Product: The Green Berets
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As others have mentioned, this is perhaps the only pro-war film ever made about our involvement in Vietnam, either at the time of the war or since.

Pretty considerable these days, nobody espouses a pro-war stance on the Vietnam conflict. It was not a “agreeable” war, after all, and the war will always be portion and parcel with the agony of America’s social chaos in the slack 60’s and early 70’s. However, at the time, the social battle lines were well defined between the peaceniks and the hawks; those against the war, and those all in favor of it. Without the thirty-plus years of hindsight to benefit them do this conflict in perspective, the hawks were beautiful gung-ho. Likewise, the the peaceniks, who view that if we fair “admire each other” everything would be alright, looks shapely naive and childish. If only the world were so simple.

Like the war, this film engenders strong feelings in those who glance it. The DUKE was a known hawk, and you can eye it shine through in every line, and in every scene. Like most hawks at the time, I suspect that The DUKE simply notion Vietnam was impartial like any other war (most likely, World War II), and it was incomprehensible to them that anyone would be against it. The film, in turn, reflects the hawk viewpoint.

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In other words, you could substitute the Vietnamese with the Japanese in WWII, and the film would be more or less the same (valid, upstanding Americans vs. mountainous abominable empire) . The seize of the enemy general is pure WWII melodrama. The character of Petersen, the “scrounger”, is also a stock character from a WWII movie. The staging of the action, the commando raid, blowing up a bridge, etc., all sob WWII.

DUKE co-directs, and despite being filmed in Georgia (which looks nothing like Southeast Asia!), the results are really beautiful worthy. The raid to win the enemy general is droll, but tense and absorbing nevertheless. The characterizations are solid. The film flows nicely, and isn’t too long or too short. The cinematography is workable, and at times, even impressive. There’s plenty of action, too!

When you discover DUKE react to the child running from helicopter to helicopter looking for Petersen, you cannot succor but have respect for this film. Certainly one of the best endings in American film history follows. Politics and anti-war sentiment of today’s PC society aside, this is a broad war film that honors the best of the best; the Green Berets.

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Let me prefer a moment and say a word or two about David Janssen’s role as George Beckworth, the reporter for a left-wing and anti-war newspaper. The character is a cramped too sure, and at first, a tiny too strong on the anti-war sentiment. His conversion was a runt too predictable, but the handling of his conversion to pro-war is very well-handled. Ultimately, I assume it was a believable transformation, and this is due entirely to Janssen’s talent. In the hands of another, less skilled actor, the Beckworth character could have been a mammoth sore point, but Janssen makes Beckworth a level-headed force, a wall of anti-war sentiment needing to be erroded away by the reality of the location he finds himself in. In many ways, I mediate Janssen’s underplayed come for Beckworth makes him seem more trusty, and ultimately sells the character. It helps sell the movie too, despite our current perspective on the war.

Appearing in supporting roles are Jack Soo (Slit Yemana on “Barney Miller”), George Takei (Sulu on “Star Trot”), and Bruce Cabot. Cabot had starred in a tremendous many films, and “The Green Beret” is one of his last. He was a well-liked DUKE co-star, appearing with DUKE in “Hellfighters”, “Tall Jake”, “Chisum”, “The War Wagon”, “In Harm’s Arrangement”, “McLintock!”, “Hatari!”, and others. Cabot is probably most famed for rescuing Fay Wray from King Kong. Also on hand is The DUKE’s son, Patrick Wayne. Patrick appears as the commander of a Seabee team, following in his father’s footsteps (DUKE starred in the noted homage to the outfit, “The Fighting Seabees”) .

DUKE fans should try to locate a copy of the video “No Substitute For Victory” (available on this location), in which DUKE hosts a right-wing documentary inspect at our reasons for fighting in Southeast Asia. Watching this documentary after the film will give the viewer modern insights into the thinking of the hawks at the time, and their status during the Vietnam conflict.

If you ever read Gustav Hasford’s “The Short-Timers” (which “Pudgy Metal Jacket” was based on) you know how he felt about this movie: “Let’s eye the Duke and Mr. Sulu karate-chop Victor Charlie in a Kodicolor fantasy about Vietnam.” In other words, he view it was bunk. So does everyone else on the left, who have bought into the anecdote that Vietnam was a purely guerilla war and that the human-wave assaults employed by the NVA/VC on Col. Kirby’s camp in the film would never have happened in dependable life. In point of fact almost 90% of the fighting in Vietnam was of the traditional type in the Central Highlands or the valleys (“We Were Soldiers”) while only 10% of the troops were employed in the rice paddies you watch in movies like “Platoon.” Whenever the NVA fought out in the launch, a la the Tet Offensive, they were well and truly beaten, but their leadership was ruthless and understood that by trading 5 Vietnamese lives for one American, the U.S. will to fight would eventually rupture. They knew the American public had only tepid assist for Vietnam and would not procure the losses. The result, of course, we all know. Hanoi Jane what she wanted and so did Uncle Ho. Too unpleasant Jane didn’t go support in say, 1975 and exercise some time in a re-education camp. They could have taken pics of her in a tiger cage, eating bugs and rotting from typhus.

If you are reading this you probably know the anecdote of the movie.

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John Wayne’s Col. Kirby and his elite Special Forces “A” Team (no, not the one with Hannibal and Face and B.A. Barracus) is sent to Vietnam to set aside execrable camps which offer protection to the local farmers from the murderous Viet Cong (whose crimes against their absorb people are well documented here) . The soldiers pronounce the locals how to fight while providing basic medical care and 20th century improvements to their primeval scheme of life. There is the usual grand John Wayne type battle as the VC try to overrun the camp, followed by a commando raid deep into enemy territory, and a tragic-heroic ending. But the movie is more than the sum of its parts. It is not mere entertainment, it is personal propiganda, designed to display the Duke’s argument for why America was fighting in Vietnam at all. The only failing is its sappiness and jingoism, which build it easy for opponents to ridicule. But making fun of it doesn’t seize away the fact that the Duke’s argument was based on something he is rarely credited for — human decency. What “upright” did we have in Vietnam? I guess the same “moral” we had to land on the beaches of Normandy. We had no “accurate” at all — it was impartial the “correct thing to do”, to abet a abominable government (South Vietnam) against a grand worse government (North Vietnam) that customary methods like mass killings of teachers, civil servants, nuns, missionaries, and village chiefs to destabilze the South and forcibly unite the country. You can argue about the legitimacy of taking sides in a civil war all day, but any country that uses methods like burying people alive and raping women to death as a matter of military policy probably deserves to be opposed, yes?

Anyway, let me lift a moment to say I Fancy THIS FREAKIN’ MOVIE. Growing up, helpful ragged Washington D.C. Channel 20 (remember when you only had ABC, CBS, NBC, PBS and your one local channel? Channel 20 was ours) played this movie, (along with “The Battle of the Bulge” and “The Bridge at Remagen” and some other classics) about once every other day. Even the idea of it brings a smile to my face. Here was a guy, John Wayne, who had the guts to develop a film this flag-shakingly correct waft at a time when patriotism was growing unfashionable and millions of people were abandoning and spitting on the ideals that he embodied — which, by the diagram, a few of us peaceful believe accurate. As a movie, “The Green Berets” has a hard ideology of anti-communism and shows the newfangled Special Forces as a sort of elite brotherhood consecrated to fight against it. I assume a lot of the despise directed against this movie comes from the surity of Kirby’s (meaning John Wayne’s) beliefs. They are rock-solid and not up for debate or negotiation. He understands what will (and did) happen to Vietnam if the North wins the war, and fights bitterly to prevent this from happening, while simultaneously trying to procure over a stubborn journalist who has legitimate doubts about our involvement. No inquire of, this movie is jingoistic and predictable, a Vietnam war movie packed in WWII casing, but who cares?
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Product: National Geographic: Sea Monsters – A Prehistoric Adventure
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Stunning, incredible, informative and spectacular! Comes with 4 pairs of cardboard glasses. Do NOT exhaust those (they’re OK, but not gigantic though!), Fetch plastic ones instead! Better fit, better thought! Turn all your lights off, discover that DVD at night! It’ll win your breath away! I really enjoyed it! Highly recommend!

I first saw this movie in IMAX 3D and was truly impressed with a really safe storyline and unbelievable 3D effects. When I saw this movie was released on Blu-Ray in 3D I was hesitant thinking the 3D at home would be a joke. I was proven otherwise. Even on the comfort of my couch the 3D is incredible. You mild procure all the feelings of the shroud coming to life as well as objects projected so terminate you feel could be hit by them.
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Product: The Da Vinci Code
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The Da Vinci Code is a movie that has been the object of critics’ scorn since Cannes. Therefore when I went in my expectations were quite indecent. I was pleasantly surprised. I enjoyed this radiant savor hunt. Action sequences boldly intertwine with quieter scenes where codes and symbols are being deciphered to lead to the next clue. At times we gather the encourage yarn of what has happened to a persecuted religious sect through out the ages. The flashbacks to ragged Rome are brief but graceful. In addition there are some resplendent locations for filming, among them the Louvre and Rosslyn.

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Hanks and Tautou fabricate like the pros that they are–it is captivating that two actors known for their whimsical charms were cast in such serious roles. Generally actors starring in thrillers will be those known for their laconic delivery and quietly passionate intensity. However, Tom Hanks was playing a professor of symbology and as such he did a shapely job.

The supporting cast reads like a list of international superstars: Alfred Molina, Ian McKellen, Jean Reno and Jurgen Prochnow–all were beneficial.

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One of things I liked about this film is how it gave the audience the opportunity to conception the world from the perspective of someone who is conventional to looking at symbols and their meanings, in particular of things that most of us don’t even ogle most of the time. It was an unique and sharp angle on perception.

This a movie that tries to pack some very deep concepts into the thriller/treasure hunt genre. Overall I mediate it succeeds rather well.

The fictional masterpiece –and historical disaster– “The Da Vinci Code” is an extremely involving book (two years of reasearch and Brown couldn’t figure out that Leonardo da Vinci was known as “Leonardo”… since “da Vinci” means “from Vinci” — where Leo was born) .

So, how did it waft as a movie?

Quite well, I’d say. You can’t request a terrible movie when Ron Howard works with the likes of Hanks, Tatou and McKellen. Needless to say, the acting was above and beyond. The direction was profitable and the fable flowed with fantastic ease. The tension was point to with every turn as was the mystery leisurely it all.

However, as most book-to-movie adaptations, it loses some of it grandeur. The twists are less consuming and it’s a bit more predictable. I must admit that the movie is pleasing faithful to the book. However, in trying to space all of the book’s riddles in the movie, the characters had less time to “de-code” them. Therefore, they seemed like all-knowing geniuses that casually figured out the most complex mystery in no time. The result? It gets confusing and dead. The narrative is honest as flawed and as poorly-researched in the movie as in the original. I guess this also counts as a fidelity, depending on how you scrutinize at it.

If you interrogate a lot of in-depth “da Vinci” exploration, don’t. Only a few works of Leaonardo beget an appearance and his name is mentioned twice, exactly. If you deem that this movie/book is as stop to the truth as you can gain, you must not gain out noteworthy or haven’t read any other book in your life. If you consider that this is a well acted movie with a so-so region and improbable direction, welcome aboard.

If X-Men 3 is sold out, go examine this movie. If not, rent it. It’d be a nice rental.
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Product: The Loved One
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This is another film that’s been secreted away in the MGM vaults that unbiased cries out to be adequately transferred to DVD.

Talent abounds here. Inaugurate with a tremendous director in Tony Richardson (Tom Jones, A Aesthetic Balance, The Loneliness of the Long Distance Runner, The Entertainer, etc) who is the perfect choice for such a project. Have Christopher Isherwood and Terry Southern adapt the screenplay from a incredible Evelyn Waugh original. Assemble a perfect cast, including James Coburn and Dana Andrews, Milton Berle, Tab Hunter, Roddy McDowall, Margaret Leighton and Liberace (unforgettably!) in cameo roles. Feature the likes of Rod Steiger (why didn’t he try more comedy? He’s incandescent here!), John Gielgud, Jonathan Winters in memorable supporting roles and top it off with pleasant leads in Robert Morse and Anjanette Comer (both relative unknowns at the time, but perfect for the roles) .

How could the movie not be memorable?

Suffice it to say it holds up amazingly well after almost 40 years. It has to rotten as one of the mammoth classic comedies of the sixties.

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The site revolves around a young English twit named Dennis Barlow (Morse) who shows up at his uncle’s (Gielgud’s) doorstep, having won his air passage to LAX through some absurd stroke of luck. He has no money and his gregarious uncle takes him in and introduces him to the expatriated Brits that inhabit LA. Chief among these is the snobbish Sir Ambrose Abercrombe (Morley) who takes an instant detest to Barlow, whom he feels doesn’t adequately narrate the kindly English gentleman (and he doesn’t) . In short order, Uncle Francis is canned by his crass Hollywood Studio boss (McDowall), in spite of the fact that he has been a faithful employee for 30 years. Unwilling to face the future at his advanced age, Uncle Francis hangs himself beside the decrepit pool that represents his sagging fortunes.

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It’s at this stage that the movie shifts satirical gears and the humor gets darker and darker. Waugh’s notice of American mores and materialistic mindset as represented by the funeral industry is brilliantly captured by the screnwriters, director and cast. It’s a vast ensemble distress from a once in a lifetime creative team. THE LOVED ONE deserves a enormous DVD release, hopefully in the not too distant future.

BK

Brilliant. Disturbing. Perplexing. Hilarious. Neglected.

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Screenwriter Terry Southern (with the equally shiny Christopher Isherwood) are the accurate stars here, having drafted and crafted a movie that’s both truly disturbing and hilarious. One of Southern’s finest film scripts (a favorable equal to his Dr Strangelove and Easy Rider scripts), The Loved One is an unjustly ignored and forgotten gem from a time when brilliant comedies were not only critically lauded but publically applauded. Ask the release on DVD!
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Product: Till the Clouds Roll By
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First off this is Warner Brothers DVD release I am talking about for my review. Warner Brothers has finally released Till The Clouds Roll By on DVD! The movie is about the life and career of Jerome Kern. Robert Walker protrays Jerome Kern. This movie isn’t exactly accruate but it has many titanic numbers from the MGM stars of the time. Some of the highlights include a mini verison of Exhibit Boat, How’d You Like to Spoon with Me?, and Judy Garland singing some numbers. Most of the MGM stars are in this movie including, Judy Garland, June Allyson, Kathryn Grayson, Lena Horne, Van Johnson, Tony Martin, Dinah Shore, Frank Sinatra, Gower Champion, Cyd Charisse, Angela Lansbury, Ray McDonald, Virginia O’Brien, and Lucille Bremer. As for the numbers, here is a list and a mini description:

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Mini version of Point To Boat- The movie opens up here at the opening night of the point to. Tony Martin sings “Where’s the Mate for Me.” “Obtain Maintain” is sung by Tony Martin and Kathryn Grayson. Kathryn Grayson would later appear in the 1951 film “Present Boat” as the same character, Magnolia. Virginia O’Brien sings “Life Upon the Outrageous Stage.” The stunning Lena Horne sings “Can’t Succor Lovin’ Dat Man.” Then the chorus sings “Old-fashioned Man River.”

How’d You Like to Spoon with Me? – A very young Angela Lansbury sings this number. A personal common!

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They Didn’t Acquire Me- Some girl sings this song and I have no understanding who she is!

Till the Clouds Roll By- This is sung and danced by Ray McDonald, June Allyson and a Chorus. A large number. I contemplate this one is my current out of the movie!

Leave It to Jane / Cleopatterer- This is also sung and danced by Ray McDonald and June Allyson.

Look for the Silver Lining- Judy Garland sings this tremendous number. Another well-liked!

Who? – Judy Garland sings and dances again. Another popular. Judy Garland was actually pregnant during the filming of this movie. So she may seek a slight bigger. Months later Liza Minnelli was born! That’s another epic though!

One More Dance- Lucille Bremer sings this number but, she’s really dubbed.

I Won’t Dance- Van Johnson sings and dances this with Lucille Bremer.

She Didn’t Say Yes- A expeditiously number but this twin sister act sings it.

Smoke Gets in Your Eyes- A chorus sings this elegant tune while Cyd Charisse and Gower Champion dance to it.

The Last Time I Saw Paris- Dinah Shore sings this splendid song.

The Land Where the Marvelous Songs Go- Lucille Bremer sings this song.

Yesterdays- A chorus sings this song as well.

Long Ago (And Far Away) – The pleasing Kathryn Grayson sings this song.

A Blooming Romance- Virginia O’Brien sings this song.

All the Things You Are- Tony Martin sings this song.

Why Was I Born? – Once again the beautiful Lena Horne sings this song.

Ol’ Man River- This is the finale and a young Frank Sinatra sings this. No offensive but I don’t he should have sang this number.

As for extras on the DVD,

New featurette Till the Clouds Roll By: Proper to Reel

Vintage Fitzpartick Traveltalk short Glimpses of California

Classic MGM Tex Avery cartoon Henpecked Hoboes

Two musical outtake sequences: Judy Garland performing D’Ya Cherish Me? and Music in the Air (I’ve Told Ev’ry Limited Star/The Song is You) performed by Kathryn Grayson and Johnny Johnston

Theatrical trailer

Languages: English & Fran? ais

Subtitles: English, Fran? ais & Espa? ol (feature film only)

Till the Clouds Roll By is a nice film but in my notion it seems to slide on more than it should. Some of it is too made up for Hollywood as well. The sincere Jerome Kern was technical advisor on this film, but he died before the film was completed. On a final effect, if you savor the MGM musicals I say peek it but, if your looking for an right movie this isn’t it.

TILL THE CLOUDS ROLL BY has never been considered one of MGM’s greatest musicals. The film is a somewhat syrupy biographical memoir of the life of Jerome Kern. In some ways this cannot be seen as a criticism. The film begins with the opening night of SHOWBOAT. After the performance Kern gets in a taxi and tells the driver his life tale. Of course if he’s telling the record it’s going to be a nice epic. And Robert Walker, who plays Kern, presents Kern as a likable guy and a hero we want to root for and hope will succeed.

More than likely MGM didn’t release this film to lisp the narrative of Jerome Kern. If anything, it was unbiased an excuse to showcase it’s stars and as viewers have discovered, it is a showcase of MGM’s tall talent. Musical numbers include Judy Garland as Marilyn Miller performing on of Garland’s showpieces “Who? ” The SHOWBOAT sequence at the beginning is probably one of the film’s greatest moments and includes Kathryn Grayson as Magnolia, a role she’d reprise a few years later when MGM released a newer version of SHOWBOAT. It’s tantalizing to trace that the staging of SHOWBOAT in this film is less stereotypical than the later version released by MGM and has Lena Horne as Julie Laverne, a far more correct casting (no offense to Ava Gardner) . Dinah Shore and Angela Lansbury appear as well as do MGM favorites June Allyson, Virginia O’Brien, Gower Champion, Lucille Bremer and a young Cyd Charisse. It also has a finale that showcases the talents of many of the major players and includes an appearance by Frank Sinatra.

My guess is that most people who rob this film will search for it in its entirety once or twice, but it will not sit on the shelf and win dusty. With remote in hand, people will achieve this film in the player and discover their celebrated clips over and over again and will be entertained time and time again. Sat least that’s what I’ve done and I’m certain will continue to do.

Enjoy!

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Product: Afraid of the Dark
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I bask in watching a trustworthy thriller and decided on this video. Pay attention as there are alot of twists and turns to this very odd minute narrative of a young British boy and his adventures in the world of grown-ups and what you judge is sincere is often not the case. Mystery and Psychological suspense to say the least! They don’t compose movies like this anymore.

Every so often a movie comes around that is different that the usual sludge that passes through our VCRs. More often than not, these films are foriegn. “Insecure of the Black” is no exception… it is a mystery from the word “Go” and does an reliable job at showing how a child’s mind can be traumatized by the vicious acts of a local serial killer who targets blind women (a particularly ghastly scene is when the boy, Luke, stabs the offender in the notice) .

This movie has all the eye-candy eeriness of movies like “The Intellectual”, “The Omen”, “The night of the living slow” and others, but it contains not one iota of anything paranormal.

Whatever your taste in movies, I’m determined you’ll all agree that this narrative is more than it seems.
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Product: He Loves Me, He Loves Me Not
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“He Loves Me, He Loves Me Not” is a clever French film that begins as a romance and ends up as a thriller. I personally like this kind of yarn, in which nothing you discover at the beginning is what it seems. [The most eminent example, perhaps, is Alfred Hitchcock's "Vertigo"] While this movie might point to too unfounded and cynical [or even a bit cruel] for some viewers, I contemplate it wll point to rewarding for those who like films that `think outside the box’.

The movie begins grand like any standard romance. Angelique [Audrey Tautou], a promising young artist, is madly in appreciate with Loic [Samuel Le Bihan], a successful cardiologist. She sends some flowers and a painting she did to his office to point to her affections. She is house sitting for a family who has gone away for a year. Her life seems almost perfect until it dawns on her that the doctor doesn’t support the promises he makes to her – he doesn’t reveal up for dates, he refuses to leave his wife, etc. Slowly, she sinks into a depression. She later plots her revenge against her `unfaithful’ man. But what is really going on between these two? To say more would be to waste the sage.

Tautou is the French actress who charmed audiences around the world a while encourage as “Amelie”. Here, she proves she is more than a titanic smile, wide eyes and an outlandish hairdo; in fact, she looks completely different. She is a most accomplished actress. Samuel Le Bihan is first rate as the object of her affection.

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The movie is in French with English subtitles. These do not bother me in the least, but I am well aware that some people refuse to scrutinize a movie in a foreign language. I say that that’s their loss.

In HE LOVES ME, HE LOVES ME NOT, Audrey Tautou once again has proven that she cannot be pigeonholed into the type of character she played in AMELIE. Each of her films validates the claim that Tautou is noteworthy more versatile and talented. In this film Tautou plays Angelique, a young woman in savor with a married man. Angelique waits patiently and anxiously on the sidelines while his marriage deteriorates and he comes to claims her. While the audience is treated to what appears to be a typical romance during the first half of this film, the movie is suddenly rewound and an entirely unusual perspective on the same events is revealed. Multiple perspectives lead to current viewpoints.

HE LOVES ME, HE LOVES ME NOT is a colorful thriller movie which certainly caught me by surprise. When I rented this DVD I didn’t ask to be treated with a film that delved deeper than a French romance, and I didn’t query to be fooled. Highly recommended.
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