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This film is so lovingly made you want to be part of it forever. The flics are straight but not without malice, the goods are transparent and evildoers are hardly there. Even the "cabaret" are so naive they'll make you daydream with nostalgia in comparison to anything available on TV. Blier is fine, if a bit one sided. Louis Jouvet is perfect, you just can't have a better copper. He has the best line: "My dad cleaned other people's dirt, and I do the same". Susy Delair is unbearable, but I guess in part it's the songs, wardrobe and hairdo. Simone Renant, on the contrary, makes a great femme fatale, if a bit silent. I didn't realize she may be a lesbian as IMDb user dbdumonteil and others rightly suggest.


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One of the best film I ever saw.
The performance of Louis Jouvet is fantastic. He really 'fill' his part, and this is wonderful. He's such a good actor that you can't think of anyone else to take his part.
And both Suzy Delair and Bernard Blier are good as standard french people, trying to defend themselves in the struggle born with a murder...
The story is breathtaking and well built. You can feel the ambiance of Paris for that period (which is about 1930-40), between two wars... The clubs, the old little buildings, the neighbors.
All those things contribute to make a great movie.


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Henri-Georges Clouzot's film is quiet an example of the french transition cinema. A film between the realism of the postwar cinema and the full-of-magic and symbolism nouvelle vague. With some spots of the American classic films (but not imitating it) the director tales us a story about love, crime and the importance of points of view. We can find great actors too (Suzy Delair is impeccable).
Is interesting too, how we can find aspects of this film nowadays. Quai des Orfèvres inheritance is palpable in Woody Allen tradition. Plunging a crime situation in a picturesque environment. The naive ending is also typical in Steven Spielberg's good-ending films. And finally I would like to point out, the deja voo sensation during the photography session between Jenny Lamour (Suzy Delair) and Dora Monier (Simone Renant) in which the first one confess that she thinks her husband is being unfaithful and exactly with the woman who is photographing her. That scene is exactly the one between Natalie Portman and Julia Roberts in Closer (Mike Nichols, 2004).


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Great artists, always suffered while they were young. I could mention Mozart and Beethoven, but that is not the point.
This movie was made by H-G Clouzot whose family wanted him to succeed in the Law professions.
Its main star is Louis Jouvet who studied and practiced as as pharmacist before becoming "The Greatest Actor" and also director of France's Theater before and after WWII.
They both had health problems. Clouzot had TB while young, Jouvet had cardiac problems and died on a theater..
Such events shape the character of men (and women, of course). One might even say that today's Artists are so poor, because they had never suffered and fought for their lives.
To me, this is the greatest of Clouzot's movies. "Wages of Fear" is greater in "suspense", "Diabolique" also has more "suspense" and a better plot and is more about "female evil".
Quai des Orfèvres is more human. Clouzot was falsely accused by De Gaulle's entourage (mostly communists and Jews) of collaboration with the Nazis and banned from making films until until De Gaulle left France's Government in early 1946. De Gaulle came back in 1958, as President.
The main characters are all good souls: Jenny L'Amour may perform as a "putain" on stage, but she is not a "whore" (dictionaires make synonyms of those words, but they are not the same), loves her husband, and refuses the slight "advances from her (presumably Lesbian) friend Dora, the photographer.
Maurice the husband is jealous and timid, but runs away from the scene of the crime. He is a coward because he fell in love with a woman and traded an eventually more upscale career for love..
Antoine, the detective (interpreted by the great Louis Jouvet, basically a stage actor, performs in this French "Gray" not Noir, as well as E.G. Robinson in "Double Indemnity") shows flair for pseudo criminals, tenderness for a Negro son(?), and compassion for the true author of the crime, because he remembers that is father cleaned the latrines at some nobleman's château!!
Clouzot was capable of slapping an actor's face in order to put him in the right frame of mind, but deep inside he was very human.
I have his horoscope in front of me. He had Venus in Sagittarius which means open-heartedness, devotion, charity and altruism. For those who do not believe in Astrology, my most sincere apologies...


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What do you get when you have a tenacious, seasoned French police inspector by the name of Maurice Martineau is called to solve a murder case? Well, simply a very entertaining, fun film. The re-mastered black-and-white film "Quai des Orfevres" delivers the goods despite romance, jealousy and marriage that seem to just get in the way towards the truth of 'who done it?'
Inch by inch, technique by technique as seasoned by experience and intuition, the patience of this master Inspector etches into the truth -- but of course, with the help of a bag full of dirty police interrogation tricks.
Martineau is the centerpiece of this film. The use by director Henri-Georges Clouzot of raucous background music to intensify the drama in grand film noir style is a wonderful wrapper around the visual experience.
Martineau eventually solves the mystery and arrests the culprit. Hey, he is good!! But alas, Martineau, too, can keep a dark secret in his past. Who is that boy that is perhaps not his son?
Some things can never get solved -- even beyond the closing credits.


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Pretty good movie about a man and his wife who get caught up in murder and the police officer investigating the case. It starts off marvelously, but kind of hits a wall at a certain point. We're sure we know what happened, then a tiny plot thread that seems at first like a red herring pops back up and disappoints. Still, Clouzot's direction is great, and the acting is quite good. Louis Jouvet, who also co-starred in Marcel Carné's Drôle de Drame, gives the best performance as the clever detective. I wonder if the Coen brothers were influenced by this film when they wrote Fargo. Much like that film, the police officer doesn't appear until nearly halfway through, and then he becomes almost the focus of the film. There's also a lot of droll comedy surrounding him (although sometimes his methods seem sort of fascist).


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Ruthless mercenary Bruno Rivera (Paul Naschy in peak nasty form) betrays his pregnant partner/girlfriend Meiko (well played by Eiko Nagashima) in order to have exclusive dibs on a fortune in stolen diamonds. But Meiko manages to seriously wound Bruno before he gets away. Bruno winds up in the swanky chalet of kindly rich doctor Don Simon (a fine performance by Lautaro Murua). He also attracts the attention of Simon's two hottie daughters: the fiery Monica (luscious Silvia Aguiler) and the sweet Alicia (nicely essayed by the lovely Azucena Hernandez). However, Bruno soon realizes that something is very amiss about the isolated place and plans to escape as soon as he can. Meanwhile, the bitter Meiko tries to find Bruno so she can exact her revenge on him. Naschy, who wrote and directed as well as stars, concocts one of his strangest, most twisted and perverse horror vehicles ever with this little seen oddity. The offbeat plot and mysterious atmosphere become more weird and unnerving as the story unfolds, eventually leading to a genuinely startling surprise downbeat ending. This film further benefits from occasional moments of graphic gore (watch out for the memorable sequence with one poor guy being devoured alive by vicious flesh-eating pigs!), Alejandro Ulloa's slick cinematography, and a decent sprinkling of nudity and soft-core sex. Good supporting turns by Roxana Dupre as sassy maid Raquel, Pepe Ruiz as amorous playboy Don Serafin, and Julia Saly as the deranged Teresa. A pleasingly grim and worthwhile shocker.


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After I first saw this, I thought, "Wow, this is the most spectacular movie, visually-speaking, I've ever seen." Since that time, I've seen some that topped it but it still ranks as one of the best in that department. I'm just disgusted the long-awaited DVD was so poorly done, the quality of this transfer hardly better than the VHS tape.
The jungle scenes are filmed in Cameroon, and "lush" is the best adjective to describe what you see. Except for jungle sounds, "seeing" is certainly almost everything in the beginning as there is almost no "hearing," no dialog until Tarzan (Christopher Lambert) befriends Ian Holm and vice-versa....so be ready for that, if you haven't watched this film.
Story-wise, all I'll say is this is not the Tarzan many of us came to know in Johnny Weismuller films.....but that's not a complaint. For those craving action, and don't care about cinematography as I do, you just have to get past that silent introduction period
In this Tarzan version, our hero goes back to Scotland (his roots), adapts to that environment (for the most part....and a little too quickly for credibility, frankly) and then returns to the jungle without Jane. This is supposedly more true to the Tarzan books, written by Edgar Rice Burroughs.
The special effects in here were done by Rick Baker, one of the best in the business. Sharp DVD or not, this is still a stunning film to view and very interesting throughout its 2 hours and 15 minutes.


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SPOILERS Edgar Rice Burroughs's famous character was adapted thousand of times for the screen til one's thirst is quenched, notably during the thirties and the forties by Hollywood. Its productors made Tarzan one of the most successful cinema characters. Several years later, Hugh Hudson decided to make a more ambitious version of the monkey-man and it's a more natural, more wild and more down-to-earth Tarzan that he gives away here. Hudson skilfully avoids the clichés that you usually grant to Tarzan such as his famous scream or his friendly pet, Cheetah. Not only, are we far from the designed and invented character made by Hollwood but we are also far from the film set used to make his stories. The movie was partly made in Africa (more precisely in Cameroon). The movie introduces two obvious parts: the first one which takes place in the jungle where Tarzan lives among his adoptive friends, the apes and considers himself as their lord. But he ignores his real origins. The second one in England where Tarzan discovers the English society. Ian Holm epitomizes the link between the two parts and Hudson avoids all that could make the movie falls into the ridiculous thanks to a clever screenplay. Indeed, Holm teaches Lambert basic rules of manners so as to behave correctly in the English society and the result works. Moreover, in the second part, no-one ever laughs at Tarzan and he's even really appreciated. As far as the end is concerned well it's a both bitter and happy end. Happy because Tarzan comes back to the jungle and meets again his adoptive close relatives. But bitter too, because this homecoming means that the Greystoke line won't be ensured and is condemned to disappear... Christophe Lambert finds here, his first (and last?) great role. Sadly, he'll never equal the achievement of his performance in this movie and he'll play in poor and insipide action movies. Nevertheless, as I said previously, a clever screenplay, a performance of a rare quality, some impressive natural sceneries (both the jungle and the English country and we get a gorgeous movie. It's also an excellent rereading from a popular novel. So why is it only rated barely (6/10)?


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Greystoke is without doubt the best tarzan movie I have ever seen. Christopher Lambert portrays a very believable man trying to return to the world of mankind alongside the fantastic Ian Holm. The struggle of John to leave the jungle and the apes who raised him is quite stirring. Some very memorable scenes including where Lambert makes the jungle noises to the romantic interest, and the scene where he witnesses his ape father's death. Tarzans feelings for both worlds is well developed and really makes you feel for him.
An excellent and underrated movie.


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If you are looking for a modern film version of Buster Crabbe or Johnny Weismuller's overcoming the machinations of unscrupulous, white safari guides or cunning, black tribesmen, while saving the animal kingdom, this is NOT the movie for you. This is a recounting of the Tarzan "legend" from its beginning in intelligent, adult terms. It is beautifully filmed and faithful to the Edgar Rice Burroughs stories.
Tarzan is no action hero, but a man torn between two worlds - the natural and the civilized. In a stunning performance, Christopher Lambert portrays this angst with absolute realism. If he slips up just once the cat will be out of the bag: the audience (especially the adult audience targeted by the film) will laugh, and the film will completely lose its grip. It will plummet into the cheesy depths. But Lambert never lets that happen. (Forget what you may think of him in other movies; when I saw this film at the theater on its original release, I thought he deserved an academy award.)
The supporting cast is uniformly excellent, as other commentators have noted. I disagree with most of them in that I didn't find anything wrong with Andie McDowell's performance. I wouldn't have nominated her for an academy award - the role is undemanding - but she is completely up to it, such as it is. I don't know why her voice was overdubbed, either.
The cinematography of the African segment of the tale is absolutely beautiful. It captures both the beauty of the African wilderness and the exotic expectation it holds in the collective imagination of those who have never been there. The scenery is lush and exotic, and the colors are vivid.
But this is also a "period" film, and the cinematography also magnificently depicts Victorian England - the countryside, the city and the interiors. The costumes are outstanding. The soundtrack is beautiful without being overwhelming or obtrusive.
There are some disturbing scenes - especially for animal lovers - but no more disturbing than a few scenes in Dances with Wolves. This is an excellent film about the conflict between civilization and nature, personified in the young Lord Greystoke, convincingly portrayed by Christopher Lambert.


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This begins a series (which I'll hopefully keep up every week-end) of films that came out during my childhood  in this case, it's one I've only managed to catch now. It was clearly intended as the last word on the subject, which basically had been debased to the level of hokum over the years; however, in its uncompromising striving for a serious-minded approach (a sure measure of which is that the protagonist is never once referred to by the name he's been known all this time the world over!), the film-makers rather lost track of the fact that the thing was intended primarily as entertainment! Consequently, we get a decidedly staid representation of events  with more care given to meticulous period reconstruction than in providing a functional thematic environment for its mythic jungle hero! Even so, Christopher Lambert rose to stardom  as did another debutante, Andie McDowell, playing his love interest (named Jane, of course)  with the title role, which he handles creditably enough under the circumstances. However, Ralph Richardson (to whom the film is dedicated, this being his swan-song) steals every scene he's in as Tarzan's natural grandfather who, in spite of showing obvious affection for his long-lost kin, can't bring himself to forget tradition in an effort to understand his predicament; the hero, in fact, is much more comfortable interacting with primates (even contriving, after having gone back home, to save his adoptive 'dad' from captivity). The film is otherwise very good to look at (with cinematography by Stanley Kubrick regular John Alcott, no less), features an appropriately grandiose score as well as remarkable make-up effects (by Rick Baker)  and, while essentially disappointing as a Tarzan outing, retains considerable value nonetheless as a prestige picture of its day.


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I really liked the first part of this film in Africa for about an hour or so until the animal cruelty by civilized humans in Scotland got to me in the second half and made me so sad I couldn't watch some of it. However, this was done by the filmmaker to make a point that early natural scientists ruined everything alive they didn't understand by "studying" it literally to death without considering the rights and comfort of the animals studied, which we know now shouldn't be studied anywhere but in the natural world they inhabit, and as unobtrusively as possible. I do recommend this film as it was a mostly serious and honest story of Tarzan and made a point of showing the gross animal cruelty that was rampant in the 19th century scientific world as well as the pure and simple, beautifully primitive life Tarzan lived as a young man who was found as a baby and raised by chimps after the violent death of his parents in the African jungle.
Christopher Lambert was wonderful and very soulful in his life of Tarzan role, as was Ralph Richardson in his last film role as Tarzan's ultra-rich, nobility-reeking gramps in Scotland. Andy MacDowell was pretty and pretty good as Tarzan's gussied-up and civilized "Jane" in her first movie role. From his charismatic work in this film and his very haunting eyes, I cannot understand why Lambert did not later become a big star, but his really bad movie choices later may have done him in. The terrific Ian Holm, as a wounded Frenchman in Africa helped by Tarzan and who then escorted Tarzan back to his previously unknown, ancestral home in Scotland, was great as always.
I am so glad Tarzan got sick of and didn't stay in the animal-cruel civilized world at that time and went home to Africa in the end to live out his life with his gentle and loving ape "relatives" who raised him instead of staying in Scotland and living like royalty, which would have ruined him if it didn't kill him first.


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Greystoke: The Legend of Tarzan, Lord of the Apes is based on the classic book Tarzan of the Apes by Edgar Rice Burroughs and is a more faithful adaptation to the classic book, the film has some great scenery like the Jungles of South Africa to the Greystoke mansion, the acting is also great. Chirstopher Lambert did a great performance as Tarzan, it was also his first English speaking role. The film has some funny moments, sad moments and touching moments that makes this a real classic.
The film sees a boat crashing in the Jungles of South Africa and some time later they have a son named John, the Apes go into the hut and one of them kills the Father. The Apes then take him to where they live and adopt him as one of their own, as the years go by John grows up and learns to be more like the Apes. In his teens his Foster Mom gets attacked by Native Hunters and soon killed by them, years later a group of people are going to Africa on a expedition. After setting up camp they're soon attacked by the Natives, most escape but Capitaine Phillippe D'Arnot is left behind injured by some of the arrows. After hiding he meets John now an adult who takes him to his home and takes care of his wounds, after a while Phillippe starts to teach John how to speak English and teach him that he's not one of the Apes but a person. When Phillippe goes to leave John goes with him, after sometime they arrive at Greystoke manor where the Sixth Earl of Greystoke is shown his long lost Grandson, John is shown his bedroom and picture of his true Mom and Dad. John also meets Jane Porter and slowly as they get to know each other he begins to have feelings for her, when it's Christmas the Sixth Earl of Greystoke slides down the stairs killing himself. John then starts to miss the Jungle and wants to return but Phillipe tells him to stay since everything they had done would be for nothing. John is then torn between his life as a Greystoke and the Lord of the Apes.
Greystoke: The Legend of Tarzan, Lord of the Apes is a great classic that should be seen. 10/10


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Beautifully filmed, acclaimed director Hugh Hudson (Chariots of Fire) creates a story that brings the entire legend of John Clayton, Lord Greystoke and Tarzan of the apes to life with reverence and dignity, and with a scope not heretofore seen in Tarzan films. Christopher Lambert makes his starring debut as the young Lord, raised in the wild by a female gorilla after his parents die in Africa. Later returned to what is to him an alien world, that of class and privilege, he feels totally out of place. Once he learns what has happened to the apes that raised him and their world he realizes that he must go back. A sad but triumphant story told against a background of fantastic vistas. This is one of those films that is a must for every Cinemaphile's collection.


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I don't understand why it is so underrated on IMDb.. This movie is just the perfection.. The better adaptation of all times of the myth of Tarzan! As a french, I can say that this is the better role of Christophe Lambert, ridiculous in a lots of movies, but here absolutely wonderful, charismatic, incredible! The plot is great, well told, the story magnificent, the direction, the atmosphere, the music, every things are perfect! How believe these sequences with the Elgar music, just simply perfect..
Greystoke is truly an unbelievable movie, underrated here, I don't really know why, but really appreciated


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..especially by Lambert. This is the essential Burrough's Tarzan that I grew up reading when I was a kid. I have read a few negative reviews on this film and couldn't help but wonder what their issue was. They obviously didn't see the movie I did or they were expecting something that was more akin to the Saturday afternoon serials.
This was the Tarzan that was of the novel and the film makers should be applauded for tackling the source material and taking it seriously. Lambert was excellent. I still think he is one of Hollywood's most under-rated actors. This was a movie that he shines in.
The photography and the apes, done by Rick Baker both were amazing. You definitely felt the since of the jungle. The 2nd half, Tarzan's attempt at being civilized really pulls you into the emotional conflict he had was forced to resolve.
I highly recommend this film


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This is both an entertaining and a touching version of the classic tale, also quite intelligent, not of the 'Me Tarzan, You Jane' school at all.
It's the famous story of a child reared to manhood in the jungle by apes. A titled British couple (the wife pregnant) is stranded in the African wilds after a shipwreck. After the parents' deaths, the baby is raised in the jungle by apes. Twenty years later, this young man (i.e. Tarzan) rescues a wounded Belgian explorer, nursing him back to health. The Belgian discovers evidence that his rescuer is the young Lord Greystoke and returns him to his rightful estate in Scotland, where he must adjust to civilized society.
The movie is sort of divided into two parts. In the first half, we see Tarzan in his jungle environment. Not being an expert, I am unaware as to the realism of its depiction of ape community life, but it is certainly entertaining. For me, the more moving section is the second half, when Tarzan must meet his real family, develop language skills, and adjust to aristocratic British society, all the while wooing Jane (Andie MacDowell). He is portrayed as a 'noble savage', whether in the wild or in elegant Edwardian parlors. By contrast, the upper crust is depicted as often far more barbaric than the jungle Tarzan left.
Christopher Lambert is fantastic in his sympathetic portrayal of Tarzan in both the jungle and civilized environments. He conveys a real sense of his confusion and conflict, torn as he is between the two very different worlds, his original ape family and his new human one. Sir Ralph Richardson, one of the old British legends, is brilliant as always in the role of Tarzan's grandfather, the Sixth Earl of Greystoke.
The film focuses more on Tarzan's struggles in adapting to civilization and his inner conflict than on his jungle exploits. This unusual take on the old classic makes it both the typical dramatic adventure but also, above all, a moving personal story. I wasn't surprised to note here that its director is the same individual, Hugh Hudson, who also directed Chariots of Fire, another brilliant movie.


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There is absolutely no doubt that this version of Tarzan is the closest to Burroughs' vision. While he gladly collected his royalties from the films produced during his lifetime, he frequently made it clear that they were little more than the bastard children of his tales. The film studios' ludicrous obsession with casting Olympic swimmers as Tarzan was beyond laughable. I guess we should consider ourselves lucky that they did not set their sights on shot-putters.
Prior to this film, the most faithful adaptations were in comic strips and comic books. As fine as some of these were, we had to wait seven decades for a filmmaker with the integrity to respect the character as he had been created.


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Where this movie is faithful to Burroughs' vision, it is excellent; where it departs from Burroughs, it is superb. It is a tale of family, of the seeking of a father by a real and emotional orphan. Lambert's speaking of one of the most anguished lines in all of cinema "He was my Father!" is enough to bring tears to the eyes of the most cynical critic. Not a perfect motion picture - the notorious over-dubbing of McDowell's voice by Glenn Close is unconscionable and only explicable in terms of a very British error - but a fine if flawed masterpiece and a noble farewell to Sir Ralph Richardson.


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Don't let the wildly varying reviews of the movie deter you. You'll love it or hate it according to your own tastes. However, if for no other reason, see "Greystoke" to experience the excitement of a great actor grabbing your heart as he breathes life into his role. Ralph Richardson was not a great actor for how perfectly he could handle Shakespeare; rather, he is to be remembered for his sensitive treatment of every character he portrayed. He was never indifferent to his responsibility as an actor. His reading of the part of the Sixth Lord of Greystoke, his last performance, is to be cherished by all who love the theatre.


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I must confess that I don't remember this film very well. But, certainly I liked it. I think it was the best adaptation from Burroughs novel, really. And of course it's one of the best movie from Christopher Lambert.
A good movie about Tarzan, as cult as the ones with Weissmuller.


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The greatest Tarzan ever made! This movie is done in a way that no other Tarzan ever has come close in doing. It has every thing in it that you would want in a Tarzan movie. No other Tarzan movie ever has or ever will portray the character this well. I would say that if you have seen a Tarzan movie and liked it you should see this one you will love it, and if you have never seen Tarzan you should see this one and forget the rest of them.


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I thought this was a very daring representation of the old hokey 'Tarzan' concept made so popular by Hollywood, Weismuller, et al.
Yes; there is a lot of silly stuff. But then, the idea is silly. It is almost unbelievable that a human baby could be sired to adulthood by chimpanzees. I am tempted to say completely unbelievable, but that the concept has never been tried. And there is certainly a bit too much anthropomorphism for comfort. Though under the circumstances I can see how that would be very difficult to avoid. We also now have a much greater insight into the issues of acculturation, and know that a human raised from infancy without human behavioural prompts would ultimately never learn them in adulthood.
Still, if you can get your head around that lot, there's a great deal to admire that is both imaginative and daring. Lambert does the beast thing with tremendous aplomb. I am tempted to say that it is the most convincing and sympathetic role I have seen him play. There are plenty of other excellent performances too. Not least of which are Sir Ralph Richardson and Ian Holm.
What is particularly disturbing - and rightly so - is the simian perception of humans. We get to see ourselves almost from the point of view of the poor, dumb, helpless brutes over whom we so routinely lord it. And it demonstrates well how the phony 'civilisation' and 'morality' with which we cloak and justify our conduct, is no more than an expression of own selfishness and arrogance. It may seem a little overstated at times, especially in the hideous museum dissection rooms, but what we see isn't just a truth about the Victorians; its a truth about the way we are today. It's one that needs to be stated, and cannot be stated often enough. Holm's character's obsession with the 'ray-zor' as a symptom of civilisation - as if to possess facial hair were a primitive condition to be scorned - is an excellent case in point. Primitive bearded readers take note.
The story is depressing. Ultimately it's a tragedy. Because even though he returns to the jungle and the freedom from moral tyranny that is truly human 'civilisation'; we know he's doomed. Before the third millennium is 50 years old, wild simians will be hunted into extinction as bush meat, and their environment developed for agriculture and mineral exploitation to gratify insatiable human excess.
In the end, it's a tale about ourselves. The path to extinction that other simians tread, must eventually be followed by humans.
Highly recommended for its ethical take, despite the hokey moments.


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While it comes no closer to the Tarzan of Edgar Rice Burroughs than, say, the Johnny Wiesmuller flicks did it does have it's own peculiar, and entertaining, slant on the story. Its a well done Tarzan movie. Nice scenery, good photography, workable continuity, and a Tarzan yell that echos the one described by Burroughs. The players all perform well. The only bad points I found were, I think, related. It moves slow in places. That slow movement? Makes this picture to long. It could easily have been 15 to 20 minutes shorter, which I think would have helped with the natural flow of the plot line and the character development. But the rest of the film works well enough to carry it over these two rough spots and still leave the viewer satisfied with the flick. Short version of all the above ... Its a very GOOD Tarzan movie.


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Watch it with an open mind, it is very different, nothing's cutesy about this. Very well done realistic tale of Tarzan. The animatronics chimpazees are well done for '84, Christopher Lambert was brilliant imitating chimpazee language and behavior. I wouldn't be surprised if he took lessons from Jane Goodall.


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I have seen most of the Tarzan episodes. Certainly the rated X with O'Keeffe & Bo Derek, which is totally deplorable.
I have seen this version several times since it was originally shown.
All the cast had memorable parts, great acting the Ape sequences.
Last night I viewed same on Spanish station and other than some French dialog all in Spanish.
As far as Hudson not wanting Andie's voice he did nothing until the very end. He viewed the dailies and could have hired a dialog coach.
It seems silly that a story about apes and a man raised by them all speaking gibberish that Hudson attacked Andie.The story line in the movie was that she was an American cousin. The last time I checked Carolina was in the USA.
She was beautiful in movie and her eyes, and gorgeous hair, alabaster skin mystified all us males. She did not have to resort to Bo's level.
She has remained a LADY throughout the rest of her career and should look at this movie (half her life ago),as a starting point. Her performance, sincerity, made this movie enjoyable, believable that a half wild man could ascertain her inner beauty.
Great sending point for Sir Richardson, he did steal the movie.


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Although films about Edgar Rice Burroughs famous Rousseauian hero Tarzan have been seen by movie goers for almost a century now, this is the definitive version of the story. Greystoke is the actual story of the origins of Tarzan as set down by Edgar Rice Burroughs way back in the second decade of the last century. I've been assured by experts.
Tarzan and Sherlock Holmes are probably the most filmed fictional heroes in history. I've no basis in fact for saying that, just a gut feeling. The most popular Holmes was Basil Rathbone, the most popular Tarzan was Johnny Weissmuller. And films that they made with both those characters will be criticized no end by purists.
But Greystoke is the real deal, a faithful adaption of Burroughs first story concerning the origin of his hero. I can't think of another film which shows that Tarzan learned French before English, but that is shown here and it's only natural since it was a French survivor of a massacred safari played by Ian Holm who discovers Tarzan who has been raised by the apes since his parents who were shipwrecked on the African coast died there after his mother gave birth.
His parents were in fact the son and daughter-in-law of the Earl of Greystoke and the surviving Earl, played by Ralph Richardson is of course overjoyed to learn he has a grandson. Of course there are others who don't welcome the new heir back in society.
One who doesn't is Andie McDowell playing of course Jane. She does not communicate with Tarzan in answer to his grunts and monosyllabic commands. Tarzan speaks a concise English, French, and understands the language of the apes as well. As for the language of love, Tarzan and Jane need no lessons.
Greystoke earned three Oscar nominations for best makeup in regard to the apes, best adapted screenplay and a posthumous nomination for Ralph Richardson for Best Supporting Actor. It should also have rated a nomination for cinematography of the jungle scenes in Cameroun and the scenes of the British Aristocracy in several landmark places like Hatfield House and Blenheim Palace.
For Burroughs purists, Greystoke is the real deal.


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How his charter evolved as both man and ape was outstanding. Not to mention the scenery of the film. Christopher lambert was astonishing as lord of Greystoke. Christopher is the soul to this masterpiece. I became so enthrawled with his performance i could feel my heart pounding. The entireity of the movie still moves me to this day. His portrayal of John was Oscar worthy; as he should have been nominated for it.


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I remember seeing this film in the theater in 1984 when I was 6 years-old (you do the math). I absolutely loved it. I was Tarzan for the 2 weeks after seeing it (climbing the furniture, jumping around making monkey sounds). It started a fascination with Tarzan and monkeys, but oddly enough a longer lasting love for Christopher Lambert (keep in mind that I saw Highlander very shortly after this). 1984 was the last time I saw that film, until about a month ago. It happened to be on cable as I was getting ready for bed at 3:30 am and even though it was late and I was tired and I had to be at work at 9:00 am, I stayed up to watch this movie that I loved as a kid.
Upon viewing it I realized that it was not that great of a film and even odder then that, that Andie MacDowell's voice was dubbed by someone else. Ian Holme was of course solid as usual, and surprisingly the monkey suits still kind of held up, but what was most surprising was how good Lambert was as Tarzan. He was great! The depth he managed to capture in so few lines, his primal body language and most importantly his ability to bring this character through its extremely large ark, were just amazing.
As I stated earlier I am Lambert fan, but I'm used to Highlander, The Hunted and Fortress. In this film he was really quite good and it is a shame that he never got a chance to portray a character with such depth again.
So to make a short story way too long, I was a little disappointed that the film was not that good, but I was glad to see that Lambert was good and I do not regret staying up until 6:00am to see it.


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This is one of the most enjoyable teen movies I have ever seen (and that I wished was released to video). It was released the same year as another great comedy in which Tim Matheson played a role "Animal House" (Which is probably why it was overlooked).
One of the most memorable parts of this film would definitely be the soundtrack, which could have and should have been a formal label release. The soundtrack features a lesser-known 70's act named High Inergy whose song "We are the future", played a marquee role in the movie's Prom scene. I remember purchasing the group's album "Steppin' Out" as a kid mainly because of the look of the girls and not necessarily for their musical talents.
The closing song is one of the best ballads I have ever heard, and I can still hear it in my head. I wish I knew the group's name so that I could look for it somewhere in cyberspace.
If you liked films such as "Over the edge" and "Rich Kids", I think this is one that you will enjoy as well.


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Slipknot is a hardcore rock band from Des Moines, Iowa. Nine band members who all wear customized boilersuits, and personalized, homemade masks (eg. #6's clown mask, #0's various gasmasks, #8's tattered + torn crashtest dummie mask with dreadlocks). The music itself seems to walk the finelines between sane and otherwise, yet is performed so brilliantly and psychotic.
"Welcome To Our Neighborhood" sounds rather a generic title, but the footage itself is something else. Interviews with the band, soundbites from their latest, selftitled album, 2 live performances, and one banned-by-MTV music video (a brilliant homage to the classic Kubrick film "The Shining"), the movie clocks in at not even half-an-hour, but is certainly worth it. It is perfect for introducing any metal/hardcore fan to Slipknot.


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This DVD usually sells for around $20. I wouldn't pay this much for the DVD if I had known what I was getting, but regardless this is a pretty good disc. It displays the Knot in all their glory, with footage from their concerts... playing Surfacing, Wait and Bleed and Scissors among other tracks, including the "Spit it Out" music video, which was apparently banned from MTV.
Slipknot, for those who don't know, is essentially a symphony of the damned: nine masked men who display total chaos on stage, with machine gun drums, squealing guitar and vocals that will tear your face off and leave you wanting more. For those who've never seen Slipknot before, I cannot recommend enough you get this DVD... probably off eBay or Amazon so you can get a better deal.
A short, though well made show of the Knot.
Seven out of ten.


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I did it too. When i first saw the band, i dismissed them straight away without even listening to the music. Then one day, out of sheer curiosity, i bought the cd and fell in love with it. So i bought the video. hold onto your lunch kids, this isnt going to be pretty! the video was excellent - a great opportunity to hear the music, see some of the promo videos, and meet the band...although i *still* dont know how they can cope with wearing those masks all the time! a must for all fans of the band, and fans of alternative music in general


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Slipknot is a heavy metal band from the great city of Des Moines, Iowa in which the rockers wear their own distinguished mask (I know someone already said this, but I need to fill up space for this review). The band members are Joey, Mick, 133, Sid, Clown, James, Corey, Chris, and Paul. This band is one of the best new heavy metal bands in my opinion and should be heard by everyone that loves hardcore rock. Another good movie is called "DISASTERPIECES" which shows the band's performance at the London Arena. The "My Plague" video was shot there and is included on the DVD. The most kick ass song they made is also on there (Sic). So if you love the band you need to see this and if you love heavy metal music then you have to hear this band.


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I can't remember exactly where i heard of them first, but i listen to a little of one song and liked it. Went and bought the cd and had finally found the type of music i like. I heard about this video and knew i had to have it. It has a lot of clips from them playing in concert. Let me tell you, watching this video doesn't even compare to them in concert. I've seen them twice in concert and don't want to ever miss a chance to see them again. The other two things it has is some interview, and even a video for one of their biggest songs. couple little side notes...i saw them at ozzfest 2001 and they ruled there, but seeing them in a smaller inside stage was much better (they had some really cool things to do with being able to cut out the lights) the other, in case anyone wonders, votary means a devout follower.


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From the golden period of British films, this has my vote for one of the funniest of all time. Screened yesterday at my Film Society to a rapturous audience, I was astonished at how well the comedy has lasted (made in 1950!). It is really down to the expert timing and inimitable playing from two of the finest actors Britain has produced: Margaret Rutherford and Alastair Sim. Adapted from a play by John Dighton, this farce is briskly handled by director Frank Launder. The plot is simple: A ministry mistake billets a girls' school on a boys' school. I will always laugh when I think of this film.


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One of the flat-out drollest movies of all-time. Sim and Rutherford are at their best matching wits over the predicament of an all-boys and all-girls school sharing the same quarters. Slapstick has never been this sophisticated.


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This film, without doubt, is the clearest example of the British humour the Germans can't understand. One-liners run rampant in a film spawning one of the greatest series of films in British cinema history (St.Trinians). The story of bureaucratic incompetence amid post-war trials enables Frank Launder to direct maximum talent from all the cast. It's probably the only film in which Margaret Rutherford meets her match, in Alastair Sim, for forceful characterisation (she still wins though). Joyce Grenfell (bless her) and Richard Wattis both deserve mentions in Dighton's masterpiece of English etiquette and stiff upper lip under pressure.
No Rutherford/Sim/Grenfell fan would be without this in their collection. Absolutely brilliant. Why 9/10? Only 83mins long.


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