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"The Journey" is a very good film. Produced in the spring of 1958, in Vienna, and released in 1959, this movie was quite popular in his early years. Despite the political problems, which influenced the movie's success (because the story happens during the Hungarian Revolution, the Cold War), "The Journey" is a very good film, but not well-known. I think it should be released immediately on DVD, because most of the people who have seen it so far want to have it at home. One of the most important qualities of the film is the extraordinary chemistry between Deborah Kerr and Yul Brynner, their intense relationship. All their scenes together are very important, but they also reveal the strong feelings, the great passion and love between the characters (Major Surov and Diana Ashmore). Another quality is the script, which is very well written. It was even published as a novel, by the screen player George Tabori. The film keeps its tension from the beginning to the end. At first, we didn't know if Diana and the other travelers could leave Hungary, because the Communist Major discovers that Diana's friend, Paul Kedes, is Hungarian and he isn't allowed to leave the country. The Major falls deeply in love with Diana and this is, in fact, the true reason why he doesn't want to let her go. But after he embraces her and gives her one of the most memorable kisses ever seen on screen, and she kisses him, too, he lets her go. And the end of the film is one of the most dramatic endings ever filmed-the Major and Diana say "Goodbye!", she arrives at the frontier with all the travelers, including Paul, while Surov is shot several times by some Hungarians, so he dies. Yul Brynner is very, very handsome and Deborah Kerr is very beautiful, charming, refined, just like an English Lady. Yul and Deborah are perfect together. They are one of the greatest couples of the Golden Hollywood. A true moviegoer should watch this film. "The Journey" has everything that a good film should have-a great, captivating story, interesting characters, a wonderful direction (Anatole Litvak is, in my opinion, at his best). Finally, I want to give a message to Warner Bros. Studios or those who restore and release classic films: Please, release "The Journey" on DVD as soon as possible.


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Yul Brynner was a symbol of villein in the tine of 50,s , he play a role of Russian leader in Hungary at the time of revolution in this country in 1956 that made it against the Marxism.
The script of this film made it by good taste from the writer that mixing love and adventure with showing different characters in the journey from Hungary to England.
The best point in this film was the symbol of challenge from the Hungarian Resistance to kill the Russian major(Yul Brynner) in the hall time of the film that made a meaning about the disadvantages of this major from his bad works , but at the end he made a good work to help Deborah Kerr for escaping her and her darling to London to write in his book a good working to gain at the end people,s agreement and trustment after his assassination by the Hungarian Resistance.


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There have been many excellent comments about this movie and I want to add my voice to the praise. Yul Brynner has never been more powerfully attractive. His Major Surov was riveting. Your eyes just cannot leave the screen when he's on it. This is his movie. This is not to slight the rest of the cast which was also exemplary, especially Deborah Kerr and Anne Jackson. As they were mostly stage actors, they brought many nuances to their performances. For example, I have seen this movie at least 4 times, but this is the first time I noticed the reaction of the German girl when she came face-to-face with a Russian soldier. Even though he was not threatening, her absolutely hysterical reaction made me realize that she must have been in Germany after WWII and was most likely gang-raped by the Red Army. The possibility of discovering deeper layers of story that may lie just beneath the surface makes me want to see this fascinating film again and again. Please put it on DVD.


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Anatole Litvak directed the 1959 film, "The Journey," starring Yul Brynner, Deborah Kerr, Robert Morley, E.G. Marshall, Anne Jackson, and Jason Robards.
The film takes place during the 1956 Hungarian uprising and concerns a group of travelers having problems getting out of Budapest because of political problems in that part of the world. They are put on a bus to Vienna, but the Russians, led by Major Surov (Brynner) confiscate their passports and hold them for questioning. One of the passengers is Paul Fleming (Robards), posing as an American but in reality a Hungarian freedom fighter, whom the major believes is being smuggled out of Hungary. In fact, Lady Ashmore (Kerr) is hiding him. She becomes the focus of the Major's romantic attentions.
Very good film that conveys the tension and hassle of the Cold War, and all of the performances are wonderful. Brynner is particularly excellent as the passionate Major who isn't all bad, and Anne Jackson gives a realistic, powerful performance as a pregnant woman who doesn't want her child born in a Communist country.
Good script, good director, good cast - there should be more films like this. Highly recommended.


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The "silver screen" gets freshly polished with this beautiful film about aging happily and enjoying life's rainbows. There's plenty of silver hair on this silver screen, but the film's namesake is more like 85-going on-25 with his energy, humor and lust for life. The story of entertainer extraordinaire Uncle Frank, his devoted wife Aunt Tillie, and the zippy residents of the local area nursing homes inspires us to "live each day as if it's your last" and brings a glimmer of hope to those often-dreaded golden years. A great movie for young and old audiences!


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It doesn't matter whether you've experienced the plight of the elderly in America or if you're just plain clueless, Uncle Frank and Matthew Ginsburg give you that clue in a straight forward, funny, wake up and smell the roses sort of way. By the end of the film, it is obvious that while being totally entertained, somehow, you've also been educated. A terrific film, by a terrific up and coming talent in the movie field. Matthew Ginsburg is a name to pay attention to.


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This film works on a lot of different levels. It's a profile of one very cool couple, a social commentary on aging and nursing homes, a love story, a musical. I've seen Uncle Frank a few times, and every time I watch it I'm not sure who to go call first--my parents, my wife, a friend I've lost touch with . . But it has a way of making you remember the most important relationships in your life--and want to reaffirm the ones that continue. Expect a lot of laughs, and probably some tears if any of the vibrant characters here strike a chord. I'm pretty sure they will.


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Uncle Frank is everyone's uncle. This documentary covered all aspects of aging in America, the lonliness, the humor, the irony. Uncle Frank and Aunt Tillie were supremely generous in sharing their life experiences with the audience. The director did an unbelieveable job of capturing the small and large pieces that made up their lives. Thanks to everyone who helped in making this film!


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I watched this movie three times at different ages of my life and always did enjoy it very much indeed. This Can-Can is an authentic explosion of joie de vivre, like Stanley Donen and Gene Kelly musical, but in French way. And a Jean Renoir nice tribute to his time, his friends, lovers, music and dances. It is at same time a show business chronicle of that age, full of affection and French mood. It is too a clear tribute to the Impressionism (people who likes impressionistic painters will like this picture). It is particularly a tribute to Toulouse-Lautrec and, of course, to Jean Renoir father, Pierre-Auguste. You will find hear a trustworthy and splendid colored recreation of some Renoir master work. Excellent casting, scenery, sound-effects and music. Even it tell us about the creation of Parisian Moulin Rouge, obviously it is a fiction story (and not very original by the way, as it fall down in the very well know moral that the show must go on). But the Jean Renoir production is great.



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This is my favorite Renoir from the Fifties. It's the story of how Henri Danglard built and launched the Moulin Rouge nightclub; we see the workmen blasting at the site to get construction underway, and the training of the dancers. Finally, the giddiness of opening night and the long sequence of cancan dancing. Financial problems and the ego displays of the performers are described.
Gabin is in great form as the easy-going Danglard--see him deal humorously with Nini's violent boyfriend. Gianni Esposito is moving as the wistful Prince who is courting Nini. Maria Felix, with that amazon's body, is imposing as the egotistical Lola, Danglard's first lover. Finally Françoise Arnoul as Nini the washing girl who ends up dancing for Danglard, and becoming his girl, is just stunning; her loveliness and pert charm will win you over.
A bonus: we get Edith Piaf, Patachou, André Claveau and other stars in cameos playing the stars of a century ago who ruled over the Moulin rouge.


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"French Cancan" is one of my favorite all time movies. It's an excellent film. There's color, there's humor, there's music. It's a very good portrait of the so called Belle Époque, though Jean Renoir's priorities were always to show a creation, a fantasie. So the film isn't a historical movie. The final sequences in which the girls dance cancan are unforgettable images. It's a film you shouldn't miss.


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Although it doesn't seem very promising for a long stretch, Renoir's French Cancan ends up being an effortlessly charming film. The story is cliché: a laundry girl, Nini (Françoise Arnoul), is discovered by a night club owner, Danglard (Jean Gabin). Danglard steals her from her baker boyfriend and drops his current girlfriend, both of whom come back for their former lovers. Nini has to choose whether to go back to her humble life with the baker, go on with the show with her employer, oh, or become a princess, as a prince falls in love with her at one point, too. I'm glad the film didn't go for the most obvious choice, as a lesser film certainly would have. The film ends with the opening of Danglard's new night club, the Moulin Rouge, and a couple of gorgeous song and dance numbers. The first of them, "Complainte de la Butte," which also provides the base of most of the film's musical score, is simply one of the most gorgeous songs ever written, and Renoir himself wrote it. If you're a fan of Baz Luhrmann's 2001 film Moulin Rouge!, you'll recognize the tune, as it comes up near the beginning of that film, sung by Rufus Wainwright. Although it isn't very prominent in that film, everyone I know who owns the soundtrack loves it. In addition to having one of the most lovely songs ever written, French Cancan also boasts one of the cutest leading ladies ever to grace the screen. It's hard not to fall head-over-heels in love with that girl. 8/10.


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Renoir's tale of Paris,the Cancan,a washer-girl and the Moulin Rouge.A more subdued,but highly entertaining version of the opening of the Moulin Rouge. Jean Gabin gives his usual excellent performance.The Technicolor photography on the print I saw was exquisite.An easy evening's viewing. chris w galla


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There are frames in this film that could be Renoir paintings with vivid colors against muted backgrounds. The humorous combination of sexual honesty and innocence is refreshing in this fifties film and makes palatable the old story line of the ingenue that becomes a star. The can-can number at the end seems realistic and exciting but not over the top as in an American dance sequence.


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I just viewed Jean Renoir's wonderful film, French Can Can. It is a visual delight and a great entertainment. The recently produced Moulin Rouge pales by comparison. I didn't quite get all of the praise that the recent movie received. Now I'm convinced more than ever, that my appraisal was correct after seeing a master film maker like Jean Renoir's version of the same story. He succeeded in getting great performances out of his entire cast, and the great French actor, Jean Gabin was in rare form. The dance sequence near the end was one of the most exciting one I'd ever seen. It was long, but I didn't want it to end. This film deserves to receive more recognition than it's got.


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This was a pleasant musical about the creation of the Moulin Rouge dance hall. In many ways, this reminds me of the Hollywood musicals of the 40s and 50s, in that it has many clichés leading up to the inevitable conclusion ("will the show STILL go on?"). While of course none of this is new, it was enjoyable and well made. The musical numbers at the end are frenetic and beautiful to watch. In many ways it reminds me of a sexier version of THE GREAT ZIEGFELD. In real life, Ziegfeld was quite the player but this was sanitized in the American film. But, in FRENCH CANCAN, the characters have fully functioning libidos--but nothing is really shown, so the movie is okay for kids.
Nothing new but well done nevertheless.


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Like classic Hollywood musicals, the plot is just an excuse. A must see for those interested in French music hall (including a song by Édith Piaf) and for the wonderful 10 plus minute cancan finale. The dancing in the film is not at all like what usually passes for cancan.
Some might object to the Technicolor costumes and the bright lighting, but it gives you a clear view of some grand costumes and sets.
Consider it Jean Renoir's love letter to the Paris he grew up in. Certainly the Jean Renoir film for people who don't like his serious films or who only like his Hollywood productions.



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As a longtime admirer of the 2001 film "Moulin Rouge" and a more recent admirer of Jean Renoir's film-making, I knew that I'd inevitably watch his "French Cancan" sooner or later. The movie tells a fictionalized story of the opening of the Moulin Rouge nightclub. The impresario Danglard (Jean Gabin) tries to turn Montmartre laundress Nini (Françoise Arnoul) into a cancan star, without arousing the wrath of his tempestuous mistress, the belly-dancing Lola (Maria Felix). This is just one of several love triangles in "French Cancan"--true to stereotype, these French showbiz folk are always falling in love.
Renoir directs with his typical gentle humor and attention to supporting characters, and also wrote the lyrics to a beautiful waltz song prominently featured in the movie. Gabin perfectly incarnates the aging French playboy hero. Arnoul is a cute redhead who holds her own in the dance numbers, except for a few trick shots where a double is obviously used.
"French Cancan" is billed as a musical comedy and while there are lots of musical numbers that take place on the nightclub stage, etc., only one character, Casimir, ever breaks into song in the middle of conversation. The actor who plays him, Philippe Clay, is fun to watch--a really tall, skinny young man who sings, dances, and does contortions.
The movie ends with a long cancan sequence, as all the characters learn to triumph over their problems and make art together. The dancing is much more brightly lit and coherently edited than in "Moulin Rouge"; in fact, if I have one complaint about "French Cancan," it's that the whole thing is a little too Technicolor. Even when Nini experiences heartbreak or someone sings a melancholy song, the lighting is bright and flat, no shadows intruding. Yes, the result is a cheerful and warmhearted musical comedy; it's just that I can't help thinking that things weren't ever this colorful and innocent in real life.


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I am not a fan of musicals, but I am a huge fan of Jean Renoir and Jean Gabin. I rented this movie on a whim and was pleasantly surprised even expecting greatness from the classic director. This movie is BEAUTIFUL. The shots are like oil paintings with motion, something a lot of directors strive for but Renoir MASTERS. I cannot express how much this movie transcends itself... it's not really a musical, it just has a couple of well-placed musical numbers and a grand dancing finale. But there is something about this movie in particular which makes you feel absolute JOY when watching it.
I am a fan of foreign art films, but I'm also a meathead who loves things like Die Hard and Schwarzenegger movies. I get very easily turned off by things that are overly happy or in "la la land," but this movie has an overwhelming positive energy that is just irresistible -- not to mention every frame is gorgeous and the plot is good. 10 out of 10.


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I made a promise that if ever I posted a comment that was less than complimentary, then later felt different about it, I would return and make known my change of heart. So far, this is the first time it's happened.
I'm really starting to enjoy Hack. Something has clearly changed. The storylines seem to be much stronger. The plot may still be a tad surreal, but the characters have developed so much more depth that a surreal plot can be forgiven. I attribute this to fine acting.
Not every show can come charging out of the starting gate a winner. Some need time to pick up speed. I'm glad I kept watching this program, and I really hope it lasts.


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To keep it as simple as possible. This is a very good show. That is well written, and has a fantastic cast. It's not loaded with blood and guts. And centers around a disgraced cop and his relationship with his ex-wife, his son, his former partner (Andre Braugher), his childhood friend, now a priest (George Dzunzda), and lastly the person who happens to get into his hack in that episode. Are you likely to find something like this going on in your city NO. Is this still a good story YES. And it's nice to see a man portrayed as good father in spite of his flaws. Watch more then one ( 2-3) and you'll see why a lot of us are hooked on this show. And thank you David Morse for making this character so interesting. Another good job!


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It seems that Hack has been described as un-realistic... but that's what TV is. TV is meant to provide an escape from everyday life and I feel Hack does a great job in that regard. Add to this the slow process of revealing his past and engaging/interesting plots; you just can't seem to get enough. Plus, with such great actors as David Morse, Andre Braugher, and even little Mathew Borish, what more can you ask for. So if you are looking for an involving experience and have a liking for "underdog" characters, I suggest giving Hack a chance, especially now that it's finally getting off its feet.


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"Hey, I didn't order no cab!" "Yeah, well you got one..." What can I say about Hack...what a man among men. He was a heartened ex-cop turned cab driver with a heart of gold. If you were able to (and fortunately for America's TV viewers...one person per week was) penetrate the cold, hard surface of Hack's exterior, you got to see a caring man devoted to vigilante justice. The show was superb, I laughed, I cried, I smiled...all in the same episode. My arms would break out in goosebumps when our dear friend Hack would exit his cab in another dark alley...with nothing more than his fists...ready to avenge a wronged civilian. A smile would break out on my face when the screen showed me a criminal in a dark alley's facial expressions when the Taxi of Justice's headlights illuminated upon his face. Week after week I canceled my duties as president of the Klingon Association to bask in the warmth glow of Hack's brilliance. I have never seen a better show, and I mourned the loss of one of America's greatest treasures when the show was canceled. In other Hack-related news, I would like to announce to the world that my wife and I are expecting Hack Koen to come into the world in about three weeks.


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I have only see three episodes of Hack, starring David Morse, and it looks as though I've missed 37 episodes! well thats if ITV 3 are showing them in chronological order. I've just watched 'Misty Blue' (episode 38). I have really enjoyed the 3 episodes, but then I'm a David Morse fan, (esp St. Elsewhere). For any one reading this, Hack is excellent. Pity its being aired on ITV 3. The cast is strong, though I cant get used to the idea of David playing a bent cop, still we all know he's the good guy wrongly accused. I see Gary Cole has guest starred, what ever happened to 'Midnight Caller'? Just wonder if Hack is available on DVD (yet). Lovin it. Cheers.


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David Morse and Andre Braugher are very talented actors, which is why I'm trying so hard to support this program. Unfortunately, an irrational plot, and very poor writing is making it difficult for me. I'm hoping that the show gets a serious overhaul, or that the actors find new projects that are worthy of them.


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I am sick of series with young and clueless people, talking about their "problems" all the time, self centered, boring and absolutely annoying (Popular; Dawson's Creek; Beverly Hills; etc). "Hack" is a breath of fresh air, with a great actor (David Morse), a completely different plot, credible people with REAL problems (thank God !!) and very, very good histories. I just love it!! I hope "Hack" will go on for a long time, because it is a great television series for grown up people, for a change.


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I love this show. It's clever and very well acted. David Morse and Andre Braugher have great chemistry. The writing is clever and subplots generally give great comic relief. After every new episode, I'm always amazed how thought provoking and at the same time entertaining this show is. My only complaint would be Donna Murphy's absence, at this point, in the second season. As David Morse ex-wife, Heather, she added such character to the show.
I think this show is a credit to the crime/drama genre. With that said - I can not for the life of me understand why this show has such a low rating. Would someone please who gave this show a 1 rating back it up with a critique?


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I like "Hack." Think the "Lone Ranger" reincarnated as a 2000s cab driver, a decent but flawed guy, in Philadelphia doing his best, while seeking to work out issues from a troubled past, and you've got the synopsis. David Morse is nearly perfect as Olshansky. He helps people but instead of riding "Silver" in the old west he drives a cab through the mean streets of contemporary Philly, without handing out silver bullets. The supporting cast is first class and well above average. At times, the witty dialog almost reaches the level of that 70s classic series, "The Rockford Files." This show deserves a return, hopefully in a better time slot than 9PM Friday(eastern).


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Okay, so this series kind of takes the route of 'here we go again!' Week in, week out David Morse's character helps out his ride who is in a bit of a pickle - but what's wrong with that!? David Morse is one of the greatest character actors out there, and certainly the coolest, and to have him in a series created by David Koepp - a great writer - is heaven!!
Due to the lack of love for this show by many, I can't see it going to a season series - but you never know? The amount of rubbish that has made it beyond that baffles me - let's hope something good can make it past a first series!!!


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An extremely dark and brooding show with an excellent cast. One of the few shows that I try to watch on a regular basis. Glad to see Bebe Neuwirth in a recurring role, but feel Andre Braugher is underutilized. He is one intense actor! Hope CBS gives it a better time slot next season.


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It is nice to see a show that has a little more content than just blood and guts for a change! As an added bonus, it is nice to see some local home boys from Massachusetts making good in L.A. I hope this show will be a keeper.


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Everywhere I hear that people are calling this show bad because its premise is too far fetched....well maybe a do-good cab driver in Philly is pushing it a little (at least the cab drivers ive met), but that's what makes the show great.
The fact that this show is a little off the reality track is an issue but its still enjoyable and fun. Its highly watchable and even though u know Mike wins out in the end he never wins in life. David Morse is a great actor and does a great job in the title role. His supporting cast is great and i must say the location of the show is especially great!
All in all I watch this show not because im looking for a good dose of reality or a show with lots of action, I watch this show because its got great acting, a good premise, and a great story-line every week. It's also a plus when i can pick out the landmarks he drives by, or know what intersection he's at. I Love this show and I love Philly!! Give this show a shot!


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This is NOT your run-of-the mill police story where the characters were only secondary to the gun battles and car chases. The episodes, so far, are more realistic and intelligent.
If you are looking for something with a lot of butt-kicking Rambo-style cop story, you will not find it here.
I gave it a 9. I wish this series lives long. Morse is excellent!


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He's not your conventional cab driver.
This guys got issues. With his wife, with his son, a priest, all his fares, his ex-partner and most of all himself. And the greatest thing is they just throw us all into it. So we have to keep watching to find out more about his past.
The idea may not be original but David Morse makes it so. I think this is a great show, and I hope people catch-on before the season's over.
WATCH THIS SHOW!!!!!!!!!


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"Ahh...I didn't order no amazing hit show"....."We'll you got one" Hack is simply the greatest television show ever made. A little bit of me died when I flicked on the t.v. one Friday night to catch a little Hack and it wasn't on. The show dug deep into key social issues of our culture. I found that at the end of any episode I watched; I walked away having been both entertained and informed. I am actually dumber now that Hack is gone. I no longer want to help the needy and less fortunate. Since Hack has been gone I see them as eyesore's and an unneeded strain on taxpayers. So for the love of God we need to bring back Hack!


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I have never missed an episode. David Morse is a wonderful actor and I am hoping that this show can survive. It certainly beats out that CSI crap. I love the storyline and would actually like to see him as a cop again someday. I give the show a 10.


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Ugh, what an embarrassing episode last night! It was either a failed script for "ABC Afterschool Special", or the product of an earnest rookie writer, just out of college, making an homage to that classic PC anti-gun homily from 1974, "The Gun". In fact hubby & were disappointed that the closing shot wasn't of The Gun being melted down like in the movie!
No, I'm not some NRA shill. It's just that when the producer of an intelligent & nuanced series gets it in his head that I should be subjected to a didactic dramatization of his personal Cause, I'd appreciate it if the lecture at least wasn't delivered via 2-by-4. Geez!
OK, the sociology lesson is over. The Message has been delivered. The Important Episode has been aired. Now let's get back to some entertaining episodes that try to respect our intelligence.


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Legendary hammy and arrogant horror movie star Conrad Radzoff (splendidly played with wicked sardonic aplomb by Ferdy Mayne) dies of a heart attack. A bunch of drama school students steal Radzoff's corpse from its crypt and take it to a rundown mansion so they can party with it. Radzoff comes back to life and picks off the rude youths for desecrating his grave. Writer/director Norman Thaddeus Vane concocts a fresh, original, and even pretty stylish spin on the usual body count premise, offers a neat evocation of the glitzy Hollywood milieu, and does a sturdy job of maintaining a pleasingly misty and spooky ooga-booga atmosphere. The kill set pieces deliver the grisly goods, with a gal being set on fire, a juicy decapitation (the severed head rolls right down the stairs and onto the lawn so a raven can peck away at it!), and another poor lass being crushed with a levitating coffin rating as the definite gruesome highlights. Kudos are also in order for the stellar cast of familiar B-flick faces: Mayne has a deliciously eye-rolling ball with his flashy role, Leon Askin contributes an amusing cameo as bitter washed-up director Wolfgang, Nita Talbot adds some class as flaky psychic medium Mrs. Rohmer, plus there are nice turns by Luca Bercovici as jerky drama student ringleader Saint, Jennifer Starrett as the sweet Meg, Jeffrey Combs as the geeky Stu, and Scott Thomson as the nerdy Bobo. Popping up in cool bits are Chuck "Porky" Mitchell as a detective, Patrick Wright in one of his customary policeman parts, and Tallie Cochrane as a corpse. Joel King's polished cinematography gives the film an attractive glossy look. The moody score by Jerry Mosely likewise hits the shuddery spot. A fun little fright flick.


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Look, this movie is obscure, brilliant, and a classic that should sought out by any means necessary. I suppose the powers that be have decided that it will forever be relegated towards the bargin bin; nevertheless, we could only pray for the chance to see this one on DVD. I would say that it even beats the great Phatasm. If you like a dark movie, with plenty of spooky imagery, look for this one and see how an 80s horror movie is suppose to be.


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Is there any question that Jeffrey Combs is one of the true horror greats? This movie seriously doesn't suck and is sort of funny... Watching a young Combs at work is great but I wish he had had more lines. Look out for Beyond Re-Animator. It's going to kick some azz.


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While many pass this off as a B movie it is, indeed, a first class comedy that is well-written and acted. Red Skelton is great as Wally Benton better known to radio fans as The Fox. Ann Rutherford is perfect as Wally's fiance Carol Lambert. Conrad Veidt leads a very well cast gang of criminals. I read one account of this movie which states that Vincente Minelli directed this film, not unless he changed his name to S. Sylvan Simon, who directed all three of the Fox movies. This is a very entertaining film made when imagination was encouraged. So get over your black and white prejudice if you have one, sit back and enjoy a truly great comedy. This was also Red's first starring role. Take note during the climax of the reference to Orson Welles' War Of the Worlds broadcast.


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Red Skelton (in his first starring role) plays Wally Benton who plays 'The Fox' on a radio show. He writes the murder mysteries and as 'The Fox' solves them. Joseph Jones (Conrad Veidt) is trying to figure out how to perform the perfect murder on someone. He kidnaps Benton, his girlfriend (Ann Rutherford) and another girlfriend (Virginia Grey). He tells Benton to write out the perfect murder...or his girlfriends get it...
Very funny and enjoyable movie. Fast-moving (it's only 77 minutes), a good script and perfect casting really puts this across. Skelton is very good in his first starring role--very funny, fast, handsome and intelligent. Veidt is excellent as the evil Jones. Rutherford and Grey are lots of fun as Skelton's girlfriends. All three of them play off each other perfectly--their verbal sparring is the highlight of this pic. Also fun to see Eve Arden in a small role.
Well worth your time.


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There are 3 of these movies, all similarly crafted and each extremely amusing. Red plays radio sleuth Wally Benton, aka The Fox who gets wrangled into solving real life crimes along with his fiance played by your typical wartime girl next door looker, Ann Rutherford. Many of the one-liners and gags are dumb and probably were in the 1940s which I anticipated. But, just as many actually made me laugh out loud, which was unexpected to say the least. Red Skelton has a surprisingly strong screen presence, surprising I say because I grew up with a much older version of the man who's charm really didnt play well in my formidable years. I have to give these movies the go ahead though -if your in the mood for this type of nostalgic fare. I almost threw in light hearted, but in truth people get wasted and beaten up and dare i say it, the suspense at times is well above average. As with most movies from this era, it gets a PI (politically incorrect) rating for reasons you can well imagine. Wartime is funny that way I guess, and so then again are these movies. Watch one, watch them all.


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Red Skelton plays a radio detective known as "The Fox" in "Whistling in the Dark," also starring Ann Rutherford, Conrad Veidt, Eve Arden, Virgina Grey and Rags Ragland. Wally Benton, aka "The Fox" finds his plans to marry his fiancé Carol (Rutherford) thwarted when he's kidnapped by a the leader of a sham cult (Veidt). Joseph Jones (Veidt) has just learned that his cult, The Silver Haven, is not getting a promised inheritance because of the existence of the old woman's nephew, who is going to be living off of the interest. He wants Wally to devise a perfect murder plot so the man can be killed on the airplane en route to meet with his attorney. For backup, and because he's not sure which one is Wally's fiancé, Jones kidnaps Carol and also the radio sponsor's daughter (Grey).
This, to me anyway, is a superior film to the second entry in this series, "Whistling in Dixie." The plot is better, the cast is better, there is less slapstick and fewer corny jokes. Skelton, when he's not making faces and rolling his eyes, is quite amiable, and Rutherford is very good. Veidt always played these evil men to perfection. Eve Arden is Wally's agent, who arranges a date for him and Grey to make sure his contract is renewed. I had only seen Grey in films from the 1950s onward. She was always a good-looking woman, but who knew she was such a knockout in the '30s and '40s? This is a fun film with a neat cast.


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You have to be awfully patient to sit through a film with one-liners so flat and unfunny that you wonder what all the fuss was about when WHISTLING IN THE DARK opened to such an enthusiastic greeting from audiences in the 1940s.
On top of some weak one-liners and ordinary sight gags, the plot is as far-fetched as the tales The Fox (Red Skelton) tells his radio audience. You have to wonder why anyone would think he could come up with a real-life solution on how to commit the perfect crime and get away with it. But then, that's how unrealistic the comedy is.
But--if you're a true Red Skelton fan and enjoy a look back at how comedies were made in the '40s--you can at least enjoy the amiable cast supporting him. Ann Rutherford and Virginia Grey do nicely as his love interest and Conrad Veidt, as always, makes an interesting villain. One of his more amusing moments is his reaction to Skelton explaining the mysteries of wearing turbans. "I never knew that," he muses, impressed by a minor point that is cleverly introduced.
All in all, typical nonsense that requires you to accept the lack of credibility and just accept the gags as they are. Not always easy for a discriminating viewer as many of them simply fall flat, the way many comedies of this era do because the novelty of the sight gags and one-liners has simply worn off.


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Note: After writing this review I see that this listing is indeed about the TV series and not the original film. My mistake. I thought IMDb for a database for movies, not TV shows. But since most people will look up this film under BAGDAD CAFE and not OUT OF ROSENHEIM, which, strangely, is the name this film is listed under on IMDb, I'll leave this comment here.
Maybe I missed something, but when I read that other review it seemed to be entirely a review of the CBS series -- which must have been loosely based on this film. I did not see the TV series and I might like it or not, but one thing I am sure is that it is very different than this film. This film is NOT like a TV show at all and Whoopie Goldberg is not in it or any other famous Hollywood stars (other than Jack Palance, who was very charming in his role).
This is a terribly sweet movie that totally thinks "outside the box." It is not at all like a Hollywood formula movie, which is probably why the (what's a nice word for idiots?) who decide to market movies or not decided not to market this one.
First of all, this movie captured my heart and imagination from the get-go. From the music (which is just part of the time so you can't really call it a musical) to the cinematography to the really cool story.
A German or Bavarian woman (very pretty and quite plump) gets in an argument with the other German or Bavarian man with whom she is traveling through the California desert with and parts ways with him --he taking off in the car and she left to fend for herself on a deserted and desert-like highway out in the middle of nowhere.
She finds the small and dilapidated but charming Bagdad Cafe, in Bagdad, California and checks in. The rest of the story is magic. I don't want to try to describe this film because I want you to enjoy every surprise.
Warning: If you are a racist or have something against big women you will not like this movie, as the main romantic lead is a big woman and characters of brown and red skin have large roles and are included as "part of the mix" without any racism involved.
I gave this film a 10 for orginality, entertainment and sheer delightfulness.


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I saw this on TCM recently and, through the IMDb I found that there were seven "Crime Doctor" movies with Warner Baxter as the psychiatrist-detective. Baxter is a bit long in the tooth compared to his stolid performance in 42nd Street a decade earlier. Not noir, and a bit campy today, the movie also has a touch of the possible supernatural. The plot, black and white cinematography and characters are far more complex than those of the Mr. Moto and Charlie Chan series. There are subplots, unexpected twists and appearances by a number of B movie stalwartly we all should recognize immediately (none ever made it to the A status). It is a wonderfully unpredictable 70 minutes.
I would love to see a boxed DVD series of these films.


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Another nice entry in the Crime Doctor series [#4/10], with atmospheric almost noirish black and white photography and some splendid Spanish American backdrops and sets. And a more off-the-wall storyline too!
A man who looks like the insane murderer of his first two wives is found dead in a locked room after a dramatic dinner party. The Crime Doctor is on the scene (ostensibly as a guest) to immediately and resignedly proclaim it murder, and so we are presented with a quite weird set of people to mull over, for one of them did the deed. Was it the frothing brother of the dead 1st wife, the 3rd wife and rich widow Hilary Brooke, the dancing brother and sister vampires, the intense young man, the eccentric cabinet maker Lloyd Corrigan on loan from Boston Blackie, the irreplaceable butler, or odds-on Jerome Cowan? Police Inspector Emory Parnell had his work cut out, but Warner Baxter as Ordway was as unflappable as ever in working it all out. One of the goofs listed on the IMDb is wrong: On breaking into the murder room Ordway says "Right through the centre of the forehead" and Cowan replies "He didn't miss this time". Favorite bits: Baxter and Cowan travelling through club sandwiches and beer at the nightclub to make amends for their interrupted dinner party; The scene where the Braga's place of repose is seemingly rumbled. The plot does seem to meander a bit at times and the way it was all explained off was perhaps more worthy of Monogram, but leaving it in the air as supernatural wouldn't do either!
Well worth a watch if you already like the genre, you won't be disappointed unless you really don't like the genre.


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Better than average World War II-era "who-dun-it" featuring Warner Baxter as a former gangster who suffered amnesia and has been reborn as a psychiatrist now known as Robert Ordway who helps both the police and criminals who want to go straight. Crime Doctor's Courage is the fourth in the series of ten and also involves a victim who might have some mental problems. The link to "courage" is not particularly clear.
This entry revolves around the death of fortune hunter Gordon Carson whose two previous wives have under mysterious circumstances and who in turn dies in a locked room under conditions that resemble suicide but Dr. Ordway labels murder. Hillary Brooke plays the part of widow Kathleen Carson who is involved with Anthony Caruso - a mysterious Spanish dancer whose act includes his sister that disappears on stage. As a mystery novelist, Jerome Cowan is a good supporting actor as is Lloyd Corrigan as an aficionado in crime.
Spooky houses with creaking doors, caskets in the cellar, and suspects that are never seen in daylight add to the air of suspense. The set for the dance sequence is quite elaborate and the ballet music very good. Direction, production design, and photography stand out. The exterior shots and costumes suggest more affluence rather than normally found in the average "B" detective thriller.
Strongly recommended.


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The sort of "little" film which studios used to excel at but seldom make anymore. Sort of a "soul" version of the more well-known "The Last Of The Blonde Bombshells". Ian McShane is excellent as a DJ and aficionado of soul music who becomes obsessed with the idea of re-uniting the members of a classic soul group, and the film follows his exploits as well as those of the group members; a cast which includes such genuine musical talent as Isaac Hayes, as well as acting stalwarts Taurean Blacque, Derrick O'Connor and Antonio Fargas. Not meant to be an epic by any means, this is nonetheless a chunk of solid gold.


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A very delightful bit of filmwork that should have had wider distribution. Ian McShane is right at home playing the soul loving DJ who gets canned because he won't " go along with the program " and sets out to let the world know what they're missing. The supporting cast is great as well, and the music is the "Soul" of the film. I just wish that the film would be released so that I could get a copy of this for my film library.


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