The Trap (1959)

Excellent little known film from '59 with Richard Widmark and the great Lee J Cobb.... This one can be viewed either 1:33 or 1:78....the picture is decent, but it looks like a much older film for some reason....it's definitely not the clearest print--but it is very watchable, and the story is pretty good too.... Basically, Widmark is forced to help a mob boss make a safe getaway, but things just don't work out as planned.... This film seems much like a western and could have easily been made as one, as it has a Bad Day at Black Rock kind of feel to it....great stuff here....also, Tina Louise looks much better here than she did on Gilligan's Island....great little twist near the end as well....highly recommended....

I'm writing this review to warn those film buffs like myself who may be tempted to pay the high price for this tantalizing disc. With a stellar cast and widescreen blu ray to boot I jumped and boy am I disappointed! This OLIVE release BR is full of grain, color shifts, spots, and is just terrible ...it looks like a poorly colored in black and white film.

To confirm... I'm not reviewing the movie...just letting folks know that to spend 20+ Bucks for this feels terrible as its not up to BR standards.

I have been pleased with Olive so far but today also picked up Ramrod and it IS a black and white movie which is marginally better than this BR in quality... but with Joel McRea and Veronica Lake.. it was worth the gamble.

Buy The Trap (1959) Now

this is another excellent movie from the golden years of hollywood greatold time actors were in it

and it was packed securely and arrived before the due date thanks again for that great service

Read Best Reviews of The Trap (1959) Here

This REAL CLASSIC movie is worth the money.It takes place in modern time...however it takes place in a modern western town.Take a look at the mountain in town.It's the VERY SAME TOWN they film Bonanza.And to top it off it has Lornne Greene in a bad guy role. And the studio that made this classic is the same studio that later made the series.."BONANZA!" Paramount studios.That same mountain in the bakground of buildings was also used in Paramount's Classic western.."GUNFIGHT AT THE O.K.Corral." Back to the movie...It's plot is great.The actors are better then we have today.Today they fly around a blue screen or blow people up. Here we had actors with may I say..TRUE GRIT!!!! WIDMARK...Super...LOUISE...BEAUITFUL AS EVER. Earl Holliman a very under rated actor.He is very powerful as Widmark's kid brother. Lee J.COBB...always at his best.Lornne Greene growing into a great future t.v.star. It's must see thriller.Waited a long time to get it. And it's in the great WIDESCREEN/COLOR of greatness.

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Wow! I have seen this movie back in the 60's what a surprise! Clear picture and one of Richard Widmark's best performances in his earlier years.

If you love suspense/Action The Trap is just for you!

Highly recommended

Henry

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Much Ado About Nothing (1993)

Since his Oscar-nominated "Henry V" adaptation, Kenneth Branagh has come up with a simple, effective recipe: Blend 3 parts English actors well-versed in all things "Bard" with 1 or 2 parts Hollywood, sprinkle the mixture liberally over one of Shakespeare's plays, lift the material out of its original temporal and local context to provide an updated meaning, and garnish it by casting yourself and, until the mid-1990s, (then-)wife Emma Thompson in opposite starring roles.

In "Much Ado About Nothing," that formula works to near-perfection. A comedy of errors possibly written in one of the Bard's busiest years (1599) although as usual, dating is a minor guessing game "Much Ado" lives primarily from its timeless characters, making it an ideal object for transformation a la Branagh. Thus, renaissance Sicily becomes 19th century Tuscany (although the location's name, Messina, remains unchanged); and the intrigues centering around the battle of the sexes between Signor Benedick of Padua (Branagh) and Lady Beatrice (Thompson), the niece of Messina's governor Don Leonato (Richard Briers), and their love's labors won initially the play's intended title; Benedick and Beatrice are a more liberated version of the earlier "Love's Labor's Lost"'s Biron and Rosaline as well as the schemes surrounding the play's other couple, Benedick's friend Claudio (Robert Sean Leonard) and Beatrice's cousin Hero (Kate Beckinsale) become a light-hearted counterpoint to the more serious, politically charged intrigues of novels such as Stendhal's "Charterhouse of Parma:" Indeed, the military campaign from which Benedick and Claudio are returning with Don Pedro, Prince of Aragon (Denzel Washington) at the story's beginning could easily be one associated with Italy's 19th century struggle for nationhood.

While according to the play's conception it is ostensibly the relationship between Hero and Claudio that drives the plot as well as the plotting by Don Pedro's illegitimate brother, Don John (Keanu Reeves) Beatrice and Benedick are the more interesting couple; both sworn enemies of love, they are not kept apart by a scheming villain but by their own conceit, and are brought *together* by a ruse of Don Pedro's (although even that wouldn't have worked against their will: "Thou and I are too wise to woo peaceably," Benedick tells Beatrice.) And while Don John's machinations create much heartbreak and drama once they have come into fruition, the story's highlights are Benedick's and Beatrice's battles of wits; the sparks flying between them from their first scene to their last: even in front of the chapel, they still although now primarily for their audience's benefit respond to each other's question "Do not you love me?" with "No, no more than reason," and when Benedick finally tells Beatrice he will have her, but only "for pity," she tartly answers, "I would not deny you; but ... I yield upon great persuasion; and partly to save your life, for I was told you were in a consumption" whereupon Benedick, most uncharacteristically, stops her with a kiss.

Branagh's and Thompson's chemistry works to optimum effect here; and while every Kenneth Branagh movie is as much star vehicle for its creator as it is about the project itself, Benedick's conversion from a man determined not to let love "transform [him] into an oyster" into a married man (because after all, "the world must be peopled. When I said I would die a bachelor I did not think I should live till I were married"!) is a pure joy to watch. Emma Thompson's Beatrice, similarly, is an incredibly modern, independent young woman; and scenes like her advice to Hero not to blindly follow her father's (Don Leonato's) wishes in marrying but, if necessary, "make another courtesy and say, Father, as it please *me*" only enhance the play's and her character's timeless quality.

Yet, while the leading couple's performances are the movie's shining anchor pieces, there is much to enjoy in the remaining cast as well: Richard Briers's Don Leonato, albeit more English country squire than Italian nobleman, is the kind of doting father that many a daughter would surely wish for; and what he may lack in Italian flavor is more than made up for in Brian Blessed's Don Antonio, Leonato's brother. Kate Beckinsale is a charming, innocent Hero and well-matched with Robert Sean Leonard's Claudio (who after "Dead Poets Society" seemed virtually guaranteed to show up in a Shakespeare adaptation sooner or later); as generally, leaving aside the appropriateness of American accents in a movie like this, the Hollywood contingent acquits itself well. Washington's, Leonard's and Brier's "Cupid" plot particularly is a delight (even if the former might occasionally have gained extra mileage enunciation-wise). Keanu Reeves, cast against stereotype as Don John, is a bit too busy looking sullen to realize the role's full sardonic potential: "melancholy," in Shakespeare's times, after all was a generic term encompassing everything from madness to various saner forms of ill humor; and I wonder what but for the generational difference someone like Sir Ian McKellen might have done with that role. But as a self-described "plain-dealing villain" Reeves is certainly appropriately menacing. Michael Keaton's Dogberry, finally, is partly brother-in-spirit to Beetlejuice, partly simply the eternal stupid officer; the play's boorish comic relief and as such spot-on, delivering his many malaproprisms with his tongue firmly planted in his cheek.

The cast is rounded out by several actors who might well have demanded larger roles but nevertheless look ideally matched for the parts they play, including Imelda Staunton and Phyllida Law as Hero's gentlewomen Margaret and Ursula, Gerard Horan and Richard Clifford as Don John's associates Borachio and Conrade, and Ben Elton as Dogberry's "neighbor" Verges. (In addition, score composer Patrick Doyle stands in as minstrel Balthazar.) With minimal editing of the play's original language, a set design making full use of the movie's Tuscan setting, and lavish production values overall, this is a feast for the senses and, on the whole, an adaptation of which even the Bard himself, I think, would have approved.

Also recommended:

The Oxford Shakespeare: The Complete Works 2nd Edition

Love's Labour's Lost

Henry V

William Shakespeare's Hamlet (Two-Disc Special Edition)

BBC Shakespeare Comedies DVD Giftbox

BBC Shakespeare Tragedies DVD Giftbox

Olivier's Shakespeare Criterion Collection (Hamlet / Henry V / Richard III)

William Shakespeare's The Merchant of Venice

Richard III

The Complete Arkangel Shakespeare: 38 Fully-Dramatized Plays

"Much Ado About Nothing" is one of those sparkling adaptations that supposedly couldn't have been done. But Kennneth Branagh (director and star of "Hamlet," and creator of the supremely underrated "Midwinter's Tale") brought an all-star cast in a sparkling Tuscan setting, to bring this tale of bickering loves and sordid betrayals to life as never before.

The sullen Don John has just been stopped in a rebellion against his brother Don Pedro, by young hero Claudio. Now all of them (including Don John, whom his brother has forgiven) are arriving in Messina, the home of kindly Leonato. But when they get there, Claudio immediately falls in love with Leonato's beautiful daughter Hero. And despite the efforts of Don John, Don Pedro manages to get the two young lovers together and altar-bound.

But Don Pedro isn't willing to stop there. Hero's cousin Beatrice has a long-running feud with Claudio's pal Benedick -they insult each other, they bicker, they argue about everything ("It is so indeed -he is no less than a stuffed man!"). What's more, both of them swear to stay single forever. ("All women shall pardon me -I shall live a bachelor!") Pedro and the others conspire to get Benedick and Beatrice to somehow fall in love with each other. And at first it seems that everything is going well -until Don John manages to cast doubt on Hero's honor

There's a certain timeless quality to "Much Ado" -not just the dialogue, but the simple costumes and the buildings in it. That leaves the audience free to pay more attention to the dialogue and its plot. And what a plot it is! "Much Ado" is brimming over with funny dialogue, dastardly plots, comedic supporting characters and weird pairings. (Beatrice and Benedick are the sort of love-hate couple that a lot of movies try to have, but don't succeed with)

The dialogue is mostly (if not all) Shakespeare's own, but it's not necessary to be a Shakespeare buff to understand what they're saying. It's not dumbed down, either -it's just spoken as normally as ordinary English. And the Tuscan landscape sparkles with life, passion, and lots of fruit and wine. You don't need to be a fan already to understand and appreciate this movie.

Kenneth Branagh (who also directed and adapted the play) is amazing as Benedick, lovably witty and egotistical; he gets a little silly at times (such as his bird calls or joyous romp in the fountain), but demonstrates his serious ability after Hero is disgraced. the outstanding Emma Thompson is even better as the sharp-tongued Beatrice, a fiery young woman with her own mind and definitely her own mouth. Thompson lashes out Shakespeare's witty lines as easily as if she just thought them up herself; one of her most powerful scenes is here. Denzel Washington (Don Pedro) looks like he's having a great time; Keanu Reeves (Don John) is a bit flat in places, but glowers well enough. Kate Beckinsale's first movie role (Hero) is suitably sweet and adorable. Robert Sean Leonard (Claudio) is the one weak link in the cast; he seems a bit too overwrought and hysterical to be a major hero. (No pun intended)

This movie was unavailable for a very long time and only recently was rereleased on DVD. The DVD is pretty spare; aside from the movie, there are a few DVD promos (for "When Harry Met Sally" and "The Princess Bride" -both, I notice, comedic romances) and a brief making-of featurette. The featurette doesn't really offer much that is new, but does give some insights into the chosen settings and why the cast wished to do the movie.

Those who enjoyed Branagh's "Hamlet" and "Henry V" will rejoice in "Much Ado About Nothing," the quintessential romantic comedy. Funny, sweet, romantic, and incredibly well-acted, this is a keeper.

Buy Much Ado About Nothing (1993) Now

Yes, Keanu Reeves fits in to this Shakespearean production like a tuba player in a heavy metal band, but don't let that scare you off. His leaden delivery can't weigh down a movie this light and bubbly.

Branagh has outdone himself in this tale of young men and women in love. It is set in the gorgeous Italian countryside, all warm sunshine and bright colors. The actors positively glow with happiness and health.

Branagh plays an almost self-parodying arrogant ham with just the right note of swagger and hidden insecurity. His battles of wit with Emma Thompson's Beatrice bring some of Shakespeare's cleverest writing to vivid life. Denzel Washington makes for a truly regal prince, and Michael Keaton puts in a knee-slapping cameo as the Beetlejuice-ish Dogberry.

This is one of Shakespeare's best comedies and Branagh films it excellently, moving the plot along and keeping things light. The title is apt -the problems the characters face aren't difficult to solve -and Branagh thankfully doesn't take any of the proceedings too seriously.

This is Shakespeare as it was intended to be. It's not actors dressed in tights histrionically shouting lines; it's funny and vibrant with a strong pulse. It's a feel-great movie and not to be missed, by Shakespeare loyalists or by anybody else.

Read Best Reviews of Much Ado About Nothing (1993) Here

This, without a doubt, the funniest film that I have seen Kenneth Branagh do. True, it was no match for his four-hour masterpiece HAMLET, but MUCH ADO ABOUT NOTHING is almost as great. Branagh shows us that his acting abilities can range from heroic to comedic. But please, let us not talk of the very bad performance he gave in the insanely crazy, and just as stupid WILD WILD WEST. Another thing that suprised me about the film: Keanu Reeves as a bad guy. This film also proves that Reeves, who plays the sinister John the B-----d, can play a wide variety of characters (from THE MATRIX's Neo, to BILL AND TED'S EXCELLENT ADVENTURE's Bill Es Preston Esquire.). The other supporting actors (Denzel Washington, Michael Keaton, Emma Thompson, Brian Blessed, among many others) gave what could be called their finest performances ever. The movie, which is insanely funny, also has some dramatic moments, so as not to make it too ludicrous. Anybody who has a thirst for Shakespeare, or just wants a good laugh, should see this movie. Trust me, you'll be singing HEY, NONNY NONNY 'til you die. Grade: A+

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If your mind is longing for a Shakespeare production, this is an excellent adaptation of the highest order. Not only is this one of the best romantic comedies ever written, it is set in the Tuscan sun and reaches its full comic potential in all the lustiness and witty dialogue only Shakespeare could create.

At a sensuous picnic, Beatrice reads:

Sigh no more, ladies, sign no more,

Men were deceivers ever,

One foot in sea, and one on shore,

To one thing constant never.

Then sigh not so, but let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into hey (nonny nonny). (brief translation: what the heck).

Act 2, scene 3, 62-69

In Messina, the governor Leonato, his daughter Hero, and her cousin Beatrice (Antonio's daughter) learn from a messenger that Don Pedro has won victory in a battle and is returning home.

Denzel Washington as the Prince Don Pedro really adds sex appeal to this movie! When he arrives with his soldiers from war there is a moment of excitement when everyone lets their inner child escape and there is a feeling of giddy anticipation and the movie takes on a vigorous life of its own.

This is pure escapism for sure. The Italian villa with lush landscapes, fountains and plenty of shrubs to hide behind for eavesdropping on crucial conversations is just enchanting. It is the perfect place for the story to unfold. Here the prince and his warriors decide to vacation for a month.

The main plot involves two love stories. Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard) are in love and hardly need to be pressured into matrimony.

Benedick (Kenneth Branagh) and Beatrice (Emma Thompson) have a hilarious adversarial type courtship in neither can decide what they really want.

"Thou and I are too wise to woo peaceably."

They have both declared they will never marry. In fact, one assumes it was their desire of their wild hearts all along, but was only revealed in a tortured path of wit and intrigue.

Claudio: [to Hero] Lady, as you are mine, I am yours; I give away myself for you and dote upon the exchange.

Beatrice: Speak, cousin, or (if you cannot) stop his mouth with a kiss, and let not him speak neither.

Don John ("yummy" Keanu Reaves) is of course the evil villan in this story and sets out to destroy the relationship between the beautiful Hero and the handsome Claudio. Like a devil, he manages to create mayhem and then leaves the tortured souls to figure out the details of their salvation. With the sweet Hero slandered and presumed dead, one assumes as sure as there is a thought or a soul, there is no turning back.

There are so many great lines in this play that were included with such flair. This is now my favorite Shakespeare adaptation. You will laugh with absolute delight at the antics these characters get up to!

Universal appeal!

~The Rebecca Review

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The Italian Job (2006)

Well done! Now THIS is what I call a popcorn movie. No big drama, no great life issues; just a fun plot, great action, and good looking people packing the screen. "The Italian Job", a remake of the 1969 Michael Caine flick, is cinema escapism at its best and a great bet for a Friday night date.

Mark Wahlberg stars as Charlie, acting head of a gang of high-tech, high class thieves. He's taking over for his mentor (played by the always welcome Donald Sutherland) as his team sets up a brilliant scheme for $35,000,000 in gold bars (the "Italian Job" of the title).

But things don't go quite as planned, and one year later Charlie reassembles his mates, plus his mentor's daughter (Charlize Theron) to take revenge on the man who betrayed them and set things right once and for all.

The action here is splendid, imaginative and well filmed. The script is tight, with plenty of snappy lines to go around (including a great running gag about just who invented Napster) and the musical score is surprisingly nice. All the actors have fun with their roles, especially Seth Green as a computer geek and Edward Norton as the slimy bad guy. And of course there's Wahlberg.

I like Mark Wahlberg. I can't help it. I like him more with every movie he makes. I like his quiet, confident walk, his little boy smile, and the way his forehead crinkles whenever somebody yells at him. He seems to actually get better looking as the movie goes along, and his chemistry with Theron is low-key but sexy.

I give "The Italian Job" five stars not because it was a masterpiece, but because I had a great time and know the film will hold up well with future viewings (it was a lot like "Ocean's Eleven" in this regard). Go on and see it; you'll like it. And probably want a Mini when you get out.

GRADE: A-

(By the way, I LOVED the way our heroes never carried guns or shot anybody. Old school baby!)

There are few genres as enduring in the movie biz as the heist and they don't come any more entertaining than this one. Michael Caine is at his best as a fresh-out-of-jail, small-time crook who decides to pull the job of the century. To achieve this, he sets about finding someone to bankroll the enterprise, in the person of Noel Coward. Coward, a big time syndicate boss is still running his business from jail and after some persuasion, agrees.

Caine then sets about assembling a cast of idiosyncratic no-hopers to carry out his bold plan, among them Benny Hill, an electronics wizard with a fondness for fat women. After much practicing, three teams in Mini Coopers (driven by "chinless wonders") set off for Italy with a bus-full or two of supporters all dressed as soccer fans. The arrival on the scene of the Mafia does little to dampen their enthusiasm and the fun really starts.

The climax of this action/farce is the car chase through the streets, sewers and even the skyline of Turin. Plenty of action, plenty of laughs and all very well paced. If anything, it's probably too short (though I don't mean the ending...) but I guess that just makes you appreciate it that much more. An old favorite which is hard to beat. Know wot I mean, Guv?

Buy The Italian Job (2006) Now

"The Italian Job" is your classic summer movie: one villain, one hero, one beautiful intelligent woman, one computer geek, one ladies' man, one explosive expert, shake, stir, add a bunch of car chases, a few last-minute surprises, voila. The story is about a group of master thieves led by Donald Sutherland cleverly steal $35 million in gold bars from a safe in Venice, only to have it stolen again. The group must pursue the villain to get the gold back, using Mission-Impossible style technology and an enormous amount of wit.

Two things raise this far above its genre: absolute super settings: a boat chase through, under, and around Venice; a set of tricked-out Mini-Cooper cars vrooming through the sewer pipes of LA like kids through a water slide. Really fine performances: Donald Sutherland as the patriarch of the thieves, Seth Green (Scott Evil from the Austin Powers movies) as the funny computer geek, and the supremely creepy Edward Norton as the villain. Only Mark Wahlberg fails to project much of a personality.

The thing I appreciated most is that none of the action was faked by computer: it's just good old-fashioned stunt-driving. It's really pretty impressive (it's 'actually happening'); as much as you might have liked this summer's Matrix movie, this one is at least as thrilling because it's 'real.'

Read Best Reviews of The Italian Job (2006) Here

Strange that they called this one the Italian Job, since it has little in common with the caper classic it was named after. All the two movies really have in common is stolen gold and Austin Minis. The plot of this movie is really about the oldest trick in the book. The double cross.

In an attempt to put a new spin on that old plot, the creators of this movie decided to have the double cross very early in the film. After a somewhat interesting heist, the gang responsible for it is betrayed by one of their own and their gold stolen. This basically makes the rest of the movie our lovable band of thieves (and very well cast for the most part I might add) getting back the loot that they rightfully stole. This early plot twist might have made for a more interesting movie had the best actor in the film (Donald Sutherland) not been killed off in the process. Don't you just hate it when that happens?

You're a Good Man Charlie Brown

Our main character Charlie is played by Mark Wahlberg. Now don't get me wrong, he's a likable enough fellow. And he seems to do best playing the nice guy in films. But he really doesn't do much in the way of acting in any of the films I've seen him in. If there was one actor who could be replaced by a cardboard cut-out without anyone noticing, it would be him. I seriously cannot remember him saying one memorable line in the entire film. Perhaps it's because he said them all the same...

The Cast's the Thing

Well even though our main character isn't exactly Hamlet, does that make our film derail completely? No, no, no. For he is supported by a fine cast in the grand old tradition of caper films. Seth Green (the REAL Napster), is totally hilarious in this film. Sure, we've all seen a supposedly brillaint hacker in films before, but somehow he just rises above into new levels of geek parody. And then there's my man Jason "The Transporter" Statham. This guy has just got "the Driver" and "Action Star" written all over him. He's like the new Steve McQueen of Caper and driving movies. He's too darn cool. In fact, my favorite scene in the movie is one where he steps out of the car to sweet talk a girl into giving him exactly what he needs, and Seth Green (the often stereotyped super-nerd hacker genius) starts imitating both the voice of the girl and Statham's voice. Now that's funny! And then of course we have our love-interest safe-cracker (and the daughter of the guy who got iced), and the required demolition expert. Everyone does a pretty good job in their roles, but no one else really stands out in my mind.

Get Some Action

For all the hype and popcorn popping, you'd think the minis were going to be flying down the streets of L.A. in long, extended, over-the-top driving sequences. Sorry guys, but the driving action simply ain't all that. The Bourne Identity has got a way better chase scene than this movie. So does The Transporter. Heck, so does Gone in 60 Seconds. If that's all you're interested in, by all means, rent one of those.

All in All

I'd say this movie is worth seeing once, especially if you particularly like any of the cast members or love caper-flicks. It's also suprisingly low in violence, sex, and foul-language, something of a rarity in popcorn flicks these days.

Want The Italian Job (2006) Discount?

This is a truly terrific caper movie, one that works well by both showcasing the emerging star power of both Donnie Wahlberg and Charlize Theron and also having a terrific storyline. It is also a smart and well-photographed movie that proves the old adage of depending on the use of a great story and then embellishing on it with all the bells and whistles. The plot is as believable as anything can be that posits the existence of people so smart, so devious, and so daring as to be able to do some of the things that are done here. Yet the qualms about believability quickly fade with each nosiy and exciting revving up of the action, which is well choreographed, full of pyrotechnics, and absolutely fresh and new, adding to the charm of the movie.

The cast adds immeasurably to the charm of the movie, with Donald Sutherland, Ed Norton, and several notable others lending both credence and a certain gritty feel to this tale about life on the margins, on the far side of the law. I also got the impression that given the box office success of this film; much of the crew may be back to thrill us again in an inevitable sequel. I am up for it. After all, given the aplomb and cool they displayed in driving a trio of Metros through the streets, sewers, and tunnels of Los Angeles at rush hour, and added into this mix was a certain level of style and intelligence often missing in such caper flicks, it would be fun to consider a series of such films. Compared to other recent offerings at the theater, which have by an dlarge been disappointing affairs indeed, it would be a relief to consider more caper flicks like this. Enjoy!

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Dan in Real Life (2007)

I blame it solely on that horribly cheesy poster art portraying Steve Carell's head laying on a stack of flapjacks, but I wrote off `Dan in Real Life' well before actually seeing it despite the good reviews and word of mouth from friends. It was supposed to be really good, but in my head all I saw was cheesy ridiculousness pretending to be sincere. I'm really glad that I finally gave in and watched this film this past weekend.

What a treasure.

I know this may seem like an odd comparison, and I will say off the bat that the film I'm about to compare it to does have some heavier themes, but this reminded me a lot of last years independent surprise `Rachel Getting Married'. In fact, I actually think that overall, `Dan in Real Life' is the better of the two films, or at least the most complete and comfortable of the two (when have I ever shunned away from discomfort in a cinematic offering?). I had a few issues with `Rachel's construction, but here I was completely soaking up every frame. It was funny, touching, charming, emotionally resonate and beautifully structured.

In quoting the film itself, and my review's title; "Plan to be surprised".

Steve plays Dan, an advice columnist who has lost his wife to an illness and is rearing his three young daughters with difficulty. His eldest daughter just wants to be given some freedoms, his middle daughter just wants to be allowed to express her newfound love and his youngest daughter just wants a little attention. Dan, depressed yet never to the dramatically overstated and clichéd effect that many actors would have played it, is just not capable of giving them what they need. When they make a trip to visit family, Dan meets the beautiful Marie and sparks fly, but she is involved and so they part only to uncover that they will be spending a lot of time together as Marie is dating Dan's younger brother Mitch. Trying to hide their growing affection for one another, Dan and Marie try and play cool, but it soon becomes more than either of them can handle.

The film is so much more than a glorified rom-com, as it seemed to have been marketed as. I really wish that this would have gotten the push it deserved, and that it had been campaigned as what it really is; a heartfelt and honest portrait of middle-aged growth and development. There is a sincerity about the way Dan comes to terms with his own person, trying to understand who he is as a man, as a father, as a widower. Carell is outstanding here (something I never imagined that I would say). Juliette Binoche is marvelous, as usual, giving her delicate performance a layer of spunk and wit that makes her delicious in every sense of the word. I even enjoyed Dane Cook's performance, and I find him repulsive. He was genuine and charming and natural.

I just love the piano-side sing-along (piggyface), for it was scenes like that that gave the film this lovely sense of naturalness.

Between the stellar cast and the wonderfully constructed scripting (nothing is ever too clichéd and even the romance is developed with smarts as apposed to the usual laziness) that contains some comical yet appropriate dialog ("MURDERER OF LOVE!"), `Dan in Real Life' is the real deal. I am just in such a state of pleasant and very welcomed shock right now.

Now, let's talk about fixing that ridiculous cover-art.

A tired formula gets a shot in the arm by affecting performances in this quaint little film that will touch you.

I have grown to really appreciate the acting talent of Steve Carell who really can carry a film. Carell darn near stole the show in Bruce Almighty to the point where the funniest segments were cut from the theatrical release because he upstaged Carrey so much, but those scenes where fortunately made available on the DVD release. Carell was again the saving grace of Evan Almighty and The 40-Year-Old Virgin in which both most likely would have died unnoticed had it not been for his sincere performances. This comedian definitely knows how to act. Carell reminds me of the legendary Dick Van Dyke when he had serious roles or moments and Bob Newhart's dry comedic delivery. It all just seems so effortless on Carell's part.

In another affecting performance we have Carell as a widower raising three daughters alone and giving his tidbits of wisdom on doing so in a local column titled "Dan in Real Life." Even though his wife has died four years ago, he has yet to really move beyond that in the way of a relationship. He has focused all his attention of his children and while that is admirable, a parent is still allowed to look out for himself too. He has not and the annual fall trip to his parents' cabin plays out all too realistically with everyone pushing him to find someone and he does.

He bumps into a lovely woman in town that he's immediately drawn to. She is played by the ever radiant Oscar winning actress Juliette Binoche, the only reason to see The English Patient and one who makes turning 43 seem really cool and desirable. In the hands of any other actress this role would have been blown out of portion, but in the subtle hands of Binoche, it is a delicate and balanced performance. Unfortunately, this terrific woman who seems perfect for him is, in reality, his brother's latest flame that he's brought down to the family cabin to meet everyone for the first time because "this one is different."

Sadly, the effects of this are handled much like a TV-movie or a good episode of that old series "Love Boat", or any other sitcom for that matter. What makes this film ultimately rise above that is admirable work done by the leads. These are seriously understated performances that are quite touching, believable and memorable in spite of a seriously flawed script at times.

Some of the humor in this film is both lame and predictable, but the execution is always dead on. Again, the performances are the key to this tired formula of the awkward romance. I guess this film is a good example of style over substance. Will this save this movie for everyone, no, but I think most might like this film. I doubt many will love it or even remember it much after seeing it, but it's a nice experience in spite of it's obvious weaknesses.

Buy Dan in Real Life (2007) Now

Anyone who actually believes that love is a many splendored may not get their money's worth from "Dan in Real Life." Here's a film that shows just how unexpected, irregular, and confusing love can be, both in terms of family and romantic interests. There's intelligence to this story that's equally humorous and heartbreaking, proving once and for all that love is difficult to receive and even more difficult maintain. At times, it's also difficult to acknowledge, especially if it's being kept a secret. The greatest difficulty of all is letting go of love, to recognize that the past is the past and to know when to move on. All this is explored in "Dan in Real Life," a smart, witty, and touching romantic comedy that doesn't lose itself to an overabundance of clichés. The formulaic elements are there, but they're presented in a new way, and they're used in a story that can actually support them. They're not used simply because we expect them to be.

The plot focuses on Dan Burns (Steve Carell), a widowed advice columnist living in New Jersey with his three daughters. They all drive to Rhode Island for an annual family reunion, and its there that Dan meets Marie (Juliette Binoche), a good-natured woman who has traveled the world and seen many sights. Their romance comes to a halt when Dan discovers that Marie is dating his brother, Mitch (Dane Cook). Dan spends the rest of the film struggling with his feelings, unwilling to let Marie go yet unable to be honest with his family, who he can't seem to connect with.

As simple as this plot sounds, a number of fascinating, thought provoking elements liven things up. One of the most interesting is the relationship between Dan and his daughters. The two oldest are typical in that they hate Dan: seventeen-year-old Jane (Alison Pill) is desperate to see the world, and a great way to start would be to finally learn how to drive; fifteen-year-old Cara (Brittany Robertson) believes that she's deeply in love with a boy from school, and she openly despises her father for not letting that love develop. At one point, she screams that he's a murderer of love. Dan tries to rationalize the situation--Cara has only known the boy for three days, and it's impossible to know whether or not you're in love so quickly. Eventually, Dan begins to analyze his love for Marie, who he had only met three days earlier. His youngest daughter, Lilly (Marlene Lawston), is the least hostile, despite not understanding why her father behaves the way he does. As his love for Marie deepens, he loses track of Lilly, and he ultimately hurts her feelings by neglecting to read a special book she made for him.

Another important element is the relationship between Dan and his immediate family; because he makes himself so distant, they look at him more with concern than with love. Some feel that he needs to finally let go of his dead wife--his parents (John Mahoney and Dianne Wiest) set him on a blind date with an old family acquaintance (Emily Blunt), hoping that he'll finally have some fun. This suits his brother, Clay (Norbert Leo Butz), just fine, since he feels that Dan should "uncork" himself. The pressure they're putting on Dan is unmistakable, as is the fact that their actions are well intentioned but completely unnecessary. This is probably why he attempts to engage his nieces and nephews, even when they make it clear that they don't want to be engaged.

But the relationship between Dan and Marie is the most important element. It all boils down to the fact that two love struck people are under the same roof, unable to show their feelings for each other. How long can this go on? Will anyone notice? Will either of them be able to come clean? These are the questions we find ourselves asking as the film progresses, not only because the story is entertaining, but also because we eventually realize that Dan is not following the advice in his own written columns. Dan himself realizes this when his articles are considered for syndication in a major newspaper--he has become a hypocrite, someone so blindsided by love that he didn't think about who might get hurt by it.

Is it normal for love to be this emotionally exhausting? I don't think I'm the right person to answer that question, which is probably just as well; a recommendation for "Dan in Real Life" doesn't depend so much on what I think, but on the mindset you bring to the theater. This classic Boy Meet Girl fable is told in a non-traditional way, relying more on genuine emotional development than on a formulaic structure. Although it allows for the film's one weakness--an abrupt ending--the emotional development still does wonders for the story, preventing it from becoming a bland, meaningless romantic comedy. It helps that all of the characters are believable, especially Dan; as he comes to terms with the ups and downs of life, our own humanity is reaffirmed. This alone makes "Dan in Real Life" a heartfelt, funny, and thoroughly enjoyable film.

Read Best Reviews of Dan in Real Life (2007) Here

When Steve Carell and Dane Cook were given top billing in "Dan In Real Life," I expected a great or mediocre comedy filled with laughs and humor. Congratulations again goes to the marketing that makes a film appear different than what it actually is. This is the case with "Dan In Real Life," a film that will make you laugh with the characters, but also make you bury your face into your arms at the awkward situations dealing with love.

Dan (Steve Carell) is a widower, whose job is writing for an advice column in the paper and raising his three girls. As much as he's good at helping people, Dan can't seem to connect with his daughters. He decides to take the family to his parents' lodge for the weekend and while there he meets Marie (Juliette Binoche) in town and they immediately make a connection, only to separate soon after. Coming back to the lodge, he finds out that his brother, Mitch (Dane Cook) is dating Marie and Dan has to endure the weekend, tormented with the love he has for Marie and his daughters' dislike of him.

First things first, "Dan In Real Life" is not a comedy. It does have touches of humor and slapstick throughout, but it's much more dramatic. The title character is depressed and trying to make life work for him and his family. This is the film's downfall, because at times, it doesn't know if it wants to be either a comedy or a straight drama. It lands in the middle of the spectrum and this hurts it slightly. Luckily, the acting is very good and keeps the film from being less than mediocre.

Steve Carell is one of my favorite actors (huge fan of "The Office") and he didn't let me down here. From what I saw, he was in every single scene and he truly made them better. At one point, you'll be laughing at the absurdity of his situation, when you'll be sympathizing for his character the next (the "Let My Love Open the Door" scene). Carell makes Dan extremely likeable and a character to root for. Dane Cook gets a bad rap for his acting and although some of his movies aren't great, he does fine here as Dan's brother. Cook downplays it and his love for Marie is believable. He needs more roles like this. As the love interest, Juliette Binoche is great and has good chemistry with both Carell and Cook. All the acting was fine and was the best part of the film.

What really hurt the film was Dan's daughters and the ending. Although the actresses playing them did a good job, their characters were so poorly written. Instead of being loving, they became annoying and grating. Dan is trying his best to help their situation, but they make it harder for him. Finally, the ending was too "sweet" for my taste. It seemed like it came too abruptly and the end credits montage had my eyes rolling. If they took that out, then maybe it would have fared better.

Overall, "Dan In Real Life" surprised me in that it wasn't a consistently funny comedy, but a heartfelt drama. Unfortunately, it had a hard time juggling both genres. Thankfully, good acting helped the film along and made it better than it should have been.

Want Dan in Real Life (2007) Discount?

This, along with a couple other movies now (only a couple though), is the revival of good script writing and good screenplays. This movie has zero special effects, but yet is such a good, good movie. I was very impressed. Carell can play a more serious role. This is where it's at. Dane Cook too did well out of his typical comedy role. I wish everyone would give this a chance. It's great.....More movies should be made like this. It's simple and great all in at once.

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Notorious (1946)

A finely crafted, sumptuously produced romantic thriller that has the distinction of featuring director Hitchcock, and stars Grant and Bergman at their collective best. Even so, Claude Rains manages to dominate almost every scene in which he appears; his Oscar-nominated portrayal of the lovesick mama's boy engaged in espionage comes off as supremely menacing, emotionally ambiguous, and yet oddly sympathetic ... all at the same time.

The film-to-DVD transfer is quite good. There are a couple of jumps and pops in the master print that are a bit jarring, but overall it's a crisp and clean presentation with great contrast. Although the package doesn't mention it, the DVD does offer chapter search/scene selection which is always a nice perk. There aren't any of the bonus features that we spoiled DVD collectors are coming to expect (trailers, biographical sketches, etc.), but it's still a more than acceptable edition of a truly classic film.

The video transfer of new Criterion DVD version of NOTORIOUS is a bit sharper, more detailed, and has better contrast than that of the Anchor Bay DVD version released in 1999. Unfortunately, it also reveals a lot more film grains. The graininess is not noticeable in most parts of the film unless a direct comparision with Anchor Bay's transfer is made. But in a few scenes, the graininess just cannot be ignored, and could be detrimental to one's viewing pleasure. In spite of that, in my opinion the increased detail and sharpness of Criterion's transfer is still preferrable to Anchor Bay's comparatively softer and darker picture.

Regarding audio, it is no contest. Criterion's mono 1.0 sound has MUCH greater clarity, depth, details, volume than Anchor Bay's comparatively muted and muffled soundtrack. In addition, the Criterion disc also includes optional English subtitles while Anchor Bay's does not.

The Criterion DVD retains all of the supplementary material from their own CAV laserdisc version from 1991, and it adds some more...

There are two excellent audio commentary tracks. One is by Marian Keane, and it deals straight with the artistic aspects of the film by providing scene-by-scene, shot-by-shot dissertations. Commentaries like this are rare, and it is most beneficial to average viewers who want to learn more about the purposes and intentions behind every shot, every cut, every line. For instance, in a seemingly ordinary shot of a grandfather clock inside the Sebastian home, Keene analyzes the composition by pointing out the phallic symbol of the clock that suggests Alex's presence, the adjacent banister that reminds us of his mother, and the flower at the window that suggests the vulnerability of Alicia. Another commentary track, by Rudy Behlmer, was recorded for the laserdisc version, and it is the more common type of commentary, in which the commentator recounts the production's history, the logistical aspects, sypnoses of the lives and careers of the filmmakers, a few anecdotes. Behlmer mentions something omitted by Keane -Roy Webb's music (which is given a separate audio track on the DVD). At one point, he explains how the RKO Radio Picture logo was removed from the opening credits; but he refers only to the laserdisc version. This DVD version, however, restores the RKO logo.

Other extras include an all-too-brief excerpt of the short story "The Song of the Dragon" which inspired the film. There are about 40 production stills, mostly of Hitchcock, Cary Grant, and Ingrid Bergman. There is a section that explains how the many rear projection shots were done (some of the shots are quite seamless). There are a few production correspondences written by David O. Selznick, Bergman, and even FBI chief J. Edgar Hoover in response to the film's treatment of special agents. There are 4 theatrical trailers and short teasers. There is a one-minute newsreel footage of Hitchcock and Bergman arriving in England. There are script excerpts of 5 deleted scenes, and 3 alternate endings in which one or more of the four main characters get wounded or killed on screen. In a moving segment called "The Fate of the Unica Key", Marian Keane speaks on an audio track about how Bergman, during AFI's Lifetime Award ceremony for Hitchcock, handed the Unica key to the director as a token of love and respect (unfortunately, no footage of the AFI telecast is included). Last, but not least, there is a one-hour radioplay version of the film, in excellent audio quality, recorded in 1948, starring Joseph Cotten as Devlin and Bergman again as Alicia (the laserdisc version only has a 15-minute excerpt of the radioplay).

Buy Notorious (1946) Now

This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

More Hitch(see my reviews for film details):The Lady Vanishes / 39 Steps

Secret Agent

Read Best Reviews of Notorious (1946) Here

Notorious (1946) is a stellar achievement from director Alfred Hitchcock and master screenwriter Ben Hecht with Oscar worthy performances from all 3 principal stars, Cary Grant, Ingrid Bergman and the ever Oscar worthy Claude Rains. It is hands down somewhere (arguable I suppose) in the top 5 films Mr. Hitchcock has ever made and sports a truly nuanced and multifaceted performance by Cary Grant who proves in THIS film he is not just a pretty face but a very fine actor who was capable of much more than he is usually given credit for.

With that said, this review will focus on the technical aspects, both audio and video, of this Blu Ray presentation rather than the film content itself. If you are a casual viewer or someone who can not abide film grain, this transfer will most likely be less than satisfactory for your tastes and you could easily get by with the latest DVD version. I am, however, a MAJOR fan of Cary Grant and fully intend to purchase each and every title of his that becomes available on Blu Ray This review is for those of you who are OCD about the video/audio quality of B&W classics and need to know if it is worth spending again for this title. If this sounds like you, then read on!

The disc itself is housed in an appallingly cheap Eco-Case with equally appalling cover art. (I use the term "art" loosely here) The media is of good quality, not the cheap super thin discs that have been going around lately. The disc has color printing on it, the same as the case cover. The transfer uses the AVC codec with an average transfer rate of 38 MBPS on a 50 gig disc and presented in it's original full frame aspect ratio.

I read numerous online reviews regarding this transfer before purchasing, so I pretty much knew what I was getting myself into. I will be right upfront and state that although this is NOT the level of visual quality I had hoped for, it is still a large step ahead of any other transfer currently available. It would take a frame by frame restoration done from an original camera negative (similar to what was done with 'Ben-Hur' or 'The 10 Commandments') to improve much on the visual quality and I am afraid that studio profits trump my own personal wishes here. It is a real shame that Cary Grant's films are not shown the same reverence and care that are given to Bogart's in the Blu Ray market.

Bottom Line: 'Notorious', while a true cinematic masterpiece just doesn't get the same amount of respect shown to it as other titles from the same time period. The image quality at times achieves great heights of both clarity and stability, but at others reveals a troubled and damaged source. I would have to say after viewing that this transfer did NOT come from an original negative or any negative at all, rather from a decent quality print of dubious origins that has been cleaned up and scanned in at 1080p. While the bit rate of this transfer remains consistently high during the film, there is little depth to be had, and at times much noise , chemical damage to the nitrate/emulsion resulting in discolored contrast 'stripes' from time to time , film warping and a few scenes that seem to be sourced from lower resolution material of some kind.

Close-Ups, in particular, are very very good. The fine detail revealed during close-ups easily trumps anything you could ever see on even the best DVD transfer. If you screen this transfer in full 1080p with 24 frames engaged you will be treated to something very very close to a theatrical presentation. Once you overlook the downside of the source material, this Blu Ray can and will provide you with a very nice overall rendering, despite the print damage. Upon close inspection I found no instances of missing frames, although the bit rate is SO HIGH that occasional my equipment dropped one or two from time to time and upon rewinding and replaying it could not be repeated so this was not a fault of the transfer. For most of the film the contrast remains good and on a calibrated display you will mostly see things the way they were meant to be seen, although during the moments when a different source appeared to be used the contrast will be too dark or even too high depending on the scene.

These is all really REALLY picky observations, but I write most of my Blu Ray reviews for people who enjoy seeing their favorites in pristine condition and unfortunately 'Notorious' is not among them. The average viewer will be put off quickly by the amount of film grain visible. Of course if you remove the visible grain, you also remove the TRUE details which exist in the print so I prefer the grain to be left in and apply my own desired amount of DNR if I deem necessary.

Sound quality is fine. It is MONO but rendered in DTS-HD Master Audio into two identical 'stereo' channels. Selecting the stereo option on your receiver will yield a nice mono spread, otherwise your surround decoder may send all the sound directly to your center channel. Either way it sounds fine and there was no instance of any gross level distortion, clicks, pops or excessive hiss, although being an old analog recording SOME hiss is expected and excessive hiss removal can degrade the overall fidelity. The sound is fine, I thought it was actually a bit better than the visual presentation.

Extras included are ported over from the last DVD release and are fairly extensive. Commentaries from two Film Professors, various documentaries on the film and Hitchcock, a radio drama with Ingrid Bergman and Joseph Cotton, the original films trailer, an audio only interview with Hitch by Peter Bogdanovich and more. I watched/listened to them all and enjoyed them very much, being a fan of the film.

Overall, the Blu Ray release of 'Notorious' satisfies me, while still leaving a LOT to be desired. Unfortunately that seems to be the case with many classic Blu Ray releases. The studios are giving us just enough to make us happy, and not much more. This transfer does not begin to reach the heights of 'Casablanca', 'Maltese Falcon' or 'The Treasure of the Sierra Madre' and that is a real shame. Hopefully the upcoming release of 'To Catch a Thief' will make up for this fairly lackluster Blu Ray. Being a Cary Grant fan, I will continue to purchase every Blu Ray title he is in as it comes out, but like the latest Criterion release of 'Charade', this version of 'Notorious' misses the mark somewhat.

Recommended Highly for fans, but not so much so for the casual viewer.......

Want Notorious (1946) Discount?

One of Alfred Hitchcock's most complex romances features two of his favorite stars (Gary Grant and Ingrid Bergman) in the lead roles. Set against a background of spies and counterspies, Notorious remains first and foremost a love story. When Alicia Huberman (Bergman), the daughter of a convicted Nazi is hired as a double agent, she discovers she's in for more than she bargained for. While assigned to uncover scientific secrets from Germans hiding in Brazil, Bergman makes the ultimate sacrifice for her country by marrying her father's former conspirator, Alexander Sebastian (Claude Rains). Bergman is desperately in love with American agent T. R. Devlin (Grant), who she believes has deserted her emotionally, but marries Rains almost out of spite rather than pure patriotism. Through the many plot twists and turns, Bergman and Grant realize their true feelings for one another. A truly wonderful suspense, Hitchcock gets amazing performances from his cast. Bergman (never more beautiful or appealing) and Grant are excellent as the lovers who can't seem to express their mutual affection. Both seem ready to explode from all the pent up emotions. Rains is perfect as the mama's boy Nazi leader, and what a mother German actress Leopoldine Konstantin is in her only American film! The plot was so original that the writers of Mission Impossible II ripped it off (including the contact meeting scene at the racetrack!) with less than mediocre success.

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Camelot (2012)

Yes, 'Camelot' is a flawed movie, but a MAGICAL one, nonetheless. It is too long, and Franco Nero's dubbed singing voice as 'Lancelot' is laughable, and YET! Yet, we have RICHARD HARRIS, so perfect as the failing King Arthur, Vanessa Redgrave, never lovelier than in her role as the torn Guinavere, and David Hemmings, a dastardly 'mod' Mordred reeking havoc on the troubled Kingdom. Franco Nero (dubbing notwithstanding) brings a wonderful comedic touch to Lancelot, and with the sumptious sets and costumes, 'Camelot' really is a BEAUTIFUL film. It has been critisized for having a 'Sixties' feel to it, but the somewhat hippy-ish design just adds to the pleasure; and it REALLY doesn't matter that Richard Harris is wearing WAY to much blue eye-shadow we're in CAMELOT, for goodness sake! There may very well be a 'legal limit to the snow' there, but when it comes to make-up, no holds are barred! Oh, one can pick a MILLION holes in 'Camelot' but why bother? It's better just to pour yourself a glass of mead, light some candles, put 'Camelot' in your VCR and let Lerner and Loewes wonderful score sweep you into a magical time which never existed. 'Camelot' is pure escapism, but it's escapism with 'heart', and that heart belongs to Richard Harris. This movie is HIS, and years after first seeing this movie, when I imagine the face of King Arthur, the face that I see is Richard Harris'.

In the annals of musical theater, there are more than a few great scores. Among them is Lerner and Loewe's "Camelot" which has more than its share of great songs that shine away from the musical play.

In 1964, Jack Warner produced "My Fair Lady" at Warner Brothers. It was an excellent film, if a bit too cautious. The play was a phenomenon and Jack didn't want anyone mucking about with it. Going to see it was almost as exciting as going to church, even though the film itself was entertaining and beautiful to look at.

Four years later, Warner attempted to do the same thing with "Camelot." In many ways, he failed, but in a couple of others, he outshone "My Fair Lady" and many other fine movie musicals. First, but not foremost, he enlisted the talents of John Truscott to design the film. No medieval tale has ever benefitted from so fine a vision. His sets and costumes are among the finest -yet most realistic -ever created. Second, and this is the best part (for me) -he acquired the services of the finest composer/conductor Hollywood has ever produced. Alfred Newman had already won 8 Academy Awards prior to scoring "Camelot." Newman was one of a handful of composers who invented film scoring in the 1930s and 1940s. As head of the Fox music department from 1940-1959, Newman had the best orchestrators, best musicians and best composers working for him at Fox than could be found anywhere else.

For "Camelot," Newman had a free hand, along with his associate Ken Darby who had worked with Newman for nearly 20 years, collaborating on such film musicals as "Carousel," "The King and I" and "South Pacific."

The reason I'm making such a fuss over this -in addition to the fact that "Camelot" earned Newman his 9th Oscar -is that "Camelot" rates as one of the best scored musicals in film history and on this DVD, you can hear the entire musical score, free of dialogue and solo vocals, in 5.1CH stereo!

What separates "Camelot" from "My Fair Lady" is that in the latter, Warner would not let conductor Andre Previn alter the basic orchestrations of the play. Previn had some leeway, and it really shows in the score when he cuts loose. By and large, though, this did not include songs....just musical underscore/transitions. Newman, on the other hand, virtually co-composed the entire score. Using the thematic material, he wrote a dynamic, Erich-Wolfgang-Korngoldian ("Robin Hood," "The Sea Hawk," etc.) underscore that rouses you, thrills you and makes you feel great even if the film drama itself can't quite live up to it.

Watching a film for this isolated score feature alone is something only die-hard music lovers could tolerate, but it's there and can be enjoyed by anyone. Think of it as a full-orchestra karaoke feature and you can sing your favortie songs backed by one of the finest Hollywood orchestras ever assembled!

I've always been partial to "Camelot" for the score, the sets and the luminous presence of Vanessa Redgrave.

In truth, however, "Camelot" never looked as good in its first-run roadshow performances as it does on this DVD. This movie shimmers and sparkles and glows. It looks absolutely NEW. The sound does show its age in spots.

If only Arthur didn't run around all the time calling Guinevere and Lancelot "Ginny" and "Lance." (Lance. Ginny. Ginny. Lance.). That almost ruins the film for me -that and Arthur's eccentric blue eye shadow. And if only Hollywood had not entrusted another great musical into the musically uninspired hands of Joshua Logan (one of Broadway's greatest directors but whose heavy hand all but ruined the film versions of "South Pacific", "Camelot" and "Paint Your Wagon.")

It's a whale of a movie. And the score is one of the finest ever committed to film.

Buy Camelot (2012) Now

In this lavish adaptation of the Broadway musical based on T.H. White's modern classic "The Once and Future King," the music of Frederick Loewe and Lyrics of Alan Jay Lerner weave this story into an intricate tapestry of unforgettable heart-stirring emotions. The emotions are quite overpowering and you almost have to watch this movie three times to fully appreciate the texture and detail of the 45 sets and 3,500 costumes.

Camelot is a timeless romantic drama that takes us to a medieval world that could only be imagined in your most romantic fantasy. The humor is witty, the music is unforgettable and the world of Camelot has castle scenes that are beyond compare. In fact, if you love castles, you will see scenes from dreamy castles in Spain. The Castle of Camelot is modeled after the Castle of Coca. The architectural details in the design are partly Romanesque, Norman, Viking and Gothic. The decorations have a "fantasy" medieval flavor.

The movie is at first shrouded in mystery as Arthur sits in a dark misty forest. Arthur is about to go into battle and doesn't want to die in a state of confusion. Merlin advises Arthur to think back to the time when he met Guenevere.

We are transported into King Arthur's memory, where the entire story takes place in vivid detail. King Arthur sings about his fears of the wedding night and it is all rather cute and humorous. We instantly see King Arthur as an eternal boy and later find out how he became king quite by accident when he draws the sword, Excalibur, out of a stone.

Guenevere arrives all wrapped in fur as she travels through the "most ferocious, savage, terrifying forest" she has ever seen. The branches are laden with snow and icicles. She simply adores the danger and beauty. When she hears the forest is quite dangerous, she wishes to be stolen away. Her heart is quite hungry for adventure and romance as a damsel in distress and all she has to look forward to is an arranged marriage.

When she meets "Wart" she has no idea he is King Arthur and asks him to run away with her. Vanessa Redgrave and Richard Harris are like two happy children living in a magical dream. King Arthur has a boyish charm, plenty of witty lines and the almost periwinkle eye shadow quite matches his turtleneck sweater and promotes a whimsical mood.

The royal marriage is magnificent and the wedding gown flows between two seas of candles. For a time, we truly believe this arranged marriage will succeed. Arthur shares his dreams of uniting the feudal city-states and Guenevere seems intrigued with her husband's leadership qualities. She too seems to be dreaming of a new world filled with chivalrous knights who fight for right.

When French knight Sir Lancelot arrives, he destroys the intimacy between Guenevere and King Arthur, although he promises to be the king's defender in this newly civilized world. Guenevere becomes a woman who must make impossible decisions. Lancelot dreams of all the good he can do, all the wrongs he can right and in fact, his desires lead him to a place where a fragile utopia is destroyed.

"Camelot" then becomes a serious study in how three people are almost forced to make irreversible decisions. King Arthur (Richard Harris) seems to quickly go into an extended period of denial and since he deeply loves Guenevere, he forgives her for being human. Lancelot (Franco Nero) lives life intensely and feels deeply about King Arthur's mission. He is filled with a passion for life and makes promises he can hardly keep once he enters Guenevere's world.

Guenevere (Vanessa Redgrave) is so innocent in her love of both King Arthur and Lancelot. She falls madly in love with Lancelot because he embodies all that she has always dreamed of, despite the fact that their love now destroys Lancelot's chivalrous ideals. He fights for her and his impressive battle skills and depth of emotion after he fights in the joust draws her into his world. Each time they look at one another, the world stands still and in awe of this love they feel for one another. If only she had met Lancelot before she had been promised to King Arthur.

I doubt there is a more powerfully erotic and yet angelic scene than the one where Guenevere stands in the doorway with her golden hair flowing behind her in the drafty castle. This scene portrays her in an almost angelic way as "If Ever I Would Leave You" plays on, drawing us into an intimate circle created by three hearts who are forever woven into this immortal tale. How can your heart not melt when Lancelot declares his undying affection by saying: "I, I love you. God forgive me, but I do."

There are a lot of extras:

1. Jump to a Scene

2. Explore Camelot

-Cast & Crew

-The History of the Legend Information on King Arthur (Interesting ideas, like that King Arthur was really a Celtic chieftain in the 5th century who became a king in the legends after his death. He was believed to have been killed at a battle at Camlan in 537 AD.), Excalibur, The Holy Grail (Why King Arthur was seeking this magical object) and The Knights of the Round Table

-King Arthur Comes to Hollywood

-Building Camelot

-Costumes

-Awards

-Featurette: The Story of Camelot

-Featurette: Special Premiere Footage

-5 Theatrical Trailers

3. Languages You have to choose "English" or you will only hear the Musical Score.

4. Recommendations

I really can't think of a more perfect movie. Sadly at the end of the movie, the story is not quite what we expect. Yet, I don't think we would want this movie to end in any other way.

~The Rebecca Review

Read Best Reviews of Camelot (2012) Here

The 1967 film version of "Camelot", always seems to ignite feverish debate among movie fans over its merits both in production and performances. The viewpoints tend to range from "the worst musical sung by non singers in movie history", to "a totally beautiful film production that captures the spirit of the famous Broadway musical to perfection". Having been fascinated by the legend of King Arthur and his Knights of the Round Table since I was a young boy I tend to view this film very affectionately while not for a moment failing to see its shortcomings. Criticism is always heavily directed at the two main leads Richard Harris and Vanessa Redgrave and their "talk singing", of the show's memorable score, however viewers must realise that the original Arthur on Broadway was Richard Burton who like Rex Harrison cornered the market in talk singing in a very successful way. Certainly many of the cast have a very 1960's appearance however it has to be remembered that this is an adaption of a Broadway musical with a medieval setting, it is not trying to be a careful document of life in the middle ages. On a high note the film boasts amazingly lavish sets and a musical score courtesy of lyricist Alan Jay Lerner and composer Frederick Loewe that is one of the most beautiful I have ever heard in a movie musical, it being highly romantic and sensual in feel which suits perfectly the great talents of both Richard Harris and Vanessa Redgrave ideally cast in the leads.

Based on H.T. White's "The Once And Future King", Warner Bros. Screen version of "Camelot", tells the ultimately tragic romantic love triangle involving King Arthur, his lovely wife Guenevere, and the dashing French Knight Lancelot. Arthur has a dream of world peace where all the collective rulers will come together around a special round table. However what he doesn't realize is that one of the strongest believers of this principle, the French knight Lancelot Du Lac who travels to Camelot to put his services at Arthur's disposal unexpectedly becomes involved in a passionate affair with Guenevere. The Queen of course also loves her husband but is drawn to the passionate Frenchman which threatens to destroy the whole kingdom. The arrival of troublemaker relative Mordred also spells trouble as he conspires to destroy Arthur's whole belief in the principle of a early united nations. When Lancelot and Guenevere are trapped in a passionate embrace the Queen is condemmed to death by being burnt at the stake however at the moment of her execution Lancelot rescues her and Arthur must go into battle to save his kingdom and the principles he has fought so long for. On the morning of his battle with Lancelot after learning that the remorse ridden Guenevere has left him to join a convent Arthur comes across young Tom of Warwick in the camp and the young boy's simple sincerity and belief in the principles that Arthur is about to fight for restores his faith and belief that there is hope for the world.

To this day there is still feverish debate in regards to the casting of the leads in "Camelot" and to the merits of the overall production. Personally I think Richard Harris and Vanessa Redgrave make perfect casting as Arthur and Guinevere, while Franco Nero is the very image on screen of what the dashing Lancelot should be like. Immortalised on Broadway by Richard Burton, Julie Andrews and Robert Goulet respectively, critics seemed to have difficulty with the actors selected for the same roles in the film version. As Vanessa Redgrave was famously quoted as saying at the time of production; "If Julie Andrews had really wanted to play this role in the film version she would definitely be doing so now". Richard Harris gave I believe one of his most likeable performances as Arthur and like Richard Burton before him manages beautifully with the many "talk singing" numbers that make up a large part of the score of "Camelot". Vanessa Redgrave normally associated with gritty dramatic roles in films as diverse as "Blow Up", "Mary Queen of Scots", and the superb "Playing for Time", here is luscious in the famous role of Guenevere , the very epitome of beauty and romantic passion. Rarely has she appeared more beautiful on screen, which is an attribute about Ms. Redgrave which is sadly often overlooked. Her opening scene as she approaches Camelot through a snow covered forest for her upcoming wedding clad in a magnificent white fur coat is probably one of the most beautiful images captured on screen in any 1960's musical. In supporting roles many actors succeed in creating a great impression often in limited screen time from veteran character actor Lionel Jefferies in a comic performance as the forgetful King Pellinore, through to David Hemmings in a wonderful turn as the villianous Mordred Visually "Camelot", is a feast for the eyes and displays it's lush budget at every turn from the rich colour photography to the sumptuous locations used in Spain and France, to the stunning set of Camelot itself which was miraculously created on the backlot of Warner Bros Studios in Hollywood and was one of the last great outdoor sets to be constructed at the studio. So special was this "Camelot" set that it was to reappear six years later magically transformed to represent Shangri La in the 1973 musical version of "Lost Horizon". It is the rich musical score of "Camelot", by Alfred newman however that in my belief is it's shining glory. The prelude and overture combines some of the most beautiful instrumental compositions of any musical and the other numbers are sublime including the wistful "The Simple Joys of Maidenhood", to the lively "The Lusty Month of May", through to Arthur's magical "How to Handle a Woman" an of course the film's romantic highlight with "I Loved You Once In Silence". Despite the criticism of actors who are not trained singers attempting these numbers the compositions of these musical numbers ideally suit the talents of Richard Harris, Vanessa Redgrave and Franco Nero and the end result is some of the most romantic musical moments you could imagine in a motion picture.

Nominated for achievements in cinematography, musical score,and of course for the superb costume design "Camelot", was crucified by a majority of critics at the time of its release in 1967. The film however has that warm nostalgic feel to it that makes repeated viewings of it essential. The passage of time makes me wonder at some of the spite of critics back in 1967 as the film is far from the total disaster that we are always led to believe it is and is really part of that last gasp of elegant film making just prior to 1970. It certainly captures Richard Harris in his prime as the good hearted, high principled King with a dream and provides Vanessa Redgrave with a stunning showcase for her considerable talents in the role of the beautiful but ultimately tragic Queen Guenevere. While "Camelot", is certainly very much of its time, i.e. the mid 1960's, its romantic story is sure to charm all lovers of well made tales of romance, combined with tragedy. Enjoy!

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The Lerner and Lowe musical seems to be a variation from the T.H. Lawrence novel, "The Once and Future King," from which the animated Dysney film was taken. Richard Harris, Vanessa Redgrave and Franco Nero effectively carry out the movie, their voices superb in every song and their dramatic performances making an excellent and enjoyable film. The story is the age-old Arthur myth. King Arthur, the idealist, tutored by his all-knowing wizard Merlin, creates Camelot, a peaceful realm supported by the mighty Round Table, whose aim is "Might for Right". But things begin to fall apart for Arthur and his dream. Guenevere, whose marriage to Arthur had all been arranged, falls for the dashing French-born champion Knight, Lancelot. Their affair sparks the suspicion of Mordred who reveals it to the public, just when it was ending (the parting scene between Guenevere and Lancelot.."And I shall never come to you again" and their duet is very emotional and heartrendering). As we know, Mordred and Arthur battle, the Round Table is dissolved and Camelot becomes a dream remembered. This musical was appropriate to its milieu. It was the 60's when this film was made, and peace rallies were manifested over America. The idealism of peace and brotherly harmony (as in the Round Table) is effectively similar to the idealism of American government. The allegory of the musical is quite transparent. I hope you give this musical a chance, and it has a special place in my heart. Along with The Sound of Music and The King and I, this musical stands out in the great tradition. Five stars well deserved. Songs that stand out in this musical are "I wonder what the King is doing tonight" "Where are the Sweet Joys of Maidenhood ?", "Camelot" "How to handle a woman" and "If I ever Would Leave You."

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Apocalypse Now (Two-Disc Special Edition) (1979)

I'm a hardcore Apocalypse Now fanatic, and this, the original version of the film, is what made me one, several years ago. Reviewers like to debate endlessly over which version is better, this or the Redux. Personally, I like both, but I find this original version to be more surreal, relentless, and, to quote another reviewer, more "dangerous." The fact is, Coppola used different shots and edits in the Redux, in some cases diluting the surreal impact of the original. Plus the characters Kilgore and Kurtz come off more strongly in the original; sure, we get to see more humanity from Kilgore in the Redux, but his exit in the original is much more memorable, much better than the "tossing megaphone into the air" antics as shown in the Redux. And Kurtz is a more powerful Evil One in the original version, not much more than a shadow.

What gets me is that, in the press releases that came out with Redux, Coppola claimed that he no longer considered the 1979 version of Apocalypse to be "unusual." He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to make it more unusual. The thing is, the Redux is, if anything, MORE normal than the original. After all, you get more character development, a romantic subplot, etc; all the things the unusual (and unique), original version lacked. The very lack of these things is what gives the original such a mysterious, dangerous edge. There is no levity in the original, no stealing of surfboards, no Playmates for the PBR crew. Only the dark jungle, and the mission.

If it's true that Coppola wanted to make the original version even more unusual, then I wonder why he chose to add the Plantation sequence and the Playboy Bunnies escapade. Having seen the Work Print, I know that there is a wealth of material Coppola could've used. Bizarre? Unusual? How about a scene in which Martin Sheen's Willard, trapped in a bamboo cage, writhes in pain as the montangnards (and Kurtz's American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, still in the cage, being questioned by Kurtz, who tells Willard that he's as weak as his "colleagues in Washington?" Or how about possibly the most bizarre scene of all: Dennis Hopper's Photojournalist being shotgunned to death by Scott Glenn's character Colby?

Coppola could have used any or all of these scenes to make a truly "unusual" film, one that would successfully create a darker film. If anything, the extra scenes in Redux lighten the film's mood. Coppola could have even improved on the end of the movie. That's one thing that's always bothered me about Apocalypse Now. Willard's hired to murder Kurtz; when he finally does, all he has to do is just walk into Kurtz's temple, take out one guard, and then get to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This problem is solved in the Work Print, which features Willard taking on a host of guards, including one grisly scene in which he spears an American guard who cowers behind a young, Vietnamese boy. Now, if you ask me, that's more "unusual" than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to use these scenes, in either official version of the film.

I don't intend to mislead, though. I think the Redux is fine, a five-star movie. It expands on the broader themes of Apocalypse Now, but at the same time lessens the impact of the movie itself. After having watched the Redux a few times, I popped the original in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so much more psychedelic and surreal. Even the fades and images shown in the beginning and the end are different in the original, more disturbing. And that's the main difference between the two versions: the original is much more disturbing.

I'll finish with another quote, taken from the web. Which director do you think is better, the Francis Coppola of 1976/1979, or the Francis Coppola of 2001? Of these two very different directors, whose vision would you be more willing to trust?

1/27/09 update: Six years ago I also had a review for the "Redux" DVD here on Amazon. Somehow it's been removed from the site -it seems Amazon has combined the reviews for the original Apocalypse Now DVD release with the reviews for the "Redux DVD" release. And since Amazon has a policy that a reviewer can only post one review per item, it appears that my "Redux" review got the boot. I've rescued it from oblivion via a Google cache search; please see the Comments section, below, for the review.

This review refers to the Widescreen Collection(Paramount)DVD edition of "Apocalypse Now Redux"......

In 1979's "Apocalypse Now", Francis Ford Coppola presented us with a mesmerizing, stunning look at the horrors of Viet Nam. It was a film that looked at the hearts and minds of the soldiers and the effects the brutualities had on them. A magnificent work at the time, you wouldn't believe it could be any better. But now, more than 20 years later(and well worth the wait), Coppola has seen his vision completed, with the reediting of the film and the addition of previously deleted scenes, to bring us this gift of the even more mesmerizing "Apocalypse Now Redux".

There is an additional 49 minutes now, and although I don't feel that every minute of it was essential to making this classic film an even better one, there is a new story here that helps us relate to the frame of mind of the soldiers. A scene where the boat crew takes time out for a rendevous with the playboy bunnies is one example of that.And although this scene may be a bit of a shocker at first, as it introduces a sexual situtaion where it was previously non exsistent, it gives us a greater understanding of what's going on in their heads. The added scene of the time spent on the French Plantation was again an eye-opener, and the funeral for "Mr. Clean" also was a welcome addition as it gives us a closure to the closeness we felt to this character. And of course, a little more time with the insane Colonel Kurtz was enlightning as well (who wouldn't want to spend a little more time with any character of Brando's?).

The original film from 1979 received 8 nominations by Oscar, including Best Picture, Director, and a supporting actor nod for Robert("I love the smell of Napalm in the morning")Duvall. It took home well deserved Oscars for Cinematography(Vittorio Storaro) and Sound.

It stars Martin Sheen as Captain Willard, who beset with his own emotional problems is sent on a dangerous mission to "terminate" the esteemed Col. Kurtz, played brillantly by Brando, who has now been driven insane by "The Horror" of it all. Willard is escorted into the wilds of Cambodia by a boat crew including a young Laurence Fishburne and Frederick Forrest. You will also find Dennis Hopper, Harrison Ford, Sam Bottoms,Albert Hall, and Christan Marquand in this incredible cast.

The DVD is beautifully remastered. You won't miss a thing with the widescreen presentation and the incredible Dolby Digital 5.1 Surround sound. The colors and sounds of the jungles are captured wonderfully.There are no Special features, but may be viewed with English subtitles is needed. The scene selection does indicate which are the new scenes which is quite helpful if it's been a while since you've seen it.

Still can't decide between the original and the Redux. This film is a treasure in any form. It's a piece of cinematic history that's probably worth getting both editions if you can. If not, give this one a try. It's a must for fans of classic cinema.

"Never Get Out of The Boat"....Captain Willard....thanks and enjoy..Laurie

recommended reading:Into the DMZ A Battle History of Operation Hickory, May 1967, Vietnam(see my review for details)

Buy Apocalypse Now (Two-Disc Special Edition) (1979) Now

The Film 5/5

There have been countless books, websites, and even a documentary (Hearts of Darkness: A Filmmakers Apocalypse) about this film that it seems almost pointless to write about it. One of the most troubled productions in film history, the film went on to recieve universal acclaim and is now a cinema classic.

For those of you getting into this film for the first time, do not expect your typical vietnam war film. In fact you could argue that the film is not really about the Vietnam War, but is instead about man's descent into "the heart of darkness" if you will. The film follows Captain Benjamin Willard (Martin Sheen)who is given a mission to proceed up river into Cambodia to assassinate a Green Beret Colonel (Marlon Brando) who has gone insane.

That is the basic story of the film. But, it is much more than that. The movie is essential one sureal moment after another. From a helicopter attack done to the tune of Wagner's "Ride of the Valkyries", to surfing calvary men, to the much debated ending.

If there ever was a film that must be experienced just once in your life this is it.

The Video 5/5

The film was shot in the scope widesceen format of 2:35:1, but is present here (as with other DVD versions) at a slightly cropped 2:00:1 format. This decision (made by Cinematographer Vittorio Storaro) has caused much controversy over the years, and while I would love to see it in it's original format this version doesn't bother me.

That being said this is the best I've ever seen Apocalypse Now look. The colors are much more vivid and flesh tones are more realistic. For a film that was released in 1979 it stands right up there with any modern blockbuster. Each film is spread across two discs for higher picture quality. The result is stunning.

Sound 5/5

Speaking of standing up there with any modern blockbuster. Apocalypse Now is the Grandfather of all home theater show off films and this new DVD set is no exception. The original discs for their time offered impressive 5.1 mixes, this one however takes it to the next level. Bass response is more dynamic and there were even obscure background sounds and dialogue that I never noticed before on the old versions. It fully uses the 5.1 system. Again for a film released in 1979 it stands toe to toe with any modern movie.

The Extras 4/5

Apocalypse Now: The Complete Dossier is a two disc set that feature both the classic 1979 version and the extended 2001 version known as Apocalypse Now Redux. Each film is divided into two parts. While my preference is for the 1979 version. I recommend watch both versions and decide for yourself which one you prefer.

Extras on disc one include several deleted scenes, Marlon Brando's reading of T.S. Eliot's Poem "The Hollow Men" as well as a few short featurettes on 5.1 sound.

Disc two includes several featurettes on the editing, music and sound of Apocalypse Now. These featurettes are very informative and really give you an insight into the process of assembly a film from what is essentially nothing into a cohesive whole.

Above all else though is the absolutly engaging commentary by director Francis Ford Coppola. Following the same standard of excellence that was on The Godather dvds. This commentary track is extremely informative and provided insights that I've never known before.

Now, what is missing however is the classic making-of documentary Hearts of Darkness. In fact there are no featurettes on this set about the making of the film. One of the reasons Apocalypse Now is so famous is that its production was arguably the most troubled in cinema history. Everything that could possibly go wrong did go wrong.

In spite of the lack of Hearts of Darkness, and the slightly cropped aspect ratio. This DVD version of Apocalypse Now is head and shoulders above the previous versions.

This DVD gets my highest recommendation.

Read Best Reviews of Apocalypse Now (Two-Disc Special Edition) (1979) Here

Darkness, madness and hallucinatory images of Hell pervade this stunning, mind-blowing film set in the Vietnam War. Herein Francis Ford Coppola has rendered a beautifully surreal work of art. So much has been said of the original 1979 release, as well as this 49-minute more substantial REDUX, recently released on DVD. It has been studied, discussed, and pondered over; it has been abhorred, feared, and embraced. Undeniably, APOCALYPSE NOW has always packed a powerful punch, and nearly a quarter of a century of time has only served to intensify its transcendent force.

Based symbolically upon Josef Conrad's novel, HEART OF DARKNESS, this movie not only delves deep into the psyche of war, but also explores the vast facets of evil and indistinct limits of sanity. Such are the themes that Capt. Willard (Martin Sheen) must grapple with when assigned to dispatch "with extreme prejudice" a lunatic Green Beret, Colonel Kurtz (Marlon Brando) a rogue officer bunkered in an absurdly gruesome renegade outpost on the far reaches of a river in Cambodia, the outer fringes of the war. His trek down that river is an utterly absorbing, terrifyingly bizarre odyssey marked with all sorts of surreal, often nightmarish encounters.

Willard commences his mission with a small unit of men in a Navy patrol boat. Along the way, they come across a number of variously strange, disconnectedly horrid and uproariously erratic entities the most memorable of which is Robert Duvall's Lt. Kilgore, a surfing fanatical, riotously brash helicopter commander who takes Willard and his men on a riveting aerial assault in a hot area. Choreographed under a blaring rendition of Wagner's "Ride of the Valkyries," this scene just takes your breath away. It is Kilgore the cowboy who raps out the best quotes of this movie, which I need not even repeat, as they've all been repeated over and over here already but the REDUX version gives him more ample air time, highlighted by his amusingly desperate attempts to get back his surfboard, which Willard and his men had stolen. Duvall's performance earned him an Oscar nomination.

The REDUX version also includes an exquisitely ethereal encounter with the French at a rubber plantation in the midst of the jungle. Willard and his remaining men have dinner with the Frenchmen, and the conversation essentially courses through the many sundry themes of the movie entire. Afterwards, Willard sleeps and smokes opium with a young French war widow. The aesthetic, dream-like qualities of these plantation scenes are such that it becomes somewhat unclear whether or not these French expatriates are actually just ghosts.

The film reaches its climax when Willard reaches Kurtz's cult-like camp-"the farthest outpost on the river." It is here that the American patrol boat floats right into some horrid apparition of Hell dead bodies dangling from trees, decapitated heads swarming the landscape. It is here that The Doors' ominous opening number, "The End," gains its relevance. The dead are omnipresent here, yet strangely far removed. Indeed, this is the way the world ends. The remaining living population is veritably brainwashed, worshipping their leader, Kurtz, like he's some kind of mystic divinity. At this point, the film takes on an almost mythical quality. Yet, though the tone is confoundedly serious here, there out of the blue comes Dennis Hopper's maniacal photojournalist, a steadfast Kurtz apostle, to lighten things up.

The performances in this amazing motion picture are simply tour de forces in every single aspect of the art of acting. Martin Sheen exudes all the unfathomable depths of his intellectually contemplative, poignantly resolute hero through both the mediums of voice-over narrative and sublime corporeality. He is nothing short of astounding. Then there's Brando, who, no matter who he is or what he's doing, cuts an unabashedly amazing figure on the screen. Whether you like him or not, it seems impossible to avert your attention from him whenever he's in view. In APOCALAYPSE NOW he truly becomes the embodiment of all that there is in the whole vast world to dread, confound and disinherit. He is the destination of the trip that everyone metaphorically takes, in some form or to some degree or other, down the winding river of life, cutting into the vast, pulsating heart of darkness.

Want Apocalypse Now (Two-Disc Special Edition) (1979) Discount?

If you are truly a fan of great films stop reading about this one and go see it! Coppolla's "Apocalypse Now Redux" is a real gem.

The basic story flows vividly yet mysteriously up the river into the dark jungle. Coppolla, as you may have heard, adapted the story from Joseph Conrad's "Heart of Darkness" with the exception that H.O.D. is set in the African jungle based on a journey that Conrad took into the Upper Congo, then controlled by Belgium as a colony, whereas A.N. is set in the jungles of southeast Asia during the height of the Vietnam war.

For Redux, Coppolla went back to the raw footage, or dailies, and re-edited the entire film from scratch. The added scenes enhance rather than detract from the film, I felt. The film is set during the Vietnam War, but it is more about the dark side of human nature, and also how those in power often try to twist and distort the truth to fit meet their own ends. Is there a "method" to Col. Kurtz's madness? See the film and decide for yourself. It is interesting to watch the profound transformation that Capt. Willard (Sheen's character) undergoes.

The big questions on your mind may be:

1. Did Coppolla considerably improve the film?

2. Did the 45+ extra minutes of film enhance the flow and thematic development of the film?

3. Are the special effects and battle scenes spectacular?

The answer to all three of these questions is a resounding YES!

(except perhaps for those closed-minded "purists" out there who vehemently object to ANY change from the original release. To those of you whom fit this description, I remind youCoppolla himself adapted the movie more closely to what HE originally envisioned, with FULL creative licensenot with some big brother film exec looking over his shoulder and pressuring him to edit it in a certain way).

Overall improvements:

-the panoramic shots are more spectacular (of course this was my first time seeing it on the big screen so I'm sure that makes a difference)...

-some of the battle scenes are more realistic, allowing us to see the face of human suffering, not just the awe of exploding napalm bombs.

-the scenes at Kurtz's compound are more visually dazzling, and also a bit more shocking and graphic (some may feel this is gratuitous; but I believe Coppolla did that intentionally to communicate the devastation of man's violent nature, and the vicious cycle that we find ourselves in as a race).

Moral of the story:

Evil is rooted in lies; we all have a dark side to our human nature that we try hard to deny and keep in the shadows.

For more on this theme read Conrad's novella "Heart of Darkness" (a concise 130 some pgs) or delve into some of Carl Jung's writings about the shadow side of human nature.

Interesting tidbits:

-Mr. Clean, the teenage soldier on the gunboat was played by a 14 yr old Laurence "Larry" Fishburne.

-Much of the film was shot in the Philippines on location

-Coppolla had to personally mortgage virutally everything he owned to secure financing to complete the film which ran well over the studio budget.

-Coppolla makes a cameo appearance as a wartime journalist in the film

Apocalypse Now Redux is a cinematic masterpiecewell worth the journey upriver.

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