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Frank Sinatra has one of his best roles as a reformed heroin addict coming back to his Chicago neighborhood after an extensive stay in a clinic. He plans to stay off the drug and find work as a drummer, but he can't avoid running into his old friends. He had been arrested originally not for any drug-related charge, but because he was caught dealing in an illegal poker game. His skill at poker has earned him the nickname of The Man with the Golden Arm, and the men who run the game, one of them being his former heroin connection, want him to deal again. Meanwhile, Frank has to take care of a woman whom he injured in a car accident, Zosch (Eleanor Parker), and make up with his old girlfriend, Molly (Kim Novak). The film is great at putting us in Sinatra's mental state. When he feels sure of himself at the beginning of the film, I felt good for him. But, when a promised phone call doesn't come one day, he descends into depression and goes back on the smack. Later, when he finally gets to audition, he arrives completely strung out. His embarrassment when he can't play the correct beat is devastating. He had such big dreams, and the other musicians don't even pay him a bit of attention as he rushes out of the room. The film moves quickly and it shows Frank's drug problem in a realistic light without turning into a social message picture. The actors are uniformly fine. Elmer Bernstein's score is one of the best of its time. The only thing I don't like about the film is the ending.
SPOILERS
Although I really like the character of Zosch and Parker is very good in the film, they could have done a little more to fill in her backstory. The ending is a little too pat. While there is surely pathos that will remain with the characters after the film closes, Zosch's death ties up all the loose ends a bit too neatly. Frank is free to love Molly and he won't go to jail. Also, his dealer is dead, so at least the immediate threat is gone. Well, I guess in Hollywood there's always a desire to tie everything up in a neat little package. It harms the film a little, but, as it stands, it's still one of the best and most adult movies about drug addiction I can think of. 9/10.


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Lots of scenes and dialogue are flat-out goofy, but when you add it all up, i.e. Machine's daily cycle from depressing walkup to depressing bar to depressing burlesque hall to depressing smoke-filled poker games and back home again, you get a weird sense that somebody, somewhere is trying to give a faithful depiction of the junkie's life circa-1955. Whether it's Sinatra, who obviously would have bumped up against this type of character growing up in Hoboken and working in numerous bands, or Preminger, who uses the soundtrack and the Frankie-Zosch subtext to slip the addict's interior worldview past the Hays Code cage, you get a good companion piece to On the Waterfront, which was filmed almost exactly the same time. Sort of a faux-realist work that leaves you realistically wondering how deep the drug culture is embedded in American life.


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Great little ground-breaking movie (in 1955) about an important subject.
I wasn't expecting much from Sinatra's performance and was pleasantly surprised by it. Loved Kim Novak! She was gorgeous!
Loved the jazz score by Elmer Bernstein! As great as that by Lazlo Schifrin for "Bullitt"! I am very surprised it doesn't seem available on CD (if anyone knows about the soundtrack's availability on any other format, they should post it here somewhere!).
Preminger's direction was, as usual, borderline flawless.
Haven't read Nelson Algren's novel nor have any idea how faithful the screenplay was to it. The subplot of Frankie as a "hot" card dealer was a bit of a surprise, too, as were a few other things. But see for yourself. It's very much worth seeing...


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A truly excellent look at the world and the realities of being a heroin addict. The movie is one that will hit much too close to home to those who were involved in the drug culture and have knowledge of what being(or being around) a heroin addict really is. Good movie, which will never truly be outdated. Excellent performances by all involved and the minimalist set is Preminger's way of showing how bleak a JUNKIE'S world can become. Worth a look--an education of sorts. The golden arm is a worried look at the truth of the underground life of pain a junkie lives in.


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From the crash of the opening theme, "The Man With the Golden Arm" is classic 1950's entertainment. No subtlety here, Frank comes home from prison with a monkey on his back and goes right back to the old neighborhood, where the old scumbags still lurk. This is a tale of his dark ride with all of his emotional baggage intact. The performances are all a bit overripe, but that's part of the fun of watching. Darren McGavin and Arnold Stang are unforgettable, and almost steal the show. This and "The Manchurian Candidate" are the two greatest Chairman of the Board films, in my humble opinion. Don't miss either one of them.


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A dark and painful look at the perils of drug addiction, Sinatra is wonderful in this film. Just watching his frenzied writhing and screaming and destructive rage near the end of the film is enough to make anyone think twice about trying heroin; maybe they should show this to kids in health class instead of the mindless drivel we are compelled to endure year after year.
It's the story of a man who is simply trying to make a new, clean life for himself after being in prison, trying to rid himself of his drug habit and his job of dealing cards in illegal gambling operations, who is pulled down, pulled back into the muck by the evils of human nature. He is being taken advantage of by his employers, the drug dealers, and even his enigmatic, crafty-yet-stupid wife.
Even if you didn't like the film itself, it's worth seeing just for the soundtrack. It's all heavy, swinging jazz with large drum and brass sections. This, with its groovy, yet slightly sinister sound, helps set the mood, along with the grinning, snaky drug and card dealers, who always seem to hover like vultures around Frankie Machine.
I recommend this to anyone -- especially if you like film noir, zoot suits, fedoras, or jazz.


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Great book, great movie, great soundtrack. Frank Sinatra shows in this movie that when he wanted to put the effort in, he could act. The ending is a bit schmaltzy, but for the time it's understandable the studio wanted a happy ending. The graphic nature of the heroin addiction (groundbreaking for the period) is a plus. Add the terrific soundtrack and you've got one of the great American movies.


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STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning
One time heroin addict Frankie Machine (Frank Sinatra) gets out of prison to his bumbling jailbird partner Sparrow (Arnold Stang), needy cripple of a wife Zosch (Eleanor Parker) and bit on the side Molly (Kim Novak.) He's trying to make it big as a drummer in a band, but until his big break comes along he's stuck doing the only other thing he was any good at other than being a junkie- dealing cards in high stakes games. And try as he might, even prison hasn't cured him of his addiction to the devil's drug- causing him to lie to and deceive all those around him and driving him to desperate measures to feed his habit. His yearning to come off it is his only motivation towards a happy ending.
When people think of Frank Sinatra they generally think of classic high pitched songs like Under My Skin, New York New York and It Had to Be You. But lest anyone forget he was actually a renowned actor too and, if his performance in the acclaimed From Here to Eternity wasn't enough, he will also be remembered for this cutting edge drama, dealing with what was at the time the ultra taboo subject of drug abuse.
The film is often listed as one of the first to feature graphic heroin use (probably the reason behind the 15 certificate) in a time when it was a subject that was still very much pushed underground. In his portrayal of the main protagonist, Sinatra is fine, perfectly conveying the despair, desperation and sincerity of a man losing every second chance that is being given to him. His cold turkey scene is much more intense than Ewan McGregor's in Trainspotting. The first co-star to make an impression is Parker as Machine's demanding, needy cripple of a wife, using her husband's guilt and sense of duty to all the effect she can. Novak as his secret lover still manages some strong moments but is less of a star than Parker. Stang does his usual comic relief thing, as the bumbling sidekick who trails the leading man around with his waspy New York accent.
Director Otto Preminger does allow the pace to drag a bit sometimes but this is still a powerfully absorbing film all the way, with plenty of unexpected twists and turns and which should be admired for being one of the first films to bring such a grim subject so powerfully to life. ****


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I saw this movie about 12 years ago and I can still remember it as if I just saw it recently. That is how much this movie has affected me.
Considering this is a movie from the 50's I think it was ahead of its time. It surprised me as in how it maintains its integrity in this subject some might have considered taboo back then. Very realistic in showing the tumultuous and heartwretching journey that an addict chooses to embark on. One can only imagine how the audiences were affected by the realism of this movie back in those days.
I personally think is was one of Frank Sinatra's top five performances in the big screen.
When others are discussing movies dealing with Mental Illness and/or addiction I always recommend The Man with the Golden Arm as one of the top five to watch.


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Just getting released from a six month drug rehabilitation program and having served his time for dealing cards in illegal gambling card games, Frankie Machine (Frank Sinatra) has high hopes for going clean and finding a new life as a big band drummer. However upon returning to his old crime-ridden Chicago neighborhood, he soon finds the pressure mounting from those around him, including his wheelchair-ridden wife Zosch (Eleanor Parker), to return to the old money-making "Dealer" lifestyle that first got him started on the path of self-destruction that is being an heroin addict.
It's very rare that a film has so many great character performances as this one does. Frank Sinatra is superb as Frankie Machine, and realistically portrays the symptoms of a drug addict going through withdrawal arguably better than anyone else had ever been done before him. Sinatra seems to possess a keen understanding and awareness of his character here and expresses the constant battle for control over his own life that is forever going on inside the heart of the man that is Frankie Machine. Parker as his crippled wife Zosch wants to possess Frankie forever, to have him "deal" to make good money so as to take care of her and pay her ever-mounting medical bills. She seems terrified by anything she sees as a threat to her control over him, such as the freedom the life of a drummer might offer, or anything that might change the status quo between them.
Onlooker Molly (Kim Novak), a girl who lives in the same building and seems to possess real, strong genuine feelings for Frankie, having no desire to control him but only to help him proves the best thing Frankie has going for him in the world if he can just stay straight long enough to wake up and realize it. Darren McGavin as the heroin drug peddler Louie however is always there just waiting in the wings knowing just the right buttons to push, just the thing to say, to get a former addict to revert back to that old habit, one profitable to Louie but deadly for the addict.
The setting too seems to take on a life of its own, constantly dark, gritty, seedy and crime-ridden with nowhere near enough positive things to look forward to in life, a place where it's all too easy to escape via a bottle or drugs, a quick "fix" that's truly no fix at all but only works to keep one in the dark away from the daylight and all the bright prospects the world might have to offer. It's a neat touch that when Frankie is on the right track, the setting always seems brighter than when he's headed down the wrong road. While some argue it is a bit dated, to me this is a gritty film featuring a realistic inner war within a man for control over his own fate, one that features very strong character performances by all involved. Given that, THE MAN WITH THE GOLDEN ARM gets my highest possible recommendation.


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But quite dated today. Otto Preminger made this movie without the certificate of approval that was needed then. It was enormously courageous and risky as he could have lost his investment and future.
The film is not true to the wonderful book and is unfortunately hollywoodized.
Frank Sinatra (and I've never been a fan) playing Frankie Machine, is astonishing in his performance. One forgets it is Frank up there, the level of realism he brings to the role of a jonesing drug addict has to be seen to be believed.
Kim Novak, eternally gorgeous and talented, does not disappoint in the role of the devoted outsider, always there for Frankie.
Supporting roles, particularly a young, handsome and talented Darrin Mc Gavin, are faultless.
Eleanor Parker, playing Frankie's wife, is hopelessly inept. She swings from irritating to melodramatic and is far too over the top. A forgettable performance.
The stagey, cheap settings are appalling, as if a firm gust of wind would blow the whole tacky painted cardboards over the horizon. Almost laughable at times in their tawdry cheapness.
The music was irritating, poundingly so at times. As if each nuance of the script (example: when Louie is getting Frankie his fix out of a drawer) had to be underscored at a high decibel level.
7 out of 10. Sinatra truly deserved his Oscar nomination. Worth seeing.


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The Man with the Golden Arm, Otto Preminger's controversial, panoramic crime drama, plays itself out among the mental descriptions of its living and architectural occupants, in rhythmic, lashing arrangement. Opening the film, a closeup from within a bar of Frankie looking in through the window, already tells us to the prominence that the protagonist's subjective experience will grasp. Pulled in the direction of increasingly slighter spaces, the film shuts itself off, as the local gangster's long-drawn-out poker game shuts itself from the daylight, bolts itself in, as Sinatra's Frankie Machine has himself locked in a room in the celebrated scene of his harrowing struggle to overcome his habit. In delving into the shapes and faces of its jazzy urban haven, the visual traffic in The Man with the Golden Arm characterizes skewed psychological circumstances, forming an overpowering environment, as maintained by the recurring tracking shots into closeups of Frankie's eyes.
The grace of this fiery drama, striking as early as the exciting opening crane shot, displays the command over the perceptible world that studio production allows. The wonderfully dilapidated urban sets define an independent place with no beginnings or ends, an indeterminate state, the sort that in reality hardly last as long as this skid row seems to before being gentrified or leveled. The flair of certain performances, particularly Robert Strauss's as the wonderfully named underworld gambling boss Schwiefka and Arnold Stang as Frankie's trusty four-eyed lapdog, becomes this fiery surreal feature pleasingly. The premise of drug addiction, Sinatra's powerhouse performance, Elmer Bernstein's infectious, forceful jazz score and Saul Bass's famous, influential and controversial opening sequence centering on the animated paper cut-out of a heroin addict's arm ensured that, in its era, The Man with the Golden Arm presses forward upon the cause for realism in the still reticent Hollywood. It is impressionistic and subjective, as I say, but its intent, its force and its spirit are much closer to home.
What absorbs me the most in this film is its aspect as a gangster film. It has the illegal card games, short cons, the fights, the guns, the double-crosses, characters on the lam, a femme fatale, a stunningly sexy gun moll, the shady nightclubs and urban landscape, but it does more than exploit this environment for entertainment. Really, it is the perfect environment, and genre, in which to tell this story, a crime-ridden urban borough where it's all too comfortable to escape through a bottle or two, or three, or four, or drugs, a transient dose that really just functions to keep one in obscurity from any enlightenment and all the clear scenarios the world could bid.


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A proof that it's not necessary for a movie to have a deep many-layered story and other sophisticated elements to be a good movie. Even if the story could be expanded in many directions, especially in more sociological way (people lust for money) it seems that it's perfect just the way it is. Through many sudden changes it takes the spectator to the end without any unnecessary complications and without letting the spectator taking the eyes of the screen.
But the acting for me isn't so good. With the exception of Lindsey McKeon the others were average or even worst. In some scenes they just empty-stared in front of themselves. For exception of Lindsey which was more convincing. It's a really simple movie for just laying back and enjoying.
7/10


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I saw this mini-movie when it first aired, and loved it!It kinda funny to see how far people will go for money.It's also funny to see how much a boyfriend can be "Whipped". "Whipped" enough to kill. I think the cast was great, especially the character Kristin.Without Her smooth talking,and deceptive looks the movie would have not been the same.
I never use to watch USA but now it is one of my stations.



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Clifton Webb as "Mr. Scoutmaster" is one of the all-time greats for comedy and remembering an innocence, now diminished in the world. I cannot understand why the networks like American Movie Classics and such do not show this movie, although I have requested it time and again.
This movie should be shown to children now for its portrayal of loyalty, respect, dedication and resolve to achieve the best possible on an individual basis. There is so much low self-esteem talked about in present daily lives, but this movie, among many, many others, would be a wonderful learning tool for the present-day younger generation to see what can be accomplished by common sense and decency and pride in yourself and your achievements to better yourself. Sad that this type of movie does not appeal to modern audiences. It certainly appealed to us 'baby boomer' generation of yesterday. OLD LESSONS ARE UNIVERSAL AND TIMELESS.


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A middle aged man, Robert Jordan, set in his ways, takes on a boy scout troop after his predecessor leaves under duress. Jordan takes on the pack mostly to learn what the boys like so he can revive his flagging radio program which is losing it's appeal to the younger set. He has a rough go at first with the boys, especially so with Mike, an 8 year old who forms an attachment for the older man which is anything but reciprocated. Do things work out for Jordan and the scouts? Check out this entertaining and amusing film from the old days.


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This movie was never intended as a big-budget film but was a cute little picture that pretty much anyone could enjoy. It probably won't change your life, but it is certainly charming and engaging.
Clifton Webb plays a curmudgeon (that's certainly not new) who has a TV. However, his ratings are failing and he is worried about cancellation. So he decides maybe he is too out of touch with kids--as he and his wife have none of their own. So, he volunteers as a scoutmaster and regrets doing this almost immediately! Remember, he IS a curmudgeon and doesn't particularly like kids. To make things worse, one of the kids really likes him and follows him like a lost puppy. No matter how indifferently he acts towards the kid, the child just wants to spend time with him! The kid is cute and nearly steals the show all by himself!
What happens next and the twists and turns of the movie are something you'll just have to find out for yourself. Understand that this is a light, cute and yet not cloying movie you'll probably enjoy.


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Robert Jordan is a television star. Robert Jordan likes things orderly, on time and properly executed. In his world children are to be seen, not heard. So why would Mr. Jordan want to become the master of a rambunctious band of Boy Scouts? Ratings. His staff figures that if learns how to interact with the youth, they will be more inclined to watch his show. Of course watching Jordan cope comprises most of the fun.
Like Mr. Belvedere and Mr. Belvedere Goes to College this one is sure to please.
ANYONE INTERESTED IN OBTAINING A COPY OF THIS FILM PLEASE WRITE TO ME AT: IAMASEAL2@YAHOO.COM


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WARNING: MAY contain some minor spoilers.
Hard to say anything bad about this movie, except for one thing.
YOU DON'T GET TO SEE IT MUCH ANYMORE !!!! Then again, maybe that's because you have to be home in the morning or at 3 am to catch it the Fox Movie channel.
Too bad, for this is another gem lost to time, Clifton Webb takes his patented sour, know-it-all demeanor he had perfected as Lynn Belvedere ("Sitting Pretty" and sequels), and turns 'Nature Boy'.
Actually, it's like this.
Webb plays Robert Jordan the host of a Sunday children's educational program that is losing audience share, and the network breaks it to him that he needs to do something about it, or else.
Part of the problem may be due to the fact that the married host has no children.
BUMMER !!! But as such things happen, the local church pastor needs a leader for an unruly troop of Boy Scouts, and finds a willing victim ... ahhhh 'VOLUNTEER' ... in the host, so Jordan he takes the position.
Problem solved, RIGHT ???
WRONG !!! This being a movie there are other problems.
For example, it turns out one of the Scouts is the son of his boss at the TV station, which causes a little friction; especially since the kid is overweight, has asthma as well as an attitude.
And he is the more reasonable one.
Also, there is this Cub Scout, Mike (George Winslow) who wants to hang around, being the 'stray puppy' type.
As it turns out, the reason is that he has no folks of his own, but is cared for by a relative who hasn't much time for him.
It is things like this that makes his job harder than expected.
All in all, Webb becomes more understanding of kids, and not only saves his show but learns a rewarding lesson, and eventually even adopts Mike.
Still a great movie after all these years.


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A Brief History of Time is not only a documentary on the beginning and the ending of the universal and reality as we know it, this is a story about the man and the genius known as Stephen Hawking. It is his story that reflects the story of time and change throughout the history of the universal. The style of the documentary / editing style of the interviews begin and end with a quick fade to black. Almost like blinking in between segments and interviews, the documentary gives you an odd feeling like this is the view point of Stephen Hawking and not the eye of the camera. The running time is only a little longer than an hour. It is a short story, then again, its subject matter could be talked about for days and days. An interesting and proud story.


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Based on Stephen Hawking's "A Brief History of Time", this amazing film by Eroll Morris documents the the life and work of one of the greatest minds in the history of astronomy. He has contributed more to Science, despite his debilitating disease, ALS, than an able bodied Scientist could only dream of.
The film begins by telling of Hawking's childhood, and how he was a poor student that was recognizably bright. He slacked his way through college and university, where he was diagnosed with the disease that would take away normal functions of his body, but would allow him to continue living and thinking perfectly.
Morris discusses how the brilliant mind of Stephen developed from childhood to the present, at one point his mother tells how- when she was pregnant- she prophetically bought a astronomical atlas to read while in the hospital. Hawking himself narrates the timeline of his discoveries, while Morris interviews close friends and colleagues whom have been lucky enough to befriend the magnificent man.
He tells how he was first intrigued by the discovery that the Universe was expanding similar to how a star would expand. We also know that stars eventually die and become what is now known as "black holes", if this is the case,will the universe not too begin to contract, reversing itself until we reach the "big crunch"? as Hawking puts it. And when the universe does begin to recede, will time not "reverse"? When posed this question, I began to think that death may not be the end, perhaps one day time will go backwards, and our death will become our rebirth and our birth our death. The universe is one big cycle just like everything else in life.
This is what Hawking is telling us, everything in the universe recycles itself. This is completely logical and can make your mind wonder in a million directions pondering it. This is why i love this film and why isay it is a MUST SEE!!! An 11 out of 10 ...Morris never ceases toamaze!


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I have been a huge Errol Morris fan ever since I saw Thin Blue Line and heard it saved a life. To date, this movie is his best piece of work.
The plot is a mixing of Stephen Hawking's Book of the same title intertwined with the man's life. The story is told through interviews with family, friends, and Hawkings himself.
Don't be fooled; It totally sounds boring but the whole package is dynamic and thought provoking. The blending of life and theories is seamless and thoroughly entertaining. I was particularly moved at how well they humanize this genius and omniscient man. Tho physically powerless, Hawking's greatness and shear brilliance is encapsulated into a real live human being that we are allowed to laugh at and aw over at the same time.
Find this movie. Watch it and enjoy. And if the studio who owns this picture reads this, A 15 year Anniversary edition would be perfect NOW...


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Stephen Hawkings is a genius. He is the king of geniuses. Watching this movie makes me feel dumb. But it's a great movie. Not highly entertaining, but very very intriguing. The movie centers around wheelchair bound Stephen Hawkings, a man who makes Einstein look average, and his theories and scientific discoveries about the universe, time, the galaxy, and black holes. Everyone at sometime or another during a really intense high comes to a moment when they think they'v got the universe and the cosmos figured out and they swear as soon as they sober up they'll write it all down. Well here is a man who actually held that feeling for more then six hours. Here is a man who despite suffering from Lou Gehrig's disease has become the greatest mind the world has yet seen. Watch this and listen in on how he has formulated theories on black holes. Awesome. You won't be the same after you see it.


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A brief history of time. The cosmological content of this documentary is fascinating, the thoughts provoking and the man... brilliant. Yet I had a hard time enjoying this documentary.
The way the family members and professors are interviewed feels so unnatural. These members were interviewed on specifically built sets and were directed uncomfortably. Mostly, their accounts came across as very acted and forcefully directed. The (deliberate) non-inclusion of asked questions manipulates the given information into a very harsh and impersonal format.
I do not know who are responsibly for the interviewing but they did a dreadful job and with that took away from the viewing experience.
Overall still a fascinating documentary well worth seeing, if only for the interesting concepts presented.


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Stephen Hawking has one of the greatest minds, or if that's too simplistic to coin for him one of the most curious and daring, that also happens to be trapped in a body crippled by a disease that leaves him in a wheelchair and a computer to communicate. Perhaps I didn't know enough about Hawking going in (I always knew him as 'that guy speaking like a computer who knows a lot about like, the universe and stuff, you know') that he is British, that he was a rather normal kid, and, perhaps most remarkably, the disease that could have possibly left him dead at 21 put him in the position of putting his life in focus.
According to Errol Morris's equally curious and coolly, visually dazzling portrait in A Brief History of Time, Hawking was already brilliant, in spurts (when other Oxford students were faced with daunting algebraic equations, he answered more than three times the amount in an hour's time), but when faced with challenges, mostly from other theories by other scientists, he bounced back with his own. Beneath some of the complex scientific talk- and if you got any less than a B- in astronomy, like me, you'll need to keep your ears especially perked up in explanations of time's possible infinity or the peculiarities of the black hole- there's a human being who just wants to enjoy his goose on his birthday.
Morris captures Hawking just right for those who can't get enough of his theories on how particles may be going in and out of a black hole, or if there is even a creator or not depending on how much one takes into account Einstein and time. But he also captures the back-story on the man and his condition, which creates this as something much more interesting than if Morris had done one or the other. Too much talk about the cosmos would make one's head hurt, and too much about his personal life and one might wonder what all the fuss is about this bloke who's book of the film's title was on bestseller lists for over five years.
Almost in spite of his appearance, Hawking defines what it is to be a conscious entity in a universe which, he observes, he won't be apart of if and when the universe goes kaput another 10 billion years from now. Through it all, in A Brief History of Time, we get a glimpse of a genius and his humility (not to mention his colleagues and family's' ten cents here and there) through an unfathomably hypothetical and mathematical thought process of the universe.


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An introspective look at the relationship between Hawking and the space/time contingent. This film expores the Gallilean and Newtonian laws and there relation to Einstein's Theory of General Relativity.
The film is methodically directed, exposing details of the man (Hawking) as well as his work (Black Holes). Interviews with his family are a little too long so sadly there is less development of his theories and ideas.
A Philip Glass soundtrack superbly compliments the film. Only one other man could compose such haunting instellar melodies (Jean Michel Jarre).
Overall I would highly recommend this movie on the basis of Hawking's 'nuggets of wisdom' and his adequate explanation of an Event Horizon!


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Subject Matter: Cosmology, Quantum Physics and Stephen Hawking
Soundtrack: Phillip Glass
Have I died and gone to Heaven?
You will be enraptured.


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Johnny Crawford is great in this movie of a troubled teen coming of age in a generation that was in the middle of a cultural and spiritual upheaval. Billy Graham does a good job of portraying life in this sweet, sometimes corny, but all the way sincere flick. He gives us a look at not only the social scene but gives good, solid advice that holds true today about morals, decisions, the generation gap, teen dating, (some of the statistics that are given in this movie are astounding. They sound like today's stats). Just to see Billy in his younger days is worth seeing. It's an awesome movie. It made me realize that human nature does not change, even though hair, fashion and language may change, humans are still struggling with the same issues they have been struggling with for thousands of years.


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The theme song often goes through my head after all these years. I was never much of a TV watcher, probably because I was just entering my busy teen years when my family bought our first set in 1948 and it never became part of my life. But from the first episode of Lawman I was hooked, and it is the only TV show I've ever scheduled my week around.
Intelligent, believable, well-written and well-acted, and John Russell is still to me the most beautiful man I ever saw. (Peter Brown was no dog, either :o)
I agree that it is one of the most underrated TV series of all time. I hope I can find some episodes for my grandchildren to watch.


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At the same time John Russell was playing ranch owner Nathan Burdette, trying to free his no good brother Claude Akins from sheriff John Wayne in Rio Bravo he was working the other side of the law on television. These years were probably the high point of Russell's career, his most noted screen role and his most famous television role, Marshal Dan Troop of Laramie in Lawman.
Russell kept law and order in Laramie the same way that James Arness did it in Dodge City on Gunsmoke. Unlike Gunsmoke, Laramie never developed the all the minor characters that gave you the feel of Dodge City at the time. Instead it concentrated on Russell taking care of business and learning the business of law to his eager young deputy Peter Brown.
Brown played deputy Johnny McKay who was a most respectful young man, constantly referring to his boss as Mr. Troop. He was pretty handy with a shooting iron, but was inclined to be impulsive. Good thing Marshal Troop was around.
The other series regular was the Kitty Russell of Laramie, Lily played by Peggie Castle. This is where Lawman most resembled Gunsmoke. There was an unspoken understanding between Russell and Castle that even the smallest of children couldn't have missed. And I wasn't the smallest of children when Lawman was in first run.
Sadly Peggie Castle developed substance abuse problems after Lawman's run ended. I remember a small obituary marked her passing in the first half of the Seventies. She was one beautiful woman.
Lawman was good no nonsense western from that golden era of the adult television western. It was one of the best.


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It is a shame that this series hasn't been remastered and produced on video by Warner or some other professional movie house.
Copies of most episodes are available, but are usually of poor quality, being copies of copies of copies.
As I understand it, 92 episodes were produced during its run, but only 15 are noted here.
Some of the series writers, such as Richard Matheson, went on to become noted authors.
Excellent series, well written, well staged and well produced.
Michael Weldon,
Udon Thani, Thailand


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William Haines sparks this tale of a brash cadet who thinks West Point will really be something now that he has arrived. Terrific goony comic performance by Haines was his trademark--one that made him a top box office star from 1928-1932 and one of MGM's biggest stars. Joan Crawford and William Bakewell are fine too. And although this storyline may seem trite now, this was a huge hit, putting Haines and Crawford in a college football (a national craze during the 20s) story. After Haines blows off his big mouth one time too often and nearly gets shunned by fellow cadets, he turns in a wonderful performance as he swallows his pride and gets into the big game against Navy. Even with a broken arm, he wins the game for Army and regains his place at West Point. It's easy to see from this film and Show People (with the always underrated Marion Davies) why Billy Haines was a huge star of the time. He needs and deserves to be remembered!


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It's a mystery to me as to why I haven't caught up to this masterful 50s caper film  turned brooding noir until now, but I'm certainly glad to report that it didn't disappoint. I haven't seen any of Jules Dassin's American films for several years but based on this I'll probably be going back and re-watching "Brute Force" and "Night and the City" quite soon.
Jean Servais, a name unknown to me but a face rather familiar in its world-weariness and coldness, has recently completed a lengthy stay in prison and as is the way in these films (hey, there wouldn't be a story otherwise) isn't coping well with the straight life. An opportunity presents itself: an easy multi-million-dollar jewel heist that can be done at night with no fear of discovery by a few men. The taut filming of the robbery, half an hour of total silence, is what people most remember about the film of course, and indeed it's pretty remarkable; but I liked the half-completed location of the final shootout, once the robbery has gone sour thanks to the big mouth of one of the thieves; the excellent portrayal gritty sides of Paris in stark black and white; and Servais' channeling of both Eddie Constantine and Humphrey Bogart in his spare but brutal performance.
Perhaps it's a bit too sentimental in the end, but this is one of those classics that really does live up to its reputation just as pure entertainment even if what it has to say about the human condition isn't exactly deep or thought-provoking; George Auric's at turns modernist, romantic, and jazzy score is another highlight.


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You can take the crook out of the joint, but it seems exceedingly more difficult to take the joint out of the crook. We've seen this kind of character in this kind of situation before (and since): in movies like BOB LE FLAMBEUR, ELEVATOR TO THE GALLOWS, TOUCHEZ PAS AU GRISBI, THE ANDERSON TAPES, etc. Too many times to mention. What helps make this one one of the more notable is (of course) the heist itself, which plays out wordlessly in real time, and the demeanor of the lead. Bogart would think twice before crossing this guy. The ironic ending is perfectly suited to this story (it almost demands it). All around, one of the better films noir.


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There are not many films which I would describe as perfect, but Rififi definitely fits the bill. No other heist film has come close to it, before or after. The plot is simple, but engrosses you. It never ceases to amaze me how absolutely gripping the film is every time you view it. You care for all the characters, even though they are bank robbers, because they are presented as human beings with all their problems and flaws. It's hard to imagine any other actor besides Jean Servais in the role of Tony le Stéphanois. When the members of the crew are each talking about what they are going to do with their money and finally get to Tony, his answer and the expression on his face says it all. While the 30 minute heist sequence is the most famous part of the movie(and rightfully so)the film actually gets better afterward.The director Jules Dassin knew what he was doing when he decided to not have any music during the heist scene or the final shootout, but instead inserted a great climactic score during Tony's final ride towards his destiny. To think that if Dassin, an American Director, had not been blacklisted in Hollywood and forced to work in France, this masterpiece of cinema would never have been made the way it was. It certainly wouldn't have been as good if it was made as an American film during that time. It was absolutely horrible what Dassin had to go through, but he did achieve his greatest work because of it, to the benefit of all of us. I'm just cringing at the thought of the upcoming Al Pacino remake. Most heist films since Rififi have already borrowed from it in some way or another. There's no reason to remake this masterpiece other than money. Leave the classics alone!


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American expatriate Jules Dassin makes an award-winning French gangster film. The plot involves Tony the Stephanois, a hoodlum just out of prison, who takes his band of thieves on a $240 million jewel heist. Unfortunately, his ex-wife's relationship with a notorious gangster named Grutter, an Italian safe-cracker named Cesar with a weakness for women, and the missteps of his own friend Jo cause the successful heist to turn into a bloody race against time as Grutter holds Jo's son hostage for the cash in typical "crime never pays" tragedy fashion.
The "rififi" in the title is explained in a song to mean slang for basically violence and sex, and the full title, "Du rififi chez les hommes" means roughly "Some naughty in the house of men", which is pretty much where the fatal flaw of the characters take place. Leave it to a gangster film to place most of the emphasis on the missteps on the women, but this time Jo's wife gets the last laugh (if you could call it a laugh) when she predicts "All of you are just going to kill each other." The characters aren't the most sympathetic and the women are mostly weak, but Dassin still builds an extremely well-crafted suspense film out of them as they pull off a heist that requires the utmost quiet, hide the goods, and then attempt to survive what basically becomes a cross-country cat and mouse game. In the mix are some very amazing photography and a fine attention to detail in editing, leading to a pacing and visual experience that well overstates the otherwise generic plot. It's not only easy to see why this is held as a classic, it's also easy to see why it's among the top 250 on the IMDb: it's suspenseful, visually magnificent, full of sex and violence, and maintains that classy gangster attitude we film buffs like so much.


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This 1955 heist film follows Tony le Stephanois, recently released from prison for theft, as he undertakes the robbery of his life. He teams up with his old heist buddies and they bring in an expert safe-cracker, Cesar from Milan (played by Jules Dassin, who also directed. He only directed because he had been blacklisted as a communist in the U.S. and couldn't work in Hollywood.) The brilliance of this film is the 1/2 hour during the robbery. During all this time, there is no dialogue and no music, only the muted sounds of digging through the floor or drilling the safe. This increases the suspense and draws you in. They get away with several hundred million francs worth of jewels, but a jewel offered to a dancer by Cesar brings their haul to the attention of a trio of brutal brothers. They set out to get the stash for themselves and bring misfortune in their wake. Great heist/gangster movie, but I prefer J.-P. Melville's films in this genre.
This movie is like some lemonade I had last night. I had gone to a Caribbean restaurant and the lemonade was made with sugar cane juice instead of sugar. It also had a lot of ice and was heavy on the lemons, leaving it fairly sour (which I like). The sugar cane juice imparted a subtle, slightly more mellow taste to it than actual sugar, and the ice made sure it was cold and refreshing as I sucked it down. 7.5/10 http://blog.myspace.com/locoformovies


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To start with, I have done some further research on the film. Firslty, Jules Dassin directed and acted in this extremely imaginative and different film noir crime film. Secondly, This was a very low budget film, created in the Rennaissance of the prime moment of film noir. Thirdly, the jewelers where the robbery was attempted is an actual jewelers. The producers of Rififi asked them to film their, surprisingly, (I quote Jules Dassin in a recent interview on the subject, "surprisingly, for some not very obvious reason, they were delighted at the idea of a crime film being set in their shop).
It's impeccable characters and plot fit in so beautifully with their surroundings. To add on to my praise I will say this; some might say that this was a typical Hollywood film, on the contrary, this set the base for the regular plot of a Hollywood crime film.
Laslty, I would like to say that I support this fresh idea of a film where not only one side wins, and that side doesn't always have to be the good one. For once, I can say that a film is not predictable! Ten stars!


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