets with the camera tracking the main characters as they walk along while hundreds of extras bustle about them, showing the life of a busy boom town shortly after the land rush. Unfortunately, this is pretty much where my praise of this film ends.

This film stars Richard Dix as Yancey Cravat, a man who was born under a wandering star. Unfortunately, that didn't stop Yancey from taking a wife and having children, it just stopped him from taking any responsibility for that same wife and children. Yancey goes after one hair-brained scheme after another while his long-suffering wife Sabra (Irene Dunne) must come up with ways to clothe, feed, and house herself and their children. Sometimes Yancey's adventures keep him home, other times they take him away for years at a time. It's all the same to Yancey as long as he is in the midst of excitement of some sort. The film focuses on Yancey's adventures, while the whole time I'm wondering what Sabra is up to. In modern times, her story is much more compelling and sympathetic.

Richard Dix's performance is quite hammy by modern standards. You'll find yourself laughing in places that were not intended to be funny by the film's creators, and in spite of your laughter, you'll still find Yancey to be completely unlikeable. He would make a great politician in the 21st century - he is very apt at doing one thing, saying another, and still finding time for splendid oratory.

The worst thing about this film, which was not unusual for its day, was the rendition of Cravat's servant Isaiah. The stereotypes are truly jaw-dropping. For example, in one scene Isaiah gets very excited when Yancey points out a cart full of watermelons at his new home. It makes you wonder how the actor portraying Isaiah felt about this, how the filmmakers felt about this, and how the audience felt about this sort of material back in 1930. Honestly, what were they thinking?

The extras on this DVD are stingy. There's a vintage color musical short - `The Devil's Cabaret' - which is a very strange musical number with an even stranger pre-code storyline, and an example of something that could only have been done pre-code. At "Satan & Co., Inc.", the Devil is upset because too many people are going up to Heaven rather than down to Hades. He gives his assistant, Mr. Burns the task of getting more people to his domain. In front of a nightclub, Mr. Burns invites a crowd of people to come inside to "The Devil's Cabaret" and be entertained. After they enjoy songs and dancing, the people go willingly to Hades. To me, this was more entertaining than the movie. The second extra feature is a classic cartoon - `Red-Headed Baby' - that runs six minutes. It's an early Merry Melodie that focuses primarily on a Baby toy that Santa is building. After Santa goes to sleep, the toy sings a song for the other playroom toys. The animation has that primitive charm that is trademark Merry Melodie, but as a whole there is nothing really special about it. There are no extras related to the film itself.

Remarkably, this film won the Oscar for Best Picture in 1931. Even more remarkably, Richard Dix was nominated for Best Actor for his performance in this film. Less remarkably, Irene Dunne was nominated for Best Actress for her performance, in spite of the lack of depth of the examination of her character in the film. There are two reasons to watch this film (a) To see the very good technical achievements it featured in sound and cinematography (b) To see the very bad things about it including Dix' hammy performance, the stereotypes that were common in films of that era, and the fact that in the early twentieth century nobody apparently thought that the long-suffering Sabra was doing anything other than her duty as a wife in spending most of her time waiting for her husband to come home from his misadventures.

a hard to find movie worth seeking out.......2006-08-03

one of the first best picture oscar winners, this was (appallingly) the only western to win until "unforgiven". like other adaptations of edna ferber novels, the source material is too sprawling to work, but its fascinating in its (for the time) relatively compassionate views towards race and towards "working girls". richard dix is pretty wooden as the male lead and irene dunne gives little early evidence of the glory that was to come, but as usual in this type of film there are wonderful performances in smaller roles. also, the scene depicting the beginning of the land rush in 1889 is spectacular, and one wishes a certain mr ron howard had studied this sequence before he made that crappy tom & nicole thing. a historical curiosity maybe, but i enjoyed myself nonetheless.

"The Devil's Cabaret" is on this disc!.......2006-02-22

There is another reason to pick up this DVD: the inclusion of the pre-Hays Code short film "The Devil's Cabaret." This short was created as a vehicle for comedian Edward Buzzell, but the highlights are the sequence with secretary Mary Carlisle (who is amiably daffy and cute to boot), and the extended "nightclub from Hell" sequence where girls strip off their clothes and happily sell their souls to the Devil. This is a vintage reminder of how racy the times were before the government piddled on the party.

Cimarron.......2005-09-18

One of the best films ever made in America..a milestone of the transition from silent films to talkies.

A profound old movie.......2004-04-30

You know, I have to agree with Mr. Erdelac - the movie is progressive for its time. For those of you who judge a movie by the degree to which it beats a political or social drum, there is much here to admire.

But there is more. There is something artistic. There is an odd balance between melodrama and something really substantial, something actually edifying to the viewer. I think a large part of why this movie doesn't descend into the sludge of cinematic slop is because the characters are all flawed, and in those flaws the viewer cannot help but recognize a touch of human frailty. Every individual in this movie is at times ridiculous and at other times supremely dignified. This, I believe, gives it a certain depth.

The characters in any great movie MUST be larger than life if the piece is to avoid being either a documentary or a soap opera. But here the larger than life characters seem firmly rooted in the earth, which brings them closer to us. I like that.

Amazon.com essential video

If Kenneth Branagh's 1989 version of Shakespeare's tale of conquering greed reflects the post-Vietnam era, Laurence Olivier's version very much mirrored his time. When Olivier gave us his colorful adaptation in 1945, it was vivid, full of pageantry, and most definitely geared toward war. Pretty flags and white steeds, shining armor and theatrical emphasis figure into Olivier's attractive but decorous version, liberally adapted for a pro-war stance. He used the French as comic relief; they appeared foppish and foolish. Their presence implied no threat. If you had not read the play, you would not have to wonder who was going to win. Of course, Olivier wanted England to believe in the justness of war--his country was in the midst of one. The propaganda gets in the way only because it has been filtered through so many decades. His Henry remains, however, a handsome cinematic spectacle. Olivier's performance is gentle and elegant, his imagery rich and colorful. It was considered such a superb film he was awarded an honorary Oscar. He followed this with adaptations of Hamlet and Richard III. --Rochelle O'Gorman

Description

Olivier mustered out of the navy to film this adaptation of Shakespeare's history. Embroiled in World War II, Britons took courage from this tale of a king who surmounts overwhelming odds and emerges victorious. This sumptuous Technicolor® rendering features a thrilling recreation of the battle of Agincourt, and Sir Laurence in his prime as director and actor.

Customer Reviews:

Henry V (1944).......2007-06-22

Olivier inhabits the role of Henry with dazzling gusto in this rousing, energetic adaptation of William Shakespeare's play. The world was at war in 1944, and the gifted actor/director hoped the Bard's climactic tale of beat-the-odds triumph would comfort and inspire embattled England. Filling shoes once meant for William Wyler, Olivier's direction of his actors and the Technicolor battle scenes is sharp and inspired (with help from editor Reginald Beck). The movie's stylized opening in a re-created Globe Theater eventually gives way to beautifully scenic realism, an ingenious blend of theater and cinema that helped win Olivier a special Oscar for "outstanding achievement."

Unique.......2006-07-16

I read the play "Henry V" earlier this year and found parts of it very stimulating and other parts somewhat distracting. I looked forward to see the Olivier film version but I was concerned that it might move along too quickly for me to follow. As I sat back to watch the movie on TCM, I was treated to some background on how the film was produced in England at the height of WWII where just about everything was in scarce supply. The many innovation that enabled the film to come off were impression as was the reminder that "Henry V" was an excellent choice for an audience challenged by the strife of war.

It was the very beginning of "Henry V" that impressed me the most. We view the play being presented at the Globe Theatre in Stratford on Avon and we view it as part of the rauscious audience. The positive effects of this vantage point are numerous; we get a better sense of the humor when the audience periodically breaks out in laughter, we get a better sense of how Shakespeare wrote in various scenes to enhance its' impact on the audiences of his day (which were NOT the tuxedo wearing crowd that dropped a bundle to see Shakepeare at an exclusive theater),but mostly, we see the players playing to the audience. The major problem with film versus on-stage production is the lack of interplay between audience and performers. The actors tend to ham it up more for the humorous scenes and tighten the emotion more for the serious scenes. Each side of the stage feeds on the output of the other and a well-produced play leaves all with a sense of a common-shared experience. Not so when acting before a camera and that is why I was so impressed with this approach.

Eventually the panorama of the battle field leads us away from the audience to the movie sets. I was grateful for the introduction about the play that prefaced the movie because I understood the backdrop to me more of an artistic expression than a cheap attempt to kid us that it was a real background. I suspect Olivier's approach to the play helped to raise the emotional level of the cast. The ability of a leader to command the respect and inspiration of his troops was a major part of the play and it came through very well in this movie version.

My one objection to the movie (and the play since this is how Skakepeare wrote it into the play) was the closing scenes. Maybe it was to woo that same audience that shows up again at the end by adding a romantic angle to the drama. However, I felt that "Henry V" was meant to end on the battle field of victory rather than the wedding chapel of a new alliance. I suspose Shakespeare added that out of concern about how it would play in Paris. Oh well, alls well that almost ends well (as well).

Sir Laurence Olivier. What Else Need Be Said?.......2006-07-14

Besides Sir Laurence Olivier of course, the best thing about this movie is that it alternates between appearing as real and as a play in the Globe Theatre. Only Sir Laurence Olivier could manage this so smoothly and convincingly. That said, it may help to understand what happened before Henry V. Henry IV usurped the crown from Richard II. (Henry IV is of course Henry V's father.) Well, the eventual Henry V had spent a lot of time with rogues Bardolph, Pistol, Nym, and Falstaff (whose death we see in the film). Well, Henry IV faced revolts for what he had done, and he was overcome with sorrow and guilt over what he had done. One of Henry IV's last suggestions to Henry V was to unite England against a foreign foe to help unite them. (This may seem deplorable, but it was accepted in those times, and to some extent still is.) Well, as it turns out, the partially French Henry V IS the legitimate heir of the French throne, but France of course would rather choose someone of lower rank as their king. But France makes the mistake of mocking England and forcing Henry V's hand. This is when the scenery changes from a performed play to more realistic. Sir Laurence Olivier convincingly portrays Henry V's tremendous energy as well as the famous passages. ("Once more unto the breach dear friends....") One scene of horror from the play that is omitted in this movie is when Henry V orders the execution of Bardolph for stealing a mere cross. Moving on, France's plan (in the play as well as actual history) was to let Henry V get so far and then wear himself and his forces out. This helps make sense of the early victories followed by the weakened and vulnerable state of King Henry V and his forces. 4.1 is arguably the best scene in this play. This is the night before battle and Henry V disguises himself and converses with his men. Then comes the battle that is done surprisingly well with the limited resources back then. (And as in history, France's plan to let England wear itself out backfired miserably.) Then of course comes the tastefully funny scene where Henry V meets his to be wife Katharine. SIDE NOTE: In the reign of his son Henry VI, England was to lose all of France except Calais. (England was to hold that one last bit of land in France even in the later reigns of King Henry VIII and his son King Edward VI.) If you like Sir Laurence Olivier in this, be sure to see him as Hamlet in his "Hamlet," as Mr. Darcy in "Pride and Prejudice," and as Abraham Van Helsing in "Dracula" (1979).

Consider this film in the context of when it was made........2005-12-16

I have to say right off the bat that I am biased in favor the version Kenneth Branagh made in 1989. When I saw his version of "Henry V" in the theater, it was the first time I really came to appreciate the brilliance of William Shakespeare as a wordsmith. For me it was the way Shakespeare was meant to be, full of gritty realism. And a few years ago when I tried watching Lawrence Olivier's 1944 version on TV, I ended up turning it off after ten minutes or so, it seemed so cartoonish by comparison.

But last night TCM broadcast Olivier's "Henry V" again, and this time I was determined to give it a chance. I'm glad I did. While I still much prefer Branagh's version, this earlier production is a perfect example of how an older film has to be considered in the context of the time it was made, namely during the German blitzkrieg. Under those wartime circumstances this film had to be made on the cheap, and it shows. In this version, Shakespeare's play begins as though one might actually be watching it performed for the first time in 1600 at the old Globe Theater. Eventually, through the magic of cinema, the story FAAAAADES into a slightly more realistic environment, but only slightly. For the most part the sets and painted backdrops retain a very theatrical quality, and only the Battle of Agincourt (filmed in the Irish countryside) has a purely realistic feel to it. And I must admit there were a few shots during that battle scene that I was quite impressed with, particularly the tracking shot of the French army picking up speed while on horseback and one great special effect involving swarms of English arrows.

It must be noted that this production was designed in part to pump up the morale of the British troops during the war with Germany; therefore some of text that reflected a bit more poorly on the British was left out. The treacherous assassination plot against King Henry is gone, as are the king's horrific threats outside the gates of Har Fleur, and the hanging of one of Henry's own men for stealing from a church. Also gone is most of Chorus' denouement at the end of the play, in which he describes how the gains made by King Henry were sadly lost in the years to come.

Still, despite these lapses and a lot of overacting, this version of "Henry V" kept my rapt attention through its nearly 2.5 hour length. I think it takes a lot worse than cheap sets to diminish the power of The Bard.

Sir Laurence Olivier's Mastery Of The Bard Is Absolute!!.......2005-04-05

Sir Laurence Olivier understood Shakespeare and his mastery of the great Bard is revealed in his first filmed adaptation of Shakespeare's works (he would follow this one up with his own versions of "Hamlet" and "Richard III" [see my reviews on them], which would serve to define him further as a true Master of William Shakespeare, turning the plays into movies while at the same time maintaining their theatrical aspect). Olivier was an absolute genius, beginning the film as a theatrical production at the Globe Theater, England in 1600 and gradually opening it up into a full-fledged cinematic experience 20-25 minutes into the movie. Here, he uses an excellent supporting cast to round out the characters in the play: Felix Aylmer as Archbishop Of Canterbury, Leslie Banks as Chorus, Renee Asherson as Katherine, Harcourt Williams as King Charles VI, Russell Thorndike as the Duke Of Bourbon, John Laurie as Captain Jamie and Esmond Knight as Fluellen, some of whom would reappear in Olivier's "Hamlet," with Olivier again at the helm. The famous line "Once more unto the breach, dear friends" and the Saint Crispian's Day Speech are included in this faithful adaptation of one of Shakespeare's best historical plays (besides "Richard III" which to my mind classifies more as a tragedy). Unfortunately, Olivier was under certain restrictions by the English government, which hindered him from depicting the English as brutal, as can be inferred from the scene in which Henry makes a violent, but empty threat to do horrible things to the people of Harfluer, should they refuse to surrender (the part where he makes the threat was never filmed, but the rest of the scene is included in the movie)which is entirely understandable, as England was in the midst of World War II and wanted Olivier to make a pro-war "Henry V" to boost the morale of their soldiers in battle. Kenneth Branagh's version of "Henry V" would certainly not be a bad viewing choice for anyone wishing to compare both films or just for a general movie fan. Some will complain about the many liberties taken with the text in both versions, but how much of a V Act play can be put into a 2-2/1/2 hour movie? Certainly not everything. Kenneth Branagh's "Hamlet" is the first (and only version of Shakespeare's plays, so far) to preserve the ENTIRE text of the play and transfer it to the silver screen, while throwing in some creative touches of his own (see my review on both versions of "Hamlet" and on Zeffirelli's, if you're looking for variety).

In short, Sir Laurence Olivier's "Henry V" is the best version of the play, but by all means, view Branagh's interpretation, which adds in other details missing in Olivier's version, for those who want to see the battles, which are only implied in the play and absent from Olivier's version, as well. This version is Not Rated.

Average customer rating:

Anastasia-Mini Series
An engaging movie with historical signifance
A Glittering Television Adaptation!
One of the Twentieth Century's Great Puzzles
Anastasia, the Mystery of Anna....Superb!

Anastasia - The Mystery of Anna
Starring: Amy Irving , Olivia de Havilland , Jan Niklas , Nicolas Surovy , and Susan Lucci
Director: Marvin J. Chomsky
Manufacturer: Allumination
ProductGroup: DVD
Binding: DVD

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ASIN: B000I5X7WK
Release Date: 2006-10-31

Amazon.com

The story of the woman who insisted she was Anastasia, the youngest daughter of the last czar of Russia, is complicated. This 1986 telefilm makes it even more so because it's one of those "fact-based" dramas. Its most annoying invention is Anastasia's romance with a prince who never actually existed. Fiction aside, the first two-thirds of the 210-minute movie are dramatic and captivating. The Romanov family is imprisoned and executed, yet Anastasia reappears years later in Berlin in 1923; Amy Irving becomes the iron-willed yet fragile Anna who battles to be recognized by the remaining Romanovs. Gently paced and beautifully shot and staged, the film only starts to lose steam when Anna comes to New York to make her case in the American press. It takes a bunch of Americans, including Susan Lucci as a stateside Romanov relative, to make the tale seem common. Back in London, Olivia de Havilland is a treasure as the dowager empress who won't recognize Anastasia, although there is much evidence in her favor. The film is a great introduction to the mystery, despite its fiction-augmented recounting of history. After watching the movie, get the book it was largely based on, Anastasia: The Riddle of Anna Anderson by Peter Kurth, for a gripping read that just might make you believe in this princess. --Valerie J. Nelson

Customer Reviews:

Anastasia-Mini Series.......2007-05-31

This mini series has an impressive cast and top production. If you are a Romanoff buff, you will love this production.

An engaging movie with historical signifance.......2007-05-30

the only reason that I rated this movie with 4 stars is that I have not read any books that are totally non-fictional on the subject. If I can take the movie for a fictional rendition that has truth in its core, then I could not have been more fascinated! Amy Irving is, as always, an exceptional actress and I aplaud her. A long but riviting movie!

A Glittering Television Adaptation!.......2006-05-09

Anastasia: The Mystery of Anna was a two-part star studded historical T.V. movie based on the Peter Kurth book, Anastasia: The Riddle of Anna Anderson. It keeps up historically pretty much, names are changed etc. But sticks to the real story quite well. Omar Sharif and Claire Bloom do quite well as the Russian royals, Czar Nicholas and Czarina Alexandra. What stuck out in my mind was the all too short portrayals by Rex Harrison and Olivia De Havilland. All in all it was a pretty classy production with some fine acting. I was quite awestruck by the production values when it first aired on NBC in late 1986. Also starring was the fine German actor Jan Niklas who had previously starred in NBC's other Russian epic "Peter the Great".

I felt that Part 2 skipped over some important details of Anna Anderson's trip to America. It's important to know too, that in 1986 less was known about the Anna Anderson story. Back then it was still not known whether her claim to be the Grand Duchess Anastasia was genuine. By the late 1990's more was known and Anna Anderson is now reputed to have been a fraud.

Too bad the networks aren't making fine made-for-television movies like this anymore.

One of the Twentieth Century's Great Puzzles.......2002-02-02

Amy Irving stars as Anna, a woman claiming to be the youngest daughter of Czar Nicholas II of Russia, a claim which would mean that she had survived the execution of the Royal Family. She seems to know things about the Royal Family that only Anastasia could know, yet she has huge gaps in her memory and is unable/unwilling to speak Russian. Things are complicated by the fact that other women have claimed to be Anastasia in the past, and the Royal Family has grown tired of the pretenders to the throne. However, Anna has her supporters, although she knows the must win the support of her grandmother, the empress, if she is to have any hope of being officially recognized. Irving has a few good moments as Anna/Anastasia, but she doesn't project the strength that so many of the characters tell her character that she has. The supporting cast is competent, although few are given much in the way of characters to flesh out. The real bright spot in the film is Olivia de Havilland as the Empress. She infuses her character with humour and wisdom, and steals her far too few scenes. There is a narrator that appears irregularly throughout the film, and that device should have been eliminated. The direction lacks pacing, the script could be stronger, and the ending is rather flat. Despite the fictious romance and other weaknesses, I did find the film interesting, since the mystery surrounding Anna Anderson was one of the great puzzles of the Twentieth Century. People argued for and against her with equal passion. Since the film was completed, scientists appear to have proven that Anna Anderson was not Anastasia, but it would be interesting to think that maybe someone could have survived that brutal moment in history. I do wish they had made a more fact based, tighter film about it.

Anastasia, the Mystery of Anna....Superb!.......2002-02-01

From the beginning, this story compells the viewer in the tale of Anna Anderson, a woman who believes and claims that she is the last remaining member of the last Tzar of Russias immediate Royal Family. She believes she is the Grand Duchess Anastasia Nicholaevna. The story beginns with the introduction to the Royal Family. Omar Sheriff is very good as Tsar Nicholas II and Clare Bloom shines as Tsarina Alexandra. Christian Blae makes his screen dabute as Alexis. The story then unfolds into the Russian Revolution, and eventualy to the Royal Familys Execution.

We are then taken to Berlin, where a lady is attempting suicide. She has bad amnisia, but slowly begins to believe she is Anastasia. In meeting Prince Eric, they battle to gain her Title as the Hier to the Russian throne.

The story is filled with trouble and Turmoil, as well as heeps of Romance. Amy Irving is Outstanding as Anastasia, her red eyed-teary performance is outstanding. Other good parts are taken By Olivia De Havvilland as The Grand Duchess Maria, and Rex Harrison puts in a regal performance as Grand Duke Cyril.

This film may alter History slightly, but it is something you will fall in love with again and again. Well worth the price for such a gem. Fantastic.

Customer Reviews:

Amazon Extremely Slow To Deliver.......2007-03-08

Item purchased Jan 30th 2007 and as of March 8th it still has not been shipped.

The Duel At Silver Creek 1952.......2006-04-26

Celebrated war hero Audie Murphy (1924-1971) packs a two-fisted punch in this action filled western adventure , which also features legendary Oscar winner Lee Marvin (1924-1987) in one of his screen appearences . Stephen McNally (1913-1994) is lightning , the quick-drawing Marshal of Silver City wh?s intent on capturing a ruthless gang of claim jumpers that have been terrorising and murdering local miners -including his best friend . After losing the of his famed trigger fingers in a shootout , Lighting deputizes the sharp-shooting Silver Kid (Murphy) , whose own father was killed by the gang to help bring
the outlaws to justice . But their plans are complicated when Lighting falls for beautiful new lady in town ( Faith Domergue 1924-1999), whose interest in the Marshal is a thin disguise for her own dangerous agenda , in this unforgettable drama brimming with puls-ponding thrills , danger-tinged romance and Gun-Blazing glory ! . This is a classic and well done plot ! . High Quality digital transfer . Highly recommended

Great Little B Western.......2004-09-10

We're not talking classic here but this is a good example of the solid little B westerns the studios were churning out in the fifties. There's a ton of action crammed into the modest 77 minute running time, from the opening montage of violent killings through to the final gun battle between the baddies and the town posse. Audie Murphy is his usual average self as The Silver Kid (yeah, it's that kind of western where charcaters get saddled with dumb names like Brown Eyes and Sombrero), but Steve McNally is good as the sherrif (making a change from his role as the villainous brother in the classic Winchester 73) and Lee Marvin adds solid support in a small role as a town heavy (it's never really made clear whether he's in league with the bad guys or not). Don Siegel who would go on to make Invasion of the Body Snatchers, Dirty Harry and The Shootist, directs with an eye for tough action (this is one of those rare fifties westerns where you actually see blood on the guys who are shot). Universal has come up with a beautiful full screen print. Sure, there's not much in the way of extras (theatrical trailer and that's it), but it's not really the sort of film you can say a lot about. Good, modest entertainment that I'm sure western lovers will enjoy.

The only time I draw is when I'm crowded.......2004-06-28

I've been avoiding Audie Murphy for years, copping the attitude Howard Cosell had for the Frank Giffords of the world. Cosell devoted a good portion of at least one book attacking "jockocracy," the invasion of the professional broadcasting booth by unqualified ex-jocks. Audie Murphy was a war hero but the bits and clips I've seen of his work always made it look like he was in over his head. Murphy's appearance in a movie meant one unemployed real actor.
So I was a little trepidatious when I hit the play button on DUEL AT SILVER CREEK. I hung with it through the slow opening exposition scenes (a pod of claim jumpers are terrorizing silver miners, forcing them to sign over their deeds and then shooting them.) By the time Murphy's pa was kilt and he morphed into the poker playing Silver Kid I was hooked. DUEL AT SILVER CREEK is a fun little flick.
Look, this movie made me laugh at things decent folks don't laugh at, but I believe these elements were put in deliberately. This is director Don Siegel's first western and his first Technicolor production. He would go on to work with the likes of Clint Eastwood (Dirty Harry) and John Wayne (The Shootist.) Siegel knew what he was doing.
One of the humorous elements, to me at least, was the proliferation of nicknames. Murphy's Luke Cromwell is the "Silver Kid," or just "Kid." Sheriff Stephen McNally is "Lightning," there's a character called "Rat Face." Lee Marvin plays a heavy nicked "Tinhorn." The lovely Faith Domergue (Opal Lacy) is nicked "Brown Eyes" early on by "Lightning."
Then there's mondo-heavy Eugene Iglesias, who plays Johnny Sombrero. I honestly couldn't refrain from laughing every time he was on screen. Dressed in red and white striped pants and wearing an impossibly large sombrero pushed back off his head he was a caricature of... something. How can a guy in candy stripe pants and a balloon hat intimidate?
Wisely the film-makers don't overload Murphy in this one. Although he's the nominal star, McNally does most of the heavy lifting. Murphy is along more as a wise-cracking (!?) sidekick. My uninformed take on Murphy was that he was a Roy Rogers/Gene Autry type. Squeaky clean, you know. Siegel gives the Silver Kid an edge, and to Murphy credit that edge remains sharp. Still and all it was a bit of a surprise to see Lightning and The Kid interrogating Brown Eyes and hearing The Kid impulsively say "I bet I can get it out of her." Heeheehee. I was half expecting The Kid to call her a punk and ask her if she was feeling lucky.
DUEL AT SILVER CREEK is a dandy little horse opera. It will satisfy without offense those who love traditional westerns, and sate those with less conventional tastes.

Overlooked but very good...........2003-09-23

I had forgotten just how enjoyable this little Audie Murphy Western was until I recently purchased this handsome Universal DVD release. Murphy in this venture is "the silver kid," and his co-star Stephen McNally actually steals the show. The action is fast-paced and believable, the plot way above average. There are shoot outs, claim jumping, and some humor thrown in--Audie has some droll lines. Universal-International made a number of fine Murphy Westerns in the 1950s into the mid 1960s. DUEL AT SILVER CREEK is one of the better ones. Now let's hope that Murphy's finest outing in the genre, NO NAME ON THE BULLET, and some of his other, better films---RIDE CLEAR OF DIABLO, GUNSMOKE, SEVEN WAYS FROM SUNDOWN, TUMBLEWEEDS, get the nod from the engineers at Universal.

What's the Worst That Could Happen? (Special Edition)

Average customer rating:

What's the Worst That Could Happen? Well, Expecting this to be a funny movie for once
The worst that could happen? Watching this film.
AN ANSWER TO THE QUESTION IT ITSELF POSES.
Not too shabby
Waste of a good story

What's the Worst That Could Happen? (Special Edition)
Starring: Martin Lawrence , Danny DeVito , John Leguizamo , Glenne Headly , and Carmen Ejogo
Director: Sam Weisman
Manufacturer: MGM (Video & DVD)
ProductGroup: DVD
Binding: DVD

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ASIN: B00005UQ9A
Release Date: 2002-01-01

Description

Possession may be 9/10 of the law but payback is everything to the lawless. Martin Lawrence and Danny DeVito escalate a battle of egosand a battalion of laughsto epic proportions in this fast-paced joke-fest that takes low-down behavior to hilarious new heights! Co-starring John Leguizamo (Moulin Rouge), Glenne Headly (Dirty Rotten Scoundrels), William Fichtner (Pearl Harbor), Bernie Mac (The Original Kings of Comedy), Carmen Ejogo (The Avengers), Larry Miller (The Nutty Professor II) and Nora Dunn (Three Kings), this laugh-out-loud comedy proves that "the worst that could happen is missing this film" (Jeffrey Lyons)! Caught red-handed trying to rob a mansion, Kevin Caffery (Lawrence) leaves empty-handed when the house's owner, ruthless billionaire Max Fairbanks (DeVito), spies Kevin's "lucky" ring and claims it as his own!Out of jail and out of his mind with rage, Kevin will do anything to get the ring back. But Max considers it his most cleverly won possession and will do anything to keep it! With battle lines drawn and no risk too great, these two set out to ruin each other's lives and both succeed admirably!

Customer Reviews:

What's the Worst That Could Happen? Well, Expecting this to be a funny movie for once.......2005-07-24

So not funny, I am a fan of Martin Lawrence's comedyflicks but this just isn't funny... and what's up with the gay fashion policeofficer?

Danny Devito isn't funny at all in this film, and he ahas the lead in it so it gets really annoying watching it...

Even BLACK KNIGHT was 5 times better... do not even rent this movie...

The worst that could happen? Watching this film........2005-02-25

Five minutes in, I was cringing. Fifteen minutes in, I was in pain. It rates one star because the cinematography, lighting, sound, and other techical crews did competent work -- and because it's the lowest rating on the form.

If you love a good comedy caper, read the Donald Westlake book this atrocity was based on. It's clever, thrilling and hilarious -- everything the movie ain't. If you *must* get your comedy capers in movie form, get The Hot Rock instead. On the other hand, if your idea of brilliant humor is the stuff that cracks up 12-year-olds when they think they're being naughty, hey, this may be right up your alley.

AN ANSWER TO THE QUESTION IT ITSELF POSES........2004-05-30

Starts out with good timing, and some decent laughable banter from Martin Lawrence. Nothing laugh out loud funny but pleasantly amusing schtick. The central premise is actually quite interesting (billionaire stealing a ring from a petty robber etc), but the film fails to take advantage of it, choosing instead to lapse into numerous plot-holes, cliches and mind-bending stupidity. There's even a gay, dog-loving detective who adds fart humor to the mix. And all this leads to a climax that takes a quantum leap of logic and rationality. Perhaps a worthy rental if you're into slapstick, but overall a skippable fare.

Not too shabby.......2003-06-01

Not the Best movie, but worth seeing. if your looking for a movie to make you laugh alot than thi isn't it. But its alot better than some other movie out there so just give it a chance

Waste of a good story.......2003-03-11

A big fan of Donald Westlake, especially the Dortmunder series, this adaptation of one of his funniest was ruined by allowing the likes of Martin Lawrence. Matthew Chapman, responsible for the screen play obviously didn't understand the Dortmunder character. As usual a good story is chopped and hacked deviating from the story line and loosing the real purpose behind the events that lead to the final confrontation with Max Fairbanks. What a disappointment. At least read the book, you'll enjoy it better and you're intelligence won't be insulted by the fast, smart mouth talking of Martin Lawrence, who by the way is one of the executive producers. Go figure. (I didn't even want to give this star but you can't forward your review unless you pick one of them)

Average customer rating:

Dark, Unembridled Greed
A Search For The Lost Dutchman Gold Mine, With Murder And Greed Along The Way
Great mystery Western

Lust for Gold
Starring: Ida Lupino , Glenn Ford , Gig Young , William Prince , and Edgar Buchanan
Director: S. Sylvan Simon
Manufacturer: Sony Pictures
ProductGroup: DVD
Binding: DVD

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Prince, William | ( P