empathielabs/imbd_dataset_v0 huggingface dataset:
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A notorious big budget flop when released. This Robert Altman inspired comedy has some terrific moments and an occasionally inspired cast. Although it goes on to long an loses its focus completely, there are enough funny moments that will keep a curious viewer watching until the end. If you are a fan of character actors and actresses, this will be a treat for you; you will recognize so many terrific little known performers throughout this movie (you may not know their names, but you know their faces), heck even the kid from A Christmas Story turns up in a small part. Rent if from Netflix, if you read this, I bet you will enjoy it.


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I remember watching this movie over and over again when I was a kid. I loved it. Whilst I haven't watched it recently, I am sure I would enjoy it just the same today. Its a very light funny movie guaranteed to make anyone laugh. The situations with each one of the characters were so funny and imaginative! I particularly liked the one with the girl traveling with her mother's ashes (who ends up picking them up on the highway after the explosion) , the robbers and the nuns. This nice humour style is much missed these days. Also, this movie proved that actor Paul Keenan (Dynasty/Days of our Lives) was off to a great start. I recommend it to anyone lucky enough to find it in their local video shop.


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A wonderful film ahead of its time,
I think so, In the eighty's it was all about winning, Greed is Good ? Remember that one ? I have seen this film more that 20 times, To me this is a real desert island film, I keep watching because there is always something more to learn about these flawed characters that I just love, Jessica Tandy, and Hume Cronin, are simply wonderful,Also Beverly D'angelo, Beau Bridges come in at a close second, don't get me wrong there are many more great performance's in this film, and it is also the way it is written that made it for me, and I hope you, a film that you will want to see over and over, I think TV shows like "Northen Exposure", and now "Earl" owe a lot to this film. but remember it is not a Tom Cruise film.


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I found this movie on Netflix and had to add it to my queue. I wasn't disappointed when I got it as it's just as funny now as when I saw it at a local drive-in theater back then.
It builds to a climax nicely with you getting glimpses of the various characters as they begin their trip across America on the "Honky Tonk Freeway, America on wheels." This was a strange comedic role for William DeVane as I remember him as Kennedy in the 1974 TV film "The Missiles of October" and felt no one could have pulled that dramatic character off as well as he did.
It reminds me a bit of Dick Van Dyke in "Cold Turkey' where Van Dyke played the local minister. DeVane's role as mayor, minister, and activist was typical for small towns so it makes his character seem amusing and real.
Howard Hessman and Teri Garr as the spoiled family in the RV was on target for the time as well. Anyone who has traveled across country with small children, (Are we there yet?) will appreciate those scenes.
The scenes of a small town struggling to survive reminded me a lot of the small town I grew up in but they handled it with the charm and humor that you often only saw in small towns. It's sad that many small towns disappeared because of the freeway system and it gives a realistic if humorous view of what they had to do to survive. (Used zoo animals anyone?)
All in all, it's a lightweight comedy with no particular message but a humorous glance at America during the early 80's. Well worth watching if you just need a bit of good cheer.


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Meant to be some sort of a social commentary about the way that our lives were spinning out of control in the 1970's, this movie plays more like something Mr. Schlesinger threw together after having a bad day on the freeway. A mish mash of snippets about the nuts encountered along the freeway in Florida, and along the freeway of life, the cast is mostly wasted and probably ended up on the cutting room floor. The problem is that what DIDN'T end up on the cutting room floor probably should have! Now available on DVD, it's kinda fun to see a comedy that would have cost $100 million to produce had it been made in 2004. It rolls along and isn't too difficult to sit through, and, strangely enough, in 2004 we're all still pretty much just
hopping in our cars and going faster and faster, heading nowhere.


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Love this little film, that reminds me somewhat of the original Japanese gem, SHALL WE DANCE? (not the overblown Gere/Jlo remake...) Luckily I found it and taped it when it was showing on a STARZ Promo Weekend, because as far as I know, it's not available on DVD. I'll watch just about anything with Yancy Butler (anyone remember the short-lived TV series MANN AND MACHINE ???) in it, and she positively shines in this. She does a dance routine to a disco song that is verrrryyyyyy HOT!! Loved all the other characters in it, especially the ones played by Patrick Stewart and Leslie Caron (where's she been all these years?). This is one of those films that I take out from time to time and always come away smiling after watching it. Recommended highly!!!


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I felt that this movie had a lot of heart and must have been a labor of love for Eleanor Bergstein. The primary actors (Campbell Scott, Jennifer Beals, Yancy Butler, James Goodwin III, Patrick Stewart, and Leslie Caron) were very well selected and played their parts with excellence. It was a very uplifting movie that I wish was available on tape or DVD. A rare gem.


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I just finished this movie and my only comment is "OH! WOW!". Jennifer Beals is ok as the fiancee, but Yancy Butler as the female dance instructor is pure sexual dynamite! Having watched her in WITCHBLADE, I was not prepared for the pure unadulterated sensuality and raw sexual excitement she launches onto the screen.
I gotta see THIS movie again....if only for Yancy Butler as Corrinne!


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This may be the most tension-filled movie I have ever seen.
In fact, it's so nerve-wracking, I haven't been able to watch it again after viewing it two years ago, but I will since I have the DVD. There were a couple of scenes in here that are almost too much to watch....so if you've got problems and need to "escape" for an hour-and-half this film will get your mind off anything else.
The Russian actress Marina Zudina did a super job in facial expressions alone, which she had to do since her character in here is a mute. She plays a cute and wholesome makeup artist for a sleazy filmmaker. After the day's shooting is done and "Billie" is about to leave, she hears something. She takes a peek into the room where they were filming and discovers they are now shooting a "snuff film" and actually killing someone. Billie's eavesdropping is discovered and she runs for her life as the killers go searching for her in this big warehouse-type building.
There are two extended scenes in which our heroine is running for her life and both of them will wear you out. The first I described above. The second scene, the climactic one, goes on too long and isn't as well done as the first. In fact, the film should have been trimmed a bit but, overall, since it's so good at keeping our attention, then it served its purpose as entertainment.


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An amazing piece of film that was well-conceived and kept me on the edge of my seat. Brilliantly orchestrated in its timing, and the comedy kicked in exactly when the tension needed a release. The acting was generally well-done (the "Director" should've asked Alec Guinness for acting lessons), and the shot selections were impressive (as in elongating the hall as Billy tries to race to the door in the studio). This movie didn't let up since the opening scene...


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A couple of years before SCREAM spoofed the slasher/horror genre with savvy, self-conscious young things knowing every trick in the book of what to do and not to do in a precarious situation, a little movie produced in Russia hit the theatres without any grandiose pretensions.
This movie was MUTE WITNESS. Starring a cast of unknowns (except an extremely brief cameo by Sir Alec Guiness whose scenes were purportedly filmed eight years prior to the actual filming of this movie), it told the story of a mute make-up artist, Billie, who is working on a film on location in Russia produced and directed by her sister's boyfriend Andy. She is unaware that the set has closed when she goes to retrieve her belongings and inadvertently stumbles onto a porn shoot that becomes extremely bloody. Overcome with horror she alerts the murderers of her presence, a chase ensues, and finally she is rescued by Andy who take her home as they alert the police. The trouble is... there is no body, no evidence that anything of the sort took place. Even so, a mysterious inspector seems to be on Billie's side of the story....
And to say more would be criminal. MUTE WITNESS is the kind of film that demands a scrutiny of viewing similar to the most intricate, clever thriller because as much as it is a convoluted thriller, it's one that pays its dues to movies like WAIT UNTIL DARK and the best of Hitchcock in its choice of camera cuts, deadpan humor, Americans reacting in foreign countries where they are powerless, and nail-biting suspense until it seems something must snap. Even if the story does become a little too implausible due to the fact that the story arc suddenly becomes the focus of an even greater conspiracy, the film succeeds in not trying to trick the audience with cheap shots (for example the sudden appearance of a person on camera accompanied by a crashing swell of violins) but with the fear of the unknown and that death is only a shadow away. Very smart.


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Billy Hughes is a mute young lady working for make-up on a cheap horror picture being filmed in Moscow by an American director. One night Billy gets locked in the movie studio. Later that night she hears that someone might be in the building and goes to check it out. That's when she stumbles across a woman being brutally murdered, while being filmed. After escaping the clutches of the murderers, Billy informs the authorities, only to be red-faced when the men show it was an act. Billy knows what she saw and soon her life is in turmoil again from underground figures that believe she has something of importance.
I don't know how this heart-pounding sleeper passed me by, but I thought it was a much older flick. There's one thing though, it's got to be one of the most jarringly, and intense thrillers I've seen in quite a while. It's just a great suspense builder and mostly everything clicks into place! The first half of the feature is surprisingly gripping with taut sequences that have your heart in your throat and clouds us with an atmospherically foreboding environment of alienation. Underling this is a humorously wicked black streak. Faults do pop up in the story, as it does lose that furious grip it held so early and goofy humour (or better putter comic relief) between Fay Ripley and Evan Richard's characters is a hit and miss affair by being too forceful. In the long run, it probably could have done without. Despite some cringe moments, this aspect didn't hinder my enjoyment of it. For me, the soft ending they decided to go with just didn't feel right.
The interestingly mysterious premise was eerie to the bone and packed some unsettling goods. So multi-facet was the context and its thrills, there was something fresh to how this all plays out and the nervy jolts and unbearable tension are weaved into a range of sudden plot turns and twists. Really, they made superb use of the novel idea of this disability and to handicap the situation, by staging it in a foreign place where not too many spoke English and so we are caught up in the confusion too. The delicate Marina Zudina gives a harrowing portrayal of the American mute girl Billy. The way she able to display the erratic emotions through her eyes and actions gave it some gruff and believability. Director Anthony Waller shoots the flick in a rather stylish, well-timed and skillful manner, without loosing that grimy look that eventuates from its rigid surroundings and a powerfully airy music score persistently nags at you. The only real name to make an appearance was small cameo part by Alec Guinness. The performances by the cast were all fine, especially the nail biting turns by Oleg Yankovsky and Igor Volkov as the Russian murderers.
This riveting feature that's mostly made up of unknowns, is way better than your average dark thriller. Highly Recommended.


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Laura Gemser plays a magazine photographer who is sent to Africa for a photo shoot. There she is met by a couple and other swinging couples. They all stay at this huge, very touristy hotel with a gigantic swimming pool. One night they have a pool party complete with "real live" native dancers. It's very un-politically correct and very kitschy. Later, Emanuelle finally has her photo shoot, which turns out to be in one of those drive-through, stay-in-your-car safaris (albeit the photography is gorgeous). Throughout the film, Emanuelle is going after every man she meets. The photography is very well done in this film. There are scenes with cascading waterfalls, galloping giraffes and ancient ruins. The film is worth seeing for the soundtrack by Nico Fidenco alone.


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You know you're watching softcore with the wrong attitude when the poor dubbing bothers you. I'm okay with the crappy lip syncing but the sound mix is really of too. Every time someone says anything it sounds like there's a narrator. Either way, this is pretty much the purgatory between boring French professionalism and the heavenly campy Joe D'Amato flicks involving cannibalism and whatnot. Don't get me wrong, there's a fair dose of exploitation in this one, but there's always room for more. Laura Gemser stars, and that's good because she's hot. It's a bit freaky how at times you can see her bone structure, but she still rules over her white counterpart. You can also make a cool drinking game of how often she takes her kit of. Often. Every reason is good. Every person is good. Every location is good. One scene even involves an entire hockey team, whatever they are doing in Africa. Sometimes the plot gets in the way, and the supporting cast consists of some really vile looking people, but there's enough Laura Gemser for all.


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The incomparable Laura Gemser appeared briefly in an erotic scene from the French "Emmanuelle 2." This amazing woman did not go unnoticed, and was soon cast as the lead in this all new Italian series, where she is the centerpiece; a beautiful photojournalist who travels the world experiencing all the mysterious eroticism that the world had to offer. In this first installment, Mae Jordan/Emanuelle is sent to Africa to photograph the people as well as the stunning landscape and wild exotic animals. Much like Sylvia Kristels character, Emanuelle has not come into her own when it comes to being open and comfortable with her own sexuality. This first film is basically about how she becomes the "Emanuelle" that most exploitation cinema fans are familiar with. Filled with gorgeous cinematography, beautiful people, and an intoxicating 70's score from the legendary Nico Fidenco, this one is sure to please. Those who enjoy the more story-driven style of the original french "Emmanuelle" should definitely like this as well. The main story here being an interesting cat and mouse tale of a womanizing playboy who comes to the realization that he has fallen in love with a woman who is the female version of him! Sexy, fun and totally entertaining throughout; a soap opera to be sure, but one with enough skin and general eye candy to keep the male viewers entertained. For some reason this is the hardest one in the series to find on DVD. there has never been a legitimate DVD for this, which is very strange. The bootlegs that sometimes appear online will have to do until someone gives this diamond of a film a proper release.


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Like NIGHT STALKER and then X-FILES, the show set up a fantastic situation and the main characters had to sort it out. Unlike these, the hero(es) weren't left holding an empty bag at the end. They had usually tangible results. It was also made clear that the 'good guys' were in a dirty profession where they occasionally had to pull some nasty things. Imagination, wit, acting which didn't always take itself too seriously ... I miss it. One reason being, I'm hard pressed to think of too many shows - BANACEK aside - which did as good a job of taking the viewer and grabbing their attention right off the bat. The writers excelled at setting up hugely improbable, if not downright impossible situations which the characters then had to find an explanation to. explanations which often took 90 degree turns into the clearly unexpected yet, for all that, still made sense. Too, I agree with another reviewer that the Anabelle character was somewhat underused, but when she was on screen, it wasn't just for eye candy. She was quite competent in her own right and stood up to the two male leads when she felt the point she was making warranted it. A rarity in those days. Sullivan? If he wasn't in the Department, he'd be working for the KGB or CIA. He's that sort of coldly efficient, ruthless type. He knows how the world works and realizes what it can take to get the job done. King? It's clearly a game to him. One he excels at and which he parleys into ideas for the detective/spy novels he writes as his ostensible 'real' job. He's probably the most fun to watch of the three, although they all have their moments and often, too. I do agree that the eventual spin-off series featuring only his character lacked the interest of the original, however.


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Created by Dennis Spooner, 'Department S' was a glossy thriller show about an offshoot of Interpol, based in Geneva, created to solve baffling mysteries the police could not handle. If a plane landed at Heathrow with no-one aboard, if a man was found wandering around London in a space-suit, if the passenger of a Rolls Royce suddenly transmogrified into a skeleton, if a train pulling into a tube station turned out to contain dead commuters, you called on 'Department S' to sort things out.
Peter Wyngarde played 'Jason King', a flamboyantly dressed crime novelist whose fertile imagination helped crack many of the bizarre cases. King caught the public's fancy and was later awarded a spin-off show. He was ably assisted by American 'Stuart Sullivan' ( Joel Fabiani ) and the delectable 'Annabelle Hurst' ( Rosemary Nicols ). Unusually for a '60's show, the department was headed by a black man - 'Sir Curtis Seretse' ( Dennis Alaba Peters ) If the show looked and felt a lot like 'The Avengers', it was hardly surprising. It shared many of the same writers and directors! The colourful titles were designed by Chambers & Partners, and are worth tuning in for alone. As was the case with so many I.T.C. series, the music was composed by Edwin Astley. His theme for 'Department S' has got to rank as one of the best television themes of all time.
Predictably, the show looks a little sexist and dated now, but don't let that dissuade you from tuning in. Imagine a hybrid of 'Jonathan Creek' and the 'Austin Powers' movies and you've got 'Department S'!
Trivia Note: the episode 'A Small War Of Nerves' features a young Sir Anthony Hopkins in a major role!


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With all due respect to Joel Fabiani and Rosemary Nicolls and their characters, Department S will be forever associated with Peter Wyngarde's Jason King.
Most people remember him as this camp, flamboyant and debonair womaniser cum detective in the mould of Austin Powers but that will do a disservice to the character: He's far more nuanced than that.
Jason King is lazy (he often lets Stewart fight all the bad guys and only chips in at the end), he is egotistical (his appreciation of people is based on whether they've read his novels or not), a lot of his detective work is speculation without facts to back them up and he sulks whenever Annabelle is right...and she often is. He's clearly a man having a mid-life crisis and drink drives but.......Jason King is brilliant. If Wyngarde had played him purely as a dashing hero, it wouldn't have worked but he shows King often as a paper tiger, led by his libido, love of finery and prone to grandstanding (and it gets in the way of his detective work at times) but he has some of the best lines and put downs in TV history. And by not playing him as whiter-than-white, the chemistry and interactions between the three lead characters is all the better for it.
Watching it again on DVD recently, you get to see just how much depth Wyngarde put into Jason King.


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Spawned by the same Monty Berman / Dennis Spooner partnership which produced The Champions and Randall & Hopkirk (Deceased) - the latter retitled My Partner the Ghost for the US market - Department S remains a classic example of the action-adventure series which the UK produced in bulk during the late 1960s. Like those two shows, its internal dynamic of two guys and a girl might seem to indicate a progressive attitude towards equality (Dept S also has a black superior), but it's mostly facade: the launch episode, "Six Days", is barely halfway through before Rosemary Nichols is called upon to parade around in bra, panties and one (yes, one) stocking in order to extricate herself from a dodgy situation. Still, it's an interesting time capsule, even if the appalling fashion sense of Peter Wyngarde's character (which, amazingly, degenerated even further in the spin-off series Jason King) should definitely have remained buried.


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Well, SWORD IN THE MOON finally got a DVD release in Korea, and despite the mostly negative responses I've heard to it, and the suspiciously tardy DVD release, I couldn't help but pick it up - any wu xia film is better than most non-wu xia films in my eyes :D Perhaps low expectations were an advantage, because I was quite pleasantly surprised to find the film pretty enjoyable.
An assassin is killing a number of ministers who were involved in a revolution that usurped the throne, and the government's top swordsman is tasked with identifying the culprit. This doesn't take particularly long, but the answer is not one he wanted to hear. Through prolonged flashbacks we learn why, and the history of the swordsman and the assassin, and of the revolution.
The film is typically melodramatic for a Korean film, and resolutely serious in tone - no HK style comedy moments to be found here. The story can be a little difficult to follow at first, but all makes sense eventually. The film goes a bit wobbly at the end, but no worse than a Chang Cheh film might do, and for the most part I found it enjoyable. The production values are high, with some good cinematography to capture it. The fight scenes aren't up to the calibre of the better HK wu xia films, but perhaps they're not meant to be - the fights are more "realistic", in that they're less like choreographed dance routines, but there's some wirework and occasional cgi that put the film in "wu xia" mode. The film doesn't have the best cast, unfortunately, with the leads being a tad lacking in charm and occasionally difficult to distinguish from each other. There's a young lady in the film that I don't think I've seen before, but makes the best impression of any of the principle cast - not just because you see her nekkid... or perhaps it is :p The film lacks the charm and grace of the better HK wu xia films, and perhaps the beauty too, but I only wish HK would make them half this good anymore - TWINS EFFECT 2 does not give me hope that *that's* about to happen any time soon, though Tsui Hark surely still has it in him if he can get the funding and cast. SWORD IN THE MOON is not going to go onto my list of favourite wu xia by any means, but it's a whole heap better than ROMANTIC WARRIORS or LEGEND OF THE EVIL LAKE - perhaps better than BICHUNMOO too, though I did like that film quite a bit more on a second viewing. Obviously it's nowhere near the wonderful MUSA, but it's a different affair altogether really. SITM will probably get a second viewing within three years, which is perhaps the best indicator of how much I liked it :) 7/10


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I saw the movie on its North American premiere (July 14, 2004) at the Fantasia Festival. I was slightly disappointed as I had been expecting a more epic, ensemble cast movie along the lines of Musa the Warrior. Instead, the movie concentrated only a much smaller number of characters. Still, the movie was solid, thoughtful and visually intriguing. There were slightly jarring tone shifts from the dominant thoughtful and realistic tone of confused loyalties, intrigue and blood, versus the lighter, more flamboyant, martial arts sequences. It almost seemed as though the filmmakers couldn't make up their minds about whether the movie was supposed to be a martial arts "flick" or a historical epic. The story touches nicely on the issue about the need for loyalty versus the need to adapt to new situations. Is it really worth your life and those of your friends to be loyal to one's master or does there come a time when one must submit to the winds of change? Is there perhaps greater courage in leaving the old ways for new ones? How does one decide? These questions are raised in this movie, and ironically, there is the suggestion that the answer given, may in fact be the wrong one!


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After seeing a preview for this film at my local mall where there is a stand for purchasing foreign films, I thought it looked very entertaining. Before watching the movie i went on to IMDb to see what ratings and comments it received. I was worried when I noticed the low numbers and the negative ratings. Despite the hype, I watched to movie and to my surprise I found it unbelievable.
The story was great (just pay attention) and the characters and their relationships within the film is astonishing. I haven't seen such a good combination of leading characters in long time. I really felt for both characters and sensed a strong bond. As reading previous posts about this movie not being "epic" enough or a lack of martial arts I could not disagree more. This film is what it is, its not Braveheart and its not Enter the Dragon but it is still a wonderful film that does an excellent job combining story both and action.
While Sword In The Moon isn't perfect (what movie is?) it still is wonderful and moving. Just wait until the ending scene, with the music and cinematography together, its breathtaking. I only hope more people can see this movie to give it a fair voting.


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I must say: out of all modern korean martial arts movies this one is worth checking out. It wasn't as epic as Musa-The Warriors and didn't develop the characters as well, but it had many nice ideas. Simple story: a elite soldier thought dead, returns after years to end the reign of the Japanese in Korea in medieval days. His counterpart was formerly the best friend he had and now he is out to stop him. The fight scenes are all with sword or different weapons and very entertaining to watch. The motives of the figures are discovered first near to the end. You might need to watch it again to get all the connections right. And me personally...I loved the end. I could watch it over and over again. Maybe a little pathetic, but a real freedom fighter story.... People can be killed, but not the ideas they stand for....


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Although I saw this movie in Korea, in Korean, and therefore did not understand the language, images sure say more than enough. From what I can make of it, this is the story: Two superb sword fighters become friends in their service as the king's guard. One of them finds himself opposed to the ways of the king and starts assassinating important men. The other has to hunt him down. This movie is visually great. The swordfighting is great. And the movie has a gripping end. I just hope this movie will be marketed for the western cinema goers. And be released on DVD, of course.


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Nice movie. At the begining, i thought it's a medieve detective kind hi-fi movie, but the ending totally surprised me. I guess, the whole movie covers too many subjects, each of them can be the main subject,e.g. avenge, friendship, and dream. But it mixed all of them without focusing on any of them. I think, it'd be a great movie if it's built around the ending from the very begining.



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Jewel Thief is a rare breed of film - completely noir in its story but nothing noir about the presentation. A young man Vinay, superbly played by a newly face lifted Dev Anand at age 40+, is estranged from his police officer Dad and finds a job in a jeweler's store. Soon random people come up to him and call him Amar. Using just a few pithy moments the presence of a "doppelganger" is established. Then a woman Shalini (Vyjayantimala) comes forward and claims to be engaged to said doppelganger. She is accompanied by her loving brother (Ashok Kumar) who is so convinced that Vinay is actually Amar he makes him take his shoe off and prove that he is not Aamr, the 6 toed one. The jeweler's super cute daughter Anju (Tanuja) is completely enamored with Vinay. Amidst all this confusion there is a Jewel thief on the loose and he is stealing at will. Slowly we learn from Vinay's encounter with a super hot night club singer (Helen!) that the thief is Amar the doppelganger. Many many good looking women (Anju Mahendru, Faryal) are after the hero. The police force, including Vinay's Dad, are completely befuddled. Vinay is slowly falling for Shalini/Shalu and her brother seems to bless the union. The action moves to Sikkim as that is where Amar's next heist is to occur. The rest is for you to watch - the duplicate, the girls, the men who hang on to Vinay's every word thinking he is their boss Amar, the loving brother sister duo - nothing seems quite right, and it takes the deft story telling (and direction) by Vijay Anand to conclude this tale in a highly entertaining manner. The movie has numerous moments that you will wonder at until they deliciously weave into a grand finale at a dance in a palace in Sikkim.
I was not a big Vyjayanthi fan but she is quite competent here, although at her chubbiest. She is able to add to the confusion in the story in a subtle way, but is best when she is sorrowful or dancing. Tanuja is cute as a button and I loved her in this film. I so badly wanted her to get the man. Dev was, well, Dev. If he were not walking like a man with a congenital shoulder defect (one shoulder always lower than the other) I would wonder who they had found to imitate him! Yet his style, charm and charisma were unfailing. In the song Yeh Dil Na Hota Bechara, only Dev could look cool carrying a fishing rod to which a large plastic fish was attached! Ashok Kumar was simply awesome - Dada Moni did not miss a beat the entire movie and turned this into one for the history books.
SD Burman spun magic with numbers like Baithe Hain Kya Uske Paas (Helen in a blood red rooster imitation dancing on a bar top), Aasman Ke Neeche, Rula Ke Gaya Sapna Mera, and my personal favorite seductive number Raat Akeli Hai Bujh Gaye Diye.
If you are craving a great story, with more twists than a pretzel, wanting to be kept guessing, yet amused and entertained - then go buy or rent Jewel Thief. Better to buy it, then you can go back and see it again with your buddies. This one is a keeper.


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Unlike Bond and other detective movies, Alfred Hitchcock's hero used to be a common man who would get into trouble and then with his acumen and courage (and luck) would get out of it. Jewel Thief is based on the same principle and so in a way it is Vijay Anand's tribute to the master of suspense. The tribute as it may be but it stands its own grounds and establishes Vijay Anand as a great director himself.
It is the story of a common man Vinay who one day realizes that he has a double called Amar who in fact is a Jewel Thief. Suddenly Vinay finds himself in the middle of a hatching scheme and to save himself goes on a wild goose chase to find this Amar who remains one step ahead of him. The suspense is almost killing throughout the movie and as the plot unravels you are hit by the brilliance of the scheme. Just like Hitchcock's movies, Jewel Thief can boast of a grand climax shot inside the grand palace of Sikkim.
Everyone and I mean everyone; Dev Anand, Vijay Anand, Ashok Kumar, Vajyanti Mala, Tanuja, SD Burman, Kishore Kumar, Majrooh Sultanpuri etc. etc. are in their top forms. This is one of the best thrillers ever made in India.


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An excellent thriller of all time. Vijay Anand excels as Director and Editor. Performances by Dev Anand, Vyjayantimala, Tanuja and Ashok Kumar prove to be an asset to the film which has its screenplay worked out to the minutest detail. Cinematography adds to the mystery, glamour and other requirements of the story as it evolves. And to top it all, music by Sachin Dev Burman is unforgettable. "Yeh dil na hota bechara" by Kishore Kumar, "Raat akeli hai" by Asha Bhosle, "Rula ke gaya sapna mera" by Lata, "Aasman ke niche" by Lata and Rafi and "Hothon pe aisi baat main" by Lata, again reaffirm Burman Dada's unique stature as a top notch composer with a style of his own.


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Jewel Thief is one of those suspense thrillers in which the viewers are left guessing till the end who the villain is. Suspense builds from the very first scene when the jewel thief becomes a national problem and there are cleverly concealed clues in the film so that you can guess who is the jewel thief. The story portrays that Dev Anand (Vinay in the film) and the jewel thief have identical faces. But you get a 1000 watt shock when you finally come to know the villain. There are many surprises and a lot of fishy stuff going on but there is time for romance and six melodious ever lasting songs sung by Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mohmmad Rafi.
This film was also talked about for its song's videos. Consider the teasing and counter teasing in Asman Ke Neeche. Or the blocking of road by Dev Anand when Tanuja was going out with her friends in Yeh Dil Na Hota Bechara. Or the romantic Dil Pukare Are Are in the beautiful Sikkim. Or the wonderful dance by Vyjantimala in Hotho Pe Aisi Baat. Add to it Rulake Gaya Sapna Mera and Raat Akeli Hain and you will never forget this film for any reason.
Able acting by Dev Anand, Ashok Kumar, Tanuja and Vyjantimala and direction by Vijay Anand (Dev Anand's younger brother) makes this one of the best loved Hindi films of all times even today.


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This movie was marketed extremely well. When it was released in '97, during the middle of Master P's fame and success anything and everything with his name on it was selling off the shelves. That's why it's no wonder this underground urban drama sold over 250,000 copies and still goin'.
If you are a fan of No Limit back then or even now check it out. It has a few old school phatty videos and don't get me started with the freaky deaky strippers at the bonus Ice Cream Party. So what I got to say to all the people who don't like Master P or No Limit Records don't watch it because it isn't for you and don't bother voting on it because you're only going to deter TRU no limit fans from renting or purchasing this video with your low votes.


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I love this movie. It is the first film Master P have ever done. It is based on the story of his life. It is low-budget, but it is very good. It shows how Master p grew up in projects in New Orleans.
Not only did Master P start in this movie, he also was the writer and director with Moon Jones. The DVD also has The No Limit ice cream party on it. This movie shows how Master P goes from bad too good and how he had to deal with the things around him. It also has many of The No Limit Records roster in this film. You should buy or rent this film.
It is a great movie to watch is you like rap, or is a Master P fan. I will not spoil this movie for you. Go get this movie as fast as you can and watch it. You will like it.


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This is one of the best films I've seen in the last years.Belmonndo and Deneuve shine in their respective roles, he as a naive plantation owner and she as an enigmatic trickster.Words won't do this masterpiece justice,suffice it to say that this is a movie that explores the darker side of love and the pain,humiliation and capacity for self-delusion that go with it, although it's dressed as a film noir. Forget that feeble remake with Jolie and Banderas, see the genuine artticle instead and treat yourselves to some moments of great cinematic beauty.


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I've slowly been collecting the films available on DVD of both Catherine Deneuve and Francois Truffaut. Both actress and director have done some stinkers in their time - fortunately Mississipi Mermaid is not one of them.
Next to "The Soft Skin", coincidentally staring Deneuve's sister (the late Francoise Dorleac), this would have to be my favourite Truffaut film.
As well as directing, Truffaut also wrote the screenplay. Something that always strikes me about Truffaut is his almost childlike innocence when presenting a story -- one could almost call it naivety.
There's a scene towards the end of the film where Belmondo returns to the apartment in Lyon with the remains of the loot. He rings the doorbell and Deneuve answers wearing a negligee. In the time it takes Belmondo to reach their room from the street, Deneuve changes into her dress, puts on her best pair of stockings and shoes, then lies on the bed and pretends she is asleep. It's a scene that could almost come from the mind of a child - but that's Truffaut for you.
Watching Catherine Deneuve in her films of the late 60's is indeed a sensory pleasure. She is so extraordinarily beautiful it is almost painful for us to watch. Incidentally, for those fans, there are a couple of topless scenes of her in this film - indeed a sinful pleasure.
I disagree with previous posters. I see nothing 'Hitchcockian' about the film at all. As for the 'look' of it - i love the look of the older film stock used in the 60's. It certainly gives films of this period a unique look.
Highly recommended for both Deneuve and Truffaut fans......


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In Reunion Island in the Indian Ocean, the owner of a cigarette factory Louis Mahé (Jean-Paul Belmondo) is engaged through correspondence with Julie Roussel and he does not know her. When Julie arrives in the island to get married with Louis, he waits for her in the docks but Louis does not recognize Julie in the passenger vessel and finds that she is totally different from the picture she had sent to Louis. They get married and Louis shares his bank accounts with her. When Julie's sister writes a letter to Louis asking her sister to write to her, Louis discovers that the woman is not Julie that is missing. Further, he finds that the woman has cleared his bank accounts and left the island. Louis and Julie's sister hire an efficient private detective Comolli (Michel Bouquet) and Louis travels to France seeking the woman, but he has a nervous breakdown in Nice and is submitted to an intense sleeping therapy in a clinic. He recovers and finds that the woman, actually Marion Vergano (Catherine Deneuve), works in the Phoenix Club Privé in Antibes and lives in the low-budget Monorail Hotel. Louis breaks in her room and when she arrives from the club, she tells that she was happy with him but her former dangerous lover Richard had blackmailed her. Louis is still in love with Marion and escapes with her to the countryside. But Comolli is chasing Marion in France accused of murdering Julie.
"La Sirène du Mississipi" is a film-noir by the great director/writer François Truffaut, with an unconventional love story of passion, murder and love that hurts. The femme fatale Catherine Deneuve is astonishing, probably in the top of her beauty and is delightful to see her face and the topless scenes on the road and in the room. Jean-Paul Belmondo is very athletic, and the sequence when he escalates the wall of the hotel is impressive. Catherine Deneuve makes this film worth and gives credibility to the passion and lust of Louis. My vote is eight.
Title (Brazil): "A Sereia do Mississipi" ("The Mississippi Mermaid")


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(Contains spoilers)
People who put a Lonely Heart's ad in the newspaper are often idealists. They try to put into a few words everything they are and expect. The exchange of letters is full of hope...Louis Mahe (Jean Paul Belmondo), owner of a cigarette company on the ile de la Reunion (east of Madagascar) is so affected by the letters of Julie Roussell that he proposes to her. But not the expected pretty brunette comes from board of the "Mississippi", but - Catherine Deneuve. And we know from the start that she is a marriage imposter and that a crime has taken place. She shows no interest in "Julie's" wardrobe (she does not even get her trunk open) and neglects her canary until it dies. But the most basic tricks of seduction (an open zipper) are sufficient to transform Louis into a pliable little dog. First: a joint bank account. And then, when Julie's sister draws attention to herself, the flight. With 27,850 millions of Louis' 28 millions - she would have needed his signature for the entire sum.
Louis and Julie's sister engage a private detective (Michel Bouquet). Louis contrives to trace Marion (Deneuve's real name) in Antibes where she works as taxi-girl - her gangster-lover left her penniless, or rather centimeless. Louis finds himself unable to kill her. She tells her story: Orphan. Precocious. Lesbian experiences. Many sugardaddies. Jail - and soon she leads him by the nose again. The detective turns out to be sly as a fox and tenacious as a blood hound; Louis and Marion bury his body in the cellar. They flee to Paris, where Louis discovers that Marion has a costly taste. She worships money like a deity. He sells his firm at a fraction of its value. But when the corpse of the detective is discovered (a flood) they have to flee again - without the money. Life in a mountain lodge, together with a whining loser - Marion can think of a more cheerful life without this appendage...
A high point in the careers of everybody involved. Belmondo's self-deceit makes him nearly endearing. Deneuve looks beautiful in her wardrobe by Yves St. Laurent, and her performance is delightful: At first she fakes the fragile wifey - too timid to ask her husband for money, that's why the joint bank account is needed - but after being exposed she sounds like Katharine Hepburn in the jail scene of BRINGING UP BABY. The scenery is spectacular - the tropics, the riviera, Paris. Truffaut directs with self-evident aplomb: the sixties were the only decade when european films were head and shoulders above american productions. After this film Truffaut was able to look his idol, Alfred Hichcock, full in the face.


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The film is a joy to watch, not just for the plot, which is gripping, but also for the superb performances of the actors, Deneuve and Belmondo. Though considered a 'flop' on its first release it has become a critical success, and it is clear to see why. Deneuve's acting style suited the film brilliantly. she constantly gives the impression that she is holding back or hiding something, and her character in this film is. I will not spoil it with saying what, though it is divulged fairly early on. Belmondo is lovable as the fairly naiive but in love tobacconist. I would recommend this film to all Truffaut or Deneuve fans. It is a brilliant Hitchcockian style thriller with exciting twists and interesting relationships and characters that develop as the film does. The film is approx 2 hrs, so you feel that you have not been sold short. Deneuve steals the show in this film, and it is clear that at the time of making the film Truffaut was very much smitten with her. A definite must see for any cineaste or moviefan. 10/10


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