Strangers on a Train (2012)

"Strangers on a Train" is that rarity, an Alfred Hitchcock film concerning which one talks about an actor's performance almost as much as the director's. The actor, of course, is Robert Walker, presenting his remarkable portrayal of Bruno Anthony, the rich, unstable man who offers the hero Guy Haines a deadly proposition: he'll kill Guy's wife Miriam (played by the interesting Laura Elliott) if Guy will kill Bruno's father. Because they are strangers on a train who do not know their intended victims, there will be no motives, therefore perfect alibis. Guy doesn't take Bruno seriously, which turns out to be a fatal mistake. Bruno is a complicated part. Although he is obssessed with his own superiority, he can be incredibly petty (popping a little boy's balloon just for the meanness of it), not to mention prissy ("I'm afraid I don't know what a `smoocher' is!"). The character seems to overshadow the entire movie, which is appropriate, because Bruno casts a shadow over the easy, affluent world in which he lives. When he crashes the senator's cocktail party, it's like Satan has arrived, striding through polite society. And, no, Walker was not nominated for an Oscar. Neither was Joseph Cotten for "Shadow of a Doubt". Neither was Anthony Perkins for "Psycho". The Academy evidently had difficulty with Hitchcock's anti-heroes. Hitchcock originally wanted William Holden for the role of Guy Haines, but I think Holden was so savvy and macho, it would have been difficult to accept him as a psycopath's pawn. Farley Granger is atheletic enough to be convincing as a tennis champ, but he has a boyishness which makes the vulnerable aspects of the character believable. The film is filled with the touches one associates with Hitchcock. Some are obvious, like Miriam's strangulation reflected in her eyeglasses. Others are more subtle: After the murder, Bruno approaches Guy outside Guy's apartment house. At first Guy cannot tell who is calling his name in the dark. Bruno is standing near a large gate with wrought-iron bars; and, as Guy comes near him, he steps behind the gate -in other words, he's behind bars. Then, after he has told Guy about Miriam's death and Guy is absorbing the shock, a police car pulls up in front of Guy's apartment house and Guy himself ducks behind the gate. Now they're BOTH behind bars. Hitchcock was a genius, no doubt about it.I wonder how many viewers have noticed the odd discrepency near the end. Bruno has stepped off the train at Metcalf, holding the incriminating cigarette lighter he hopes to plant on the amusement park island, thus framing Guy. A pedestrian brushes by him and the lighter falls into a storm drain in the street. Bruno, frantic, tries to enlist the aid of passersby. However, he says (not once but twice) "I dropped my cigarette CASE in the drain!" Walker, of course, was in the process of drinking himself to death; but the mistake could easily have been corrected with a little dubbing. It's bothered me for years why it wasn't.Director of Photography Robert Burks began his long association with Hitchcock on this picture. He must have worked night and day to satisfy Hitchcock's demands, but his loveliest effect is the amusement park's neon lights against a glowing black-and-white sunset.The film's mood is enhanced by Dimitri Tiomkin's romantically mysterious score. It's particularly striking in the movie's"coda" when Guy is trying desperately to finish a tennis game (allegro) and Bruno is desperately trying to reach that damn lighter (adagio). Hitchcock and Tiomkin worked a couple of more times together but never more effectively than in thisdazzling masterpiece.

It's important to note two things about this edition of "Strangers on a Train." First off, the description on Amazon.com's page is incorrect. This DVD is not in widescreen. The second thing is, to you widescreen buffs out there (including myself) -Relax! This film was never shot in widescreen. In fact, prior to 1953 (The Robe), there was never anything bigger than 35mm! This is why this film (and you'll be surprised to hear), many, many classic films will never be produced in widescreen. They don't exist. You should buy this DVD because of the video quality and the extra "goodies." Gone with the Wind in widescreen? Nope, never was, even though it was blown up to 70mm and cropped horribly in the 1968 re-issue. What's out there on DVD on Gone with the Wind is standard 35mm "TV semi-square" framing, because that's the way it was shot. Wizard of Oz, Casablanca, Citizen Kane? Nope, never shot in anything greater than 35mm. It's a Wonderful Life? No again. Widescreen is limited to theatrical films issued for the most part, after 1953, when competition with television forced studios to come up with the "panoramic" gimmicks to bring people back into the theaters. This is period (1953-1963) when Cinemascope, Todd-AO, VistaVision, Super Panavision 70 and other widescreen formats were born -and the most extreme example was Cinerama, which used three cameras and is used to best effect in the DVD version of How the West Was Won. So don't fret, this DVD is good, crisp and clean and formatted as Alfred Hitchcock intended! Tomorrow's movies will be in IMAX (see Fantasia 2000, in selected theaters now).

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"Strangers On A Train" should be rated as Hitchcock's absolute best.

To begin with, it features a perfect performance by Robert Walker, an actor who would be dead within a year after making this great movie.

Walker had previously played some wonderful roles, but he astounded the world with his acting ability once "Strangers On A Train" was released.

Aside from Walker's amazing performance, "Strangers On A Train" is full of half-hidden meanings which relate to the dual personality each of us possesses.

Hitchcock was a true genius, who not only understood both the dark and the bright sides of the human psyche, but who also knew how to depict that understanding by way of film.

I have watched "Strangers On A Train" a dozen or more times, and never tire of watching it yet again, each time finding something new that I had not noticed the time I watched it before.

But, the main reason I watch this film so often is to enjoy the exceptional , perfect performance by Robert Walker. Walker was only in his 30s when he died. He was a tragic figure in real life. He died much too soon, and we are very fortunate to be able to observe his wonderful talent, preserved in this movie, almost fifty years after his passing.

Read Best Reviews of Strangers on a Train (2012) Here

This review refers to the Warner Bros. DVD edition of "Strangers On a Train".....

Had I only been reviewing the film alone, there is no doubt I would go 5 stars for this great film. Five stars hardly covers it for this cinematic work of art, that defines the genius of Alfred Hitchcock. But alas, the transfer to DVD will be a big disappointment to Hitch fans, as it was not given the attention this treasure deserved.

First the story... Even if you didn't know this was a Hitch film, you will immediatley recognize this as a work from the master of suspense. All the tell-tale trademarks are there. As the film opens, the camera work brillantly shows everything in pairs. Two pairs of shoes, from what are obviously two very different styles of dress,two pairs of railroad tracks criss-crossing, and finally the two very different men that fill the shoes... have a chance meeting. Guy Haines,professional tennis player and an upright kind of guy, and Bruno Antony, a mysterious,slick fellow have a conversation. Guy, it seems has an unfaithful wife, who won't divorce him, so he can be with the woman he loves. Bruno has a deep resentment for his father.It is then we learn how really psychotic Bruno is. His idea...a "Criss-Cross"."I'll do your murder"..he tells Guy "and you do mine".Guy sluffs off this very chilling notion, but soon learns that Bruno is not going to let it go. Soon Guy finds himself as a murder suspect and must prove his innocence.

The story, with the screenplay by Raymond Chandler and Czenzi Ormonde, is suspensed filled and as in all Hitchcock films, we feel the need to warn the hero, but can only sit and watch with our hearts in our throats.The shadows, light, and expert camera work all add to the thrill of it all.Hitch as usual picks the perfect cast. Farley Granger as Guy has you in his corner all the way. Robert Walker couldn't be any more chilling. Rounding out the cast with wonderful performances are Ruth Roman, Patricia Hitchcock, Leo G Carroll, who appears in many of Hitch's films and always immaculate, and for a real treat look for Marion Lorne, the beloved 'Aunt Clara" from "Bewitched".The music by Dimitri Tiomkin is masterfully chilling as well.

Looking for Hitch....You won't have to wait long..about ten minutes in..more double trouble as Hitch boards a train with his 'double' bass fiddle.

Now for the DVD transfer. There's good news and bad news. The good news is that this disc contains the recently discovered British pre-release. This version has been edited differently in some places as Hitch felt certain scenes would play better in England, and some better in the states.You'll find some production notes included explaining the reasons. There is also an old publicity newsreel of Hitch promoting his film, and although there is no sound it is still fun to watch. There are subtitles in English, French and Spanish, and may be viewed in French as well.The bad news..as mentioned above the transfer itself. The black and white images, seemed dingy. Jump to almost any scene and you will see signs of age. It is scratchy and grainey. The sound is in DD1.0. Some enhancement would be a welcome addition(we want to hear every sound that Hitch intended).It really pains me to go three stars for this treasure..but I can only recommend the film and not the DVD.

This was a pretty intense film way back in 1951 and still is today! Unless you are as crazy for Hitch as I am(and feel an intense need to have everything every filmed by him), you may want to wait and hope for a better release(Warner Bros..are you listening?).If by some chance, you have not seen it though, and love a great film-noir..rent it, borrow it, do whatever it takes to see this classic.

It's a geat ride....Laurie

also recommended:

Best Picture Collection Epic Dramas (Casablanca/Gone With the Wind/Ben-Hur)

Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C

Want Strangers on a Train (2012) Discount?

Although there's no doubt that Hitchcock directed a number of classic films before "Strangers on a Train", it seemed as if this film somehow liberated him in some way. After "Strangers" he directed a string of classic films which have rarely been surpassed. The themes that always sprinkled his best work come to the fore in this terrific film. Although the narrative and the film has some minor flaws, they're easy to overlook given the power of this marvelous motion picture.

UPDATE FOR THE BLU-RAY:

Warner has done a nice job of transferring this film to Blu-ray. The film looks exceptionally good with a crisp, sharp transfer. The Blu transfer sports strong blacks. The film has very consistent grain except for a few scenes where it's clear that they might have had to use a different source and where grain is a bit rougher compared to most of the film. This happens in only a couple of brief sequences but, on the whole, the film looks marvelous. I didn't detect any use of edge enhancement.

Audio sounds quite strong with a very nice lossless mono track with dialogue close and clear.

Unfortunately the alternate cut of the film (an early preview version that was prepared for the UK but, evidently, was never shown) is presented in standard definition. A high def transfer of the alternate version could have been prepared for this edition. I'm unclear as to why a high def version wasn't included of this although it's a minor point (for others it might be a major issue).

The carried ove special features are in standard definition.

The Blu-ray is Recommended although a high def transfer of the alternate cut would have been appreciated.

2 DISC DVD EDITION:

Guy Haines (Farley Granger)a tennis pro wants a divorce from his gold digging wife Miriam(Laura Elliot aka Kasey Rogers). Turns out she doesn't want a divorce anymore now that Guy has a socialite girlfriend (Ruth Roman)who is the daughter of a prominent senator. Miriam (curiously, also the name of Janet Leigh's character in "Psycho")is pregnant with another man's child and wants as much as possible from Guy. On the train back to Washington D.C. guy meets Bruno Antony (the marvelous Robert Walker)a psychopathic killer in the making. Bruno engages Guy in conversation and Guy tells him about his wife. Bruno suggests that he can come up with the perfect murder; they swap murders and, since they don't really know each other, the police will not be able to connect the murders to them. Guy humors Bruno thinking nothing of it. Until Bruno follows through on his part of the "bargain" in a brilliant, stunning sequence reflected in the glasses of the victim. Now Bruno is stalking Guy insisting that he complete his part of the bargain.

THE DVD:

This deluxe two disc edition improves on the previous single disc dual sided edition of a couple of years ago. This set includes both the theatrical release and the preview release (mistakenly referred to as the "British" release on the previous edition). We also get a number of terrific extras on this two disc set including 4 short documentaries and an extra carried over from the previous edition of Hitchcock promoting "Strangers on a Train" with some local performers dressed in colonial costumes. Although this section has no sound and has no titles explain the action (it is explained on the previous edition however), it's a fascinating glimpse into the past. We hear about the Hitchcocks from their daughter and granddaughters. We also hear about the making of the film from Robert Walker's son, Patricia Hitchcock O'Connell, film critic Richard Schickel and others. The only short I felt was a waste of time was comments from director M. Night Shyamalan who sounds a bit like a drolling film student here. That would be OK but he doesn't make any observations that amount to anything.

The first disc contains the original theatrical version with a commentary track by "Psycho" and "The Outer Limits" screenwriter Josephn Stefano, director Peter Bogdanovich, Patricia Highsmith biographer Andrew Wilson, various cast family members and Hitchcock himself from an interview. The film has never looked so great before on DVD. The previous edition looked good but had signficant grain problems, analog artifacts and had a picture that tended on the soft side. The picture here is sharper with better clarity and richer blacks, whites and grays than the single disc edition.

Disc two contains all the extras plus the preview version which has a couple of minutes that were cut from the final version. In this version there's a bit more interplay between Bruno and Guy "suggesting" that Bruno is gay. Again, the picture here is a marked improvement for similar reasons. Evidently when Jack Warner saw Hitchcock's preview version, he agreed with the original ending that Hitchcock had in mind.

A great movie just got greater and the fact that this is in a plastic amray case vs. the cardboard snapcases is a marked improvement. Highly recommended for both Hitchcock fans and those interested in learning about the master of suspense.

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My Afternoons with Margueritte (2010)

Gerard Depardieu is back...and this time in a sensitive, enchanting film about the beauty of a friendship between a nearly illiterate man and an elderly woman with a deep affection for books. Sitting on a park bench watching the pigeons play and interact, the woman elegant, wise, but going blind senses the honest heart of the man beside her, the character played by Depardieu. She warms up to him and vice versa. They end up loving each other, but not in the conventional way. She reads books aloud to him and finds out that he is an especially good listener.

It's not just about the love of books, it's about the love of loves. In an age where too many movies celebrate violence and sex, this is a gentle change of pace. And let me add that Giselle Casadesus who plays the lead character is a sensation.

Based on a novel by Marie-Sabine Roger, MY AFTERNOONS WITH MARGUERITTE is pleasant, (mostly) family-friendly escapism that serves as a reminder to the young-at-heart who think they know it all. It's the uncharacteristic love story between Germain Chazes (played by Gerard Depardieu) and Margueritte (Gisele Casadesus), two neglected souls who share a park bench in a chance meeting where they talk about the pigeons. Immediately, the elder Margueritte takes a pleasant enough shine to Germain, who's viewed by the locals as a bit of a buffoon. Raised by a mother he believes never loved him, Germain lacked any real affection as a child. In flashbacks, we're shown that throughout his school days he was ostracized by students and teachers alike. He never quite `fit in' with any of his relationships, and, as a consequence, he strongly responds to Margueritte's courtesies. They continue to meet over the next several weeks, wherein the senior agrees to read to him from the books of her personal library.

In short, AFTERNOONS is an oddly effective `coming of age' story for both the principles. Margueritte at her advanced age lives what's left of her days in an assisted living community, where she's holed up with her books, rarely visited by her own family. By contrast, Germain sees the world plainly, engaging in such elementary tasks as naming each of the park's pigeons he feeds based on their observed behaviors. Margueritte becomes smitten by his honest (if not poetic) simplicity, and he slowly begins to realize he may be as "simple" as he's often dismissed himself. Like in any positive relationship, the two come to understand one another in unique ways that brings greater happiness to their lives, even though others scoff at the time they spend together.

Also, there's an odd narrative parallel running between two distinct love stories: (1) Germain and Margueritte, and (2) Germain and Annette (played by Sophie Guilleman), his legitimate girlfriend from town. There's the obvious generational difference between the simpleton and his elderly suitor-of-sorts, but there's a second one between Germain and Annette, who appears (at least to me) about 30 years his junior. The much-older-man with the much-younger-woman doesn't factor as prominent, but it's clear that the townsfolk have no reservations about those affections; by contrast, Germain receives much good-spirited "ribbing" for spending so much time with the old woman. I believe the statement made here is that it's odd how some relationships are accepted, if not encouraged, while others are frowned upon and the source of scorn.

In the end, Germain sees it as love. To be perfectly honest, it probably is, though it may not be the form most folks expect between a man and a woman. Also, given the fact that he's portrayed a bit as the village idiot, one could reasonably question whether it is or not. In the end, it doesn't matter, for, when you're exploring matters of the heart, all that really matters is what the two `lovers' feel. In that estimate, AFTERNOONS are worth spending in the comfort of your soul mate, and these two have definitely found one another.

MY AFTERNOONS WITH MARGUERITTE was produced by ICE3, K.J.B. Production, France 3 Cinema, Studio Canal, DD Productions, and a host of others. DVD distribution is being handled domestically by New Video Group. It all looks and sounds solid. Artistically, I had some trouble with Germain's flashbacks; they were filmed in the same fashion as the present-time parts of the narrative, and it would've been nice had the director chosen to set them apart visually a bit because, the first time it happened, I assumed we were in present day ... until the school boy answered to his name. It's a mild hiccup, but I thought it worth mentioning. No significant special features to speak of; a commentary might've been nice, but, alas, it wasn't meant to be.

RECOMMENDED. It's not a big picture. It isn't necessarily elegant or boldly dramatic in any particular way. Still, MY AFTERNOONS WITH MARGUERITTE is a pleasant enough diversion one exploring a chance encounter that turns into an effective if unconventional relationship for both parties brought to life convincingly by the two leads. It may not change the way you live your own life, but it just might make you think twice when you happen across an elderly spinster sitting on a park bench.

In the interests of fairness, I'm pleased to disclose that the good folks at New Video Group provided me with a DVD screener copy of MY AFTERNOONS WITH MARGUERITTE for the expressed purposes of completing this review.

Buy My Afternoons with Margueritte (2010) Now

So amiable, pleasant, and likable--the French confection "My Afternoons with Margueritte" is pretty hard to resist. The film is set in a provincial town where everyone knows everyone else's business and the citizenry is populated with an expected assortment of eccentric character types. At the heart of the film is Gerard Depardieu playing, essentially, the village idiot. As a functional illiterate with a penchant for saying the wrong thing, most of the town laughs along with his antics. People like him, but he is taken primarily as comic relief. His tumultuous relationship with his mother hints at something a little darker beneath the surface and we see glimpses, both past and present, of a less genial life story. But we never dwell on anything too serious in this breezy little film.

But what of Margueritte? She is an elderly woman from a local home that has a chance encounter with Depardieu in the park. They bond over pigeons, and soon their one-time meet morphs into a regular encounter. She shares her love of books with him as she reads aloud and encourages him to embrace that it's never too late too learn. As their bond deepens into a loving friendship, there are a few stumbling blocks. It's all rather predictable, but always very sweet as well. I suppose it would have been very easy for this to have turned into overly sentimental treacle, but the pace is brisk and the actors are engaging--so it's a story you want to root for even if it holds few surprises.

The fact that the movie works as well as it does is certainly a testament to the two leads. I especially thought the great Gisele Casadesus had a pleasing matter-of-factness as the aforementioned Margueritte. When she and Depardieu play off one another, it is a real delight. Her faith in him gives him more confidence in himself, and it's a charming message. I might have toned down some of the unnecessary wackiness within peripheral storylines. I might also have liked to know how, given his reputation in town, Depardieu scored such a lovely and supportive girlfriend. But these are minor quibbles. "My Afternoons With Margueritte" is just a pleasant experience that you give yourself over to. I'm not sure that Jean Becker's film is going to linger with me for long, but I enjoyed it in the moment. KGHarris, 6/12.

Read Best Reviews of My Afternoons with Margueritte (2010) Here

( This is a review of the Standard DVD version of this release.)

Remember in the 1970s and 1980s when French actor Gerard Depardieu was a French "matinee idol"? Okay he wasn't "small" in stature but you would never consider him large. Well time passes and the actor (with almost 275 films to his credit ) is older and much larger now. But he still has that innocent face, and, in his early 60s, is still making fine films.

This low-keyed film matches Depardieu with 97-year old French actress Gisele Casadesus as an unlikely pair who meet one day in a park (literally) counting the pigeons. Depardieus's character, Germain, is a hard worker (he cultivates fruits and vegetables to sell at outdoor markets) but was a slow learner in school and can hardly read. His newly found bench mate is articulate and an avid reader and through reading aloud to Germain she brings a whole new world to him. Director Jean Becker uses an interesting technique to show us how the words (such as those in Camus' "The Stranger") come to life in Germain's mind.

The 83 minutes of this film go by quickly as we are drawn into the story and the actors (both veterans) make us feel for their relationship, knowing that, at age 97, Margueritte has only so much time to read. The ending is sweet and will put a tear in your eye.

My only fault in this DVD (which has no supplemental material except the theatrical trailer) is that the subtitles are in white text and are often difficult to read when the background is also white or in pale colors. (Subtitles work best when they are in green or a contrasting color or shown below the image.)

I can certainly recommend this to Depardieu fans, those who like French films or avid readers who love the printed word.

Steve Ramm

"Anything Phonographic"

Want My Afternoons with Margueritte (2010) Discount?

So amiable, pleasant, and likable--the French confection "My Afternoons with Margueritte" is pretty hard to resist. The film is set in a provincial town where everyone knows everyone else's business and the citizenry is populated with an expected assortment of eccentric character types. At the heart of the film is Gerard Depardieu playing, essentially, the village idiot. As a functional illiterate with a penchant for saying the wrong thing, most of the town laughs along with his antics. People like him, but he is taken primarily as comic relief. His tumultuous relationship with his mother hints at something a little darker beneath the surface and we see glimpses, both past and present, of a less genial life story. But we never dwell on anything too serious in this breezy little film.

But what of Margueritte? She is an elderly woman from a local home that has a chance encounter with Depardieu in the park. They bond over pigeons, and soon their one-time meet morphs into a regular encounter. She shares her love of books with him as she reads aloud and encourages him to embrace that it's never too late too learn. As their bond deepens into a loving friendship, there are a few stumbling blocks. It's all rather predictable, but always very sweet as well. I suppose it would have been very easy for this to have turned into overly sentimental treacle, but the pace is brisk and the actors are engaging--so it's a story you want to root for even if it holds few surprises.

The fact that the movie works as well as it does is certainly a testament to the two leads. I especially thought the great Gisele Casadesus had a pleasing matter-of-factness as the aforementioned Margueritte. When she and Depardieu play off one another, it is a real delight. Her faith in him gives him more confidence in himself, and it's a charming message. I might have toned down some of the unnecessary wackiness within peripheral storylines. I might also have liked to know how, given his reputation in town, Depardieu scored such a lovely and supportive girlfriend. But these are minor quibbles. "My Afternoons With Margueritte" is just a pleasant experience that you give yourself over to. I'm not sure that Jean Becker's film is going to linger with me for long, but I enjoyed it in the moment. KGHarris, 6/12.

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The Organizer (Criterion Collection) (1963)

At the end of the 19th century, in Turin, Italy, textile factory workers are sweating out 14 hour days. From the very young to older family members are employed here, and sometimes it looks like the whole town is here. Overly tired and sleepy by days end, one worker carelessly is maimed by machinery. Next day, the workers plan to talk to the manager about the long hours, but they get nowhere.

A few are selected to lead the group and their first attempt is to work one hour less at days end by cutting off the steam to the machinery. Then they think about beginning their day one hour later. When a professor Dr. Sangrillia, comes to town, it is with his expertise that encourages a strike. They plan some benefits to hold themselves during the strike, like stealing coal. Meanwhile, we get the company's reaction to the strike.

This movie, it's Italian name I Campagni, is a grainy black and white filmed in 1963, a docudrama effect with a slight comedic edge. It is a sight to see when a trainload of scabs (unemployed men from another town) engage in physical battle with the strikers. Born in 1915, Mario Monicelli is known as one of Italy's finest directors, King of Italian comedy, directed numerous movies, written screenplay, and is an actor. He is known to have a role in the 2003 Under the Tuscan Sun. Not on DVD yet, the video subtitles are not perfected, and at times difficult to read. 130 minutes. There is a certain look to this film that clearly depicts the era. Try this! ........Rizzo

Italy in 1900 was at a stage similar to the United States in 1820. The industrial revolution was beginning. Textile and garment making factories were springing up. Desperate, poor peasants were moving from the fields to factories. This film depicts what this experience was like through the eyes of a boy of about 12. His father has died. He must go out to work to support the family. Without any preachiness, the film has the viewer enter a world where child labor is allowed, where there is no social safety net (no welfare, no unemployment compensation, no survivor's benefits, no sick pay, no medical insurance, no disability benefits). If you don't work, you starve. It's a world where there is no concept of an 8-hour day -from 12 year old boy to old man, workers toil from sunrise to sundown, maybe 12 or 14 hours a day, six days a week. And near the end of that long day, workers in the textile factory are very tired. Without any safety laws, the machines are dangerous and tired workers can get their hands caught on the looms and be maimed. Working hard will not get one a better future (not mentioned in the film as Italians would know this -there were no public schools, no way for a worker to get a mortgage to buy a tiny dwelling). Theirs will only be a life of drudgery.

What was unusual about Italy is who tried to help the workers. The union organizers were not workers but young upper middle class men, most of whom had been educated in France or England. They came back and thought Italy (newly unified) backwards, and in particular, that the peasants and workers were oppressed with no realistic chance of improvement unless they organized. Marcello Mastroianni portrays an idealistic young man, with no experience of the reality of grinding poverty, but who truly wants to help the workers. Although he is from a vastly higher social class, the workers do recognize his honesty and his true concern. There is no happy ending, and the film is brutally honest. There is no whitewashing of what life was like (including a humorous but touching scene where the organizer must hide from the police and the daughter of a worker hides him in her room -she is a prostitute and stoutly defends her choice to do something that will make her enough money to escape from grinding poverty unmaimed). But one does see that the workers, having organized, have won something -a sense of respect for themselves and the realization that if they act together they may be able to improve their future.

Buy The Organizer (Criterion Collection) (1963) Now

I Compagni is memorable. When we consider why films move us, affect our lives, indeed, create us to some extent, we think of films such as this. This is not just an artistic triumph for all its filmmakers, but also a moving document of humanity. We take measure of Mastroianni not by his range of performance but by his deep involvement. Like France's Charles Aznavour has his heart in his song, Marcello Mastroianni is fully engaged in his performance. As Professor Sinigaglia in I Compagni, Mastroianni is at his best form. The source of his intensity is not his surface emotion, but the depths of his soul.

Read Best Reviews of The Organizer (Criterion Collection) (1963) Here

When there is discussion of the oeuvre of an Italian filmmaker, it is easy to mention the names of legendary directors Federico Fellini, Michelangelo Antonioni, Vittorio De Sica, Luchino Visconti and Mario Monicelli.

Mario Monicelli is known in Italy as one of the masters of Commedia all'Italiana (Comedy Italian style) and received Oscar nominations for his screenwriting for "The Organizer" (1963) and "Casanova '70' (1965). As well as a Grand Prize of the Festival nomination at the Cannes Film Festival ("Guardie e ladri", 1951) and Palme d'Or nominations for "For Love and Gold" (1966), "Vogliamo i colonnelli" (1973), "An Average Little Man" (1977) and "Le due vite di Mattia Pascal" (1985).

And while he is known outside of Italy for his comedy films such as "I soliti ignoti" ("Big Deal on Madonna Street") and collaborating with talents such as Toto, Vittorio Gassman and Marcello Mastroianni, Mastroianni also directed films that contained humor, but were tragic or futile. One of the most important films Monicelli is known for is "La grande guerra" ("The Great War", 1959), which he was nominated for an Academy Award and considered as his top masterpiece, and also directing "i compagni" ("The Organizer", 1963) and "The Girl with the Pistol" (1968). Both films, he would also receive Academy Award nominations. Fitting films for a Marxist who accepted reality and its failures.

In his lifetime, he won 27 awards worldwide and won an Honorable Mention at the 44th Berlin International Film Festival and a Golden Lion for Career at the 1991 Venice Film Festival. His final film was in 2006 in which the filmmaker directed "The Roses of the Desert" at the age of 91.

A man full who lived life to the fullest, unfortunately his final years with prostate cancer would become too much of a burden on the filmmaker that he committed suicide in 2010 at the age of 95.

While many people are familiar with Monicelli's comedy films such as "Big Deal on Madonna Street", which was released by the Criterion Collection back in 2001. Criterion Collection will be releasing "i Compagni" ("The Organizer"), one of his more serious films ala "tragicomedy" for the first time on Blu-ray and will also be released on DVD in April 2012.

VIDEO:

"The Organizer" is presented in 1080p High Definition (1:85:1 aspect ratio). The whites and grays are well-contrast and black levels are very deep. For the most part, I detected no film damage or any white specks, artifacts or banding issues. The quality of the film is very good, doesn't look soft and viewers should be pleased.

According to the Criterion Collection, this new high-definition transfer was created on a Spirit Datacine from a new 35 mm print. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixel Farm's PFClean, while Image Systems DVNR was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"The Organizer" is presented in LPCM 1.0 monaural Italian with optional English subtitles. Dialogue is crystal clear and I detected no pops or hiss during my viewing of this film.

According to the Criterion Collection, the original stereo soundtrack was remastered at 24-bit from a 35 mm optical soundtrack positive. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated workstation.

SPECIAL FEATURES:

"The Organizer The Criterion Collection #610' on Blu-ray comes with the following special features:

Mario Monicelli (10:53) Featuring an interview with director Mario Monicelli recorded by the Criterion Collection in 2006. Monicelli talks about Commedia all'Italiana and his career.

Theatrical trailer -Theatrical trailer for "The Organizer".

EXTRAS:

"The Organizer The Criterion Collection #610' comes with a 4-page (dual sided) fold-out leaflet, featuring the essay "Description of a Struggle" by J. Hoberman.

JUDGMENT CALL:

I simply adore the films by Mario Monicelli and when it comes to "The Organizer", it's rather fascinating because when it comes to films about workers going on strike, in many modern films, the outcome has always been in the employees favor and always positive outcome of how labor laws were changed.

But not so much the case in cinema past, especially films from Europe.

From Sergei Eisenstein's 1925 film "Stachka" (Strike) that showcased Eisenstein's theme of collectivism versus individualism and showcasing how employees work themselves to death while owners and management are wealthy and could care less about their employees, Eisenstein's film was grounded in Lenin belief that, "The strength of the working class is organization. Without organization of the masses, the proletarian is nothing. Organized it is everything. Being organized means unity of action, unity of practical activity".

We fast forward to 1963 and similar to "Strike", Monicelli's film is set during the turn-of-the-twentieth century Turin. As Eisenstein's film preached Leninism, Monicelli believed in Marxism, which literally is a society in which burgeois or idealism do not exist.

In today's world, specifically here in the West, the idea of long work hours, employment of children and literally no breaks can not be fathomed. But yet this mentality still continues in other countries. The reality for some countries today and how things were back then is that people accept their working condition and the fear of the harsh realities of not making any income is enough for one not to stand up and become defiant towards their management. As a collective, not many are willing to do public protests, strike back in the media nor are they in a position financially to do so.

This is the reality today.

And back then, a lot of these individuals had no means to strike back, especially as a collective through media or political means. In Eisenstein's "Strike", the reality of the employees and their organized strike was violence. Violence towards the management, violence towards any other employees who were not able to hold out from the strike and were willing to return to their jobs. And unfortunately, all that is left is tragedy.

Fortunately, Monicelli's "The Organizer" is a film that showcases Monicelli's belief that the reality is what it is, and the employees of Turin need to realize that going on strike may have hurt the management but in the long run, the reality is they have the means to outlast the workers, because they have the money to survive.

And another juxtaposition with Eisenstein's "Strike" is that the people were ready to fight and die for what they believe in. This was the Leninism perspective of working as a collective. Monicelli's "The Organizer" featured a collective that was held on a string, courtesy of Professor Sinigaglia, but it was evident that these workers have families, children that depend on them and while some maybe able to fight, the outcome is much more different, despite their being a tragedy.

Another key difference is the inclusion of comedy. Eisenstein's "Strike" was primarily focused on the strike itself and the differences of lifestyle with the factory workers and the wealthy and how the financial impact was hurting families.

In Monicelli's "The Organizer", times are tough but yet there is humor. May it be a man who tries to flirt with a young woman, the stocky long-time employee Pautasso during his lunch break as he holds a huge circular bread to chow down on, or may it be a young boy who is not afraid to talk back to his elders (and also admonishing his younger brother who is attending school but would rather be an employee at the factory) or the local prostitute who tries to entice Professor Sinigaglia.

There are many of these moments that help the viewer get closer to various characters and see that despite how difficult the times are, they try to make the best of it.

So, for me, "The Organizer" has always been a fascinating film as it is an intriguing juxtaposition when compared to Eisenstein's film. Both have similarities but yet are very different.

Actor Marcelo Mastroianni is often seen playing a suave, charismatic character that always gets the lady and come to think of it, I suppose nothing has changed as the Professor also manages to find a woman but in different circumstances. But Mastroianni does a good job playing Professor Sinigaglia and being the spoken leader for the workers.

But as Marcelo Mastroianni is the lead actor, what I enjoyed most of the film are the workers who attract the viewers through their feebleness, their humor or directive. Renato Salvatori, Gabriella Gieorgelli, Folco Lullu, Bernard Blier, Raffaella Carra and many more, its the supporting cast of the film that makes "The Organizer" come to life. The performances are honest and humorous but also feel realistic and natural, and because of that, it does add to the engaging storyline.

As for the Blu-ray release, the video quality of "The Organizer" is fantastic and the interview with Mario Monicelli included on this Blu-ray was also enjoyable to watch, considering it was shot during a time when he was in good health and a few years before he died. Although I wish there were more special features included, especially audio commentary, I'm still grateful that this interview with Monicelli was included on this Blu-ray release.

Overall, "The Organizer" has always been one of my favorite Monicelli films and I can only hope that with this release, it will pave the way for more Monicelli films such as "La Grande Guerra" ("The Great War"), "The Girl With the Pistol" or "L'armata Brancaleone" ("For Love and Gold") to receive a video release.

"The Organizer" is highly recommended!

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I saw this film when it originally opened in the early 60's. It literally changed my life and my identity. The professor, masterfully underplayed by Mastroianni, moves alone from town to town wherever there are poor exploited factory workers struggling against the brutal working conditions of early industrial Italy, quietly speaking to and organizing and then electrifying his audience into taking action to better their lot. All alone, he is utterly cut off from them because of his education and life experiences, he speaks to no one before returning to sleep in his hovel at night. Awakening to repeat the same routine the next day, and the next... Why does he continue with this lonely, unpaid, and unpraised existence day after day? Not because he covets the praises of the crowd, although he does get his share of that before moving on to the next town to repeat his "performance". But simply because it is the "right thing to do", according to his own conscience. His motivation is purely internal. He is the absolute "inner-directed man". He has stood as the model of how a human being should be ever since I first saw this remarkable film. You must see this!

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Forgetting Sarah Marshall (Blu-ray + Digital Copy + UltraViolet) (2008)

My wife and I took a chance on this and rented it when we couldn't find anything else. We haven't seen any other Apatow films -they all looked a little too adolescent for our tastes. We had read some good reviews of this, though, so we gave it a shot. It was a real surprise -very clever, well-written, and genuinely funny. Great cast, and all give excellent performances. Lots of real talent went into this. A very enjoyable movie.

"Forgetting Sarah Marshall" is another smashing success brought to you by Judd Apatow and friends. This time it is Jason Segel's turn to shine and he certainly does not dissapoint with a script that is both laugh out loud funny and emotionally honest.

While one has come to expect Jonah Hill, Paul Rudd, and even Segel himself to be on point because of their past turns in other Apatow produced comedies, it is the newcomers that really impress.

Like Christpher Mint-Plaisse as Fogel in "Superbad" it is the ability to find new and original comedic voices that have largely contributed to the success of past Apatow movies like "Superbad", "Knocked up", and even "40 year old virgin".

"Sarah Marshall" introduces the british Comedian Russell Brand to American audiences as Aldous Snow the ultra-ridiculous british rockstar/new boyfriend of Sarah Marshall. Brand has dynamite comic timing and is certainly willing to do anything for a laugh. His interactions with Jonah Hill whose character is obsessed with him are both creepy and laugh out loud funny.

the other real suprise is Mila Kunis. While I enjoyed her as jackie on "That 70's Show", her work here is truly relevatory. While she is essentially playing the requiste "dream girl" she is able to give the part some real depth while giving the movie a real warmth.

The other standout for me was Bill Hader who is funnier everytime I see him. Most will probably recognize him from his work in Superbad as Seth Rogen's partner and in this he plays segel's step-brother who is not afraid to tell Peter exactly how it is.

I also feel I need to mention Kristen Bell who plays Sarah Marshall. While the role is rather thankless she is quite funny and gives the character real bite. She also nails perhaps the most honest scene I have ever seen in a romantic comedy when she finally tells Peter why it didnt work between them. Both actors shine in the scene, but her work is both honest and heartbreaking and gives her character a depth that I certainly was not expecting.

This one is highly recommended

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Partway through this movie I was tempted to stop it, but I'm glad I didn't. This is a movie that starts good, has a wandering middle section, but a strong, satisfying finish. The story is one most people can relate to a guy gets dumped, tries to forget his ex but can't get away from her, and manages to find someone else. The part where I almost gave up on it was around where Jason Segel's character was breaking down in scenes which were intended to be funny, but at times just felt sad. I enjoy comedies which include their share of drama, but these scenes felt too forced. It seemed like some of those scenes stretched on for too long or borderline-funny gags were repeated too much. The movie does still have its share of funny scenes, like most of Apatow's films.

The scenes with the Dracula puppet musical were quite funny and the ending was rather touching. I will also give the movie credit for being one of the few daring enough to include male frontal nudity. Movies have no problem with having all the violence in the world but shy away from any nudity except graphic sex scenes. Here's an example of where nudity can be used in a story without being gratuitous.

Read Best Reviews of Forgetting Sarah Marshall (Blu-ray + Digital Copy + UltraViolet) (2008) Here

The story line of "Forgetting Sarah Marshall" is nothing completely new or all that complex. The movie starts off with Peter Bretter, played by Jason Segel, who ends up getting broken up by Sarah Marshall, played by Kristen Bell, his celebrity girlfriend of 5 years. I thought that I was going to see a movie that has been done a million times and will laugh at a few dirty jokes. Surprisingly enough, Jason Segel knows his way around writing and acting. For a man who has never played a lead character or written his own screenplay he was very impressive.

One thing that not everyone realizes is that the full frontal nudity scene was not in the movie just for laughs. We have him nude in the beginning because Sarah has completely stripped him of everything and she couldn't accept who he really is, his true nakedness. And if you watch the movie (I don't want to spoil it too much) you will see this motif happen again later in the film. Yes, it is very funny to see Peter standing naked while he is getting dumped, but it also served a purpose.

Throughout the film we get witty and fresh characters that continue to make us laugh. The bar tender from South Central always stirs up laughs and the Christian couple on their honeymoon will have you grabbing your sides. Not to mention the incredible character of Aldous Snow played by Russel Brand. I know many people are not a fan of Brand, but my friends and I just can't get enough of him. His amazing improv throughout the film and ridiculous attitude is all part of his humor.

If some of you are asking how it stands up to the other comedies of the year, I must say FSM trumps all. Tropic Thunder is a close second for me, but the closeness that this will have with people that have gone through difficult breakups will have them laughing a bit more.

Last thing I want to say is the three disc collectors edition is well worth every penny. All the special features are hilarious and definitely worth the view. They share stories of Russel Brand's first audition to how Jason felt watching his nude scenes with his mom and little sister. We also get some insight from Nick Stoller and how he felt directing his first film and being part of the Apatow gang. The best part about this DVD, and should be true about all other Unrated editions, is that you can choose to watch either the unrated or theatrical version. Personally I prefer the theatrical version because it flows better, but give the unrated a view for their extra jokes. "Forgetting Sarah Marshall" is a film that will not soon be forgotten.

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When you hear the phrase "date movie", most people usually think "chick flick", a movie that's pleasing to the female on the date yet only passable at best for the guy. Something like The Wedding Planner, 27 Dresses or the most recent chick-centric movie to be dubbed "the perfect date movie", Made of Honor.

Forgetting Sarah Marshall blows all those flicks right out of the water. This movie is a rare occurrence. It's a movie that has the right amount of romance for the ladies and an abundance of raunchy jokes for the guys. Kristen Bell is especially good in her role as the title character. She's come a long way since Veronica Mars. She proves that comedy is her real forte.

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Silver City (1951)

After the 1940s, Paramount Pictures concentrated on producing bigger budget "A" Westerns. During the 1950s the studio featured such stars as Charlton Heston (e.g., PONY EXPRESS, THE SAVAGE, ARROWHEAD), Alan Ladd (e.g., SHANE, BRANDED), John Payne (e.g., EL PASO, THE EAGLE AND THE HAWK), and Edmond O'Brien. Among O'Brien's several Paramount Westerns, Olive Films has licensed (thus far) DENVER & RIO GRANDE and SILVER CITY. SILVER CITY is fine Western entertainment, beautifully photographed in Technicolor, with solid production values, and good acting from a great cast. In addition to O'Brien, Yvonne De Carlo, Barry Fitzgerald, and Edgar Buchanan populate the action. This is thorough enjoyable Western entertainment.

Olive Films has licensed a number of Paramount Westerns, including RUN FOR COVER (Jimmy Cagney's best of the three oaters he made), PONY EXPRESS, THE JAYHAWKERS (with Jeff Chandler and Fess Parker), THE NIGHT OF THE GRIZZLY (Fess Parker), THE HANGMAN (with Robert Taylor) and perhaps O'Brien's best film prior to THE MAN WHO SHOT LIBERTY VALANCE, DENVER & RIO GRANDE (with its spectacular train crash scene).

Hopefully, Olive will continue to release Paramount Westerns. O'Brien's WARPATH is spectacular entertainment, as is FLAMING FEATHER (with Sterling Hayden). Let's hope they will see the quality release that Olive has given to SILVER CITY, RUN FOR COVER, and DENVER & RIO GRANDE.

Highly recommended; don't pass this one up.

A mining assayer (Edmond O'Brien) with a criminal past that haunts him joins forces with a miner (Edgar Buchanan) and his daughter (Yvonne De Carlo) to fight off a claim jumper (Barry Fitzgerald) and his henchman (Michael Moore). This rather ragged routine western, directed by Byron Haskin (THE NAKED JUNGLE), doesn't have much to offer though western junkies may find it agreeable. For the most part, it's the usual shoot 'em up but the most interesting aspect of it a subplot involving Richard Arlen as a man from O'Brien's past, now married to O'Brien's spoiled ex-fiancee (Kasey Rogers, STRANGERS ON A TRAIN). The barely suppressed marital tension between the two provides more conflict than the miners vs. claim jumpers plot. De Carlo is gorgeous in Technicolor but O'Brien needs a strong role to show off his acting talent. Without a good part, he's a cipher. With Gladys George and Myron Healey.

The Olive DVD is a spiffy colorful transfer in the proper 1.33 aspect ratio.

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i liked this movie very much the story was good and the actors were very good also

so again i recommend this western to all western movie fans buy it on line from

amazon.com

Read Best Reviews of Silver City (1951) Here

The basic story of a love triangle plus good versus evil flowed nicely through the film, albeit this is definitely not a deep dark film by any stretch more of a Saturday matinee. The scenes shot in the saw mill were completely implausible as the automated equipment used within the mill certainly didn't exist in the Wild West a bit imbalanced that they didn't think the details better. No matter, though this isn't the big budget production, it is certainly enjoyable for anyone who likes westerns and who wants to mindlessly kick back for a spell and just watch a movie for fun.

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Actor Edmond O'Brien deserves so much more credit for a long, talented career. His skills bring so much to this film and others he appears in. A great actor who is still missed by his fans.

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The Magnificent Seven (1960)

Yul Brynner, back in the late 1950's, wanted to direct an American version of the SEVEN SAMURAI, as an western. So he bought up the movie rights. He wanted to cast Anthony Quinn in the lead, as Chris. Brynner had been directed by Quinn in the remake of THE BUCCANEER. Quinn would have been great as Chris, the leader of the Seven; and what a different film it would have been. But, alas, Brynner himself took the part, and put his own stamp of individuality on it. He walked like a cross between a panther and a ballet dancer; light on the balls of his feet. Ironically, as an actor, he was slow on the draw, and not used to Westerns. But artistically, this was never apparent in the finished film.

Many of the Seven's actors had seen the Kurosawa film, and they were very excited about transferring it to the American West. Eli Wallach, as Calvera, in just a few short scenes, found both the humor and the cruelty in the bandit chieftan. His accent and speech pattern were fairly authentic; more so certainly than the young German actor, Horst Buchholz, endeavoring to find a southwestern/Texan/Mexican drawl. Director, John Sturges, had great hopes for Horst; the camera loved him. But it was the trio of studs, Steve McQueen as Vin, Charles Bronson as O'Reilly, and James Coburn as Britt, that dominated the frame.

Steve McQueen, wearing skin-tight leather stovepipe chaps, spent a lot of time finding ways to upstage Yul Brynner. There was a rumor that he would have preferred playing Chico, the Buchholz character. McQueen's manic physical performance, lightning fast with a pistol and a quip, seemed to work well for him, and it gave him more than his share of focus. His Vin emerged as lethal, lean, and hungry; yet weary of the gunfighter's plight, and envious of the simplicity and the honor of the peasants fighting for their families and their homes.

James Coburn, as Britt, was laconic and dangerous, and living on the edge of his blade; competing mostly with himself for the next big thrill. Coburn got the part he wanted, and though he was given minimal dialogue, his deliveries were classic. This set the mold for his future career.

Charles Bronson as Bernardo O'Reilly, half-Irish, half Mexican, was solid as a rock; an experienced stone killer, and yet still a soft touch for the children of the village. His death scene touched us. He found the pulse of his character, and he was both dangerous and decent.

Robert Vaughn, as Lee, seemed uncomfortable and lost. His part had been rewritten, and expanded for him. Yet he seemed ill-suited for the part, and the genre. Even his costume seemed ill-fitting. Part of the problem was that his characters' inability to participate in the first couple of firefights left us with little sympathy for him. Later then, in his scene with the peasants, in which he admitted his fear, the emotions seemed forced and poorly conceived. His last moment heroics and death did little to balance the scales.

Brad Dexter was nearly invisible. He is the one actor in trivia games no one can remember. His character, Harry Luck, with twice the dialogue as Coburn, paled in comparison. Part of it was Dexter himself. He was a bland, middle-of-the-road, B-Movie heavy, and it was odd to cast him, and thrust him in amongst all of those young turks. He did a credible job, but he was completely outshined by the future super stars.

Vladimir Sokoloff, as the village's "old man", gave such a wonderful and touching performance, one did not realize the actor was not Latino. Like Eli Wallach, his talent as an actor transcended ethnic boundaries.

John Sturges, a veteran director of westerns, found just the right balance of action and character. Mexican farmers substituted fine for the original Japanese farmers. And brigands, or bandits, are cut from the same nasty mold no matter what the era, or geography. Kurosawa's classic runs like 3 hours in length, and it gave us much more in-depth character development; so that when these samurai began to die, we cared about them. In 1959, when SEVEN was filmed, three hour westerns were a non-existant species. Elmer Bernstein's musical score was revolutionary, and its pounding stacatto beat has become one of the most recognized pieces of music ever created for film.

This western, always listed in the top 50 best westerns, is a must-see. And the DVD version, in widescreen, is crisp and clear and colorful, and it helps us to recapture that magical feeling we had the first time we saw this film in a movie theatre.

MGM has just released the DVD of "The Magnificent Seven", perhaps the very last of an epoch of classic westerns. Poignant and sad, yet thrilling and action-filled, this cinema classic became a model for 100 action flicks to come. It's an early peek at the emerging movie anti-hero of the 60's and the 70's. An embattled farming village in Northern Mexico hires an unemployed gunslinger from Dodge City. Chris, played by Yul Brynner, recruits six more guns and takes a bloody stand against forty invading banditos. The film opened in 1960 to mild reviews. It was sent off to Europe, where it exploded with positive response. "The Seven" returned to the U.S. to wide acclaim, and as co-star James Coburn says in the documentary, "It's been playing ever since..." John Sturges filmed "Bad Day at Black Rock", "Gunfight at the OK Corral", and "The Great Escape", but history confirms that the meticulous out-door director achieved his artistic peak with this star-studded spectacle, featuring Elmer Bernstein's now classic theme. The film was followed by 3 sequels and a TV show that ran for 2 years. The DVD sound dialogue is a bit muted. The anamorphic 16:9 picture is perhaps the clearest ever, though you'll see some grain fallout during the lap dissolves. An audio commentary track with producer Walter Mirisch and several actors comes with 2 trailers and photos from the actual shoot and cast party. The real jewel of this new DVD is a brand new 46-minute documentary featuring interviews with all the major surviving stars, except Charles Bronson, who just turned 80. Charles Coburn, Eli Wallach, and Robert Vaughn re-live the adventures of filming this epic on location in Cuernavaca, Mexico. Amusing tales of future super-star Steve McQueen are revealed by his ex-wife. McQueen intentionally crashed his sports car to leave his TV series, "Wanted Dead or Alive", and join the cast of "Seven". Yul Brynner so enjoyed his all-black gunfighter attire that he repeated the same exact outfit in at least 4 more movies. Yul Brynner died of lung cancer in 1985. Steve McQueen died of cancer in 1980. Thanks to this timeless and valuable DVD, "The Magnificent Seven" may never die. After the raging battle ends, Brynner's character looks down on newly dug graves for the brave villagers. "We didn't do it.."he says. "Only the farmers win. We never win..."

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This review refers to the MGM Special Edition of this film....

In this time when we are looking for heroes to fight off terrorists, this is the perfect movie to watch.

Based on the Japaneese classic "The Seven Samurai", this story is set in a small farming village south of the border. A band of outlaws, lead by the ruthless Calvera(Eli Wallach), are terrorizing the town, taking the food and supplies of the hard working but meek farmers. They go the the elder of the town seeking advice. He tells them to buy guns and fight back. But guns are expensive and hard to come by. They gather up the little money they have and hire seven gunmen to help stave off the mauraders.The men accept, for little pay,mostly because they are broke,but we come to see they are moralistic and believe in the cause.

The gunmen are tough but each with his own special charisma.

These are not heartless anti-heroes(although at times some may seem that way), they bond with the townspeople, share food with them, teach them how to defend themselves. There are some touching scenes of them working together (one even forms a fatherly relationship with some of the children), and there's even a touch of romantic comedy.

The standoffs with the outlaws ensue, the gunmen and the farmers fight shoulder to shoulder.Although some of our heroes are lost, good does triumph over evil. This is a the definitive film for western lovers.

Not just a great western story, the cast is also magnificent.All these legends in one film, Yul Brenner, Steve McQueen,Charles Bronson,James Colburn, Robert Vaughn, and with Brad Dexter and Horst Buchholz. The musical score by Elmer Bernstein is a huge part of the film, just try to get it out of your head afterwards, you know the one, used to be the theme song for the "Marlboro Man". Director John Sturges gives a real western feeling and the cinematography to go with it.

Already know you love this film and wondering about the DVD?

The DVD lives up to the name of "The Magnificent Seven" The transfer is one of the better ones of a film from this era(1960), I think I saw one glitch(But I was looking for them)that was so fast, hardly worth mentioning, The colors are glorious, The widescreen is in the original theatrical format, and it's perfect,The Sound is in 5.1 Surround and also in the original mono, take your choice,the score is Magnificent,and dialouge crisp and clear,The Picture is bright, even the night time scenes are easily distinguishable,Nice Packaging (A nice case with booklet inside), and the "Extras" will keep you busy all day, there's a documentary making of, still photos(Lots),Trailers, and Audio Commentary which runs through the whole movie if you want to watch it that way, and more.

"The meek shall inherit....." with the help of "The Magnificent Seven" Enjoy....Laurie

also recommended:

Great Hollywood Westerns: Man Without A Star

The Wild Bunch (Special Widescreen Original Director's Cut)

The Greatest Western Themes

Read Best Reviews of The Magnificent Seven (1960) Here

Enough has been said in the past about this fantastically entertaining movie, so I won't bore you with anything more. My comments concern the DVD, it's nicely presented, with an interesting documentary and feature commentary, certainly a bargain given the incredibly low price tag.

The 5.1 sound remix is excellent, but I have to say that the very obvious grain and print damage on the movie itself knocked my assessment of the DVD down from a 5 star rating to 4 stars. I realise that the movie is over 40 years old but some of the print damage in very noticeable, and given modern cleaning techniques I think it is difficult to believe that at least some effort could have been made to clean things up a bit. Having said that this DVD is still greatly superior to any VHS copy I've seen and well worth the money despite its flaws.

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I am a huge fan of Steve McQueen and as such purchasing The Magnificent Seven on Blu Ray was a no brainer for me, a true must purchase item.

This movie is a classic and set a very high standard for all Westerns to come. With that said, this review is going to deal with the actual Blu Ray transfer , both video and audio , and not the plot or performances contained in it.

This being another 'quickie' catalog release from MGM, a studio in bankruptcy, I was not expecting too much here and afraid the technicians would just slather the image with tons of DNR, Edge Enhancement and call it a day. Luckily for me and all fans of this film I was wrong! Phew!

Here is the good news: This film has not been DNR'd to death at all. I can't see any actually, and as for edge enhancement, I just don't see that either. GREAT! A pretty natural looking image, nothing spectacular, but solid color and an almost fully stable image. There are a few very short instances of 'image/telecine wobble' but nothing too severe and only a few times. Chances are most folks won't even notice it.

Generally the image is pleasing,. Although there are SOME soft shots, a few horrible looking grainy shots, a bit of mosquito noise on certain blue sky shots and a grainy blurriness every single time the picture dissolves/fades into another scene, rather than a clean cut. I watched this carefully and noticed that most of the video problems occur in the first 50 minutes of the film, with the remaining hour and 18 minutes being just about issue free and VERY nice to look at for a 1960 film. Seriously, unless you are picking it apart, you will just notice a few soft grainy shots and everything else should look pretty good to you, bordering on very good.

Note that this transfer is not anywhere near a reference catalog title and stands no chance of winning Blu Ray release of the year or anything like that. I absolutely think most video reviews on name brand reviewer sites have inflated the video quality of this transfer. It was no where near as good as I was expecting, but then again no where near as bad either! Did I enjoy watching it? YOU BET! I can honestly say this is the very best this film has looked in home release format. EVER! Period!

The sound fares better than the picture I think. A decent DTS HD Master Audio 5.1 track is your only option. Basically this film is front heavy and center heavy. Every now and then you might get a gunshot or ricochet in a surround speaker, but most all the action and sound takes place up front and in the center channel. On the other hand, there is more LFE for your Sub than you would expect. Only a few lines of dialogue here and there were hard for me to hear, even with my surround system cranked up a bit. Most of it is clear as a bell with both music and sound effects sounding fine. I ran into a small segment towards the end where the audio/video sync was off. It was not my system and I could duplicate it multiple times with the problem always occurring in the same spot. When Charles Bronson paddles the kids behind, you see it, then hear the whack whack whack! Since the mouths are moving BEFORE the sound, the delay adjustment on your receiver will be useless. Fortunately, this disappears in a few minutes as if it had never happened and mouths and words match up once again. I have only ran into an actual disc/audio problem once before and that was on the last Dirty Harry movie, The Dead Pool. I am convinced that both discs have some sort of authoring problem that causes this.

**If you see the same sequence and the sound IS in synch please write a comment on my review so I know it is my gear and not the disc. Thanks.

There is a pretty nice selection of extras on this disc. Most come directly ported over from the 2 DVD collectors set. The audio commentary is particularly good, with stars James Coburn and Eli Wallach, plus the producer and assistant director. Not bad and at times quite entertaining and informative. When I really love a movie I tend to eat this stuff up and this was no exception. Also included is a very nice 46 minute 'making of' type documentary that offers lots of good stories and trivia. Another 15 minute documentary on composer Elmer Bernstein's score, and yet another shorter 'making of' piece called 'The linen Book'. Add to all of that two trailers and you can see this is a pretty hefty offering for bonus features.

The Magnificent Seven was a big hit, first in Europe and then in America. It is still revered today by both classic film buffs and Western genre fans. I love it because it launched Steve McQueen into stardom. It has a lot of appeal that works on many different levels. The score in particular is as rousing and inspirational as has ever been heard in a Western and all by itself it is an American Icon. You immediately conjure visions of the Old West and wide open spaces when you hear this music. Add an all star cast and great direction from John Sturges and you get one heck of a Western and one heck of a movie, period! Highly recommended!

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Hotel for Dogs (2009)

So my brother and sister and their spouses are taking an "emergency mental health day" over to the casino boats and I'm pulling Uncle duty for a couple hours. We decide to go to the movies and I try to convince them to go see My Bloody Valentine 3D.

"We don't wanna see it." they said, "It scares us."

"Why, I asked," because you're all a bunch of babies?"

"We're not babies! We're this many", they said, holding up 3 fingers.

"Exactly. You're not babies. You're post-toddlers."

"Uncle Hammoooooock! We wanna see Hotel for Dogs".

Well I thought, maybe it would be for the best to see Hotel for Dogs. If I take them to see it then maybe years from now when I'm a toothless old loon confined to a government nursing home the kids will remember this movie fondly and come around to visit me and shoo the flies off my face and maybe keep the attendents from stealing my teeth and underpants.

Besides, i could teach them how to mix Milk Duds with popcorn and the flask of "Uncle Medicine" I carry would smooth over any bumps, especially if I mixed it with a nice fizzy Tab. Okay, kids, Hotel for Dogs it is!

Well sir, I was flabbergasted. This movie was much better than it looked in trailers and commercials. In the trailers, it looked like your average , dopey, mediocre kid movie. But it's better than that. The fine folks who made this film seemed to have put some actual thought and effort into entertaining our kids.

Basically, you got these two kids, bother and sister, who have been in and out of various foster homes since their parents died. They are a handful, a couple of smart little con-artists. But they are motivated by the desire to stay together and remain as much of a family as possible, and this desire extends to their dog, Friday, whom they keep hidden from a string of foster parents who won't take kids with dogs. Most of their schemes involve ways to feed or shelter Friday, but when that becomes too daunting a task they decide to bunk him in an abandoned hotel. One thing leads to another and eventually they are taking care of not only Friday, but a whole pack of dogs. The stray children have created a family for themselves with other strays. Of course there is a serious threat to their happiness, which(do I need to say spoiler alert) is alleviated in the end and eveyone lives happily ever after. That covers the plot.

There's a lot to like about this film. The acting is good. Lisa Kudrow and Kevin Dillon are especially funny as Lois and Carl Scudder, the stars of the Carl Scudder Experience, a low-rent rock lounge act that couldn't cut the mustard playing for a back-alley craps game much less at a venue in Vegas. They're more petty and selfish than evil, although Kudrow looks kind of like a white trash Cruella DeVil. Emma Roberts and Jake T. Austin do a good job as the kids. They're smart but not that wise-beyond -their -years smart you see in some movies. They look and act like actual kids.

I should also mention the dogs. I'm generally not a fan of animals that "act" unless they're terrorizing the human population of a small town or island somewhere, but these dogs are often funny, even by adult standards. I think the trick is that the dog scenes are not overdone. They don't wear out their welcome for the grown-up crowd. Kids will love it. The mutts have their own little characteristics and traits but the crowd favorite was Cooper, a big english bull dog who eats anything and everything, from license plates to ladies shoes.

The movie was written by Jeff Lowell,Robert Schooley ,& Mark McCorkle. Schooley and McCorkle created the Kim Possible series and helped write Sky High. They are developing a reputation for making quality family pictures that are fun, smart and imaginitive.

The plot is simple but it's also well done. It's silly in ways that kids will enjoy but it's never insulting, pandering or overly sentimental. And really, does a kid's movie need an intricate, detailed plot. Sure any adult who's lives in a country with free electricity is going to know how this thing turns out, but this movie really wasn't written for adults. It has humor in it that will keep an adults attention, but it's meant for th kids. A big part of the fun of seieng a movie like this with the kids is watching them watch the movie. Most of this stuff is new to them. They don't know for sure if the Hotel is doomed when the dog catchers find out about it. They don't know if the brother and sister are going to remain a family. And they are completely surprised and tickled when the dogs perform cute and funny little stunts that dogs have performed for years. You can get a kick out of watching the suspense, surprise and joy play across their faces as the movie progresses. It's one of those nice little films you can share with your family.

HOTEL FOR DOGS is About A Couple of Children That Open A Hotel For Dogs After Finding 2 Dogs That Were Already There. But Problems Happen When The Dog Cathers Wander Were All The Stray Dogs Went (The Kids Took Them). The Cathers Are On Loose and Will Do Anything To Get The Strays Back.

HOTEL FOR DOGS is An Absolutly Funny, Dramatic, and Thrilling Family Film. Jake T. Austin (From Disney's WIZARDS OF WAVERLY PLACE) is One Great Young Actor in This Film, and Brings Some Funny Inventons That The Carecter He Plays Builds. Emma Roberts (From Nick's UNFABOLUS) is The Best When it Comes Playing The Sister Who Falls Head-Over-Healls For A Teen Who Works at A Pet Shop.

The Dogs Themselves Are Great! The Stunts By The Dogs Are Great!

HOTEL FOR DOGS is A Must-See For The Family and Recommended For Kids 5 & Older.

I Also Recommend You see

Air Bud, The Adventures of Milo and Otis, and The All Dogs Go to Heaven Series

Overall Rating-5/5

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Well, this movie hasn't totally gone to the dogs. Wasn't it W. C. Fields who said never act up against either a kid or an animal? "Hotel for Dogs" best performances are by the shorter cast members be they two or four footed.

Andi (Emma Roberts) and Bruce (Jake T. Austin) are a pair of orphans living in possibly the world's worst foster home with Carl and Lois Scudder (Kevin Dillon and Lisa Kudrow). Dog food looks better than what Lois serves up for dinner and the music they play as a rock group has gone to the dogs.

Andi and Bruce at first appear to be a pair of cons. They're selling rocks in shrink wrapped cell phone packaging to unsuspecting strangers. Turns out, they're not doing this for themselves, but to keep the family together and that means feeding Friday, the long gut mutt they've been hiding from the foster parents for the past three years.

When Friday ends up nearly kept by the Animal Control Officers, the sibs decide to make him a home in an abandoned hotel. What they don't realize until they get there is that two dogs have already claimed the spot. And well, the more the merrier as they devise a Rube Goldberg type apparatus to keep the animals fed, scooped and entertained while they are gone.

Unfortunately, things go awry. Will the plucky kids and their four legged family be able to keep the home they have carved out for themselves? Go see the film to find out. You'll be surprised how doggone funny it is.

Rebecca Kyle, March 2009

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We bought this to play for the kids at church, and I was skeptical. It's a better movie than the title implies. Lot's of cliches' but reasonably well acted. And we didn't have to worry about content.

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I love this movie not only cause I'm a dog lover, but also it teaches the true meaning of family. I can't wait for my daughter to see this with me

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Risky Business (2008)

I think most people who buy/rent this DVD have already seen the movie and know what they're getting. There are a lot of good reviews on this movie here at amazon.com but I only saw one that mentioned the quality of the DVD. It is absolutely horrible. The companies who produce these dark, grainy DVDs need to know that the consumers aren't going to accept this type of low-quality transfer. I'd gladly pay a bit more money for a DVD that's viewable. We know how good movies can look on DVD. So why release a disc that looks as poor as this one? As consumers we need to demand better! Just as VHS movies recorded in SLP or EP were unacceptable, so are DVDs that look as bad as this Risky Business disc.

"Risky Business" is without a doubt one of the classics from the 80's which I've continued to enjoy many times. This is simply a great movie with convincing acting, superb music, good script and believable characters. While the plot isn't anything too original, the above mentioned qualities make this movie fun to watch. Tom Cruise, having the house to himself while his parents are away, carries out the fantasy of just about every adolescent male by basically turning his home into a party haven with the inevitable consequences that follow. Rebecca De Mornay (it should be illegal to look that good in a pair of tight jeans!) plays a prostitute that becomes Cruise's "partner" in the scheme of things and Joe Pantoliano plays her sleazy pimp and does a great job in his role.

One thing that stands out about "Risky Business" is that while technically a comedy, the tone is often dark in terms of sequence of events and the eerie (yet great) instrumental music that pretty much makes up the soundtrack. While others might not really like this, I think it makes the movie stand out and avoid the over-the-top silliness that have caused many 80's comedies to become dated by today's standards. Don't get me wrong, I love those 80's movies, but "Risky Business" has a certain quality to it that takes on a more serious tone while also maintaining the fun element.

And finally, I have to say that the DVD transfer is absolutely horrific. Extras are virtually non-existent and image/sound quality is abysmal. 2003 has come and almost gone, so by now it's pointless to hope for a 20th Anniversary Special Edition DVD. So if you intend to buy this get it on VHS. I can't see why anyone would want the DVD other than for longevity's sake.

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FYI disc comes with a digital copy, but the confirmation/serial code expired in Sept. of 2009.

Otherwise, the movie looks great on BD; clearly much money was saved on the production budget by not buying any bras for Rebecca DeMornay.

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Rarely will you find a video store without RISKY BUSINESS. Not only is it a contemporary classic, but it was also Tom Cruise's breakthrough film and a major hit. While reputed to be a very good movie, upon watching it, I found it to be something else. It's an excellent movie.

Tom Cruise plays Joel Goodson, a high-school kid who is just that a good son. He's responsible, careful, and trusted. But when his parents leave town for the week, Joel decides to loosen up but after he nervously invites call girl Lana (Rebecca De Mornay) into his house, everyone goes horridly wrong. With only a few days left to go, Joel must raise his grades, make $8,000, get back stolen furniture, and escape from the clutches of Guino (Joe Pontoliano), the killer pimp. Work is hell. And Joel knows it.

This movie is great. It wildly exceeded by expectations, and is much better than it's said to be. Cruise is great the fact that RISKY BUSINESS is Cruise's first major film is enough to make it worth the watch, anyway; De Mornay is also very good. Paul Brickman's direction has a sort of artistic feeling to it (he also scripted); he has a unique way of creating a film that's funny, erotic, and occasionally suspenseful.

Another wonderful aspect of the film is its terrific soundtrack. It features rockin' songs from such popular artists as The Police, Bob Seger, Talking Heads, Muddy Waters, Phil Collins, and Prince. It also features new music by the hit-making band Tangerine Dream, whose techno, futuristic-sounding score gives the movie an occasionally nightmarish, occasionally unpleasant mood to it and, of course, the film is about every teenager's nightmares come true.

All in all, RISKY BUSINESS is essential viewing from the 1980's, and it works just as well now as it did then. Tom Cruise's first hit, a terrific soundtrack, and a cult classic this is RISKY BUSINESS.

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(2008 HOLIDAY TEAM)This 1983 film that launched the career of Tom Cruise proves its relative timelessness by entertaining audiences even today. Mediocre student and always-obedient son Joel (Cruise) is left alone in his upscale suburban house when his parents take a vacation. It's Joel's senior year in high school and it appears that the only highlight is going to be a boring project for the Young Enterpriser Club contest. When his friend Miles (Curtis Armstong) forces his hand to take a chance, Joel is thrown into an out-of-control scenario involving the charming prostitute Lana (Rebecca de Mornay), her enterprising friends, an irate pimp named Guido (Joe Pantoliano), and a high school full of unfilled but hormonally charged teenage boys. Throw in Joel's father's Porsche, an application to Princeton, and the all-important midterms that Joel is in danger of failing and you've got a fast-paced, hilarious flick of adolescence out of control.

Unlike today's teen movies, "Risky Business" is not preoccupied with sophomoric humor and gratuitous foul language. It's too smart a screenplay for that. Instead, it focuses on the humor of a good boy gone temporarily bad, and how one small act of rebellion changes everything. At times, the film tries to be artsy with its gimmicky camera shots, direction, and editing, thus dating the film more than the costumes and screenplay do, but overall it succeeds. The music is great, particularly for those who remember the times.

Dust off your memories and revisit this fun flick. If you've never seen it, you should, if for no other reason than for seeing why Tom Cruise and Rebecca de Mornay rocketed to fame following its release.

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Warm Bodies (2013)

Seattle's Isaac Marion (self-published "Where Are They Now") wrote the book on which this goofy (and unconventional) romantic comedy (with ZOMBIES?!) is based. Director Jonathan Levine ("50/50") did the honors at the helm.

Despite a pretty standard opening with the walking dead lurching through a demolished city looking (and finding!) humans on which to munch, this gradually evolves into a laugh-out-loud comedy and a sweet romance. You'll just have to trust me! (The tag line is: Cold Body, Warm Heart.)

We see:

* Nicholas Hoult ("About a Boy") is R, for lack of a better name; he just can't remember... He seems to have the right instincts (I want to protect her, not eat her), but is extremely confused (How do you talk to a girl?).

* Teresa Palmer ("I Am Number Four") is Julie. Their balcony scene made me wonder if his full name was Romeo. This actress bears an uncanny resemblance to a blonde Kristen Stewart.

* John Malkovich ("RED") is Julie's father, General Grigio, who heads the human defense forces in their walled fortress, fighting zombies and skeletors.

* Dave Franco ("21 Jump Street") is Perry, one of the armed defenders of the besieged humans. Yes, he's James Franco's younger (handsomer) brother.

* Analeigh Tipton ("Crazy, Stupid, Love") is Nora, Julie's friend. She offers her cosmetics when they try to disguise our hero as a human, not a corpse. She says, "I know it's hard to get a boyfriend, what with the apocalypse and all, but..."

* Rob Corddry (Lots of TV) is M, R's best friend, if there even IS such a thing in the zombie world.

All of us were involved in this upbeat comedy from the get-go. We were surprised the first time we laughed because of the dystopian setting, but got the hang of it very quickly.

Expect a circumspect courtship, lots of gunshots and blood, very little vehicular mayhem or profanity and NO blowie uppie stuff.

Just suspend disbelief and have a good time! Amazon will tell me when I can order my DVD.

"What's wrong with me? I just want to connect, why can't I connect with people? Oh, right...it's because I'm dead." R (Hoult) is a zombie, a very depressed zombie looking for meaning in his life. After him and a group out looking for food find a pack of young adults they begin to feast. When R eats someone he sees his memories, then changes his mind and saves his girlfriend Julie (Palmer). The two begin a relationship that may change the world forever. This is a very funny movie that just seemed to run out of steam a little over halfway through. The movie is very much worth watching and actually turns out very sweet, if not a little too perfect. The only real problem is that after awhile I started to lose interest a little and seemed to really drag toward the end. I still recommend this movie but it's not as good as Zombieland or Shaun Of The Dead. Overall, very funny movie but just couldn't maintain the beginning excitement the entire way. I give it a B.

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Wow. And again, wow!! Who would've guessed that there would come a day when someone would create a zombie movie that could be accurately described as sweet and charming??

I loved this movie! And anyone will tell you that I'm not usually a zombie movie kind of gal. I suppose I don't have anything to say that my fellow 5-star reviewers haven't already mentioned, but I just wanted to get my two cents in. Warm Bodies is very compelling, funny, and well-acted. Nicholas Hoult is especially wonderful as "R", totally nailing the sympathetic character, the facial expressions, even the zombie walk!! He and Teresa Palmer have a very sweet chemistry, and their characters' unorthodox love story is certainly the heart of this great film. R and his zombie pals are not the mindless, heartless creatures that you'll find in other zombie flicks, but are very human, with thoughts, feelings, and a sense of humor. The violence isn't overly graphic and the romance is chaste and sweet, leaning more towards a Tim Burton-ish feel than Twilight, in my opinion. However, while this movie is just fine for teenagers, the adult language (several S-words and one F-word) restrains me from deeming it tween-friendly. But don't let that discourage you!! Ultimately, this is an endearing story about the power of love. If you're in the market for a movie with touching romance, clever humor, a great soundtrack and top-notch performances, please do yourself a favor and go see Warm Bodies! It will leave you feeling, well...warm!!

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But seriously, though, this was a really good movie. It's nice to see a good love story come out of the Zombie boom of recent years. The last one was Shaun of the Dead, in my opinion.

It's got all the best things:

-Zombies

-Great Actors

-Humor

-A Love Story That Doesn't Feel Cobbled Together or Forced

-Awesome Tunes

-John Malkovich

And if any of those brilliant sort of bullet points don't make you want to see this film, I don't think you have taste. Or a pulse. (HA HA HA I made a funny!.)

Anyway, what I'm really getting at here is that this is a movie that doesn't let its setting or the fact that the male lead is a zombie inhibit it from being just a fun movie with a good story and a lot of heart.

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Not much to say, I thought it was good fun. It is not for those looking for some critically acclaimed movie to give an in depth analysis in their review. So I will just say it was fun to watch and kept me entertained.

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