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user\nA man and his wife are not getting along because of the wife's jealousy and drinking problems. When the wife disappears, her sister begins a vigorous search involving the local police, state government, and a television crime show. What she finds out stuns the entire community. Good drama with lots of fine performances; based on a true story.
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user\nThis story takes place in Wisconsin. I was half heartedly watching my tape when I heard the name Appleton. I wasn't sure where it was taking place until I heard them say Green Bay & then I figured it was Wisconsin. Watching further confirmed it.
Anxiously awaiting the outcome I could really feel Corrine's frustration. I did not know it was based on fact until the end. It left me glad but sad and wanting to know more.
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user\nWell done melodrama that tells the story of Sally, tomboy dancer in the circus, raised by sideshow performer McGargle (played by W.C. Fields), he of the top hat, little mustache, checkered pants, and proficiency as juggler, pickpocket, and runner of carnival con games like Three Card Monte and the Old Shell Game. McGargle has raised Sally, who worships him as her \"real father\" since Sally's mother (kicked out of her home by her father, a judge, when she married a \"circus man\") died and left Sally orphaned. Sally is feisty and loyal to McGargle no matter what he gets up to - but McGargle seems to feel a bit of guilt over keeping her in the circus instead of with her own family all these years. When they end up performing in a carnival in the town where her wealthy grandparents live, McGargle uses the opportunity to \"investigate\" Sally's real family, with the idea that he may restore her to them. But grandfather the judge takes an immediate disliking to Sally 'cause he doesn't like a \"show girl\" - what a stern, narrow-minded man he is, a real piece of work that guy! And meanwhile Sally is busy being pursued by a handsome and rich young man, son of the man who helped grandpa get his riches.
This is a very good film with a few laughs here and there and a sort of odd editing style (I don't know how to describe this other than it shows long shots, then sort of jumps back a few seconds or changes angle suddenly as a close up is shown). Carol Dempster, who plays Sally, is delightful here - quite cute and comical in her performance. W.C. Fields, even without his famous voice, is very funny - just the way he moves and his amusing, comical reactions to things (like a small dog seen in one funny scene), we even see him juggling briefly in this. I love the few peeks at the old-fashioned circus and carnival that is shown here. The print of this featured on the DVD is very nice looking, tinted a light sepia tone, and the piano score for this is really excellent, performed by Philip Carli based on the original cue sheets.
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user\nThe plot of \"Sally of the Sawdust\" is the usual melodramatic stuff-- an orphan, rags-to-riches-- but the film rises above most silents thanks to three people:
This is not, of course, D. W. Griffith's masterpiece, but it does showcase his film-making savvy in full maturity. He uses all his innovations, which are techniques we take for granted now: close-ups, cross-cutting, a mobile camera, and the ability to modify acting from theatrical exaggeration to cinematic subtlety.
W. C. Fields also showcases his skills-- not his signature gruff delivery, but his remarkable dexterity as a physical comedian. He does a few inventive juggling acts, cut too short to be fully appreciated, and some very deft pickpocketing, but it seems that every prop that comes within reach gets manipulated for comic effect-- hat, cane, car roof, dog, cash. He's a joy to behold.
Finally, there's Carol Dempster. Much has been said against this actress, but her performance here is also richly comic. She was 22 at the time, playing a teenager, and her approach to the role is a combination of grace and awkwardness that may not be wholly convincing, but she truly engages the eye when she's on screen-- particularly when she's dancing. She's not a beauty--though she's positively luminous in the one scene where she's gussied up like a Talmadge sister-- but her plainness only adds to Sally's character, especially in the many moments when she shows very obvious affection for Fields as her guardian/\"father.\" Few, if any, Hollywood performers could compete with Fields when it came to comedy, but Griffith gives his leading lady every chance to match her co-star, and Dempster absolutely holds her own.
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user\nSeems to have been made as a vehicle for W.C. Fields and Carol Dempster and they dominate it. Fields already has his film character well developed. Carol Dempster seems to dance through the film and her acting reminds me of Mary Pickford, who also worked a long time under D.W. Griffith. Typical of later Griffith films technically.
Later remade as Poppy (the original title) with Fields in the same role.
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user\n\"Porgy and Bess\" is an outstanding production of George Gershwin's masterpiece. It is tastefully done in muted colors. The voices are outstanding. Although Sidney Portier's voice is dubbed for his singing portion, he gives a very touching performance. There is a remarkable performance by Sammy Davis Jr. as Sportin Life. There is yet no DVD available for viewing, and this piece begs for one. All intelligent movie goers who enjoyed it in 1959 will appreciate the release of this masterpiece on the new medium. The screen is filled with a dynamic presentation that rivals all other musicals including the outstanding ones by Rodgers and Hammerstein. Be sure to ask for it an your video supplier. Like \"Songs of the South\" by Walt Disney, it may be the assumption of racial overtones that is preventing the marketing of this cinema.
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user\nI was @ 13 yrs of age when I saw this greatly underappreciated film at The ADAMS theatre in Newark, NJ, I purchased the Program, and later bought the soundtrack... still have both.... I am now 55 + yrs.. and have not seen it since (possibly once on network TV, in 1960's???) One of the greatest casts ever assembled, great score and production , please let another generation see this great film... It was my introduction to opera, and aided with my understanding of Tolerance.. Please family of Gerswhins or Premingers, release this classic soon !!
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user\nThis was/is an incredible movie, with incredible cast, music, singing, story, etc. It is a tragedy that some arrogant families (the Gerswhins or Premingers) can keep it from being available to generation after generation. I have wanted to see it again all of my life. I just found this site and read why it has not been available. Shame on these families for their pettiness. My wife is from Germany and she has never seen the movie. Neither have my step-children or my grandchildren. It is very sad that a movie of this depth and quality is not available for them to see. Where do these families get off making such a conceited, self-important, egotistical, condescending decision to prohibit generations from enjoying this film, these stars, these performances, this music! Release the video and let them world judge and enjoy!
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user\nI saw this movie when I was a kid and have been looking for it ever since.It rates up there with Cabin in The Sky, Stormy Weather and Carmen Jones as a must see in movies that showcased the awesome talent of African Americans.In the 60s the local Los Angeles TV stations would have a movie of the week and some stations would show the same movie for 5 days.Porgy and Bess was one of them and my whole family would be there all 5 nights in front of the TV and only moved on the commercials.South Pacific,Oklahoma and The Sound of Music are all musical classics that you can pick up at any video store. It would be a shame to let this collection of some of the best talent America had to offer be forgotten or locked in a vault.Please make the film available to the public.
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user\nI saw this on television more years ago than I can remember, but never forgot the performance of Sammy Davis, Jr. I just by chance thought to look for it on video. This rendition of Porgy and Bess is a treasure. I would love to see it again and introduce my son to it as well. I just can't imagine why it is not heralded as one of the greatest performances Sammy Davis, Jr. every gave. Whoever is responsible for not bringing this to audiences should be ashamed of his/her ignorance. I will continue to look for it though. Maybe the execs responsible for such things will come to realize the forgotten work of so many African American actors.
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user\nI had the privilege recently of viewing what is said to be the last 35mm, Technicolor, stereo print and found it much livelier and more touching than remembered. Also closer to the original material -- basically, all screenwriter N. Richard Nash did was trim, change much recitative to spoken dialog, and insert a transitional scene or two (including a very amusing one for Pearl Bailey). Oliver Smith's production design is stagy in the \"Li'l Abner\"-\"Guys and Dolls\" '50s adaptation mode, but it works well for this work's folkloric, unrealistic quality. Stereotyping and racism are present, but not to a wince-inducing degree. Further, for a movie of its time, it's pretty frank -- the adultery, violent behavior, drug use, and self-destructive habits of the denizens of Catfish Row are not at all minimized in the telling. But there are debits, beginning with all that variation from the stage text. The loss of so much compromises Gershwin's brilliance -- no wonder the family doesn't like it. The reorchestration, especially of Sammy Davis Jr.'s material, is disconcertingly trendy and vulgar. George knew what he was doing, folks; you didn't have to mess with it so much. And while Poitier and Dandridge act well and their singing doubles sing well, there's a huge chasm between the characters' singing and speaking voices -- you're constantly aware of the artifice. What really counts here, of course, is the music, among the greatest ever written for the theater, anywhere. Despite all the tinkering, it survives,and you'd have to be made of stone not to be moved by it. If the treatment isn't entirely to the estate's liking (and it shouldn't be), there's still no reason not to spend some bucks to restore this ambitious filming of Gershwin's masterpiece and make new generations more aware of his genius.
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user\n\"Porgy & Bess\" was the very first movie my parents ever took me to see. Even at the tender age of 5 years, I was so greatly moved by the drama that I cried aloud at the screen \"Crown, PLEASE don't take Bess!\" I was fortunate enough to see the one TV broadcast of \"Porgy & Bess\" so many years ago and now all I have are the great memories (and the record album) to remember this wonderful, wonderful movie. I have been waiting and wishing and hoping that one day I might own a copy of \"Porgy & Bess\" - but it doesn't look like it will happen. What is the hold up? Obviously, there is enough public interest in this movie to warrant a release. After all these years, I remember it and it sure seems like I'm not alone. This movie is brimming with human emotion - jealousy, lust, anger, bravery, determination. \"Porgy & Bess\" is a buried gem that deserves to be brought forth into the light for a new audience to admire and an old audience to relish.
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user\nI remember seeing this movie as a child in the 60's. It took my breath away then at young age. I was glued to my seat in front of the black and white TV. The cast was one of the best i have seen in my life. The musical was one the greatest ever have been written. Please to the Gershwin and Goldwyn Families please release this on video or DVD so that the generations now and in the future can experience what I'm sure what so many of us have done when we saw this great work of art .Please consider, let not this great man's work go unseen for years more. I,m praying and hoping that the hearts of these families will be soften and let the world see this great movie again.
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user\nThis movie is one of the only historical documents displaying the talents of so many black singers, actors, actresses, and dancers. Many who are no longer with us. Those which we are blessed to be able to enjoy today in 1999, through this film lets us recognize the talents that existed then. This is why those individuals still living today as well those who are deceased are super star icons. Due to the educational history in music, drama, filming, design, singing, etc., this movie alone belongs to the people of this country.
I viewed this movie recently. The sound was excellent! The movie appeared to be complete, color and clarity was fare, but good considering how old this movie is without any repairs on frames. I agree with all prior positive reviews. I do not have any negative views.
I only would like to make one request. Please to whom it my concern, please make this movie available so all can have this historical experience.
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user\nI was in my early 20's, just graduating from college when this movie appeared. Seeing it was event of great impact, not only because of the high quality of the film (as evidenced by its many awards), but because of its place in the historical context of 1959. Because of social progress since then, it is nearly impossible to fathom that my college had only begun admitting (carefully screened) black students in 1953. A mainstream, high-budget extravaganze with an almost entirely black cast was a distinct novelty in 1959.
The movie was given a deluxe roadshow (reserved seat) presentation in only the best theatres, complete with a souvenir program detailing the lavish care that had been taken with lighting and color, multi-track stereo sound, etc. Almost every black entertainer that we white people had any knowledge of was in the movie. Gershwin's music, superbly performed, and the sheer universal humanity of the story was tremendously moving.
I was recently able to obtain a faded copy of a two-hour cutting of the film, and repeated viewings have confirmed my opinion. Time has made what seemed steamy sex scenes in 1959 seem quite tame, but the musical quality has not diminished. Sammy Davis and Pearl Bailey are masterful in their portrayals. What a crime that the young black artists of today are unable to see these performers at the peak of their careers!
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user\nWhen is ART going to overcome racism? I believe the American people have grown up since this movie was made. Porgy consists of a stellar cast and music. This motion picture is an excellent adaptation of a great opera. i.e., Miss Saigon is based on Madame Butterfly, Les Miz is based on a classic book. Recently, an opera has been introduced here in Los Angeles, based on the movie The Fly. AN OPERA!! So be it!!
Disney is hesitating about releasing Song of the South. The NAACP has voiced no contest for race issues, and let us not forget Amos N Andy was a huge hit in the 50's as a TV series. Ethnicity is our heritage in the U.S., and we should embrace all forms of ethnic artistic diversity.
PLEASE RELEASE 'PORGY' ON DVD !!!!!!!!!!!!!!!!!
j hartz
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user\ni was a projectionist while in the U.S.A.F. and remember this movie very well. we had just been set up with Stereo Sound!! o-o-o-o-o!! well, it Was a big deal in 1959. instructions came with the reels. the overture played while the projected curtain image was closed and i followed suit with the theater curtain closed too. for intermission the theater curtain was closed and after five minutes i restarted the movie with the projection curtain closed while music used as a curtain call to the second part. being the first stereo movie i had ever seen and being such a huge musical production i certainly enjoyed watching it every time i showed it for the run.
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user\nSurely the Gershwin family realizes this is one of America's greatest opera. You have thousands of fans of this opera waiting for it to be released on DVD. Please don't be so stubborn, give us a break. Think of the joy and wonder you can bring to a starved public for quality music, by releasing this great GEM. Don't wait until the film is beyond repair. The cast is first rate, the music is just awesome, we need beautiful music in today's world. It may never be filmed again with such a great cast again. With today's home theater systems,wonderful sound systems and need for great music, I'm pleading with the Gershwin family to reconsider and release this awesome movie. Thanks So Much
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user\nWhen I was a child my grandmother took me to see this movie. And I fell in love with it. I admired Dorothy Dandridge so very much and wanted to be like her. I fell in Love with Sidney Poitier. Pearl Bailey made me laugh. And Sammy Davis Jr. was so great as Sportin Life. The music was just breath taken. When I had my first son and the movie came on TV I let him see it, and to this day he has never forgotten this movie. He loved it. I will always remember Porgy and Bess. It has a special place in my heart then and now. I really wish that they would restore this movie, because it was one of the greatest movies there has ever been with an all star \"Black Cast\".
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user\nNevsky is one of the great epic war films. Sure, others, such as Birth of a Nation and Napoleon had come before, but this one is just as influential. The acting is stock, but anyone who knows the first thing about Eisenstein would know that that was part of his theory of film. This film, unlike many of his silent works, is about the heroic individual as much as it is about the group. This reflects the Stalinist philosophy that had risen to the fore by 1938. Still, his film shows us the power that can be generated by people coming together to fight something they perceive as evil. Nevsky is just one of many men. He is prince because he is strongest, but not because he is somehow different than the rest. The film's romantic angles provide more of a personal story than Eisenstein had previously allowed. Not all of the elements work and the film is probably a bit too long, but it still resonates.
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user\nOf so many excellent and so on in Nevskiy, one particularly compact *zing* out of them all tickled me so thoroughly that it ends up being the definingly terrific moment of the movie for me.
Or at least the one that tends to drive hassling people to see the film, brandishing the disc in hand for emphasis.
The existing vague abstract acknowledgement of the fairly simple and concrete guilt involved in the guilty pleasure of this may truly gel and prod me into paying the intellectual bill eventually.
Till then..
The demise of the organist was so right on.
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user\nI learned much from previous viewer reactions. Is there one that does not mention 'propaganda'? Too glib. 'Perception is concept dependent'. I love Fred Astaire musicals, the great, great songs, & Fred's peerless grace. But comrades, if you see idle, brainless, rich parasites dancing on the downtrodden & unemployed, that's a valid criticism of 'capitalist propaganda'. Any movie is steeped in the values of its time & place, not to mention those who fund it  the pipers who call the tune. Great art transcends all, as did 'Nevsky', as did 'All Quiet on the Western front'. I confess. I saw it last 40 odd years ago. But the images are burned in my brain. It's the greatest battle scene ever likely to be filmed. And it makes you horrified to be thrilled. 'Plastic ice' did someone say? That's real death you're watching. Real extras died making this. 'Real looking' is now special effects-defined it seems. Likewise 'too long' - for an age of shrunken attention spans? Mozart had 'too many notes'? Propaganda, Catholic Church defamed? The Vatican was STILL at it when they called on ancient favors to get the German Christian democrat gov. to recognize Croatia in the 1990s  remember the chaos & genocides? Forget the props, the lighting of Nevsky painted the Medieval world  like a Breughel. There's one in Hampton Court Palace showing a massacre. Crude Dutch nationalist propaganda maybe, but it tears at the heart. Stylized acting? So what's Henry V (Olivier movie)? Naturalism? Does anyone believe English medieval knight-killers talked like that? As said, the music of Prokofiev is magnificent. Only Ken Russell & Eisenstein had the balls & genius to match sound & image at this 100 octane level. OK, you want the snaffle & bit. I'll risk the nervy thorobred every time. Eisenstein did not copy Wehrmacht helmets, rather, his model seems to have been those buckets worn by 'Teutonic knights' in nazi pageants of the 1930s. Eisenstein was a genius , but unlike Hollywood directors, he had near unlimited (non-commercial) time & funding. Modern Russian directors are free from political shackles, but have no money. Even Kurasawa had to make a late (great) movie in communist Russia. He was revered but unfunded in his own country (much like Russell). How much propaganda is in the eye of the beholder? Imagine sane people from another, peace-loving world. How would they react to Nevsky? Would the battle, or the grieving for the dead dominate their cognitions? If we didn't know about the gas chambers & SS, what about 'Triumph of the Will'? Where can I get a Nevsky DVD, cheap?
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user\nEisenstein wasn't just one of the greatest soviet,russian, films'directors, but one of the great masters of the cinema, among Griffith, Murnau, Ford, Hitchcock, Welles, and others. One of the greatest things in all his films was the edition, very personal, and in this movie is exceptional. This was his first sound movie and the use of the musical score by great russian composer Serge Prokofiev in the sequence of the battle is a perfect contrast between music and image. Watching this film is like taking a class or lesson in Cinema, something that no many film directors can afford. I never get tired of watch REAL CLASSICS like this film. I hope that in near future more people will recognize a great work of art.
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user\nThis film is one of the classics of cinema history. It was not made to please modern audiences, so some people nowadays may think it is creaky or stilted. I found it to be absorbing throughout. Cherkassov has exactly the right presence to play Alexander Nevskyi, just as he did when he played Ivan Groznyi (Ivan the Terrible) several years later. The music was beautiful.
My one complaint was the poor soundtrack that was quite garbled. Although I only know a little Russian, it would have been nice to be able to pick out more words rather than having to rely almost 100% on the subtitles. I was watching this on an old videotape from the library, though. Perhaps by now a DVD version exists on which the sound has been enhanced. I would like to know whether the actors were using archaic Russian or even Old Church Slavonic when they were speaking. The subtitles were strangely worded, and it's hard for me to tell whether this was to reflect an older manner of speaking, or whether the subtitles were just somewhat poorly done.
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user\nTom Clancy uses \"Alesandr Nevsky\" in his book \"Red Storm Rising\". In the book, Nevksy was show in theatres across Russia as a prelude to the Soviet invasion of West Germany. I felt I had to check it out. It was excellant! The cinematography was magnificent and storyline incredible. I do not regret watching this movie and added in to my collection.
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user\nThis was Eisenstein's first completed project in over ten years. The film takes place in the 13th century during an invasion of Russian by Germans (Teutonic Knights - I think). Released in 1938 its a very loose parallel to Russia's nearing involvement in WWII, and Germany's advancement into Eastern Europe. There are some incredible scenes, most notable the battle near the end of the film, and there is a shocker when children are thrown into a pit of fire, but its not an easy watch. The film drags and isn't as consistently brilliant as \"Potemkin\" or \"Ivan the Terrible\". Sometimes Eisenstein is better in clips. His brilliance is present, however, and its a \"must see\" for Eisenstein fans and film historians. Russian Propaganda at its finest.
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user\nWent looking for this movie after i read Tom Clancy's \"Red Storm Rising\" novel. Timeless masterpiece about 13th century Russians being invaded by the Germans. Movie was made in 1938, under orders from Joseph Stalin to warn Soviets about Hitler and Germany. Battle scenes are wonderfully done, showing that you don't need computer animation to make a great fight scene. Probably Sergei Eisenstein's greatest work. Also see 'Battleship Potemkin'. Any history buff or poli-sci major should watch this movie. 10 out of 10.
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user\nThis movie has to be seen for the music, which is actually a wonderful cantata composed by Sergei Prokofiev. Obviously, the original soundtrack is not exactly hi-fi, but there are many excellent versions available in classical music selections. The cantata can be appreciated for itself, but having seen the movie helps.
The story itself is fairly standard Soviet wartime anti-German propaganda. An amusing anecdote is that Stalin was later so eager to buy time by appeasing Hitler at the onset of World War II that Eisenstein was seconded to a German movie for a short while, as penance.
Prince Alexander Nevsky (revered as a saint by the Russian Orthodox), having earned his nickname by defeating Swedish raiders on the river Neva, musters Russian resistance against an invasion by the Teutonic knights, and concludes his victory with a stern warning to other would-be invaders.
An interesting scene: Alexander sees a convoy of Russians being taken as slaves by Mongolian soldiers, and does nothing to stop this, as the Teutonic knights are his priority. The historical Alexander Nevsky paid tribute to the Mongol khans, as his father before him, while working to consolidate his realm's future independence.
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user\nALEXANDER NEVSKY is nothing short of a grand film on a grand scale. The film opens a window to a world and culture most Americans will never become acquainted with. And much has been said and written regarding the film's thinly veiled patriotism in the face of imminent war with the German Nazis.
By US standards the acting is a bit stilted. The screenplay is short on words and big on visuals and action. And while the action can become tiresome, the visuals are often stunning. Direction is incredible.
On another note, fans of Ralph Bakshi animation might notice that he stole a lot of his visuals for WIZARDS directly from a copy of ALEXANDER NEVSKY.
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user\n(Warning: spoilers! -- although it's hard to spoil this film by telling story details.)
Eisenstein's black and white propaganda film is not for everyone. It's very old and it's, er, clumsy. What makes it great for me is the soundtrack, not the original but the updated soundtrack. Better still, the orchestral version Prokofiev created (my favorite performance is by Fritz Reiner and the Chicago Symphony).
The film is actually funny in places. It's reminiscent of the old \"Midsummer Night's Dream\". Some of the outdoor scenes are quite magnificent. Some of the actors are also quite magnificent. (The actor who played Nevsky could have been a superstar today. Ditto for the warrior chick, Vasilisa -- definitely a rocker.)
This may be the world's best collection, on film, of pithy Russian sayings (there are tons of them -- they make up the bulk of the spoken lines).
The battle scenes actually look much more realistic than most high-budget Hollywood flix. These guys are as clumsy with their fighting as real peasants would be. The weapons look nasty, so the actors were probably trying to avoid actually wounding one another.
The actor playing the German \"grand marshall\" is trying *really* hard to look scary early in the film, but he looks like he was really a pussycat. After he's captured he looks *so* pathetic. (Speaks volumes about the intended audience, da?)
A really humorous touch is that the German army brings an *organ* with it, played by a character in a black robe. Watch the Russians bring this guy down *while* he's playing.
After the battle is over and almost all of the Germans are dead comes the best part of the film (and the music), the song sung to the dead soldiers who've died defending the motherland. This part is so sad it's almost an anti-war statement.
Ten times as many men as ladies have rated this film. Wonder why?
Warning: Joseph Stalin liked this film. Ironic -- he killed more Russians than anybody. \"Those who come to Russia carrying a sword will die by the sword\".
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user\nThis is one of those movies where you have to put to one side some of its obvious shortcomings (a result of the date and location of its production)and accentuate the positive. In many ways this is a truly superb film.
Forgive the parody in the one line summary, but the most serious shortcoming for an English speaker like me was the ghastly subtitles. The print I saw had 1982 Soviet \"Film Export\" subtitles, which consistently used inverted grammar, presumably to give the impression of 13th century speech. The actual impact of this nonsense is to make it harder to follow the subtitles which means you spend less time looking at the images. Given that the cinematographic imagery is this films great strength, this is a real issue.
Other IMDB-niks have written plenty about the Stalinist propaganda elements of this film (just in case the viewer doesn't notice them for him/herself). They have also written plenty about the battle on the ice scene, which is superb in my view.
The love interest almost totally lacks subtlety and yet strangely..... almost totally lacks charm also. But it is good to cringe every now and then.
I was familiar with the Prokofiev music to this film long before seeing the film. The images and the music complement each other marvelously. And it is the images that will stick in the mind for a long time. Bergman clearly learned a lot from these images - the imagery of his medieval pieces (e.g. The Seventh Seal, The Virgin Spring) building upon and enhancing Eisenstein's ideas. This film was made in 1938 in the USSR. In that context it is a masterpiece, albeit a flawed one.
For the modern viewer, I suggest that you go with the flow and enjoy the many treats on show.
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user\nI believe anyone who enjoyed Eisentein's Ivan the Terrible movies would enjoy this well crafted movie. This movie played out like \"Lord of the Ring: Return of the King\", but without the special effect but as good and better drama.
We have the German, who dressed like KKK, conquered Novgorod of Russia. The Russian summoned Nevsky to lead them to fight the German to save Russia. Nikolai Cherkasov, who played Ivan in the Ivan the Terrible films, was charismatic as Nevsky. The first 10 min how he handled the passing by Mongol was captivating.
Many of the scenes were beautiful even in black and white. The anticipation of War did not require any dialogue such as \"how many enemy we will be killing\", etc. Except for a few speeches, the film can basically be played out as a silent film. The fighting scene can hold up to those of the Civil War fighting scene of The Birth of a Nation.
Another strength of the movie is the great musical score, by Sergei Prokofiev. The music gave an epic feel to the movie in those scenes without dialogue.
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user\nIt is important to realise that Eisenstein was a committed Marxist film maker who held some very specific and particular theories about what film could achieve, and how.
It is simply idle to compare Alexander Nevsky negatively with anything from a similar period in the US; this film comes from the oldest film school in the world, from another continent, from an entirely different approach to cinema.
To appreciate this film a little more, try finding out about Pudovkin's and Kuleshov's theories of montage, for example, or read the Wikipedia entry on Marxist Film Theory. If you're feeling really bold, you might even investigate the triadic forms of Hegelian dialectic.
It follows that if you watch this film without some understanding of Eisenstein's ideas and ideals, you probably won't get it. In Alexander Nevsky the main characters aren't playing themselves, they are meant to be distillations of their nation's character. Nevsky and his generals are deliberately shown larger-than-life, because they represent stylised, heroic aspects of the entire Russian people.
The acting isn't wooden, it's meant to be slightly mannered. It represents a completely different school from the more naturalistic, narrative style which Hollywood was rapidly adopting. Eisenstein's films are especially designed *not* to be realistic. If anything seems somewhat \"obvious\", whether lighting or language or a pose struck by an actor, it's meant to be that way. Eisenstein was one of the early proponents of film as an art form, not just as entertainment.
If the editing sometimes seems to consist of a clash of images, well, that's the idea. Shots are meant to contrast with each other, Eisenstein's films contain and embody elements of a political/philosophical argument, namely Marxist dialectic.
So sit back, shout hurrah for Russia and her folk-hero defenders, boo at the cowardly nobles and the Teuton invaders, and enjoy the difference.
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user\n\"Alexander Nevsky\" marked director Sergei Eisenstein's return to film-making after a period of exile, and what he produced is a bald-faced propaganda film proclaiming Russia's superiority over Germany.
There's very little plot: Russians unite to battle Germans; Russia wins. The film is really an extended montage of mostly battle scenes, mixed in with some moments of German brutality (like a rather shocking scene that shows German soldiers throwing Russian children onto a raging fire). This was Eisenstein's first sound film, and it's clear that he had no idea what to do with the medium. Indeed, this film really looks more like a silent film with some sound added. There are some dialogue scenes, but they sit rather lifelessly on the screen, and the pacing is all off, as if the actors weren't actually on the set together at the same time when they were filming them. Eisenstein mostly uses sound as an excuse to overlay a rousing Prokofiev score over the proceedings, and indeed, that's one of the film's biggest assets.
Say what you will about Eisenstein's ability (or lack of) to direct actors or tell his film in a more narrative format, he certainly knows how to edit images and music together for maximum effect, and \"Alexander Nevsky\" over all shines through its deficiencies.
Grade: A
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user\nAlexander Nevsky is rightfully held up as a cinematic masterpiece. It has however aged very badly. People decide not to mention this and talk about the great battles and the great music. The sound effects may have been good then but apart from the foreboding organ all the sounds are risible. I may be shot by film buffs for this but i'm sure the modern viewer of Alexander Nevsky will agree that the blatant propaganda and the appalling music to detract from the film. I gave this film 10/10 because it is undeniably a master piece. It does have its great bits however. The costumes of the Teutonic knights are superb and the battle scenes are fairly good for the time.It is however a master piece that is showing it's age.
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user\nEisenstein's first sound film retells the battle of the ice of 1242, when the Russians under Alexander Nevsky defeated the Livonian knights, eager to bring Russia under Roman Catholicism. Made in 1938, Nevsky can be seen as a piece of propaganda: the Germanic knights, with their sinister (and somewhat goofy) helmets are obvious stand-ins for the Nazis. The butchery by the knights when they enter a Russian town seems a prophetic warning of the massacres of World War II. The film ends with a warning: those who came to Russia with the sword will die by the sword. Made in delicate black and white (somewhat reminiscent of a daguerreotype), it also marked Eisenstein's return to official favor. By the late 1920s, Stalin wanted Soviet filmmakers to stop experimentation and made movies that would be more populist and palatable to the Russian public. That stopped Eisenstein's career in Russia for a decade, and in Nevsky he came back with his more accessible film. Nevsky's strong point is in its second half, which features the battle itself, and it is justly seen as a milestone in movie history: never before (and probably never after) a battle would be so vivid in the screen. Another strong point is Prokofiev's beautiful, haunting soundtrack (using a composer to score a movie was completely unusual at the time). One of its weaker points: the comic relief (in the form of two simpleton Russian warriors trying to woo a beautiful Russian peasant) is really jarring.
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user\nWhen Patricia Newell is attacked after witnessing her cousin's murder,Detective Carrella searches the city for her killer.Identifying the murderer after an intensive manhunt,Patricia is sent to live with relatives in the country.For Carrella the case is closed...or is it?\"Blood Relatives\" is an overlooked masterpiece.Donald Sutherland plays a cop and it's nice to see Donald Pleasance in a small role as a child molester.The conclusion is pretty disturbing.Still \"Blood Relatives\" is more of a mystery than a horror film,so fans of gore will be disappointed.A must-see for fans of old-fashioned mystery movies.9 out of 10.
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user\nI honestly can't believe that this film isn't more highly rated. Claude Chabrol could be described as something like a French Alfred Hitchcock, and while this film is only the second one of his that I've seen (the first being Le Boucher), I can already see that this guy is something special just on the strength of these two films. The film is a French and Canadian co-production, and takes place in Canada. The cast is made up of British and Canadian stars and the high quality performances bode well with the rest of the film; most of which is high quality also. The film is a murder mystery and begins when a young girl covered in blood is brought into a police station. After being questioned by Inspector Carella, it emerges that the young girl, Patricia, and her sister Muriel were attacked by a man who killed the sister and only just allowed Patricia to flee. However, as the investigation goes on, Patricia goes back to the station to give new evidence, which reveals a far more shocking identity to the murderer.
The performances in this film are excellent. Donald Sutherland is subdued as usual, but he suits the role he's given here very well and I wouldn't hesitate to name his performance in Blood Relatives as one of his very best. The film also features supporting turns from British stars Donald Pleasance and David Hemmings who both give good turns; Pleasance in particular who shows just how great an actor he can be and highlights what a shame it is that he went on to waste himself in Halloween films. The unknown Aude Landry also gives a great performance in her role as Patricia. The movie is very mysterious for the first hour and really keeps the audience hooked. When Inspector Carella discovers Muriel's diary, the film turns into more of a drama in which the girl's last actions are shown; and while this section of the film is not as good as what went before it, it's still interesting and leads into a great twist at the end! Overall, Blood Relatives is a great film that really deserves to be better seen. Le Boucher is a better known effort from Chabrol, but for my money this is at least as good! Highly recommended viewing.
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user\nEvocatively directed and slickly photographed psychological mystery thriller with an exceptional lead performance by a sombre Donald Sutherland, and potent support roles from Donald Pleasence and David Hemming. The material decides to keep it all glum, and moves from the investigation period into the back-story of the victim. The seldom, and quite sullen nature of investigation pulled me in, but when it flashback to the victim's side showing her final days weren't as compelling, and became somewhat stodgy and stock-like. While the script is strongly detailed and to a certain degree complex in stringing us along, however the final and surprising revelation should have been more bone-jarring and it's not helped out by its sloppy execution. Howard Blake's music score has an emotional sting to its cues that simply linger, and director Claude Chabrol's capable handling (well for most part) has a strong stylistic and tight manner, which gets the best out of moody locations and flexible cast. The young faces Lisa Langlois and Aude Landry do an incredibly good job as well.
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user\nConsidered by many to be a strangely overlooked Chabrol it seems to me the reason it has been cold shouldered is its sleaze factor. Not as overtly sexy, violent or gory as many films of this period it nevertheless starts rather startlingly and although becoming more measured continues to ooze a rather unpleasant odour. Ms Audran, not here the ice maiden but a drunken mother, Donald Pleasence does a cameo as a child molester, David Hemmings has his eyes on underage sex and the central theme involves the relationship between a brother, sister and niece. No not very nice at all and Chabrol treats it all as if it is very normal (like it might be in some small French village!) instead of Ed McBain's New York City. Had this been treated in a more sensational manner then it would have been a more acceptable but lesser film. Here we really have to choose between the likelihood of various unpleasant options before the final denouement. Very watchable
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user\nFinally I discovered what I thought I remembered as a four year old. After seeing the 1960 color version on VHS, I kept saying I remembered seeing it in black and white 2 times before. Now the IMDb has helped me to know the truth, that it was broadcast twice (2 productions) in black and white in 2 successful years, 1955 & 56. These are the ones I remember best as a four year old. I didn't realize the 56 broadcast was not the same as the 55. In 1960, I was 9 and the color production just didn't do it for me. The black and white version was wonderful with just as much awe and wonder impact as the high tech films of today, even without any computer effects. You had to have been there! Please comment if you had a similar reaction to the b&w version.
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