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Yesterday my Spanish / Catalan wife and myself saw this emotional lesson in history. Spain is going into the direction of political confrontation again. That is why this masterpiece should be shown in all Spanish High Schools. It is a tremendous lesson in the hidden criminality of fascism. The American pilot who gets involved in the Spanish Civil War chooses for the democratically elected Republican Government. The criminal role of religion is surprisingly well shown in one of the most inventive scenes that Uribe ever made. The colors are magnificent. The cruelty of a war (could anybody tell me the difference between Any war and a Civil war ?)is used as a scenario of hope when two young children express their feelings and protect each other. The cowards that start their abuse of power even towards innocent children are now active again. A film like 'El viaje de Carol'/ 'Carol's journey' tells one of the so many sad stories of the 20th Century. It is a better lesson in history than any book could contain. Again great work from the Peninsula Iberica !


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This is a very good Spanish movie but I am worried that many out there will feel lost because many around the world have no idea what the Spanish Civil War was all about or when it was fought. Being a history teacher, I had a big advantage but could easily see how the film could be confusing until you piece together all the pieces. I doubt if this would be a big concern in Spain where this film was made, but for other audiences they may be a bit confused until later in the film.
The movie begins with 12 year-old Carol and her mother returning to her mother's home town. Years have passed and you gather that they are coming to Spain from New York City. Despite the strangeness, Carol speaks reasonably good Spanish and much of the film is about how she adapts. As for why her and her mother are alone, I'll spill it now for those who don't pick up on the fact that Carol's father is fighting in the war on the side of the Republicans (who eventually lost in this very bloody conflict).
The movie gets exceptional marks for its lovely camera work and music. The rather slow and rambling pace isn't bad provided you are someone who can accept films this way. I have seen several other Spanish films about this war and this compares pretty well to them--not better or worse--just a decent slice of life film about those who are left behind as well as a nice coming of age flick.
PS--If you don't know which side is which, the Republicans were mostly Socialists and they were backed by the Soviet Union and Mexico as well as volunteers from many countries (including the USA). The Nationalists were led by Franco and were aided by Portugal and the Fascist states of Germany and Italy.


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Some unsuspecting films carry a message that resonates in the hours and days after viewing. Such is the case for CAROL'S JOURNEY (EL VIAJE DE CAROL), a beautifully crafted 2002 film from Spain based on the novel 'A boca de noche' by Ángel García Roldán who also adapted the book as a screenplay. War and its consequences are not new subject matter for films, but when that war theme plays in the background as a subtle driving force to develop characters (especially children) who must face adult life influenced by the games of adults, the result is a different and more tender examination of the coming of age film genre.
Carol (Clara Lago) is a 12-year-old Spanish American youngster from New York who with her critically ill mother Aurora (María Barranco) returns to her Aurora's home in 1938 at the height of the Spanish Civil War, a home that has been left deserted by her father Don Amalio (Álvaro de Luna) since his wife's death. Carol's father Robert (Ben Temple) is a fighter pilot who has sided with the Republicans against Franco and is rarely with his family. Aurora has a past: she left her lover Alfonso (Alberto Jiménez) to marry Robert, and Alfonso in turn married Aurora's cold sister Dolores (Lucina Gil). Carol is an independent girl who remains aloof to all but her grandfather Don Amalio until she meets others her age but not of her 'class': Tomiche (Juan José Ballesta) and his two friends at first resent Carol, but as events develop Carol and Tomiche are bonded by what feels like the first awakenings of love. When Aurora dies of her illness, Carol must live with Alfonso and Dolores and their daughter Blanca (Luna McGill), yet turns to her grandfather for support and to her mother's best friend and teacher Maruja (the always radiant Rosa Maria Sardà) to understand the disparity between classes and the senseless war that keeps her beloved father from her side. Through a series of incidents Carol and Tomiche learn the rigors of becoming adults, facing more traumas in a brief period of the war than most of us experience in a lifetime. The ending, though sad, is uplifting as Carol's journey to maturity is complete.
The film is shot in Galicia and Portugal and contains some extraordinarily beautiful settings captured with gentle sensitive lighting by cinematographer Gonzalo F. Berridi and enhanced by the musical score by Bingen Mendizábal. Director Imanol Uribe understands the fine line separating pathos from bathos, and in electing to concentrate the story on the children involved, he makes an even stronger statement about the futility and cruelty of war. The cast is exceptional: the stars clearly are young Clara Lago and Juan José Ballesta, but they are supported by the fine veteran actors in the adult roles. This is a visually stunning work with a lasting message and should find a much larger audience than it has to this date. Grady Harp


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I was deeply moved by this movie in many respects. First of all, I just want to say that Clara Lago was the most precious little thing! Such a pretty little girl. Her acting was superb as well. True to life and very human. Though I don't like the part where she had to smoke; I hope it was only a fake prop. Either way, she was absolutely wonderful and the story was so moving. I found myself immersed in the story and her character.
It's quite interesting how I came to discover this movie actually. I was walking in blockbuster and I just happened to notice her pretty smile on the cover as I was walking by. Luckily I glanced in the downward direction that this movie was in! I thought to myself, 'Awe, look at her!' So I picked it up and saw that this movie was described as such wonderful things as "A Little Gem." I read the plot on the back and then thought that, well, maybe I'd look it up on IMDb first and then come back and rent it at a later time. I'm glad I didn't, because I certainly would have been missing out. After searching for a movie with my friend, I knew that I would end up regretting not renting this film, so I went back to the spot in which I originally found it and snapped it up.
It had been on my dresser for a week, since school started for me this week and I really hadn't any time to watch it, but tonight was the perfect opportunity. I popped it in and was glued to the beautiful cinematography, delightful score and moving plot from beginning to end. I was so captivated and must say, some parts nearly moved me to tears.
I would also like to make a special mention for the young boy in this film, Juan Jose Ballesta. He was remarkable. Also the actor who played Carol's father, who's name is unfortunately not listed on the site. His voice was just so loving and gentle that I could really sense his love for Carol. Even though his appearance is not prominent, I really felt his character's presence.
This is truly a wonderful movie. If you are a person who is moved by light, but emotional films, then this is definitely one for you.


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CAROL'S JOURNEY is a pleasure to watch for so many reasons. The acting of Clara Lago is simply amazing for someone so young, and she is one of those special actors who can say say much with facial expressions. Director Imanol Urbibe presents a tight and controlled film with no break in continuity, thereby propelling the plot at a steady pace with just enough suspense to keep one wondering what the nest scene will bring. The screenplay of Angel Garcia Roldan is story telling at its best, which, it seems, if the major purpose for films after all. The plot is unpredictable, yet the events as they unravel are completely logical. Perhaps the best feature of this film if to tell a story of the Spanish Civil War as it affected the people. It was a major event of the 20th century, yet hardly any Americans know of it. In fact, in 40 years of university teaching, I averaged about one student a semester who had even heard of it, much less any who could say anything comprehensive about it--and the overwhelming number of students were merit scholars, all of which speaks to the enormous amount of censorship in American education. So, in one way, this film is a good way to begin a study of that event, keeping in mind that when one thread is pulled a great deal of history is unraveled. The appreciation of this film is, therefore, in direct relation to the amount of one's knowledge. To view this film as another coming of age movie is the miss the movie completely. The Left Elbow Index considers seven aspects of film-- acting, production sets, character development, plot, dialogue, film continuity, and artistry--on a scale for 10 for very good, 5 for average, and 1 for needs help. CAROL'S JOURNEY is above average on all counts, excepting dialogue which is rated as average. The LEI average for this film is 9.3, raised to a 10 when equated to the IMDb scale. I highly recommend this film for all ages.


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Clara Lago is wonderful as the title character of the film, essentially a film about a Spanish/American girl who moves to Spain with her mom at the time of the Spanish Civil War. It turns out, the mother goes home to die, and she is left with her grandfather. She also makes friends and experiences much in a short time. Tomiche (Juan Jose Ballestra) is at first a nuisance to her then they become close. The film is shot beautifully, bathed in soft colors mostly. Carol yearns for her dad, who is a pilot in the war, and you can feel the love sher has for him. While the war itself is kind of taken a back seat in this film, it envelops the character's lives. I think you'll like it. See it especially for Clara Lago, who does a great job as Carol. She is definitely one to watch.


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If I'm going to watch a porn movie, I prefer it to have some sort of plot, and a descent dialogue. Behind Bedroom Doors is one of the few I've come across with those attributes.
The new girl next door scams on the neighbor's human nature and weaknesses where seduction and sex concerned. Chelsea Blue,(I mean Brooke LaVelle) is the choice actress to play the part of the blackmailing seductress, and plays the part magnificently. Chelsea Blue is a very talented and extremely beautiful actress. The movie get's an overall 10 just because she is in it. Her partner in the movie, Monique Alexander is a definite cutie. The two should do more work together. In this movie, though, Monique, who plays Gigi, doesn't have a whole lot to do or say. That's too bad. She seems like she has more talent to be shared. I like the girl who was the (possible) DA's wife next. I forget her name, but she's pretty good looking, and not a bad actress. Nicole Sheridan...I'm still trying to figure out what some people are so excited about. It's obvious there are parts of her bought an paid for. Which is okay, but is she finished? Sorry, but come on! I'm afraid her performance here would have dropped the rating some, except Chelsea's talent and beauty overrides any negatives. Overall, This movie is a good one.


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It may be the remake of 1987 Autumn's Tale after eleven years, as the director Mabel Cheung claimed. Mabel employs rock music as the medium in this movie to express her personal attitude to life, in which love, desire and the consequential frustration play significantly crucial roles. Rock music may not be the best vehicle to convey the profound sentiment, and yet it is not too inappropriate to utilize it as the life of underground rock musicians is bitterly more intense than an ordinary one. The director focuses on the depiction of subtle affection and ultimate vanity of life rather than mere rock music. The love between father and son, lovers, and friends is delicately and touchingly delivered through the fine performance. Mabel does not attempt to beautify rock musicians as artists at all, instead, she tries to reproduce a true life on screen, making huge efforts of years' working on this project and gathering information in Beijing underground pubs.
Daniel has given probably the best performance in all his movies made so far. His innate dispiritedness and reticence fit the blue mood of the film perfectly.


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I really like this movie because in Australia, Chinese movies like these never get shown during prime time. I must say this is one of the best serious movies ever, which outlines the difference between the Hong Kong people, and mainland Chinese. It really shows that there's discomfort between the two, but can only get better as HK are learning Mandarin. It also showed me how in mainland China the indie rock scene exists, and that Chinese people do know how to strum the guitar and get the house funking! Whoever said China isn't ready for rock music? Daniel Wu is absolutely superb, with his clean and crisp voice, honest acting, and a total chick magnet. I recommend this movie to those who don't know much about Asian people to cleanse themselves from the typical Western stereotypes, and people who just love Chinese/Asian cinema like myself. Check it out!


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it's a lovely movie ,it deeply reflects the Chinese underground bands' current lives. if you chinese culture ,traditionaled rock n roll music, there you go, i will highly recommend this one .but one thing i am wondering is whether this movie has been showed in Mainland ? i sorta doubt it ,:D


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Look, although we don't like to admit it, we've all have to suppress our fears concerning the extreme likelihood of experiencing the events that take place in this movie. You know: you get into your car and you immediately start thinking,"Gosh, I hope today isn't the day that my accelerator sticks at a comfortable cruising speed of 55 mph, all four door latches break in the locked position, both my main and emergency brake fail, my ignition switch can't be turned off, and I've got a full tank of gas; all simultaneously." Fortunately, for most of us, our Thorazine kicks-in before we actually decide that it's a bad idea to be driving a car. Not so for the makers of the harrowing, white-knuckle, edge-of-your-seat (if only in preparation to leave the room) action juggernaut, "Runaway Car" But they go ahead and drive anyway!
I am endlessly pleased to have found (thanks to the imdb) that this movie is real, and that I didn't merely dream it.
This movie is, at the very least, one of the fantastic sights you will see on your journey to find the El Dorado of Very Bad Cinema.
I highly recommend it.


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How this has not become a cult film I do not know. I think it has been sadly overlooked as a truly ingenious comedy!
"Runaway Car" attempts to pass itself off as a fast-paced thriller, but taking the quality of acting (good God it's bad), the storyline, the practicalities of the car's demonic possession and the baby evacuation scene into account there is nothing you can really do but laugh. And laugh you will. Films are made to entertain us, and the degree to which they do this can be an indication of a film's worth. This film is the pinnacle in entertainment, I laughed from beginning to end. At one point I got short of breath and nearly choked, it really is that funny at some points. When the baby was airlifted out of the sunroof in a holdall by a helicopter with a robot pilot who managed to maintain a constant velocity identical to the car and a perfectly flat flight plain that meant the grapple hook didn't rip the car roof to pieces, I was laughing hysterically. But when the baby starting swinging around in the air, nearly hit a bridge and almost got tangled up in a tree, tears were running down my face.
It also occurred to me that the black cop was the guy who played Jesus in Madonna's "Like A Prayer" video. He seems to get everywhere.


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In light of bad reviews - or car crashes - I feel possessed to get in gear and make a transmission to give merit where due, and do a service. I'm not sure people have license to say it was so bad, almost automatically.
It's rare for a movie to have SUSPENSE. This movie maintained suspense it's whole length, for me, despite any flaws that may be. How many films can say that? Not even many big ones. Because of the simple premise you don't know if the people will get out of the life-threatening situation, which lasts the whole movie. Yeh, the suspension was tight, and over some bumps the shocks did their work. It's not just a TV movie, but an all-action movie; there is no point where it stops, or deviates, or becomes talky. It would be hard to make a film like this, always on the road. Only Duel, or Speed, are this that I recall. The best thing in them also was the constant tension.
ACTING is not bad: The Judge is as good as ever, and the others are.
SCRIPT is good. But the jury is out as to whether it sometimes may be - or seem to be - a little awry. What seems unrealistic is not necessarily so. Your first judgments are not always right, but I think the lead actor's was right in being in this movie.
STUNTS are mostly terrific, especially for a TV movie. Their only failing may be the noticeable, and again, apparent, slow speed. But we all know how deceivingly slow Grand Prix cars can look.
I liked that THE BEGINNING said, "inspired by a true story." So you are not going to go how much is true? You know just the basis is. The usual "based on a true story" makes me think it should mostly be true. But maybe that's my error.
HOW TO SAVE THEM: Good idea of the reviewer to suggest a tow truck to lift the back wheels up. Just a few inches would do. A stunt driver could do that at 100 mph. Odd that they didn't call a car expert - or auto electrician or mechanic - to see if there's a way.
I hope this review has put in reverse that this film is a disaster. Or at least neutral. And help it become a runaway success.
Pic quality is a little soft for a DVD.
SPOILER: They would have been winched out after the baby was, but strangely that life-saving idea was cleverly dealt with in some joking conversation to fade it out. I guess we know why. End of movie. Suspension of disbelief went out the top window with the baby.


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just watched it on sky TV missed the first half an hour. i did wonder if it was a true story so watched it to the end. there was no brief at the end to say what happened to everyone. it did remind me of speed but at the end of the day i don't suppose it was released at the cinema as we did see the following error. the goof that we saw was that they remove the bonnet (hood) and then later on there are two shots of the car with the police car in front trying to slow it down when the bonnet is back on. it did have me on the edge of my seat especially when i thought the baby was going to hit the bridge and of course when the bridge wasn't going to be lowered and then it was. I'm afraid i did burst into tears so it wasn't that bad!!!!


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i thought it was pretty interesting my social studies/language arts teacher was the police chief guy that was holding the microphone on the water barrel part =D i was excited my teacher is in some commercials he was in a gas/coffee/phone/play station commercial its nice seeing him on TV he was also on everybody hates Chris except he always get the small part la la why do we have to right 10 lines thats so stupid -_- i think I'm done never mind I'm still not done what is this a joke? why do we have to go all the way to line ten... really what's the point of it??!! i will just right random words for now -_- maple story is fun i love my friends


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This film was great.
The plot was preposterous.
The action sequences contrived.
But, provided you can lighten up enough to laugh, it was a throughly thrilling romp combining Keystone Cops and the Lone Ranger.
The baddies were more silly than bad. The good guys weren't too good. The black actors played normal characters rather than black stereotypes.
The inclusion of a baby added a good touch. Sympathy might have been a little difficult otherwise.
I have to disagree about the acting. It was, on the whole, very good. I really wanted to punch Judge Reinhold.
And, after all, isn't that the mark of a really good movie, wanting to punch Judge Reinhold?


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I can still remember first seeing this on TV. I couldn't believe TVNZ let it on! I had to own it! A lot of the humor will be lost on non-NZ'ers, but give it a go!
Since finishing the Back of the Y series Matt and Chris have gone on to bigger and better(?) things. NZ's greatest dare-devil stuntman, Randy Campbell has often appeared on the British TV series Balls of Steel. Yes, he still f^@ks up all his stunts because he is too drunk.
Also the 'house band' Deja Voodoo have since released 2 albums, Brown Sabbath and Back in Brown. The band consists of members of the Back of the Y team and singles such as 'I Would Give You One of My Beers (But I've Only Got 6)' and 'You Weren't Even Born in The 80's' continue their humor.
The South-By-Southwest film festival also featured their feature length film 'The Devil Made Me Do It' which will be released early 2008 in NZ.
All up, if you don't find these guys funny then you can just F%^K OFF!!


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As a knowledgeable fan I recommend this film as faithful to the facts and well acted. As an 11 year old living in Istanbul I heard some friends talking about a new music sensation that caused girls to scream. I thought hmmmm, if girls like them, they must be crap. My only records until then were Haley Mills, The Everly Brothers & Ricky Nelson. Soon after while on vacation with the family at a military cafeteria in Ismir I heard a song (which I later learned was 'Love Me Do') and was floored by the difference between it and every song I had ever heard until then. When I heard the 'Meet The Beatles' album of my older brother I was hooked for life. Having read the definitive book of their beginnings (by Davis) I was surprised that this movie followed the facts very well with the exception of leaving out most of the sex and some of the drug use (it did touch on the use of methadrine/dexadrine). >


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"Birth of the Beatles", for being a US television movie, released in the fall of 1979 has actually been, so far the best movie which tells the tale of the the four lads from Liverpool that revolutionized the music industry and the world. As told by the point of view of former Beatle Pete Best. The performance from the entire cast is excellent but, most especially the performance by Stephen Mackenna as John Lennon and Rod Culbertson as Paul McCartney. The film was produced by a legend of the Rock and Roll era,Mr Dick Clark. Who a year earlier in 1978 had produced another TV movie, that has stood the test of time starring "Kurt Rusell" in the lead role about another musical legend; "ELVIS". That movie was directed by an unknown director named "John Carpenter" who went on to direct other successful movies such as; "Halloween","Escape From New York", and "The Thing". The same can be said for the director of the "Birth of the Beatles", Mr Richard Marquand. He went on to direct other theatrical blockbusters such as "Star Wars Return of the Jedi","Eye of the Needle",and "Jagged Edge" among many. The only other film that tells the story of the Fab Four that I know of,is Back Beat which had a theatrical release in 1994. However, the critics did not care for it,nor did the public, for it did not have a long life span in the theater. Birth of the Beatles is very charming and simplistic film that gives you the essence of the beginning of the legend and the struggles & hardships they went thru and ends at there pinnacle of success when they arrive in NYC and appear in the Ed Sullivan show in 1964. I highly recommend this film.


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The idea of making a film about the Beatles sounds doomed idea, as no production can catch the idea of the actual historic Beatles. Then it is perhaps best not to try to recreate the past, but to produce an illustration that works best with the other available Beatles material. This is exactly what 'Birth of the Beatles' offers to us, the simple story known to us without any extravaganza.
*** SPOILERS here on ***
Be warned that not everything is that accurate as some Beatles-graduates might expect. The Beatles are seen performing songs that hardly were even composed by that time. The Beatles perform "Ask Me Why", "P.S. I Love You" and even "Don't Bother Me". The Beatles-graduates should see that if the Beatles on the film only performed songs that they actually did at Hamburg, the younger viewers might not anymore recognize the Beatles they have learned to know them. Of that original Hamburg repertoire only "Johnny B. Goode" and Stu Sutcliffe's "Love Me Tender" are retained.
The guys who play the Beatles in this production scarcely look like the originals, but the rest of the film still make good viewing as the film is for the rest fairly accurate. The guy who plays Lennon does it good and the rest of the band are not bad either. Brian Epstein is great and the moment when he sacks Pete Best from the group is probably the most memorable scene in the whole film. Also as a bonus you get to see the original Cavern club in the film.


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There are a number of things that are not correct, although this is not too important since what happened to whom and when is still in dispute. The most blatant liberty with the facts I think is when they start to play at Bruno Koschmidder's Kaiserkeller, when in fact they played at the Indra and moved to the Kaiserkeller later.
I agree with Semprinni20 that the film was biased in favour of Pete Best's version, but if he is the story consultant then I guess he calls the shots. I also agree with Semprinni that the recordings Pete Best plays on say the last word on the subject of why he was fired.
Although the film is not such a lavish production as the later film "Backbeat", I prefer this film because it is more accurate, and because it has a better script with deeper characterisation.
There is plenty in the film that is quite substantial - such as Brian Epstein trying to hide the fact that he has been "queer-bashed," only to find out that the band knew he was Gay all along. Little touches like the band going into a café and ordering "Corn-Flakes mit Milch." My favourite scene, which does have some bassis in fact, is where at an audition Stuart Sutcliffe has just bought his bass guitar but can't play it, so he stands with his back to the impresario and tries faking it, but gets caught. That's rock 'n' roll.
Well worth watching.


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A true dark noir movie and a very graphic film, nice storyline of a man pursuing redemption, that may have just left it all too late. Visually there are some really nice scenes artistically amazing as to what can be done with a minimal budget. Full marks to Gareth Maxwell Roberts and team, I look forward to the next project with new ideas although hopefully more British actors would be great. Lisa Ray looked lovely not seen her before and hope to see her again in the future. Subject all interesting Sex,Drugs and Violence. Bring it on. I would definitely say to rent this one and check it out if you're in the mood for a semi moody noir.


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This movie really surprised me. I had my doubts about it at first but the movie got better and better for each minute.
It is maybe not for the action seeking audience but for those that like an explicit portrait of a very strange criminal, man, lover and husband. If you're not a fan of bad language or sexual content this really is not for you.
The storyline is somewhat hard to follow sometimes, but in the end I think it made everything better. The ending was unexpected since you were almost fouled to think it would end otherwise.
As for the acting I think it was good. It will not be up for an Oscar award for long but it at least caught my eye. Gil Bellows portrait of a prison man is not always perfect but it is very entertaining. Shaun Parkes portrait of Bellows prison mate Clinique is great and extremely powerful. On the downside I think I will put Esai Morales portrait of Markie.
Take my advice and watch this movie, either you will love it or dislike it!


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I started to watch this movie expecting nothing, just another movie to watch, but since the first twenty minutes, the artwork and main character, who is enigmatic, doesn't talk much, really got me in this movie.
I really liked this movie, it was dark, beautifully acted and really touching. It's a bit slow but the immersion was complete. The directing was awesome by letting us know bits by bits the story leading to the conviction of Joey and his life behind bars. The music was really great and very well incorporated into the scenes. The ending was unexpected with a twist I didn't see coming. It's not the kind of movie we see often.


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Forget that this is a "B" movie. Forget that it is in many ways outdated. Instead give writer-director Ida Lupino much deserved credit for addressing a subject which at the time (1950) was taboo in Hollywood. To my knowledge, this was the first film to address the subject of rape and the emotional and mental effects that that crime has upon its victims.
Although much of the cast's acting is pedestrian at best, Mala Powers, who at the time was eighteen or nineteen, gives an excellent performance throughout as the traumatized young woman, Ann, who tries to run away from her "shame." Based on her work in this film, I'm surprised that she did not have a more successful acting career. Tod Andrews, too, has some fine moments as the minister who reaches out to help her.
Ms Lupino, obviously working on a limited budget, was still able to create some memorable scenes such as the pursuit through the streets and alleys leading to the rape, and the police lineup following it. And, she created a bittersweet ending which left me wondering if Ann really could ever have a normal life again.


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Ida Lupino was one of the few women to break through the directorial glass ceiling in Hollywood under the studio system. Not surprisingly, she also tackled proto-feminist themes that, when touched at all, were approached in so gingerly a manner that it was seldom quite clear what was being talked about. In Outrage, she treats rape and its aftermath, and though throughout the short movie it's referred to as `criminal assault,' she leaves, for once, no doubt about what happened.
Mala Powers (in her official debut) plays a secretary-bookkeeper at a big industrial plant; she lives with her parents but is engaged to a swell guy (Robert Clarke), who just got a raise and now makes $90 a week. Leaving the plant after working late one night, she finds herself being stalked. In the ensuing scene  the best in the movie  she tries to escape her pursuer in a forbidding maze of buildings and alleys but fails.
When she returns home, disheveled and in shock, the police can't get much out of her; she claims she never saw her attacker (who manned a snack truck outside the factory). Trying to pretend that nothing happened, she returns to her job but falls apart, thinking that everybody is staring at her, judging her. She goes into a fugue state, running away to Los Angeles on a bus but stumbling off at a rest stop.
Waking up in a strange ranch house, she learns that she's been rescued by Tod Andrews, a young minister in a California agricultural town. She lies about her identity and takes a job packing oranges. The two fall vaguely in love, but it's clear to Andrews that Powers is keeping dire secrets. When, at a company picnic, she seizes a wrench and cracks the skull of Jerry Paris, who was trying to steal a kiss, the truth about her past comes out....
It was a courageous movie to come out in 1950, and that may explain and excuse some of its shortcomings. Lupino never recaptures the verve of the early assault scene, and the movie wanders off into the bucolic and sentimental, ending up talky and didactic. Yes, Lupino had important information to impart, but she didn't trust the narrative to speak for itself. Her cast, pleasant but bland and generic, weren't much help, either, reverting to melodramatic postures or homespun reassurance. But Outrage was a breakthrough, blazing a trail for later discourse on what the crime of rape really is, and what it really means to its victims.


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Before this little black-and-whiter, the touchy topic of criminal rape never made it onto the American screen.There were lots of these topics that Hollywood and the Production Code kept hidden until the rebellious 1960's. So it's not surprising that it would take a little independent company like Ida Lupino's Filmmakers to raise the subject. The result is well-meaning but somewhat compromised, which is not surprising since director Lupino had to work with Code demands to get the movie released.
Interestingly, Ann Walton's (Mala Powers) main problem following the assault is not how others might see her, but how she sees herself. And it's a heavy load she's carrying. Will she ever be able to relate to men again? Will they look at her as "spoiled goods" (after all, this is 1950)? Small wonder she runs away rather than face these anxieties at home and at work, even though family and friends are generally supportive. Overall, this first part is earnest and well-done. The chase is hyped to inject some action into the plot, but then this is a movie-- notice how the incurious neighbor fails to respond to the honking horn near chase's end. Had those been screams of alarm from Powers instead, the neighbor's lack of response would have raised an interesting albeit complicating issue.
The second half is pretty much given over to the Production Code in the sentimentalized person of Rev. Ferguson (Tod Andrews). It's he (to quote a phrase) who "gives her courage to face life again". There's some effort at humanizing him-- is it Ann or her dilemma that he's most interested in. Still, his gentle and understanding presence comes across as a little too miraculous and a little too Hollywood. Fortunately, the ending avoids the usual Hollywood cop-out by emphasizing only the hope of a happy resolution for Ann rather than its certainty.
Give Lupino a ton of credit for dealing with the topic in the first place. Given the overall results, I expect she dealt as honestly with the topic as she was allowed to. I also expect today's audiences find the treatment mildly interesting mainly because of Powers' excellent performance that brings out the purely human drama. However, the film works best now as a document of its time, and what the cultural watchdogs of that day thought was appropriate for adult viewing.


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This is the second film I've seen of Ida Lupino as a director after 53's the hitch-hiker. I think this one was a better film then that one. This one has a girl who is about to get married and she is then sexually assaulted and doesn't like everyone looking and talking about her so she runs away and and is taken in by a family. I think Leonard Maltin's review is right only to give it 2 and 1/2 stars.


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This movie was very, very strange and very, very funny. All of the actors are quite real and very odd. The overall "look" of the film was different, too, sort of dreamy and bleached-out, which only added to the spacey, fumbling, weird vibe of the whole thing.
It's not for everyone, I mean, it's not what you would call "mainstream" but that is what I liked about it. It's unlike anything I have ever seen before . . . unpredictable, with a weird rhythm and punch lines in the strangest places. The kids are so heartbreakingly goofy (and pimply) that you can't help but feel for them. In other words, these are far from "hollywoodized" versions of teenagers.
All of, which for me, makes it a good thing.


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i first saw this movie at the sundance film festival this year, and being a teenager myself i found the movie to be quite appealing. these kids are out of the ordinary and very unexpected to be in a movie of this stature but with the right dialog and junk they made the movie a complete success. i enjoyed this movie more then others but i highly recommend releasing and watching this movie. it is a mixture of witty comments and hilarious reality. capturing the essence of high school, high school record has topped my favorites list and hopefully has a chance to be released into theaters. i truly thank all of the kids who put the hard work into making this film, it helped me cry my eyes our in laughter.


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As I am no fan of almost any post-"Desperate Living" John Waters films, I warmed to "Pecker". After he emerged from the underground, Waters produced trash-lite versions of his earlier works ("Cry Baby", "Polyester", Hairspray") that to die-hard fans looked and tasted like watered down liqueur. "Pecker", which doesn't attempt to regurgitate early successes, is a slight, quiet, humble commentary on the vagaries of celebrity and the pretentiousness of the art world. Waters clearly knows this subject well because he has also exhibited and sold (at ridiculous prices) some of the most amateurish pop art ever created that you couldn't imagine anyone being able to give away if it wasn't emblazoned with the Waters "name". Edward Furlong is fine as "Pecker" and Waters' non-histrionic style is at ease with the subject.


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Edward Furlong and Christina Ricci are an excellent couple and demonstrate it with their unique charisma featured in this movie.
This is the typical "alternative" or indie movie with a plot that features a rare situation that suddenly becomes really important.
Pecker is an average boy who has an old camera and his main hobby is to take photographs of the exotic habitants of the small town where he lives in. Suddenly an alternative artist pays attention to his work and hires him in order to expose his work in some important festivals and more.
But Pecker life changes drastically as now fortune and fame seem to infuriate the town's people who are Pecker's main inspiration. Even his sexy girlfriend gets mad because now he does not pays the "adequate" attention to her.
Well this is an Indie movie with an edge but not for everyone. It may seem boring or pretentious for some people but still I think it worths a watch only because it offers something "different" than Hollywood's typical standards.
To describe in a few words: This is the typical Christina Ricci and John Waters movie. That's it.
Oh and I almost forgot to mention that the "Full of Grace" lines are really annoying. Geez.


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John Waters most accessible film to date is one of his better ones, considering it cut down on all of the campiness and outright vulgarity which seem to litter most of his previous work. Sure, the nudity and the sexual references are still there, at least it is presented in a fashion
that cannot be deemed too foul or disgusting. Due to some great casting choices, this film really brought out the silliness associated with modern art and the subjective nature of your modern artist. Funny and somewhat lighthearted (if that is possible for Waters), this is one of those films I would watch on a rainy day.


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Pecker is another mainstream film by John Waters done on a smaller than Serial Mom. The title character of Pecker has a hobby of taking pictures of anything he sees. It doesn't matter if it's dirty or shocking when he takes pictures. He soon uses the pictures he taken and puts them on display at his work. Pecker live in a semi-normal middle-class family. His dad works at a drinking bar with a claw machine, but doesn't make enough money with a lesbian stripper bar across the street. His mom runs a thrift shop and loves to dress-up poor people. His older sister, Tina, works at a gay bar where her specialty is trade. His younger, Little Chrissy, has a habit of eating sugar, sugar, and nothing but sugary food. His grandmother, Memama, has a small statue of the Virgin Mary and plays ventriloquist with it. He also has 2 friends. On of his friends, Matt is a chronic shoplifter and his girlfriend, Shelley, runs a laundry mat as if she was a dictator. Soon, a tourist from New York buys his pictures and displays them at an art gallery. With the picture comes fame, but the pictures expose the unusual life style of his friends and family's simple life. For an R-rated film, Pecker is sure tamer than most of Waters previous R-rated films and even Pink Flamingos. Another 10 out of 10!


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The best thing about this movie is that it is fun. It is full of humorous characters and interesting situations, starting with the blithe, innocent Pecker (played appealingly by Edward Furlong) who likes to photograph almost everything he sees in every day life. Other great characters include Pecker's friend Matt ("he's a thief, but he's really a nice guy"), Pecker's sister Chrissy (who is addicted to sugar), and Pecker's Catholic grandmother who discovers life in a statuette of the Virgin Mary in her room.
The movie gently makes a point about how every day life has many riches to offer, and it succeeds in making this point without being too heavy-handed about it. There is always a risk, when making messages about the value and dignity of "common people", of sliding into a kind of reverse "holier than thou" - but "Pecker" avoids these traps, allowing the audience to get the point while allowing enough breathing room for viewers to compare this message to their own thoughts on the subject.
I recommend the movie mostly because it is a lot of fun.


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I´m from Germany and I love the mvovies. I go 200 times a year. Tonight I saw "Pecker", it was a wonderful evening. Thank you, Mr. Waters. Everybody who has a chance to see the movie, go!!!


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"Pecker" is a young, unknown photographer from Baltimore who becomes a big star in the public, the media and the local art scene with his pictures showing the dirty reality of all-day life just as dirty underwear or human excrements. It's a typical topic of John Waters Baltimore-based independent comedies to show the weird sides of the American way of life between political correctness fashion and conservative backlashes by exploring the backgrounds of the middle class society of his hometown.
Edward Furlong of "Terminator 2" fame plays Pecker, supported by Christina Ricchi, photographer Cindy Sherman, legendary Patricia Hearst and Water's long-time actress Mink Stole. Although the pacing of the plot becomes a big flaw sometimes and can't compete with the fast and furious joke attacks of Water's brilliant "Serial Mom", it's still has some good laughs in it and some unforgettable scenes like a former junkie-girl who became a vegetarian by sniffing peas from a vegetable dish... "Pecker" is a great comedy about the arrogance of the art scene, media hypes, middle-class sex angst and the strange ways of how to become a pop star without realizing it. Recommended!


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Saw this again recently on Comedy Central. I'd love to see Jean Schertler(Memama) and Emmy Collins(Hippie in supermarket) cast as mother and son in a film, it would probably be the weirdest flicker ever made! Hats off to Waters for making a consistently funny film.


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This is John Waters best film to date. The characters are obvious and symbolic, just as in his other films. So there are no surprises or character changes. I enjoyed the film because of the wittiness and pace of the story. It was good story-telling with honest people.


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