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user\nFOUR FRIENDS was first billed on HBO in 82 as a sleeper hit. Having heard the term 'sleeper' when 14, back then - I was anxious to see one. (!) Boy - was I surprised! That film! I hadn't really fallen in love with a non-special effects film outside of TREASURE OF THE SIERRA MADRE - much less a 'hippy flick'...but having had grown up with a couple of hippies - I understood the power behind Mr. Penn's film. FOUR FRIENDS is definitely one of a kind. The script is so personable - and that cast!!! Craig Wasson defines Danilo Prozor SO well! He just personifies the 'writer type' to a tee - both smart and clumsy (the scene at the window...) and strong yet so very vulnerable. For me - he captures what it's like to be so taken with agirl that it lasts over a decade...and I have always found solace in the character - and in the film. Throughout the 80's FOUR FRIENDS was a partner in crime to me - and I caught the movie whenever I could on HBO - even if I had to stay up until 5AM! And still, always at the end - there is a sense of loss when all those wonderful characters part from the viewers on the beach. Jodi Thelen personifies \"that girl\" to the hilt - it is so hard not to be charmed by her. This movie really stands the test of time. Every once and a while I check out my video of it...or show a friend...and it STILL gets a solid reaction. I've known women who absolutely fall in love with Georgia! So many levels..! Just an incredible little 60's piece of humanity. Very special, very magical. I recently found THE NOVELIZATION of FOUR FRIENDS by Robert Grossbach - and it's even more detailed that the movie! Actual dates of events, etc. A real find! And what's more - haha - I found the novel while thumbing around in a used book store...in Omaha, NE of ALL places!!! Guess you have to have an eye for her! When I was in L.A. in 92 working as an extra - I went into a ruddy lil memorbilia shop - and there were a TON of stills from the film!!! Unfortunately - I was broke and couldn't indulge...but boy, those photos of Georgia and the guys all together just went right through me! I met director Joe Sergant on the set of SKYLARK in Emporia, KS in summer of 92...and we spoke about FOUR FRIENDS - very cool! Also...working at a video store in Omaha in 98 - waited on a female who was a relative of Jim Metzler..! Told her to pass the word on that there was some kid in Omaha who was just fanatical about the film - and had gotten the utmost out of it. Once again - the movie captures everything that's in Danilo's character's heart...great, great work --- one of mssrs Tesich and Penn's finest efforts. Steve Tesich is sorely missed. An incredible writer. \"Isadora Duncan!!!\"
- C.
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user\nUnfortunately, many great films on IMDb such as this one have their scores \"adjusted\" by IMDb. This is truly a fine and intriguing film by the accomplished director of Bonnie and Clyde, Little Big Man, Night Moves, Mickey One, and The Chase.
If you click in the user rating area, you'll see that the actual median for Four Friends is 7.6. However, IMDb has \"adjusted\" (dumbed down?) the rating to 6.4.
Per IMDb: \"IMDb publishes weighted vote averages rather than raw data averages. Various filters are applied to the raw data in order to eliminate and reduce attempts at 'vote stuffing' by individuals more interested in changing the current rating of a movie than giving their true opinion of it....The exact methods we use will not be disclosed. This should ensure that the policy remains effective.\" In other words, we won't disclose our methods, so you can't question how we arrived at the score! What a shame to see fine thought-provoking films like Four Friends fare no better than lame formulaic comedies due to IMDb's \"filters\".
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user\nI rented this movie not knowing what to expect but WHOA was I in for a treat!
For anyone who, like myself, was waiting for a good movie that combined horror and sci fi, it is time to rejoice because the wait has finally ended. Writing, acting, filming and directing - all top notch. I hate to admit it, but I actually cried at one point (when Dracula was talking to the crippled guy). Truly an emotional roller-coaster from start to finish. The corridors of the ship provided the perfect spooky setting for this tale and the actors were really able to make their fear come alive to me. And Coolio as a vampire....very nice!
And believe me....as great as the bulk of the movie was...the ending will BLOW YOU AWAY! I know this movie gets a lot of flack on this site for some reason but I know NONE of you saw the ending coming. Brilliant!
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user\nSo Udo Kier earned like nine bucks and free food for this so that is a victory in and of itself.
More importantly this movie tells a very interesting tale about a group of salvage guys coming across the broken down Demeter. I should warn you, i'm gunna bounce around through this review real quick so buckle up. First thing's first. Coolio plays a guy named 187. 187 likes drugs. 187 finds a bunch of caskets on board and... now i don't know anything about the future but maybe they smuggle drugs in caskets. Not gunna say that was the craziest thing in this movie. Later on the vampire gets out of his mist filled coffin and then the real hilarity begins. First, although this movie has the word Dracula in it he is actually not in this movie. I have a theory though. Out of the blue you see the salvage crew's ship leave without them. My theory is that Dracula was on board with his retarded brother Orlock. Dracula told Orlock he'll be right back. Dracula got the hell out of this movie before he could be seen leaving Orlock to play the vampire for the six or so minutes he is in the movie. The best part of this film, and for those of you that have seen this you know what i'm gunna say, is after 187 gets sired, embraced whatever. He has this huge monologue about ejaculating on various parts of erika Elaniak's body and... other super cool stuff. Coolio, seriously you are the best thing EVER.
Some other stuff happens in this movie too. Like Casper Van Dean gets some work. Orlock screams a lot and loses his arm and then we kinda lose track of him FOR THE REST OF THE MOVIE. And thank god really. We find out Erika's character is a police bot. As the movie comes to a close we find out that the ship is on a course to ram into the sun. The police bot and one other surviving character are doomed. Rather then avoid certain death Erika's police bot reveals she's also a whore bot and they decide to screw each other and die. Before they die in the sun they die for no reason, yep that's right... their ship blows up for no real reason.
This movie got the amazing rating for one reason, Coolio. My god, if they gave academy awards to black rappers then he'd be the first to get one. The only reason this didn't get a perfect ten is because there was not a drop of nudity. Now i know what your thinking, how can you judge a film by whether ladies show their goods or not. Well easy. A movie like this pretty much requires it. Its part of the process. Gore, gore, monsters, nudity, gore, end of movie final shock at the end. Its the formula. This had some gore, the monster was awesome because he sucked so hard he actually did us the favor of staying off camera. That was considerate of him and i respect that. Nudity, not a drop even though there was a length conversation about... well see the above statement and as for the shock/twist... i certainly didn't see the end coming. That counts.
I hope Hollywood doesn't think Coolio gave this film his all and has nothing left. He deserves more work. Well, until Dracula 4000, i'm out.
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user\nThe first of five St Trinian's films (although the last is usually discounted) was based around artist Ronald Searle's schoolgirl characters, and features the wonderful Alastair Sim in drag as Millicent Fritton, headmistress, as well as her own brother. Much of the humour is dated, yet curiously touching and outrageous in today's PC world - the girls drink, gamble, smoke and are later sold off to rich Arabs, yet always remain in charge, defeating bureaucrats, police, judges and other establishment figures as they maraud across England. Perhaps because the films have been so regularly seen on TV, St Trinians still inspires fancy dress parties and club nights. The films have recurring characters that include PC Ruby Gates (Joyce Grenfell) and Flash Harry (George Cole). The precursor to the entire series is a charming film called 'The Happiest Days Of Your Life' (1950).
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user\nThis comic classic of English school girl antics is and was one of the great art house classics. Then the art house disappeared with the arrival of videos. And so did the audience for this movie. The loss is not to the art houses or to this great film. The loss is to those who will never have a real opportunity to view this memorable laugh filled cinematic masterpiece. But I am preaching to the converted aren't I. Who else would search for this flick?
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user\nThis bright hilarious English comedy about school girl antics is a neglected gem. The significant question is where is the audience? The film is rated 10 by most voters, but how many voters is that? They don't make comedies like this anymore because the films don't get distributed or seen. I would never miss a chance to see this old art house classic again. But where are the art houses?
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user\nAlistair Simms is a wonder in this. He makes such a good headmistress. The role given here for George Cole was made for him. Hence, the casting job on this film was perfect. I think it was one of those rare occasions where everything clicked. the story line was good, the comic dialogue a scream and the older prefect girls a delight!! Each character you are endeared to, even the villains. Why can't we make films like this any more. Basically, this is a very English comedy with good movement and fluidity.
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user\nThere are other movies about boarding schools and the antics of the students and staff, but \"The Belles of St. Trinian's\" towers above them all! The plot has been thoroughly summarized by other posters, so I won't cover the same ground. I just want to say that it's a shame that it's FINALLY out on DVD, but in a format that can't be used in the U.S.! :-(
Enjoy, fellow fans in New Zealand and Australia! And if anyone reading this has any pull in such matters, PLEASE help get it released on DVD with Region 1 encoding! Also, is it possible to be notified via e-mail when (I won't say \"if\") it is released on DVD in the United States? Thanks!
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user\nA really funny British comedy from the mid 1950's about a school for girls. The girls are all involved in mischief and mayhem, making bathtub gin, smoking and gambling. Alastair Sim plays Headmistress Millicent in a glorious drag role, as well as playing Millicent's brother. A female police officer goes to the school undercover to see what is going on. This film is funny, having great sight gags and Alastair Sim is great. Just a classic Britsh comedy, lots of fun and not too cruse. Joan Sims ans Sid James, stars of many Carry On films, play small roles, but this film is about the girls. It spawned 3 sequels and a recent re-make. Watch and enjoy where it all began.
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user\nTremendous fun both as a film and as an excuse to sit back and play the 'oh, that's whassis name' game. Every star of the golden age of English films seems to be in this one and it was a joy to see them. And the greatest of them all, Richard Wattis, was as tremendous as ever.
There is actually a plot that trundles along very nicely, there's also some splendid jokes and comedic moments, but the key to this films triumph is the characters within it. Alastair Sim is magnificent and somehow convinces you that a six foot, big-boned Scotsman could be the headmistress of a girl's boarding school. George Cole, Beryl Reid and Irene Handl all have their moments but, with Alastair and Richard, the star of the show is Joyce Grenfell. She is an absolute one-off and brings a smile whenever she's on the screen...her rolling-walk and plum accent done to perfection.
And for those playing the , that's whassis name' game, you can even spot Arthur Mullard, Barbara Windsor and Ronald Searle if you look carefully.
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user\nAlistair Simms inspired portrayal of Miss Fritton transcends drag. It is one of the great comedy characters in film. Equally wonderful is Joyce Grenfell's character - Ruby Gates.
This is a movie you should curl up on the sofa with on a wet Sunday's afternoon and be transported to a time long ago when terrifying, rampaging school girls only gained our respect - not our ire! I hear that a remake is in the offing with Rupert Everett as Miss Fritton? He will have a hard job competing with the master - or should that be mistress? - Alistair Simms.
Go and rent it - it beats so much of what today goes for comedy.
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user\nFor those of you unfamiliar with Alisdair Sims, he is of course THE definitive Scrooge of all them Christmas Carol movies. (Me? I guess I'm REALLY bad.. I haven't actually seen the darn thing). I guess those who HAVE seen Christmas Carol and so used to his character might find The Bells of St. Trinians rather surprising. You see, in this movie, Sims has two roles. One, he plays a heavy better, and in the other, he's in drag as a headmistress for a private girl's school! So once you get that through your thick skull, this movie offers plenty of delights. The plot is deals with the way the school tries to make some desperately needed money through a horse race. It's actually a little more complicated for the small kids to handle, but I think they would be preoccupied with their antics, and with the horses to really notice. The adults too might get tripped over all the thick accents being thrown around as well. But again, the story is reasonably light, the action crazy and frenetic, for one to really notice. PS, the kids all look like they come from the Eloise school of cuteness.
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user\nAbout as hilarious as 50s British comedy can get, THE BELLES OF ST TRINIAN'S has almost a gag a minute... and at 91 minutes makes for a terrific time. Other films I equally recommend of the same period are THE TITFIELD THUNDERBOLT and THE GREEN MAN. In fact any film with Alistair Sim or Terry Thomas, George Cole, Richard Wattis or Joyce Grenfell or any combination is a delight. in ST TRINIAN'S we get a double dose of Sims playing two roles with that hilarious disdain he constantly lets ripple across his face. Joyce Grenfell as Ruby Gates (oh dear! that name!) plays her 'jolly hockey sticks' constable-incognito to hilarious perfection. Possibly the best laughs come from George Cole as Flash Harry (who comes out of a bush when whistled at) and various visits to classrooms by Ms Fritton (Sims) reacting to explosions ('Oh poor Betty!\") or science lab gin production (\"just send a few bottles of that up to my room\"'). Every part of the film is funny from the characters, their costumes the antics and the setting. There were sequels but the first three are the best: including this one, BLUE MURDER AT ST TRINIAN'S and later in color THE GREAT ST TRINIAN'S TRAIN ROBBERY.
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user\nThis is a skillfully crafted piece of cinema that deals with a teenage boys confused sexuality.The cut scenes within can be lengthy but the cinematography is beautiful.This film would not appeal to many people, especially those who are queasy about gay teenage relationships, but the more open minded can sympathize with the puzzled protagonist.
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user\nI think this movie is underrated. To me it felt like a gulp of fresh air. Some people complain about the implausibility of the plot, overlong sequences and lack of sex (the latter being, I believe, the main reason for \"implausibility\"; and how come there are no drunken teenagers talking dirty?!); but it's just not their thing, and good for them if they can't relate to the story. The performances are great; I'd really like to see more of the actors in other movies. The emotions are genuine. The whole unrequited love thing is presented with uncanny subtlety. And it does give you the tingly feeling you expect to get from a good movie.
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user\nA stunning and thoughtful observation on modern life for youngsters in Japan, Like Grains of Sand delves into issues such as rape, homosexuality and pubescent angst in a subtle and significant way. It gives an insight in to the youth culture struggling to define itself outside of the bounds of their parent's generation, with it's strict conformity and facade. Typical to Japanese cinema, often what isn't said is more important that what is, so to those not versed in Japanese film and culture, beware. It can seem dull and minimalistic (pretty much like every film to come out of Japan bar Mangas) if you don't know what to look for. I saw it for the first time when I was 15 and was what originally sparked my interest in Japan, it's culture and language. Considering I'm now 22 and learning Japanese with the intention of living there for 2 years, needless to say it's a powerful film. Enjoy!
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user\n\"Nagisa no Shindobaddo\" or \"Like Grains of Sand\" is an amazingly beautiful story about teenage boys and girls dealing with the state of becoming one with who they are. This movie isn't about homosexuality, but it IS about sexuality.
Aihara, an aloof girl, will definitely make the viewers ponder who IS behind the aloof girl. Does she love Yoshida? Or does she love Ito? Or did she somehow turn into a lesbian because of the \"incident\"? (I doubt it).
And what about Yoshida? Does he realize that he loves Ito in the end? Well, we all know he loves him as a friend. But you'll never know once you see this movie... haha :) In the end, Aihara (along with Ito) delivers an exceptional message to the audience: which is that it does NOT matter if you love a boy or a girl. And I have to tell you, I'm SO dense that I didn't get it at first. ^^;; It's because of the whole no talking scenes... You have to try to understand what the characters are thinking and saying through their actions and NOT by what they say (especially the final part... whew, boy, that was confusing!) It's a confusing story, but it IS beautiful nonetheless. :) This movie is certainly one of the best Japanese movies I have ever seen (and trust me, I've seen plenty).
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user\nWriting about something so wonderful is completely hard. Actually, it's almost impossible to describe the peculiarities of this movie. This is a marvelous story about sex and gender, and it's almost unbelievable that we have not to deal with obscene scenes of sex. Feeling, this film was made for people that like to feel, and just to feel, life in all its complexity in a gorgeous simple way. We look at it, and something starts growing inside our minds, even our hearts: it a pure poem. I've watched some \"gay\" movies, and I almost always got really unsatisfied with unnecessary scenes of sex, not because I don't like scenes of sex, but generally they are so pornographic that I'm forced to think that the director or the producers or the writer of the script thinks that homosexuality means perversion. Nagisa no Shindobaddo is totally different from that ones. Three are the main characters. We have Ito, Yoshida and Aihara, two boys and a girl in a peculiar love triangle. Ito likes his best friend Yoshida, Yoshida likes Aihara and Aihara likes Ito. Imagine what this could turn in unprepared hands? But in the contrary, Hashiguchi makes a magnificent story which goes profoundly in the philosophy of life, adding a question in our mind that made me think, astonished, in the end of the movie: Why? And that why expanded in multiple questions inside of my brain and inside of my heart. The scenes, actually, sometimes tending to be boring, are moments of the most delightful poem which we are able to feel, but totally unable to write down in words. And maybe because of that, we are unable to understand the question in the end of the movie. I'm sure this movie was not made for us to discuss every piece of it Some people want to understand a film almost dissecting it. Others are so used to common \"American gay\" movies that can't appreciate the real value of this master-piece. Watch it, close your eyes in the credits and feel, everything, feel yourself, feel the wonderful song. For all this and much, much more, I give a nine. And I just don't give ten, because ten of ten is perfection. But I confess I almost did it.
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user\nWatching this movie, I can't help drawing the comparison between it and Wild Reeds, another thoughtful film about teenagers coming of age.
Like Wild Reeds, this movie is slow and the director would not be hurried. So if you want a quick resolution to things, don't watch it. This movie is like a slice of life, beginning imperfectly and ending imperfectly. There's no resolution to anything, no happily ever after for anybody, just like real life.
This movie is as real as it gets. The acting is surprisingly good. The director is fond of long, really long, shots and the actors and actresses excel at showing subtlety and inner thoughts.
I love this movie. I almost didn't watch it but now I'm very glad that I did. It's not a movie for everyone but if you're willing to let it grow on you, you will be rewarded.
10/10
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user\nI just watched this film, and I have to say it surprised me. It was very well done, with good acting and a deep look at high school students from Japan, in adolescent love.
The look and feel is a lot different from many movies, and you can easily get into the film. Much of the emphasis seems to be in the story itself, which is extremely subtle. The main theme and relations with other characters are a bit complex. But the the overall sense of realism and dimensions still pulls you in.
A main draw back is of course, those who like something simple. Which is not here. You have to be open to many things, including a new culture, to get more into the film.
I did enjoy this film though. It is worth watching.
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user\nPepe Le Pew can either really creep you out or totally sweep you off your feet. Either way, you can't help feeling a little awe on beholding this classic WB character. This commentater personally believes that Pepe was the inspiration behind other would be animated casanovas today from Cartoon Network's \"Johnny Bravo\" to Disney's Lumiere from \"Beauty and the Beast\".
His unique brand of love making is to be wondered at in today's world where his antics would normally be slapped with a sexual harassment warrant and at least a 50m distance from all his victims.
In this particular cartoon, a world weary cat decides to do an ultimate makeover and earn some respect for a change for pretending to be a skunk. All goes well, until Pepe arrives and promptly pursues the unfortunate feline with his overwhelmingly enthusiastic love-making.
The groundwork for Pepe's many trademarks are laid in this cartoon. From his adorable \"frenchified\" love calls to that aggravatingly calm hop-chase of his.
This cartoon only goes to show that as far as the world of cartoon fantasy is concerned, the most ardent wooer can go the distance...and have his beloved \"pig-eon\" leaving dust trails behind them.
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user\nOne day a red alley cat is fed up of being kicked by people and attacked by dogs and muses that life would be better if he were a skunk. He then paints himself black with a white stripe down his back and adds a bit of Limburger cheese to make him stink. At first life couldn't be better for him, the dog flees and the butcher abandons his shop letting the cat walk off with a pile of meat. Just as he is thinking everything is perfect he is noticed by a real skunk, not just any skunk but the overly amorous Pepé Le Pew. Pepé mistakes the poor cat for a female skunk and pursues him thinking his protestations are just shyness. Our poor cat thinks he has escaped when he throws a skunk skin from a tall building so that Pepé will think he is dead, at first it seems to work but as he sneaks off Pepé sees him and instantly forgets the dead skunk. In the end the cat realises he was better off being kicked and attacked than being lusted after by a randy skunk... there is a nice ending for the skunk too when his wife finds out what he has been up to.
This was a fairly funny introduction to Pepé Le Pew who back then was just overly amorous but now looks like a randy sexually harassing stalker, although he was punished for his behaviour in the end.
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user\nAnd thus was born the most amorous skunk ever to grace the silver screen. While the plot has an abused cat painting himself like a skunk and inadvertently attracting Pepe Le Pew (called Henry here), Pepe certainly steals the show. No doubt Chuck Jones realized that this love-seeking member of the genus Mephitis had that special something necessary to be a star in his own right, and so he cast Pepe in \"For Scent-imental Reasons\" four years later, firmly establishing PLP's enduring presence on screens everywhere.
So, while \"Odor-Able Kitty\" may be a place holder otherwise, I try to imagine watching it for the very first time in 1945. Could anyone have guessed that this supporting character would soon join the ranks of Bugs, Daffy, Porky, and the rest? Whether or not anyone did, Pepe remains one of the most likable characters to this day. C'est l'amour!
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user\nThis is the first Pepe Le Pew cartoon and in some ways it's very similar to the later ones but in a few other odd ways it is not. While the object of Pepe's affections IS a cat, oddly it appears to be a BOY cat! This whole predicament occurs because a cat is tired of being abused by others and dresses up like a skunk and tries to smell like a skunk so it can be left alone. Unfortunately, this attracts our hero, Pepe. Most of the action is pretty typical until the very funny and unexpected ending--and this actually makes this one of the best of all cartoons in the series. Excellent animation (though the style is different than later examples), excellent writing and a good sense of humor make this one a keeper.
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user\nThe brilliant Chuck Jones, master of Warner Bros. cartoon comedy, brings us the first (?) Pepe LePew cartoon. An alley cat, tired of being pushed around, paints himself in the colors of a skunk, and with a healthy dose of Limburger, turns the tables on his tormentors. Then along comes Pepe, and you know the rest. Many of Pepe's famous gags were born here, including his chase/hop, in which he hops casually along while his prey runs himself to exhaustion.
In my opinion, Warner Bros. cartoons became less inventive and more ho-hum in the 50s. This 1947 'toon is one of the few examples of Mel Blanc putting his absolutely crazy voice into Pepe's mouth. But the kicker is the ending, where Pepe is revealed to be an American \"wolf in skunk's clothing\"! A must see! Classic Warner Bros...
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user\nThis short, a formative cartoon featuring Pepe Le Pew, concerns a cat who thinks he'll solve all his problems by pretending to be a skunk. Trouble is, he attracts the most unwelcome attention of an honest and for truly skunk (our hero, Pepe, entering stage left) being decidedly more attentive, shall we say, than M. Cat would like. Every great plan has its drawbacks, but this one's a corker! I wonder if Jack Warner got a call from the Hays Office over the fact that Pepe and the object of his adoration were both male. After all, Betty Boop was in part responsible for the Production Code coming into existance. Subsequent \"conquests\" were clearly and most definitely female. Very good cartoon, but Pepe is a character who works better as the focal point, rather than supporting. Well worth watching. Recommended.
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user\nAnother Raquel Welch Classic! This Picture hit the theaters November 10 1969 starring Raquel Welch as Michele, James Stacey as Joe and Luke Askew as Alan Morris. Nikki is on her way to meet with her girl friends Michele and Jackie. While on her way there, she runs into her ex husband who wants a second chance. Nikki walk away from him goes to the table where she sees Michele and Jackie. Alan approaches her again and she starts to walk away when Alan shoots her in the back. Nikki is taken to the hospital while Michele and Jackie go to the police station. Michele goes to the hospital where she meets up with Jackie only to find that Nikki died. Alan then goes after Jackie who he hits with a car and then tries to run Michele down. Michele jumps into her car and heads for Los Angeles. When she gets there, she calls Lloyd her boss in Las Vegas to let him know that she was all right. Lloyd tells her to go to the club called the losers to see Jeri about a job. However, there's one problem! The bartender has a drug problem and Alan knows it so Alan and the bartender have a little talk. Back in Los Angeles Michele not only gets a job as a dancer with Jeri but also hooks up with Jeri bouncer Joe. Now some thoughts on this picture! This picture was far better then Raquel last, and this one had nonstop action. Luke Askew did a fine job of playing Nikki ex husband. He was your typical murder with the look that goes with it. As for Raquel Welch performance, the only word that comes to mine is fantastic. She was awesome in this movie and her beauty stood out and shined like never before. The outfit that she wore on stage to dance was breathtaking. In fact, all the outfits she wore in this movie were breathtaking. Of course, it doesn't matter what Raquel had on because she looks good in everything or nothing. I give this movie 10 weasel stars for two reasons. The first and by far is Raquel Welch who's the leading actress and deserves 10 stars. The second reason is that this movie was wall-to-wall excitement from beginning to end.
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user\nAnyone who has spent time working in a hospital or medical facility has got to appreciate this film. The plot is absolutely wild but entertaining from start to finish. The acting is superb. George C. Scott is the brilliant doctor but class A failure as husband, father. Diana Riggs, a sex symbol of the 1960s and 1970s (of The Avengers), saves him from himself. The surrounding cast is superb and the dialogue quite entertaining. I think I enjoyed the film more on viewing it the 4th., 5th. or 6th. time because I caught that much more of the richness of the dialogue and the interplay of the characters. Well worth seeing again and again. You just won't want to check in to a hospital in the near future.
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user\nCertainly the highlight of this film is it's cast.
Diana Rigg, George C. Scott, Bernard Hughes to mention a few.
I have accumulated more time in hospitals and with doctors over the years than I care to think about.
This comedy attacks the pomp and pretension in all aspects of our society, through the setting of one of it's \"Most Haughty\" institutions... the Medical profession.
The idea that such goings on could be possible, might be a shock to some, but is a delight to anyone with the perspective of experience.
Dr Brock (Scott) undergoes a mid-life crisis of monumental proportions before our eyes as we, and he, become enamored with the prospect of his involvement with Miss Drummond (Rigg).
The thread of the absurd is woven into this wonderful mix in the form of the irony that the Hospital appears to be killing it's own workers as they mismanage their affairs in it.
The climax is unpredictable (unless you've seen it) and made even more hilarious if you happen to guess.
It's not everyone's brand of humor, to be sure, and has uproariously funny \"Dark Moments\" if you're open to them.
I loved every minute, and was delighted to see it out on DVD.
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user\nI had never paid much attention to this flick until I learned that Paddy Chayefsky - author of the brilliant \"Network\" - was the scriptwriter. His work there had instructed me as to his genius, so when 'Hospital' appeared on TMC, I was anxious to see it. I was not disappointed. Looking at both this film and \"Network\" it would seem that his big theme is the absurdity, inanity, and sheer viciousness of large human enterprises (e.g., hospitals, networks) against the sanctity of individual experience and the human spirit, and all of it delivered with a knife-edge sense of utterly black humor. \"Hospital\" is as black of a comedy as \"Network\" is, and the excellent cast, led by the incomparable Scott, does his work full justice. This is a keeper; definitely not to miss.
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user\nIf you liked Paddy Chayevsky's \"Network\" you'll probably like this black comedy as well, as it's another brilliant Chayevsky script, a wonderful satire on big-city hospitals and a perfect vehicle for Geo. C. Scott. He plays a burned-out chief of medicine on the most chaotic day he or his hospital have ever seen. His personal crisis is coming to a head and his hospital's falling down around him, as local residents demonstrate against the hospital and patients and doctors are dying at an alarming rate, thanks to a biblically-inspired and murderous saboteur. The latter, who theatrically declares himself the \"Fool for Christ,\" \"Parakleet of Kaborka,\" \"Wrath of the Lamb,\" and \"Angel of the Bottomless Pit,\" bops doctors on the head, administers lethal injections and swaps patients' identities, causing treatments and operations to be performed on the wrong persons.
This film makes you uncomfortable, as deadly mistakes like these do happen (hopefully not so many, not so often and not in one place) and at the same time makes you laugh at the priceless character portraits. One is Richard Dysart (\"L.A. Law\") as Dr. Wellbeck, a sort of celebrity surgeon who spends far more time worrying about his investments and publicly-traded stock than about his patients, who suffer lethally from his vast indifference and neglect. There's Diana Rigg as free-spirited, hippie-ish Barbara Drummond, who seduces the beleaguered chief of medicine (Scott) and tries to get him to run away with her. Then there's the deluded murderer, who happens to be Barbara's father and who \"functions well enough\" back at the Indian reservation where he lives with his daughter and even runs a clinic, but who's pushed to madness merely by being placed back in civilization. The strongest portrait by far is Scott's Dr. Bock, who bares his soul as former boy genius, failed father and husband, brilliant doctor and responsible administrator, who constantly dreams of suicide but must bear up under the demands of his job. Scott is exceptional in this demanding role.
Until the final scenes one doesn't know if Bock will leave the hospital behind for Barbara's Indian reservation and a quieter, simpler life, whether her murderous father will be caught or whether the protesting, rioting locals will take over and bring the hospital to its knees. Watching the crazed killer at work, one suspects Chayevsky is telling us our lunatic society makes him do these things, as we're told he's a different person away from cities and people.
As my own father was the chief administrator of a number of large hospitals over the years, I had some idea of the demands of his job and the huge responsibility he shouldered. This story makes that responsibility the linchpin on which Scott's crisis turns. This is both a funny and scary film, with the actors up to the considerable demands of Chayevsky's script. It's also a film I get more out of each time I watch it.
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user\nAnybody who goes to the Manhattan Hospital Center is taking his life in his hands. That includes the staff of The Hospital.
I had never seen The Hospital before and I was intrigued at how similar the characters and situations of the plot were to that other Paddy Chayefsky masterpiece, Network. There are elements in George C. Scott's character that have both Al Schumacher's and Howard Beale's.
He's the administrator of The Hospital and he's mad as hell and not going to take it any more. He's completely estranged from his wife and kids. It takes a Faye Dunaway type character in the person of Diana Rigg to make him snap out of it. One roll in the hay with her and he's shocked back to reality and the fact he still can contribute in the world.
But first he's got a real problem. Someone is out killing hospital staff, four of them in a 48 hour period. And the nice part is their deaths can be attributed to in large part to the general incompetence of a medical bureaucracy. That's where the comedy comes in.
There is an actual Howard Beale type character in the person of Barnard Hughes, Diana Rigg's father. His end is not quite as dramatic as Beale's though.
Back in my working days it was part of my job to pay medical suppliers. Some of them could be as big creeps as you'll find portrayed in The Hospital. The black comedy satire had some real bite to it for me.
George C. Scott was nominated for Best Actor, but having won and refused to accept the previous year's Oscar for Patton, he wasn't about to get a second chance. He lost to Gene Hackman for The French Connection. Still his handling of the role is unforgettable.
Try viewing The Hospital back to back with Network and see how many similarities you spot.
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user\nAbsolutely corrosive! Director Arthur Hiller and writer Paddy Chayefsky dismantle the American hospital system with this wicked comedy/drama/whodunit. The hospital depicted here is fraught with problems...from protesting neighbors to irate patients to a potential serial killer on the loose. George C. Scott is the top doctor who, on the brink of his own nervous breakdown, gets involved with free-spirited Diana Rigg and her wacky father Barnard Hughes. Alternately depressing and uproarious, THE HOSPITAL features some of the most acid-tinged dialog imaginable (note how Scott describes his love making session with Rigg). It also has a lot of great vignettes: Scott berating head nurse Nancy Marchand after one of here underlings accidentally kills a doctor; daffy administrator Frances Sternhagen trying desperately to collect insurance info from a waiting room full of sick people; Scott getting sobering advice from the hospital psychiatrist after telling him of his woeful home-life. All of the acting is first-rate. Scott and Rigg are dynamite and Hughes is a real surprise. The movie is a masterpiece with Chayefsky's script earning a well-deserved Oscar (over such stiff competition as KLUTE & Sunday, BLOODY Sunday). The opening narration is priceless.
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user\nGeorge Scott gave the performance of a lifetime in Paddy Chayefsky's THE HOSPITAL, a very dark drama about an aging big city hospital and a middle-aged physician on the verge of suicide. Along comes Diana Rigg as a free spirit determined to save him from himself. Their dialog crackles, and it is clear they are made for each other from the outset. But will she save him? Their one sex scene is both graphic and memorable for its passion and fury. Meanwhile, the hospital is under siege by a group of agitators who don't want it to turn a condemned building into a cancer center. And a serial killer is loose in the hospital, specializing in doctors and nurses. A good part of the movie, though, is squarely focused on Scott. As it should be. What a difference a few years made back when this movie was made. 1962 had given us THE INTERNS, a hokey, old-fashioned reworking of DR. KILDARE with terrible acting and a cardboard script. Along came 1971 and THE HOSPITAL. Less than 10 years later. Hollywood did something right for a change. Watching THE HOSPITAL today is a reminder of how much medical shows like ST. ELSEWHERE and SCRUBS owe to this enduring classic. And if THE HOSPITAL reminds you of NETWORK, it should. Same scripter.
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user\nRead a biography of the late George C. Scott and you'll discover why he was so enormously talent. He was asked by an interviewer what his secret was when making each character he played his own. Scott replied, he possessed inside him a burning fire which drove him. In one of his last interviewers, he sadly revealed he had lost the drive. This was not the case when he starred in the movie, \"The Hospital.\" In this offering, he plays talented doctor Bock, medical director of one of the finest hospitals in the country. However, life has dealt him some crippling problems, such as losing his wife to a divorce, becoming alienated from both his promising children and worse of all, believing himself to be physically impotent. At this point, he is now becoming complacent, morose and frequently fantasizes various ways of committing suicide. To add to his growing list of personal obstacles, his main reason for being, his hospital has come under siege by students and neighborhood protesters, incompetent doctors like Dr. Welbeck (Richard Dysart) and a mysterious MD. who is killing both patients and doctors alike, because he believes he is \"the Wrath of the Lamb.\" (Barnard Hughes). Few choices are left to Bock. One is promising doctor Brubaker (Robert Walden) whom he confides in by saying, \"If there were an oven around here, I would put my head in it.\" The second is a luscious young woman, named Barbara who is attracted to Bock because he acts like a wounded bear. Paddy Chayefsky wrote the screen-play and Arthur Hiller did an extremely good job of directing this dramatically interesting, dark story, but a vehicle nonetheless, lit by the fire of George C. Scott. ****
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user\nMay I never have to go to this hospital [or hospice, if I want to be politically correct] [which ass coined this asinine phrase, anyway?], for anything other than directions on how to get out of town. George C. did a masterful job playing the burned out, over worked cynic who has come to the conclusion that his life has been a waste, but is helpless to change his environment or conditions even when given a golden opportunity [which probably wasn't so golden anyway]. I got several laughs out of this brutally black comedy, however at the same time was sobered and often chilled to the marrow because I fear this very atmosphere pervades most houses of healing even as I write.
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user\nThis is one of the greatest films ever made. Brilliant acting by George C. Scott and Diane Riggs. This movie is both disturbing and extremely deep. Don't be fooled into believing this is just a comedy. It is a brilliant satire about the medical profession. It is not a pretty picture. Healthy patients are killed by incompetent surgeons, who spend all their time making money outside the hospital. And yet, you really believe that this is a hospital. The producers were very careful to include real medical terminology and real medical cases. This movie really reveals how difficult in is to run a hospital, and how badly things already were in 1971. I loved this movie. P.S. - I noticed that the incompetent, wheeler dealer surgeon played the head of the firm in LA Law. The young doctor played in Lou Grant. I also noticed that the registration nurse has appeared since in Becker and other shows.
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user\nthis movie is funny funny funny my favorite quote from the movie \"i think i saw a half naked Indian in my room last night\" response that was no hallucination it was a Indian in your room\" and another is \"what the hell are you talking about, just what the hell are you talking about\" but if i ever be admitted to an hospital like this one i will be prepared to write my will on the spot...i would say there were in my opinion three very funny characters in this film most funny but three is the funniest to me even though their lines were few.. and don't get me started on the crack-pot patient hehehe that one i will keep secret and fast paced too.
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