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This was the third time I tried to watch this film. The previous two times, I found the beginning so sickeningly sweet and "schmaltzy" that I just stopped watching. However, now that I am a little older and more compulsive, I forced myself to watch all the film and I was very surprised to see that I actually liked it quite a bit. So, I look at the movie much the same way I would look at swimming in the ocean when the water temperature is 70 degrees (that's about 21-22 degrees Centigrade for all those metric-lovers out there). Sure, the water is terribly cold and shocking at first, but if you FORCE yourself to stay in the water, you'll get used to it--so resist that urge to jump out right away!!
The film begins with a lengthy exchange between Flynn and his daughter, played by a lispy Patti Brady. Some may find there conversations very cute and endearing, though others may find them a bit hard to take since these moments are so gosh-darn sweet! In a way, it was some amazing acting by Flynn because it's hard to imagine him in real life having kids or acting domestic especially that he wanted to be faithful to one woman in this film--now THAT'S ACTING!! NEVER SAY GOODBYE concerns the divorced couple, Flynn and Parker, and their mutual desire to remarry. Since they both love each other as well as their lispy kid, it seems like a foregone conclusion that they will once again tie the knot. However, there are some serious problems standing in their way: Lucille Watson (who plays her usual over-bearing and controlling mother-in-law character), Flynn's girlfriend (after all, he is Errol Flynn and he is divorced, so you gotta expect him to have a girl SOMEWHERE) and a marine (played by Forrest Tucker).
Not unexpectedly, all this does get worked out by the end and everyone lives happily ever after. However, despite it being formulaic and predictable, the film is a winner because it is so much fun to watch. Flynn, despite his reputation as an action-adventure hero, is very good with comedy-romance and it's just a lot of fun to watch him. Also, the film has the ever-scene chewing Cuddles Sakall--he's just so gosh-darn cute and sweet that he is perfect in this type of film. And, despite the sweetness, the film is pretty well-written. The bottom line is the film is FUN.
So my recommendation is that you DO watch this film and force yourself not to retch at the sickeningly sweet aspects of the film. Once you've gotten over this, the rest of the film is a picture that is well worth your time.


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This movie is a hidden gem. I can't understand why this movie doesn't get more air time. Errol and Eleanor Parker make for a real attractive and dashing couple. And their chemistry is impeccable. I really liked the touch of his daughters reference to him as being her Robin Hood. I highly recommend this to anyone who enjoys Errol Flynn. It's nice to see Errol playing a father as well. By all accounts from his very own children, he was a very attentive and loving father in real life. Also, the supporting cast is wonderful as well. You can't go wrong with supporting players such as Hattie McDaniel and Lucile Watson. Hattie McDaniel makes a movie that much better from the get-go. This movie has now become a Holiday tradition in my home. Enjoy!!!


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a fine romantic comedy. errol flynn shows what a deft touch for comedy he possessed. a talent that probably shows some of his true prankster self. the comedic writing on this film is excellent. eleanor parker does a nice job as flynn's ex wife whom errol is trying to win back. eleanor is also easy on the eyes. the sets exude 1940's glamour and style where appropriate.
flynn's comedic timing and wit are displayed to full effect here, watch his double takes, his ability to verbally counter punch with a snappy comeback or act the straight man, and his total believability and sincerity where required, this guy could act! it is a shame errol did not get a chance to do more roles like this throughout his career, he was multi-talented to the extreme. if you enjoyed "it happened one night" with gable and colbert or some of the william powell and myrna loy comedies you will enjoy this.
well paced and lots of laughs. a lost diamond of a movie.


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A true comedy.The dialog is fast and very witty.Eleanor Parker at her physical peak .Flynn as only Flynn can be"the charming rogue'..although now past his prime.. Most of the scenes between the principals are short so the movie moves well. If you haven't seen this movie please give a look.You will be surprised at Flynn's comedy timing.The scenes between him Tucker, Parker and "Cudddles" Sakal are hilarious.Just on the basis of the outfits worn by the most attractive Parker,this movie is worth a look.The romance of this 40's movie will not be lost on those so inclined to watch movies from Hollywood's golden past. My bet is that Never Say Goodbye won't disappoint.


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I used to enjoy "Happy Ever After", but was absolutely hypnotised by "Terry & June". With Aunt Lucy gone, the emphasis seemed to fall more heavily on the relationship between Terry and June, a middle aged, middle class English couple, and I thoroughly enjoyed it, losing myself quite happily in each episode.
The 1980s were the era of alternative comedy, but they were also the decade of choice - and Terry and June certainly suited more traditional tastes. And mine - and I was a huge fan of "The Young Ones", too! Each week, Terry got into a silly situation and June got pulled in herself and usually ended up having to bail him out. How dated the shows seem now - it was a different world, but it's great fun to see trends of the 1980s featured - such as the CB radio storyline of 1982 (CB radio was legalised in England in November 1981), which saw Terry imprisoned in his car in the back of a lorry! I've been watching the shows again recently on DVD, and I still think they're terrific! Not loved by the enlightened elite - the chattering classes, but a huge hit with the masses! Wonderful!


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I saw the film in its original theatrical release in Austin Texas. The old Paramount Theatre (I don't know if it still exists.) went all out with speakers around the walls connected accurately to all six channels. At 15 years of age, I was blown away. The concept of surround sound was completely foreign to music and film at that time.
I vividly remember at least three outstanding scenes where the surround sound made a huge impact. (Though please forgive me if time has warped my memories with inaccuracies.) The first was a travel by the camera through Catfish Row, alive with the sites and sounds of daily activity. You saw each one first, such as a blacksmith for example, then as the camera passed them by their sound would continue to be heard passing left or right down the side of the theater to the rear. The second was a marching band that was seen first in the front, then it marched past the camera splitting left and right. Not only did the sound of each instrument follow its own directional path, it also changed in timbre as it played toward you, to the side of you, and then away from you. And if that wasn't enough, they also accounted for the Doppler effect for each instrument as it went by. The third scene was near the end of the movie as Porgy is leaving Catfish Row for New York to look for Bess. He and about half the cast members pass by the camera as they leave the village with the same sound effects as the marching band. The other half of the cast/chorus sing along with them and also wave and voice goodbyes to Porgy and their other friends. The friends' replies can then be heard from the sides and the rear.
Surround sound was used with splendid effects throughout the movie. I think I remember a rock or something thrown from a pier and hearing it land in the water behind me. Little things like that were evident to theater-goers lucky enough to have the full six channels -- things that would just seem mundane in theaters without it.
I stayed in the theater for several showings. You could do that then. And I went back several more times before it left town. I never saw the movie again. It literally BEGS for release on DVD with restored picture fidelity and surround sound. I do hope someone somewhere has preserved it. Please, Gershwin family, allow it to be released before it is lost for good to other generations.


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It is a shame that the Gershwin family and Goldwyn Estate has pulled this great movie from the viewing, thereby depriving the public from seeing some of the most wonderful actors and performances ever packed into one motion picture.
It is also true that the singing voices for Sidney Poitier and Dorothy Dandridge were dubbed for this movie, and that is used as one of the reasons that the Gershwin's do not want this movie ever released again.
For in spite the flaws in the movie and the creative differences between the Gershwins and the Goldwyns, this film has some of the most remarkable performances ever committed to the screen. Sammy Davis, Jr. and Pearl Bailey are especially deserving praise.
This film was the great independent producer Samuel Golwyn's swan song. It was also ironically, the Gershwin's greatest shame.
Finally, it is a loss to the wonderful black actors who appeared in it. For we can no longer see them at their best.


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I saw this movie when I was very young. It is my all time favorite. I had been unable to obtain a copy until recently and viewing it brought back so many fond memories. I loved Sidney Poiter's portrayal of Porgy, he his character with such strength and courage. Pearl Bailey's part, although small, was not unlike many of our own family members. My favorite songs were and still are "Bess You Is My Women," "Porgy,Don't Let Him Handle Me" and of course "Summertime." According to the guidelines, if I'm interpreting them correctly I'm unable to post where I was able to obtain my copy, Sorry. That is why I registered so that I might be able to share this info. Before registering the guidelines are not posted.
Phone numbers, mail addresses, URLs. Availability, price, or ordering/shipping information.


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I have searched for this movie for years. I have great memories of the first-rate acting and singing in this movie. I never knew that the reason the movie was unobtainable was because of the actions of the Gershwin family -- SHAME ON THEM for trying to suppress at American Classic!! I can only hope they will relent and allow this movie to be release and enjoyed by the American public.
Sammy Davis, Jr. is at his absolute best in this film. The only other performance of his this is it's equal was in 'Anna Lucasta'--another terrific film that I wish would be released on DVD.
Porgy & Bess contained a first-rate, all-star cast. Hopefully one day you'll get to see for yourself.


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The many comments made by others have been very informative and I join in their calls for the release of Porgy and Bess, the 1959 film.
In my early teens I joined a record club and this album was one of the free ones I chose for joining. I knew some of the voices were dubbed, but only Robert McFerrin was acknowledged on the album. Recently my daughter purchased a CD from Austria, I think. The quality is excellent, so I am confused about why it is available in Europe by CBS Records, Inc, when I have had no luck in local stores.
Actually, I never saw the movie but for years have pleaded with local video stores to get it. Now I know why it has never been available.
I add my voice to others who plead with the heirs of the property and rights and that they agree to release it, however imperfect they perceive it to be - the beauty of the music and story reached so many of us who would never have had the experience otherwise.
Trudy


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I was given the solo "Summertime" in 5th grade for our spring choral concert. From that time on, a great appreciation for Gershwin's music arose in me. I love the haunting melodies of this opera by Gershwin. Back when I was in 5th grade (around age 10), I got the LP to practice with and also love the soundtrack very much. I recommend seeing this movie and if you can get the soundtrack, get it - you can sometimes find it on eBay - an old, used LP. I have been searching and searching to try to find the soundtrack on CD. The songs on this have marvelous musical arrangements and I truly wish it would be put on CD for purchase and also wish they would restore the movie and put it on DVD. This is truly a great work that I think present and future generations would enjoy and benefit from. Some may think the movie slow and dull, but I find it quite the contrary. Although Poitier and Dandridge have dubbed musical voices, I think the voices fit the faces and personalities well. A person's speaking voice and singing voice may be quite different. Porgy and Bess, and the songs in this opera, will always have a special meaning for me.


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I saw this once probably like most people my age(55) back in the 60's. I understand the dissatisfaction with the final product by both families. But this is a great movie, it was a great Opera; but as a film it is wonderful. This film should be released at least to video, other generations can gain an appreciation of great music and story telling. The cast was made up of some of the greatest Black actors ever, most have now passed away; only Sidney P. is still with us. Please don't wait until he is gone and the film as all old film does, becomes unusable do to the ravages of time. Again this is a great film which is something that one does not see very often today, if at all.


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I stumbled on to this site while looking for a video or DVD of the 1959 version Porgy and Bess with Sammy Davis as Sportin' Life. If anyone finds this on a home movie format please let me know. I talk to my daughters all the time about things that they think are new which, actually have already been done. We went to see a live theater of version a couple of years ago and all I could talk about was this film. Sadly my daughters cannot remember seeing Sammy Davis Jr. in any production, although they have heard of him. Needless to say, they're not familiar with the other great actors in the film. It is a major oversight not to have this classic film (because of the cast) on a home movie format for collectors and for future generations. Anyway, in my opinion this version was the best!


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I found this movie to be one of the best for this time and era. The cast was very exceptional and most entertaining to all that saw it.I would like for my younger generation to have seen this movie,but I haven't been able to find or see the movie in the past.My first viewing was back in the early sixties and I have been looking for it every since.The movie showed me potential of how far we come go to become a gifted at a craft where we could only have meaningless roles to act as buffoons and servants.
Porky and Bess showed some of the urban life of my neighborhood as I saw it in the time where I needed good solid male role models. The singing and acting had me skipping for days, playing the part of different characters in this excellent movie.


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I see it when I was 12 year old and I dream to see it again !
What marvelous Sammy Davis Jr singing "it ain't necessarily so !"


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I had the great pleasure of recently viewing this beautifully filmed wide-screen adaption of the the 1943 stage revival (which unlike the original 1935 production) which included extensive spoken recitatives. This had been the fashion at the time, so to blame the film for an 16 year tradition. The film should be seen if only for Sammy Davis Jrs brilliant catlike performance as Sportin' Life, creeping in and out of shadows. His seduction of Dorothy Dadridge's BESS "There's a Boat dat's leavin' soon for New York," is one of many highlights. Nearly all of the principal music is intact and beautifully sung. It certainly never bores which the recent PBS and MET versions did. It was a pleasure to see that time had not diminished the movie, and hopefully it will be made available in the near future for the generations that haven't had a chance to experience it.


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Otto Preminger's "Porgy and Bess" stands, to date, as a great American musical. I believe it is time bring this film out onto VHS and DVD for countless generations to view, admire, and absorb its wonderful music.


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Viva Variety was a unique hybrid program that was both a parody of and a tribute to the programs it represented.
It was most directly a mock up of the classic 1970s favorite, "The Sonny & Cher Show," With Thomas Lennon and Kerri Kenney playing a divorced show biz couple who were somehow forced to host this program together, the female of the pair towering over the male, and the constant barrage of "insult humor" the couple tossed at each other, plus sketch comedy bits and performances from what are most kindly described as "specialty" acts!
The "hybrid" was the mix of fact and fantasy. Of course, there was no "Mr. and Former Mrs. Laupin," and the program's announcer, Johnny Bluejeans, was likewise equally fictional. But all the acts that performed were certainly real, and some were even entertaining! But there were also some acts that would have clearly been better suited for the old Chuck Barris "Gong Show."
The show itself was really more like an extended sketch from "SCTV" (it was borne from the MTV series, "The State," after all), and some would suggest that it would have been better as a five minute bit in the mix of a program like that one, rather than a stand alone series. But "Viva Variety" certainly should get high marks for original concepts, and even though it was often more odd than funny, it was certainly worthwhile, especially when they road tripped to Las Vegas and brought in even glitzier acts to perform. It's unlikely we'll ever see anything like this on television again.


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This show was incredible, but too esoteric for most people. If you had never truly seen a European variety show in the 70's or 80's (or at least a Mexican one) the entire show would probably be lost on you. If you had, this show was a dead on skewering satire of the phony spectacle and shallowness that these shows dive into at their worst. Helmed by a chain-smoking suave wannabe with a pencil moustache and his ultra-glamorous and immasculating harridan of an EX-wife, "Viva Variety" is a variety show that tries to get off the ground every episode but always descends into in-fighting and acts gone very wrong. The hosts are joined by "Johnny Bluejeans", a dim witted side-kick who seems to have been named because blue jeans are a very popular product in his country and that means the kids will like him, which of course, they don't.
The result was a hilarious spoof of variety shows in general. Imagine the arguing that probably happened BACKSTAGE during the last days of the "Sonny & Cher Show". Now imagine it's happening ONSTAGE in front of you and the stars are trying to keep their composure. Now add cheesy acts and a Euro-riche mentality (tuxedoes, gowns, booze, accents and smokes). NOW you have "Viva Variety".
Have you ever heard a musician whose music was pretty much written for other musicians? Too conceptual? Viva Variety did this for comedians. WAY too esoteric for the standard American audience. It was funny as Hell. And doomed.


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I've never read a good review for "Vanity Fair" and I can't understand why. For something that was "rushed through in ten days" it all comes off surprisingly well. Though admittedly "Becky Sharp" is a better movie and Miriam Hopkins a better Becky, there's nothing to stop this one from getting a solid 9/10. At times, Myrna Loy might seem just too cute and nice to be playing an utter bitch, but at other times she just has to squint her eyes and the air temperature drops a dozen degrees. Meow! The move to a more modern setting did not work against "Vanity Fair" and the only thing that really causes some conflict is the casting. Barbara Kent (Amelia) was under 5 feet in height, and few of the leading men were very tall either - this all coming together to make Loy look like an absolute Amazon woman!
"Vanity Fair" is similar to "Craig's Wife" in that no matter how bad the main character is, you have to love her. And you know she deserves her comeuppance, and then some, but you still feel sorry for her when she gets it. Though based on the same story as "Becky Sharp", this version had a different ending, which is interesting to see because most of the rest of the films were almost identical. For pleasure value, the ending of "Becky Sharp" is ultimately more enjoyable, although aesthetically, and from the flow of the story, there is no doubt that the ending of "Vanity Fair" is the better one, whether or not you actually like it.


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I love the Thackeray novel on which this film is based. And while this modern version of Becky Sharp's story is a B film, the casting of Loy, in her first top-billed role, is rather fascinating.
Before Loy became MGM's reigning good girl in scores of genteel and comic roles, she was an actress. VANITY FAIR was Loy's follow-up film to EMMA, in which she played a snotty and greedy daughter who almost destroys the loyal housekeeper (Marie Dressler).
Loy's Becky is much nastier than Miriam Hopkins' version 3 years later in BECKY SHARP. Loy's Becky is very much a pre-Code film character with her plunging necklines and amoral ways. It's the type of character that Jean Harlow or Clara Bow could easily have played, but Becky here is still supposed to be of the genteel set. That's what makes her fallen character so tragic.
In counterpoint to Loy's grasping Becky is the goody goody Amelia (Barbara Kent) who is just not an interesting character. Mary Forbes is icily good as Mrs. Sedley. Most of the other actors in this version are pretty blah: Conway Tearle as Rawdon; Walter Byron as Osborne; Anthony Bushell as Dobbin. Others are nearly Dickensian is their quirkiness: Billy Bevan as Joseph; Lionel Belmore as Crawley; Montagu Love as the Marquis; Lilyan Irene as Polly the maid; Elspeth Dudgeon as the housekeeper.
Loy is front and center throughout. While the ending is rather shocking, she has several excellent scenes, such as the gambling scene in the casino where she tries to steal another woman's winning roulette bet. The more Loy's Becky descends morally, the more beautiful she gets until she is finally "caught." Bottom line here is that this is a very solid performance by Loy in a film that should be seen.


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I can never fathom why people take time to review movies that they have not understood fully. I know people will read scathing reviews on these pages of this film, and it will keep them from seeking copies of this quite forgotten, late '20s style but 1932 movie, which should probably be referred to as "Indecent," as that is the name on the main titles.
Myrna Loy, best known as a comic actress in countless genteel roles, shows herself to be miscast in all of them. She was a true dramatic actress, something that I did not know before watching this film, which predates all of her famous roles. She is exciting and moving here, two things she never was opposite the graceful and refined William Powell. I'm still rather in shock over how good she was.
Becky Sharp (1935), the first three-strip Technicolor feature, is more familiar but this one is far better artistically and an adaptation. It is also very poignant as an expression of a film style that was about to die. You cannot take my word for it, you must see it.


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Eliza (Elizabeth Moorman) is a farm girl from the country coming to the city looking for love. She has met a man that has told her of an Astrologist who will show her the stars. This is a journey of souls...Eliza is put to the test, can she realize her true love when she sees him or not? Tommy (Tommy Lee Jones) is a construction worker trying to find himself in his native heritage. They show each other different ways of looking at things. All the while Eliza is still looking for love and Tommy is trying to protect the reservation that his grandmother lives on. This is a twisted story of looking beyond the obvious and finding beauty in the simple everyday things. The style is artsy and chock full of symbolism. The psychedelic camera styling might scare away the average moviegoer, but the deeper message and the interesting frames make this movie worth watching. It is a movie that explores the underworld of the weird, wretched and devastated individuals. This one strays from the path but certainly worth watching!


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Hercules the Avenger is by far the best single entry in the muscleman genre I can recall. The charge against it made by critics - it is a cut and paste of two previous Hercules films, with some added new material to make it appear fresh - misses the fact that this cut-and-paste approach solves one of the central problems of the sword-and-sandal movies. With most of these films, the middle third sags horribly - usually involving a sappy love story or arcane political intrigue or both (queen falls in love with Hercules and her evil brother plots against them, etc.) It's often hard to hold on through this to watch the exciting finale. Hercules the Avenger cuts all that crap from the source films, and adds a rather brisk narrative of a Hercules impersonator bullying his way into power. (It should be noted that this episode also functions as a distant but pointedly critical remark on the rise of Fascism in Italy.) This also sets up a fine final wrasslin' match between the real Hercules and his impersonator.
In a narrower focus, I might also add that further editing has improved individual scenes borrowed from the other films. For my money, the mutiny scene here is much better than it first appeared in Hercules and the Captive Women, since it has been tightened with the reduction of several characters and their plot complications.
There are also floppy monsters, creepy underworld atmospherics borrowed (literally) from Mario Bava, an entire city destroyed, and the usual amount of lovely babes in revealing gowns. Since no one expects any of these films to compete with The Seven Samurai - or even with The Magnificent Seven - it seems a bit picky to hold the film's borrowing from other films against it.


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Hercules' son gets severely wounded during a lion hunt that goes awry. Hercules (a solid and engaging performance by the beefy Reg Park) has to venture into an eerie and dangerous alternate dimension ruled by the evil and vengeful Gia the Earth Goddess (a deliciously wicked portrayal by Gia Sandri) and battle various monsters in order to save his son's soul. Meanwhile, Gia's equally nasty son Antaius (a perfectly hateful turn by Giovanni Cianfriglia) poses as Hercules and takes over an entire city as a cruel and ruthless tyrant. Director Maurizo Lucidi relates the engrossing story at a steady pace and maintains a serious tone throughout. This film begins a little slow, but really starts cooking once Hercules enters the misty and perilous subterranean spirit world: Rousing highlights include Hercules grappling with a humanoid lizard beast, Hercules climbing a giant gnarled tree, and Hercules being attacked by a bunch of creepy rotting zombies. Better still, the bizarre spirit world just reeks of spooky atmosphere (gotta love that persistent thick swirling fog!). The strenuous rough'n'tumble mano-a-mano major physical confrontation between Hercules and Antaius likewise totally rocks. Of course, we also get a big mondo destructo climactic volcanic eruption as well. Allvaro Mancori's crisp widescreen cinematography gives the movie an impressively expansive sense of scope. Ugo Filippini's robust, rousing score has a nifty majestic sweep to it. Okay, so this flick is an obvious cheapo cute'n'paste job that uses copious footage from both "Hercules in the Haunted World" and "Hercules and the Captive Women," but it's still an extremely lively and entertaining romp all the same.


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Beautifully filmed, mind expanding exploration of Gypsy culture in the context of their music. Travel across a continent, experiencing the amazing musical styles of various groups of Gypsy peoples. It is sort of misleading to say this movie is not narrated. It is masterfully narrated by the music itself, the soaring melodies and subtititled lyrics tell a story much better than a narrator would have. See this film.


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Latcho Drom is a cinematic survey of Gypsy music from several countries. It is touching, sad and joyous. Most of the segments appear to be completely unstaged, unrehearsed. The music, ranging from the sensual flamenco music of the Spanish Gypsies, to the melancholy music of the Central European Gypsies, is exquisite. If you love Gypsy music, you'll find Latcho Drom absolutely beautiful.



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This is not "direct cinéma", as a matter of fact it is its opposite. Second installment of filmmaker Gatlif's gypsy trilogy, this French work produced by Michèle Ray-Gavras, is a film masterpiece, not pure documentary, no fiction by any means. Instead, Gatlif has chosen different locations of the route from India to Spain, wherever the Rom people have a strong presence, and with the help of art directors he has staged several musical numbers that tell us how the gypsies live, sing, dance, struggle and have survived. The movie may have strong opposition from those who question the hypothesis that the Rom tribe is of Indian origin, mostly challenged by those who see a direct link with the Hebrews (so, in a way, it comes as no surprise that they were also persecuted by the Nazis.) But above any anthropological argument, this is a work of great beauty, strong colors and wonderful singing and dancing.


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What makes this documentary special from a film-making perspective is its passiveness; which engages the audience to bask in the delight of gypsy music. It innovates the form of documentary while showcasing a tapestry of sound and movement that invites us to celebrate the primal similarity found within the traveling music of (historically) traveling peoples.
Indeed the film itself is a single "take" of sweeping movement that travels the globe and transitions effortlessly from one rhythmic culture to the next.
Watching this film, one's breath is taken away by the simple beauty in our common connection to music, rhythm and dance. If there is a more deeply spiritual, flowing homage to the sound and movement of gypsy cultures, it has yet to be filmed.


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Latcho Drom, or Safe Journey, is the second film in Tony Gatlif's trilogy of the Romany people. The film is a visual depiction and historical record of Romany life in European and Middle Eastern countries. Even though the scenes are mostly planned, rehearsed, and staged there is not a conventional story line and the dialog does not explain activities from scene to scene. Instead, the film allows the viewer to have sometimes a glimpse, sometimes a more in-depth view of these people during different eras and in different countries, ranging from India, Egypt, Romania, Hungary, Slovakia, France, and Spain.
The importance of music in Romany culture is clearly expressed throughout the film. It is a vital part of every event and an important means of communication. Everything they do is expressed with music. Dance is another important activity. Like Romany music, it is specialized and deeply personal, something they alone know how to do correctly. We are provided glimpses into their everyday activities, but the film is not a detailed study of their lives. Rather, it is a testament to their culture, focusing on the music and dance they have created and which have made them unique.
Mr. Gatlif portrays the nomadic groups in a positive way. However, we also witness the rejection, distrust, and alienation they receive from the non-Romany population. It seems that the culture they have developed over countless generations, and inspired from diverse countries, will fade into oblivion because conventional society has no place for nomadic ways.
The other films in the trilogy are Les Princes (1983) and Gadjo Dilo (1998).


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This film is a tapestry, a series of portraits of Rom communities woven together by music. It's very much a musician's film, because of the paucity of spoken dialogue - and what dialogue there is, is not important to the structure of the narrative. Some might expect a National Geographic tale of "customs, dress, and music" or a plot-line orbiting a few central characters - don't look for that here.
This is because it paints a portrait of a family of peoples, rather than telling a story of individuals. The plot is the story through space (India to Andalucia) and/or/ time (we cannot tell) of a people. There is no need of narration. You get a sense of a joyous people, strongly linked in small communities where social interaction is very important. And a great sense of sadness in parts, at their rejection by society at large.
So it's a paean to Rom culture, very beautifully shot, with a wide spectrum of Rom music, and a sting in the tail which is the oppression these people have faced, and still face.


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I ended up liking this movie but it was not the easiest to get through. What makes the movie great is the music and the scenery. The songs are beautiful and the musicians are talented. A great job was done to show different settings for the Rom people.
However, the viewer was not guided enough. A more in depth history of the Rom people would have been nice. Only a fraction of the of the spoken words were given English subtitles. In addition, more explanations about the settings and who was their and some of their challenges would have been appreciated too. It would have helped if there were a narrator too explain about customs, dress and music.


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My girls 4 and 6 love this show. We stumbled across it on a PBS station and they always ask when its on now. It reminds them of their Grandma that takes care of them everyday in the summer. Its funny too and sometimes they can't stopped talking about one scene or another. I would definitely recommend this show to all young kids. It is very clean and shows you to slow down and its not about watching TV all day long. When Nana reads a story it is slow and she talks about each page with Mona. It reminds me to slow down when I read the next book to my girls at bedtime and talk about the book instead of going through it quickly just to get them to sleep.


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We stumbled across this show one Sunday morning at 6:30 a.m. while flipping through all of the cable channels and this turned out to be best show on! It is absolutely adorable. We need shows like this for children (and adults, as I'm certainly way beyond my childhood years.) As one of the other commentaries pointed out, this show benefits from the simplicity of the characters and story lines. The puppets are fantastically cute, the backgrounds are colorful and even though they are created out of cardboard, foam, paint, and pure imagination, they remind us of our own childhoods, when we could spend the day at our own grandma's house, exploring the world around us. For those who never were lucky to have a grandma as nice as Nana, this show is for you, you'll make up for lost time! This show is a true inspiration and filled with cleverness and humor and just outright fun, for children and adults alike. In other words, don't overlook this show, just because you're over the age of three! Spend a half hour with Mona, Nana, Mr. Wooka, and Russell, they'll be friends you look forward to seeing!


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This would definitely not have been my kind of movie, but my husband saw it on TV and said it was really good. So, on his recommendation, I bought a copy, since I didn't know if it would ever be on TV again. I had never heard of anybody in it except Armand Assante. At first I had a hard time getting into the story, because the first part of the movie is a jumble of images-- and it doesn't make much sense. It is only later in the movie that it all comes together. The scene-cutting- if that's what it's called, is a bit jarring-- it sometimes looks as if a few frames have been cut out of each scene, and the scenes are jerky--but I guess that was done to add to the unusualness (if that's a word). The story veers here and there, and just about the time you have it all figured out, everything turns upside down and you have to readjust your thinking as to who is the bad guy and who is not. Or bad woman. The acting is very good-- I kept thinking how much Norman Reedus looks like Leo Decaprio. The ending was a real twist, totally unexpected, which I liked. A good show.


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Not having heard of this film, it came as a surprise when it was shown on cable recently. Gary Ellis, the gifted director of "Tough Luck", does wonders with the screen play written by Bill Boatman and Todd King. The film involves the viewer from the start.
Archie, the young hustler at the center of this story, has been involved in all kinds of petty crime. In fact, we witness a confrontation right at the beginning which makes him get out of New Orleans, as fast as he can. He ends up in the carnival that is run by the mysterious Ike. Archie falls for Davina, the woman he should have been wise to stay away from. The result proves a fatal judgment for Archie who then becomes the object of double crossing all around.
The director should be commended by the casting of Norman Reedus, who obviously is loved by the camera. In spite of his nature, one feels for him because we know his heart is in the right place. The beautiful Dagmara Dominczyk is perfect as the exotic dancer Divana who, in spite of being Ike's lover, entices Archie into falling heads over heels with her. Armand Assante is barely understandable with the thick accent he speaks during the first half of the film.
"Tough Luck" shows a new director, Gary Ellis, showing he will go to do bigger and better things because he knows what he is doing.


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Didn't really know what to expect from this movie-and found myself being pleasantly surprised. I picked it up because I recently stumbled across Norman Reedus and am trying to find more of the films that he's been in.
I'm not big into hustler movies or con movies, but I have to say, this one roped me in within minutes. Probably because I couldn't quit figure out exactly who was hustling who. This movie is stylish and fast-paced, with a story that is believable thanks to location and fantastic performances.
While I was impressed with most in the film, I must say Dagmara Dominczyk was simply excellent.
Give it a chance-it's a really fun film.


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This one surprised me.
I read a few reviews beforehand that called it a good B-grade movie and was prepared for the worst. Halfway through it I suddenly realised I was completely wrapped up in it and enjoying it a lot. There were some really tense moments that had you sitting forward fiddling nervously with the remote control or any other object in reach. Overall this movie definitely doesn't deserve the B-grade tag.
Credit must be given to Director, Gary Ellis and writers, Bill Boatman & Todd King for their movie debut. I hope these guys continue with bigger budgets and some studio backing.


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I like Armand Assante & my cable company's summary sounded interesting, so I watched it, twice already, and probably will again.
The early part is difficult to follow, but later it clears up. I believe the screenwriter did a good job of tying up the loose ends.
Some of the acting is unconvincing, but maybe that's because I was always expecting some kind of double-cross. In that case, the poor acting would be the insincerity of the characters interacting with each other, so it fits very well.
The important theme is the carnival owner (Assante) is laundering money for a local casino & his snake-charmer wife (Dagmara Dominczyk) wants to steal it. She complains to "Archie" (Reedus) how terrible her life is, and how he could help her get out of it.
There are 3 or 4 plot twists (which is probably the reason for all of those loose ends), and just when you think you have solved the mystery, something else will happen.
My 8/10 score is mostly for the plot.
I won't say any more - I don't like spoilers, so I don't want to be one, but I believe this film is worth your time.


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This is a quirky heist/caper film, one that seems predictable at first then keeps surprising until the last scene. The protagonist is a grifter who goes to work in a little carnival, where he's paid to kill the manager's belly dancer wife Divana then ends up falling for her himself. She's alluring, tricky and deadly and she keeps disappearing and popping up again like some sort of magician's trick. The film's other props include her duplicitous husband/employer (played by the talented Armand Assante), some nasty Dominican mobsters and most important to the plot, a suitcase full of money. Just like the old "shell game," the one where you have to guess which one the pea's under, you'll be guessing who's got the money, and like the victims of the hucksters who run such games, you'll probably guess wrong. Dagma Dominczyk, as lovely Divana, is a talented performer and an eyeful, whether she's dancing with the huge snake around her shoulders or working her grift on all the unfortunate men in her orbit. Norman Reedus is fine as the young con who is flummoxed by the elusive beauty he was paid to kill. Don't count him out, however, for he turns out to be smarter than anyone gave him credit for. This oddball film is worth a look.


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I watched this movie on HBO and I had a good time.
The director has done a great work. I found myself totally absorbed into this movie once it started. Norman Reedus's performance is cool. I expect more chilling movies from him.
I was so absorbed that on occasions I wanted to grab gun from Norman and shoot that snake girl. Hehe. I like the movies when innocent looking girls play tricks with men really cunningly. The ending was what I wanted :))
This movie is filled with twists of moments. You expect this but something else happens.
In the beginning, those massive images cut scenes were really painful to eyes.
Although it was not shown when Norman Reedus changed currency notes? Or is it me standing by fridge. :)


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Like a twisty country road, "Tough Luck" takes the viewer for a ride. There is nothing wrong with plot curves, as long as believability doesn't fly out the window. Unfortunately in the end the film does challenge an audience's belief tolerance. Nevertheless, it is easy to forgive this fault due to the superior acting, character development, and wonderful carnival atmosphere. Do not expect to like any of the characters. Armand Asante, Norman Redus, and Dagmara Dominczyk, play shady con-artists, not exactly the type of person easily admired. The double crosses come fast and furious, and the final cross is a bit of a stretch. Recommended. - MERK


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