Carpets and Rugs Movie Reviews

A captivating masterpiece of the Grand Guignol school, WHAT EVER HAPPENED TO BABY JANE? is one of those rare horror movies that can be chilling, repulsive, and downright terrifying, and all this without the slightest soupçon of the improbable, the impossible, or the supernatural. It is a story of the rivalry between two spinster sisters who were both once show-business superstars--the egotistical and hedonistic Jane (Bette Davis), a onetime juvenile darling of the vaudeville stage but now a talentless has-been; and the gracious and congenial Blanche (Joan Crawford), formerly a popular and highly talented movie actress whose career was cut short by a crippling auto accident. Circumstances and kinship obligations have forced them to live together, their sole income the being the interest from Blanche's investments. But feeling trapped in a situation that has become intolerable and loathsome, Jane begins a slow spiral into madness and takes out her psychopathic aggressions on the invalid Blanche in increasingly twisted ways.

Bette Davis and Joan Crawford were both facing waning careers when they were cast in this movie, but outstanding performances from both jump-started those careers and propelled the women back into the hearts of the public. Bette Davis is especially superb as the selfish and sadistic Jane, both compelling and believable in her portrayal of the onetime child star who has degenerated into a repulsive and vulgar reflection of her former self. Also notable is the appearance of actor Victor Buono, who here makes his film debut in the supporting role of a young, out-of-work pianist attempting to mooch a few dollars off of spinster Jane. Davis and Buono each received Oscar nominations for their performances.

WHAT EVER HAPPENED TO BABY JANE? is sharp, compelling--and scary! The Warner DVD is short on extras, and the digital transfer could have used a little clean-up on the scratches and wear artifacts, but it is still well worth the reasonable price and will make a fine addition to the collection of any horror fan.

Bette Davis and Joan Crawford - one reviewer summed it up when he said we will never see stars of their greatness again. Both reigned Hollywood during the era of glamour and melodrama. Crawford was the great beauty - ranked with Garbo and Dietrich as a supreme glamour symbol during the 1930s. As she matured, she became the great actress - and anyone who has seen Humoresque or Mildred Pierce must agree. She was, however, best as the suffering, glamorous heroine of wistful melodramas. Bette, on the other hand, was star at Warners and was less wistful and more practical than Joan - that's the best way I can describe the difference between Joan and Bette. Joan was the romantic dreamer, and Bette the practical realist. Naturally, both were very jealous of each other, their feud in Hollywood was legendary. Although very much alike, they had huge inner differences.

Whatever Happened to Baby Jane was the very first movie I had seen with either actress. I saw it about seven years ago on AMC when I was 11. That would make the year about 1996. Anyway, 1996 was not a very glamorous or melodramatic year, and just the sight of Bette Davis caked in ghostly white Baby Jane makeup was enough to capture my imagination. Who was this tragic creature, I wondered. The story was just brilliant. I had never seen anything like it. Between the rats in the cellar, dramatic alcoholism, and the haunting appearance of Bette, I was in some kind of cinematic realm I had never entered before - and I loved it! So, naturally, I became a huge fan of Bette Davis - much to the confusion of everyone else my age.

It is only as I look at the film now, that I realize Joan Crawford was just as much the equal of Bette, and possibly the better actress in general. That she was able to give such a sensitive and subtle performance at this stage in her life - alcoholism had taken a great toll - is proof that she really was a master. The character of Blanche was originally intended to be just as bizarre and crazy as Baby Jane. However, Joan insisted that her character be glamorous and appear somewhat human. This must have helped the film tremendously - because the humanity of Blanche allows us to feel sympathy for her character - without that sympathy her character wouldn't have been the "straight man" and the film, simply, wouldn't have worked! When you want to acknowledge who really saved Baby Jane - thank Joan Crawford, the real genius behind the project (she was, remember, the one who found the book in the first place and insisted that Robert Aldrich direct it, skyrocketing his career and Bette's!) What a shame that Joan didn't receive the Oscar, but how glad I am that she accepted for Anne Bancroft at the Oscars! Go Joan...the ultimate diva.

Bette Davis and Joan Crawford were two over the hill actresses by the time they made this movie. It was so brave of them to make this lurid shocker; it revied their sagging careers and made moviegoers line up at the box offcie. The movie is lurid, outrageous and one of my all time favorites. Bette Davis goes over the top (and that's saying alot for Bette) as a former child star gone to seed. She slouches around her home in a fright wig, bedroom slippers, and makeup that looks like she put it on with a putty knife. She stays drunk and bitter while she tries to revive her stage show from about 50 years ago. Meanwhile, her wheelchair bound sister is trapped upstairs. As Bette goes mad, her poor sister becomes a victem of torture and abuse. The whole show is shocking and outrageous and not to be missed. The DVD is a nice widescreen presentation; the picture and sound are great. Unfortunaely, there are no extras worth mentioning (would have loved a making of docutmentary); not even an original theatrical trailer.

These comedies are great. Great and fun humor. Yes, there was some toliet humor mixed in, but its so tame by today standards you don't even raise an eyebrow when you hear it. Bill Murray is one of my favorite comedians. When I was younger I saw this movie and then every movie after when I saw Murray I would say "Hey, its the guy from Meatballs." Even to this day I when I see him I remember Meatballs.

I with this movie would get a better treatment with the DVD. Its one of the best comedies ever. Actually, its a family comedy that you can watch with any age group. The adults will get the minor sex jokes, and the teenagers will too, but enjoy the rest. Kids will enjoy the fun of Bill Murray father like figure to one of the kids.

This is a must see comedy.

As a person who spent many of my summers at camp I found this movie to be excellent. It also doesn't hurt that this movie stars Bill Murray...one of my favorites. I've owned this movie on VHS for many years now and have watched it numerous times. I just bought the DVD and noticed that the actual song titled "Meatballs" (originally written and performed by Rick Dees) is different than it is on the VHS version. The DVD version is actually sung (or more like halfway spoken/rapped) by Bill Murray himself. There is also about ten seconds of footage added at the end of the cafeteria scene that isn't on the VHS. Not much, but to a fan of the movie it's kind of cool. I wish the DVD had more features on it (like deleted scenes), but none the less this is still probably the best camp movie you could ask for.

You probably think this movie is stupid and that it is just about meatballs. NO WAY! I'm not going to give this movie away, but it is about a sleep away camp. Crazy, funny, and serious things happen in this movie. If you are thinking about getting this movie don't click anywhere but the buy button. Buy it!! You'll love it till you die! For all ages

Star Trek: Voyager arrives on DVD starting on February 24th 2004, the release of Season One in its entirety in a five-disc collector's box set. The set includes all 15 episodes from the first season, exclusive featurettes and bonus material including Braving The Unknown: Season One": Includes new interviews with Executive Producers Rick Berman, Michael Piller and Jeri Taylor discussing how they created the series. The trio reveals the challenges of creating fresh, new characters, a new premise and the risks of sending the crew into unfamiliar Trek territory.
"Voyager Time Capsule: Kathryn Janeway": A new, exclusive interview with Kate Mulgrew talking about how she landed the role of Janeway, the challenges of playing a female captain and her Broadway play on Katharine Hepburn, "Tea At Five." Also includes archival interviews with the actress and rare behind-the-scenes footage. "The First Captain: Genevieve Bujold": Reveals rare footage and outtakes of Ms. Bujold as Captain Janeway, with commentary by Executive Producer Rick Berman.
"Cast Reflections: Season One": Voyager's principal cast members discuss their reactions to joining the Trek franchise, getting fan mail, and auditioning. Also featured: Armin Shimerman discussing his role as Quark in the pilot episode.
"On Location With the Kazon": Supervising Producer David Livingston guides viewers on an exclusive tour of the desert locale used for the Kazon Village in the pilot episode. Includes interviews with Director Rick Kolbe and behind-the-scenes footage of the cast.
"Red Alert: Visual Effects Season One": Dan Curry and the Visual Effects crew give a blow-by-blow of some spectacular visual effects created for Season One. Highlights include: behind-the-scenes footage of exploding space station, utilizing fire elements in crashing Chakotay's ship and secrets of shooting the Voyager ship model.
"Launching Voyager On The Web": Veteran Web site designer and producer Marc Wade explains how, in the early days of the internet, an interactive Voyager Web site was created to help launch the series. Included is rare footage of Kate Mulgrew and Robert Picardo playing their roles for the Web-based trivia game, plus an overview of Star Trek's history on the Web.
"Real Science With Andre Bormanis": Science Consultant and writer Bormanis explores how the writers strive for authenticity by incorporating real space phenomena and scientific theories. For Season One, Andre discusses how Hubble photos helped create "the Badlands," voyaging through wormholes, and the possibilities of time travel.
"Lost Transmissions From The Delta Quadrant": Hidden in the Voyager menu, viewers who search and click with their DVD remote can find special interview clips with Kate Mulgrew, Michael Piller, Brannon Braga and guest star Vaughn Armstrong (from "Eye of the Needle").
As with the releases of TNG and DS9 boxed sets, A new season of Voyager will be available every other month throughout 2004.

Although I'm largely a DS9/TNG fan, I'm happy to know that I can continue my frivolous spending on Star Trek DVD's for a 3rd straight year! Viva la Paramount!

Of all the Star Trek series, I loved Voyager the most! I really wish that it would be released so I can watch any shows that I missed. I was told it would be release when they started releasing DSN but still no Voyager:( And what was great especially was meeting some of the cast of Voyager at a Star Trek Convention Aug 2002 in Las Vegas. I wont let my husband buy another TNG until I get my first Voyager season...lol

In 1966, after reading the New Yorker review by the inimitable Brendan Gill, I saw this movie, which he recommended, calling James Coburn: "...a very funny fellow."

I wasn't prepared for how much I would be impressed by the clever, modest Derek Flint. One of the highlights of the movie is when, seeing a fly in the office of his friend, Chief Cramden, takes out a cigarette holder and goes into "hunt and seek" mode....eyeing the little beast as it flies around the room. He then uses the cig holder as a blow dart and NAILS the fly to the wall! That scene alone was impressive enough to make me a fan forever!

Coburn's sense of cool defines this movie...the way he handles Flint's knowledge of just about everything, his unflappability in the face of iminent death and his ability to estricate himself from the closest of calls will have him endearing himself to YOU as well! Edward Mulhare makes an excellent, comic-book style villain against Coburn, and Gila Golan plays the femme fatale that Flint eventually wins over to the side of the angels.

From the Bob Peak poster art to the Jerry Goldsmith score, not to mentiion Coburn's great take on what should have been a MUCH larger franchise, I guarantee you'll become a fan of the very personable Mr. Flint.

Yup, it's great to see OUR MAN FLINT and IN LIKE FLINT on DVD. So when will they put out the third Flint film on DVD (or VHS!). Yes, there really was a Flint #3. It was called OUR MAN FLINT: DEAD ON TARGET. It was a 1976 TV movie. ABC ran it twice, both times during late-night. Ray Danton played Derek Flint. It was an interesting film, as I recall, but I haven't seen it in 27 years, so it's hard to remember. What happened to it? It never plays on TV anywhere. Did it vanish into thin air? I hope somebody digs it out and releases it on DVD/VHS. I also hope to see the 4 Martin-Matt Helm flicks out on DVD! Flint and Helm are better than Bond.

James Coburn met the legendary Bruce Lee after he made Our Man Flint, and we can thank Flint for influencing the screen fighting style of the Dragon. We can also thank Derek Flint for being the only person in the world that would make James Bond sweat. Our Man Flint is classic fun, and deserves five stars, just as "It Happened One Night." Much more than a parody, Flint does 007 better in practically every area: dancing, women (he has his own harem), gadgets (his cigarette lighter has 63 different functions, and he makes his own stuff, being a scientific genuis). Even his boss, played by the wonderful Lee J. Cobb, is a grander fellow than M. He also speaks 60 languages,is a fencing and close combat master, and a master yogi who can stop his heart. Although tongue in cheek, Flint as a self-evolving man is almost believable, and that's part of his enduring entertainment value. (Mr. Spock was also heavily influenced by Flint, if you'll compare their mannerisms. The Vulcan death grip is first featured in In Like Flint. Spock wouldn't be half as fun if he didn't have an air of believability.)

The villans' (there are three, including a Caucausian named Dr. Lee and a Chinese named Dr. Schneider) nefarious plan also poses a challenge to the Bond films: controlling the world's weather. Plus, Flint fights much, much better than 007.

He's also a rebel, unlike the office bug 007, and balks at being hired by the major super powers. Whoever created the Flint character should take a big bow; James Coburn as Derek Flint is endearing, hysterical (while doing everything with a straight face)and a Super guy, not just a mere super spy. He's an inspiration for kids of all ages to hit the books, to explore and discover.

I've heard that James Coburn would have done more 'Flints' but they couldn't come up with good scripts. A real shame, for with five or six 'Flints,' Coburn would have become a megastar.

Thank you, Mr. Coburn, Mr. Flint.

I'll give "West Side Story" this much: it's not as bad as "The Sound of Music." But it still doesn't have that oomph like "Moulin Rouge," which is the ULTIMATE musical. The songs are okay and some of the choreography is really good, but you get the feeling something's missing. If you have to see this movie, I suggest you rent it first BEFORE you buy.

For all fans of film, musicals or all-around classics the Special Edition of "West Side Story" is a must have. This film has it all drama, comedy, music and stellar dancing.

Based on the 1957 Broadway hit, "West Side" was brought to the screen with all it's original energy and vibrancy. This special edition pulls out all the stops presenting the film in the widescreen format in newly re-mastered 5.1 Dolby Digital Surround with an option to view the film with or without it's original intermission. Bonus features include a stills gallery, collectible scrapbook, theatrical trailers and the original one-hour documentary "West Side Memories" which is great but is sorely missing the presence of two of its cast members: Natalie Wood (due to her untimely death in 1981; archival interviews would have been welcome) and George Chakiris (contractual).

Natalie Wood is perfect as "Maria". She turns in a stellar performance. I disagree with her detractors. Natalie was the best possible choice to play "Maria", with her dark hair and eyes she can easily pass for a latina, her accent does waiver in some spots but it doesnt hinder her performance. A latina wasn't necessarily needed to play this role, yes the role was that of a young Puerto Rican girl, but Natalie more than does the role justice. As I recall, the role of "Maria" was originated on Broadway by Carol Lawrence who isnt any more Puerto Rican than Miss Wood is. Listen to Miss Lawrence on the Original Broadway Cast CD, she doesnt even have an accent! Just one viewing of Natalie's performance in the final scene is proof enough she was more than up to the challenge.

Based strictly on the quality of the music and the choreography, WEST SIDE STORY goes easily on the shortest of short lists of the greatest stage musicals in American history. The movie version in many ways matches the greatness of the stage production, but falls just short because of some of the decisions that were made in casting, decisions that were perhaps unavoidable in the early 1960s, but which are nonetheless lamentable today.

The positives unquestionably outweigh the negatives. From the opening sequences, of spectacular overhead shots of upper Manhattan, to the first shots of the guys dancing on the street, you can tell you are in for something special. Although not featuring any individual dancers of the quality or charisma of Fred Astaire or Gene Kelly, the film harkens back, almost, to an earlier period of the musical, to Busby Berkeley and his great ensemble dancing. But this is a completely jazzed up Berkeley, and the dancing possesses an edgy, energetic, hyped up style that had never before been witnessed onscreen. The music more than matched the exhilaration of the dancing. Not since the days of George Gershwin had a composer with the classical credibility of Leonard Bernstein cooperated in a stage and then screen production. The opening dance number, with woodwinds and horns battling out a melody, was unique in its blend of organized chaos, both in terms of orchestra and dancers.

Although the highpoint of WEST SIDE STORY was its score and choreography, the songs interspersed through the story are frequently superb, from the great "When You're a Jet" that opens the film to the incredibly exhilarating "America" to the gloriously beautiful "Somewhere" one knows the songs are dramatically above average. I was never a huge fan of the plot. Once you have caught on to the ROMEO AND JULIET remake angle, the plot unfolds pretty much as expected. In fact, I'm not in general a fan of updated remakes of Shakespeare, though there are exceptions (like FORBIDDEN PLANET fascinatingly updating THE TEMPEST).

The problem with the film lies almost entirely in the casting, most importantly Natalie Wood, but extending to others. In a film pitting Anglos and Hispanics, and all the Hispanics save one (Rita Morena) portrayed by Caucasian performers, you automatically have half the actors miscast. I love Natalie Wood, but she is as wrong for this role as it is possible for a performer to be. She looks like a white girl with make up smudged on to make her look darker, never like someone who could pass for Puerto Rican. On top of this, she was not a singer, though she was at least adequate as a dancer. Marni Nixon was one of the great voiceover artists of her generation, but I still think the film would have been dramatically improved by casting an Hispanic actress who could sing in the lead role. Richard Beymer is adequate in his role, but, again, they could have cast someone who could actually sing. Russ Tamblyn's voice was also dubbed, but he was such a spectacular dancer that he could only have been replaced with a loss to the film as a whole. George Chakiris was spectacular as Bernardo, but, again, it would have been nice to have seen a Puerto Rican in the role. This is all, I know, wishful thinking conducted in the early 21st century, when ethnics would have been cast in the proper roles, but in 1961, no studios would have taken the chance of casting Hispanics in sympathetic Hispanic roles. Today, when watching WEST SIDE STORY, the inappropriate casting of people of the wrong ethnicity in central roles stands out like a sore thumb, and the persistent dubbing is grating.

Nonetheless, WEST SIDE STORY remains one of the great triumphs of the film musical. It is entertaining, funny, exciting, and extraordinarily well photographed. It is also one of the few times where popular entertainment seems to be blurring the line between it and serious art. The casting decisions lessen the overall impact of the film, but do not keep it from being a success.

Interestingly, two of the main actors from the film would later appear, though separately, in TWIN PEAKS, with Richard Beymer (Tony) playing the scheming Benjamin Horne and Russ Tamblyn (Riff) the exceedingly bizarre Dr. Jacoby, the latter looking very much like a somewhat older, bearded version of himself (with bizarre eyeglasses, I think with one red and one yellow lens), while the former is barely recognizable. Being a huge fan of both the film and the series, they thus have become oddly linked in my mind.

I'll give "West Side Story" this much: it's not as bad as "The Sound of Music." But it still doesn't have that oomph like "Moulin Rouge," which is the ULTIMATE musical. The songs are okay and some of the choreography is really good, but you get the feeling something's missing. If you have to see this movie, I suggest you rent it first BEFORE you buy.

For all fans of film, musicals or all-around classics the Special Edition of "West Side Story" is a must have. This film has it all drama, comedy, music and stellar dancing.

Based on the 1957 Broadway hit, "West Side" was brought to the screen with all it's original energy and vibrancy. This special edition pulls out all the stops presenting the film in the widescreen format in newly re-mastered 5.1 Dolby Digital Surround with an option to view the film with or without it's original intermission. Bonus features include a stills gallery, collectible scrapbook, theatrical trailers and the original one-hour documentary "West Side Memories" which is great but is sorely missing the presence of two of its cast members: Natalie Wood (due to her untimely death in 1981; archival interviews would have been welcome) and George Chakiris (contractual).

Natalie Wood is perfect as "Maria". She turns in a stellar performance. I disagree with her detractors. Natalie was the best possible choice to play "Maria", with her dark hair and eyes she can easily pass for a latina, her accent does waiver in some spots but it doesnt hinder her performance. A latina wasn't necessarily needed to play this role, yes the role was that of a young Puerto Rican girl, but Natalie more than does the role justice. As I recall, the role of "Maria" was originated on Broadway by Carol Lawrence who isnt any more Puerto Rican than Miss Wood is. Listen to Miss Lawrence on the Original Broadway Cast CD, she doesnt even have an accent! Just one viewing of Natalie's performance in the final scene is proof enough she was more than up to the challenge.

Based strictly on the quality of the music and the choreography, WEST SIDE STORY goes easily on the shortest of short lists of the greatest stage musicals in American history. The movie version in many ways matches the greatness of the stage production, but falls just short because of some of the decisions that were made in casting, decisions that were perhaps unavoidable in the early 1960s, but which are nonetheless lamentable today.

The positives unquestionably outweigh the negatives. From the opening sequences, of spectacular overhead shots of upper Manhattan, to the first shots of the guys dancing on the street, you can tell you are in for something special. Although not featuring any individual dancers of the quality or charisma of Fred Astaire or Gene Kelly, the film harkens back, almost, to an earlier period of the musical, to Busby Berkeley and his great ensemble dancing. But this is a completely jazzed up Berkeley, and the dancing possesses an edgy, energetic, hyped up style that had never before been witnessed onscreen. The music more than matched the exhilaration of the dancing. Not since the days of George Gershwin had a composer with the classical credibility of Leonard Bernstein cooperated in a stage and then screen production. The opening dance number, with woodwinds and horns battling out a melody, was unique in its blend of organized chaos, both in terms of orchestra and dancers.

Although the highpoint of WEST SIDE STORY was its score and choreography, the songs interspersed through the story are frequently superb, from the great "When You're a Jet" that opens the film to the incredibly exhilarating "America" to the gloriously beautiful "Somewhere" one knows the songs are dramatically above average. I was never a huge fan of the plot. Once you have caught on to the ROMEO AND JULIET remake angle, the plot unfolds pretty much as expected. In fact, I'm not in general a fan of updated remakes of Shakespeare, though there are exceptions (like FORBIDDEN PLANET fascinatingly updating THE TEMPEST).

The problem with the film lies almost entirely in the casting, most importantly Natalie Wood, but extending to others. In a film pitting Anglos and Hispanics, and all the Hispanics save one (Rita Morena) portrayed by Caucasian performers, you automatically have half the actors miscast. I love Natalie Wood, but she is as wrong for this role as it is possible for a performer to be. She looks like a white girl with make up smudged on to make her look darker, never like someone who could pass for Puerto Rican. On top of this, she was not a singer, though she was at least adequate as a dancer. Marni Nixon was one of the great voiceover artists of her generation, but I still think the film would have been dramatically improved by casting an Hispanic actress who could sing in the lead role. Richard Beymer is adequate in his role, but, again, they could have cast someone who could actually sing. Russ Tamblyn's voice was also dubbed, but he was such a spectacular dancer that he could only have been replaced with a loss to the film as a whole. George Chakiris was spectacular as Bernardo, but, again, it would have been nice to have seen a Puerto Rican in the role. This is all, I know, wishful thinking conducted in the early 21st century, when ethnics would have been cast in the proper roles, but in 1961, no studios would have taken the chance of casting Hispanics in sympathetic Hispanic roles. Today, when watching WEST SIDE STORY, the inappropriate casting of people of the wrong ethnicity in central roles stands out like a sore thumb, and the persistent dubbing is grating.

Nonetheless, WEST SIDE STORY remains one of the great triumphs of the film musical. It is entertaining, funny, exciting, and extraordinarily well photographed. It is also one of the few times where popular entertainment seems to be blurring the line between it and serious art. The casting decisions lessen the overall impact of the film, but do not keep it from being a success.

Interestingly, two of the main actors from the film would later appear, though separately, in TWIN PEAKS, with Richard Beymer (Tony) playing the scheming Benjamin Horne and Russ Tamblyn (Riff) the exceedingly bizarre Dr. Jacoby, the latter looking very much like a somewhat older, bearded version of himself (with bizarre eyeglasses, I think with one red and one yellow lens), while the former is barely recognizable. Being a huge fan of both the film and the series, they thus have become oddly linked in my mind.

I'll give "West Side Story" this much: it's not as bad as "The Sound of Music." But it still doesn't have that oomph like "Moulin Rouge," which is the ULTIMATE musical. The songs are okay and some of the choreography is really good, but you get the feeling something's missing. If you have to see this movie, I suggest you rent it first BEFORE you buy.

For all fans of film, musicals or all-around classics the Special Edition of "West Side Story" is a must have. This film has it all drama, comedy, music and stellar dancing.

Based on the 1957 Broadway hit, "West Side" was brought to the screen with all it's original energy and vibrancy. This special edition pulls out all the stops presenting the film in the widescreen format in newly re-mastered 5.1 Dolby Digital Surround with an option to view the film with or without it's original intermission. Bonus features include a stills gallery, collectible scrapbook, theatrical trailers and the original one-hour documentary "West Side Memories" which is great but is sorely missing the presence of two of its cast members: Natalie Wood (due to her untimely death in 1981; archival interviews would have been welcome) and George Chakiris (contractual).

Natalie Wood is perfect as "Maria". She turns in a stellar performance. I disagree with her detractors. Natalie was the best possible choice to play "Maria", with her dark hair and eyes she can easily pass for a latina, her accent does waiver in some spots but it doesnt hinder her performance. A latina wasn't necessarily needed to play this role, yes the role was that of a young Puerto Rican girl, but Natalie more than does the role justice. As I recall, the role of "Maria" was originated on Broadway by Carol Lawrence who isnt any more Puerto Rican than Miss Wood is. Listen to Miss Lawrence on the Original Broadway Cast CD, she doesnt even have an accent! Just one viewing of Natalie's performance in the final scene is proof enough she was more than up to the challenge.

Based strictly on the quality of the music and the choreography, WEST SIDE STORY goes easily on the shortest of short lists of the greatest stage musicals in American history. The movie version in many ways matches the greatness of the stage production, but falls just short because of some of the decisions that were made in casting, decisions that were perhaps unavoidable in the early 1960s, but which are nonetheless lamentable today.

The positives unquestionably outweigh the negatives. From the opening sequences, of spectacular overhead shots of upper Manhattan, to the first shots of the guys dancing on the street, you can tell you are in for something special. Although not featuring any individual dancers of the quality or charisma of Fred Astaire or Gene Kelly, the film harkens back, almost, to an earlier period of the musical, to Busby Berkeley and his great ensemble dancing. But this is a completely jazzed up Berkeley, and the dancing possesses an edgy, energetic, hyped up style that had never before been witnessed onscreen. The music more than matched the exhilaration of the dancing. Not since the days of George Gershwin had a composer with the classical credibility of Leonard Bernstein cooperated in a stage and then screen production. The opening dance number, with woodwinds and horns battling out a melody, was unique in its blend of organized chaos, both in terms of orchestra and dancers.

Although the highpoint of WEST SIDE STORY was its score and choreography, the songs interspersed through the story are frequently superb, from the great "When You're a Jet" that opens the film to the incredibly exhilarating "America" to the gloriously beautiful "Somewhere" one knows the songs are dramatically above average. I was never a huge fan of the plot. Once you have caught on to the ROMEO AND JULIET remake angle, the plot unfolds pretty much as expected. In fact, I'm not in general a fan of updated remakes of Shakespeare, though there are exceptions (like FORBIDDEN PLANET fascinatingly updating THE TEMPEST).

The problem with the film lies almost entirely in the casting, most importantly Natalie Wood, but extending to others. In a film pitting Anglos and Hispanics, and all the Hispanics save one (Rita Morena) portrayed by Caucasian performers, you automatically have half the actors miscast. I love Natalie Wood, but she is as wrong for this role as it is possible for a performer to be. She looks like a white girl with make up smudged on to make her look darker, never like someone who could pass for Puerto Rican. On top of this, she was not a singer, though she was at least adequate as a dancer. Marni Nixon was one of the great voiceover artists of her generation, but I still think the film would have been dramatically improved by casting an Hispanic actress who could sing in the lead role. Richard Beymer is adequate in his role, but, again, they could have cast someone who could actually sing. Russ Tamblyn's voice was also dubbed, but he was such a spectacular dancer that he could only have been replaced with a loss to the film as a whole. George Chakiris was spectacular as Bernardo, but, again, it would have been nice to have seen a Puerto Rican in the role. This is all, I know, wishful thinking conducted in the early 21st century, when ethnics would have been cast in the proper roles, but in 1961, no studios would have taken the chance of casting Hispanics in sympathetic Hispanic roles. Today, when watching WEST SIDE STORY, the inappropriate casting of people of the wrong ethnicity in central roles stands out like a sore thumb, and the persistent dubbing is grating.

Nonetheless, WEST SIDE STORY remains one of the great triumphs of the film musical. It is entertaining, funny, exciting, and extraordinarily well photographed. It is also one of the few times where popular entertainment seems to be blurring the line between it and serious art. The casting decisions lessen the overall impact of the film, but do not keep it from being a success.

Interestingly, two of the main actors from the film would later appear, though separately, in TWIN PEAKS, with Richard Beymer (Tony) playing the scheming Benjamin Horne and Russ Tamblyn (Riff) the exceedingly bizarre Dr. Jacoby, the latter looking very much like a somewhat older, bearded version of himself (with bizarre eyeglasses, I think with one red and one yellow lens), while the former is barely recognizable. Being a huge fan of both the film and the series, they thus have become oddly linked in my mind.

Criminals became a whole lot more glamorous with the release of Arthur Penn's "Bonnie and Clyde." They were now slim and fit and not hunchbacked or overweight. They had beautiful faces that were not marred by scars or eye-patches. This was Warren Beatty and Faye Dunaway looking their best and being as bad as they could.

Clyde Barrow (Beatty) rescues Bonnie Parker (Dunaway) from her uneventful life back home and promptly plunges her into a life of crime. In a country where despair has become a way of life thanks to the Depression, the bank robbers become heroes to the common folk who have been victimized by the instruments of capitalism. Relying on their wits and a touch of good fortune, the young lovers evade the law while basking in their newfound fame but their luck eventually runs out and they meet their end in a hail of bullets.

"Bonnie and Clyde" is infamous for introducing a new level of graphic violence to cinema by way of its final shoot-out. However, that one aspect of the film tends to overshadow its other accomplishments. The moral ambiguity running throughout the film distinctly separated it from the "white-hats-and-black-hats" characterizations of past Hollywood heroes and villains. This problematic approach to morality was a byproduct of the upheaval society itself was undergoing in the late-Sixties as it was discovering how difficult it was to distinguish between the good guys and the bad guys in the real world. The film also went to great pains to appear as realistic as possible. Difficult themes in film were often satirized or exaggerated to soften its impact on the audience, but Penn created such an authentic feel to "Bonnie and Clyde" that the line between fantasy and reality became uncomfortably blurred. Throw in solid supporting work by Estelle Parsons, Gene Hackman, Michael J. Pollard, and Gene Wilder to complement the film's other aforementioned accomplishments and what you have is milestone work whose impact on the medium has been far-reaching.

After watching The French Connection, I decided to check out some more movies with Gene Hackman in them. I found this movie in the late 60's called Bonnie and Clyde. Hmmn, that sounds familiar. Anyway, the movie has a pretty conventional story. Thief and waitress fall in love, rob banks, and eventually get killed. There. I just ruined the movie for you. However, there are some good plot twists and action sequencs that really helped the movie.

Warren Beaty does a great job as Clyde, and Faye Dunaway was perfect, and she's really hot. (I recently saw her in the remake of The Thomas Crown Affair. She's still hot.) Gene Hackman was a purely lovable charecter, and Estelle Parsons, while she did a great job, needs to shut up. Her charecter is an annoying hag. Oh yeah, Michael J. Pollard was excellent as well too. He's very underrated, and I hope to find some more of his movies.

All the main actors got their big break on this movie. Warren Beaty later did Mccabe and Mrs. Miller, Faye Dunaway later did two excellent movies, Chinatown and Network, Michael J. Pollard did Melvin and Howard, Dick Tracy, and The Wild Angels, Gene Hackman did French Connection, Scarecrow, The Conversation, etc., Estelle Parsons later did Rachael, Rachael and I Never Sang For My Father, and of course, Gene Wilder did a lot of great Mel Brooks movies. So, they all got their first fame on this movie.

Speaking of the movie, it's really good, but it's not on the same level as some other movies I've reviewed. It's got humor, drama, social commentary, and a great bloody ending, that's true, but I just didn't like it as much as other gangster movies. (Mean Streets, of course, is the best gangster movie ever, and the best movie of all time.) I give the movie kudos for revolutionizing cinema, but I didn't really think the story was original. Then again, I've seen the ripoffs of this movie, so maybe that's why I thought it was just a good movie. It's not on my top 10, but it's still quite good. Nice ending. (note the sarcasm)

Bonnie and Clyde changed the course of American filmmaking; I often compare it in my mind to Thelma and Louise - you can look at both of those films as milestones and sort of chart your life around them: before Bonnie and Clyde, after Thelma and Louise...
Such violence and bloodletting hadn't been seen on screen before, but there was art behind it, not mindless gore. A film classic as soon as it was released, the movie takes place during the Great Depression with the impossibly young Faye Dunnaway as Bonnie and Warren Beatty as Clyde (handsome, swashbuckling, ? impotent), the brains behind the gang. Also along for the ride, so to speak, are Gene Hackman as Clyde's brother, his wife Blanche (played by Estelle Parsons) who is skittish as a squirrel on a freeway and really should have stayed home baking rhubarb crisp, and, best of all, almost stealing every scene in which he appears, Michael J. Pollard as CW Moss.
If by some chance you haven't seen it before, see it now. If you've already seen it, even if you've seen it several times, see it again. It doesn't get stale.

Whats to like: Crisp, believable characters and I don't mean just the leads, even the extras seem to have depth. The special effects seem tame by today's standards but they don't overwhelm the underlying love story and keep the viewer in that all important state of "suspension of disbelief". Good direction and editing keep the storyline moving along at the right pace. This is a "chase" video after all! Both main characters are appealing and remain brilliantly within their characters. The score is really impressive. I still find myself loading up the video just to listen to the end credits now and again!
What's not to like: zip. Buy this one for your collection.

For recount a strange story whitch appear simple but only in appearance because the evoked subject of E-T anf U.F.O. is vast and also inclined to polemic with the reserrch scientists who are for or against the thesis witch speak freely of the possibility or not that the life exist somewhere else in this immensity in this infinite universe within or thorough and also in expansion ! NOBODY know where are they if they are ! Only those who have seen them ! THIS MOVIE is a fashion to bring up this very difficult vast theory so, a very GOOD MOVIE with very goods actor as Jeff BRIDGES and the other actress who play the wife of the clone of his husband GOOD DVD MOVIE

I SAW THIS MOVIE YEARS AGO.AND TRIED TO LOCATE IT FOR PURCHASE FOR YEARS, AND FINALLY FOUND AN OLD BEAT UP COPY OF IT AT THE FLEA MARKET, AND GLADLY PAID THE ASKING PRICE, NO QUESTIONS..THERE IS NOT ONE SINGLE PART OF THIS MOVIE I DONT LOVE. THE STORY, IS BEAUTIFUL, THE MUSIC IS HAUNTINGLY BEAUTIFUL, AND THE ACTING IS CAPTIVATING. I WOULD PUT THIS IN MY "GEMS OF THE PAST" CATEGORY..IF YOU ARE LOOKING FOR A MOVIE THAT TRANSCENDS TIME, AND IS FILLED WITH ALL THE NECESSARY ELEMENTS THAT MAKE A MOVIE GREAT, THIS IS ONE, YOU CAN NOT GO WRONG WITH. I KNOW, I KNOW, YOU SEE IT IS MADE IN THE 80'S, AND YOU THINK, "OH, IT IS ONE OF THOSE 80'S POP CULTURE CHEESY MOVIES.." NO...THIS ONE COULD BE RE-RELEASED TODAY, AND STILL BRING IN A BUCK..GET THIS ONE YOU WILL NOT REGRET IT..IT HAS ACTION, ADVENTURE, LOVE AND SADNESS..EVERYTHING REQUIRED FOR AN EVENING OF ENTERTAINMENT..GUYS, GET THIS ONE FOR THAT DATE, AND SCORE BIG POINTS..TRUST ME..THIS ONE'S A KEEPER!!!!!!

Allowing for the difference in movie-making over the past 40-50 years, it is easy to see why this film picked up some Oscars in its day. Excellent performances and a twist ending make the viewing sheer pleasure.

Otto Preminger is probably one of the least understood and under appreciated directors from the 1940's -1960's, but truth be known he was responsible for some of the most interesting, popular and well made movies from this era: Anatomy of a Murder, Carmen Jones, The Man with the Golden Arm, Laura, Advise and Consent. He was one of the few directors that could handle serious subject matter with style and grace without becoming preachy and maudlin.
"Anatomy of a Murder" is one of his best: perfect, spot-on casting, eloquent screenplay, truthful performances, and gorgeous black and white photography. Jimmy Stewart, who seemed to be able to realistically portray anyone from any era and social status, plays a small town lawyer hired to defend a soldier, Ben Gazarra for murdering a man accused of raping his wife, Lee Remick. Gazzara and Remick are first rate but it is a non-actor, real judge Joseph N. Welch who almost steals the movie away from all three principals, which only proves that Preminger was a smart cookie...a smart cookie, indeed.

This 1959 courtroom drama starring the incomparable Jimmy Stewart is one of my favorite Stewart films. Jimmy's portrayal of a defense attorney is spot-on perfect here, in my view.

There's a great supporting cast in force here as well, including Geoge C. Scott, Ben Gazzara, Arthur O'Connell, Eve Arden (hilarious, as always, in the role of Stewart's secretary), Murray Hamilton, Orson Bean, and the always-fetching Lee Remick (whose alluring quality is undeniable in this motion picture).

Keep an eye open for Howard McNear (Floyd the Barber in "The Andy Griffith Show") as a witness. It's quite humorous--and maybe even a tad bit unsettling even--to hear Floyd Lawson on the witness stand, speaking of sexual matters. Mayberry-ites would gasp in shock & horror I imagine. LOL.

Clocking in at a very lengthy 160 minutes, the film never drags. It moves at a snappy-enough pace to keep our interest the whole way, with a nice combination of scenes both inside and outside the courtroom.

There's an outstanding Duke Ellington score to propel the action, and as a bonus on the DVD edition, there's a perfectly-fantastic Photo Gallery section of stills from the film, underscored by Ellington's music from the movie. This is the best and classiest "Photo Gallery" extra you're likely to encounter on any DVD product as of this date.

Picture quality on the DVD looks just fine here. Aspect ratio is 1.33:1 (Full Frame), which I know irks the "Widescreen Only" crowd. However, from all the info I can gather, the 1.33 ratio IS indeed the Original Aspect Ratio for this film. So, it's OK by me, if this is the case.

If "Anatomy Of A Murder" is not currently in your DVD collection, you should probably be taken to court by lawyer Stewart for overlooking this fine motion picture experience. Get it now -- before Jimmy comes after you with a subpoena. :)