Unexplained and Mystery Movie Reviews

"The Thin Man" is the witty, acidic and charming murder mystery with an attitude from which all subsequent crime solvers (most notably television's "Hart to Hart", "Remington Steele" and "Moonlighting") take their cue. The movie features William Powell and Myrna Loy as Nick and Nora Charles, an inspired teaming almost as legendary as Tracy and Hepburn.
PLOT: When a scientist turns up missing his daughter (Maureen O'Sullivan) hires Nick to get to the bottom of the disappearance.
This movie, as do all the subsequent "Thin Man" installments, (there are an additional 5 - none of which are currently available on DVD)relies heavily on the chemistry generated between Loy, Powell and their wire-haired terrier, Asta. The investment in character is not wasted.
Warner Home Video has done an outstanding job on "The Thin Man" DVD. Where previous copies of this movie on VHS and laserdisc looked as though they had been fed through a meat grinder, suffering from age, damage and disrepair, the print used for this DVD looks as though it were shot yesterday, with incredibly sharp, detailed images almost entirely free of any such ravages of time. The visual quality of the print is remarkably solid with little edge enhancement and no pixelization. The audio is mono but well represented with no background hiss. No extras.
BOTTOM LINE: A DEFINITE MUST!

Nick and Nora Charles (William Powell and Myrna Loy) have recently moved back to New York from the West Coast and are looking forward to some time together when an old acquaintance, a young woman named Dorothy Wynant (Maureen O'Sullivan), asks for Nick's help in locating her father, an inventor named Clyde Wynant (Edward Ellis). Nick was a working class hard-drinking private detective before he married blue-blooded Nora. But now Nick is enjoying his retirement and is reluctant to get involved in any mysteries. Nora, on the other hand, is intrigued by Nick's old line of work and welcomes the excitement that detective work might bring to her life. But Nick stubbornly refuses to take the case, even when the missing man's secretary is murdered and his lawyer and ex-wife express their concern as well. But when a gun-wielding thug forces his way into the Charles' apartment and the police harass him for answers, Nick is left with little choice but to take the case of "the thin man". Believing that the police are on the wrong trail entirely, Nick returns to Clyde Wynant's closed-up shop, where he finds an essential clue to his disappearance. Nick then decides that the best way to ferret out the culprit is to invite all of the suspects and interested parties to a dinner party at his apartment where he will lay out the story as he knows it and set up the murderer in the presence of the police.

"The Thin Man" was adapted from the popular 1933 detective novel of the same name by Dashiell Hammett and directed by W.S. Van Dyke in 1934. Although fans of Dashiell Hammet's hard-boiled whodunit may not recognize the Nick and Nora Charles of the silver screen, "The Thin Man" impresses me as one of the best adapted screenplays in cinematic history. Screenwriters Albert Hackett and Frances Goodrich have brilliantly adapted Dashiell Hammet's novel for a mainstream audience. The story has been simplified considerably. But, more significantly, the movie's characters have been made more likable and respectable than those of the book, and somewhat less alcoholic. Although Hammett's novel is full of witty quips, it is far too cynical to be called a comedy. Screenwriters Hackett and Goodrich chose to make the film a comedy of manners and de-emphasized the mystery in favor of Nick and Nora's relationship. That decision, along with the casting of William Powell and Myrna Loy, who have such great comic chemistry and affection between them, made "The Thin Man" so irresistible to audiences in the 1930's that it supported an impressive 6-film franchise over the course of 13 years. William Powell and Myrna Loy's appeal has not diminished in the least to this day. There has never been a funnier party scene than the Charles' wonderful drunken Christmas party. And an expanded role for the Charles' irrepressible pooch Asta perfectly tops off the comedy. "The Thin Man" is a wonderfully entertaining combination of mystery, comedy, and romance set in the glamourous world of upper-class Manhattan in the 1930's. It's as good as popular movie-making gets. "The Thin Man" of course refers to the missing Mr. Wynant, although the phrase came to be associated with Nick Charles in the subsequent "Thin Man" films.

We can only hope that eventually all of "The Thin Man" movies will be available as a DVD boxed set with some nice extras. If you like "The Thin Man" and old comedy/ mystery/romance movies appeal to you, you might like Alfred Hitchcock's 1938 film "The Lady Vanishes". It is a lighthearted, utterly charming film, and one of Hitchcock's best, that manages to successfully combine even more genres than "The Thin Man" does.

The Thin Man is the first in this series of six movies starring William Powell and Myrna Loy as Nick and Nora Charles...wealthy socialites and detectives. These movies made between 1934 and 1947 comprise six of the 13 collaborations between the two stars and is certainly their most famous work.

I cannot rave strongly enough about these movies, particularly the first which is the best in the series. Nick and Nora are in New York for Christmas and find themselves having to investigate and eventually solve several murders.

The chemistry between the two stars is what makes these movies. It would seem as if they really were married. The Thin Man is outrageously funny with a lot of sexual innuendo which was certainly outrageous for the time period.

The movies are always filled with great character actors. Those faces you know even if you don't know the names. The dialog sparkles as the two drink their way through solving the crimes. honestly, being drunk has never been this funny.

Some may feel that it glamorizes alcohol, but lets remember that this was the early 1930's. The Christmas party in their posh hotel room is priceless.

My only complaint is that it seems there are little in the way of extras on the DVD. What a shame. While outtakes may not still exist, certainly some interviews and commentary with film historians would have been a welcome addition. Still..these are a definite add to your collection

House of Cards is the first of three BBC productions based on the writings of Michael Dobb's. It introduces the character of Francis Urquhart, a party whip in the House of Parliament who, spurned by the newly elected PM and under the influence of his Lady Macbeth of a wife, aspires to greater things -- a person whose cleverness and urbanity are only outdone by his villainy. Ian Richardson plays the part to perfection, probably his greatest theatrical triumph, which alone makes this show and the whole trilogy worth seeing. In the manner of a Shakespearean villain Richardson speaks asides to the audience, and the charm of his manner draws the viewers into his confidence and onto his side. Even without speaking his slight glances and facial expressions made for our benefit alone make us his accomplices. Only toward the end of the film when we see the extremes to which his ambition has taken him do we begin to want to disassociate ourselves from him, but by that time we are too far gone. It is an excellent production with a good cast of supporting actors and a fine story line. The motif of the ever present rat is perhaps a tad overdone, but this is a fine bit of British drama. Do see it.

Because an exceedingly verbose (not to mention obtuse) review of this show has already been written, I'll cut to the chase: Francis Urquhart (referred to as "FU" by friend and foe alike in the show), brilliantly portrayed by Ian Richardson, is the best (or worst, depending on how you look at it) bad guy to ever grace the small screen. Never in your life will you loathe a character so much as FU. Never will you cringe as much as you will when FU turns to the camera and explains to you exactly what his dastardly plans are and exactly how he intends to carry them out. Never will you be more horrified as when you see FU's every plot and subplot come to fruition, despite being always on the verge of exposure. And never will you be happier to have witnessed such brilliant performances all the way across the board set within a complex, intriguing storyline. Buy this movie -- it will be the best money you spend for a long, long time.

House of Cards, a BBC production done at the time of Margaret Thatcher's downfall, is one of the best modern political intrigue/satires done. The cast, the story, and the exacting attention to detail make this a piece worth watching and re-watching, to see what details escaped notice the first time.

The Plot
As the story opens, Thatcher has just resigned. There is a brief glimpse of an inner-party election for a new leader, and the moderate, middle candidate Henry Collingridge wins the post, and proceeds to barely win the next General Election. Almost immediately following this event, tempers begin to flare as Urqhart is denied the promotion he had sought, and is disgusted with Collingridge's 'politics as usual' stance.

Francis Urqhart, Conservative Party whip and functionary, with the unwitting assistance of a junior political reporter Mattie Storin, and the manipulated support of party functionary Roger O'Neill, sets out to undo the Prime Minister, involving the PM in scandals that rock is fragile majority and ever-loosening grip on power. Ultimately, Urqhart's schemes against Collingridge bring the PM down, and the stage is set for another leadership election.

Urqhart, at the urging of his wife Elizabeth, works toward the leadership and works toward solidifying the loyalties of his minions, who include the ruffian Tim Stamper, an associate whip in the Commons, and Benjamin Landless, a newspaper prioprietor. However, it is in making Storin his bedroom partner and virtual worshipper that Urqhart has his strongest support; this support is not absolute, something he recognises. This relationship is done with the blessing, nay, with the urging, of his wife Elizabeth.

Urqhart uses his inside knowledge to make short work of all but the top contenders for the job, and then casts his lot for the job at the last moment, splitting the ticket. Knocking one contender against another one final time, Urqhart carries the election. However, O'Neill is unstable and unsure of the propriety of his dealings in bringing down Collingridge, and Storin realises at the last moment that she has been a pawn in a master political chess game. O'Neill's cocaine problem leads to his demise, as Urqhart plants poison in his drugs and permits O'Neill's nature to do him in. Storin discovers this murder plot, and confronts Urqhart, who confesses, but then proceeds to throw Mattie Storin bodily from the roof of the House of Commons.

But, there was a tape recorder running, setting the stage for the sequel...

The Cast
Ian Richardson is masterful as Urqhart, the scheming blackheart Chief Whip/Prime Minister. His voice, his subtle inflections and tones are perfect for the subtext in the words he speaks. His sidewise glances and knowing expressions to camera as the action plays out is worth far more than any words. He is a perfect snobbish, upper-class politico who considers political office as patrician right, and despises pretenders to the role.

Diane Fletcher is superb as Elizabeth Urqhart, the equally manipulative wife. She is under utilised in this part of the trilogy, coming into her own as a character and an actress in later parts of the trilogy. One gets the strong sense of muted ambition and greed, but not amorality or power for power's sake from her, a distinction hard to play out on video. Fletcher succeeds beautifully.

Susannah Harker plays Mattie Storin, the troubled, intelligent and inexperienced journalist who falls for Urqhart. Her psychological instability and intelligence are played beautifully. Harker can make quite a statement just with the movements of her eyes, making her a good counterpoint to Richardson.

Miles Anderson plays the drug addict/party operative Roger O'Neill, doing a good job at playing the cad, the coward, and the fearful go-along with Urqhart's schemes. A rat trapped, O'Neill is at the breaking point, and Anderson plays this admirably.

Perhaps the best secondary roles were performed by Alphonsia Emmanuel, who plays O'Neill's assistant and lover Penny Guy, and James Villiers, who plays Charles Collingridge, the deposed Prime Minister's troubled brother. Their roles shine brilliantly despite the relative lack of screen time.

One gets the impression that everyone in British politics is brilliant and troubled. Well, the truth would be about half that.

The Play's the Thing...
This production, in writing and execution, is full of Shakespearean nuances. There are indirect and direct references to Richard III, and Urqhart is a Machiavellian manipulator in the Duke of Gloucester's image, recast for modern dress and situation, complete with stage whispers and asides to audience. The depth of the characters, while still remaining caricatures, is fascinating. Perhaps the best-known line for a while was Urqhart's attempts to get information out to the journalist Storin without actually telling her, and being guilty (by the letter of the law) for leaks and disclosures. She would hint and speculate, at which Urqhart would reply, 'You might very well think that. I of course couldn't possibly comment.'

John Major used this response in one of his own question-time exchanges, a use that was appreciated by the Members on both sides of the House.

Conclusions
For those who know nothing of British politics, this is actually a fascinating way to learn. For those who take an interest in British politics, this provides an intriguing fictional tale that is, in many ways, so close to reality on so many levels as to be positively unnerving.

Richardson rightly won BAFTA awards for his portrayal of Urqhart in each of the three installments, House of Cards and its sequels To Play the King and The Final Cut. These sequels were possibly only because of a BBC change to Dobbs' original manuscript, which had Urqhart rather than Storin falling from the rooftop garden of the House of Commons.

A bonus for the viewer.

This is film noir played in part as a comedy of manners. (Incidentally, a comedy of manners gets its name from the satirical possibilities in the differing class views on proper behavior--manners--exploited by playwrights to the delight of an audience placed in a superior position--they think--of social discernment. Here we can see the differentials, but they are not played for comedic effect.)

Gene Tierney (at twenty-four) stars as Laura Hunt, a beautiful career girl who, as the picture opens, has been murdered. (Shot in face with a double barreled shotgun, a point of information not dwelled on by director Otto Preminger. Today's directors, of course, would have begun with a full facial shot of the corpse.) Dana Andrews is the leading man, playing Mark McPherson, a hard-boiled police detective with a soft heart. Vincent Price, who before he became a maven of horror, was actually a soft-spoken, hunkish ladies man, plays Shelby Carpenter, who could afford to have his reputation blemished, but not his clothes. He is a man about town who would fit nicely into a British comedy of manners at the turn of the nineteenth century.

But the surprising star is Clifton Webb who plays Waldo Lydecker, venomous columnist and radio personality, who against his first impressions, falls madly (and of course hopelessly) in love with Laura and becomes her mentor. This was before the genteel and very precise veteran of the musical stage was Mr. Belvedere, and before his triumph in Cheaper by the Dozen (1950), that is to say, before he was typecast as an irascible but lovable middle aged man--but not before his fiftieth birthday; strange how the fortunes of actors may go. By the way, George Sanders's Oscar-winning performance as the cynical critic in All About Eve (1950), owes something to Webb's work here.

The strength of the movie is in the intriguing storyline featuring surprising but agreeable plot twists, and especially in the fine acting by Webb, Andrews, Tierney and Price. Webb in particular is brilliant. I think this is another example of Otto Preminger getting a lot more out of his actors than he is usually given credit for. See Anatomy of a Murder 1959, starring James Stewart and Lee Remick, for another example. Known for turning commercial novels into commercial movies (e.g., The Man with the Golden Arm (1955); Exodus (1960); Advise and Consent (1962)) Preminger is at his best when he lets the material have its way. I call that the invisible style of directing and he follows it here. Add the beautiful score by David Raksin and this movie is a special treat.

As a mystery however it is a little predictable. We know from the beginning not only who will get the girl, but with a very high probability who pulled the trigger. What we don't know in the first case is how, since she is presumably dead, and in the second case, why. The lack of motive hides the killer's identity from us. But rest assured, all is unraveled in the final reel.

See this for Clifton Webb whose improbable Hollywood success, beginning with this movie, started when he was in his fifties and ended when he was in his sixties. If I were a thirty-year-old actor running to auditions, I would call that inspiration.

"Laura" is one of those movies, like "Psycho" and "The Crying Game," where hopefully you get to see it before the cat is out of the bag. The problem with this classic 1944 film from director Otto Preminger is that if you have not then the cover of the videotape/DVD gives the game away (a visual spoiler if ever you have seen one). Detective Lt. Mark McPherson (Dana Andrews) is investigating the murder of beautiful Laura Hunt (Gene Tierney), who answered her door and had her pretty face destroyed by a double-barreled shotgun blast. The chief suspects are the men who loved Laura, the haughty Waldo Lydecker (Clifton Webb), acerbic critic of all things human (think Alexander Wolcott), and the dapper Shelby Carpenter (Vincent Price), who is just a gigolo. What makes this one special is that McPherson also falls under Laura's spell. He is used to dames and dolls in his world, but the gorgeous portrait of Laura over the mantle of her fireplace sparks something different within him.

This compelling twist works to make the viewing forgive a lot of the holes in this film noir, mostly notably the idea that if a detective finds what he believes to be the murder weapon that he returns it to its hiding spot so he can come back and pick it up in the morning. Dana Andrews is not exactly a romantic figure, but in this film he gets that role mostly by default since Webb's Lydecker is too smarmy and Price's Carpenter is too slimy. Lydecker overwhelms every scene in which he is in, from his over the top opening narration, to his first appearance on scene sitting imperiously in his bathtub, on to his cutting wit during his first meeting with Laura. Still, as hard as the three men try to make the film and the world about themselves, this is all about the beautiful Laura, magnified by not only the haunting portrait but also David Raskin's lovely musical theme. No wonder McPherson has a crush on her so extreme that he goes to her apartment at night to look through her letters, fondle her dresses, enjoy her perfume, and sit beneath her portrait drinking her booze.

Everybody has a secret in this film, usually more, and in due course McPherson finds them all out. Of course Laura in person cannot compete with the idealized image that is created by the living room shrine in her apartment, but by then the mystery of "whodunit" comes into play and we go along with the image of her that is in McPherson's eyes because that is what the plot demands. Tierney has the look to be Laura, the siren from beyond the grave, but she does not give the character the sort of life that would justify all this attention. The legacy of the film ends up being Clifton Webb, who parlayed his performance in this film into a career of note, although he was 55 when "Laura" was filmed. Still, Preminger proves how far you can go with a film when you have a great idea and a definite sense of style.

The theme from "Laura" is one of the most haunting ever written, by David Raksin, relatively unknown, but forever memorialized through this melody. Gene Tierney is at her peak of beauty, and she really is breathtaking in the most literal sense of the word. When I grew up this was always one of my favorite movies, and then when I re-discovered this movie as an adult, I was always mesmerized by her and by the entire cast, the score and the story, all prime examples of how great film noir can be when it's done with this amount of style and class.

SIDENOTE:
***I was not aware until recently of her tragic encounter with a female Marine at a Hollywood Canteen, during WW2. Apparently this Marine was hospitalized for German Measles, and she sneaked out of the hospital to meet her favorite movie star. She had her picture taken with GT, who was pregnant at the time, and also KISSED her, which resulted in her baby daughter being born with severe mental retardation. When Daria (the daughter) was four years old she was insititutionalized. GT met the woman one year later and found out how she had contracted German Measles, but did not mention the tragic consequences of the woman's actions for reasons unknown.***

What sets this particular movie apart from the rest of the genre, is it's cast and it's tasteful telling of the story, which includes the creme de la creme of New York society, played to the hilt by the cast. One of my chief joys in watching this movie, is the scene of Clifton Webb (as the acerbic critic, Waldo Lydecker) sitting in his enormous black bathtub(!) typing furiously, and relishing the power he has by virtue of his position as a critic. He takes savage pleasure in denigrating anyone who displeases him, either by their lack of talent or because of his own personal dislike.
There is not one moment of slack; all is interesting, relevant and suspenseful; you will NOT be able to figure it out until the end. On DVD, especially, this movie guarantees suspense and a fascinating glimpse into what the "Golden Age of Hollywood" was capable of...Excellent performances also by Vincent Price as the ne'er do well playboy, man about town, and Judith Anderson, a far cry from her portrayal of the redoubtable Mrs. Danvers in "Rebecca." If you have never seen this, get it; you will not be sorry, and if you have seen it, you should get it for the quality of the DVD...

I saw this film over 25 years ago. It made a permanent imprint on me. I had never seen anything like it (and haven't, since). It's a western, and a fantasy (but not science fiction). It's also mythological and even a bit religious. It's also a wonderful, life-affirming film. I've never been a fan of Tony Randall, who I always remember as the prissy little neurotic in "The Odd Couple," but I have to give him the greatest credit in this movie (he plays six parts!) The special effects are Ray Harryhausen stop-motion (and obviously fake) but that is part of the enormous charm of this movie--as exemplified by the amusing-looking snake in the cage with a man's face on it, and the goldfish-bowl-dwelling monster than attempts to snack on Dr. Lao. In some ways this movie reminds me of Ray Bradbury's _Something Wicked This Way Comes,_ but this is a far superior film. In fact, I'd have to call it a classic.

7 Faces of Dr. Lao can be looked at in two different ways. The movie, released in 1964, can be seen as a morality lesson. It is the story of the small Arizona town of Abalone full of citizens who suffer from greed, vanity, loneliness, and pettiness. When Dr. Lao brings his mystical circus to town, the townsfolk get a good look at themselves and don't always like what they see. For today's audience the movie is a bit slow and ponderous. The film is highly predictable and you know by the end of the film that everyone gets exactly what they deserve and once the errors in their ways are pointed out to them then they will miraculously change for the better and everyone will live happily ever after.
The second, and more enjoyable, is to focus on the performance of Tony Randall. Randall is amazing as the Chinese impresario Dr. Lao. Tony Randall portrays all seven inhabitants of Dr. Lao's circus: Dr. Lao, Merlin the Magician, Medusa, The Abominable Snowman, Pan, the serpent, and Apollonius of Tyana, he also makes a brief appearance as Tony Randall. As you are watching the film you forget that it is the same man playing all those parts, and it is widely considered one of Randall's most impressive performances. William Tuttle, who won an honorary Academy Award for his astounding make-up work, flawlessly transforms Randall from one character to the next. The film also comes from Director George Pal, who is also known for directing such classics as Time Machine and War of the Worlds, brings his distinctive blending of reality and fantasy to this film. Randall's performance, along with the incredible make-up work of William Tuttle and fine direction by George Pal make this a must see film...

Most people consider "The Time Machine" Pal's best work, but while it is great, I prefer this oriental Mary Poppins, who brings his bizarre circus to a small Arizona town and solves everyone's problems. Featuring Tony Randall in seven roles (Only 3 of which are substantial characterizations: Dr. Lao, Hyppolotus and Merlin), Oscar-winning make-ups, dated but fun special effects, a sterling supporting cast including Barbara Eden, Noah Berry Jr, Arthur O'Connell and Lee Patrick in the best role of her career, a delightful musical score and dollops of humor. The book by Charles Finney is EVEN BETTER. Enjoy! The one "Extra" is a lame news piece done at the time with KHJ-TV's Wayne Thomas (Who used to announce a TV show I used to write) exploring the make up magic in the film.

One of the joys of Alfred Hitchcock films is his ability to take social taboos, present them in an enticing context, throw in major stars we know and love to perform them, and thus make abhorrent behavior seem attractive! 'Vertigo' is the best-known example of this Hitchcock trait ('Psycho' also comes to mind), but 'Rear Window' is the most fun to watch, because of the appealing combination of James Stewart and Grace Kelly!

Stewart is a photographer, laid-up while recuperating from an accident (cleverly shown through photographs in his studio), who, out of boredom, begins spying on his neighbors. Jimmy Stewart a 'Peeping Tom'? Only Hitchcock could get away with this!

Of course, Kelly, as his high fashion model girlfriend, and Thelma Ritter (who is fabulous as his nurse), are appalled by Stewart's behavior, but are drawn into voyeurism by Stewart's devotion to it, particularly after he witnesses an apparent murder (committed by Raymond Burr, in one of the most wonderfully EVIL roles of his career!)

The film takes on a cat-and-mouse intensity, as Stewart attempts to prove Burr's guilt to his skeptical policeman buddy (nicely played by Wendell Corey). To add a touch of sexual foreplay to the proceedings, Kelly models a variety of '50s evening and nightwear, while teasing the injury-constrained Stewart ("Previews of Coming Attractions", she purrs). All this leads up to a fabulous, claustrophobic finale, with camera flashes, and a twist ending that is pure Hitchcock magic!

The restoration of the film gives the movie a clarity and modern 'feel' that viewers will love!

Watch this 'new and improved' edition, and see why 'Rear Window' is one of the most popular Hitchcock films!

I saw Rear Window for the first time when I was about 12-13 years old. Even though I didn't quite understand everything that was happening in the plot (Miss Lonely Heart, the newlyweds, etc.), the suspense still got to me. I remember trying to sleep one time after watching it, but I kept looking into the shadows of my room trying to find Thorwald waiting for me! That's the thing I love most about the film. With one beautifully detailed sound stage and some excellent acting/directing, Hitchcock scared me more than any other movie I'd ever seen (included at the time the Alien movies, The Shining, etc.). Now I'm 20 and I've seen the movie many more times and have come to appreciate every one of it's nuances. Sadly, it has disappeared from stores and rental shops in past years. That's why I was very happy to learn that the restored version was to be reissued on DVD! I was lucky enough to find a movie theater near me that was playing the restored version, and it looks absolutely wonderful. Even if it weren't for the great extras (production stills, script(!), production notes, trailer, and a documentary) it would still be a great buy.

One of the best films made by Hitchcock. Once again the master shows he is the master of suspense, even with a very limited setting. Nice last line.

I'm hesitant to call this a musical, though that's precisely what it is. Dennis Potter wrote several musicals over the years, using different eras of music. This one is, by far, the best! The music here is from the 1940s. The drama, however, is actually a contemporary one. A (failed?) mystery writer named Philip Marlowe is hospitalized with a severe case of psoriasis...more corrrectly, psoriatic arthropathy (which Potter also suffered from). He has this one great novel in his past, though..."The Singing Detective." Marlowe's illness is terribly severe, and throughout the film we join his delirium as he relives events from his childhood, falls into a fascinating fantasy based on his novel, and comes back (from time to time) to the events currently happening in the hospital. These three streams are brilliantly intertwined, and the resulting story is absolutely THE BEST THING *EVER* TO HIT TELEVISION! This is *not* hype or exaggeration! The other reviewers are completely correct in making this same claim. If you've never seen this one...well, it's your loss....

Dennis Potter died a few years ago from pancreatic cancer. He was simply a GREAT writer. He wrote *many* screenplays...dramas for both TV and film, as well as the "musicals" noted above. He also wrote novels. His best, I think, are brilliantly detailed studies of a mind either gradually breaking down, or gradually coming back from some kind of breakdown. "The Singing Detective" falls into the latter category. That alone would be enough to recommend this video...but the fact that it's *also* a "musical" is what makes it utterly remarkable! I honestly don't think I have the words to be able to say just how it transcends to the level of something almost divinely inspired. At the risk of saying it one too many times, folks, this one is TRULY GREAT!

If you're able to find it, there's an interview with Dennis Potter that was originally broadcast on the Bravo channel shortly before his death. He was quite sick at the time, and he took occasional sips from his flask of pain medication during the interview. He talks some therein of "The Singing Detective." Yes, Marlowe shares the diagnosis of psoriatic arthropathy...but, he's an entirely different personality than Potter himself. Based on truth...expanding into the realm of the literary. It's an interesting insight into the brilliance of Potter as a writer.

Meanwhile, "The Singing Detective" is something you really *must* see! *VERY* HIGHLY RECOMMENDED!!!

I hesitated buying this set because $ is a lot of money. The positive reviews tempted me, but I thought they might be motivated by a small cult following of Dennis Potter.

Well, I guess I am now joining the "cult." This is a terrific series. There's not much I can add to the other reviews except to say that despite the various layers of the "plot," the film is not all that difficult to follow. The central figure moves from the present to the past to his fictional world and back--with one character (Finny/Binny) running the gamut of this spectrum. The film captures rather well the way one's mind works as it gather clues to its own identity.

Michael Gambon is the perfect actor for this production. The actor who played his father is also remarkable. One of the most moving scenes is in the tavern where the young Marlow is drinking a soda and listening to his father sing and perform bird songs.

Now, if only the BBC would wake up and offer Pennies from Heaven in DVD, or even VHS!!!

Delicious interweaving of memory, delirium, music, fiction, illness, paranoia, love. See other reviews for details. Even better with each viewing. Will now buy the DVD edition since I am afraid our VHS tapes will break one of these days. "Lipstick on Your Collar" is another stellar Potter product. Too bad "Karaoke" isn't available commercially (Maybe someday?)

"Clue" (the movie), features just about every great comedy actor of the day. From Leslie Ann Warren to Michael McKean to Eileen Brennan to Howard Hessman to the priceless Tim Curry, they're all here! -- If you are familiar with the board game, just picture a film version of the search for "whodunit". This laugh-a-minute fun fest is loaded with outragous, silly slapstick, superbly acted out by the great cast. -- You'll be amazed at how many of the lines and gags get stuck in your head. I'll never be able to forget the flusterd looks of Mrs. Peacock, the wit and charm of Wadsworth or the subtle facial expressions of Mrs. White. The picture in this WIDE SCREEN VERSION is the best yet of this film since it's initial release. -- The soundtrack is kept in it's original mono, still I'd greatly enjoy hearing a stero or, even better, a surround sound version in the future.--Without a doubt the best feature of this DVD is the one with the multiple endings. After you select "play" you will be asked if you would lilke the player to randomly choose one of the three endings for you, or see all three of them at the end. Whoever thought of this feature deserves a raise as it greatly enhances the longevity of the disc and brings the film closer to it's board game roots. Now you have the option of really not knowing who did it until the final scenes play bringing suprise into the untold repeat viewings that are sure to occur. -- Get a clue--get this DVD! You won't be disappointed! *****

Clue is Paramount Pictures' comedic film rendering of the classic Parker Brothers board game of the same name. But don't let that dissuade you from seeing this one. Although you'll recognize the chromatic character names, unlikely murder weapons, and Victorian mansion settings, tracking down the murderer in the movie version of Clue requires a good deal more than a deck of cards and a notepad. (It's a lot more fun this way, too.)

Involving the talents of seven of Hollywood's funniest funny people, including Madeline Kahn as Mrs. White, Christopher Lloyd as Professor Plum, and Tim Curry as Wadsworth, the requisite butler, the film is guaranteed to keep you laughing. The script is packed with sparklingly witty exchanges, such as this one between Wadsworth and an angry Colonel Mustard (Martin Mull):

Mustard: Are you trying to make me look stupid in front of the other guests?

Wadsworth: You don't need any help from me.

Mustard: That's right!

Later in the picture, as the by-now-blasé guests glance down at the most recent victim, Mr. Green (Michael McKean) updates the count to "Six murders." Wadsworth's grave response? "This is getting serious." And Wadsworth's explanation of "who killed whom where and with what" at the end of the picture is packed with the impersonations, facial expressions, and things not-quite-British that rank Tim Curry among the funniest Britons ever to defect to Hollywood.

Madeline Kahn, too, liberally sprinkles commentaries, both vocal and facial, into any and all situations, the sheer spontaneity of which make one wonder whether or not they're actually in the script. The line in the show which had me laughing the hardest, anyway, was not really a line at all, but rather a high-pitched, yodeling scream from Mrs. White. (You'll know it when you hear it.) And her operatic descant over the guests' chorus of "For She's a Jolly Good Fellow" had me rolling in the aisle.

Another facet of the movie, disguised by the humor, but every bit as important to one's enjoyment of the film, is the maze of leads, lies, and leaps of logic which ultimately culminates in not one, but three possible answers as to "Whodunnit." And here's the amazing part: each of the three endings (I checked) stands up to close scrutiny of the clues provided earlier in the film. From the time Wadsworth verifies Yvette's mysterious "instructions" until the last pull of the trigger, each minute detail is essential to the plot. A word of warning to the dedicated popcorn-munching detective: the guests at this dinner party are all experts at using comedy to distract. While you're busy laughing at Miss Scarlet in the ballroom, a desperate dinner guest wielding a monkey wrench is hurrying through the secret passage to the study, trying to silence that unfortunate motorist before he says too much....

The film isn't perfect-the physical humor becomes strained at times, and there are a very few lines whose comedic and textual value I question. Still, the film bears enough good comedy and old-fashioned mystery, garnished with a sound track that adds just the right spice to the flavor of both humor and suspense, to earn a "five-star comedy" rating from me.

Clue is based on the classic mystery solving board game. In the movie, the original suspects come into a complex adventure that takes you further than the game would. The story follows as a group of people are invited to Mr. Boddy's mansion. Boddy claims to have called them on financial business. But when the six people discover that they have to use a covername given to them and find it mysterious that the host is taking forever to arrive, they get suspicious. Finally, Boddy arrives and presents them with objects that can be used as weapons (the revolver, candlestick, etc.). He turns off the lights and tells them to kill him. Not even the strong Colonel Mustard could do a thing like that but when they turn on the lights, Boddy is dead! The clan and Boddy's butler (the hillarious Tim Curry)go out to find whodunit and realize there is someone else in the mansion!
This movie is full of suspense, adventure, and laughter making it a must see! And the best part is you can try to solve the mystery on your own through the movie if you so desire!

"Clue" (the movie), features just about every great comedy actor of the day. From Leslie Ann Warren to Michael McKean to Eileen Brennan to Howard Hessman to the priceless Tim Curry, they're all here! -- If you are familiar with the board game, just picture a film version of the search for "whodunit". This laugh-a-minute fun fest is loaded with outragous, silly slapstick, superbly acted out by the great cast. -- You'll be amazed at how many of the lines and gags get stuck in your head. I'll never be able to forget the flusterd looks of Mrs. Peacock, the wit and charm of Wadsworth or the subtle facial expressions of Mrs. White. The picture in this WIDE SCREEN VERSION is the best yet of this film since it's initial release. -- The soundtrack is kept in it's original mono, still I'd greatly enjoy hearing a stero or, even better, a surround sound version in the future.--Without a doubt the best feature of this DVD is the one with the multiple endings. After you select "play" you will be asked if you would lilke the player to randomly choose one of the three endings for you, or see all three of them at the end. Whoever thought of this feature deserves a raise as it greatly enhances the longevity of the disc and brings the film closer to it's board game roots. Now you have the option of really not knowing who did it until the final scenes play bringing suprise into the untold repeat viewings that are sure to occur. -- Get a clue--get this DVD! You won't be disappointed! *****

Clue is Paramount Pictures' comedic film rendering of the classic Parker Brothers board game of the same name. But don't let that dissuade you from seeing this one. Although you'll recognize the chromatic character names, unlikely murder weapons, and Victorian mansion settings, tracking down the murderer in the movie version of Clue requires a good deal more than a deck of cards and a notepad. (It's a lot more fun this way, too.)

Involving the talents of seven of Hollywood's funniest funny people, including Madeline Kahn as Mrs. White, Christopher Lloyd as Professor Plum, and Tim Curry as Wadsworth, the requisite butler, the film is guaranteed to keep you laughing. The script is packed with sparklingly witty exchanges, such as this one between Wadsworth and an angry Colonel Mustard (Martin Mull):

Mustard: Are you trying to make me look stupid in front of the other guests?

Wadsworth: You don't need any help from me.

Mustard: That's right!

Later in the picture, as the by-now-blasé guests glance down at the most recent victim, Mr. Green (Michael McKean) updates the count to "Six murders." Wadsworth's grave response? "This is getting serious." And Wadsworth's explanation of "who killed whom where and with what" at the end of the picture is packed with the impersonations, facial expressions, and things not-quite-British that rank Tim Curry among the funniest Britons ever to defect to Hollywood.

Madeline Kahn, too, liberally sprinkles commentaries, both vocal and facial, into any and all situations, the sheer spontaneity of which make one wonder whether or not they're actually in the script. The line in the show which had me laughing the hardest, anyway, was not really a line at all, but rather a high-pitched, yodeling scream from Mrs. White. (You'll know it when you hear it.) And her operatic descant over the guests' chorus of "For She's a Jolly Good Fellow" had me rolling in the aisle.

Another facet of the movie, disguised by the humor, but every bit as important to one's enjoyment of the film, is the maze of leads, lies, and leaps of logic which ultimately culminates in not one, but three possible answers as to "Whodunnit." And here's the amazing part: each of the three endings (I checked) stands up to close scrutiny of the clues provided earlier in the film. From the time Wadsworth verifies Yvette's mysterious "instructions" until the last pull of the trigger, each minute detail is essential to the plot. A word of warning to the dedicated popcorn-munching detective: the guests at this dinner party are all experts at using comedy to distract. While you're busy laughing at Miss Scarlet in the ballroom, a desperate dinner guest wielding a monkey wrench is hurrying through the secret passage to the study, trying to silence that unfortunate motorist before he says too much....

The film isn't perfect-the physical humor becomes strained at times, and there are a very few lines whose comedic and textual value I question. Still, the film bears enough good comedy and old-fashioned mystery, garnished with a sound track that adds just the right spice to the flavor of both humor and suspense, to earn a "five-star comedy" rating from me.

Clue is based on the classic mystery solving board game. In the movie, the original suspects come into a complex adventure that takes you further than the game would. The story follows as a group of people are invited to Mr. Boddy's mansion. Boddy claims to have called them on financial business. But when the six people discover that they have to use a covername given to them and find it mysterious that the host is taking forever to arrive, they get suspicious. Finally, Boddy arrives and presents them with objects that can be used as weapons (the revolver, candlestick, etc.). He turns off the lights and tells them to kill him. Not even the strong Colonel Mustard could do a thing like that but when they turn on the lights, Boddy is dead! The clan and Boddy's butler (the hillarious Tim Curry)go out to find whodunit and realize there is someone else in the mansion!
This movie is full of suspense, adventure, and laughter making it a must see! And the best part is you can try to solve the mystery on your own through the movie if you so desire!

Did you ever notice that many mystery novels are really unsolvable because they don't reveal the most necessary clues until the last three pages (or not at all)? Playwright and Screenwriter Neil Simon (THE GOODBYE GIRL) surely noticed this and he takes revenge on our behalf. He invites caricatures of these super-sleuths to a murder mystery party with a challenge to solve the murder of a wealthy eccentric portrayed by Truman Capote. The mansion is filled with all that can be expected, from secret passages, rainy weather and a suspicious butler played by soft-spoken Alec Guinness. Scattered throughout is the quick humor of Neil Simon.

The all-star cast includes David Niven and Maggie Smith as a NICK AND NORA like couple. James Coco is a HERCULE POIROT-like detective with a young James Cromwell (BABE) as his assistant. Peter Sellers makes a CHARLIE CHAN-esque appearance. Elsa Lanchester Brennan is a MISS MARPLE like sleuth and Peter Falk makes a fun spin on SAM SPADE with Eileen Brennan at his side. Nancy Walker portrays the house chef. The mystery takes second seat to the comedy;... But, this film is all about laughter. Followed up by a sequel, THE CHEAP DETECTIVE.

Must he make us laugh? You can't not laugh at this movie. Starring Maggie Smith (who does a smashing job in her role), Peter Falk, Eileen Brennen, Peter Sellers, James Cromwell, James Coco, David Niven, Truman Capote, Alec Guiness, Elsa Lancaster, Nancy Walker, and Estelle Winwood, this is Neil Simon, Roger Moore (The Cheap Detective) and the entire cast at their best. When you see this, I'm sure you will be able to imagine Agatha Christie roling over in her grave at this debotchery of many of her works. As though that weren't enough, Simon also finds time to rip off Charlie Chan and others. Maggie Smith shines as the wife of detecteve Dick "Dicky" Charleston. At one point, there is a knock at the door from who everyone assumes is the deaf-mute cook (Nancy Walker). Smith says "Come in." Then her husband (David Niven of "The Pink Panther") reminds her that the cook cannot hear. She then screams (in a very believable voice) "Come in! " Also in the film is Peter Sellers who is constantly giving Charlie Chan-like advice that is very funny. Stupidity = hilarity in "Murder By Death."

If you have a sense of humor, you can't go wrong here. I have re-watched this movie several times, it's a classic to me!

There must be a hallowed place in heaven for barristers the likes of Horace Rumpole. A creation of author John Mortimer, Rumpole plies his craft in London's Old Bailey Criminal Court as the barrister of choice for all sorts of wayward characters charged with a variety of sins. An original PBS series from the 1970's, Leo McKern plays the barrister with distinction. The supporting cast includes Rumpole's wife Hilda "affectionately" referred to as "She Who Must Be Obeyed." While Rumpole's firm, i.e. his Chambers, disdains criminal clients, Rumpole, the senior member who yearns for a good cross examination, has made a career for himself toiling away in the Old Bailey.

This boxed set includes the first two seasons of the series in the order in which they were shown making it easy to follow Rumpole's travails in court, in Chambers and in his personal life. There will be a big demand for the remainder of the series to be finally put on DVD after this success.

Rumpole is humorous, irreverent and traditional. Rumpole's character is a tribute to those defense lawyers both in the UK and in the colonies who stand between their clients and the government to ensure that justice is done. While Rumpole would disdain being a role model, this series was the catalyst for so many courtroom dramas on the tube today. I suspect that Rumpole's creator wanted to and did set the bar high for future performances for those who earn a living being and acting as trial lawyers.

HBO Home Video has done a nice job of presenting the first two Rumpole series in this initial DVD collection. The set contains twelve one-hour episodes (six per series) and the two-hour film, "Rumpole's Return". The picture is sharp overall, particularly in the indoor scenes originally recorded on studio videotape, while the outdoor scenes done on 16 mm film are as well as can be expected (the production values of the Rumpole episodes improved considerably over time. These episodes are from the late 1970s). The DVD menus are good and provide about six scene selections per episode. There are also a few extras, such as bios of John Mortimer and Leo McKern, and some information about the British legal system. I have looked forward to seeing Rumpole on DVD for several years and am pleased with this set overall. Presumably, there will be two more sets like it to complete the Rumpole collection, and I would certainly buy them too. If I could have made a suggestion or two to the people in charge of the packaging, I would have liked to have seen the collection in a hard case rather than a paper one, and I would have tried to find more flattering photos of Rumpole than those used on the outside of the box. Also, the photo used to illustrate the episode "Rumpole and the Younger Generation" is from another episode in which Phyllida (Trant) Erskine-Brown appeared (she was not in the Younger Generation). Otherwise, a good job and I hope to see the other two sets soon.

Without doubt, real people have written "Horace Rumpole" pleading with him to take their case. The late Leo McKern's portrayal of Rumpole is that vivid and that satisfying.

The BBC series (13 episodes offered here) closely based on the beloved stories by John Mortimer, revolves around the personal and professional life of the brusque, cynical, yet affectionate barrister. He's one of those rare individuals who has so found his proper element that it's impossible to imagine that he could have become anything else. There's a symbiosis between Rumpole being so comfortable in his own skin and McKern's absorption into the role that's fascinating.

McKern's Rumpole is surrounded by an array of eccentric, lovable (and not so lovable) characters who are all the more real because they are never hackneyed or one dimentional. Rumpole's villians and heroes, his compeers and his co-workers are all admixtures of flattering and unflattering characteristics. That's what makes the portrayals so attractive and memorable. The same is true of Rumpole. The 'Old Bailey Hack' wins spectacularly at times, and truly is a genuis of sorts, a fact only grudgingly recognized by those around him since he oft' times loses his cases, and is not without human foibles. Indeed, his greatest victories seem to have been in years long past. Rumpole is constantly reminding his detractors that he won the famous "Penge Bungalow" murder case "alone and without a leader".

Although the series is ostensibly in the crime/mystery genre, it deftly and humorously touches on many subjects; unrequited love, class prejudice, the regrets of old age, the nature of friendship and of marital happiness, just to mention a few. The mystery element stands on its own to be sure, but you remember the characters and the relationships long after you've forgotten the plot lines. Mentioning just a few, there's the distinguished Head of Chambers Guthrie Fetherston, at times pompous, even unctuous, whom Rumpole regards with disguised affection; George Frobisher, Rumpole's dear old friend who's such a poor barrister that "he can't even ask for court costs without writing it down in advance". Then there's "She who must be obeyed", Rumpole's overbearing and long suffering wife, not, as it turns out, his first choice as a mate. Rumpole loves them as much for their short-commings as for their better qualities.

If you enjoy television without large doses of violence or crudity, and maybe read a poem every now and then (Rumpole is often described as 'poetry spouting') this series is definately for you. It's wise, but never heavy-laden or preachy; quite humorous but not mean-spirited. I highly recommend it!