Reviews

It seems a lot of reviewers have branded this movie as "dated but good"...when in fact it's incredibly ahead of its time.

I wouldn't be surprised to hear that the surrealists cried tears of jealousy when it premiered; the neverending, irreverent gags and complete disregard for time and space leaves avant-garde films like Un Chien Andalou in the dust.

The humour of Hellzapoppin' is not dumb or childish but incredibly smart.

A beautiful, fun, hilarious movie and arguably a proto-postmodern classic

that deserves a reevaluation and wider circulation.

This film is excellent! I don't understand why anyone would call this the "nadir" of Sirk's career, as it is far more intelligent than any of Sirk's famous melodramas. While I enjoy those films, this remains my favorite Sirk picture. The story chronicles the misadventures of pretty rascal turned gentleman thief, Eugene Vidocq, played by the eternal screen cad George Sanders. This is one of Sanders' best caddish roles, as he sidles around chateaux and graveyards, uttering lines such as "sometimes the chains of marriage as so heavy they must be carried by three". In addition to the witty, frothy humour, there is a dark undercurrent to the film that is evidenced in its noirish photography and the amorality of the lead characters. High recommended to fans of Old Hollywood who enjoy the more eclectic films of that period!

The reason is they are horrible. Such is Top of the Town, an ambitious musical from Universal, which, despite stellar production values, never gets off the ground. Most fluffy musical comedies like this one have something resembling a plot, but Top of the Town really doesn't, though it attempts to. There is a dizzy dame type of an heiress (Doris Nolan) who arrives in Manhattan just having come back from Russia and her heart is now supposedly full of the plight of the proletariat. OF COURSE, the best way to help the suffering masses to build a GIGANTIC NIGHTCLUB for the rich and elite only, with musical numbers that convey the pain of the poor! It is far too nonsensical in a bad way to be amusing in the slightest. The heiress has nothing else interesting to her character besides that, she is a run-of-the-mill glamorous blonde who doesn't have one good line to say. George Murphy does his usual song-and-dance-man thing, which is fine, but the rest of the cast is terrible and forgettable. None of the songs in this film have become standards, and it's a good thing, because they are unoriginal and presented badly. The musical number that is meant to bad, "Fireman, Fireman, Save My Child" is the most entertaining of the lot. Everything else was either your usual 30s kitsch done un-charmingly, or incredibly bizarre, like people in blackface wearing light-up costumes with fake gems on them with Mischa Auer being Hamlet in the background...Don't bother seeking this one out. You may think you love 30s musicals, but really, you don't love them this much.

The "Young Man of Manhattan" of the film is a young sports writer, Toby McLean (Norman Foster). He falls in love instantly with Ann Vaughn (Claudette Colbert), a newspaperwoman and they get married. Unfortunately, numerous circumstances, such as a "16 year-old who thinks she's Greta Garbo" (Ginger Rogers), and jealousy threatens to kill their perfect marriage.

Having read and liked the book (A thoroughly forgotten fluffy bestseller of the 20's) of the same title, I was interested in how it would be made into a musical. It's not really a musical though, like the IMDb says; it's a drama with a few songs thrown in here and there. It wasn't a bad movie, actually a lot better than a lot of early talkies. Surprisingly, it's very faithful to the book. Claudette Colbert and the rest of the cast are solid; Ginger Rogers is fun and it was cool to see her so young and still red-headed. She performs an utterly charming song, "I Got It But It Don't Do Me No Good".Norman Foster is fine, but often comes across as whiny and a bit wooden. Still, Young Man of Manhattan is a great one for 1930, and worth seeking out for the stars.

I decided to watch this movie on a whim with absolutely no expectations and I was completely charmed by it. Sure, the plot is your usual 30's rom com hogwash where a bad girl meets a good boy, but the script is unusually well-written for a B-picture and provides many laughs and cute romantic moments you'll sigh over. The 2 leads, Dixie Lee and Joe Morrison look unbelievably cute together, though Joe is a bit of a wooden actor. His main purpose in this movie is just to stand around looking cute and sing love songs, which he does remarkably well, so we can forgive him that. Dixie Lee, Bing Crosby's unfortunate first wife, does very well here as she cracks wise and sings. What makes this B movie extra-special are Burns and Allen as supporting characters, and all their gags are not to be missed. Another thing that makes this movie oh so lovable are the marvelous 30's tunes. My favorites were Dixie Lee's solo "You Got Me Doin' Things" and Joe's midnight lullaby to Dixie, "Let Me Sing You to Sleep". Joe also gives a very lovely rendition of the Tchaikovsky's "Nur Wer Die Sehnsucht Kennt".

Unfortunately, the movie suffers when it takes a melodramatic turn in the last 10 minutes but the ending is happy (it's a comedy after all!) and Burns and Allen save the ending somewhat with their antics. Despite all the film's small faults, it's terribly charming, and if you like 30's comedies or musicals I highly recommend it. It'll leave you with a warm, fuzzy feeling inside.

...is one of the creepiest lines I have heard from a movie. That single name, uttered snidely in the dark by Louis Hayward will make your skin crawl.

I've seen House by the River at least 6 times. I don't know why I like it so much. It's a wonderfully well-done film but it creeps the heck out of me every time I watch it. Louis Hayward in the performance of his life plays a psychopathic wastrel of a writer in the late 1800's who tries to rape the housemaid while his wife is away, but accidentally strangles her. He cons his brother into helping him get rid of the body. He gets inspiration from this for a book, and his book is a success. But when certain people get in the way of his success, he turns the whole thing around in the most diabolical way possible.

Out of all Fritz Lang's sound films, yes, even M, House by the River is my favorite. The Gothic atmosphere is so intense... the photography, the music, and acting all fit together perfectly. It might not be Lang's best American film but I think it's one of his most unique.

I loved this series to bits when I was a little girl. It was a beautifully animated show about a dance academy mistress named Dame Skyla who trained 5 special students of hers to be "Sky Dancers", who would go to her magical kingdom in the air and fight evil or something. I know it sounds crazy, but hey, the last time I watched this was 10 years ago and it's all a bit fuzzy. But I do remember how when I was feeling really down all those years ago, I would pop a Sky Dancers tape into the VCR and forget my kindergarten troubles. It had everything: slapstick, romance, action, adventure, dance sequences... what a great show. I even learned some moral lessons from it. In fact, I wouldn't mind seeing an episode of it again, for old times' sake.

I believe that all 3 of the comments for The Flapper were written by men, who didn't rate it very high. This movie was obviously made to appeal to the women, or more appropriately girls, of the day. I'm a girl and I rate it very high. The Flapper is an adorable movie about a teenage schoolgirl, Ginger King (Olive Thomas), who dreams of lovers and jazz cabarets, wanting to escape her mundane life at boarding school and ride off into the sunset with the handsome older man all the schoolgirls are in love with, Richard Channing (William P. Carleton). She fools Channing into thinking she's 20, and he takes her to a country club, but her "romantic night" is ruined when the bad girl (though she looks to be 40!) at school, Hortense, gets in her way. Throughout the rest of the film, Ginger pursues her dreams and visits 1920's nightclubs, wears glamorous clothes, but finds that being a flapper is not easy when she gets involved in a mysterious jewel heist and more! The Flapper is all fluff, but so cute! Olive Thomas shows a definite comedic flair in this movie, and it's so sad that she didn't get to go on with her career. The Flapper is a treasure, not just because of it's one of Olive Thomas' few surviving movies, but because it's a good, solid silent comedy that any silent film fan should see (whether you like chick flicks or not).

If a book is adapted to the screen, it should at least somewhat follow the plot and spirit. Coppola's Dracula does not. I don't deny that Gary Oldman acted well, but come on... He's playing Dracula, not one of Ann Rice's vampires. Not a pathetic anemic pretty boy. Not a hero. Not something that deserves the least bit of sympathy. But an evil, revolting, murderous MONSTER that must be destroyed. Because that's what Dracula is.

The book is about the band of friends that stood up to the despicable evil being that Dracula was. Coppola's movie is about a romance between Dracula and Mina. It was such an insult to call this movie "Bram Stoker's" when it was so far from Stoker's vision of Dracula as an ultimate creature of evil.

It doesn't even stand on it's own as a film. Over-sexed, over-acted... what a joke. Skip this movie and watch NOSFERATU (the best film adaptation of Dracula out there, and a masterpiece all in it's own right too.)

I love this mini-series to death. Whenever I'm in the mood for some good Victorian melodrama, it's great to have this to pop in the DVD player. Thoroughly entertaining; it has a roaring good plot with plenty of twists and turns, solid acting, and beautiful costumes and sets.

I have no idea why the majority of the reviews rate this mini-series so low. I was unnerved by the ending too; it was definitely weird and disturbing, but it was a quality, well-thought out ending. It is fitting as the whole series has a macabre, Gothic tone enhanced by the often-grotesque toys the family this mystery is about toy company produces.

And Patrick Malahide makes a great Victorian ne'er do well! His character fools you with his actions right up 'till the end. And he looks so handsome!!

This movie was sooooo boring. I love good old-fashioned movie musicals like no one else but this on was BLAH. You have to sit through at least an hour of watching the cliché and boring antics of Robert Young and Ann Sothern before Eleanor Powell actually does some dancing. The only reason to watch this movie is for the few bright spots that Red Skelton and the Berry Brothers bring, and of course, Ellie two amazing dance numbers. You may be amused by the comedic plot but I found it way too reused and slow and boring.

Do yourself a favor and skip watching this movie for now unless you are a huge huge Eleanor Powell fan. Hunt up some really ENJOYABLE musicals of this time, like Thousands Cheer or Down Argentine Way. This movie does not do justice to Ellie's amazing talent.

THe 1997 BBC adaption of the renowned romance/suspense novel REBECCA was an interesting take on the novel. But not a very good one. The lighting and photography do nothing to set the suspense and sense of dread in Manderley that is supposed to be the lingering spirit of Rebecca, very unlike the book and 1940 movie. This miniseries focused more on the romance. However, I think that the "spirit of Rebecca" that is supposed to be almost "haunting" Manderley did not come across very well. They did show Rebecca in some flashbacks, which was unique but I thought sort of ruined the "Rebecca mystique". The acting was pretty much all excellent and solid but Charles Dance as Maxim was VERY different. I don't think his portrayal of Maxim was deep enough, it didn't show enough (for total lack of a better word) angst about what was happening. Diana Rigg as Mrs. Danvers was also different, but it worked, she was a great Mrs. Danvers. Emilia Fox as "I" was good too.

If you liked the book Rebecca see the Hitchcock version also and compare the two. I find the Hichcock version superior, it is more faithful to book even thought a vital part of the book's plot is slightly distorted.

The main reason people I know won't watch classic movies is because they "move too slow". Everyone I know this all old films are super-long, slow moving affairs with no action. I can't wait to show them Blessed Event.

Blessed Event (1932) is a terrifically fast, hilarious pre-code comedy with it's main character based on 30's tabloid writer Walter Winchell. Lee Tracy plays Alvin Roberts, the main character, who runs the "dirtiest" gossip column in New York, but events ensue that may have to cause him to give up his column.

If you have an opportunity to watch this amazing movie, do so. If you are already a fan of classics you will love it, and even if you've never watched an old movie, this is a great movie for anyone, if you thought all old movies were squeaky clean, slow, boring, and innocent, you're in for a surprise.

This anime is the tops. I have never seen a shoujo anime that I have enjoyed as much as Host Club since I saw Fruits Basket. Do yourself a favor and buy the DVDs of it, plus the manga. You will not be sorry, especially if you're a shoujo fan, or even if you aren't one...the characters are so vibrant, cute and fun that anyone, yes even a non-anime fan would fall in love with the Host Club. Outrageous, dashing, handsome, and idiotic Prince Tamaki, the crazy Hitachiin brothers (who put on a fake incest act that the girls seem to love??), Kaoru and Hikaru, Cute Momiiji Sohma-like Hunny, Mori, the silent strong host, and my absolute favorite and the HOTTEST host...cool and evil Kyoya, the "shadow prince" of the club. Haruhi, the heroine is refreshing, because way too many shoujo heroines are too bright and bubbly and in-your-face, Haruhi is calm and practical. I really hope they bring Host Club to America and dub it, but for now, watch Host Club any way you can, this series is too too amazing to miss!!!

as to why this film has such a high rating on the IMDb. Sure, it's okay but it's not all as great as it's cracked up to be. At it's very best, BROWN OF HARVARD is a 7. It's about a college freshman, Tom Brown (William Haines) and his life Harvard. The movie was dragging a bit for a while, but it really picked up in the last 40-30 minutes. Jack Pickford was pretty good as William's nerdy best friend/sidekick, considering he was supposed to be a real ladies' man/ ne'er do well in real life. Mary Brian was fine as the girl Haines falls for. I think the script of Brown of Harvard could've been more interesting. The characters do not do much. William tries out for sports and hits on girls. Jack just good-naturedly listens to anything Haines has to say. Mary Brian stands around for most of the film smiling and occasionally looks slightly indignant. She hardly gets angry when William drops all her groceries on purpose, and doesn't even pay for replacements. If some fresh guy wrecked my groceries that I paid for and didn't even pay for them after he wrecked them I would be very angry, no matter how smooth and handsome he (thinks) he is. And for a while, William Haines' character seemed a bit annoying to me, and came across as a little too self-confident to me. But after a while you can see that the overflowing self-confidence is just something his character uses to hide his weaknesses. Haines was very good. If you are a William Haines fan then Brown of Harvard is really worth seeing. If you are looking for a worthwhile silent college flick I say skip this one for now and watch THE PLASTIC AGE (1924).

My friends forced me to watch Super Sweet 16: The Movie with them yesterday. It's the usual teen chick flick, but it isn't one of the good ones. The acting was nearing miserable, mostly due to Brendan Miller, who looked so "All-American-Football-Jock" it was way hard to believe he was supposed to be a documentary-crazed nerd type. But he does serve well as eye-candy. Aly is fine as Taylor Tiara, the super-rich popular girl who tries to break up the friendship of Jacquie and Sarah, the environment-conscious vegan AJ plays.

The production qualities are great and the story is fun, though.

My Advice: Skip this movie and watch some chick flicks that are actually good. (Mean Girls, Heathers, She's the Man...)

This is an fun musical comedy with really no dancing, just marvelous singing to show off Russ Columbo's dreamy crooner voice. Unfortunately, Russ died before the opening from an accidental bullet wound.

The plot: Russ, Roger Pryor, and June Knight are all friends in a vaudeville act, and Roger Pryor is always coming up with crazy ways for them to make it big in show business, and his schemes usually result in big trouble. And Russ and Roger are both in love with June and she knows which of the guys she loves, but hasn't the heart to break it to to the other one. Winnie Shaw plays a Russ's vampy musical co-star. Herny Armetta plays his food-crazy Italian uncle who does, as the other reviewer says, steal every scene he appears in.

WAKE UP AND DREAM is obviously a B musical but still seems to shine through it's simple sets and costumes. After this movie June Knight would go to MGM where they knew what to do with her. I think she was better off playing supporting roles as "the other woman" or roles of the like. She looks hopelessly unglamourous and mundane in this movie and if you watch her in Broadway MELODY OF 1936, VACATION FROM LOVE or BREAK THE NEWS you can see a tremendous difference in her appearance. MGM sure was the expert at glamming up it's actors.

In all for WAKE UP AND DREAM: Cliché plot, miserable production values, and knock-out, fun performances. Worth your time if you like this sort of film.

GO WEST YOUNG MAN is a good but yes, toned down comedy from Mae's pre-code days, but still fun to watch and not a waste of time at all.

Mae plays a movie star who stars in romantic drama and Warren William is her press agent who dreams up schemes to keep her from getting married, because her contract says that she cannot get married until 5 years. While they are on their way to Harrisburg Mae's custom-made car stuffed full of cold cream and shampoo breaks down. So, she is stuck in a rural colonial cottage boarding house with yummy Randolph Scott, twittering Alice Brady, and her biggest (and ditziest) fan Isabel Jewell.

While Mae West's acting and dialog was made tamer for the talkies, so was wonderful, handsome, cynical Warren William's, who was one of Warner Bros. top stars in the pre-code era. Warren William used to play ruthless bosses and all out cads, and while his role here is good and he gets to do some sleazy arguing and engineer some tricks on Mae West, GWYM was indeed a big step down for him. It was all because of that awful Satan MET A LADY (1934) which greatly hurt his career. Not to mention the awakening of the film censors by the Legion of Decency.

Elizabeth Patterson gives a great performance as the spunky Aunt Kate, and Isabel Jewell does a wonderful job as energetic, imaginative, movie-crazy Gladys. She does a funny imitation of Marlene Dietrich.

Oh yeah, and Randolph Scott was a total hunk with his "large and sinewy" muscles.

The LILAC DOMINO is a totally obscure old British "B" musical starring American June Knight.

Don't bother trying to find it unless you're a real fan of it's stars, June Knight (who made one other movie in England with Maurice Chevalier and Jack Buchanan)or Michael Bartlett. Or if you like 30's "B" opera musicals.

Personally, I think the movie is pretty cute with the music and the plot (which is pretty simple, rich girl tries to reform prince of a mythical Kingdom from gambling), but what really drags the film down is it's totally WOODEN star, Michael Bartlett. The guy can't act AT ALL. He has a great baritone singing voice, and he looks good (even a little like Cary Grant) but the minute he opens his mouth to say something, the movie suffers greatly. He's the worst actor I've ever seen. Sonja Henie hasn't got anything on this guy.

June Knight is good in her role, and her best moment is when she is making wisecracks at the middle-aged school girls in her school. She still has the look MGM gave her when she made movies with them. When she was at Universal, she didn't look so great. The screen brightens up when S.Z. Sakal is on the screen as a musician/magician who advises Bartlett. Plus the old lady who plays June's aunt is funny sometimes.

The sets/costumes and stuff are pretty good for a "B" picture.

In all, this is just a typical "B" musical.

I bought this movie because I am a huge Richard Greene fan and I have always wanted to watch Sonja Henie.

I was not disappointed.

This movie is definitely worth seeing and/or buying. It has wonderful, catchy swingy tunes and a great cast. Sure, the story is cliché, but weren't most musicals like that back then? Well, it is actually a little bit more original than others, because Sonja wraps packages at a department store, and after meeting her, and to keep her away from his jealous wife (Gypsy Rose Lee a.k.a Louise Hovick), Caesar Romero, the son of the big department store Sonja works for, sends her to fictional Plymouth University as a "living mannequin" to promote their store's women's' sporting goods section. While there, Sonja befriends student Buddy Ebsen and his girlfriend Mary Dwight (Joan Davis), does some enjoyable skate routines (best one is COULD YOU PASS IN LOVE? first sung by Buddy and Joan, then skated by Sonja and a chorus of skating guys in bowler hats), gets tricked by a nasty Southern girl who is a bad ice skater (played nicely by Patricia Wilder) gets accused of being involved in a scandal (courtesy of Gypsy Rose), and falls in love with super-duper handsome senior Richard Greene. They and others sing a very lovely ballad on a hayride. (I don't know the name.) But it's very charming, and it was stuck in my head for a week after I watched it. The musical numbers are fun, though they come nowhere near MGM or early Busby Berkeley musical splendor. Sonja dos live up to her name as great ice skater, though. In the big production "Alice in Wonderland" finale, she shines, and the costumes and music and charming. The other big musical number, I'VE GOT A DATE WITH A DREAM, showcases a myriad of showgirls wearing beautiful furs and evening gowns, and other fashionable outfits, and a tenor who sings the song admirably. Later into the number, Buddy and Joan do a short, comedic rendition of the song.

In all, MY LUCKY STAR is a good way to pass the time and a good film to start with if you want to explore the works of Sonja Henie.

The Broadway Melody of 1936 is my all-time favorite movie. One day I was watching the special features on the Singin' In the Rain 2-Disc Special Edition DVD. I watched the "Broadway Rhythm" excerpt from this movie and the "I've Got a Feelin" You're Foolin' excerpt, too. After viewing I was all "What was that?" So I watched them again. After the 4th time, I was hooked. So I bought the whole movie about a year ago and here I am today, commenting on it.

The B.M. of 1936 is an amazingly likable movie. The plot is flimsy like most other musicals of the Golden Age, but it's really, really, funny. The other reviewers summed up the plot correctly so I guess I won't be able to add anything new to that. But the smooth blend of plot and musical numbers are so dynamic that it the whole finished product just blows you away.

Now, for the stars. We have Jack Benny, in pretty much top-form as a newspaper gossip columnist. He is very likable in his role, because he (typical of 30's musicals) heroically does a good deed in the end despite all the trash he printed.

Sid Silvers is extremely hilarious as his hare-brained assistant and the scenes where he pretends to be Arlette's secretary are really funny.

This is Buddy and his sister Vilma's 1st film and Vilma's last. They are cute here as Eleanor's friends, and their dance numbers are really cute, too.

Nick Long Jr. has to be seen to be believed in the "Foolin'" number. I've never seen any dancer on screen, not even Fred Astaire do stuff like that.

Una Merkel is her usual wise-cracking, voice-of-reason self as Robert Taylor's secretary, and does top-notch work, as usual.

Little-known Broadway and B-movie actress June Knight gives an wonderful performance as the young, snooty widow who puts up the money for the show. Though probably the closest thing to a villain in the movie, she comes across as extremely likable because of the ah-mazing musical number with Robert Taylor and her wonderfully comedic acting. I don't think this movie would've become my favorite if she weren't in it.

Robert Taylor is as usual, way handsome, suave, and likable. There's really nothing more i can say about him except that he's terrific. And hunky! In here he is at the peak of his matinée idol stardom!

And Eleanor Powell. Her acting is good and she surprisingly is GREAT in her Mlle. Arlette imitation. But the dancing! It's out of this world!!! I think is the best dancer in movie history along with Fred Astaire. You have-have-HAVE to see her in the finale! Her timing and everything is so perfect, it's almost unreal! B.M. of 1936 is definitely one of her best vehicles, because she comes across as very talented, sweet, and likable.

The musical numbers, as I've said before, are extremely dynamic. Why? Because of the music and everything else. It took a lot of work, people, and time to produce the #s and it was not in vain, because all the numbers are spectacular. The key thing is the music. I's so good!!!!! All the songs are either toe-tapping or sweet and elegant ballads. One of the best Freed/Brown movie scores. The sets play a big part, too. Unlike a bunch of musicals from this period, the sets are not over-decorated and unbelievably lavish. No, they are simple, streamlined, very elegant, and art-deco. Because of these great sets, the actors' performances were displayed to the best extent they could be. Here's a list of the musical numbers:

Broadway Melody: Sung in the very beginning by Harry Stockwell.

You Are My Lucky Star: Sung after Broadway Melody by Frances Langford.

I've Got a Feelin' You're Foolin': The 1st big number here and my favorite musical number ever! Robert Taylor and June Knight are terrific together and look great. I think this # is an ultimate example of old-Hollywood glamor with the art-deco night club set, and the glitzy costumes and atmosphere. June Knight is definitely not the world's greatest dancer but her singing is great. Robert Taylor pulls off his number well with a nice singing voice. The whole thing is extremely romantic and elegant. To me, "Foolin'" is unforgettable.

Sing Before Breakfast: Buddy and Vilma Ebsen tap dance to this in the beginning. Later, Eleanor taps. It's the start of her career at MGM and a mere shadow of what was yet to come. This # is fun and adorable.

I've Got a Feelin' You're Foolin: Reprised nicely at a rehearsal by Frances Langford.

You Are My Luck Star: Another big # and enchanting! I am sure everybody will like this lavish ballet but I think it's a tad bit not as good as the other #'s for some reason I can't pinpoint. it's first sung by Eleanor (dubbed by Marjorie White) and then danced by Eleanor and a bunch of chorines.

On a Sunday Afternoon: Another cute big-ish # by Buddy and Vilma. Their tapping is great. They're is in 1890's period costume for this.

A Cappella Tap: Eleanor does an a cappella tap #! She is truly amazing in this while in Arlette guise.

Broadway Rhythm: The glorious finale! You have to see this! The costumes and the set and acts are just wow!!!!!! And that MUSIC is absolutely soul-searing!!!!! And when Eleanor comes out for the end, she does one of her best tap solos ever! I can hardly describe this, just see the number and you'll love it! Well, that's the end of my review. I think this the the Best B'Way Melody and one of the best old musicals ever. Bye!