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Out to Sea was a great movie. I expected comedy and from about 10 minutes into the film to the end, there was comedy, and laughing points. Jack and Walter are great together, and the addition of Rue McClanahan made it a wonderful movie, that should be seen over and over again.


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"Out to Sea" is a fun movie starring that wonderful duo of Jack Lemmon and Walter Matthau. This film is not quite as funny as their "Grumpy Old Men" comedies (which it strongly resembles), but there are many laughs throughout. Lemmon and Matthau play a couple of in-laws who take a cruise together. Once they get on the boat, the thing Lemmon doesn't know is that Matthau has signed them on as dance hosts so they don't have to pay for the cruise. This infuriates Lemmon who's in no mood to dance. What's worse, Matthau doesn't even know how to dance. Nevertheless, they go along with it and it the process they meet some of their fellow passengers and crew members. Here are the crew members: there's the cruise director Gil Godwyn, played to the hilt by "Star Trek: The Next Generation" veteran Brent Spiner, who acts like an evil dictator. There's two fellow dance hosts, played by "Barney Miller" star Hal Linden and veteran movie musical star Donald O'Connor. There's the ship's owner Mrs. Carruthers, played by "Golden Girl" Rue McClanahan. As for the passengers: there's Vivian, a widow played by Gloria De Haven, who falls in love with Lemmon. There's Liz, played by one of my all-time favorite actresses, Dyan Cannon, who falls in love with Matthau. There's Mavis, Liz's mother, played by veteran stage actress Elaine Stritch. And they meet others as well. All these actors are a pleasure to watch as Lemmon and Matthau play off of them. It's great to see Cannon here, see's beautiful as ever; Stritch is a hoot; Spiner is a funny comic villain who's plays it deadly straight; De Haven is wonderful; Linden, O'Connor, and McClanahan have a good moment or two; and finally, the two main stars, Lemmon and Matthau, are fine as usual. A nice little gem of a comedy.
*** (out of four)


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This film is well cast, often silly and always funny. Lemmon and Matthau work their tag team magic to perfection. Brent Spiner is just a riot as the egotistical tyrant of a cruise director. From the first "hare krishna" to the last "you ought pay him fifty bucks for calling you two studs", I thought this was a totally entertaining fun comedy


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A movie I've seen and enjoyed possibly more than any other movie. I first saw it as a kid and loved the drama and the great climactic battle. As I got older, I enjoyed it as much or more than before, but now due to all of the components that work together to make a true classic. The acting is great (especially Keith as T. Roosevelt), the cinematography spectacular, the script is full of gems, and the directing pulls it all together wonderfully. It's loosely based on an actual event, and it shows rush of Europe and a newly emergent America to carve up the 'Sick old Man' (the Ottoman Empire) as it collapses in a fashion unlike any other 'historical' movie I've seen. Humor, drama, action, love...it's got it all and deserves far more acclaim (much like 'The Great Waldo Pepper').


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We usually think of the British as the experts at rendering great adventure from the Imperial age, with the likes of The Four Feathers (1939) and Zulu, simply because the Imperial age was, for the most part, British. Here, in The Wind and the Lion, we see a wonderful rendering of America's own Imperial age.
America's projection of power under Teddy Roosevelt is the backdrop for this conventional tale of the kidnapped damsel who, despite her gentility, is smitten by the rough, manly nobility of her captor, who in turn is disarmed by her beauty and scorn. (Politically correct prigs eager to see some slight of "native" peoples or cultures can rest assured, that the way Arabs and Muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage.) What makes this story different are the terrific production values - faultless photography, composition and editing - the terrific casting - the underappreciated Brian Keith playing a bully Teddy - and vivid history.
Though The Wind and the Lion is told largely through the eyes of the son, every member of the family can identify with one of the characters, whether it be Sean Connery's noble brigand, Candace Bergen's feisty heroine, John Huston's wily John Hay or Steve Kanaly's spiffy, radiant, ruthless can-do lieutenant, Roosevelt's "Big Stick". There is a transcendent scene at the end, when the little boy is symbolically swept away by the dashing Moor on his white steed. This is high adventure at its best.


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Sean Connery is very good as the Great Raisuli, Lord of the Rif and Defender of the Faithful. This is an adventure movie with Arabs, Germans and the USMC all coming to grips at one point or another. There is also a lot of humor in the interplay among the main and supporting characters. The story is based on the true incident in which a wealthy Greek-American businessman was kidnapped by the Raisuli in the early 1900s. Milius has substituted Candace Bergen and her two children as the victims of the kidnapping, and this opens the story to a lot of literary license.
On the other hand, the movie gives Milius the opportunity to remind the viewer of two of the most famous (though mostly forgotten) political quotations of the TR era. Brian Keith (very good as TR) says, "Pedecaris alive or the Raisuli dead!"; and John Huston (also good as Sec of State John Hay)asks the Japanese Ambassador at a White House dinner, "You likee knifee, you likee forkee?"


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One of the best 'guy' movies I've ever seen has to be the Wind and the Lion. Gad, the scenes...
Raisouli's bandits swarm over the wall... A staid British gentleman calmly gets up from tea with Candice Bergen and drops three of them with a Webley revolver in his coat. A whisper from the ghost of Empire... Lest we forget! Lest we forget!
U.S. Marines coming ashore from the long, long gone _Brooklyn_. They were carrying Krags, it should have been Lees, but, oh wow. And the Winchester 97 blowing large holes in obstreperous natives and even more obstreperous and faithless Europeans...
Raisouli --Sean Connery, o, Wow!--wondering 'What kind of gun does Roosevelt use?"
Teddy Roosevelt--Brian Keith, o, Wow!--wondering "What kind of gun does Raisouli use?' and writing yet another angry letter to Winchester about the stock on his Winchester 95.
Raisouli, armed with but a sword... A Prussian cavalry officer, HOLSTERING his pistol and drawing HIS sword... Honor. That's something long dead, from a world long gone, but Raisouli would never have flown a plane full of children into a building...
Milious at Milious's magnificent best, and now out on DVD.


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Lovely Candace Bergen as the widow Perdicaris are kidnapped and held for ransom by the Sheik Raisuli played by one dashing Sean Connery. The incident comes during 1904 as Theodore Roosevelt runs for election to the presidency in his own right. Needing a good example to show off the muscular foreign policy of the United States, Brian Keith as Roosevelt issues a stunning declaration to the Sultan of Morocco, "Perdicaris alive or Raisuli dead."
But in this adaptation of that incident the famous declaration is the only true thing about this story. The Perdicaris in question was in reality one Ion Perdicaris who was a Greek immigrant and dilettante playboy. In fact Perdicaris gave up his American citizenship years ago and was back as a Greek national. Never mind that though, his predicament was serviceable enough at the time.
The damsel in distress makes better screen material though so it's a widow woman and her two kids that are in harm's way here. Of course as presented here the incident is also used by some of our European powers to get their foothold into Morocco. The intrigues get far beyond one brigand's demand for ransom.
The Wind and the Lion is hardly history. But it is an enjoyable film and Sean Connery is always fun to watch. Brian Keith also fits my conception of Theodore Roosevelt and the scenes in the Roosevelt White House do ring true to all the stories told. John Huston plays the ever patient Secretary of State John Hay who Roosevelt had inherited from his predecessor William McKinley.
But kids don't use this film to skip reading a history assignment on the Theodore Roosevelt era.


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This was my late wife's favorite film. I'm sorry she did not live long enough to have the video as I'm sure she would have worn it out. What can we say? A great romantic story and the push off of two great men, the Raisuli and Teddy Rex. Sean Connery and Brian Keith are great in these roles. But while Connery is his usual sexy sex, it's the late Brian Keith who gives us a solid performance as the mercurial Teddy Roosevelt. Back up is provided with Candy Bergen, gorgeous in her early 30s, as the kidnapped American widow. Great back-up also comes from the great John Huston as Teddy's beleaguered SecState, John Hay; Geoffrey Lewis, from the Clint Eastwood films is great as the hesitant US Ambassador, Gummere; the late Vladek Sheybal with his demonically evil stare is great as the Beshaw and more is given by Steve Kanaly and Roy Jensen whose faces we have seen in several backgrounds. All in all, this is a film filled with wonderful romance, mindful of an era long gone. Mindless story? Not at all. The issue of big nations pushing around smaller ones for their own hegemonical interests is as true today as it was then. Overly romantic? Not really-- certainly not maudlin in any sense. Fun to watch? You bet. I own the video and will watch it again and again. I suggest you do the same.


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When I reviewed the video for a local magazine, I called it "the greatest achievement in the history of the American cinema." That was not wholly tongue in cheek. TW&TL remains Milius' best work, and it's sad that he has so little opportunity to work anymore. However, TW&TL remains a striking exposition of what once was known as The American Character, largely on the strength of Brian Keith's superb portrayal of Teddy R. (Obviously Milius--and Keith--admired TR tremendously to make two films about him, including "The Rough Riders.") It's hard to fault this film at any level: a splendid balance of action, levity, relationships, and the serious topic of America coming of age in the world. Furthermore, TW&TL has exceptional appeal across the board: note the stats showing it rates best with under-18 males, females 18-29, and over 45! Clearly Candy Bergen struck a responsive chord with women as well as men.


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This is one of my all time favourites. All the actors do a great job. Comparing this movie to "Lawrence of Arabia" does no justice to both movies. "The Wind and the Lion" levels a much lower budget with fantastic actors portraying heartwarming characters in a heartwarming atmosphere. Action and beautiful pictures are provided as well, which all together guarantees a favourite movie to me.


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I like The Wind and the Lion very much. It was a good movie. I thought that since I'm young and it was made so long ago I wouldn't like it all that good, but after I saw it, i was amazed of how good it was. My family liked it, my friends liked it, everyone I showed it to liked it. I liked it because it showed how Arabs and people in Morroco was treated during the Early 1900's, by the Germans, French, and even the Americans. If I was a High School History teacher, I would definitely show it to my student's, From a High Schooler's point of view. I give this movie a good 10 out of 10. My grandparents liked it so much they bought it for themselves. My little 3 year old cousins even sit down and watched it.
Systemoffell


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This is one great, sweeping, movie you will remember for a long time. It is about history, America, the change of times, Teddy Roosevelt, Morocco, a kidnapped American and her children, and the leader of the Berbers, with the blood of the Prophet in his veins.
This movie is based on a true story--like Jesse James was a banker. An American WAS kidnapped in Morocco and the Marines went part-way to the shores of Tripoli to rescue him. So much for that. You know Hollywood. Sean Connery is the Berber chieftain and Muslim leader. Candice Bergan is the guy who was kidnapped, along with her two kids; the son is Rex Harrison's grandson, Simon, no less. John Huston is Secretary of State, with a great John-Huston-style straight line at a State Dinner, watch out for it. Brian Kieth IS Teddy Roosevelt, all-American, all-male, a character that is an interesting commentary as modern as today.
The sweep and beauty of the desert and Morocco are shown beautifully in the cinematography in this film, which will stay with you, a haunting and compelling memory. The score is as sweeping and exotic as the images.
This is a story about two cultures, both with grand ideas and historic pasts, struggling for the future without an idea at all about one another. In any event, the struggle comes down to might versus ingenuity.
Then at the last, there is the little boy--remember the little boy? What do you think HE thinks?


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Writer/director John Milius takes a little-known incident from American history and extrapolates wildly in all the right ways. The result is a grand adventure tale that showcases two of its stars in memorable, larger-than-life roles: Sean Connery as the wily Arab sheik with an inexplicable Scottish brogue, and Brian Keith as President Theodore Roosevelt, itching for the chance to put that "big stick" to good use.
Aided immeasurably by Billy Williams' glorious widescreen cinematography and a magnificent score by the always reliable Jerry Goldsmith, this early effort seemed the harbinger of a talent to rank with contemporaries Lucas, Coppola and Spielberg. Although Milius served up tantalizing glimpses of his ability in scripts for JEREMIAH JOHNSON and APOCALYPSE NOW, his career seemed to take a downward turn not long after he started directing, ultimately foundering on dreck like CONAN THE BARBARIAN and RED DAWN.
Here's hoping that he will again find his way.


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This is a perfectly watchable adventurous movie to watch, with a great cast and a good story, based on true events.
It's interesting to note that the story of the movie is based on true events. It's above all for most part an adventurous story, with all of the usual ingredients you would expect from an adventurous movies set in an Arabic world. So, lots of sword fighting, good old fashioned honor, religion and a rich proud country. But the movie is also filled with humor, to make the movie a light and pleasant one to watch.
The constant cutting back and forth between the Morocco plot involving Sean Connery and Candice Berger and the American plot line involving Theodore Roosevelt (Brian Keith) wasn't the best possible approach in my opinion. The two things have totally different paces, totally different characters, it are just totally different worlds! Of course both story lines are connected and focuses on the same thing but the contrast between the two worlds is just too big to let it work out. It doesn't at all times make the movie feel connected and a bit disjointed. The American plot line is most of the time more political while the Morrocan plot line is purely adventurous and action filled. In the end you could perhaps even wonder what the whole point or Roosevelt in this movie was. Seem that John Milius is just a big admirer of him. Often the American plot line would take away most of the pace out of the far more interesting and more action filled fast paced Morrocan plot line. After all, John Milius always has been at his best as an action director.
It isn't until halve way through that the movie fully gets on steam. The most- and largest scaled action of the movie then kicks in. Especially the large scale end battle does not disappoint. I wish the entire movie was like this. That way this movie would had also been a better known one, no doubt.
The movie has a great Jerry Goldsmith musical score, that is perhaps way better known than the actual movie itself. The movie is also a good looking one with great production design and nice looking action and battle sequences in it. Appereantly the movie only costs $4,000,000 to make but that is really hard to believe, considering the settings and size of the movie. I mean John Milius his best known movie "Conan the Barbarian" cost about $20,000,000 to make but was a far more campy looking one and was less impressive on its scale.
Quite funny to see an Arabic speak with a big fat Scottish accent but hey, it's Sean Connery so you just simply tend to accept this. He suits his role well. So does Candice Bergen. It's always hard for a female character to come across as believable and work out in a movie such as this one but she manages. Also John Huston plays a great role in this movie!
A perfectly fine watchable movie!
7/10


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Why couldn't the end of the movie have been Sean Connery's men fighting the French instead of the Germans. Ever since the French had occupied Algeria in 1830, the tribes from Morocco and those of Algeria were making raids on the French military and civilian settlements. This movie could have been a continuous of that historical aspect where the French had seize the Rasuadli so his followers would not be raiding Algeria, and then his followers would have attacked the French to free him.
The movie is still stereotypical of shootouts between the Germans and the Americans. When the Americans shoot the Germans, their guns (even the pistols) make loud noises, create large bloody bullet wounds, and their enemies are screaming after being shot. When Germans shoot at the Americans, their guns don't make large sounds, do not create bloody wounds, and their enemies make little or no sound after being shot.
In real life, the American Krag rifle was the worst rifle America had ever produce until the early version of the M-16 came along. The Krag was hard to maintain, not reliable, and the rifle bolt was always jamming. The German Mauser was one of the world's finest rifles. We were so impress by it during Spanish American war, that we made a copy of it and call it the Springfield rifle.
Finally, the people of Morocco must had a word for artillery since the French were using them in their raids against Morocco. I didn't like it when they made the Rasuldai feel stupid that there was no word for artillery in the Moorican vocabulary. Instead, the Rasuadli stated that the Europeans had guns on wheels that make the ground shake.


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Taken the idea out of a true diplomatic incident "The Wind and the Lion" is a very good adventure film set in the deserts of Africa.
El Raisuli (Sean Connery) head of an Arab tribe kidnaps an American woman(Candice Bergen) and her two children to obtain some concessions for his country out of American president Theodore Roosevelt (Brian Keith). Out of this simple plot John Milius gets a very complete and enjoyable movie in the genre.
The outdoor dessert locations, an impressive color photography, very well handled action sequences and perfect settings turn the picture in a sort of epic one with an undeniable sense of greatness. The musical score is also remarkable an fits accordingly.
Sean Connery is very good as the Arab leader and proofs he can handle almost any kind of role. So is Candice Bergen as the woman who shows strength under dangerous circumstances but deep inside is scared and has her weaknesses; she gets to admire Connery and even understand his complete different focus on life arising from their also completely different cultures. Brian Keith plays one of his best roles ever as American president Teddy Roosevelt.
Most entertaining and very good cinematographic sample in the genre. Give it chance, you won't regret it.


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Okay,I'm a history buff,and okay,I'm a action film junkie,so of course,this film is on my top ten of all time.I really love the action scenes,and the unique weaponry of the period.I sort of have doubts about fighting two-handed sword from horse-back,and the Raisuli sword seems more katana-like than scimitar-like,...oh well,I've never fought from horse back,either.
I love the attempts at philosophic proverbs,too.The typical desert tribesman probably couldn't read the Koran,so they'd take his word for it.Several writers have criticized Connery's brogue;well,on vacation as a youth,I met a family of South Africans in our west,Dinosaur National Monument,and although they spoke Africaans between themselves(yeah,second generation Germans can hear the difference),they spoke English with a Scottish brogue.Seems that who teaches you affects your pronunciation.Scottish Missionary?


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One of the earlier reviews of this movie ends with "Only for big fans of the lead actors or fans of exotic Romance/Adventure Holywood movies...," as if those weren't reason enough to love it! Anyone who, after seeing this movie, complains about Connery's accent, or the lack of historical verisimilitude, or the realism of the political motivations, or any other extra-movie concerns, simply doesn't love movies. See it and be awed by the star-power of the two leads, the exotic, romantic, photography and music, and the bold adventure of a truly escapist film. This is proof that Hollywood can "make 'em like they used to" when it really wants to. A solid 8/10.


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Now, lissen you guys, I LOVED THIS FILM, though not quite as much as FAREWELL TO THE KING, another beloved John Milius epic. It was fun, a lot more than if it were based on a Tennessee Williams drama. It's a great yarn, with a whiff of political correctness. I love this film for its beautiful photography, its humor and its attenuated criticism of the Bad Guys (Berbers) and the REAL Bad Guys, the spear- carriers for the acquisitive 'civilized' world, with their repeating rifles, artillery and large gunboats out there in the harbor.
The standout scene is the Berber encampment with blue-gray smoke from the cooking fires rising into the chill desert air. It is visually eloquent, highly evocative.
Set in 1904 Morocco, WIND features a helpless American woman (Candace Bergen) who is taken hostage by a dashing, albeit immodest, Berber bandit (Sean Connery-the very model ofa Scottish Muslim nomad). The exciting story is based on a few historical facts. The photography is Milius beautiful, punctuated by Jerry Goldsmith's outstanding score.
Mrs Pedicaris and the Raisuli conduct protracted foreplay and bounce around in the desert between oases. Even though the Raisuli proudly traces his lineage back to the apes, he is a perfect gentleman - he even lets her keep her head after she beats him at chess! A Marine detachment storms the Bashaw's palace, putting out the fires of competing hegemonies with gasoline. Don't mess with the Corps, Abdul.
There are many entertaining stereotypes:
Despicable Sultan - resembles a dissipated ferret. Definitely not a Liberal.
Cruel German Officer - a large, bellicose Dachshund sporting a monocle. He gallantly chooses to fight the Raisuli with swords instead of gunning him down in the manner of Indiana Jones. Noblesse oblige, by way of Von Clausewitz?
Dashing Marine Officer - kicks the crap out of the Bashaw of Tangier's army and storms his palace while chewing tobacco. His speech is mildly aphasic. The Bashaw begged him not to breathe on him.
The Berbers - a horde of groveling sycophants led by a charming megalomaniac. None of them take baths, except perhaps in camel urine.
President Teddy Roosevelt is undeservedly portrayed as vacuous and preoccupied with guns, toys and stuffed grizzly bears.
Beautiful American widow - gives the men a lesson in courage, as do her two children. She evidently has a huge supply of clean, starched clothes and rarely has a hair out of place.
The Raisuli sends Teddy Roosevelt a message, thanking him for the gift of a Remington repeating rifle, declaring,
"MEESTER ROOSEVELT, YOU ARE THE LION AND AIEE AM THE BREAKING WIND."
How true.
Please do not take my acerbic remarks to mean that I did not like the film. I had almost as much fun writing this as watching da Pitcher.


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I found West Point to be an agreeable film, although I doubt that I would watch it again. The performances were convincing, with William Haines as yet another obnoxiously amusing young man that has his come-uppance by film's end. It's hard to believe that stardom beckoned Joan Crawford less than a year after this film was made, as she looks rather awkward at times.
I would apply the comment made by another concerning Ramon Novarro's "Huddle" (1932) to this film as well. There is a great film waiting to be made here, but there is something lacking. The backdrop and integration of the Corps was well utilized, but I was less involved than I thought that I would be. Perhaps Haines' character went too far, or got away with too much. His "repentance" did not seem genuine enough; and what kind of message did it send for him to run every play in the last minutes of the Army-Navy game? Where's "the Corps" in that? Might as well have taken out the other ten men and let him do it all himself. Also, I doubt very much that William Bakewell's weak, puny character would ever have a real-life counterpart at West Point.
All this aside, the film is sometimes very moving and inspiring. It is a fine look into the daily practices of an honorable institution. Thank goodness that tradition still means something at West Point too, unlike the vapid "traditions" of Ivy League schools, only half-heartedly engaged in these days.
As to the score: it was appropriately martial. But, there was a distinct over-use of snare drums. Using them for knocks on the door, scene transitions, et ALU as well as in well over half the scenes got to be rather tedious. It rather lessened the viewing experience. I was ready to say "I GET THE POINT ALREADY."
With that, enjoy the film, but don't expect too much emotional involvement.


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Haines is excellent as the brash cadet who thinks West Point will really amount to something now that he has arrived. Haines displays his easy, goofy comic persona as he takes on West Point and Joan Crawford, the local beauty. Great fun for the first half. And amazingly touching after Haines's character goes too far and nearly gets shunned by fellow cadets. The new, humility-filled Haines get s alast-minute reprieve to play in the bill football game against Navy and, despite a broken arm, wins the game. Great, rousing entertainment by MGM in this Haines formula film, shows Billy at his best. William Bakewell also scores as the skinny follower. The handsome-but-goony character would be played by Clark Gable, Cary Grant, Gary Cooper and others in later decades, another take on the beautiful-but-daffy dames played by Carole Lombard and Marion Davies. West Point is a winner!


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A brash, self-centered Army cadet arrives at WEST POINT with a dangerous wise guy attitude towards the Corps.
In a role obviously tailor-made for him, William Haines shines in this highly enjoyable tale of honor & friendship. A grade-A scene stealer, Haines during the first half of the film is up to his usual Silly Billy behavior, which under normal circumstances should have gotten him confined to the guardhouse. The last half, however, becomes very serious, leading up to Haines' moral redemption and giving him a fine opportunity to exhibit his acting talents. If WEST POINT does not quite reach the caliber of Haines' previous TELL IT TO THE MARINES (1926), this is doubtless due to the absence here of a costar of the charisma & quality of Lon Chaney for Haines to interact with. However, this tribute to the Army is very effective entertainment and should be appreciated on its own merit.
Joan Crawford appears as Haines' love interest, playing the virginal daughter of the local innkeeper. Joan is pert & pretty and especially shines in her first scenes, when she meets Haines on a Hudson River ferry and is subjected to his usual immature antics. Haines & Crawford made five silent feature films together and were tremendous friends for life. He was the much bigger celebrity at this period and gave her many hints for getting ahead in Hollywood. A superstar herself by the early 1930's, she reciprocated after his ouster from MGM in 1932 by encouraging his career change to interior decoration.
Little William Bakewell is effectively cast as a Plebe who idolizes Haines; their relationship is actually given more of a sentimental treatment than that of Haines & Crawford.
The film was made with the full cooperation of the War Department. Extensive location filming at the Academy helps tremendously with the production's ambiance, which was given splendid production values by MGM.
WEST POINT has been recently restored and given a rousing new score by David Davidson.


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Was struck at how even the acting was throughout. William Haines had an acting range that is wonderful for silent film. Not over the edge. There are moments where the camera work is most excellent, and combined with the story, like when he is waiting to see the Superintendent, very well done.
Thoroughly enjoyed the flick.



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I just watched this, an early Harold Lloyd short film that featured his "glasses" character on Kino Video's DVD of "The Harold Lloyd Collection". He's actually a con man with Snub Pollard as his partner who gets discovered by Bebe Daniels who herself performs fake séances. What she discovers is that Lloyd and Pollard bilk many customers by dropping fake rings that are "lost". I'll stop there and just say this was quite funny especially when Harold and Snub enter the place Bebe works and encounter some creepy contraptions and put on costumes like Snub trying one of Bebe's outfits. Not too much slapstick but what there is of was also quite funny. So on that note, I recommend Are Crooks Dishonest?


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This is a very odd movie for Harold Lloyd--at least in regard to the sweet character he played in movies throughout the 1920s and 30s. Instead of a nice guy, he and Snib Pollard are con men--out to rob everyone blind. In a particularly successful con, Chester pretends to have lost a "very valuable ring" and a bit later, Harold finds it as a stooge is also looking for the ring. The ring, of course, is a cheap one dropped and then found by Harold, but the greed of the stooge is so great, he "convinces" Harold to say nothing and sell him the "valuable" ring and then they run away to enjoy their luck(?). Again and again they find patsies until they meet up with a woman who herself is a con woman (working with a guy doing fake séances). She arranges a nifty con and takes all the money they stole--and has a cop standing by to make sure they give her the money.
As luck would have it, the two con men stumble into the lady's shady business when no one is home. Soon, the lady returns and messes with their minds--releasing a lot of dirty tricks to punish them for their wicked ways.
All around, this is a completely odd and contrived film, but it is also exceedingly funny, as the jokes work very well and Lloyd and Pollard make an excellent team. Plus, while creepy and strange, I liked seeing Pollard dressed like a lady.


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Sure, most people will designate "Island of the Fishmen" as silly and trashy hokum, but can you honestly name one other movie that brings forward THIS many exhilarating themes? This Italian gem stands for pure entertainment and features stuff like voodoo, volcanic eruptions, mutant fish-creatures, the mysterious continent of Atlantis, treasure-hunting, a remote island filled with death traps and utterly mad scientists! All this and much more in one simple movie? Yes, please! Close-minded opponents of Italian horror cinema can easily tag this film as a cheap exploitation version of "The Island of Dr. Moreau", but the truth is that this is so much more! "Island of the Fishmen" delivers thrills and adventure from start to finish with surprisingly convincing special effects and astonishingly stylish camera-work. The story promisingly opens with a small group of prisoners, survivors of a shipwreck, washing ashore a tropical island. They encounter the sadistic Edmond Rackham who rules over a native tribeand a legion of genetically created amphibian monsters that live in the island's swamps. There are so many twists and additional sub-plots in the story that it's almost impossible to write a summary but, trust me, this gem is worth checking out. Sergio Martino once again proves that he's an ingenious filmmaker who has the talent to be commercial-minded and creative at the same time. He makes great use of the beautiful island location and also the interior sets look very impressive. The staggering underwater footage and imaginative scenery really lift this film high above the normal standards of late 70's exploitation. I don't quite understand why Roger Corman reworked the original so much and released it on the American market under a different title ("Screamers"), because there are very few elements open for improvement. The cast members are all Sergio Martino regulars (with the exception of the great Joseph Cotton is a neat supportive rule) and give away great performances. In case you can get your hands on the recently restored German version, you're treated to fifteen uncut minutes of extra action. See it!


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I finally got a chance to settle in and compare the two versions of this film currently going around -- First, the good old scummy, sleazy Embassy VHS print called SCREAMERS, and then a new fully restored Italian DVD by everyone's new favorite media company, No Shame of Italy.
The American adverts about "men turned inside out" is as everyone says, totally misleading, and indicative of a Roger Cormanized take on what otherwise would be a superior fantasy-adventure thriller for grown ups. The complete Italian version is a somewhat sprawling, well designed and deliberately paced take on "Island of Dr. Moreau", and there's nothing wrong with that. It's a sumptuous, handsome Euro Horror outing with a brain, good plotting, character development, location shooting, period costuming and sets, etc.
But I must admit that the 14 year old knucklehead weed puffer still lurking somewhere inside of me got a bigger kick out of the more lurid, sleazy and unkempt Roger Corman version, which has some nice over the top gore, a flashy but preposterous opening segment, and then the bulk of Martino's original film, albeit somewhat abridged to make room for Roger's idea of entertainment. The pacing was somewhat quicker, the shock sequences closer together, and you see just as much of Ms. Bach's fantastic form as you do in the extended Italian version.
I still don't have much of an idea about what the specific story concerns though: there are a number of plot twists and incidental characters that were somewhat hard to keep track of. A local voodoo subplot didn't help much, and it's funny how everything culminates in just another fistfight between the noble castaway prisoner and the mad scientist ... Perhaps a few more viewings are in order. I will say this: Fans of the movie should avail themselves of one of these PAL imports and take a look at what is actually a movie rather than just another murky old home video -- the widescreen shot compositions once again reveal that Martino had an eye for filling his screen with interesting stuff. Nobody gets their heads ripped off like in the SCREAMERS print, but it's still interesting stuff, and once again proof that while his standards may have been pretty much confined to the area around the gutter, Roger Corman new good trashy fun when he had it made for him, and side by side these are actually better movies than they had to be.
7/10


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This movie surprised me. The box is misleading, the tagline is misleading and the costumes and tone of the film are misleading. The movie is quite gory, well-acted and beautifully shot. The special-effects are top-notch and seem to be ahead of their time, until you realize this movie came out in 1979, not in 1963 like it's tone would suggest. It is a unique take on the Dr. Moreau story, and one of the better versions filmed. The first fifteen minutes are the highlight and the most shocking, but the film doesn't ever really fall apart. Definitely worth-seeing if you are a fan of dramatic costume/horror classics and gore-fests.


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Screamers is an Italian fantasy film (L'Isola degli Uomini Pesce) bought by Roger Corman and released through his New World Pictures. Of course Corman has to carve his initials on it by having one of his lackeys (Dan T. Miller) direct some additional gore footage before he has it released in the states.
L'Isola degli Uomini Pesce is a very entertaining retelling of the Island of Dr. Moreau. It is 1891 and Claudio Cassinelli is shipwrecked on a mysterious island with a few newly escaped convicts. Claudio comes across the stellar Barbara Bach and Richard Johnson. Johnson plays the dastardly Edmund Rackham: a man who is able to manipulate scientist Joseph Cotton into turning the local native population into amphibious deep-sea diving creatures, (they look like a cross between the Black Lagoon creature and one of The Humanoids From the Deep), by convincing Cotton that the mutations are being created for the highest of scientific and humanitarian motives.
Having discovered the lost city of Atlantis, Rackham is using the amphibious creatures to loot its treasures. Sexy Barbara Bach plays Cotton's daughter who has a psychic link with these mutations. In one memorable scene, Bach takes a midnight swim with these mutants wearing only a thin white cotton dress that leaves little to the imagination. Claudio discovers one of the convicts he has befriended has been turned into a gill-creature and then all Hell breaks loose.
Filmed at the same time and in the same location as Zombi 2, Richard Johnson didn't even have to change suits between films. The house where the experiments take place is the same house Johnson uses to conduct experiments in Zombi 2. Talk about economic filmmaking!
The additional footage features a few bloody beheadings, (way to go Roger!), and a laughably bad Cameron Mitchell doing his best pirate imitation. All that's missing is the parrot.
Spanish title: Le Continent Des Hommes Poissons


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Fans of Euro-horror flicks - Portland's video/DVD store Movie Madness has a whole section devoted to this genre - can't afford to miss Sergio Martino's gut-busting "L'isola degli uomini pesce" (called "Screamers" in the United States). Here's the lowdown: some shipwreck survivors land on an uncharted Caribbean island in 1891. The island is inhabited by a landowner, a scientist (Joseph Cotten) and his daughter (Barbara Bach). Sure enough, it turns out that the landowner is making the scientist create a race of fish-men. And while the fish-men remain calm as long as they can drink their potion, they get nasty otherwise.
This movie is sort of a mixture of genres: Euro-horror, swashbuckling, voodoo, and maybe a little bit of "The Island of Dr. Moreau". But it's mostly an excuse to have the fish-men disembowel trespassers; ya gotta love that! I wouldn't be surprised if the Euro-horror genre gave Quentin Tarantino some of his ideas for "Grindhouse". After all, the European horror directors have no scruples about what they show. This is one that you're sure to like.
So Joseph Cotten is the only cast member from an Alfred Hitchcock movie (I mean "Shadow of a Doubt") who later co-starred with Ringo Starr's soon-to-be wife and Audrey Hepburn's ex (by whom I mean Mel Ferrer) in an Italian horror flick. The things that we see in life...


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When a group of escaped convicts manage to flee to a remote island,they soon find that their new home is inhabited by a strangely menacing doctor(Richard Johnson of "Zombi 2" fame),a mad scientist(Joseph Cotten),his beautiful daughter(Barbara Bach)and a horde of superstitious natives.The tribesmen say that the doctor has created grotesque half-human,half-fish creatures for evil,secretive purposes.And though at first the prisoners do not believe this,as they disappear,one by one,they begin to change their minds."Screamers" is a very entertaining mix of "Mysterious Island" and "Humanoids from the Deep".There is plenty of gore with really cool decapitation scene and throat tearing to boost.The acting is so-so,but the film is fast-paced and entertaining.Give it a look.8 out of 10.


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Although the video box for many copies of this film claims it is about people turned inside out, this is a total lie. In fact, apart from the opening segment, the film isn't even a horror movie. With its sunken treasure, legions of fish people, and mad scientists, it's a lot more like a Doug McClure adventure movie. Obviously, this film is no work of art, but it's kind of fun to watch... Just be warned that the beginning is quite gory.


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action packed,with my favorite type of creature.I won't give any of it away if you have'nt seen it,cause it's worth taking the time to sit down and unravel in the mystery of things as presented in this film.It did gets slow at times and those were the moments my mind wondered which does easily anyways but moist of it kept me quietly thrilled,where you keep it in your head instead of letting it out,probably the mood I was in at the time.Special effects and action sequences you could feel made up for the occasional lulls.Of course there'es a duschload of movies out there exactly like this,the film still has it's own style and flavor,which I respect from underground independent horror movies anyways.


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I saw this movie on television as SCREAMERS and loved it. I heard an interesting story about this film. When Roger Corman released it to drive-ins in the summer of 1981, his trailer department sent out an advance trailer which was not actually footage from the film. It was allegedly footage of a naked woman being chased around a laboratory set by a monster. During the film's opening at drive-in's, irate customers complained the did not see the movie they paid to see. Theater owners called Corman and said their customers felt ripped off. So Corman had to run off copies of the footage, and send the positive film to theater owners to splice into the film themselves. Since the footage was never part of the film negative, it has not appeared in any video, DVD or television broadcast. Has anyone ever seen this footage? Anyone who saw this film at a drive-in in the summer of 1981 remember this?


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Lt. Claude (Claudio Cassinelli) and several prisoners from his sunken ship wash ashore on an island owned by Edmond Rackham (Richard Johnson). Following a few random prisoner deaths, Rackham takes in Claude and his two remaining prisoners. Luckily for everyone, Barbara Bach just happens to be on the island too! Unluckily, there are some crazy fishmen who like to kill people.
This Italian produced exploiter seems to have it all - a touch of CREATURE FROM THE BLACK LAGOON mixed with DR. MOREAU with a dash of WHITE ZOMBIE voodoo and Atlantis stuff. Despite some wonky looking fishmen costumes, the film does benefit from some beautiful location photography and a nice twist about halfway through. All of the actors are good and Joseph Cotton even pops up as a old biologist. Director Sergio Martino handles himself well enough as there is action ever 10 minutes or so. That can't be said for his belated follow-up THE FISHMEN AND THEIR QUEEN (1995), easily one of the wackiest and most off-base sequels since HIGHLANDER II.


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