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user\nThe first time I ever saw this movie was when I was four years old. I remember loving it and everything about it. 13 years later, I am now 17, and decided to watch it about a month ago because I am taking a 1960's class in school. I didn't really know what to expect, since it had been 13 years since I last saw it, but I was completely blown away by it. The actors were amazing, the music was so fun, and I now find myself singing along to every song. Treat Williams is great as Berger, the \"leader\" of the hippie group, who always gets what he wants, one way or another (except for at the very end, of course). John Savage is actually very convincing as Claude, the Oklahoma draftee who falls in love with Sheila (Beverly D'Angelo). D'Angelo is lovely as the prim and proper rich girl who eventually rebels against her upbringing and joins the hippies. The other hippies are played by Annie Golden, Don Dacus, and Dorsey Wright. Annie Golden is just adorable as Jeannie, the girl who is pregnant but still as cute and innocent as a child. Don Dacus and Dorsey Wright are good as Woof and Hud, the other two members of the group, and Cheryl Barnes, who plays Hud's fiancée, has an amazing voice.
The only problem I have with this movie, however, is that the relationship between Claude and Sheila is not very convincing. They are barely ever shown together, and when they are, they fight (remember the skinny dipping scene?). It seems as though their relationship is very weak, and by the end of the movie we are supposed to believe they are madly in love, only based on the few meetings they had. I also see that many people writing reviews here are upset by the PG rating this movie has. I personally would raise the rating up to a PG-13, only because there is some drug use... but remember in 1979, PG-13 didn't exist. I don't think the nudity is bad at all, it is in no way sexual (in fact, there isn't really any sex at all in this movie), and it is only to show the childlike innocence that the group maintains. In most European countries, nudity isn't regarded as something bad, and I don't see why it is here in the US. Anyways, I give this movie a high rating, and I'm glad it was made back then, because in the insanely \"politically correct\" world of today, they wouldn't even think of making it, and even if they did, it would be a very \"watered down\" version, and I'm sure you wouldn't get the full effect.
In conclusion, this is a very underrated film that is definitely worth checking out.
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user\n(May contain spoilers) I find myself disappointed with the criticism this movie receives. While it is most certainly not perfect, it is much better than it is given credit for. The acting and photography are excellent. Some of the musical numbers are great; including the title number, \"Where Do I Go?\", \"Easy to be Hard\", and \"Black Boys/White Boys\". While I have not seen the stage musical, I think that it clouds the judgement of many. This is not the musical you see in theatres. Do not attempt to compare them. The theatrical musical might have been sensational to watch, but it would never have had the same effect on film, so a plot had to be added. And the ending that has been added is just amazing. The movie left me feeling like I had actually watched something important, unlike most of today's movies, which only satisfy on one level.
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user\nThe 1979 film musical of HAIR was loosely based on the infamous 1960's Broadway musical that became famous because of its infamous nude scene. The stage musical isn't really much more than a group of skits strung together with some amusing musical numbers; however for the film director Milos Foreman (who won an Oscar for directing ONE FLEW OVER THE CUCKOO'S NEST) and the writers have taken the basic premise of the play and the score and constructed a real story to make the show more \"user friendly\" for the big screen. In the film, naive farm boy Claude Hooper Buchowski (John Savage) is about to go into the army and decides to spend a couple of days in New York where he meets a group of aging hippies (Treat Williams, Dorsey Wright, Annie Golden, Don Dacus)who get him involved in a group of nutty misadventures, including the pursuit of a snooty society girl (Beverly D'Angelo). The story divides into a series of vignettes that range from the ridiculous to the sublime, but it is all gorgeously photographed with a clever use of NYC locations and imaginatively staged musical numbers (outstandingly choreographed by the legendary Twyla Tharp). Treat Williams lights up the screen as Berger, the unconventional and free-spirited hippie who does his best to get Claude to loosen up and is matched scene for scene by Savage as Claude, who brings a lovely sweetness to the role of Claude. Annie Golden is a charmer as Jeannie, the pregnant hippie who is pregnant by Wright or Dacus, doesn't know which one is the father and doesn't seem to care. There is one outstanding musical number after another here...\"Aquarius\" is a tour through Central Park which includes dancing horses...Treat Williams disrupts a fancy dinner party in \"I Got Life\"...\"Black Boys/White Boys\" features the late Nell Carter and Ellen Foley extolling the ethnic virtues of men and \"Easy to be Hard\" is a powerful rendering of one of the best songs in the show by original cast member Cheryl Barnes, who plays Wright's ex-girlfriend and mother of his child. This is a beautifully photographed, well-acted sung, and danced psychedelic acid trip of a movie that must be seen and once seen, will initiate multiple viewings as this dazzler has to much to offer to catch it all in one showing.
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user\nI'm not a big musical fan, but this is one of the few I really love. Unlike many other musicals, such as \"The Sound of Music,\" none of the songs are about gratuitous stuff. Each song is social commentary, acumen on war, sexuality, recalcitrance, spirituality, and freedom. Especially amazing songs are \"Easy To Be Hard,\" \"Age of Aquarius,\" \"Hair,\" \"Flesh Failures/3-5-0-0,\" \"Walking In Space,\" and \"Hare Krishna.\" Totally revolutionary and wonderful. I can't wait to someday see it live!
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user\nThe songs are fantastic and the story-line is good. Like many other acting schools, mine also produced HAIR. For most hair production it's a golden opportunity to do nude, but my production was fully dressed... I don't think full frontal nudity in a movie or a play guarantees artistic quality... And so did the creators of the movie. The movie version is great with classic hits following each other while letting the plot develop to the chilling climax. A great cast of actors, dancers and singers.
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user\nThe antiwar musical \"Hair\" is my number one cult-movie. I do not know how many time I have seen this film in the movie-theaters and on VHS, or how many times I have listened the CD with the stunning soundtrack, and now, this masterpiece has been finally released on DVD in Brazil.
The pacifist and touching story is still amazing, a hymn of freedom, friendship and liberty of choices, and pictures the resistance of a generation against the stupidity of war. I do not know what happened to this wonderful generation of the counterculture of the 70's and their dreams, since the present world is probably worse than in the 70's. I do not recall who won the Oscar in 1979, but Treat Williams and John Savage deserved at least a nomination for their awesome performances. Beverly D'Angelo is extremely gorgeous in the role of a hypocrite spoiled upper-class teenager. I have seen \"Hair\" probably more than twelve times, and my eyes always get wet while Berger walks to the airplane singing \"That's me, that's me, that's me\", and I start crying with his gravestone in the cemetery. I believe this is one of the most beautiful, sad and touching conclusions of the cinema history. My wife, my daughter and my son also love this film; therefore I can guarantee that \"Hair\" is timeless and recommended for any audience. My vote is ten.
Title (Brazil): \"Hair\"
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user\nWhen I was younger I saw the end of HAIR on TV. I just watched the last 5 minutes of the film. And I was really impressed by it. I got goose pimples and I said to myself that I HAD to watch this film.
And I did, and I've to say: This film is amazing. The songs are great, the actors are very good and the message... The message of this film is one of the most important ones: \"Make love, no war\". This film is a real masterpiece. Meanwhile it's my favourite film.
The last song is one of the saddest and happiest I ever listened to. I nearly could feel myself joining the crowd. All I've got to say: \"LET THE SUN SHINE, LET THE SUN SHINE IN\"
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user\nHair is one of my favorite movies of all times. Even not being part of my generation, I already watched this movie 9 times and I can't get enough with the beautiful message of understanding,passion,beauty and love. This movie is against the Vietnam war and shows how people should be united independent of the color,origins, religions and classes. I love the characters Berger and Woof and I think Central Park of the 70's one of the most beautiful places I already saw in my life.
By the way,I still have this music in my mind:
When the moon is in the Seventh House And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars
This is the dawning of the age of Aquarius The age of Aquarius Aquarius! Aquarius!
Harmony and understanding Sympathy and trust abounding No more falsehoods or decisions Golden living dreams of visions Mystic crystal revelation And the mind's true liberation Aquarius! Aquarius!
ps: I am surprised to see that the director of this movie is the same director of AMADEUS. I just love both movies!
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user\ni watched it because my friend said we could try it, when my father asked if we'd watch it. i didn't want to because it was such an old film, how could that be good ? i finally did watch with that friend and my father. my friend and i loved the film. the songs are great, the actors were cool and we were crazy about it. i guess this shows even though it's from dad's time that doesn't mean it can't be a good film. i bought the film not so long after seeing it on TV, i put it on a lot and sang along with the songs. i even watched it with my classmates on my birthday party. it's a nice, good, and sometimes funny film.
if you don't try, you can't say it's bad. even if you think no, i'm not going to watch a film from dad's time. try the first part of the film you can always stop watching if you don't like it. i really recommend it, it's great!!
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user\nMilos Forman's original HAIR was the perfect movie that actually revealed how life was changing in those years, not only in the USA, but especially in this country. One of the plots in the film was to be used in other films to come after Hair, for example, in American Graffitti, etc. It was an original story with a touch of generational sadness in it. The characters in the film were like lonely \"cells\" in a \"body\" that was changing all over. Overall, a very good film, perhaps a little underrated though. Annie Golden's role was minor but she acted very well. It was the film that practically launched John Savage as an actor. One of the members of the Chicago played his role well even though it was a minor role.
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user\nAbsolutely amazing! Humor, up-beat music and an anti-war message make this probably the best movie I have ever seen.
First of all, I love how clever this movie is, particularly in the Vietnam part of the plot. It's interesting how they make the army officials enforcing the draft look ridiculous. Follow that with the serious situation of the actual war, and then the conclusion (which leaves me seething with anger at the war); and yet there is absolutely no violence on the screen. Wow.
Also, the music is really cool. But what is very unique in this musical (as opposed to Evita, or Wizard of Oz, for example) is that the lyrics don't tell the story. The mood does (along with the visuals and between-songs-dialog): \"Donna\" is an upbeat song which emphasizes the happy mood, whereas \"Flesh Failures\" has a driving, intense beat, in a minor key.
Also, I notice the LSD scene is not very flattering. Now I'm definitely not going to do drugs (not that I ever intended to).
All things considered, this is an amazing movie. The only negative comment I could say is that it's sometimes hard to hear the dialog. But who cares? 10/10 stars!
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user\nI Won't say anything about music, because this topic can be so deep that it can become one huge separate review, so let's concentrate on movie that is brilliant... No doubt, one of the best works of Forman.
The simple story about love, friendship, freedom and ideals... oh yes, the ideals for which even pacifists are ready to go in war...
There is not a single fake word, single fake character, single fake feeling in the story, because the love, freedom and friendship isn't something complicated for the characters of movie. These things aren't something that \"everyone can view from different angle\" These aren't things that need much thinking to understand... their love is simple, their friendship is simple, their ideals are as simple as the word \"simple\" itself and that's why these characters are so deep.
Berger, the leader of a hippie played by Treat Williams is a guy who lives to live and that's the biggest happiness for him... he has his ass - (as he sings in one of the scenes in the movie) and that's enough to make him happy with his property...
Berger never accepts that something can't be done... and his right... If he wants to go to some rich guys' banquet in his dirty old clothes and huge long hair, he will do it... if he want's to go to another state to just see his friend, he'll do it... he never thinks twice... he just do it.
How? why is he so powerful? the answer is simple: because he is FREE.
Just watch how the wind makes the hair wave in this movie and you will understand it all, maybe you will even free yourself too.
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user\nI've avoided seeing this film for some time but finally picked up a copy. Having been born too late to see 'Hair' in its contemporary setting, I have just been familiar with the UK and Broadway cast recordings for many years; and saw it on stage in the late 1980s where it looked a little creaky but still, great fun.
The film. It drops some of the songs (The Bed, My Conviction, Frank Mills) and cuts others (Walking in Space). However, what is left is presented very well indeed. All the singers and dancers are excellent, and the key performers (especially Treat Williams as Berger, Beverley D'Angelo as Sheila, John Savage as Claude) are memorable.
As a hippy celebration and anthem, 'Hair' manages to be remain potent even in a film made ten years too late. It was no longer the era of peace, love, and Biba, but the time of punk rock ... although watching this film now, in the time of Iraqi problems, gives a new resonance to the Vietnam issues of the 1960s.
Milos Forman, who also made 'Amadeus', did a good job on directing. In its scope and feel it reminds me of Norman Jewison's 'Jesus Christ Superstar', especially with the joy of the 'Aquarius' scene and the intimacy of 'Easy To Be Hard'.
I really enjoyed this film and consider it a good representation of a musical born out of the first truly hedonistic era.
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user\nTreat Williams reached a degree of stardom with this movie, and really squandered it. Don't be led astray by his poor movie choices since. This movie really stands out. \"Hair\" is a musical that really deals with the attitude, and probably more so with the persona, of the famed peace movement of the 60's. There is a lot of spectacular music done in spectacular fashion. Unlike the music videos of the late 70's, 80's, and 90's, the video flashes coincide with the subject matter of the music. In other words, the video makes sense when matched with the songs, so you know it never could've made it on MTV. The subject matter dwells on drugs and being hippies, but it mostly an anti war movie dealing with the senseless tragedies of Viet Nam. One of the protagonists is an Oklahoma boy intent on making a difference, believing all the patriotic dribble he is spoon fed, and he happens upon a gang in New York, who are more or less glorified hoodlums; their characters are very unique, and probably wouldn't make sense today, but this bunch bands together by burning their draft cards. What ensues in some spectacular scenery and mesmerizing scenes involving not only the three leads, but the other 3 gang members, as well as a newcomer with a small child, whose entrance is easily one of the ten grandest entrances of all time in cinema, partly because she sings one of the greatest songs of that generation. Despite their faults, you come to love these people, a cinematic triumph with a heart felt and grand finale.
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user\nThank god for this movie. It's a document of talent that, three decades later, seems even more unique and rare in retrospect.
The music is just extraordinary, packed with so much talent in writing, performance, arrangement and production that it's absolutely infectious. The lyrics and vocal arrangements are incredible. The performances by under-appreciated talents like Nell Carter and Ren Woods uplift my spirit every time I hear them. While the film may be different from the stage version, I prefer the soundtrack to the cast album, which I find truly grating and under-developed. Here the arrangements are filled out and expanded into dynamic pieces that couldn't have been produced in a stage setting.
But the music isn't the only thing extraordinary about this movie. The juxtaposition of almost hyper-realist dialog scenes (reminds me of Altman films) intercut with exuberant musical and dance numbers, really works. All the talent in this movie--directing, writing, photography, editing, music, choreography, casting, acting, costuming, art direction--merge perfectly into one of the best musical films I've seen.
I think it's amazing how much we know about the characters in \"Hair,\" based on very little information or plot. They're not drawn as caricatures, but as realistic and very human people. We see little glimpses of where they come from, but the portrait is completed by vignettes that draw the characters to the surface through accomplished acting, directing and editing. There's an undercurrent theme of the misogyny of Berger and Hud which colors their characters by exposing their reckless macho-hippie ideology. The scene of Berger's home life reveals important details about his psychology, and the brief glimpse of Claude's home tells us volumes about his background through the simple, realistic and genuine interaction between Claude and (presumably) his father.
I love the fashion in this movie. It defiantly mixes sixties ideas with VERY seventies looks (one does have to overlook Treat Williams' hair extensions...). It's a document of how chic much of the late-seventies was, contrary to the conventional wisdom that the era was all about bad taste. Claude's beige knitted tie was a hot trend of 1979, and the hair and clothing of the singers and dancers (particularly those in white during the Central Park scene) mixes up the decades in a way that suggests the timelessness of the musical's themes. These elements merge with Twyla Tharpe's extraordinary state-of-the-art choreography in a way that enhances the artistry of both.
\"Hair\"isn't a film that rewards cynicism. If you come to it with expectations, then you're most likely going to be held captive by artists who aren't bound by your rules. For me, it opened my eyes and ears and spirit to an insightful and passionate musical dialog about war, friendship and family that transcends its time and is still meaningful and relevant to me to this day.
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user\nI first saw this movie in the theater. I was 10. I just watched it a second time and I must say it was amazing. The music, the dancing, the acting. It is a great story and told extremely well. I fell absolutely in love with Treat Williams when I was a kid after seeing him in this movie. One of my favorite parts was when his mom kept yelling at him to give her his pants, and then finally said \"how much do you need\"? (money). That was classic. ; ).
Moms are the best. If you haven't seen this movie since it came out I say see it again. It's timeless. It will do what all great movies do; make you laugh, cry, and think.
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user\nconventional and superficial ,Claude´s portrayal was incomplete it is supposed that just a few moments with Sheila , makes him win her love , but the story itself and the songs make it and enjoyable experience essentially the final sequence .Altough i don´t know why it was given a PG rating .

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user\nIt couldn't have come out at a worse time--just as the nation was entering the Reagan years, the boom-boom 80s, the time of no regrets, no concerns. It got no word of mouth, and opened poorly. The studio ditched it. But Hair is possibly the best musical ever made--with Forman directing and Tharpe choreographing, it's a startlingly beautiful, well-acted, well-written triumph that few people remember. The casting is perfect, the musical numbers unforgettable, and even the downer of an ending doesn't diminish the film's indomitable spirit.
If you haven't see this movie, you haven't seen the best musical of all time. Seriously.
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user\nThis is one of the movies having made significant influence on me as a person. The sound tracks are best and the performance is excellent. Just a great movie for ever, to time limit, just for the entire live, you must have in your collection! This is one of the movies having made significant influence on me as a person. The sound tracks are best and the performance is excellent. Just a great movie for ever, to time limit, just for the entire live, you must have in your collection! This is one of the movies having made significant influence on me as a person. The sound tracks are best and the performance is excellent. Just a great movie for ever, to time limit, just for the entire live, you must have in your collection!
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user\nJust watched Hair after a lapse of 20 years. It struck home. For those of us who tried to stand on the shoulders of the civil rights movement and fight the rule of privilege and power; who resisted the fascism of the Johnson/Nixon administrations; who now as veterans of civil wars fought the war in Vietnam every single day until finally the US beast died and fled; for all who said no in many different ways -- it's remarkable how unsuccessful we were. How large the real table was on which Treat danced. How driven the wizard behind the curtain. We were 20, 22, 24. We didn't know the nature of the enemy. The size of the monster who for the next thirty years and counting would continue to eat the world. How could we? Even with smoke and the bat (the bat!) in our hand, like Treat, we were too young, too middle class, too invested, too much a part of the actions we hated.
But there was a moment. As Andre Gregory observes in My Dinner With. . . , there was a moment or two somewhere back there in the late 60's and early 70's when perhaps we could have found something besides the yellow brick road. Something not fueled by Bechtel, prisons, Enron, and Dick. Something collaborative. Something innocent and critical at once. Something with dance.
But we missed it. Like Kong bending a girder, the \"revolution\" was turned in on itself. Into sexism. Racism. Homophobia. And class crushing politics. Until we got to \"W\". Treat would have hated \"W\". And Iraq and the pathological lies. If they were in that film. Then. But the moment passed and \"W\" was almost inevitable. Comprehensive incompetence riding the drunken, raging bull into estuaries, children's lives, and China shops.
We should have done something more. Something better. But we clearly didn't know what.
Now what?
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user\nFor people like me who were born long after the '60s ended, we can only learn about the era through cultural artifacts, of which \"Hair\" is one. This is certainly a well done tour de force. One can get a sense of how things were for the hippie culture. Probably the most impressive scene - for me at least - is when the group crashes the rich people's party. As for the movie's final scene, one might interpret it as the symbolic end of everything that the '60s represented.
But no matter how one interprets this movie, it's important to understand that even though the '60s themselves may have ended, the movements that typified them still exist in small enclaves. It's a time that people won't soon forget.
Anyway, this movie is one that I definitely recommend. Milos Forman scored another great one here, right between his two masterpieces \"One Flew Over the Cuckoo's Nest\" and \"Ragtime\" (so why did he later make a piece of crap like \"Man on the Moon\"?!). Starring John Savage, Treat Williams and Beverly D'Angelo.
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user\nA competent comedy that delivers the laughs for fans of Jack Lemmon and Walter Matthau. I suppose this film was made for those who enjoyed the two GRUMPY OLD MEN films, as there seemed to be a bunch of these buddy team-ups spotlighting the comical duo in their twilight years. The idea is a sure-fire one: Matthau, a bumbling gambler who's thousands of dollars in debt, connives his unsuspecting friend Lemmon into taking a free cruise with him where they can meet rich old ladies; the catch is, they've been signed on as Dance Hosts and Matthau can't dance.
OUT TO SEA is a funny film, and not all of the chuckles are to be found courtesy of Lemmon and Matthau. I found Brent Spiner (best known as Data from STAR TREK: THE NEXT GENERATION) to be very humorous as the snobby ball-busting dance coordinator. As the prissy boss of the two aging actors, he manages to match them in the laughs department. Though the film doesn't really need any, there's also a a love story or two to be found here as well, involving Dyan Cannon (who looks pretty fine for her years).
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user\nMovies aren't always suppose to be about deep, provolking thoughts. Sometimes they're simply meant to be escapes from reality. Out To Sea fits the bill perfectly.
A light hearted \"golden years\" romantic comedy, Out To Sea may not be big budget, you might be able to easily tell when they were acting in front of a green screen, but it's still very much a movie worth watching. A sweet movie that needs to be given a break.
This is just good, light hearted fun. It's not meant to be a deep movie. It's something worth watching. If for nothing else, you must see it for Brent Spiner's humorously stiff and uptight rendition of Oye Como Va. Gil is a character you love to hate and Mr. Spiner pulls off the perfect evil comic foil to two beloved comedy movie gods.
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user\nWhile this movie is not the most entertaining in the world, I think it is better than most over all. I mean it had it's little laughs and just all around a good feeling. It's not too often we get to see two old geezers just having fun with their age and honestly having a good time with the jokes. Walter and Jack had such a great chemistry together as friends/brother in-laws. Just watching them romancing these women was fun and you rooted for them all the way because wither we have to admit it or not, for their age, they still had game! :D I loved just the whole plot of being able to move on and having fun no matter how old you are. I'd recommend this movie for a nice laugh if you want one.
7/10
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user\nI got a few laughs out of this one, more than a lot of other so called comedies. The big ship was a knockout and getting to see a lot of it's scenery was fun: as was getting to see some of Dyan Cannon's curves. This wasn't the height of Lemmon's and Mattheau's career, but it wasn't a total dog as some suggest.
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user\nJack Lemmon and Walter Matthau have got to be one of the best buddies ever to work together. They have made lots of movies together, i think they are both fantastic when they do work together in a movie. Out to sea is a fantastic comedy movie i think to watch. I give the movie 10 out of 10. Jack lemmon and Walter Matthau will be remembered when the movies they did together will be on tv. They will be sadly missed. God bless you both.
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user\nWalter Matthau and Jack Lemmon, both of whom are sadly missed, proved once again that they were a team dedicated to their craft of bringing hilarious moments to the screen. This film is just another example of this.
This time out they play two brothers-in-law who land on a ship as dance instructors on board.
Of course, their boss is a perfectionist and miserable person named Gil Godwin who just enjoys harassing these boys. It's hilarious how Lemmon gives a quick lesson in dancing to Matthau and how the latter dances a riotous rumba with the boat's owner Rue McLanahan.
Too bad that fellow dance instructors Hal Linden and Donald O'Connor are given so little to do but their parts call for that. Matthau falls for Dyan Cannon, on board with her fellow gold-digging mother, the usual outrageous Elaine Stritch. Unknown to them, Matthau has no money either. The widower Lemmon falls for Gloria De Haven, looking lovelier than ever.
The film belongs to Matthau and Lemmon and will serve as a further tribute to their illustrious careers.
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user\nI was totally surprised just how good this movie actually is because when I first saw it I was only mildly amused! I must say however, that I am still very disappointed that Donald O'Connor wasn't given a bigger and better role! He was an enormous talent.
There is a great chemistry among all the main cast members and Matthau has never been funnier.
I am tremendously glad that this picture got made because we get to see Lemmon and Matthau team up for the very last time; in a vehicle that puts their talent to great use. Brent Spiner proves that \"Data\" from Star Trek the Next Geeration is not the only good character he can play.
The storyline is really quite simple but the comedy and the characters work really well and I laughed heartily throughout this movie and I highly recommend it.
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user\n8/2008. When I originally wrote my comments, shortly after first seeing this film, I took a critical view, feeling that Lemmon and Matthau had basically \"phoned-in\" their performances, which paired them in a manner they'd done several times previously.
But upon seeing it again, it seemed different, especially in view that neither of the two main mega-stars lived a great deal longer after its release.
With the exception of Spiner, all of the eight principals are performers with considerable experience, and likewise unavoidably a lot \"longer in tooth\" than we've seen in many of their other film and t.v. work. But isn't almost everyone?
Seeing it again, while it certainly won't be regarded as a \"classis\" in any of their careers, it is a fun film, with a lot of interesting scenery as well.
From my viewpoint, it reminds me that many films, plays, etc., can often be looked at either from a very critical viewpoint, or looking instead to the lighter side, without expecting a film to be another \"Citizen Kane,\" \"Casablance,\" or (in terms of the two leads), another original \"Odd Couple.\" It also will provide a continuing piece of nostalgia for Lemmon and Matthau, as well as the others in the cast.
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user\nThis is the kind of movie that people of a certain age will say of \"I didn't think they made movies like that anymore\". Walter Matthau gives his usual over-the-top performance, but instead of leaving teeth marks all over the scenery, leaves endearing grease stains. He is like that great uncle we all know that still wears plaid polyester and embarrasses everyone, but we still love anyway.
Jack Lemmon's performance reminds us why he had more Golden Globe nominations than anyone else (22). He gives a true-to-life performance of the basically 'good, ordinary man', even in the milieu of a farce.
This film will probably not appeal to people who prefer blunt humor designed to confront or offend, but will appeal to people who appreciate broad farce played with a straight face.
The entire supporting cast is excellent in their ability to play such absurd characters while maintaining the reality of each character.
Brent Spiner gives a marvelous performance as a professional version of a lounge lizard. Anyone who has known professional hosts in real life will immediately recognize the type he is playing. He nails the type perfectly. His rendition of 'slime' merits study as a perfect example of the contrast between absurd and pathetic.
The plot is rather a straight-forward 'let's marry rich' theme that has the usual results. Just because a plot theme has been done a thousand times does not mean that it is dated, but rather that it is a timeless theme.
The rest of the supporting cast shows what can happen when professionals exhibit their skills in the roles that are written for them, instead of vying for the spotlight. In this film even the second tier actors shine. It is also obvious that they enjoyed making this film.
The plot may be standard and thin, but it allows the performers to shine.
This film is a true treat for people who want to see professional actors engaging in their craft. The plot falls away and the performers shine.
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user\nwith two old friends.
I've always enjoyed both Lemmon's and Mathaeu's films, and of course their team efforts are always worth watching, and often hilarious.
Although I didn't personally regard this film as in the hilarious category, it is certainly a competent and entertaining vehicle for fans of the two principle actors and of 60s style romantic comedy plots.
Brent Spiner may actually steal the show in terms of laughs as the arrogant and tyrannical Cruise Director.
Gloria DeHaven proves that senior ladies can remain enormously attractive.
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user\nOut to Sea was a great movie. I expected comedy and from about 10 minutes into the film to the end, there was comedy, and laughing points. Jack and Walter are great together, and the addition of Rue McClanahan made it a wonderful movie, that should be seen over and over again.
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user\n\"Out to Sea\" is a fun movie starring that wonderful duo of Jack Lemmon and Walter Matthau. This film is not quite as funny as their \"Grumpy Old Men\" comedies (which it strongly resembles), but there are many laughs throughout. Lemmon and Matthau play a couple of in-laws who take a cruise together. Once they get on the boat, the thing Lemmon doesn't know is that Matthau has signed them on as dance hosts so they don't have to pay for the cruise. This infuriates Lemmon who's in no mood to dance. What's worse, Matthau doesn't even know how to dance. Nevertheless, they go along with it and it the process they meet some of their fellow passengers and crew members. Here are the crew members: there's the cruise director Gil Godwyn, played to the hilt by \"Star Trek: The Next Generation\" veteran Brent Spiner, who acts like an evil dictator. There's two fellow dance hosts, played by \"Barney Miller\" star Hal Linden and veteran movie musical star Donald O'Connor. There's the ship's owner Mrs. Carruthers, played by \"Golden Girl\" Rue McClanahan. As for the passengers: there's Vivian, a widow played by Gloria De Haven, who falls in love with Lemmon. There's Liz, played by one of my all-time favorite actresses, Dyan Cannon, who falls in love with Matthau. There's Mavis, Liz's mother, played by veteran stage actress Elaine Stritch. And they meet others as well. All these actors are a pleasure to watch as Lemmon and Matthau play off of them. It's great to see Cannon here, see's beautiful as ever; Stritch is a hoot; Spiner is a funny comic villain who's plays it deadly straight; De Haven is wonderful; Linden, O'Connor, and McClanahan have a good moment or two; and finally, the two main stars, Lemmon and Matthau, are fine as usual. A nice little gem of a comedy.
*** (out of four)
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user\nThis film is well cast, often silly and always funny. Lemmon and Matthau work their tag team magic to perfection. Brent Spiner is just a riot as the egotistical tyrant of a cruise director. From the first \"hare krishna\" to the last \"you ought pay him fifty bucks for calling you two studs\", I thought this was a totally entertaining fun comedy
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user\nA movie I've seen and enjoyed possibly more than any other movie. I first saw it as a kid and loved the drama and the great climactic battle. As I got older, I enjoyed it as much or more than before, but now due to all of the components that work together to make a true classic. The acting is great (especially Keith as T. Roosevelt), the cinematography spectacular, the script is full of gems, and the directing pulls it all together wonderfully. It's loosely based on an actual event, and it shows rush of Europe and a newly emergent America to carve up the 'Sick old Man' (the Ottoman Empire) as it collapses in a fashion unlike any other 'historical' movie I've seen. Humor, drama, action, love...it's got it all and deserves far more acclaim (much like 'The Great Waldo Pepper').
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user\nWe usually think of the British as the experts at rendering great adventure from the Imperial age, with the likes of The Four Feathers (1939) and Zulu, simply because the Imperial age was, for the most part, British. Here, in The Wind and the Lion, we see a wonderful rendering of America's own Imperial age.
America's projection of power under Teddy Roosevelt is the backdrop for this conventional tale of the kidnapped damsel who, despite her gentility, is smitten by the rough, manly nobility of her captor, who in turn is disarmed by her beauty and scorn. (Politically correct prigs eager to see some slight of \"native\" peoples or cultures can rest assured, that the way Arabs and Muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage.) What makes this story different are the terrific production values - faultless photography, composition and editing - the terrific casting - the underappreciated Brian Keith playing a bully Teddy - and vivid history.
Though The Wind and the Lion is told largely through the eyes of the son, every member of the family can identify with one of the characters, whether it be Sean Connery's noble brigand, Candace Bergen's feisty heroine, John Huston's wily John Hay or Steve Kanaly's spiffy, radiant, ruthless can-do lieutenant, Roosevelt's \"Big Stick\". There is a transcendent scene at the end, when the little boy is symbolically swept away by the dashing Moor on his white steed. This is high adventure at its best.
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user\nSean Connery is very good as the Great Raisuli, Lord of the Rif and Defender of the Faithful. This is an adventure movie with Arabs, Germans and the USMC all coming to grips at one point or another. There is also a lot of humor in the interplay among the main and supporting characters. The story is based on the true incident in which a wealthy Greek-American businessman was kidnapped by the Raisuli in the early 1900s. Milius has substituted Candace Bergen and her two children as the victims of the kidnapping, and this opens the story to a lot of literary license.
On the other hand, the movie gives Milius the opportunity to remind the viewer of two of the most famous (though mostly forgotten) political quotations of the TR era. Brian Keith (very good as TR) says, \"Pedecaris alive or the Raisuli dead!\"; and John Huston (also good as Sec of State John Hay)asks the Japanese Ambassador at a White House dinner, \"You likee knifee, you likee forkee?\"
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user\nOne of the best 'guy' movies I've ever seen has to be the Wind and the Lion. Gad, the scenes...
Raisouli's bandits swarm over the wall... A staid British gentleman calmly gets up from tea with Candice Bergen and drops three of them with a Webley revolver in his coat. A whisper from the ghost of Empire... Lest we forget! Lest we forget!
U.S. Marines coming ashore from the long, long gone _Brooklyn_. They were carrying Krags, it should have been Lees, but, oh wow. And the Winchester 97 blowing large holes in obstreperous natives and even more obstreperous and faithless Europeans...
Raisouli --Sean Connery, o, Wow!--wondering 'What kind of gun does Roosevelt use?\"
Teddy Roosevelt--Brian Keith, o, Wow!--wondering \"What kind of gun does Raisouli use?' and writing yet another angry letter to Winchester about the stock on his Winchester 95.
Raisouli, armed with but a sword... A Prussian cavalry officer, HOLSTERING his pistol and drawing HIS sword... Honor. That's something long dead, from a world long gone, but Raisouli would never have flown a plane full of children into a building...
Milious at Milious's magnificent best, and now out on DVD.
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user\nLovely Candace Bergen as the widow Perdicaris are kidnapped and held for ransom by the Sheik Raisuli played by one dashing Sean Connery. The incident comes during 1904 as Theodore Roosevelt runs for election to the presidency in his own right. Needing a good example to show off the muscular foreign policy of the United States, Brian Keith as Roosevelt issues a stunning declaration to the Sultan of Morocco, \"Perdicaris alive or Raisuli dead.\"
But in this adaptation of that incident the famous declaration is the only true thing about this story. The Perdicaris in question was in reality one Ion Perdicaris who was a Greek immigrant and dilettante playboy. In fact Perdicaris gave up his American citizenship years ago and was back as a Greek national. Never mind that though, his predicament was serviceable enough at the time.
The damsel in distress makes better screen material though so it's a widow woman and her two kids that are in harm's way here. Of course as presented here the incident is also used by some of our European powers to get their foothold into Morocco. The intrigues get far beyond one brigand's demand for ransom.
The Wind and the Lion is hardly history. But it is an enjoyable film and Sean Connery is always fun to watch. Brian Keith also fits my conception of Theodore Roosevelt and the scenes in the Roosevelt White House do ring true to all the stories told. John Huston plays the ever patient Secretary of State John Hay who Roosevelt had inherited from his predecessor William McKinley.
But kids don't use this film to skip reading a history assignment on the Theodore Roosevelt era.
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