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While I am not a big fan of musicals, I have loved the films of Fred Astaire and Ginger Rogers because they are just so much fun. Sure, they can be a bit formulaic, but even though you KNOW what is going to happen, they still are very pleasing to watch. However, despite this, I was a bit disappointed in this outing. Part of it was because this film doesn't have the wonderful supporting cast like you saw in TOP HAT or SHALL WE DANCE. Without Edward Everett Horton or Eric Blore, the film seems to be a bit lacking--especially in the "fun" department. The silly antics of these supporting actors gave the other films charm that you just don't get with FOLLOW THE FLEET. In addition, unlike the usual character played by Astaire, this one is more of a jerk--as his fat head gets Rogers into trouble again and again. And, as a result, it's a lot harder to like him or want to see them get together in the end of the film. Plus, although the music is by Irving Berlin, the songs just don't seem as memorable. In fact, none of the songs were all that special and I can't recall any of them even though I just saw the movie. While this is still a cute and worthwhile film, it just lacks the sparkle and magic of some of their other films. Good but far from great. | 1pos
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Plot is never the strong point of a Fred Astaire and Ginger Rogers movie, but "Follow the Fleet"'s screenplay is exceptionally mediocre. Fred and Ginger still come off all right--they play "Bake" Baker and Sherry Martin, dancers whose personal and professional partnership ended when Bake joined the Navy. When they meet again, their love-hate relationship generates some entertaining comic moments. But for much of the movie, they take a backseat to a tedious subplot about Sherry's sister Connie (Harriet Hilliard), her love for sailor Bilge Smith (Randolph Scott), Bilge's dalliance with another woman, and an old schooner that Connie inherited from her father. Though Hilliard is rather charming, this plot is uninteresting.<br /><br />But at the same time, "Follow the Fleet" is blessed with an exceptional Irving Berlin score that gives the stars plenty of chances to show off their talents. Astaire gets two good solos with "We Saw the Sea" and "I'd Rather Lead a Band." He sings expressively and, of course, dances electrifyingly--and the sailor suit makes him look a little more boyish and athletic than usual. Rogers sings the catchy "Let Yourself Go" and later does a solo tap-dance to the same tune. <br /><br />The three duets really save the film, even though they're all shoehorned into the plot with silly excuses. Fred and Ginger win a dance contest by doing an energetic routine to another reprise of "Let Yourself Go". Later, they sing and dance "I'm Putting All My Eggs in One Basket" as if it were an early rehearsal of the number, flubbing the choreography to comic effect. At the end, the movie finally figures out how to get Fred and Ginger in evening clothes for a romantic duet--it makes it part of a show-within-the-show. The situation is contrived, but the song, "Let's Face the Music and Dance", is one of the most sinuously beautiful things Berlin ever wrote (it's reminiscent of Cole Porter), and the dancing matches it in elegance. Quintessential Astaire and Rogers.<br /><br />It would be a chore to sit through most of the dialogue sections of "Follow the Fleet" again, and, in fact, it's not necessary, because the plot rarely propels the musical numbers. But I could watch the songs over and over. | 1pos
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Of course, the story line for this movie isn't the best, but the dances are wonderful. This story line is different from other Astaire-Rogers movies in that neither one is "chasing" the other. The dancing of Fred and Ginger is what makes this movie. | 1pos
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I have a deep liking for this film despite it appearing deliberately less 'polished' than the other Fred and Ginger films, not to mention the slightly problematic casting of Harriet Hillard in the lead romantic role. <br /><br />Once again with these films, the plot is of a minor consequence - Astaire plays a rather unlikely sailor (who happens to be a brilliant former hoofer (of course!)) and Rogers an aspiring performer in a seedy dime-a-dance music hall. Although their relationship is bright and fun to watch, they are bogged down by an un-involving main story of Hilliard and Randolph Scott not succeeding in finding any chemistry between them. <br /><br />Although it was a last minute decision, Hilliard was rather miscast in this as she doesn't have the screen presence to give this film what it needs despite being sweet and likable throughout. The film may have benefited in promoting Lucille Ball's wise-cracking worldy brassy character to a larger role as she simply shined in every small scene, and would have made a great Helen Broderick-type side-kick to Rogers in this kind of bright film (See 'Stage Door', made the following year, for an example of wonderful scenes between these two fantastic actresses). That Scott's one-dimensional Neanderthal character eventually falls in love with Hilliard's is even harder to believe than Astaire being in the Navy! <br /><br />Now onto the important part, the singing and dancing: Nothing more can be said about "Let's Face the Music and Dance" other than it is brilliant and moving and perfectly executed and I often finish watching that scene with tears in my eyes. However other songs in the film deserve some recognition as well; "I'm putting all my Eggs in One Basket" is a lovely example of the comedic instincts of Astaire and Rogers, and almost pokes fun at their reputation of bursting into spontaneous, perfectly synchronized dancing. Other highlights are "I'd Rather Lead the Band" and "Let Yourself Go" which show how these two talents could perform as brilliantly alone as together. I nearly forgot to mention that this is one of the few (if not the only) time we see Astaire brilliantly play on the piano; It seems this man's talents were endless!<br /><br />Overall, I actually prefer this to 'Top Hat' and 'Swing Time' (although only just), as it is more earthy and performed so enthusiastically by all involved, it is hard to dislike the fun factor. | 1pos
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Fleet was released in 1936 during the middle of the depression when people were having a tough time worldwide finding jobs or even finding food to put on the table. In Europe Hitler was on the rise, along with other nationalist/ socialist whackjobs. In the United States seeds of the Cartel sown with the Federal Reserve Act and the income tax amendment (16) were beginning to bear fruit for connected finance capitalists and their dominating secret societies. <br /><br />For the average guy and girl, times were tough. Enter Hollywood with at least some hopeful imagesI don't think we can properly call them propaganda at this point, even though this particular movie revolves around war-preparatory naval exercises. The real issue for boys and girls then, as now, was how to hook up with the right one, lead a decent life, have wonderful children, with a modicum of grace and elegance. <br /><br />The odds were long. <br /><br />...<br /><br />For my complete review of this movie and for other movie and book reviews, please visit my site TheCoffeeCoaster.com.<br /><br />Brian Wright Copyright 2007 | 1pos
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Fay Grim is, on its face, a tale of espionage and intrigue told with a nod and a wink. As the sequel to his extraordinary Henry Fool, Hal Hartley creates a surprising blend of film noir and hardboiled spy thriller that starts with a knowing smile and large dose of laughter and turns as poignant and warm as any film I've seen this year.<br /><br />Parkey Posey is Fay Grim, an unwitting Mata Hari caught between the love of her exiled husband Henry Fool and the questionable intentions of a charming CIA operative. As Agent Fulbright, Jeff Goldblum is a master of wit and sarcasm, in a role that seems tailored to his talents. He has never been better. James Urbaniak is Fay's brother Simon, jailed but renowned for his wildly popular books of poetry. His love of his work and his sister brings a jolt of passion to contrast the dour nature of the spies which eventually populate Fay's world. And Liam Aiken is Fay's oversexed 14 year-old son. Although that may be redundant. Aiken's understated style is remarkably "old soul" for someone his age.<br /><br />The entire film is shot Dutch angle, the off-kilter style made famous by Orson Welles and used primarily in horror films and psychological thrillers to impart a sense of foreboding. In Fay Grim, using that style from opening credits to closing is intriguing at first, deceptively clever the next. For just as the viewer begins to fall for the perfectly timed comedic elements and wit of Hartley's brilliant script, something happens. The film takes a dark yet strangely comforting turn as these characters magically become sympathetic before our eyes. What began as dark comedy morphs into romantic drama, and the transition is masterful. Slow pacing gives way to breathtaking action, and we are sucked right into the vortex.<br /><br />In the end, Hartley's sharp dialog combined with the amazing performances of a perfectly matched ensemble cast makes for a delicious cinematic cocktail. Told with the luxury of one able to write, produce, direct, edit, and even compose the music, Hal Hartley has crafted a smart, sexy tale of espionage with tongue just barely planted in cheek. Fay Grim is one part Dashiell Hammett, one part Raymond Chandler, and one part Ian Fleming, shaken and maybe stirred as well. | 1pos
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When I first heard that Hal Hartley was doing a sequel to Henry Fool, I was excited (it's been a personal favorite for years now), and then wary when I heard it had something to do with terrorism. Having just seen it though, I was surprised to find that it worked, while still being an entirely different sort of movie than Henry Fool. The writing and direction were both dead on and the acting was superb...especial kudos go to Hartley for reassembling virtually the whole cast, right down to Henry's son, who was only four in the original. Like I said though, this movie is quite different from the first, but it works: I reconciled myself with the change in tone and subject matter to the fact that 10 years have passed and the characters would have found themselves in very different situations since the first film ended. In this case, an unexpected adventure ensues...and that's about all I'll give away...not to mention the fact that I'll need to see it again to really understand what's going on and who's double crossing who. While it was certainly one of the better movies I've seen in some time, it suffers like many sequels with its ending, as it appears that Hartley is planning a third now and the film leaves you hanging. I'll be sure to buy my tickets for part 3 ('Henry Grim'?) in 2017. | 1pos
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The 1997 low-key indie dramedy Henry Fool would seemingly have been a secure choice of movies no one would bother to revisit for a sequel. A rumpled, dissipated drifter (Thomas Jay Ryan) strolls into town. His anarchistic rantings and delusions inspire a nerdy garbage collector (James Urbaniak) to write poems, while Henry half-heartedly tries to boink the guy's sister (Parker Posey). As the poet prospers, Henry declines. Nothing special about any of the characters or the story. A pitch for Harold and Maude's Ghost would have been quoted higher odds of ever making it to a screen.<br /><br />But Parker Posey ain't the semi-official Queen of the Indies for nothing'. So when writer/director Hal Hartley came up with a new incarnation for his cast, a film was born. Though we catch up with the same characters many years, they're in a completely different sort of dark comedy; this one's laced with espionage! Henry may have been an international spy - and possible double, or even triple, agent - for years before meeting the others. He's either dead or in hiding from agents and authorities of many countries. Everyone wants his rambling, incoherent journal which just may contain coded secrets that could destabilize nations and economies. Posey's Fay is either the wife he left to go on the lam, or his widow, depending on who's telling the truth. Fay's efforts to find Henry and/or the hotly-contested journals include a globe-trotting gauntlet of multinational hit-persons and henchmen at every turn. She never knows who to believe or trust. Nor do we.<br /><br />While herding these unlikely characters into Jason Bourne/Jack Ryan territory, Hartley's script retains the ironic deadpan humor of their first appearance, steering clear of slapstick in exposing them to physical menaces. His sly lampoon of the paranoia, duplicity and musical-chairs alliances of today's geopolitics starts to crumble towards the end. Even so, fans of the first movie will be pleasantly surprised by the novelty of Hartley's recycling methods. (5/18/07) | 1pos
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I just saw this film @ TIFF (Toronto International Film Festival). Fans of Hal Hartley will not be disappointed!! And if you are not familiar with this director's oeuvre ... doesn't matter. This film can definitely stand all on its own. I have to go the second screening ... it was amazing I need to see it again -- and fast!! <br /><br />This film is very funny. It's dialogue is very smart, and the performance of Parker Posey is outstanding as she stars in the title role of Fay Grim. Fay Grim is the latest feature revisiting the world and characters introduced in the film Henry Fool (2000). Visually, the most salient stylistic feature employs the habitual use of the canted (or dutch) angle, which can be often seen in past Hartley works appearing in various shorts, available in the Possible Films: short works by Hal Hartley 1994-2004 collection, and in The Girl from Monday (2005).<br /><br />I viewed this film most aptly on Sept 11th. Textually, Fay Grim's adventure in this story is backdropped against the changed world after September 11, 2001. Without going into major spoilers, I view this work, and story-world as a bravely political and original portrait of geo-politics that is rarely, if ever, foregrounded in mainstream fictional cinema post-911 heretofore (cf. Syrianna: of side note - Mark Cuban Exec. Prod in both these films ... most interesting, to say the least). <br /><br />Lastly, for those closely attached to the characters of Henry Fool, Simone, Fay and Henry this film is hilariously self-conscious and self-referential. That being said, the character of Fay Grimm starts off in the film, exactly where she was when Henry Fool ended, but by the end of the film ... Fay's knowledge and experience has total changed and expanded over the course of the narrative. What can be in store for the future of Fay and the Fool family ... ?? I can't wait for the third part in this story! | 1pos
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I'm an admirer of Hal Hartley's films, especially 1997's "Henry Fool." "Fay Grim" is a sequel to that film, and has a similar style and sense of humor. The plot, however, is completely different. Fay Grim (played brilliantly by the iconic Parker Posey) tries to track down her missing husband's notebooks, and finds herself amid conspiracies and espionage. The supporting cast (most of the folks from the first film as well as Jeff Goldblum, Saffron Burrows, and a much-welcomed return from 90s indie-darling Elina Lowensohn) is excellent and the film has lots of surprises. The director claims this is part of a "Star Wars"-like trilogy, serving as the "Empire Strikes Back" of the series If this is true, I can't wait to see the third installment! I just hope I don't have to wait 10 more years for it. | 1pos
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Convoluted, infuriating and implausible, Fay Grim is hard to sit through but Parker Posey is really the only actress who could take this story and run with it. She's at once touching,funny, cunning. The supporting actors commit to it as well.<br /><br />I wont even try to tell you the plot.. It involves characters from Hartley's Henry Fool and attempts a tale of international espionage.<br /><br />The film works well if you continue along with it-understanding it is. in a sense, completely ridiculous. It becomes more and more ridiculous as you plod along. (I resisted the temptation to turn off the DVD twice).<br /><br />Fay Grim requires an adventurous film-goer willing to tackle something that isn't cookie-cutter. In the end, it offers something that defies description. | 1pos
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Perhaps I would have liked this film more if I wasn't so attached to the characters in Henry Fool. To those who've never seen Henry Fool, I wouldn't worry. As Hartley jokingly said in his introduction to the film at TIFF, the film has lots of exposition and explanations.<br /><br />This film is very heavy in plot, which keeps the film moving. There are many humorous moments and the film certainly has Hartley's trademark humour and rhythm of dialogue. Over all, a technically well made film and sure to satisfy new fans of Hartley who are just beginning explore his work. As for the older fans who loved his earlier works like Trust and Amateur, this film could go either way. I have mixed feelings about the film and Hartley's later films in general. What Hartley does best is setting his stories in small situations, focusing on the intimate and idiosyncratic ways in which his characters interact with each other. Since his late 90s and onward, his films have widened in scope in terms of subject matter. Mass media in No Such Thing, Religion in the Book of Life and now Terrorism in Fay Grim. I don't know if Hartley's talents are suited to such big subject matter or if he's able to do it justice.<br /><br />Strangely enough, the film can still be reduced to intimate relationships, a simple love story about a woman who goes to seek out the husband she loves. The only problem is, I've seen Henry Fool and everyone seems incredibly out of character in this film. You can tell this film was written long after Henry Fool was finished without any intention of a sequel. Somehow, the terrorist plot feels conveniently tacked on through the use of Henry's books of confessions as a macguffin (in the hitchcockian sense). Fay's motivations for finding Henry seemed motivated purely by the needs of the plot rather than what being faithful to who fay was as person in Henry Fool.<br /><br />I guess I'm slightly disappointed in the film because it's not true to the characters in the Henry Fool and it doesn't exactly work as a straight ahead thriller. There's too much irony and wryness in Hartley's approach to such as big topic as terrorism. It somehow works and doesn't work at the same time. All I could say, you would either love or hate the film depending on your take on Hartley's work and how well you know Hartley's work. Fans of Henry Fool, be severely warned for a disappointment. For the rest, welcome to the world of Hal Hartley and enjoy the ride. | 1pos
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A wonderfully quirky film with enough twists for a sack of pretzels. Parker Posey plays Fay Grim as a sexy, vulnerable, loving mother who may or may not be what she seems. The story is very tongue in cheek, and the dialog skillfully understated. Hints of humor and intrigue, neither of which overpower the characterization Posey pulls off so well. The supporting cast is stellar. The downside? This film needs your full attention, almost to the point of stopping the film and taking notes. Posey has more sex appeal in her lifting of an eyebrow than most actresses have in their entire body. She's worth your time, even if you don't understand the denouement. | 1pos
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When I started watching "Fay Grim", I had no idea that it was a sequel to "Henry Fool". Now, the latter was not a movie that I envisioned as having a sequel. But one has arrived, and it's quite good. I assume that you've seen the original, so I won't explain it. This one starts with Fay (Parker Posey) living with her son whom she had with deadbeat Henry (Thomas Jay Ryan). Simon (James Urbaniak) is still in jail. One day, the son gets expelled for bringing a pornographic toy to school. But this is no ordinary toy. It holds a secret that explains much of what happened in the first movie. And this secret delves deeper into geopolitics than "Syriana".<br /><br />I must say that I'm quite impressed with what Hal Hartley has accomplished here. Maybe this one doesn't quite reach the original's quality, but it certainly takes a good look at what's going on in the world. And the end leaves open the possibility for another sequel.<br /><br />Also starring Jeff Goldblum. | 1pos
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Hal Hartley's Henry Fool was an independent film masterpiece and certainly his best work. It has immense character depth, subtle, complicated dialogue, and an excellent, emotional ending which captivates. I remember pausing it several times during my first viewing to absorb what I was seeing and feeling. Henry Fool was a complete movie from start to finish, and needed no sequel.<br /><br />Thus I was surprised when I heard about Fay Grim. Fay was not one of the main characters of the first film and seemed to exist more as the troubling imposition of real-world vanity and ignorance for her brother Simon to be forced to deal with as he matures. In her own movie, Fay matures herself, though her maturity takes a very different road. Simon went from near autistic isolation to a merely somewhat-introverted genius. Fay starts her adult journey as an immature, utterly normal, spoiled child and responds to the onslaught of ridiculous circumstances by becoming a mature, utterly normal, experienced adult who holds no advantages. She deals with problems the way any human does, with determination, a little thought, and weary disdain. While Simon learned to control his mind, Fay learns to control her emotion.<br /><br />The movie contains several fondly remembered elements of its prequel, but differs vastly in tone for most of the film. Henry fool showed you a harsh, boring, ignorant world which contrasted with Simon's inner passion and creativity. In Fay Grim, the world is a lively, crazy, emotional place which shows the silliness of her young life, and through contrast unearths the inner wise woman which had not been previously developed or nurtured by her similarly weak mother.<br /><br />The movie is in two parts, the first dealing with the beginning of Fay's struggle and subsequent hardening due to authoritarian hostility, and the second dealing with her battle to soften only just enough to regain Henry. At first, fans of Henry Fool may find themselves wondering how the movie can even be considered a sequel, and thinking it is profane to follow such an intense film with spy game antics and physical comedy. But this is where the subtlety of Fay Grim lies. The sequel is about Fay's journey, and as I said before, hers is one of finding the life-giving sanity in chaos, not the creative chaos in staid order. Parker Posey is an excellent actress who captures Hal Hartley's tongue in cheek humor perfectly. Elina Löwensohn perhaps eclipses her in emotional commitment to the role, allowing Parker to play both straight man and comic against the lively, stage-like comedy happening around her.<br /><br />With the entrance of Henry into the picture, the movie begins to take a sobering turn. Hal Hartley's movies are all plays, and every play must come full circle. By the end, you are shown Fay's newly developed character and integrity are the offspring of her time with the fatally intense Henry, whose piercing honesty and unique passion lights a spark in anyone he meets.<br /><br />Fay Grim is an excellent movie which does not surpass Henry Fool, but shows through Hal's range that the nuances of his art are the proof of his genius.<br /><br />Honestly, I think anyone who bashes this movie not only missed the point by a mile (and especially the subtlety in Parker Posey's acting), but could not have been much interested the movie Henry Fool. | 1pos
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Henry Fool is a better film. But this is the perfect way to follow-up a film like 'Henry Fool.' To take Henry very seriously, his 'lies' and his mysterious aura. Even the opening shot of 'Henry Fool' when Simon puts his ear to the ground as Henry comes walking over the hill is more fully manifest through 'Fay Grim.' The over-the-top jokes, that are more or less meta-jokes (about the writing of the film and the jokes themselves), are good but the opening of the film is a little saturated in them. Also Hartley's use of Dutch angles throughout the film is jarring, yes, it's intention, but it feels forced and over-used, it goes beyond jarring to, what I'd like to call, annoying. It's a flawed film, but a must see for any Hartley or 'Henry Fool' fan. <br /><br />And don't listen to stupid reviews, don't watch this unless you've seen the first film. The intrigue, satire and wit of this movie is totally lost if you haven't seen Henry Fool. It's a sequel. That's just dumb. | 1pos
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As someone who has seen and followed Hartley's public work for several years I think much of what used to be fiction told through true stories has been elevated into obscure philosophical mind games.<br /><br />While entertaining, Fay Grim is another step in the Henry Fool line of thinking, where the movie reflects the quality of an object within the movie itself. In Henry Fool, the object is the memoirs... In Fay Grim, the object is encrypted memoirs - which are themselves stolen, forged and trans-mutated into something so obscure it can't really make any sense - i.e. the process of script writing and film-making in the modern era - where most blockbuster films are little more than a mash-up of the past. That is, in a philosophical sense, what Fay Grim is all about. The object, perhaps, is the tragedy that shock is now cliché and dull (as hinted in the opening scenes at the publishers office).<br /><br />That being said, many of the movie best points are lost if you do not understand Henry's character and the significance of the memoirs being looked for. Henry is a thinly veiled devil, first visiting Simon as a modern Faust, etc. Without understanding how tragic Henry's character is, much of the quality of Fay Grim's plot and story is lost.<br /><br />And there is not enough 'detail' expressed through verbal flashbacks - knowing the plot of Henry Fool cannot compare to 'feeling' the quality of the characters as one did in Henry Fool, and so I think for someone who walks into this movie cold there is about 10 minutes of 'so what' responses to highly constructed dialog and then that's it.<br /><br />However, Henry Fool was also my least favorite Hartley film until I realized that it was bad - putrid and infested - precisely because Henry Fool's confessions were bad... not just raunchy or dirty, but inescapably broken. Henry can not even be a proper villain - and this is perhaps the tragic flaw that makes him most endearing... like Gollum in Tolkien's works, Henry is pitiable.<br /><br />That doesn't come across in Fay Grim, although Henry's dialog is excellent. What does come across is that the entire movie is constructed as an encryption - a sort of molding of another plot around what ends up being yet another bad story to add to henry's confessions. It is an interesting twist, but one that can't really be digested without viewing the first film. Perhaps showing more of Henry earlier on would have been better than having the publisher describe the basic storyline of the first movie - although this plot is also not really what the first movie was about - unless perhaps one is a casual observer.<br /><br />Part of the encryption? Hard to say... a little disappointed at the sex gimmicks though. Cheesy. | 1pos
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I'm one of those people who'd crawl a mile through broken glass to see a Hal Hartley film. From TRUST and IRIS to HENRY FOOL and (my Hartley favorite) NO SUCH THING, Hal's unique brand of movies are an acquired taste. Infusing equal parts mystery/espionage with wispy comedy seems to be his forte. The comedy isn't in your face necessarily, and often runs throughout an entire scene before coming to fruition. And that's the case with FAY GRIM, the sequel to Henry Fool.<br /><br />Parker Posey stars as Fay Grim, abandoned wife of Henry Fool and mother to Henry's only son Ned. Fay lives a quiet life until she comes home one day to find a CIA agent in her kitchen. His name is Fulbright (Jeff Goldblum, MAN OF THE YEAR) and he wants Henry's notebooks. There are many Henry Fool notebooks and they were all previously believed to contain nothing but mad wanderings. Apparently there's much more to them. Secrets weapons research or paths to terrorists? Who knows but Henry. Agent Fulbright tells Fay that her husband is dead but this is quickly surmised as a ruse to get Fay out of her home and searching for Henry (and it works ...but not the way they think).<br /><br />Fay battles multiple spy rings to gather Henry's notebooks and to seek him out. She also makes a deal with the CIA to get her brother Simon (James Urbaniak) out of prison (he'd helped Henry escape the country in the original Henry Fool film.) Multiple overlapping events occur in rapid succession: spy rings shoot each other to death, Henry is discovered being held in "safety" by a jihadist, Fay frees her brother but unknowingly risks her son's life, and the CIA gets its comeuppance for putting Fay in danger.<br /><br />Hal Hartley obviously loves to play with themes. And he does so to the extreme here. Even character names (Grim, Fool, Fulbright, Fogg) have implicit meanings of their own that are quite funny. The over-the-top espionage films of ol' are given plenty of screen time, too, as guns blaze in stop-motion sequences, never striking our heroine even though she's right in the line of fire.<br /><br />Now that I've heaped praise on this creation, I will say that Parker Posey's excessive portrayal of Fay Grim isn't the best part of the film, which is a shame considering how much time she's on-screen. I realize this was probably what Mr. Hartley wanted: an uncurbed woman with hand gestures to the Italian extreme. But it was still painful to watch at times.<br /><br />Even so, fans will probably devour Fay Grim and beg for more. Though this wasn't my favorite Hal Hartley film, I know I'm ready. | 1pos
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Fay Grim is a true example of what I call a completed puzzle film. It has all the pieces of acting, direction, storyline, and entertainment value. They all fit together and when done so create a masterpiece, Fay Grim.<br /><br />This film follows a single mother Fay Grim trying to raise her son to not grow up to be her father who ran away from the law and went missing. Soon the CIA contacts Fay in desperate pursuit to find 8 journals of her husband Henry's. These journals were filled with confessions of his long past in the CIA and his involvement with countries and their government doings. Fay is sent to find these journals, in return to release her brother from prison, and is sent on a cat-and-mouse chase all over Europe to recover these journals and learn of the hidden secrets of her husbands past she never knew about.<br /><br />Parker Posey had already been an actress I liked after I watched her in The OH in Ohio and Best in Show. She brought liveliness to these two comedic roles of hers, but Fay Grim was a far different role than the other two movies. Posey made me believe what was happening on screen, I felt for her, I rooted for her, and I wanted to know more. She grabs you while she is on screen and when she is off you can't stop thinking about what is happening to her.<br /><br />I haven't seen any other previous works by writer/director Hal Hartley but I believe I will look into viewing some of his earlier films if they are half as good as Fay Grim was.<br /><br />If you decide to make a smart movie choice next time you decide to rent a movie or purchase a DVD I'd highly urge you to choose Fay Grim. If you have any common sense on how a film should be you will enjoy this movie immensely. | 1pos
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Fay, the sister of the notorious Nobel prize-winning smut poet Simon Grim, still loves Henry Fool. Their son receives an ingenious orgy-in-a-box from an undisclosed sender and a chase across three continents ensues, involving a supremely sad-sack collection of government agents, terrorists, flight attendants, and bellhops.<br /><br />Parker Posey delivers a perfectly timed comic performance, including some brilliant physical work. With strong contributions by Jasmin Tabatabai and Saffron Burrows, Fay Grim proves in the best Billy Wilder tradition that nothing is funnier than a beautiful woman in trouble.<br /><br />Another good score by Hartley (and thanks in the credits to the American Academy in Berlin, where Hartley served as a fellow in Fall 2004). | 1pos
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After seeing this film months ago, it keeps jumping back into my consciousness and I feel I must buy it or at least see it again, even though I watched it at least 3 times when I rented it at that point.<br /><br />I fell in love with Hal Hartley's directing many years ago - I found that these films could make me laugh in an place that is rarely entertained. It is a strange feeling, granted, and I assume most people out there really just don't get it, or it makes them feel confused and somewhat uncomfortable - I guess I just really get it - its as if these films were made for me.<br /><br />Although I don't remember if I actually laughed out loud during this film, it remains one of the funniest films I've seen in many years. If you don't see the humor of the grocery bag Fay carries from the street to a church, to her brother's publisher's office, to her son's principal's office you may lack the intelligence to be highly impressed by this film. The bag is a silent character in itself, being dragged around as an icon of motherhood the usually brash, bitchy Parker Posey must carry before the international intrigue of the remainder of the film besets her.<br /><br />I consider "Henry Fool" my least favorite of Hartley's films. I honestly don't remember it very well - I think the character himself was so despicable I found it tedious. Hartley's forte seems to be feminine character development.<br /><br />Aside from Posey's brilliance, it was wonderful to see Elina Lowensohn, one of my favorite actresses, again. Her extravagant naiveté is perfect for Hartley's direction. His ability to make the outrageous seem banal helps define his style as a delicious chronic irony throughout.<br /><br />This film erupts into a highly relevant international intrigue story, explaining political situations in Afganistan. This is never suspected at the beginning. The complexity of this film's development is unparalleled.<br /><br />This is the epitome of a "stand alone" sequel. The less you know about Henry Fool the more mystery is spun around him, the less you expect his appearance toward the end of the film - as an alcoholic chain-smoking complaint machine, hurling insults at his Islamic terrorist caretaker who somehow seems to respect him. Its like finding out Santa Claus is actually a 12-year-old schoolyard bully.<br /><br />Although I was impressed and satisfied with Hartley's other recent films "the Girl from Monday" and "No Such Thing", "Fay Grim" goes far beyond what I expected, with a sense of humor and originality no Oscar winner would ever dare. | 1pos
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Henry Fool surprised me. I didn't expect it to entertain and amuse as well, or as strongly, as it did. Fay Grim continues to surprise in that it provides solid continuation to a story that seems not to need it. Once the viewer watches the first 20 minutes of the movie, however, it becomes blindingly aware that this is one of the BEST sequels to brilliant indie film. At least as good as Ginger Snaps Back, if not better.<br /><br />I am a little disappointed that Jeff Goldblum's part is so small, but I'm happy he is a part of this short run. He is convincing and delightful as Agent Fulbright. Also a delight is Liam Aiken who quite aptly portrays Ned Grim, the son of Fay and Henry.<br /><br />This movie is a pleasure for so many reasons. I am pleased, for example, to discover that Henry isn't really the loser he seems (by the end of Fool), and to further discover that he is, in fact, a genius...well, that really is a lovely stroke of the pen.<br /><br />I am hoping they do a third...like the end of the trilogy. It seems to be missing. They should entitle it Ned Fool Grim and it should be Liam looking for his father, to validate the awesome change in his mother, and the sense of near-genius he himself feels welling inside him. Assuming, of course, that Fay continues withholding many of the most important facts from her son, concerning his father. It feels like it needs to be done. I'd buy it.<br /><br />Even with more action, this is still not an action flick. It is more drama and intrigue...a mystery, of sorts. I'll watch it often.<br /><br />It rates an 8.3/10 from...<br /><br />the Fiend :. | 1pos
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Generically speaking, Fay Grim is a highly entertaining thriller featuring two of the most inexorably enjoyable names in American movies, unshakably beautiful and gracefully spunky Parker Posey and endlessly charismatic and unavoidably hilarious Jeff Goldblum. They have many scenes in the first half of the film in which we see these two insatiable presences volleying off of each other, even radiating with charm when Goldblum rolls off Hartley's shamelessly epic info-dumps. Nevertheless, if one were to deconstruct Fay Grim, one would see many instances in which countless scenes could've been squeezed for much more benefit than they have resulted in being.<br /><br />This sort of filmed in-joke is the sequel to Hal Hartley's Henry Fool, which was made ten years earlier. It has title character Posey forced by CIA agent Goldblum to track down the notebooks that were the precious possessions of her missing fugitive husband, the predecessor's titular anti-hero. Available within them is information that could concede the safety of the United States. Fay first makes for Paris to get a hold of them but becomes engulfed in a bona fide celebration of espionage clichés featuring everything from car bombs to ambiguous helpers to Following the Girl to double-crosses to triple-crosses.<br /><br />The primary appeal of it all for me is that it's such a novel approach to the sequel of a movie about a garbageman and a struggling novelist in a small town. In the original Henry Fool, Posey played a simple woman leading a very simple life. Hartley's talents do not reach the heights of many of the other independent newbies from the 1990s, but I do admire his wild creativity in making an inadvertent Nearne sister out of her, giving her a terrific predicament, as he did to her character's brother, played by James Urbaniak, in Henry Fool, as she is trapped between whether or not she may still love her overwhelming refugee husband and the problematic but forceful plans of Goldblum.<br /><br />Hartley, however, is simply riding on that fragmentary idea. His plot, though complex and labyrinthine, true to the form of the spy film, it seems as if to be entirely capricious. The reason I was not bored was mostly due to the pace at which the story unfolds, not to mention the presence of Posey and Goldblum. The problem with the remainder of Hartley's cast is that I cannot seem to become fond of the rest of them. It has nothing to do with how obscure they are compared to the relative star power of the two said charm masters, but with how they don't seem to hold their own alongside them, though Saffron Burrows certainly comes close. Most of the scenes not involving Posey or Goldblum are far too light on their feet, stringing us along with info-dumps we have no choice but to listen to or else be totally lost in the ensuing sequence of scenes. They are shot almost entirely in tiled angles, as if Hartley is compensating for that implacable feeling of a lack of material.<br /><br />Liam Aiken, however, playing the now teenage son of Fay and Henry, has a certain allure about him, seeming wise beyond his years, certainly much wiser than any of the adult characters. Perhaps Hartley intended that, or maybe it's simply Aiken's presence. The problem with a Hartley film is that you never quite know what was intended and what just happens to be there. As Scorsese said, "Cinema is a matter of what's in the frame and what's out." One has to be able to trust that what we see is a conscious decision by the filmmaker to remain in the finished film. | 1pos
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I've read a lot of comments about the film and how it's so hard for people to believe that it is a sequel to Henry Fool, and even though it technically is, I think that Fay Grim needs to be looked at as an entirely different film. Just because it is the sequel doesn't mean that it has to be a direct continuation of the first, and I enjoyed that so much about it. The whole point of the film was to change direction from the first, which makes sense because the movie isn't called Henry Fool 2, it's Fay Grim. All that aside, the film, I thought, was so well made and thought out that it actually surprised me. I was expecting to rent another nearly-released-straight-to-video film and have to endure 2 hours of bad editing and an almost hard to follow story-line (aka parker's last direct to video feature the Oh in Ohio) but this was so surprisingly well focused that it almost doesn't seem so, which I absolutely loved. There are so many nuances in the film making and writing that I crave to see in films, but never do. The cinematography was brilliant due to it's simplicity and truly making the film seem 'Grim' throughout - in terms of setting. The writing was so well put together as well, whoever said this movie isn't as witty as Henry Fool needs to watch again and actually listen; I almost can't even begin to explain how actually hilarious it was, and pertinent. And well, Parker Posey, who could complain? The scene in which Fool and Jalal were talking in the dark was so captivating and emotional. And I thought the spy-ness throughout the film was just so hilarious and spot on (in hindsight because i do agree that at times during you kind of felt lost). The main thing that struck me so powerfully about the film, and i believe the point of the film, was Parker's love and naivety about Fool, which was so endearing and turned, yes very quickly, from denial to outright passion. The last five minutes of the film were perfect. Obviously there were things that weren't excellent, but nothing is perfect; some of the acting was poor, and at times I did think that some of the new back story and dialogue about terrorism got a little hard to follow and out of hand, but in the end you got it and didn't even mind that at the time it may have slipped from your comprehension. (This may also have to do with Goldblum's tendency to talk extremely fast) On the whole I would say that it was probably one of the best films I've seen this year; stylistically pleasing, clever and witty writing, performances that were so impressive I now have gained new respect for some of the actors, and a truly touching film, and don't forget, a complete departure from Fool. Which was the point. | 1pos
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It seems Hal Hartley's films are kind of hit or miss with most audiences. This film will be no exception to that rule. Fay Grim acts as a sequel to Hartley's 'Henry Foole' from 1998. The focus this time is on Henry's ex wife (played to perfection by the always welcome Parker Posey), who is being pestered by CIA goons about Henry's unpublished book about all of his shady dealings. In the interim of all of this, Fay ends up on an odyssey,dealing with international spies,etc. The film does get a bit bogged down in the second half. If you've been a fan of Hal Hartley in the past, this is one not to be missed. For the novice Hartley first timer who has only heard of his film making technique, you might want to check out his earlier films before taking on this one (especially if you haven't seen 'Henry' yet). I admired the camera work,which at times reminded me of certain early Man Ray photography. | 1pos
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Fay Grim is the continuation of a story begun ten years earlier with Hartley's Henry Fool. I haven't seen the earlier film, and I don't know if that's a good thing or not. I can only regard the current film on its own merits.<br /><br />For most people, Hal Hartley's style of film-making is something that you either like or you don't. His combination of action, drama, absurdity and dry, ironic humour really resonates with me, and Fay Grim is no exception. It has an air of sharply-written intelligent parody that had myself and many in the Melbourne International Film Festival audience laughing out loud. For the first half of the film it was relentless and delivered with deadpan straightness. It's a style of humour sadly lacking in cinemas and a welcome relief to the mindless teen comedies that Hollywood pumps out like pancakes.<br /><br />During the second half of the film, the humour starts to thin as the film morphs into an international espionage/conspiracy thriller. Whether this was Hartley's intention or whether he ran out of ideas is not clear, but I think a bit of editing or re-writing to cut fifteen minutes off the film would have maintained the film's original momentum.<br /><br />The performances were generally good, particularly Parker Posey and Jeff Goldblum, who had the most screen time. Saffron Burrows, James Urbaniak, Carl Montgomery and Elina Löwensohn all played good support roles. The film's visuals were nice (set in New York, Paris, Berlin and Istanbul) and the music (also by Hartley) was good without being intrusive. The film is well-written and I enjoyed this it immensely. If you like Hartley's earlier work, you'll probably like this. | 1pos
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Who would've imagined -- Hal Hartley creates a filmic corollary to Syriana while retaining his signature idiosyncratic style. The fusion is highly entertaining.<br /><br />Having not seen a Hal Hartley film for about a decade, I approached this one with some caution. His brilliant productions of the nineties had impressed critics and audiences with their unique style and dialog. The director's earlier films featured colorful characters and offered close observations of life -- often in the region of Long Island, New York or in New York City itself -- that were offbeat and insightful.<br /><br />My initial caution stemmed from the description of this movie as a "spy thriller". To my pleasant surprise, Hartley manages to mesh his well established style and focus to produce a highly original drama of international intrigue. It works in more ways than one might imagine. Hartley's film retains the dialog and character focus that are his trademarks, along with a singular cinematographic style.<br /><br />Moreover it is highly appropriate given the current situation in the world and the state of war that has been fostered by dark elements on all sides. Hartley has brought all his skills to something new -- a political film worthy of being mentioned in the same breath as Syriana. Truly he is coming into his own. The cast does a fine job of interpreting Hartley's vision and style. Fans of Parker Posey will see her in full bloom here, still with us and more ripe and gorgeous than before. | 1pos
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A Murder investigation goes on back stage while The Vanities, on its opening night, plays on to an unknowing audience. Odd combination of musical and murder mystery is worth a look for its cast, its production numbers, and the sheer novelty of the film.<br /><br />Gertrude Michael has the showy role of a bitchy actress intent on stopping the marriage between the show's stars, Kitty Carlisle and Carl Brisson, as well as starring in the infamous "Sweet Marijuana" number (which was also on a 70s Bette Midler album). So while the chorus girls shuffle around backstage, bumbling detective Victor McLaglen ogles the girls while he tries to solve the backstage murder of an unknown woman.<br /><br />We quickly learn that the maid (Dorothy Stickney) loves Brisson from afar, that the wardrobe lady (Jessie Ralph) is Brisson's mother, and that the stage manager (Jack Oakie) butts into everything. Lots of plots twists among the musical numbers. The show's best-known song is "Cocktails for Two." Kitty Carlisle also sings the haunting "Where Do They Come From?" And there's a weird rhapsody that erupts into a Harlem specialty number featuring Duke Ellington! Quite the cast.<br /><br />Some terrific acting here, especially Gertrude Michael and Dorothy Stickney. Kitty Carlisle is quite good as well. Brisson is a total zero though.<br /><br />Charles Middleton plays Homer, Toby Wing plays Nancy, Donald Meek plays the doctor, and also see if you can spot Ann Sheridan and Lucille Ball among the show girls. | 1pos
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There are moments in the film that are so dreadful, your teeth ache. But knowing that there were only weeks left before the Code made movies innocuous and bland, Paramount rushed this into production before innuendo and leering went out of style. Vanities is so horrifically anti-female that it's delicious. As Kitty Carlisle sings, women are displayed with price tags that would insult a Bronx hooker. They emerge from clams (nudge,nudge;wink,wink) in postures of absolute submission. Minions of the law, so stupid they cannot find the door, get to look up their skirts and snicker. Bare-breasted chorus girls sit uncomfortably in giant cacti (Could they be a source of hallucinogens, perhaps?) while we listen to "Sweet Marijuana" and watch as blood falls on a chorines's breast.<br /><br />Sure, Carl Brisson learned his lines phonetically and doesn't seem to have a clue what he is saying. But it's all worth it as Norma steals the show while no one is looking.<br /><br />Taking one moment of this fragile fluff seriously is missing the point of the whole exercise. Watch this with a charter member of NOW and prepare to justify the whole Hollywood machismo sch tick between body blows.<br /><br />Toby Wing, by the way, is the icing on the cake. And Duke Ellington doesn't hurt either.<br /><br />A must stroll down Memory Lane. | 1pos
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Released just before the Production Code crackdown in July, 1934, Mitch Leisen's all-star Paramount musical is leeringly suggestive -some even claim misogynistic- and highly entertaining. Two murders occur on the opening night of "Earl Carroll's Vanities" (one on-stage!), but that doesn't stop the manager (Jack Oakie) from putting on a show as a lascivious police detective (Victor McLaglen) investigates. Everyone is hiding something and Gypsy Rose Lee must have seen this backstage murder mystery before she penned "The G-String Murders" as the denouement is similar (although more satisfying here). Gertrude Michael, as a vicious diva, stops the show (in more ways than one) with her exotic "Sweet Marijuana" number and Duke Ellington finishes with the truncated "Rape Of The Rhapsody". The hit song, "Cocktails For Two", came from this film. A bizarre and bawdy camp classic highly recommended! Here's Louella O. Parsons in the "Los Angeles Examiner" on May 17, 1934<br /><br />Earl Carroll's hand-picked beauties' pirouette about on the Grauman United Artists screen in a fig leaf and not much else. But September Morn herself never had a better figure than these charmers, who are made up to please the eye, especially the eye of the tired businessman. But don't for a moment think Mr. Carroll's girls, au naturelle, are the only attraction. Believe it or not, MURDER AT THE VANITIES is a musical comedy thriller, if you know what I mean -a murder mystery incorporated in a musical show. It all happens on the opening night at the time the play is in progress and a search is on for a murderer. Just by way of suspense, a cop threatens to stop the show every few minutes. Victor McLaglen is something new in cops. All the time he is trying to track down the murderer, he keeps his eye fastened on the chorus beauties. The murder mystery is good with the exception of the denouement, which is pretty flat. Probably faulty direction. Dorothy Stickney, who plays the maid, is about as melodramatic as the heroine in a ten, twenty, and thirty show. For no good reason, she rates a never-ending closeup in the big dramatic scene. The girl ensembles are good, and it's a positive relief to get away from the inevitable overhead shots. The costumes are beautiful; in fact, this is a musical that Paramount can feel is really to their credit. As for Carl Brisson -well, he would be an addition to any show. Good-looking with a delightful singing voice and an easy, assured manner, he is all his press agents claim for him. I also like Kitty Carlisle, who plays the leading lady in the show. Gertrude Michael, as the deep-eyed villianess, gives an interesting if rather fictional portrayal. Jack Oakie, as the stage manager, is the same old wisecracking Jack, but we wouldn't change him. Jessie Ralph is excellent as the seamstress. Others in the cast are Charles Middleton, Gail Patrick, Donald Meek, Barbara Fritchie, Toby Wing and Lona Andre. The screen play is by Carey Wilson and Rufus King, and the direction by Mitchell Leisen. The music is by Arthur Johnstone and the lyrics by Sam Coslow. In addition to MURDER AT THE VANITIES, there is a Mickey Mouse cartoon, a Paramount Newsreel, and a two-reeler, THE WRONG DIRECTION.<br /><br />I disagree with Lolly on the denouement, it's satisfying if over-the-top. Why would she blame the director? Was she displeased with the story's ending -or the way it was staged? And what's a "ten, twenty, or thirty show"? Note the swipe taken at Busby Berkeley and his "overhead shots". As hard as it may be to believe today, the public was tiring of Buzz' schtick by May, 1934. Mitch Leisen said, "if you are showing a stage show that's supposed to be in a theater, you should stay within the bounds of the proscenium arch, and not do a Buzz Berkeley routine with a stage set that's acres big." <br /><br />Q: Don't you think Berkeley's spectacular effects justified taking this liberty? ML: Apparently they did because they're reviving all of his pictures and none of mine, but personally I don't like it. | 1pos
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I just viewed MURDER AT THE VANITIES in the newly-released Universal Pre-Code set, and I was amazed at how much I enjoyed the vehicle end to end. Most of the other commentators have covered the story, a murder mystery within a musical, but I wanted to add a few additional notes. Brisson and Carlisle are relatively bland, compared to even most of the minor players, and neither one really seems to have the proper voice for what they're singing (Carlisle being a trained opera singer, Brisson a bit wobbly on some of his high and low notes). The great Victor McLaglen and Jack Oakie play well off each other, with an excellent sense of timing that keeps the ball rolling between musical numbers. Yes, Lucille Ball and Ann Sheridan are Vanities girls, but let's not forget the splendid jazz singer Ernestine Anderson in the "Ebony Rhapsody" number. Gail Patrick makes one of her early appearances, sounding a bit like Eve Arden; Patrick would go on to become the executive producer of the Perry Mason TV series. Then there's Jessie Ralph as the wardrobe mistress--you'll spot her also in David COPPERFIELD (as Aunt Peggoty) and THE BANK DICK. The music is very good--Brisson introducing the standard "Cocktails for Two" in two different scenes; "Sweet Marihuana" with barely clad peyote button girls in the background (blood dripping on one chorine's white skin was wonderfully chilling); the "Ebony Rhapsody," with Duke Ellington's Orchestra and a bevy of beautiful dancers, both black and white, mixing it up. And I believe this is one of the only early musicals to feature such a mix--and the costumes leave nothing to the imagination. | 1pos
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Since this is Black History Month and I'm reviewing the achievements of many African-Americans on film in chronological order, I got this movie on VHS from the library because Duke Ellington and his Orchestra were in it. Their jazz version of Franz Liszt's "Rhapsody" was the highlight of this mostly overlong murder mystery-musical comedy mixture. Many other numbers I liked were Kitty Carlisle's especially "Sweet Marijuana", Carl Brisson's "Cocktails for Two" as well as his duet with Carlisle on that earlier, and the ones by Gertrude Michael who's great as the woman you love to hate. Jack Oakie and Victor McLaglen probably go a little too long with their love/hate banter as the producer and detective but they grow on you. And Toby Wing is a sexy dumb tease as Nancy who keeps trying to say something to Oakie but gets a "Not now" from him every time. While many of the characters have a motive for the murders that happen, I wasn't surprised by the revelation of who done it. And get a load of how naked the women here are (though of course their breasts are covered, either by their hands or some flimsy top). This was very obviously pre-Code. Worth a look for any film buff interested in this sort of thing. P.S. As a long-time Louisiana resident, I like noting when someone was born here as Carlisle was a New Orleans native. | 1pos
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Financially strapped Paramount pulled out all the stops for this '34 stage adaptation entry: big budget, large cast, extravagant production and Mitch Leisen tagged as the director. What happened? Two things: Busby Berkeley didn't work for the out-of focus rock and a murder mystery script that didn't deserve to be in the same trash can as the worst Charlie Chan first draft down the street. I have to believe that the cutting was out of Leisen's hands since the great Duke Ellington's number is savagely chopped, but that doesn't mean that it ain't worth a look: the 'Sweet Marihuana' number featuring topless chorus girls is a mind blower, considering the looming production code and it also has the ravishing Toby Wing (whose unfortunately fed horrible lines and playing the prototype dumb blonde) as a chorion hot for an otherwise preoccupied Jack Oakie. Carl Brisson's acting is bland as Melba Toast but he's a competent singer. MacLaglen reaches for new plateaus as a stereotypical dumb detective. And try to spot Lucy in the chorus. This rates a 7.0 as a curiosity. Feb 2010 re-think: I recently gave the film another look and now feel I was wrong to berate the lack of Busby Berkeley production numbers. I can understand Leisen's argument for more realistic production numbers within the context of the plot. I still have enormous issues with the editing however. Paramount, the raciest major studio in town, faced huge issues with the Production Code at the worst possible time in it's history, financially speaking, and pulled out all the stops on this one (also check out 1934's Search for Beauty). A must see for pre-code buffs. | 1pos
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This murder mystery with musical numbers is long on atmosphere and character but rather short on suspense and plausibility. Based on a stage play by Broadway showman Earl Carroll and others, it combines a whodunit plot with a backstage ambiance (a homicide investigation takes place on opening night at the theatre where a musical revue is being staged).<br /><br />The cast is impressive and varied: tough-goofy Victor McLaglen as the police officer who leads the investigation and never fails to leer idiotically at whatever showgirl happens to be in sight; Jack Oakie (the prewar Jack Lemmon or was Jack Lemmon the postwar Jack Oakie?) as the harassed director who must coordinate the staged performance as well as the chaos behind the scenes; the ever-homely Jessie Ralph as a wardrobe mistress with deep, dark secrets; Dorothy Stickney, who has a stunning close-up monologue near the end, as the tremulous maid madly in love with the male lead; Carl Brisson, the Danish star, as that very male lead, warbling the classic "Cocktails for Two" not once but twice; Kitty Carlisle, operatically delivering "Where Do They Come from and Where Do They Go" and other Johnston-Coslow songs; the glorious Gertrude Michael, who parted from us too soon, as a mean-spirited showgirl whose love for Brisson is spurned; the usually ridiculous Toby Wing who here at least is the center of a laugh-getting running joke.<br /><br />When the plot complications get out of hand there is always an interesting performer or fun and tuneful musical number to distract the viewer. The film's most celebrated sequence is the "Marahuana" number, led by Michaels, but aside from its controversial history, it's really one of the lesser musical offerings. All of the songs here are staged as if they could actually have fit into a standard proscenium theatre space, as opposed to the cinematic fantasy setup of the Busby Berkeley style. | 1pos
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A very enjoyable film, providing you know how to watch old musicals / mysteries. It may not come close to Agatha Christie or even Thin Man mysteries as a film noir, but it's much more interesting than your typical "boy meets girl" or "let's put on a show" backstage musical. As a musical, it's no Busby Berkley or Freed unit, but it can boost the classic "Coctails for two" and the weird "Sweet Marijuana". The film runs in real time during a stage show, opening night of the "Vanities", where a murder - and soon another - is discovered backstage. Is the murderer found out before the curtain falls? Sure, but the search is fun, even though somewhat predictable and marred by outbursts of comic relief (luckily in the shape of the shapely goddess of the chorus girls, Toby Wing). The stupid cop is just a bit too stupid, the leading hero is just a bit too likable, the leading lady a bit too gracious, the bitchy prima donna bit too bitchy, and the enamoured waif a bit too self-sacrificing, but as stereotypes go, they are pretty stylish. There's a bevy of really gorgeous chorus girls, who are chosen even better than the girls for a Busby Berkley musical of the same period, who sometimes tend to be a bit on the plump side. Yes, this film could have been much better than it is, and the Duke Ellington number is an embarrassment, but if you enjoy diving into old movies, this will prove to be a tremendously tantalizing trip. | 1pos
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During the opening night of the Vanties a woman is found dead on the catwalk above the stage. As the show continues the police attempt to piece together who killed who and why before the final curtain.<br /><br />I had always heard that this was a great classic comedy mystery so I was excited to find myself a copy. Unfortunately no one told me about the musical numbers which go on and on and on. While the numbers certainly are the type that Hollywood did in their glory days, they become intrusive because they pretty much stop the movie dead despite attempts to weave action around them. This wouldn't be so bad if the music was half way decent, but its not. There is only one good song. Worse its as if the studio knew they had one song, Cocktails for Two, and we're forced to endure four versions of it: a duet, a big production number, as the Vanities finale and in the background as incidental music. I don't think Spike Jones and His City Slickers ever played it that much. The rest of the movie is pretty good with Victor McLaglen sparring nicely with Jack Oakie. Charles Middleton is very funny is his scenes as an actor in love with the wardrobe mistress.<br /><br />By no mean essential I can recommend this if you think you can get through the musical numbers, or are willing to scan through them. Its a fun movie of the sort they don't make any more. | 1pos
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It's good to see that Vintage Film Buff have correctly categorized their excellent DVD release as a "musical", for that's what this film is, pure and simple. Like its unofficial remake, Murder at the Windmill (1949), the murder plot is just an excuse for an elaborate girlie show with Kitty Carlisle and Gertrude Michael leading a cast of super-decorative girls including Ann Sheridan, Lucy Ball, Beryl Wallace, Gwenllian Gill, Gladys Young, Barbara Fritchie, Wanda Perry and Dorothy White. Carl Brisson is also on hand to lend his strong voice to "Cocktails for Two". Undoubtedly the movie's most popular song, it is heard no less than four times. However, it's Gertrude Michael who steals the show, not only with her rendition of "Sweet Marijauna" but her strong performance as the hero's rejected girlfriend. As for the rest of the cast, we could have done without Jack Oakie and Victor McLaglen altogether. The only good thing about Oakie's role is his weak running gag with cult icon, Toby Wing. In fact, to give you an idea as to how far the rest of the comedy is over-indulged and over-strained, super-dumb Inspector McLaglen simply cannot put his hands on the killer even though, would you believe, in this instance it happens to be the person you most suspect. Director Mitch Leisen actually goes to great pains to point the killer out to even the dumbest member of the cinema audience by giving the player concerned close-up after close-up. | 1pos
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Mitchell Leisen's fifth feature as director, and he shows his versatility by directing a musical, after his previous movies were heavy dramas. He also plays a cameo as the conductor.<br /><br />You can tell it is a pre code movie, and nothing like it was made in the US for quite a while afterwards (like 30+ years). Leisen shot the musical numbers so they were like what the audience would see - no widescreen shots or from above ala Busby Berkeley. What I do find funny or interesting is that you never actually see the audience.<br /><br />As others have mentioned the leads are fairly characterless, and Jack Oakie and Victor McLaghlan play their normal movie personas. Gertrude Michael however provides a bit of spark.<br /><br />The musical numbers are interesting and some good (the Rape of the Rhapsody in particular is amusing) but the drama unconvincing and faked - three murders is too many and have minimal emotional impact on the characters. This is where this movie could have been a lot better. | 1pos
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The adaptation of Will Eisner's SPIRIT to the TV screen followed many other offerings developed from comic strip pages or comic books. (Remember, the two aren't exactly the same medium) It is indeed ironic that this is the one and only adaptation (as of the time of this writing)of Eisner's smart alec, wise cracking, tongue-in-cheek super hero.<br /><br />Story has it that Republic Pictures was interested in doing a film version and was in negotiation with the copyright owner in the mid '40's, but they were never able to close the deal. The left over screen play became the serial, THE MASKED MARVEL, one of Republic's best. Perhaps that it was just as well, for that studio had a penchant for tinkering with material adapted from the comic strips, pulp mags, radio and the comic books.<br /><br />As for this 1987 made for TV movie, it's pretty obvious that it was a failed pilot for a proposed television series. Whereas an old, long time comic reader,like myself, can be a little harsh in criticism of an adaptation, a viewer unfamiliar with the character may be able to give some fresh observations, clear of any preconceived notions of what this screen version should look like.<br /><br />Well, while sitting and watching the story unfold, with the characters interacting amid some crime wave, the Little Lady (my wife, Mrs. Ryan) nailed it with one statement. "This can't make up its mind if it's serious or not!" That pretty well describes both THE SPIRIT and his creator, Mr. Will Eisner, the true creative genius in the comics.<br /><br />The film is a sincere attempt to put Eisner's world on the screen. The casting of Denny Colt/The Spirit, Commissioner Dolan and Ellen was really quite well done. Though in a contemporary setting, it was still in the tradition of "the good old days" as far as the costuming goes, you know, when men and women still wore hats! That brings up this one final (and meandering) point, and that is that the director and the production made a conscious effort and succeeded in giving the characters a Will Eisner look as far as facial expressions and body language. We say,Kudos to them for their efforts.<br /><br />It's just too bad that no series followed! Oh, well in today's motion picture world, comic adaptations seem to be a hot item. Maybe some big timer producer and director could do a really 1st class SPIRIT production for the Big Screen. We can only hope.<br /><br />UPDATE: Dateline, Chicago, Illinois. 6/4/2008. By now, everyone who goes to the Movies at the Shopping Centre Multiplexes has seen the poster advertising the new film of THE SPIRIT, (subtitled, MY CITY SCREAMS); which is to be released Christmas Day, 2008. Well, we'll see then just what we've been talking about. Just keep your fingers crossed! TO BE CONTINUED.............<br /><br />UPDATE II: We saw the new film, Writer-Director Frank Miller's rendition of THE SPIRIT a couple of days ago. Well, we got our wish; but is this a good thing or another case of "Be careful what you ask for; because you may get it?" Please read our write-up elsewhere in IMDb.com. THANX! | 1pos
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The 1986 TV movie of The Spirit was a pilot for a possible series. However, Spirit creator Will Eisner did not like the film and thus no series was produced. I thought it was a very entertaining film and captured the spirit (sorry) of the comic with a modern twist. I'm sorry it didn't materialize into a series. Sam (Flash Gordon) Jones was a perfect Spirit. Nana Visitor was a nice Ellen Dolan and of course would later go on to Star Trek:Deep Space Nine years later. Maybe with the release of Frank Miller's big-screen version of The Spirit, more people will be able to see this rare gem of Spirit history. It seems that when Hollywood makes a film from an already established character or idea, someone will inevitably seek out previous versions of the property and release it to video in order to make a few dollars. When Antonio Banderas donned the mask of Zorro, we were able to get earlier versions of the masked hero on DVD, such as the great Alain Delon version of the 1970s (although all copies I ever saw were badly edited). Heres hoping someone will release the TV adventure of The Spirit to DVD soon. | 1pos
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I saw this pilot when it was first shown, and I'm sure countless "Spirit" fans hate it, because, like Batman, the Green Hornet etc., it took the character in the direction of "camp". But I evidently never got enough of Batman, because I thought it was entertaining, in some of the same ways as that show. There are two parts that stay with me. First, when Denny's partner has been fatally wounded, and he makes a dramatic speech about how he always stood for the law, and obeying the exact letter of it. Then, he says something like, "Boy, was I stupid!" Which is his way of telling Denny to become a vigilante instead, which he does (though the TV Batman kind). Then, there's the scene where he tries to seduce the villainess into letting him go by kissing her, but she isn't fooled, because he's too honest to kiss her convincingly ! This was a great example of "camp", that was also "underplayed", by both the actor and actress. | 1pos
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It's really unfortunate that most people outside of Canada think that the only things that Canada produces are snow, mounties and hockey players. This film is the second superlative Canadian film I have seen within the past few weeks (the first was "The Red Violin"), far better than all but the best Hollywood efforts.<br /><br />Gustad Noble is anything but that; he is a middle-aged Parsi bank employee in Bombay in the 1970s. This film sensitively explores various things that happen to him concerning his family, his friends and his work, and their effect on him. At the same time, it is a fascinating, and, I would assume, accurate, portrayal of middle-class, urban life in India at the time.<br /><br />However, I was somewhat prepared for this, having read Rohinton Mistry's book a few years ago. The film, as might be expected, cannot capture all the complexities of the book, but, if you want to read a really good book, and see a really good film, read and see "Such a Long Journey". | 1pos
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A great film. The acting - from the doctor to the pavement artist to the head prostitute, with very few exceptions, was wonderful; i thought soni razdan(mrs.noble) and vrajesh hirjee(saurabh) were the best of the lesser known actors. Even Kurush Deboo (Tehmul), who might be accused of overacting, presented quite a believable and familiar character.<br /><br />Another great thing was the camera work - and the way it captured the energy of bombay streets, the tranquility of gustad saying his prayers and life within the tiny apartments.<br /><br />I liked the story of the wall that becomes a shrine and then gets broken down - and the artists philosophical take on it.<br /><br />It's great to see good movies on indian themes. | 1pos
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It is wonderful to watch Roshan Seth (the strict father in 1992 "Mississippi Masala"), who once again takes on the role of a father and head of the family, and more, in SUCH A LONG JOURNEY, set in 1971 Bombay, India. Besides the closely knit family settings, subject matters include the lost and found of a friendship; the unexpected death of a friend (somehow the calm smiling face of a friend in death in the presence of prayers felt peaceful - so Gustad Noble, Roshan's character, similarly noted); a sidewalk artist's chain of events - "the wall as a latrine turned into a shrine
shrine into rumbles and ashes" was at once prophetic and philosophical. It's packed full of life lessons in different aspects of varying relationships: between father and son; mother and son; father and little daughter; little daughter and father and mother; longtime colleagues; long lost dear friends; even that of a man to man, one whose an innocent slow-witted "fool".<br /><br />In spite of the tone of the film's era, it's a colorful film rich in substance, and the strength of the story in textural layers with humor and suspense. For a director who is not Indian (Sturla Gunnarsson being Icelandic), he's made a political Indian/Pakistani film. He gets into the bone marrow of the life of this Parsi portrayed by Roshan Seth, whose performance has such nuances, subtlety, and joy. (There is singing, too.) The rest of the cast is equally strong: from Om Puri the mysterious friend of a friend; Soni Razdan the enduring wife; Vrajesh Hirjee the argumentative eldest son; Sam Dastor the longtime office mate; Ranjit Chowdhry the pavement artist; to a superstitious "witch" woman of a neighbor; an unbeguiling "fool" of a man; and a long lost bosom friend - it's a world of many faces and perspectives. Director Gunnarsson has demonstrated sensitivity in the treatment of that time period and subject was well researched with attention to details. He has the good fortune to have Sooni Taraporevala (1992 "Mississippi Masala", 1988 "Salaam Bombay!") wrote the script. This is truly a worthwhile journey of a film to partake.<br /><br />Along the lines of cultural exploration (road movie style), Fridrik Thor Fridriksson 1994 "Cold Fever" is an Icelandic sojourn about a Japanese young man who went across the globe in search of the specific spot to pay his last respects to his parents, dutifully following memorial rituals for the dead. Such demonstrated reverence and cross-cultural attention to family ties are heart-warming in this day and cyber age. | 1pos
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For those of you who have read Rohinton Mistry's highly respected novel, this film will definitely impress you, because of how honorable an adaptation it is . With the exception of one minor subplot, Sturla Gunnarson's feature film debut is an almost dead-on recreation of the book (down to the last line).<br /><br />For those of you who have not read the novel, this movie might be a little tricky. It is certainly not a large cinematic drama story. Instead it has a strong element of realism to it, but I would not have it any other way. The best way to describe Such a Long Journey to movie fans would be to say that it is a small scale, Hindu version of 'Fiddler On The Roof'. Instead of a Jewish/Russian milkman, the protagonist Gustad Noble is a banker in 1970's Bombay during the time of the Muslim/Hindi war with Pakistan. He is forced to deal with a number of unexpected problems in his life, including his sick daughter, his individualist eldest son, a distant friend who gets him involved with some dirty money, and an unhealthy neighborhood. The Ending is not a happy one, nor is it a sad one, but that is essentially what realism involves. <br /><br />Such a Long Journey is a fine little movie, but if you want to see it, then good luck finding it. Unlike the novel, it has received very little release. | 1pos
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I saw this film at the Taos Film Festival last year, and was just overwhelmed by it. It's a rich, warm novel brought to the screen, beautifully acted, and well directed. More than anything, it reminded me of the films of David Lean, both in its ability to handle a complex story, and its knack for creating powerful scenes that affect you on several different levels. The best movie I've seen in years. | 1pos
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Rohinton Mistry's multi-layered novel seemed impossible to adapt for the screen but the resulting movie is filled with passion, emotion, humour and pathos. The story is somewhat slow-moving but there is always something on the screen to captivate the audience. The movie perfectly catches a particular time and place with pinpoint accuracy. All of the actors are Indian - few if any known to "western" audiences - but they are a joy to behold, especially the little girl who acts very convincingly. Don't be put off by the title and plot summary - this is a movie to be seen on the big screen. We have much to learn from it. | 1pos
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Aileen Gonsalves, my girlfriend, is in this film playing a secretary at the main character's bank. She has a lovely scene with Roshan Seth in a restaurant. There's more information on her website at >Having stated my personal interest in the film, I have to say that I think it is a beautiful movie - moving, funny and beautifully filmed. | 1pos
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"Such a Long Journey" is a well crafted film, a good shoot, and a showcase for some good performances. However, the story is such a jumble of subplots and peculiar characters that it becomes a sort of Jack of all plots and master of none. Also, Western audiences will likely find the esoterics of the rather obscure Parsee culture a little much to get their arms around in 1.7 hours. Recommended for those with an interest in India. | 1pos
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The Bill was essentially a cultural fountain from which a beautiful rainbow-haze of socio-introspection emerged, inspiring such famed derivatives as Cop Land, The Departed, The Godfather 3, and most recently of course, The Wire.<br /><br />With multi-faceted characters and story lines that have been described as '4-dimensional Shakespeare', The Bill grabbed you by the collars from episode one and just would not let you go.<br /><br />The show covered, anticipated, and even occasionally caused all the major global events between 1984 and 2010. The most famously prescient moment being episode 19 of series 5, which aired on the eve of the second Gulf War. Detective Jim Carver's misguided - and ultimately career ending - drugs raid on Craig 'Fun Boy' Richardson's flat in the Jasmine Allen Estate in early 2003, was widely viewed as a predictive allegory for the coalition's failure to find weapons of mass destruction following the invasion of Iraq several months later.<br /><br />However, it was the work the Bill did to try and highlight some of the lesser-known problems experienced by police officers that won it the most praise. This was sympathetic drama covering such sensitive areas as helmet-phobia, under-uniform cross-dressing, in-van homosexuality, lost truncheons, casual drunken bestiality (regretted), siren aversion syndrome (SAS), groin chaffing caused by chasing suspects while wearing an overly starched uniform and many, many more issues that still trouble, disturb, haunt and excite officers to this day.<br /><br />The last word should go to one of The Bill's most famous fans, Nelson Mandela: "
it is no exaggeration to say that I would not have made it through the dark void of loneliness that summed up my last years of incarceration on Robben Island if it wasn't for the heart-warming, casual buffoonery of Reg Hollis." | 1pos
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Yes, some plots are a bit hard to follow, and The Bill does have a tendency to get violent, but it is actually an engrossing show, that I try not to miss. A vast majority of the episodes are very exciting and quite tense, and the acting is fairly good, though I do miss Roberta Taylor as Inspector Gina Gold and Todd Carty as Gabriel Kent. I will admit, I prefer the older episodes to the newer episodes, and it is a bit of a shame that the programme is now after the watershed, as I found it easier to watch when it was at 8.00. Still, why I like The Bill is because not only it is engrossing, but the cliffhangers at the end do make the next episode unmissable. It is true though, that it is more melodramatic than it was, but I really like this programme as a programme that doesn't try to take itself too seriously. 8/10 Bethany Cox | 1pos
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Are we really making 'video nasties' again? In the guise of a digital wide screen big budget remake of 8MM, this is quite a ride. Unfortunately there is a bit too much story and at times this becomes like a travelogue as our heroine searches the sleaze spots of Paris, Hamburg and Amsterdam. I am however being rather churlish for the 'depraved' scenes, including everything from, hot wax, harsh whipping and rough sex to drowning, beheading and some. These scenes are immaculate and it's a pity Bruno and his budget couldn't stretch to make all the many characterful creatures introduced become more than simply caricatures. | 1pos
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This is one of the few films where I consider the film rendition to be an improvement on the original book. The story is clear, accessible, amusing and interesting and the musical numbers are without a doubt exceptional. I adored the cyclical rendition of 'The old home guard' and the charming 'Portobello Road', a great combination of early animation + real actors techniques which, though dated do not detract from the charm of the piece. The background of the Second World War worked well and was not omitted as the film got under way, which so often happens in 'evacuee' stories.<br /><br />An often far too underrated film, it produces no end to enjoyment for people of all ages. The performances from the actors are exceptionally well done and the entire text is neatly tied together and well designed. Guaranteed to put a smile on your face! | 1pos
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I loved this masterpiece and quite frankly I, too found Mary Poppins (although I love Julie Andrews and Dick VanDyke) to be silly and sacrine-sweet. Angela Lansbury plays her character to perfection and I don't know why people think of this film as distorted. It was magical and it was lots of fun to watch. Every scene held a certain charm as you got to know the characters better. You truly see how this little thrown together family learn to bond with each other, despite their age and differences. I thought the characters were well developed, especially Charles who was at "The Age of not Believing". Mary Poppins may be more popular and cherished by others but this little gem will be the one that I will always love and cherish. | 1pos
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Set during WWII, Bedknobs and Broomsticks is a fun-filled fantasy adventure for kids, starring Angela Lansbury as an apprentice witch who, with the help of three evacuee children and a 'Professor of Witchcraft', thwarts a Nazi invasion.<br /><br />Brilliantly inventive, with loads of laughs, this movie will delight kids of all ages with its great characters, exciting story and catchy tunes. Lansbury is perfect as Eglantine, the not-quite-perfect witch who takes the three children on the adventure of a lifetime, and her three young co-stars (Cindy O'Callaghan, Roy Snart and Ian Weighill) are equally impressive as the Cockney rascals who aid in battling the nasty Hun.<br /><br />The special effects are somewhat dated, but let's face it, kids don't care too much about these things, so long as they are entertained. And entertained, they will be. With some impressive scenes which brilliantly mix live action and animation to great effect, and more genuine movie magic than a hundred Harry Potters, it would be hard not to enjoy this wonderful slice of cinematic escapism. In fact, only a rather drawn-out musical number set in Portobello Road mars the film's perfection, but with so much else to enjoy, that can easily be forgiven.<br /><br />And besides, any film featuring UK television legend Bruce Forsyth as a 'Flash' Harry style spiv is guaranteed a good rating from me. | 1pos
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SPOILER ALERT!!!!<br /><br />I had just watched the extended version of Bedknobs and Broomsticks. Though I did like the extended version, I wish they would have left the original version on the DVD.<br /><br />The Portabello Road could have been cut down to the orginal length. It was too long and dragged the movie along. Though the dancing is great, would have been much better left on the DVD as a Deleted Scene.<br /><br />All in all this is a great movie. My 5 year old liked it. And it is wonderful that movies that I enjoyed as a child are being passed on to a new generation. This and Mary Poppins are added to my collection.<br /><br />Just as I had remembered!<br /><br />*** out of ****<br /><br /> | 1pos
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This place in England during 1940. Three orphans (Carrie, Charles and Paul) are sent to live with Miss Price (Angela Lansbury). She doesn't want them but reluctantly takes them in. It seems she is studying to be a witch through a correspondence course with the College of Witchcraft. (OK--I realize this is a family film but--College of Witchcraft??? Come ON!!) Before she can finish the course though the college is closed because of the war (???) and she seeks down the head Professor Browne (David Tomlinson). And her and the kids travel around on a bed with the help of a magical bedknob.<br /><br />I first saw this when I was 9 and vaguely remember loving it. It sure doesn't hold up as an adult! The story is silly (even for a fantasy), the kids are terrible actors and one of them (Charles) is incredibly obnoxious. Also Roddy McDowall is third billed and only appears in two short scenes! There's also a trip to the Isle of Naboombu which is run by animated animals. I thought that might be fun but the animation is poor (for Disney) and it has a very violent and far too long soccer game between the animals. There are a few saving graces here: Lansbury and Tomlinson are just great; the songs (while forgettable) are pleasant; the long dance sequence on Portobello Road is very colorful and full of energy and the Oscar-winning special effects are still pretty impressive at the end. But the weak story line, poor animation and unlikable kids really pull this one down. I heard the extended version is even worse! I can only give this a 7. | 1pos
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What can i say about a tale such as this? This magical tale has followed me from my early childhood,evoking warm memories in my heart.The characters take you to to so many whimsical places making you want more of each scene. For example in the market there were so many different flavors of lore. I loved the exotic dancers that accompanied the steel drums.<br /><br />The story line was wonderful.I wanted so badly for Landsbury to decide to keep the precocious children and for her to also stay with Mr.Brown,and find the other half of the spell so that the men less armor could win the war.<br /><br />I am still a child inside,and this movie appeals to my inner child like no other. This movie is my definite favorite of all times. I hope that all children will be able to watch this classic and be swept away,and transported into another time. | 1pos
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This is a movie I had never even thought of seeing until my 3 year old spotted it at the video store and grabbed it after liking the cover picture of the animals on Nabooboo Island. We got it and have watched it repeatedly since; in fact we've rented it several times since. There are very few non-animated movies that my son will watch and pay attention to; what a nice change from Dumbo and the Little Mermaid. The acting is outstanding, the songs are compelling, they get deep into your head and you can't help but singing along. The storyline, while specifically about WW2 is timeless in it's own way and there is something new to see every time you watch. I've heard it compared to Mary Poppins, but I think they are two very different movies, both excellent, but somehow my son has no interest at all in Mary Poppins. This is one of those movies that kids will want to watch over and over again and one that parents won't mind complying with. There are days we watch it before nap time and bed time and I don't feel that groan coming that comes when he wants to repeat any other movie. | 1pos
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This movie has always been my favorit Disney movie. Then on 11/21/01 I saw the 30th aniversy of this movie DVD. WOW I remembered why I loved this movie. The DVD is So great, It has an extra 30 min that the original did not have. I did not know this when I first started watching. The movie made ever so much more since. The music they cut out should have been left in. You have not seen this movie until you have seen the Full 131 min version. A lot of people say that the music is forgettable. I remember every song in this movie by heart, every song has it's own Charm by it's self, and comes together as a hole. I remember when i was younger I had the "Eglantine" song stuck in my head for days at a time. As well as "Briny Sea" (that song was meant for marry poppens but was cut out of the film) Please Watch the new uncut 30th aniversy movie and re-vote for this movie. the 10 that it really is. | 1pos
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"Bedknobs and Broomsticks" is a magical adventure film with a certain charm, despite not being one of the best Disney works. It has a generally good story, nice songs, great characters, good actors, magical and delightful special effects, good settings and lovely landscapes of England.<br /><br />It also combines very well live-action and animation. The animation itself is, of course, pretty good. The animation resembles very much that of the 1973 animated film "Robin Hood" and the same can be said about the animated characters: there are plenty of wild animals such as bears, elephants, hippos, lions, crocodiles and others like in "Robin Hood". Besides, the King (a lion) seems to be a mix of Prince John and King Richard, not to mention that the bear does look like Little John.<br /><br />This movie is often compared to "Mary Poppins" with a reason. Both combine live-action and animation with a similar artwork. Both have similar settings in London. Both have their own magic and a magical woman. The kids (Carrie, Charlie and cute little Paul) are a bit like the Banks children. Both movies were directed by Robert Stevenson and both cast David Tomlinson. However, instead of a very serious man like George Banks, David Tomlinson plays a merrier and magical man - Professor Emelius Browne. With its magic, this movie has also some slight but significant similarities to Harry Potter's stories.<br /><br />The majority of the songs are good. "The Age of Not Believing" and "The Beautiful Briny Sea" are the very best. "Portobello Road" is nice too.<br /><br />David Tomlinson is great in this film once again. Angela Lansbury is great as Miss Price and the 3 kid actors are all fine too: Cindy O'Callaghan as Carrie, Ian Weighill as Charlie (a boy in «the age of not believing») and Roy Snart as the youngest brother Paul.<br /><br />I like the black cat. It's pretty cool. It looks a bit like Salem, the black cat from the TV series "Sabrina, the teenage witch". I find cute whenever one of the movie's characters is transformed into a white rabbit. Rabbits are really cute, fluffy and adorable animals. I just love them! Even funnier is whenever Professor Emelius Browne is transformed into a white rabbit because, when he's transformed in human again, he shakes his nose like a rabbit. It's really hilarious, combined with his comical figure and that mustache.<br /><br />Overall, this is an okay movie, but its ending is quite bad. The first minutes of the movie are nothing special, but then it improves a lot. The ending, however, is weak. That's my major criticism about it, in great part because the animated knights thing is a little too much for me and also due to the war feeling. | 1pos
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I was lucky enough to catch this film finally on Turner Classic films tonight, as it is one of the films that won an Oscar (for special effects) in their yearly month of Oscar winning films. <br /><br />BEDKNOBS AND BROOMSTICKS is easily a sequel film for the earlier success of MARY POPPINS. That film too was a big success, and an Oscar winner (Best Actress for Julie Andrews). Like MARY POPPINS BEDKNOBS has David Tomlinson in it, in a role wherein he learns about parenting. It is a fine mixture of live action and animation. It is set in a past period of British history (if not the Edwardian - Georgian world of 1912 London, it is England's coastline during the "Dunkirk" Summer of 1940). It even has old Reginald Owen in it, here as a General in the Home Guard, whereas formerly he was Admiral Boom in MARY POPPINS. Ironically it was Owen's final role.<br /><br />The Home Guard sequences (not too many in the film) reminds one of the British series DAD'S ARMY, dealing with the problems of the local home guard in the early years of the war. The period is also well suggested by the appearance of the three Rawlins children as war orphans from the bombings in the Blitz in London. And (in typical Disney fashion) in the musical number "Portobello Road" different members of the British Army (including soldiers from India and the Caribbean (complete with metal drums yet!)) appear with Scottish and local female auxiliaries in costume.<br /><br />All of which, surprisingly, is a plus. But the biggest plus is that for Angela Lansbury, her performance as Eglantine Price is finally it: her sole real musical film lead. In a noteworthy acting career, Lansbury never got the real career musical role she deserved as Auntie Mame in the musical MAME that came out shortly after BEDKNOBS did. She had been in singing parts (in GASLIGHT with her brief UP IN A BALLOON BOYS, and in THE PICTURE OF DORIAN GRAY with LITTLE YELLOW BIRD, and - best of all - in support and in conclusion of THE HARVEY GIRLS with the final reprise of ON THE ATCHISON, TOPEKA, AND THE SANTA FE). But only here does she play the female lead. So when you hear her singing with David Tomlinson you may be able to understand what we lost when she did not play Mame Dennis Burnside.<br /><br />The rest of the cast is pretty good, Tomlinson here learning that he can rise to the occasion after a lifetime of relative failure. The three children (Cindy O'Callaghan, Roy Snart, and Ian Weighill) actually showing more interesting sides in their characters than their Edwardian predecessors in POPPINS (Weighill in particular, as something of a budding opportunist thinking of blackmailing Lansbury after finding out she is a witch). The only surprising waste (possibly due to cutting of scenes) is Roddy McDowall as the local vicar who is only in two sequences of the film. With his possible role as a disapproving foe of witchcraft he should have had a bigger part. Also of note is John Ericson, as the German officer who leads a raid at the conclusion of the film, only to find that he is facing something more powerful than he ever imagined in the British countryside, and Sam Jaffe as a competitor for the magic formula that Lansbury and Tomlinson are seeking. <br /><br />As for the animation, the two sequences under the sea in a lagoon, and at the wildest soccer match ever drawn are well worth the view, with Tomlinson pulled into the latter as the referee, and getting pretty badly banged up in various charges and scrimmages. As I said it is a pretty fine sample of the Disney studio's best work. | 1pos
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The obvious parallels between Walt Disney's charming fantasy Bedknobs and Broomsticks and C.S. Lewis Chronicles of Narnia are pretty apparent. There are more coincidences here than comparing Bedknobs and Broomsticks than with Mary Poppins even though a lot of the same creative talent went into the two Disney films.<br /><br />Like The Chronicles of Narnia it involves some English children leaving London during the blitz and coming to live in the country. And those kids have to deal with a world of magic. But unlike C.S. Lewis the Rawlins kids have the magic invade their world and help defeat the people making a mess of it in the here and now. No retreating to a fantasy kingdom like the Pevensie kids.<br /><br />No heavy duty philosophy here from Walt Disney except maybe it's not a good thing to mess with witches even apprentice ones like Angela Lansbury who learn their magic from a charlatan like David Tomlinson. Ms. Lansbury didn't get to be one of the most bankable of performers for nothing. She carries her own brand of magic that even the special effects boys at Disney couldn't top. And they won an Oscar for the Magic Kingdom in that department for this film.<br /><br />Two performers made their farewell to films in Bedknobs and Broomsticks. Tessie O'Shea played her last role in this film, she graced many a film in the United Kingdom as one of their best loved music hall performers. And that grand character actor Reginald Owen as the retired general who leads the Old Home Guard in war and in song bids adieu to film audiences around the world.<br /><br />The team of Robert B. Sherman and Richard M. Sherman who wrote the score for Mary Poppins wrote a good and serviceable one here. The Age Of Not Believing was nominated for an Oscar, but lost to the Theme from Shaft. Personally though I do like David Tomlinson's tribute to that most colorful of London streets, Portabello Road.<br /><br />Bedknobs and Broomsticks is a fine fantasy film that still holds up well after almost 40 years. Imagine what it would be like with computer generated graphics. | 1pos
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Fabulous, fantastic, probably Disney's best musical adventure. I have loved this film for over 35 years because it is so imaginative, clever and fun. Even despite the silly "flying bed" scenes, the other scenes and dialog are magical and funny. Could they have picked anyone better than Angela Lansbury to play Eglantine? I cannot think of anyone more suited to the role. Remaking this classic would be as stupid as remaking Mary Poppins.<br /><br />David Tomlinson, though he had few quality movie roles, absolutely shines in this adventure. He was a comic genius who is often forgotten nowadays. Blustering, prim and proper Englishman -- nobody could really do slapstick and pull it off as gracefully as he does. It would be tragic to remake this film because Tomlinson has been deceased for a few years and nobody could step into his shoes and do his character justice.<br /><br />The dancing nightgowns and armor have a magical aura about them that other movies with witches just don't capture. I particularly enjoy the parts where the Germans invade Eglantine's house and she must defend it in any way she can.<br /><br />Bobbing along, bobbing along on the bottom of the beautiful briny, sea. Richard and Robert Sherman outdid themselves on the musical numbers. All of them are fantastic and worth remembering, Portobello Road being one of my favorites.<br /><br />A great film that still holds up today!! | 1pos
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I will always have a soft spot for this Disney flick, another of their part live action/part animation entries that sought to recreate the success of "Mary Poppins" and never quite made it. When I was in grade school, every once in a while we would have a movie day, where the whole school would crowd into the cafeteria, and a movie would be projected the old-fashioned way, multiple reels and all. At the time, it seemed like a momentous occasion whenever this day arrived, and "Bedknobs and Broomsticks" is one of the movies I can remember seeing this way.<br /><br />And from what I remember, it's quite charming. Angela Lansbury never put her name to anything that wasn't at least competent, and she's winning here as a witch with a magic bed (boy, that could be misconstrued, couldn't it?) who can take her and a couple of young kids on magic adventures to far-off places. Come on, what kid wouldn't want a bed like that? <br /><br />Grade: A | 1pos
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I have personally seen many Disney movies in my lifetime, though absolutely none of them match up in any way to Bedknobs and Broomsticks. Although I personally wouldn't have crossed live-action with animation, it was an improvement on trying to dress people up as animation characters. The movie pits three evacuees from world war two who are sent to stay with a silent and socially awkward woman in the country. I would have to say that the casting was brilliant. Angela Landsbury made a perfect Miss Price, while David Thomilson made a great desperate entertainer love interest. Endings always surprise me and this was no exception. It was neither happy nor sad, though I do not know if this was intentional. The dialog wasn't great, but considering it was designed to be a kid's movie, that is alright. Overall, I would give the performance nine out of ten, the dialog six out of ten, the casting nine out of ten and the costumes eight out of ten. | 1pos
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I've just purchased the restored version of a film that I remember with much affection from childhood and it's certainly made for a curious afternoon's entertainment. Bedknobs definitely makes more sense in its complete form, the deleted scenes (especially those with McDowall) link events together quite neatly. What is a little disconcerting is the way the scenes have been remastered. Clearly, the soundtrack to this footage had been lost or damaged, so some bright spark at Disney decided to dub the scenes with new dialogue. Which would have been great except that half the cast weren't around to do it (some for better reasons than others) and the whole thing has a rather shoddy quality to it. Some of the lip-synching is pretty poor, and David Tomlinson's voice has been dubbed by a bloke who sounds absolutely nothing like David Tomlinson (there's actually a hint of German in it, I think). However, good to hear the full versions of all the songs (although 'Step in the right Direction' is still absent) and the moments of magic in this film still shine through. And I challenge you not to giggle when young Paul gazes so innocently at Angela Lansbury and coos "but what's that got to do with my knob??" | 1pos
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IN LOVING MEMORY OF DAVID TOMLINSON (1917-2000)<br /><br />When I watched this movie for the first time I was 4 years old and I got fascinated by this story of witches in the 2nd World War. The scene, which impressed me the most, was the fight between the Nazi soldiers and the medieval army. It was exceptional to see this army without a body walk to fight the astonished singing their march. This movie is fantastic, from the trip to Portobello Road (which became to me the most fantastic place of London) to the journey to Naboomboo. Angela Lansbury and David Tomlinson are really a fantastic couple. She is always great, it seems the good aunt of a family and David with his always astonished face is her great co-protagonist. we'll miss him a lot. | 1pos
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Okay, this film is about Bedknobs and Broomsticks, it's one of the most charming, delightful movies you'll ever see as a kid. It's the unforgettable movie about two adults and two spunky kids on an adventure for fun. It may be a little deniable to watch, but try it, I neither my mother didn't think it was bad, I was very enthused with the movie and the animation, they were all quite good.<br /><br />It is a delightfully wondrous comedy for the whole family to enjoy; even the kids. Ages 7 years and up will enjoy this wonderful, musical comedy with you and your family especially the animation. The animation movements and layouts are really nice and deserve a thumbs up. It's a terrifically good musical for the whole family so what are you waiting for? Go to the video store and rent Bedknobs and Broomsticks NOW. | 1pos
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Perhaps Disney was hoping for another Mary Poppins but this is a very different story and while Angela is delightful she was a very different performer to the great Julie Andrews. Having said that Lansbury is perfectly cast and delivers a magical performance. There is something deliciously dotty about her character and she is given wonderful support by David Tomlinson. Tomilinson can carry a tune but he is certainly not much chop as a singer. It does not matter he was such a gifted actor you hardly notice. There are some great cameos from much loved stars of another time like Roddy McDowel who gives a winning performance and the much loved Tessie OShea who does very little but its nice to see the old gal again. Its also lovely to see Sam Jaffe and the king of English television Bruce Forsythe in small roles. The score has a couple of beautiful songs especially The briny sea and The age of Not Believing. The big number Portabello Road is stretched to the limit but it has plenty of theatricality. The effects look a bit cliché today but the scene with the German invaders being attacked by the wildest army in film is pretty impressive. The kids are not as annoying as other movies but one does struggle to understand what the youngest boy is saying. I loved the marching song of the home army. The home guard were very important to Britain and this is a warm tribute. The animation is delightful, much better than Pixar which I find grotesque. A warm happy film and its a wonder its not done on stage. | 1pos
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Mary Poppins is definitely much better, but this is a lovely film nonetheless. Angela Lansbury is splendidly dotty as Engletine Price, and David Tomlinson has great fun as Mr. Brown. Their chemistry was just brilliant as well. The children, however just lacked the same sparkle, though Paul is very funny and cute. The songs were actually not as bad as some people say, "Beautiful Briny Sea" is the best, in fact all the songs are outstanding. The special effects were wonderful, that had plenty of magic, and the story is original enough. The highlights, though, like Mary Poppins, were the animated sequences. The underwater sequence was beautiful, but my favourite was the football match, which was absolutely hilarious. The only other criticism was that I didn't quite get the ending when I first saw it. All in all, a lovely film, that is hardly ever on. 8/10 Bethany Cox | 1pos
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I saw this when on The Wonderful World of Disney as a kid, so I didn't recall much of it. As I watched it recently, I sat there thinking, "This is the weirdest thing I've seen".<br /><br />The 'traveling' scenes look like something caused by an LSD overdose. The animated characters are mostly oddly colored/voiced versions of Jungle Book and Robin Hood characters. Some not-so-Disney things I noticed: kids being threatened at knife point and prostitutes(during the Portobello Road song).<br /><br />It was very entertaining, though the musical numbers were long and I can see little kids getting bored with them. Also, the subject manner was a bit dark, seeing as it was set during WW2. | 1pos
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While it certainly wasn't the best movie I've ever seen, it was certainly worth the $8 (which can't be said for many movies these days.)<br /><br />This was a pleasant account of a true story, although many of the details of the real story were twisted for the movie, (ie, Billy Sunday's character was three or four people in the real story combined together.) Robert DeNiro was of course good, and Cuba Gooding, Jr., was also impressive. | 1pos
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"Inspirational" tales about "triumph of the human spirit" are usually big turn-offs for me. The most surprising thing about MEN OF HONOR is how much I enjoyed it in spite of myself. The movie is as predictable and cliched as it gets, but it works. Much credit goes to the exhilarating performances by both leads. It's a perfect role for Cuba Gooding, Jr., who's wonderfully restrained here. We have come to expect a lot from De Niro, and he doesn't disappoint. He creates a darkly funny portrait. Director George Tillman, Jr. set out to make an old-style flick and comes up with a winner. | 1pos
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I gave it an 8 star rating. The story may have fallen short about 3/4 of the way into the picture but the performances remained strong throughout."Men of Honor" was changed from "Navy Diver" understandably so. Anyone who has served in any branch of the armed forces will probably feel that "Honor" is an appropriate word to use in the title. | 1pos
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You think you've had it tough? You should check out this film. Carl Brashear is the epitome of courage and determination. What this man had to go through to become a navy diver, should be an inspiration to us all. And significantly, after seeing this film, I learned that what is shown is not even the half of it! Cuba Gooding, Jr. does some of his best work to date as Brashear. De Niro, as usual is good as the southern redneck who trains him. George Tillman in only his second major feature (after "Soul Food"), has made a quantum leap as a filmmaker. If you want to be moved and inspired, you definitely need to check out this one. | 1pos
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For me,this is one of the best movies i ever saw.Overcoming racism,struggling through life and proving himself he isn't just an ordinary "cookie" ,Carl Brashear is an amazing character to play ,who puts Cuba in his best light,best performance in his life.De Niro,who is a living legend gives THAT SOMETHING to the movie.Hated his character in movie,but he gives so much good acting to this film,great performance.And appearance of beautiful Charlize was and as always is a big plus for every movie. So if you haven't seen this movie i highly recommended for those who love bravery,greatness who seek inspiration.You must look this great drama. My Vote 9/10. | 1pos
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Carl Brashear (Cuba Gooding, Jr.) was born to sharecroppers in the deep south. He joins the navy, whereupon he tells his father he will be back. The father gives him an old radio, and Brashear leaves on the navy bus. The Most valuable thing his unemotional father taught him was, "Never quit". After a recommendation from a white commander Powers Boothe), who admires his drive and guts, he gets sent to Navy diving school at Bayonne, NJ. He endures harassment from his pals in uniform and from his trainer, Chief Navy Master Diver, Billy Sunday (Robert De Niro), and from the commanding officer, called pappy, (Hal Holbrook, who "has almost as many loose screws as an old car". They all want to make him drop out, and the prejudice is quite fierce.The dangers of diving prove a further setback when he loses a leg due to an accident on board ship. Despite this setback, he tells his wife that he will train and achieve his objective, and with the help of Billy Sunday, (now both joined in commiseration in their sufferings), they train and he is able to become the first black Navy diver with his artificial limb despite the skepticism of a highly mocking and doubtful captain at the Navy Department hearing in Washington, DC to determine if he meets the criteria. An inspirational movie, showing that determination can overcome all odds. | 1pos
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This is a must see for independant movie fans, but it also holds up well against mainstream movies. I think we have the makings of the next Woody Allen or<br /><br />Trentin Tarrentino here.<br /><br />The budget is painfully low. No special effects whatsoever, and they seemingly used ambient lighting (shot in digital video.) -And yet this movie grabs hold of you and never lets go. The screenplay is somewhat bizarre, yet the actors and director pull it off with complete realism. It has humor, it has intrigue, and it has pathos, and it all works together.<br /><br />No point in describing the details. If you want to see an independant<br /><br />masterpiece, a virtual lesson in how to make a low budget flick that really works, see this one.<br /><br />-Oh yeah, it's also REALLY entertaining.<br /><br /> | 1pos
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This independent, B&W, DV feature consistently shocks, amazes and amuses with it's ability to create the most insane situations and then find humor and interest in them. It's all hilarious and ridiculous stuff, yet as absurd as much of the film should be, there is a heart and a reality here that keeps the film grounded, keeps the entire piece from drifting into complete craziness and therein lies the real message here. This film is about how we all survive in a world gone mad. That seems to be the heart of the film. For as insane and off the wall as things get, Leon, the 30 yr. old paperboy-protagonist, always tries to keep it together. He's like a child forever trying to catch the balloon that is floating away so that everything will work out for the best, so that everyone can have what they want.<br /><br />The acting in the film could have went far over the top but the exceptional cast really keeps the piece cohesive. Van Meter is perhaps the best of the bunch here with a performance that shines through her absurd diseased tics. Just as the characters in the film do, we overlook her sudden outbursts to see the real person underneath. <br /><br />Majkowski is a true genius here. He takes the utmost ridiculous plot twists and keeps them real. It is his script and his cast that help keep the whole thing afloat. It's a true testament to the skill of Majkowski and all involved that this film, with it's grating plot and characters, never once works our nerves. Majkowski has taken a film that could have been abrasive and repugnant, and somehow given it heart and humor. This is a unique film. Not to be missed. <br /><br /> | 1pos
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Caught this film at the Arizona International Film Festival. I wasn't expecting a lot (though the festival's director told me it was one of the best films submitted). Five minutes into it I was sold. Shot in B & W on a shoestring budget, this film is hilarious. The acting is solid, the writing is solid and the look of the film is solid. The acting is probably the biggest revelation, since most films shot on low budgets tend to have amateur or stagey acting. Not this one. It features one of the most convincing, endearing and funny portrayals of a character with Tourette's Syndrome I've ever seen. The plot is convoluted without being confusing and raunchy without being gratuitous. If you get the chance, see this movie. Filmmakers like Majkowski (hope I got that right) deserve the chance to strut their stuff to a wider audience. | 1pos
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Surprisingly well made little movie. Short in length at about 90 minutes. For a low budget movie, very well made. Plot is slow to unravel. Cast is excellent especially Elizabeth Van Meter as the girlfriend with Tourette's Syndrome. | 1pos
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Passing stones definitely one of the best comedy independent films ever. You must have a sense of humor to fully enjoy this one. This film for some reason hasn't received its credit due. First, lets start with the story line everyone loves a good treasure hunt. When a dead father leaves letters behind advising of a hidden treasure it not only brings two families together but starts a whirlwind adventure. Mix in a polish translator, a comatose mother, a crack-head with turrets syndrome, a twisted homosexual hypnotist, and one drag queen, money not only makes the world go round but can turn family into enemies. My favorite character in this film would have to be the sister/crack addict with turret's syndrome,her sudden out burst will have you crying and mimicking for weeks. | 1pos
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Here's what I knew about "Atlantis" before watching it:<br /><br />* - It's officially Disney's first animated sci-fi adventure. I'm not sure how accurate that is (I like to nitpick) but it made me curious first time I heard it described.<br /><br />* - The preview looked, for the most part, damn cool. Evidently, it was also "too cryptic" according to some critics after the fact.<br /><br />* - It apparently did SO badly that Disney said, "Screw it, let's re-release 'Spy Kids'".<br /><br />So, with all that said, how is the movie?<br /><br />Hella-cool.<br /><br />I'm a sucker for animated fantasy that involves stirring music and rampant special effects anyway, but "Atlantis" goes all out. It's a throwback to all the CGI eye-candy shots in "Beauty and the Beast" and "Aladdin", so much so that it's almost an effects animator's Best-Of Show. The characters maybe aren't that memorable (except, perhaps, for the ship's medical officer), and the plot's a little dull, but this isn't a movie you watch for the plot.<br /><br />Here's a controversy that bothers me. The "failure" (as in, it "only" took in, like, five-hundred-million or something; I know animators who'd kill to see fifteen bucks of that) of this movie compared to the popularity of "Shrek" and "Monsters Inc." has been seen as evidence of the death of traditional animation. I don't think that's true. How do you account for the "South Park" movie? What about "Final Fantasy"? Really, the story and the artistry is everything, not the method. I don't know what Disney's comeback movie will be like, but I don't think they're out of the picture yet. | 1pos
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I thought this movie was very well put together. The voice-overs were also great. I liked how they all overcame their conflicts and reached their goals. I would recommend this movie to anyone. It was definitely worth the time and money to watch it. Atlantis has some comic scenes that made me laugh. Other scenes made me sad. And others made me glad. It is a movie any age can enjoy. From the moment Milo is the crazy "profesor" or until he gathers the crew up for the fantastic voyage under the sea. After I watched the movie, I read the book. It was good as well, but the movie puts better pictures in your mind. It is just like the book. But go ahead and watch this movie! | 1pos
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Disney, the film name that once stood for all things innocent and suitable for all ages, has finally started to realise that to survive it needs to become more diverse. Such diversity has been very apparent in the last couple of years. Films like "Tarzan" and "The Emperor's New Groove" have made an attempt to move away from the traditional song-driven routine of Disney's past and into new, uncharted territory. "Atlantis" is the boldest step yet, but we have to remember: This is STILL Disney. The first ever serious film to come out of Disney's animation studio is a major achievement for them - in fact it's so serious it makes it into PG territory. Perhaps why a lot of families were scared off from seeing it this past summer.<br /><br />But despite the more mature subject matter, this is still a film that Disney wanted to draw in the families with, not just mature audiences, so the plot had to be kept simple enough for children to understand, but interesting enough to take it away from the realms of "The Little Mermaid" et al.<br /><br />So what we get is actually a potentially detailed plot, unfortunately suffering the blow of being condensed into a 96-minute movie. Ultimately, this is an action film about Atlantis, not about the exposition preceding it, so we are whisked through the first half hour with as many sequences bombarding the screen as is possible without losing coherency. Suspend your disbelief of how the characters get from point A to point B so quickly, you're unlikely to find an animated film that detailed coming out of Hollywood! If you want epic levels of detail in the plot, turn to James Cameron's "Titanic". Both films feature a boat in some manner.<br /><br />And let's talk about love, shall we? Yes, as with a lot of films, the lead male (one Milo Thatch, a bumbling archaeologist) and lead female (Kida, the clichéd Atlantian princess) are set to fall in love with each other. But what I found was not as clichéd as I was expecting. By film's end, for once, the characters touching/feeling/kissing sequence was far more subdued. There's various points in the film where the attraction grows, but it's just not in the ballpark of, say, "The Little Mermaid" (A good thing).<br /><br />You may have grasped that this is a rather clichéd film. Correct. You have your leading hero and heroine, backed up by more than half a dozen crew members who go on the expedition, all being given their moments during the film. Numerous other characters appear, take up the few minutes of screentime, then disappear. It doesn't take a genius to do the maths a 96-minute film with a focus on action and visuals, and with a considerable cast, has very little time to expand the characters to any major extent. So what does it rely on? Clichés, and lots of them. Every character emulates something that has been done a thousand times before. You have the bumbling scientist, the attractive princess, the square-jawed colonel, the rich eccentric, the maniacal sleazebag, the Russian femme fatale need I go on?<br /><br />I don't know why this got to anyone I found the tongue-in-cheek nature of this film quite amusing. Alright, this is meant to be a serious flick, but do you really expect Disney to give up every single trait of their history? At least the writers have tried to come up with consistently witty dialogue, and sometimes it even is a little inspired.<br /><br />But in the end it's those big stunning visuals that put the icing on this cake. The CGI animation is truly amazing in places, and doesn't dwarf the characters, which was a flaw that let the recent "Titan A.E." down. Speaking of characters, Disney hired an outside comics industry artist to create the designs, bringing an anime style to the film. Infact the visual presentation of the film as a whole owes a lot to anime, much more so than any previous Disney outing. This resulted in a conflict with fans of the Japanese anime, "Nadia", for the film's overall similarities with said cartoon series. Having not seen this anime, I can't comment.<br /><br />With picture, there is sound. Gary Rydstrom heads up the sound team, and what a soundtrack! From the opening shot the sound stage is alive and is a treat. James Newton Howard treats us to a dynamic musical score, which compliments the film in every way, never sounding out of place and always helping to build the tension or subdue it.<br /><br />Perhaps I missed the point of what the creators intended. To me, the film conveys that it's an adventure thrill ride, albeit with a more serious tone than any Disney film before it. If you don't like the clichéd tongue-in-cheek attitude, then perhaps the effort that has been poured into the visuals will delight. Heck, at least the mythology is far more correct than can be said about other Disney efforts (*cough*Hercules*cough*).<br /><br />This is a positive, 10 out of 10 review, from someone who was blown away by this film. I always suspend my disbelief with any animated film after all, the laws of the real world are more than frequently broken in the cartoon medium. So sit back, enjoy the ride, and perhaps everyone can find something to enjoy about this film. | 1pos
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This movie was great! It was an excellent rendition of an ancient myth. The animation was somewhat odd, but nothing new from Disney. It was definitely better than expected for a Disney movie with no singing.<br /><br />The background animation was magical. It was a different level of work for the Disney people. Some of the characters were a little boxy, but it was more than made up for with the beauty and lushness of the scenery. The music was largely instrumental but that was perfect for the movie. This was definitely not a film that needed the characters to bust into song.<br /><br />Perfect. 10 out of 10. | 1pos
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It is written in stone that Disney animations simply ~must~ be musicals. Right? Where? Show me. Because I found this attempt to be much more enjoyable for ~not~ containing the hokey made-for-five-year-old standard Disney musical fare. <br /><br />While the story was not as enthralling as it could have been, it was still quite good, enjoyable, and adventurous. I had hoped for a bit more, yes, considering the subject matter, but this movie is ~not~ the bitter disappointment or utter failure it has been billed to be. <br /><br />The animation quality is average, but the dialog is quite compelling, as is the story line, plot, sub-plot, and amazing creativity I found within this production. I will refrain from outlining the plot, as it has been done and done, but this movie is well worth a view if you are a fan of fantasy.<br /><br />This is, in my opinion, THE BEST Disney Animated Feature Length Film.<br /><br />It rates a 9.4/10 from...<br /><br />the Fiend :. | 1pos
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I thought that this film was very enjoyable. I watched this film with my wife BEFORE I had my first child. Therefore, I was not watching it as simply family entertainment and I still thoroughly enjoyed it. It seems as though many of the reviews are pointing out that this movie is not earth shattering, there were no unexpected plot changes and that the movie was predictable and boring. If these people were watching this movie expecting to have a religious experience doing so, then they were obviously going to be disappointed. This is simply an animated movie; nothing more. If you want to see this movie simply to sit back and let yourself be entertained, you will not be disappointed. In closing, this is definitely not the best movie Disney has made, but it IS entertaining and I do not understand the bad reputation it has received. | 1pos
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Definitely a very good idea,screenplay was just OK.Could have been better,The positives are that it doesn't bore you if you're an adventure lover,A new idea about the lost world of Atlantis.Negatives are that I personally feel that this idea had so much more potential than this.They should've ended up with a better adventure than this.It wasn't bad at all but it would have been much better with some more runtime.Enjoyed it a lot though,Cant say that it was boring or wasn't good..A good one for the people who like adventure animations like Sindbad,like The road to el Dorado.This movie is also recommended for people looking for a nice little adventure with a very nice happy ending. | 1pos
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"Atlantis" is a new and right step for a Disney feature. It's a good choice to make a film by such a mysterious legend like "Atlantis". I didn't have any expectations for this film, but after watching it, I don't quite understand why this film got so bad reviews. Even in my country the reviewers weren't positive.<br /><br />"Atlantis" is not a perfect movie, but still one of Disney's greatest, even I doubt that this film ever will get "Disney classic" reputation. Well, that's another case. It's funny to think that this sci-fi movie was directed by the same directors as "Beauty and the Beast" and "Hunchback" (so Kirk Wise and Gary Trousdale are trying to get away from their monster movies reputation, he he, I'm just kidding).<br /><br />Well, enough nonsense. "Atlantis" is a watchable, exiting and very enjoyable film. Even this film it's a PG-rated action-feature, it's also suitable for kids, in my opinion (parents who mean the opposite, don't kill me for writing this, he he).<br /><br />The story is a little predictable, but it doesn't ruin the movie. The comic book-inspired animation it's suitable for the film and set's a departure from the usual Disney-style. It's colorful, dark and detailed. The Deep Canvas sequences are pretty impressive. The film is also funny sometimes, even I more giggled than laugh through the movie. (SPOILERS) The characters of this film are also very likable, but unfortunately there isn't enough screen time to get to know everybody, so some characters are left behind (SPOILERS).<br /><br />The score of James Newton Howard is absolutely great. It's daring and exotic. (SPOILER) The most impressive about this film is how they're making the Atlantean language sound very natural, ethnic and authentic. It's really awesome (SPOILERS OVER)<br /><br />The script is tight and well-written, but still the there are some questions left unanswered in the story. But luckily there are not so much of them.<br /><br />So do you're self a favor, don't listen to the reviewers and watch "Atlantis", cause it's waiting for you... | 1pos
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Atlantis: The Lost Empire is a better movie than I thought. I never thought this movie would lead to my expectations. True, this movie started slow, but as the movie wore on it became more to my liking. The story takes place in 1914 and is about a guy named Milo. Milo believes in the fabled Atlantis. Along with friends of his grandfather, he embarks on an amazing adventure of his own. Along the way, he must endear friendship, betrayal, trust, and more. The voice cast is great. They surely know how to carry movies with only their voice talent. The music is nothing special but likable anyway. The animation is not the best, but it is still good enough. Overall, this is a good family movie for all ages. I rate this movie 9/10. | 1pos
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The movie "Atlantis: The Lost Empire" is a shining gem in the rubble of films produced by the Disney Studios recently. Parents who have had to sit through "The Jungle Book 2" or even a Pokemon movie will surely appreciate this one.<br /><br />The film is one of few to attempt at an original story; previous feature films were merely re tellings of existing stories. Films such as "Toy Story", "Finding Nemo", and "Monsters Inc." all do the same, but it must be noted that all were made by Pixar and only distributed by Disney. Recent films from the Disney Studios are mostly released direct to video, and are sequels to an existing successful film. The quality of those films is given way to the profitability. A new era started with "Atlantis" following it were "Mulan", "Lilo & Stitch", and most recently "Open Range". The writers have created all original story lines instead of the fairy tales of the past.<br /><br />A good portion of the movie is devoted to the quest to find Atlantis, a task that has captured the imagination of many for hundreds of years. Including that of young Milo Thatch, voiced by Michael J. Fox. Milo is employed by a museum in Washington D.C.. His grandfather was a renowned archaeologist, who had devoted his life to discovering Atlantis. This was seen as a waste by his peers, and they wish Milo to not follow in his footsteps. After failing to convince the museum board of directors to sponsor his expedition, Milo comes home to find a woman in his darkened apartment. She takes him to her employer, a Mr. Whitmore. Whitmore was a close friend of Milo's grandfather, and wishes to send Milo with a team to locate Atlantis. Mr. Whitmore is very wealth and has paid for the best of everything. The crew that is to accompany him is the same as his grandfathers. The journey is filled with many great obstacles to overcome and is great fun to watch. The viewer finds themselves caught up in if they will reach Atlantis. The plot takes an unexpected turn after the discovery Atlantis, not just the discovery of people. It is enough to keep the interest of the older audience.<br /><br />The animators have done a wonderful job in then depth of the animation. The movie is very successful in blending traditional animation with Computer Generated Images. A feat not easily achieved, most audiences are quick to notice the difference in the two. The characters are believably human. There are some nice chase type scenes, with lots of action going on. A few lulls are filled with jokes that the children just may not get.<br /><br />The creativity of the writers really shines through. The culture of Atlantis is richly developed, including an entire language. The film uses references to Atlantis from historical sources, such as Plato. The disappearance of Atlantis from the world is explained. Believable, if by a younger audience, that magic really does exist. The powers of the people of Atlantis are not exactly presented as magic, but can best be described in this way.<br /><br />Although set in 1914 the level of technology used is unrealistic. The voyage is in a submarine very reminiscent of Captain Nemo's nautilus, complete with sub pods that fire torpedoes. The giant diggers are driven by steam boilers so they did try for some era technology. The female characters are empowered in a way that women of the age would not have been, even holding roles in leadership. This is not a bad thing. It gives a good role model for my daughter to look to, rather than an all male cast.<br /><br />One reason this film is a favorite of mine over other Disney films is that there is not one single song, ever. A tradition that began with the first feature film, "Snow White", and carried on through to "The Lion King", almost every Disney film is full of upbeat songs. This is great and all, what would the Seven Dwarfs be without "Hi HO!"? After the millionth time through it'd almost be better without, but this one spares the parent. Not once does every single person on the screen suddenly know the words to a song that no one has ever heard before and break out in song. I for one am grateful.<br /><br />The storyline and depth of animation is sure to keep the attention of both parent and child alike. It is a film I am willing to watch again and again with my children. | 1pos
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Atlantis: The Lost Empire has some of the best, smoothest animation and cleverly written dialogue of any Disney movie I've seen. And I was convinced of that in the first 15 minutes. I especially love Don Novello's voice work on Vincenzo Santorini and Phil Morris as Joshua Strongbear Sweet. Too bad the whole film seems to move at about double the pace that would be appropriate - at least in the first act. One important aspect of any Disney movie is a satisfying antagonist - which Atlantis doesn't provide. He's average at best. Halfway through the movie there's a mediocre twist. That's all. It's a great movie nevertheless. Everyone should check it out. | 1pos
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Atlantis is probally the best Disney movie that i have seen in years. It has great action scene, magic, an intelligent and weel written script. Atlantis, brings back the magic of the Disney Classics such as "The Lion King" or "Alladin". After Seeing this one i'm sure that this year summer blockbusters season will be great.<br /><br />I recommend to you all, "Alantis : The Lost Empire is like a breath of inspiration.<br /><br />9 out of 10 | 1pos
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If you have sons or daughters who love action, adventure, intrigue, and imagination - without the need to break into song every twelve minutes - then this is the Disney movie for you! My sons loved every minute of this film, and I have to admit that I laughed out loud many times throughout the movie. There are no sappy songs to get in the way of a wonderfully told story, and the characters are all lovable and identifiable in their own right. This should go down as one of the Disney "classics" because of its beautifully illustrated scenery and its non-stop excitement! | 1pos
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While I have a great respect for Disney's animated films, as of late they haven't really been what I would call "must-see". Atlantis looked intriguing from the first movie poster and trailer, and thankfully lived up to my expectations.<br /><br />Atlantis is a more "mature" Disney film in the sense that it lacks songs (a very unusual trait for a Disney film indeed), and is focused more on action and discovery than any other recent Disney offering. The world of Atlantis, hidden beneath the earth's core, is fantastic, presented as desolate caverns with ruins, and then slowly developing into actual ecosystems, which, while usually containing some reminder of harshness, become more and more intriguing until the tropical paradise itself is reached. The presentation of simply Atlantis' landscape and setting, without some expendable cheery song, gave the kingdom a much more beautiful and intriguing appearance. The inclusion of an Atlantean language, as well as attempts to connect it into the mythology of real-life ancient civilizations adds to this, and works fairly well.<br /><br />Also, with the exception of some scenes involving Mole's practical jokes, there didn't seem to be much of a "childish" element that I usually associate with Disney films. Instead, the main elements were the struggle to get to Atlantis, and the constant discovery that occurred at Atlantis, as Milo the outsider was able to learn all he ever needed to know about the place by helping the Atlanteans discover parts of their own history that they didn't know about. Part of this involves the Atlantean "weaponry", which is used in a very action-packed climax which is, for lack of a better word, quite exciting.<br /><br />Granted, not all of the story makes full sense, and the film doesn't feature any amazing new computer-generated visual effects, but, aside from the Toy Story movies, this is the most entertaining Disney film I've seen in years. | 1pos
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Atlantis was much better than I had anticipated. In some ways it had a better story than come of the other films aimed at a higher age. Although this film did demand a solid attention span at times. It was a great film for all ages. I noticed some of the younger audience expected a comedy but got an adventure. I think everyone is tired of an endless parade of extreme parodies. A lot of these kids have seen nothing but parodies. After a short time everyone seemed very intensely watching Atlantis. | 1pos
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Atlantis was much better than I had anticipated. In some ways it had a better story than come of the other films aimed at a higher age. Although this film did demand a soid attention span at times. It was a great film for all ages. I noticed some of the younger audience expected a comedy but got an adventure. I think everyone is tired of an endless parade of extreme parodies. A lot of these kids have seen nothing but parodies. After a short time everyone seemed very intensely watching Atlantis. | 1pos
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Beautiful to watch, but what would be the first thing you would do the moment YOU discovered Atlantis? Explore it! Here was a golden opportunity to take viewers someplace special. Instead, Disney reverted to the same old formula story telling. | 1pos
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Subsets and Splits