I have to admit I am prejudiced about my vote on this film, but I have strong reasons as I know some of the true history that was given the Hollywood treatment here. Edna Ferber's novel upon which this is based is from an era where real names can't be used. In a way, this film is all smoke & mirrors. Even though it was released in 1946, it was filmed shortly after Casablanca. Ingrid Bergman is at her most radiant in this movie as a brunette.

She plays a beautiful woman who is trying to trade on her beauty to get a rich husband. Today that is a gold digger, but in this social era, she is desirable & the kind of woman who makes all the men want her, & all the old snooty society types talk of her & avoid her, while wishing they were her. Ingrid is at her best & plays this role well.

Some sympathy for Ingrids character is raised in the New Orleans section of this film as she manages to get a decent belated tomb for her scandalized mother as part of the settlement by her relatives to get her to leave New Orleans. The snooty family of relatives there are so scandalized by her that they will do almost anything she asks to get her to leave town.

Gary Cooper is good in this film though he already appears to be aging a bit to play a dashing Texan Bachelor/Gambler. He pulls it off well considering that handicap which he appeared older than he was due to his real life chain smoking. Flora Robison as Ingrid's Maid got nominated for an Oscar as supporting actress in this film. Jerry Austin as Cupidor was over-looked in many ways for his role but is the only comic relief in the film & does it well.

When the film moves to Saratoga, it depicts accurately how important Saratoga was in that era. I like the sequence when Bergman walks to the Saratoge Spring to get some of the "sulfur" water which everyone considered so healthy then. When she drinks some she forces herself not to make a face and comments how good it is & that she must have more.

The real history is the railroad battle which really occurred on the rail line in Tunnel, New York- which is the actual Saratoga Trunk the film title is derived from. This battle actually happened in 1869 between agents for Andrew Carnagie & J. P. Morgan. The line was the economic key to the country in 1869 connecting coal country & the east coast. The references to it are throughout the film are very real. There is even some dialog describing Carnagie as a "Scot" though the reference is vague & unfamiliar to anyone not knowing the history around the battle.

The railroad line & the railroad tunnel in Tunnel, New York (zip code 13848) still exist although the film was shot in California. The real tunnel is about 1 mile long. It is still part of a key freight line today, years after this occurred. I grew up there. Gary Cooper's line in the film while he is riding the train into the tunnel is right, it is still "mighty pretty country".


I grew up in New York City and every afternoon ABC would show the 4:30 movie- Saratoga Trunk was one of the first movies I remember watching as a kid. I loved this movie and it has stayed with me for years. I recently watched it again and still thought it was great - maybe I am just a romantic - but I thought it was well done. I do not want to say this movie was good only because of the main actors - I really did not know who they were when I first saw this movie - I guess I just knew quality acting as a child. Both Bergman and Cooper were excellent. I especially loved seeing old New Orleans during the time period of this movie . If you ever get a chance to visit New Orleans - you should watch movies that show the city during that time period - when you get to see some of the old homes in the French Quarter(not just Bourbon Street) or uptown, you can truly imagine life as it was 100 years ago.

I love old movies - this one to me is a good flick!!


I would rate this film high on my list of Ingrid Bergman films. Ingrid's beauty aside, her talent is evident in scene after scene. She was sad, mean, witty,

snobbish, flirtatious, delightfully funny, loving, tender, sorrowful, distressed, happy, etc. You name it, she was all those things and more. -And so

convincing. Ingrid plays a notorious woman (Clio) who comes back to New

Orleans and falls for a Texas gambler, Gary Cooper (Clint). I especially loved the scene where they are sitting at the dining table saying nothing, just staring at each other. She, in an elegant white gown and he in a handsome white cowboy

outfit, sitting there looking at her adoringly. What chemistry! What love!


I first saw this movie when I was in elementary school, back in the 1960s. I was fascinated with the character played by Ingrid Bergman and it was my introduction to the French Quarter of New Orleans. The first part of the movie is the best as she comes back to exact some revenge on her father's wife and daughter (her mother had been driven out in disgrace). During this time she meets the wonderful Clint Maroon, played by Gary Cooper. The chemistry between the two is great. The second half of the movie takes place in Saratoga, NY (the Saratoga of the title) and I never enjoy it as much as the New Orleans setting but it's still very good. I give this movie a ten - partly out of nostalgia but mostly because it's just a darn good movie and the characters besides those of Bergman and Cooper are equally wonderful (Flora Robson comes close to stealing the scenes from Bergman). It used to be shown on TV periodically but it's shown rarely if ever - it would be a good one for one of the classic movie stations to pick up and put into their programming cycles.


Perhaps this movie is a little too long, but it still has some charm 45 years later. The main roles seem more appropriate for Clark Gable and Vivien Leigh. I could care less about Gary Cooper, but Ingrid Bergman is fine, particularly in dark hair. The movie is worth seeing for the supporting cast: Flora Robson is terrific as a mulatto servant. She is a white woman in blackface, and can have an expression of evil or of a voodoo mistress. Jerry Austin as a servant dwarf has a delightful role, that keeps you chuckling despite some overlong scenes. Speaking of scenes, Florence Bates steals most of the ones she is in as a dowager social lady. I didn't understand the outcome of the railroad fight at the end of the movie, and the last scene was pure Hollywood dreck. It's an odd feeling when you realize the film title refers to a railroad rather than a piece of luggage!


This short film certainly pulls no punches. The story is of a butcher who wrongfully kills an innocent man who he believes has sexually molested his retarded daughter. The film goes onto depict how the butcher serves his time, and returns to life with his daughter in care, and having to come to terms with a life with no future.

The graphic opening scenes of a horse being slaughtered, and the full frontal birth of the butchers daughter puts you a brutal frame of mind that stays with you throughout the film.

The snappy flow of the film is very direct and adds to its brutality. Consequently alot of ground is covered in the 40 minutes. You are taken in fully with the butchers non-life - particularly after he loses his daughter to social services and his business. His story continues in the excellent film Seul Contre Tous


This was my first Gaspar Noe movie I've watched and I have to say I was shocked. I don't mind gore in generally, but this isn't even gore , it's real butchering. For some of you a couple of scenes may be impossible to see and I mean really disgusting. Leaving aside these aspects, the main ideas revealed here and the dialog are quite brilliant. When you are given a strong argument against bringing a new life into the world and the manner in which it is given, you can't stop and take a minute to think about it. The actors did their job well, representing general masks of a handpick few people found at the bottom of a diseased society. The movie is full of metaphors, but I'll let you figure them out. Don't watch it if you want to have a lite, relaxing time. I recommend this movie to all those of you who want something to think about or simply watch something different of what you find in your average cinema.


This is the forty minute film that introduces us to the character of the Butcher, who will later be examined more thoroughly in the feature Seul Contre Tous. In this film, it follows the early period of his life from 1965-1979, but focusing on the late seventies. The first images are of a slaughter of a horse, then the birth of a baby, the Butcher's daughter, who we quickly see growing up each year. The Butcher (played by Philippe Nahon in both films) is a man bitter with the world. He hates many things. His anger comes to a head when a man assaults his autistic daughter. The Butcher then maims the wrong man, and finds himself in prison.

This film follows the butcher's life to just after his release from prison, then Seul Contre Tous takes over from there. I watched the films the wrong way about, Seul Contre Tous first. Try and watch this little film first if you can.


The short film which got Gaspar Noe on the movie map, introducing us to his horrific, but thoroughly interesting character The Butcher, played brilliantly by Phillipe Nahon. Noe's direction here has all the hallmarks of his later films, showing he was carving his own voice and style from the beginning. His sudden cutting along with harsh, loud noise, skipping flashbacks and many other techniques all are used to disconcert the viewer. And it certainly works. Also, he is not afraid of showing violence, as viewers of Irreversible will know. Here the violence is equally powerful, and in the sequel Seul Contre Tous, it is almost unbearable.

The film opens with a horse being killed. It is shot in the head, and we watch it writhe on the floor, its pool of blood flowing out. We then see a human birth in all its bloody glory, the daughter of The Butcher. He was orphaned in WWII, and has grown up hating the world, and everyone and everything in it. He serves his customers, but his interior monologue constantly reminds us of his thoughts- he wants them all dead. His daughter Blandine Lenoir, who would also reprise her role six years later, is the only thing he cares about, and we watch them grow older together. She is however mute, and the subject of bullying and toying. The Butcher's relationship with her is almost incestuous, bathing her when she is old enough to do it herself etc,but this is explored more in the next film. When she is attacked by a man, the Butcher explodes with rage, stabbing an innocent man in the mouth. He goes to prison, taken from the only things he wants- his shop and daughter. In the short 40 minutes we see all this and more, his time in prison and release back to his world. Because of his daughter's state, autistic as well i think, she is bland, does little except stare, and is under the full control of her father. The film continues in the exceptionally bleak Seul Contre Tous. If you can, watch these two films, this one first. It has some truly excellent acting, but is very difficult to watch because of the relentless tone.

7 out of 10


I would say that this film is disturbing. The brutality is depicted in a very sick way, it's like a psychosis in 40 minutes. In the same time, it is a cruel introspection in human behavior. The scenes are ferocious, starting with the butchery of the horse and ending with the brutal sex scene in the kitchen. Every emotion is exploited to extreme, the frustration of the butcher, the love for his daughter almost incestuous, the rage when he finds out she has been abused, every feeling is so natural and so wrong. This film delivers the truth about human nature in a very honest and brutal way. The message of the film is that one's life can change in a second as a consequence of one's behavior and that the most primitive emotions are the most powerful and can determine one's acting. I'd loved the unique manner of filming, the simplicity and the brutality accompanied with the silence in which only inner thoughts pierce through.


This is an amazingly well-filmed early talkie adaptation of the Eugene O'Neill play. Its major drawback is a static camera, and as a result it comes off much of the time as the filmed play it is, which is a pity, for it's a good piece of primitive moviemaking, made at a time when sound was posing all kinds of technical problems, and as a result most films were experimental whether or not this was their maker's intention. Garbo is as mysterious and charismatic as she was in her silent films, and her entrance is still classic. Her voice is strangely deep, almost boyish, which only enhances her already seductively eccentric persona. As her boyfriend, Charles Bickford is appropriately virile,--he was apparently born craggy--and a perfect counterpart to the divine Garbo. His Irish brogue is not bad at all, and he seems always a natural man of the sea, very O'Neill-like in his independent, brooding nature. As Garbo's (very) confused father, George Marion seems truly from another time. He has the sort of face and voice,--open, unmannered, totally without guile--that has vanished from the earth. Marie Dressler is also in the O'Neill swing of things. Her blank expression and intensity around the eyes speaks volumes, as she plays her boozy character as a woman at times bordering on psychosis. Poetic license, perhaps, as this is not in the script, but we can forgive Miss Dressler's excesses; she is too good at it not to. The story ends with a movement to the next thing, as distinct from resolution, which isn't the author's cup of tea; and those who like their films neatly worked out in the end will be disappointed by the absence of any real surprise. In Anna Christie we are in O'Neill country, a place of sea, storms and fog, a feeling of all-pervading and damnable uncertainty, which we would now call ambivilance, or anxiety neurosis. Rather than analyze this mood the author simply and wisely presents it, as weather, land, ocean and people intertwine and address one another in a unique language we feel priveleged to have heard.


Garbo's first spoken words in this 1930 film electrified audiences and became part of Hollywood legend. Garbo had become a star in her first American film, The Torrent, in 1926. And audiences waited til this film to see if Garbo could make the transition to talkies. She did. And while Pola Negri, Vilma Banky, and Renee Adoree fell by the wayside because of their accents, Garbo sailed on for another decade. Despite the staginess of this film, Garbo is really excellent, especially in the opening scene with the equally great Marie Dressler as Marthy. The two great stars trade dirty looks and sharp words as they size each other up while they have a few drinks and set the tone for the remainder of the film. Garbo was 25; Dressler was 60. Charles Bickford is OK as Matt, and George F. Marion is good as Old Chris. Marion originated this role on Broadway in 1922 and also played it in the 1923 silent version with Blanche Sweet. This Eugene O'Neill play is a true classic yet, oddly, was never filmed again. Anna Christie ranks as one of Garbo's greatest performances. And despite the staginess of the film and the grimness of the story, she is truly a marvel. See this one for Garbo and Dressler!


78 years ago...the premiere of "Anna Christie" advertised by the slogan "Garbo Talks!" The film runs for 16 minutes and the viewers reach the climax of curiosity: Greta enters the bar and gets through a long awaited transfer from silence into sound: a few seconds closing her silent era and, at last, Greta Garbo says a historic line: "Gimme a whiskey, ginger ale on the side and don't be stingy, baby!"

"Anna Christie" (1930) is the movie by Clarence Brown that introduced a great silent star Greta Garbo to talkies. Nowadays, we can only imagine what serious transfer it was for actors and actresses. The careers of many were bound to end - something we hardly or not at all see at present. And it was no coincidence that it was Clarence Brown who directed the first talkie with the Swedish beauty. Garbo trusted the director after two of his great silent productions, FLESH AND THE DEVIL (1926) and A WOMAN OF AFFAIRS (1928): movies that achieved a smashing success at the box office, both with Garbo in the lead.

But we are in 2008 and that fact about the movie, now purely historical, appears to be of minor importance. The question for today's viewer is not what Garbo's voice sounds like but if the movie is still watchable after these 78 years. In other words, we all strive to answer the question if the movie has stood a test of time. Has it?

When I recently watched it, I came into conclusion that, except for some minor technical aspects, including static camera, "Anna Christie" is still very entertaining. It's, on the one hand, a wonderful story of a life, of a reality that the young woman faces (being based on Eugene O"Neill's play), and, on the other hand, an artistic manifestation of true magnificence in the field of direction and acting. Let me analyze these two aspects in separate paragraphs.

CONTENT: Chris Christopherson (George F Marion), a heavy drinker, lives a life of a sailor, on a barge. Although his days are filled with sorrows, he is consoled by a letter from his daughter Anna (Garbo) whom he hasn't seen for 15 years. She says that she will come back to him. He starts to change everything for better; however forgets that his daughter is no longer a child lacking experience but a 23 year-old woman who has got through various sorts of things on a farm in Minnessota where she lived and worked. Moreover, he forgets that she has a right to accept another kind of male love in her life... This brief presentation of the content not from the perspective of the main character but the one which is introduced to us sooner than Anna (her father Chris) makes you realize how universal it is. Simply no letter from the whole text that life appears to be has been erased after all these years. Cases discussed here in 1930 are still meaningful and valid...

PERFORMANCES. There are not many characters in the movie, but there are two that really shine in the roles. It is of course Greta Garbo herself who did something extraordinary in her 15 year-long phenomenon, the presence that strongly marked the history of early cinema (something I have already discussed in many of my earlier comments on her films). But here, Garbo is slightly different. I admit that there are moments in this movie when she does not feel very comfortable with her role. That seems to be caused by her new experience with sound in English; however, her performance is, as always, genuine and unique. But that is what everyone has expected from Garbo. The true surprise of the movie for the 1930 viewers and also for us is Marie Dressler as Marthy. She is excellent in her facial expressions, in her accent, in the entire portrayal of a drinking woman who looks at life from the perspective of "hitting the bottle." Her best moments include the conversation with Anna Christie in the bar preceded by her hilarious talk with Chris. The rest of the supporting cast are fine yet not great whatsoever (here the German version makes up for it). Particularly Dressler, except for Garbo herself, constitutes an absolutely flawless choice.

If you asked me what I like about "Anna Christie" nowadays, that's what I would tell you: it's a classic movie. However, there is one more thing that I must mention at the end. It is humor, wonderful wit that is noticeable throughout. Although the content is quite serious and "Anna Christie" in no way carries a comedian spirit (the only Garbo's comedy was NINOTCHKA), there are such moments when you will split your sides. Don't skip, for instance, Anna and Matt's visit in the fun park, particularly at the restaurant where he orders milk for her thinking how virtuous and innocent she is, beer for himself and where suddenly Marthy joins them by chance...

"Anna Christie" is a perfect movie for classic buffs and a must see for all at least a bit interested in the true magnificence of performance. If you are fed up with many of those modern starlets, seek such movies out and you shall be satisfied. Very worth your search!

Skaal Greta Garbo! Skaal Marie Dressler! Let us drink a toast to the great jobs you did in the movie! Skaal after all these years when wine tastes much better and your spirits are with us in a different sense...


For Greta Garbo's first talking picture, MGM wisely chose Eugene O'Neill's Pultizer Prize winning 1921 play ANNA Christie.

Also wisely, the producers backed Garbo up with not one but two members of the Original Broadway Cast (George Marion as Anna's father, Chris, and James T. Mack as Johnny the Priest - transmuted to "Johnny the Harp" for films so as not to offend).

This little change is interesting. Like too many films accused (by those who want MOVIES to be MOVIES and ignore their origins) of being "little more than filmed stage plays," the problem is not the play but the movie makers who wouldn't be more faithful to the property. By diluting a great cinematic stage work so it wouldn't offend anyone, or opening it up because they COULD, too many lose the very qualities which made the piece worth filming in the first place.

Fortunately, the respect the studio had for both O'Neill and Garbo allowed ANNA Christie to survive the normally destructive process admirably in Frances Marion's generally sensitive screen adaptation. Wonder of wonders, Marion even allows the POINT of the scene where Garbo's Anna reveals her past on "the farm" to the man she badly wants to marry and the father who sent her there in tact! What the League of Decency must have thought of that!

The source play's greatest problem has always been that Chris's friend Marthy tends to walk away with the first act and then disappears from the last two so that Anna can take stage - the two sides of the genuinely good woman men don't always recognize.

The perfectly cast Marie Dressler (who had cut her teeth on the Broadway stage as well before going to Hollywood) is the perfect balance for Garbo's Anna in this area as well and the fast moving film at only 90 minutes, doesn't allow us too much time to miss her - one of the few benefits from atmosphere being shown rather than eloquently described in the original - AND screenwriter Marion is wise enough to stray from O'Neill to bring Dressler back for a touching scene two thirds of the way through the film that will remind many of Julie Laverne's second act appearance in SHOW BOAT.

Anna and Marthy's early scene together on screen (16 minutes into the film) taking each other's measure and setting up all the tension of the rest of the story is among the most affecting scenes in the entire piece. Not to be missed.

ANNA Christie is great tragic play and a good film drama. It's hard to imagine that a latter day remake, which would almost certainly lose the grit and atmosphere of this 1930 remake (it was first filmed without sound in 1923 - also with George Marion's original Broadway Chris) could improve on this excellent filming.

The internal scenes hew closest to the play, but the exteriors shouldn't be missed by anyone with an eye to atmosphere. While the background screen work is not to modern technical standards, the backgrounds give a better glimpse than most films of the era of the actual world in which the screen play is set (especially in the New York harbor).

Nearly all Garbo's naturalistic performances of the sound era have held up superbly (only the too often parodied death scene from CAMILLE, 7 years later, will occasionally draw snickers because of the heavy handed direction and the parodies), but this ANNA Christie, together with the variety of her 1932 films, MATA HARI and GRAND HOTEL, and the sublime Lubitsch touch on her 1939 comedy, NINOTCHKA ("Garbo laughs!"), surely stand as her best.

O'Neill fans who are taken with this play at the edge of his lauded "sea plays," should track down the fine World War II shaped film released in the year before the U.S. entered the conflict, THE LONG VOYAGE HOME (1940). It is almost as skillfully drawn from those sea plays as this one is from ANNA Christie, and features a youngish John Wayne in one of his rare non-Westerns supporting a fine cast of veteran actors showing him the way.


I'd read all the negative reviews for "Anna Christie". You know, the gripes about the static camera, out-dated acting and wordiness of the screenplay. But when I viewed it yesterday I found it remarkably affecting and enjoyable. Yep, Clarence Brown's camera remains stationary for the most part, and I'm pretty sure one of the microphones was concealed in the ship's light. Yep, there's a lot of dialogue and no spectacular action sequences. It's an early talkie with primitive technical aspects. But... then there's Garbo, Marie Dressler, George F. Marion and Charles Bickford, all proving that great acting is timeless.

I believe "Anna Christie" is still one of Garbo's most iconic performances. And it's a wonderful performance from the Divine One, in a role that is really quite atypical for her. Yes, we've seen Garbo weary and almost beaten, yet never with bags under her eyes or her knocking back shots of whiskey. Garbo played so many (delightful) costume roles, that to see her play a contemporary woman is fascinating. She's not weighed down by heavy dresses or make-up. This performance seems quite raw from Garbo.

The plot, from the O'Neill play, follows weary Swedish ex-prostitute Anna, and her reunion with her boozy, seaman father. Anna's had enough trouble for any girl of twenty, as she tells drunken, slovenly Marthy (Dressler)in a bar. She finds solace in a life at sea, and romance with a rough-hewn, but good-hearted, fisherman (Charles Bickford). But her past threatens to ruin it all.

Charles Bickford is overlooked in Garbo's long line of (largely inferior) leading men. He's one actor who can actually share the screen with her and not get swallowed up by her magical presence. The pair have great chemistry together and seemed to enjoy working with one another. Dressler can never be accused of underplaying, and once again the grand dame is up to her old tricks, but she's terrific and convincing in her role, never annoying as in the dreadful "Dinner At Eight". I've never really heard of George F. Marion before, but he was wonderful as Garbo's father.

This is Pre-Code, and rather gritty and dark by MGM's standards. I really enjoyed it, and while it may creak in some places, it's still wonderful.


And with those words one of the great movie publicity campaigns came to a conclusion. 'Garbo Talks' and she spoke those words in her first sound film, an adaption of the Eugene O'Neil play Anna Christie.

Unlike with some other players and some other studios, MGM took great care in finding the proper vehicle for Greta Garbo. Many players who were fine in the universal medium of silent film would lose their careers because of talkies. Their heavy native accents would get in the way, some didn't know any English.

It was no accident that Anna Christie was chosen for Garbo. First of all it being authored by one of America's leading playwrights, it was the kind of literary property that would have appealed to her. Secondly since the title role was someone who was Swedish, the accent could be explained. Finally a lot of the kinks from early talkies had been worked out, even though Anna Christie still made use of title cards.

Like most of O'Neil's work it's short on action, but long and deep on characterization. The story takes place on the New York waterfront where Garbo as Anna has come to live with her father George Marion. Marion ran away to sea years ago when Anna was a baby and Marion abandoned his wife. Anna has had to do what she could to survive in the adult world and that includes prostitution.

Marion of course is glad to see her, he even kicks out Marie Dressler, the old waterfront crone he's been living with for years to make room for his flesh and blood. Of course both Marion and Garbo have their problems adjusting to each other, not made easy when they give shelter to a sailor played by Charles Bickford who takes a fancy to Garbo.

Marion is repeating his role from the original Broadway production. The role of Anna on stage was done by Pauline Lord. Anna Christie ran for 177 performances in the 1921-22 season on Broadway. It's one of O'Neil's best known works and one that's revived frequently.

Of course Garbo's performance with perfect diction even with a Swedish accent was acclaimed and her future in sound films was assured. Greta Garbo received an Oscar nomination for Best Actress and the film also got nominations for Clarence Brown as Best Director and William Daniels for Cinematography. Daniels should especially get a lot of kudos for the way he photographed the waterfront scenes. And Brown created the mood around the waterfront where the film is set.

Eugene O'Neil's work is timeless so Anna Christie even with a lot of the trappings of early sound films does not date the way many films of that era do. Garbo also shows she mastered the subtlety needed to work in the sound medium. Anna Christie is a classic, all the way around.


This film is worthwhile despite what you may hear. The performance of Marie Dressler (I hope I am spelling it right) as a drunken old sot is reason enough to see this film. It is an amazing performance. She is in a drunken stupor in three scenes for a good long while and she never does the same thing twice. You can actually smell the alcohol when she is done. Amazing. And Greta of course speaks her first lines on film and shes great. The Eugene O'Neill story is solid and like most O'Neill stories, very deep and intense. This is not light entertainment but if you appreciate those great character actors from the 30's and 40's you will like it. Some of the film is technically fuzzy but all in all worthwhile.


Anna Christie (1930)

Anna Christie has some terrific parts, and some amazing performances, and yet it should be even better than it is. It has drama. Some of the scenes are really atmospheric, and if the interior shots around the table are a bore, other shots at night and at sea are really pretty exciting. Then there are the nearly historical, lively scenes set in Coney Island (even a brief jittery roller coaster ride), and the episode where two women are behind a netting in separate beds, and visitors to the midway can throw balls to try to tip them over, and the women (scantily dressed) egg the men on is weirdly sexual come-on kind of way. All the while Garbo (at the front of the crowd) watches.

Garbo of course is what makes this movie more than just another very good early talkie. She plays all sides of her character. She is coy and skeptical and in some kind of inner anguish. She laughs and cries, withdraws and pushes outward. In some ways it's a forward looking, remarkable movie (directed by Clarence Brown, who has a whole series of significant films from this pre-code sound era).

Though based on a successful Eugene O'Neil play, it's the writing that struggles a little as the actors seem to go through the paces at times. Marie Dressler is great in that exaggerated way she almost trademarked. And then there is Greta Garbo, who really does have a natural presence, even if it seems she's overacting, just slightly, at times (but then, so is everyone else). Garbo is of course famous first as a silent actress, and this is her talking film debut. Audiences loved her enough that she made a German language version the following year.


Greta Garbo stars in 'Anna Christie', a very early 1930 MGM 'talkie', the first time 'Garbo Talks'. 'Anna Christie' is a powerful movie but not for everyone. The movie is filmed like a stage play, short on sets and cinematography, long on dialogue and dramatic characterizations. Eugene O'Neil who wrote the play 'Anna Christie' is known for his dark work and Garbo's character Anna Christie is a bleak figure with a tortured past.

The sound quality on the DVD was mediocre. Not helping matters is that George F. Marion who plays Anna's estranged dad, Chris Christofferson, is verbally hard to understand. Marion gives a good performance as the old drunken seamen who’s teetering on insanity with his fixation of the evil 'devil sea'. But his dialogue is written with a very heavy Swedish accent, this is true to O'Neils original play. Marie Dressler's dialogue as Marthy Owens is equally hard to understand. Dressler believably portrays a broken down old drunken women, a 'wharf rat'. Her dialogue also is true to O'Neils original play as is Charles Bickford as the Irish seamen, Matt Burke who pursues Anna in a troubled relationship. Garbo is actually the easiest to understand.

The films strong point is Greta Garbo. She delivers a gut wrenching performance as the victim of neglect and abuse, leading to a life of prostitution. Garbo was a huge star at the time and considered one of the most beautiful women in Hollywood. Here her look isn't glamorous, it's tortured. Her body posture nearly doubles over in agony. She scrunches her face to become a pathetic creature on the screen. Garbo conveys these angst-ridden feelings to the viewer to convince us of her misery.

This is dark subject matter and Garbo brings it to life. It’s not light fare, not fun, not for everyone. ‘Anna Christie’ is strong emotions dredged up from the depths for examination, this is one helluva ride.


Viewing both of these films concurrently is not a bad idea to get a sense of early film production and acting for the camera styles. I give the nod to Garbo(but not by much)in regard to her naturalness. Robeson is majestic. But his performance is aimed for a large proscenium theater. Something else that struck me was the movies themes of empowerment for women and minorities. There hadn't been any films coming out of Hollywood yet that allowed the voices of marginal characters like Anna and Brutus to take the foreground. These were very progressive films for their time. It's quite probable that O'Neill saw the writing on the wall way before everyone else did about the future of America.


'Anne Christie' was Garbo's 14th film and the first in which her husky Swedish voice was heard. She plays the lead character, Anna, who has struggled with being abandoned by her father Chris (a drunken barge owner played by George F Marion), and with the misfortune of the life she has has to lead to keep her head above water.

Meeting Irish Matt (Charles Bickford) may mark the turning point for her ... or does it? Garbo looks and sounds great in this drama which, although looking rather clunky and moving at a slow pace, still manages to interest and engage an audience nearly 80 years later. Marie Dressler makes an impact in the role which gave her a second flush of movie success in films such as Min and Bill, Dinner at Eight, and Emma; while Marion and Bickford are more than adequate.

An interesting slice of movie history. Garbo would do better talkies in the years following, but 'Anna Christie' will always be remembered for the first time she talked on screen.


The magnificent Greta Garbo is in top form in this, her first talkie. She gets fine support from the rest of the cast which includes Charles Bickford the rugged sailor who captures her heart. Ms. Garbo gives a great performance as she usually does as the estranged daughter of a sea captain who returns after fifteen years. Also in the cast is that great actress Marie Dressler. A great movie!


039: Anna Christie (1930) - released 2/21/1930; viewed 3/10/06

On October 24, 1929: Black Thursday, the stock market crashes. Now the country and indeed the world will look to Hollywood for escape from the worldwide Great Depression.

BIRTHS: Anne Frank, June Carter, Yasser Arafat, Bob Newhart, Barbara Walters, Doris Roberts, Ed Asner, Dick Clark, Roy E. Disney, Gene Hackman.

DOUG: At long last, our Odyssey resumes in earnest with Greta Garbo's first sound film, a simple character study called Anna Christie. An excellent performance from Ms. Garbo, who showed right off the bat that her talents could carry over from the silent era (I wanted to see some of her silent work, but Netflix doesn't seem to be stocking them. How odd). One thing I noticed over and over was the way the Swedish accent sounds, like replacing the letter J with a Y sound. Anna ends up being the only character I liked; I didn't really care for her estranged father or her would-be suitor. It looks like the sound-recording systems are getting better (nobody leaning in to talk into the mystery-can), but the camera still isn't moving. We'll be sure to watch for that to change as our odyssey continues.

KEVIN: Our first film of the 1930's is the first sound film of silent starlet Greta Garbo, Anna Christie. This is a very simple movie, with only about five different locations where we spend long stretches of the film's 89 minute running time, often with a static camera. It was great to see Marie Dressler in sound as well, and quite hilarious as what we hear is an endless chain of heartfelt yet inebriated slurs. I very much enjoyed Garbo's performance, as she sustains the film through even the most meandering moments. I didn't really like George Marion or Charles Bickford, maybe because I wasn't sympathetic to either of them, so I was relieved and excited when Anna finally stands up for herself and shows them that she doesn't "belong" to either her estranged father or her muscle-bound Irish boyfriend. It's also great to see that renowned silent screenwriter Frances Marion hasn't missed a step going from silent to sound.

Last film viewed: Speedy (1928). Last film chronologically: The Love Parade (1929). Next film: The Blue Angel (1930).


Viewed this GREAT Classic film of Greta Garbo and thought her performance was excellent. However, the German film version which had English captions was her greatest performance. Greta Garbo even mentioned to the press that the German film was her favorite where she had to make the change from Silent films to sound. Greta had a high pitched voice and had to take lessons in order to lower her voice for her future roles in films. This story was very sad because Greta Garbo(Anna Christie),"Ninotchka",'39, was abused on a farm by young boys and her father left her years ago as a sailor and then as a coal barge captain. There were many scenes of Old NYC, the Brooklyn Bridge, Coney Island and the sky line of Manhattan. Charles Bickford(Matt Burke),"Days of Wine & Roses",'62 a Classic veteran actor gave a great supporting role.


i loved the great lighting and was warmed by this story of American working class society and seaport life in the first half of the 20th century. i was drawn in by the timeless watchability of this realistic performance. see and feel the star power. melancholic "greek" comedy. Anybody in the mood for a shot with a beer back?...or a little ginger? Hey, waterboy !!


This short was the first short released by Paramount Famous Studios and was one of several done by the studio showing Popeye engaged directly against the enemy, most often the Japanese. While Warner Brothers, Disney and, to a lesser extent, other studios, did shorts often depicting Germans as foils, the majority of Famous Studios efforts focused on the Japanese. Given Pearl Harbor and Popeye's naval ties, this is quite understandable. This is an average short. Seein' Red, White an' Blue and Spinach For Britain have aged better. But it's still worth watching. Recommended.


This World War II Popeye cartoon had some very good sight gags in it, and its decidedly above-average for its genre. It was nicely drawn, too, with some great angles, good detail and....well, lots of interesting sights.

What it amounts to is Popeye out at sea in his little boat and accidentally running into a small Japanese boat, with two guys on it. (Incidentally, why were the "Japs" always pictured with big, round glasses and bucked teeth?).

Anyway, these harmless-looking Japanese sailors want Popeye to sign a peace treaty. Oh, boy, thinks the gullible Popeye, "wait until the Admiral sees this!" In one of those great artwork scenes I was alluding to above, we slowly see how that little Japanese ship is really a big destroyer.....and Popeye is in deep....um, water! "Why, you double-crossing Ja-pansies!," yells our Sailor Man.

How he gets out of the situation is fun to watch.


If you are very sensitive when it comes to extreme racial stereotypes, this cartoon is not for you. But if you are strongly interested in seeing a rare piece of wartime animation, come on in!

In this cartoon, Popeye is patrolling the seas and discovers what looks like a Japanese fishing boat. The two Japanese fishermen trick Popeye into thinking that they want a peace treaty signed. But looks can be deceiving; the fishing boat turns out to be a Japanese navy ship! What follows is considered today to be morale-boosting propaganda.

Be forewarned, the representations of the Japanese in the film are done in a mean-spirited fashion. Keep in mind, though, that there was a war going on at the time. But I strongly recommend this cartoon to those who are interested in the WWII era.


THE FEELING of the need to have someone play the role of Arbiter of Public Taste and Political Correctness always manages to get under our skin. It does seem that these self-appointed, self-superior, pseudo-intellectual types do appear everywhere; be it in one's family, church or bowling league.

THESE are the guys who would have society completely disregard and ignore all that went before us; unless, of course, whatever 'it' is does not fly in the face of today's "acceptable" language, mores and general "standards" of "proper" behavior.

SO it is that these latter day, high tech book burners have targeted a great deal of what was Hollywood's greatest achievement; namely their participation in our own Allied Propaganda via their unselfishly crafted message and theme films.

COLDLY brutal in its generation, the Banned Code and List of Now Unacceptable extends into the Wartime Cartoons that don't meet with the new touchy, feely socially engineered 'official' attitudes; which these "Thought Police" have foisted down upon us.

WE were truly surprised to see that there seem to be volumes of such animated short subjects. The majority we are aware of are from Warner Brothers' LOONEY TUNES and MERRIE MELODIES; featuring Bugs, Daffy, Elmer & Porky, all in conflict with Hitler, Goerring, 'Il Duce', Tojo and the like. Surprisingly though, we found an ample supply of cartoons from MGM, Walt Disney, Lantz, Paramount-Famous Studios and the Brothers Fleischer.

YOU'RE A SAP MR. JAP (Famous Studios/Paramount Pictures, 1942) is a prime example of just what we're talking about.

BEING virtually indiscernible from the cartoons that were the output of the Studios of Max and Dave Fleischer before the 1941 business coup-de-tat that moved them out, bringing the new name of "Famous" Studios, YOU'RE A SAP MR. JAP bore none of the bland plot elements that would reduce the latter day Popeye Cartoons down to the level of the ultimate formula short movie.

WE all remember how we'd have Popeye and Olive Oyl together. Enter Bluto, usually the exponent of wolf whistle and an on acceptable on-screen version of a Male reaction to feminine pulchritude. Olive falls for Bluto's less than honorable attentions; until he gets a little too physical and invariably blurts out, "Hey Babe, how 'bout a kiss?" At this point we hear "Help! Help, Popeye and the diminutive sailor shows up to save the day; replete with the obligatory can of Spinach! DO we exaggerate, Schultz? ONCE again this JAP SAP cartoon is nothing like any of that. Oh sure, it follows the storyline of now having Popeye in the U.S. Navy. The Brothers Fleischer put the little guy in the service in 1941 to conform to the mood in the country and as an open gesture of support for the men now being conscripted in the first Peacetime Draft in United States History. Max and Dave even put Popeye in service aboard the mythical Battleship, the U.S.S. Pensyltucky.

OUR point is just this. YOU'RE A SAP MR. JAP and others like SPINACH FER Britain aren't cartoon vehicles for comic relief in the Theatre's program at all in the true sense. Rather they are a sort of grouping of Editorial Cartoons much like those from any "Great Metropolitan Newspaper". These animated shorts, much like those still one panel illustrations, have characters that are highly symbolic and representative of Nations, Ideas and Ideals, such as a just and lasting Peace. In most cases, the hero (Popeye, Bugs Bunny or whoever) is alone with the symbol of the Enemy. Both are highly exaggerated visual metaphors for abstract concept and thought; even if they are cloaked in humorous trappings for wider palatability.

OUR liberal stupidgencia (the antithesis of intelligencia) may not see themselves this way; but for this sort of behavior, they are no more than Neo Nazi Book burners.

PLEASE, allow the future generations to view and appreciate a view of past happenings that is both Historical and Humorous.

POODLE SCHNITZ!!


If it were possible to award a 10+ .... this would be the one film I would choose.

I remember catching this film on TV many, many years ago - and fortunately being prepared enough to video it. Now my video copy is getting old, video technology is outdated and I'm starting to worry that I may not be able to enjoy the delights of this movie for much longer.

As a wildlife film it is superb. As a film about the relationship between man and nature it surpasses anything screened before or since. How can the film industry allow such a classic to go unnoticed and forgotten? If such a thing as a lobby/pressure group exists to push for the re-release of this film, count me in and send me the details pronto.

My guess is there's a mint to be made by anyone able to re-release this in today's market.


I saw this movie alone when i was an early teen in my hometown in India, at a time when the only thing that fascinated me aside from girls were Tigers. I came home after watching it, with a glazed look in my eye, wanting to be that bloke in the movie that befriended the Tigers. What a movie and what a moment that was! The theatre I saw it in does not exist any and has given way to a shopping mall. I don't know how i'd feel about it now after so many years and do not want to spoil a childhood memory by finding this movie available on DVD or something similar and not finding it interesting anymore. I have learned from previous experience that a childhood memory is often tarnished when one travels life's jaded highways occasionally trying to rediscover their unadulterated past by way of movies, only to find its gushing innocence completely soppy and not welcome anymore. And I do not want to throw away the experiences of a memory of this movie into the wind. I do not have kids, so i probably am being selfish in leaving this movie in a sepia toned area of my brain, not wanting it on DVD. But if you are at a precocious age and want to recollect in later years memories of an endearing childhood, try to watch this film(if you can ever). It'll be really worth it.


This film is one of the best memories I have from childhood. Having always loved Tigers my Mum took me to see it.

It is absolutely amazing. Its is one of those films that leaves a lasting impression on you. The image of Tigers running through the snow with it all spraying around is still in my head some 25 yrs on, not many films have managed that, As other comments have said photography is stunning. A must see. I have also been looking for the film for some time with no luck at all. :-(. Checking Amazon every now and then reveals nothing, not even listed. If anyone does know of a source, please contact me or post here. Tim


I remember this film,it was the first film i had watched at the cinema the picture was dark in places i was very nervous it was back in 74/75 my Dad took me my brother & sister to Newbury cinema in Newbury Berkshire England. I recall the tigers and the lots of snow in the film also the appearance of Grizzly Adams actor Dan Haggery i think one of the tigers gets shot and dies. If anyone knows where to find this on DVD etc please let me know.The cinema now has been turned in a fitness club which is a very big shame as the nearest cinema now is 20 miles away, would love to hear from others who have seen this film or any other like it.


I collect films on Super-8, and managed to snag a full length print of this one last week on E-bay. It looks like at least for the moment, this is the only way to see this film in a country having NTSC video. I have seen it available on Region 2 DVD many times, but never Region 1.

I just finished watching it a few minutes ago and I am amazed by it. It's a powerful testament to freedom and finding your own place in the world. The photography and music were wonderful, and I really felt empathy for some of the characters.

I kind of like the idea that I was probably the only one in the USA watching "When the North Wind Blows" tonight!

Long Live Avakum!!


I managed to obtain an original BBC broadcast of this film on video and loved it so much I had to try and locate the original video in its original box; thanks go to Ebay.

Deleted on any format since 1990, this exceptional wildlife film is finely constructed and well acted. Directed by Stewart Raffil (MAC & Me), the scenes of leaping Tigers running through the Alaskan wilderness is nothing short of stunning and its timeless tale of a trapper trying to survive on his own in the frozen wastes with two young tiger cubs is moving on each viewing.

Why no major company has picked up this movie to distribute on DVD is a big wonder; but makes it that extra special to know its also hard to locate.

If you find this film by chance or eventually track it down to add to your collection, make sure never to let it vanish out of your grasp. Films of this calibre, as shown, don't come often.

A true masterpiece in every sense of the word, and highly worthy of its praised comments, "WHEN THE NORTH WIND BLOWS" will sink deep into your heart as soon as you see it.


This is one of my favourite films, dating back to my childhood. Set in the remote wilderness of Siberia at the turn of the century, a small community is stirred when an extremely cold winter forces two tigers to come down from the mountains in search of food, preying on outlying farms. In this atmosphere we are introduced to Avakum, a hermit fur trapper, who lives out in the wilds, as he comes to the village to sell his annual catch to Boris, his close, and rather only, friend in the village, who runs a store. At Boris' request, Avakum accompanies his friend's arrogant son, Ivan, on the hunt for the menacing tigers. Personalities crash and tempers flare as the older, more experienced Avakum criticises Ivan's amateur methods, an encounter noticed also by the other members of the hunt. On the second day, the hunters sight their prey and give chase. In a thick wood, Ivan wounds one of the tigers, which then attacks the hapless man. Avakum, seeing Ivan tangling with the enraged beast, fires, but accidently hits Ivan. He kills the tiger as it flees. The other hunters arrive on the scene, suspicious.

Back in the village, the doctor works to save the wounded Ivan. Avakum attempts to leave the village, but is confronted by Ivan's friends. The trapper brushes them off however, and speeds off with his dog-drawn sled. The young villagers swear after him that they'll come for him if Ivan dies, which he later does, but before dying explains to his father that it was an accident. Old Boris, upon learning of his close friend being run out of the village, straightens out the gathering "lynch mob" and goes out after Avakum, to find him and set things right. And so the main story begins.

A simple film, it raises the conflict of man and civilisation versus nature, mainly Avakum's struggle to survive alone out in the wilderness. The winter landscape is very well filmed. Perhaps the strongest element in the film is the soundtrack by Jimmie Haskell. Very sentimental and evocative, the main theme reminiscent of Albinoni's Adagio. Other movements reflect Russian styles, as well as a couple of folk music type tunes.

Unfortunately, this film is not available to buy, to my knowledge, which is rather a shame. The copy I own, recorded off TV nearly twenty years ago is slowly deteriorating. This film is a must see for those who can appreciate it, if they can find it. 8/10


Another "must have" film. Henry Brandon is a favorite! I was so surprised when I learned years ago that he was from Germany because he sounds & looks so typically American! And wasn't he great in "The Searchers" as Chief Scar??!! Another of my favorites, I have it & watch it over & again. Now if I could add this one to my collection, it would make my day! This is a great wildlife story & film for all ages. The scenery is so absolutely beautiful & the plight of the endangered snow leopards is told with such great emotion it will spark the interest in endangered species in anyone, especially children. If I could I would give a copy to all of my grands & great grands!


I watched this movie in 75 and this movie was a kind of open mind to me about how important is to care the Natur and the Wild life. When i got a Dog in 83, i called him TRUSKA ( In Movie..Avakun's dog ) to never forget this movie.

By the way, i HAVE a Copy this Movie, but is in Portuguese Language and the quality is not so good like a DVD or a New VHS ( i recorded almost 20 years ago and in SLP speedy.. so the quality is not so good..)

If somebody wish a Copy.. i'll try convert to DVD and i can send for you OK?

Ot's a great movie and i agree that is a movie to be always watched.

Waldemar Braz - Sao Paulo/Brazil


There are many things to admire about this film, but the thing that got me above all others was the part of an eccentric recluse, the sort of role that Hollywood loves & romanticizes but which here is absolutely convincing & unlike any character I've encounterd in film or in life. Also a very convincing & disturbing depiction of Tourete's syndrome


Henry Thomas, and Robin Tunny, are a couple of the most underrated performers in the business. It's beyond me as to why they haven't received more recognition than they have. This movie is a perfect example of how boundless their abilities are.

Acting out the lives of folks who could be referred to as a bit odd seems to be their speciality, and if these characters ain't odd, I'm at a loss to find anyone who is.

The story is funny, romantic, dramatic, complicated, and tragic. I hated the ending, but if I hadn't, I wouldn't have loved the story as a whole. So there ya go.


Niagara, Niagara is a stunning and heartbreaking story about the two outsiders Seth and Marcy. Robin Tunney gives a fantastic performance as Marcy suffering from Tourette's Sydrome, getting sicker and sicker as the movie progresses. This movie is not very optimistic and it's very hard emotional, but at the same time very romantic. It's hard to explain, but see it and find out for yourself. It's definitely worth it.


Wow! I caught this on IFC recently after I watched But Im A Cheerleader. Id never heard of this movie but the description sounded remotely interesting. I went in with low expectations and now I must say this is one of the best love stories ever in film. Robin Tunney does an excellent job portraying a person with tourettes. The relationship between the two and just the slightest details in the film are so acurate and believable. I usually hate "romance" and love films but this movie truly touched me. I so recommend this movie to anyone with the ability of vision.


Not only is this a very interesting exploration of Tourette's and how we react to people in our lives, it has some of the most well-filmed views of a bleak northern winter landscape. There's nothing pretty about this film, but it stays with the viewer.


This movie is truly worth seeing - Robin Tunney excels and Henry Thomas proves that he's one of those rarities, the child 'actor' who grows up to become a real actor. The characters are perfectly drawn, and in the wrong hands because of their depth, they could have been unconvincing - but all the actors are simply astounding. The cast of this movie has to rank up there with that of "Girl, Interrupted" (both movies coincidentally star the brilliant Clea Duvall). The score and music selections fit perfectly, and there is plenty of action to prevent the movie becoming just a character study. If you want the story, you won't find it in this review, but I will say that the climax will haunt you for a long time.


I like movies about quirky people. "One Flew Over the Cuckoo's Nest" is maybe my all time favorite, so one can imagine I had a blast with this one. It's definitely not one to watch if you want to walk off smiling. This movie is unpredictable and intense. Some scenes are downright frightening, even after multiple viewings (because this kind of stuff really can happen). It will most definitely keep you on the edge of your seat for the whole ride. And after you see the ending, if you're not deeply disturbed, you really should check yourself for a pulse.

The acting was phenomenal. Marcy, with her rather extreme case of tourette's, shifts from quirky-cute to utterly terrifying, sometimes appearing so out-of-control that she looks like the undead. Seth was great, too. The focus of the movie definitely does not fall nearly as much on him as it does on Marcy, though he happens to be the one that gains the most momentum as a blossoming character.

It's a classic love story with some unconventional twists, and it's also my favorite love story next to "True Romance." There are two bad reviews for it up here, but one of the people who gave such a review didn't have his facts straight and admitted to not seeing the whole film, while the other was just looking for some Hollywood thrills without the deep characters (and perhaps was a little thrown off by the apparent shallowness of the plot, seeing as the end goal revolves around stealing a black bobbi head from a toy store). The point is that this movie is not for those who want to see something "normal" or "lighthearted". This one is messed up and indie as can be, and won't let you go until the heavy climax.


I have watched this movie time and time and time again - each time it makes me laugh, it makes me think, and it makes me cry. Robin Tuney does an incredible job of portraying Marcy (and I'm kind of glad that Kate Winslet and that other lady turned down her part) its just one of those rolls that you know that no one else could have even compared.

Its a beautiful love story of these 2 very different people in crappy situations that team up together. They stand beside each other no matter what, even if it is in an odd situation and crazy ways.

I'll tell you now its not for everyone - out of everyone I've shown it to I'd say the results are 50/50 - but if you like it, you'll love it and want to share it with others! 10 stars all the way!


I tuned in to this movie because there was nothing else to watch. I was immediately sucked in by the characters.

Robin Tunney is nothing less than spectacular in this film. Her portrayal of a mentally ill woman is both moving and 100% believable. Really, this sort of thing is not easy to do. She pulls it off fantastically.

We know early on this film is going to end tragically, but you cannot take your eyes off of it. The characters do stupid things, but unlike most Hollywood movies where people do stupid things because the plot demands it, these people do stupid things because the are not right in the head - and the things they do are completely consistent with their characters.

This is just a great example of film making IMHO. Great writing, great acting, great directing. A film for people who think film can be more than mindless entertainment.


Niagra Niagra was certainly not the best movie I have seen. However., I cannot describe the way the movie made me feel while watching it and how I felt as it ended and also how I feel about it now. Very few movies have such an effect on me. I like them or I do not. I look at Niagra Niagra as a work of art. We all see something in it and it may remind us of something or it may instill fear or fun etc... This movie had me in not the best mood. In fact it left me feeling empty somehow. I guess because the lives these two persons led were so empty in so many ways. They had no direction. Their only direction was to have no direction. They had many problems to deal with and I guess needed to get away from what could not have been a happy life. But on the way things really only got worse. A steady decline from where it started. It was sad as it was so well acted and I guess we have all most likely seen someone in some situation that may in some way resemble the situation these folks were in. They might have had a good life if they had any idea how. But it Wes clear they did not know what to do. So they kind of Rambled to someplace they had heard about. No real goal. They had no idea how to have a goal. They had no idea how to overcome the life that was set before them. I felt bad but could not stop watching the movie. Only good actors can make me feel so much about a movie that I would not like if just anyone played the parts. These two did a great job to the point you just did not see the acting. I am very impressed and want to buy the movie when it is available on DVD. You know. It left me feeling a little like Leaving Los Vegas did. But again it is in a class of its own. Not a great movie but well worth an hour or two on the right day. If you are a person who has problems I would not suggest you watch it. It could depress you. It depressed me and I have not the conditions these folks had. JimmyJoeJetter


Because it's late and i'm running short on vocabulary, i will describe this film as "beautiful and heartbreaking," begging the forgiveness of those who cringe at such cliches. Robin Tunney does an amazing job portraying a young woman in the clutches of tourette's syndrome - her character was absolutely sincere and convincing, and i will follow her career wherever it goes because of this film.


I really liked this picture, because it realistically dealt with two people in love, and one of them having a disorder. Though the ending saddened me, I know that that was the best way for it to finish off. I would recommed this to everyone.


One of the best movies I ever saw - a classic "Matrix" movie. For many years, I have been trying to get it on VHS or DVD - to no avail. The German movie/TV industry still prefers to let valuable cultural contributions (and this is Fassbinder, after all!) rot away and collect dust in some archive rather than distribute it commercially (and make a lot of money with it if that is what stimulates them instead of the promotion of creative thinking). Though, the WDR once told me if I paid DM 200.00 to check the copyright (non-reimbursable), and then DM 8 per minute of copying, plus the cost for the materials, then they will consider preparing a (single!) copy for me. Some way to sell something! The same problem we have with many other TV movies or series like "So weit die Füße tragen", "Sonntagseltern", "Kellerkinder", and others. Excellent TV series - never to be heard of again. Germany, wake up!

UPDATE from March 2007: Last year, I finally could get a DVD copy from the "Mittschnittservice" of the WDR for about 50+ Euro. Great!


In these days of ultra-fast processors and the Internet, coming up with a movie like "The Matrix" may seem merely the next step from coining the term 'cyberspace', but do you remember what computers were like in 1974? Right. To come up with the notion of virtual reality back then is truly an amazing feat of the imagination. Fassbinder's movie, of course, has none of the massive gunslinging and pyrotechnics, and a lot of 'artsy' elements instead, but the atmosphere it creates is intense and poses the question how we can know what is real in a dark and gripping manner, making this a chiller and a thriller for the mind. It also takes it up a notch on more recent VR stories: if you get out of one cyberspace, can you be sure you didn't just emerge into another level of virtual reality?


When I saw this film the first time I was very impressed concerning the kind of atmosphere the director creates. It is also very interesting to see how they imagine the near future in the year 1974. If you see the film you will see a lot of sets and customs which are called freaky and modern again today.

The topic of the film deals with the old question "What is real and what is illusion?". If you see "The Matrix" you will find a lot of similarities. But the two films are not comparable at all because "Welt am Draht" is art and "The Matrix" is entertainment. If prefer the first one.

Unfortunately I lost my video copy of it.


During my teens or should I say prime time I was "eating up" all kinds of SF novels every day of the week. It was in the Sixties and Seventies when TV was not such a important leisure time killer like today, one night in the mid seventies I watched the movie on TV I think it was ARD and I was stunned. I was impressed in a way that I can almost remember each scene even today.

Nowadays I observe my kids playing the SIMS or something like that and I think we are close to what that Fassbender Movie expressed. I also would highly appreciate if I could buy this movie on a DVD. But in vain I tried almost everything to get a hint where. The movie MATRIX cannot touch by far the quality and the state of art of this movie. And by the way by now we do not have a glue if we were a superior reality or just one of a couple simulation models. Probably after our death we definitely will know...


The SF premise isn't unique (although it pretty much was back then), but the focus is a completely different one than in other artificial reality films. Especially during the first part it is an elaborate crime picture, that uses the SF premise to tell an unusual crime story in which the forced detective tries to solve a mystery with the obstacle of vanishing characters and unhelpful witnesses who don't have to lie to be unhelpful. Instead of an unreliable narrator we have an unreliable world.

In part two we follow the main character's struggle for sanity and it turns more into a psychological examination of a character in an extreme situation. He knows his very existence is nothing more than electrical impulses, how does he deal with this knowledge? He knows that there is a world that is more real than his, but he is trapped in an artificial world, a world where nobody can understand him. The problem of thinking of knowing something essential about the world that nobody else knows or wants to believe is a very real one that many of us can identify with. For me the film transports this hopelessness very well, with its dreary, artificial atmosphere which also supports the factual artificiality of the film's world.

Other than 'The Matrix' or 'The Thirteenth Floor' it's little concerned with evoking a sense of awe for its artificial reality plot, instead it very much focuses on the psychological aspects. Philosophy is only in so far interesting in that certain philosophical concepts are essential in how they shape and alter the character's perception of the world.

Arguably it is longer than it has to be (which isn't a problem if you are as captivated by it as I was) and part 2 runs pretty low on steam.


It is an interesting fact that metaphysics by Platon and Aristoteles, formal logic and abstract ontology form about those sciences that most people are not interested in. But then, around one thousand years after Aristoteles, the computer began to usurp the human thinking, and the humans who were refusing to reflect questions of being other than biological, physical and chemical ones, suddenly felt paralyzed because they could not cope with the consequences that this computers would bring "over night". R.W. Fassbinder's "Welt Am Draht", together with Tarkovsky's "Solaris" and Godard's "Alphaville", is probably the first movie who took the philosophical questions of emerging computer science as a basis of a story to be told in a movie. The confusing questions about identities and realities are cleverly built into different interwoven criminal stories which the audience really tries to follow because it is interested to solve the cases. Fassbinder was a master to sell highly abstracts contents to his public by embedding theoretical knowledge into practical, appetizing forms. The basis problem to understand is that an identity defines a reality, but on the other side, a reality also requires identity in order to be perceived. The idea of a person with multiple identities is known to us solely from the standpoint of psychiatry. However, logically spoken, the only reason why we have just one identity, is the fact that our logic has only two values (right and false). Now take a logic with just one more value, i.e. with three: Then, as you can easily see, you have already three identities. What happens now, when, let us say, Dr. Stiller gets killed? Then, it is quite possible that only one of three identities is abolished and the other two remain and are able to rescue the individual from death. Another question is, if a person with multiple identities actually feels these identities at once. The idea, however, to display such sets of identities in a up-down or down-up way as shown in the scene with the elevator in the hotel, is misleading, since identities and hence realities are not structured in Hierarchical, but in a Heterarchical way. Strictly speaking, there is no "artificial identity" either, since each identity is defined over two objects who share all of their features with one another. Therefore, the idea of assuming that every individual has just one single identity is nothing but a consequence of ancient two-valued logic either (a second identity would imply that a person, at the same time, exists and not-exists). But now look around and see that one and the same object (which is by definition self-identical) is perceived by every subject in its own way. If therefore every subject sees an object differently, why should it no be possible for the single individual to open the borders of his two-valued individuality-corset, with the effect that different persons can exchange their different Individualities? Fassbinder would five years later pick up this topic in his masterpiece "Despair. A trip into the light".


Yes!!!! Fassbinder and Ballhaus are at the top of their game, back in 1973! It's about the same subject, but in my opinion it's a much better movie than THE MATRIX (1999), at least it was 200 times cheaper! Very nice camera work by Michael Ballhaus and the wonderful "Albatross" by Fleetwood Mac at the end. Fassbinder is creating a very moody tone for the whole film. It's a shame this movie was never released on DVD. But now after 37 Years they finally came to the conclusion, that this TV-Movie, is not only one of the best Fassbinder films (altough there are quiet a lot best Fassbinder films), it's a brilliant example for a science-fiction movie, done without much money. Buy it!! Watch it!!


The acrobatics mixed with haunting music, make one spectacular show. The costumes are vibrant and the performances will just boggle your mind! Simply amazing!


being a high school student,i have to take a health class. this year, the topic is drugs. we learn about the harm they can cause a person. from what we talk about, i still believe and know that drugs can really mess a person up. anyway, my teacher wanted us to watch this. naturally, we groan and start to sleep, but like the rest of my class, i actually did enjoy this movie. it was totally real, and not sugar coated at all. the characters were amazing and believable. even the plot was outstandingly realistic and believable. what i liked about this movie mainly was how it got the point of the effect's drugs can take on an abuser, and the consequences the person has to deal with. everyone reassures themselves that nothing bad will happen to them. well lets get serious. anything can happen in a small town, even to your best friend, like Sam and Chris. this movie shows it. a person can really learn a lot from watching this. it was pretty effective.


This movie is about three teens who have been best friends for the longest time, and go on the most messed up ride of their life. When Heroine becomes the choice drug in their town, these three teens find themselves wrapped up in it all. This movie portrays heroine addiction very well, and is something you can't stop watching. MTV has never been the best at doing made for tv movies, but this one has to much good content to not watch it. I enjoyed this film, at the beginning I thought it would be the worst movie I've seen, but then as it went on it got better, and I couldn't turn away.


What can I say? I couldn't sleep and I came across this movie on MTV. I started watching it with every intention of changing the channel if it started to get lame as so many anti-drug movies do but I got sucked into this movie and I couldn't stop watching. Nick Stahl did an amazing job with his character, and in my opinion he really made the movie something worth watching. I was interested in purchasing the soundtrack to the movie (or even the movie itself) and MTV.com was no help at all, but believe it or not Amazon.com is taking pre-orders for the August 5th release of the movie on DVD. I know I had a hard time tracking it down, and I'm sure other people might have had the same problem. I'm buying my own copy so I can drool over Nick Stahl while bawling my eyes out at the same time thanks to the emotional storyline!


I saw this movie yesterday night and it was one of the best made for TV films I've seen. It was very well directed and the acting was superb, very convincing. The music was good and the cinematography was beautifully shot. Take out the hopelessness out of Requiem for a Dream and you get wasted. An excellent depiction of the world of drug addiction and its consequences given in a very open way in wich anyone can relate to. cudos to mtv for giving us a good flick for a change from !*$*% like Crossroads.


I wasn't planning on watching wasted when I saw the MTV preview but since I had nothing better to do or watch on a Sunday night I watched it.

Wasted was no Requiem for a Dream but it was a very good movie considering it was made by MTV. One thing that drew me to watching it was Summer Pheonix the sister of the late and wonderful River Pheonix stared. I suppose talent runs in the Pheonix family because she was good and so is Jaquien though niether are River. Nick Stahl also gives a great preformance as a junky jock. There isn't much else to say about wasted. It was a dark depressing and insightful look into the lives of three small town junkies. I recomend it to those who like the subject. 8/10


I just saw this movie tonight(5th Nov. 2005)for the first time. I wanted to watch it cause I saw the basketball diaries(Leonardo Di Caprio) and loved that but this was far more heavy going. I think it had a good depiction of drugs to an extent. I empathize mostly with Nick Stahls character, probably because if I someone I was crazy about was on that stuff I'd want to help them get off it. A promising student and athlete who spends all his time training and studying-well it's understandable that he'd want to try teenage life(the crazy side of it) and in his efforts as what begins is helping his friend he ends up addicted because he wanted to see what it is all about and because of his horrendous family situation which results in his most tragic death. A truly sad film but one flaw i noticed is that you don't get a good enough insight into the damage it does to families but apart from that, excellent performances on a truly heartbreaking movie.


This movie was amazing. Never before have I seen such a film that brought me to the harsh reality of drug use quite like this one. There is no glamorizing, sugar coating, or glorifying heroine. This movie shows the true struggles, pain, and loss people go through when dealing with this drug. Good film, decent emotionally packed acting, and a great storyline. A much watch!


Spoiler begin The movie focuses on three friends, Samantha (Summer Phoenix), Chris (Nick Stahl), and Owen (Aaron Paul). The movie starts out with Sam and Owen as the drug addicts, and Chris, the track star, as the one who takes care of them. As things get increasingly worse at home for Chris, he asks Sam what the drug is like. Sam is out of rehab and sober by this point and tells him it makes everything better. Chris then catches up with Owen and they start using. It takes chris two times till he is a " full time member". After some trouble with a dealer and a confession to Sam, she gets in again. So begins the downward spiral for them. Chris od's when he breaks a promise to Sam (I want some of the movie to be a surprise). He dies, Sam gets in to college to be an Architect, and Owen gets arrested. so ends the story

Spoiler ends. minor spoilers throughout

Nick stahl is amazing. He will have an Oscar one day. His portrayal of Chris was Heartbreaking. He was the only one that felt real in the movie as far as drug use goes. Aaron Paul who played Owen acted as if he were on speed not heroin. Summer Phoenix was fine, she is talented but what can i say Nick Stahl stole the movie. His drugged eyes, his slow movements, everything was perfect.

The writers needed to show withdrawls in the movie. That is a main reason why people don't want to quit. Other then that there are hilarious scenes (the mall scene, and the Backstreet boy scene,man Stahl nailed the reactions right on the head.), Touching, sad scenes (Like the scene between Sam and Chris in her bedroom after he gets beat up, i bawled, and the park scene.). It was realistic too. Like S am using again when Chris wanted to flush the drug down the toilet, and Chris using again after he goes to Own's, even though he had been clean for two weeks, the pull was too strong. it is all realistic.

Watch the movie for a great cast, great music, and a semi- truthful account of drug addiction.


I watched this movie the night it premiered on MTV. Usually to me MTV Movies are kind of stupid but this one was so good. Summer Phoenix is an amazing actress and I thought that Nick Stahl was good too. If MTV started showing more movies like this I would probably enjoy the channel a lot more.


I saw this a good while ago, but i just cant get over it. I have looked everywhere to try and find out where i can get a copy of it but i have not been able to get a hold of it. I really reccomend this movie and if anyone has any info about how i can get a copy then let me know. thanx


black tar can't be snorted there's a documentary: dark end of the street about s.f. street punks and b.t. abuse - not bad - quite heavy. in wasted there's this stuff that looks like coke but should be something else... no big deal. black tar can't be snorted there's a documentary: dark end of the street about s.f. street punks and b.t. abuse - not bad - quite heavy. in wasted there's this stuff that looks like coke but should be something else... no big deal. black tar can't be snorted there's a documentary: dark end of the street about s.f. street punks and b.t. abuse - not bad - quite heavy. in wasted there's this stuff that looks like coke but should be something else... no big deal.


I am from Texas, and live very close to Plano where the actual deaths occurred, so I might be a bit biased in saying that "Wasted" is a film that you just can't get out of your head.

Stahl, Phoenix, and Paul all play their characters very realistically. You truly believe that they are everyday high school students who just happen to be heroin addicts. The drug content is handled very graphically as well - although everything that happens in the film serves a purpose, and each moment the characters spiral further downward is heartbreaking. I definitely recommend this film to anyone. Once you watch it, it sticks with you!


I thought this movie was awesome and the two guys nick and aaron are hotties!!!!! I wish i could watch it over and over. I loved the plot and whole concept of the movie. It is great and I wish i had taped it last night.Nick I love You!!!!!!


keys to the VIP is BS.

rob cavaliere vs Justin in season two.

I went to school with rob cavaliere and Adriana Doria. you may remember her as the last girl he was "picking up". this was when the "angry girlfriend" came by, they made out and "left the club together". They were good friends at father bressani chs in woodbridge.

whether or not rob planned it or they asked him to do it, men should know that what they are seeing is not real and the guys on here are douche bags. especially that episode.

one more line to fill space.


Keys to the VIP is one of the most entertaining, informative and hilarious shows that is on television right now. The idea is original, and well executed, as it manages to preserve the reality aspect, but still remain entertaining. All of the judges have a razor wit. They're not the nicest at all times, but if you're looking for comfort, go watch a chick flick. Say what you like about validity of the show, but it is absolutely real. I know people who have competed on the show, and they have confirmed this.

If you want to laugh, watch this show. It is on of the best comedy shows ever made.


I'm sure all of the Canadians on IMDb are all too familiar with Canadian content, and how much of it is... well, shall we say, lackluster. There are a select few Canadian shows that are actually worth watching, however, this is definitely one of them.

Simple premise. Two guys picking up girls in a bar with certain guidelines and rules, add in some witty and clever commentary from a group of surprisingly likable self-proclaimed "Alpha Males" and you have yourself some very entertaining programming. Each episode is solid. If the "players" are sub-par, there are some awkward moments to be had, and there is some gentle fun poked at them. If the "players" are good, it leads to moments that you just have to stand up and applaud, and some comical praise lavished at them.

The premise is kind of trashy, I know, and as a guy who usually takes pride in the fact that I'm elevated himself above typical, terrible reality television, it takes a lot for me to admit that this show is actually funny and enjoyable.

One thing that must be pointed out is how The Comedy Network did a terrible job marketing this show. For the longest time, I didn't even know the premise, and all I knew was that there was somehow a shirtless guy who "loves cougars" involved. However, after actually watching the show, I was surprised by how surprisingly slick it looks for Canadian content (despite a pretty lame opening credits sequence). So give it a chance. I have yet to find someone in the target demographic (18-30 year old males) who have actually watched the show (and not just the annoying commercials) who hasn't liked it.

Bring it back for a third season, Comedy Network. It actually has a good premise, as opposed to some other Canadian shows you've had (cough*girls will be girls*cough). I usually reserve 10/10 ratings for "works of art," but I just have so much fun watching this show and I think that it has been unfairly judged my many, that I just had to.


The fact that reviewers feel very intensely negative towards the show is an interesting fact all its own. If you dislike it so much, don't watch it.

Certain reviewers assert that you have to be dumb, dim-witted, or plain old primitive to enjoy this show. Au contraire, my friends. I am not claiming that all the contestants are smart. There are smart ones, and there are dumb ones. But I WOULD argue that they probably have a higher average IQ than the average reviewer on this website. Thats right, I said it. There is a lot to be said for the science of seducing girls. I'm sorry, but please withdraw all sticks out of your asses, and realize the reason you hate these guys is that they threaten you.

Those oblivious to social sciences, and more specifically, the science behind mating are clearly going to miss the boat completely.

One thing is clear: The clubs aren't the only places to meet girls. I personally think that the worthwhile women don't even go to clubs, so that they won't fall prey to men like the ones we see on the show. But what are men like these???? Apart from the ones whose games stink, they are the epitome of men. They are men who meet women in the most difficult situations. These are men who take ownership of their own sexuality. These men don't beg for their girlfriends to not break up with them, and these men don't say "OK" to the phrase "let's just be friends".

Sound familiar???? In fact, these are the very guys you're afraid of when you take your special long term girlfriend to the club. We all are. These guys know what women like. (again, only the ones who have "game")

And even the ones who are bad...they are worth a laugh!

If you have gone out to a club, and actually interacted with the people around you, you should find this show entertaining.

Look, I am at a loss for why there is so much hate for this show. My best guess is that it aggravates the insecurity in men who have had bad experiences in clubs, or threatens men who believe women are beautiful self-less creatures who just want a nice guy to buy their attention.

I personally love this show. It is pure entertainment, and best of all, its REAL. It is a very perceptive take on the most recent state of sexual psychology. Sex roles have never been so different from before, and this show provides a very real view of that,

I think it actually takes some intelligence to take away something positive from this show.

This show appeals to a certain target market, and if you're outside of that, then I guess you shouldn't tune in to the show. We could say this about any other shows though, couldn't we?

Grow Up,

ApolloHelios


The show itself basically reflects the typical nature of the average youth; partying and picking up chicks is the common weekend goal at the clubs. People frown upon the show due to its "perverted" idea of picking up girls using technique and strategic characterization, but truth be told, practically every young guy is out doing it at the club. Overall, the show really appeals to the younger population, as we like to see the outcome of a "player's" performance at the club, as the show offers a comical approach made possible by the judging panel.

10/10; a cool, fun and thrilling series that allows the audience to really interact. Good Job Boys.


This is a great show despite many negative user reviews. The aim of this show is to entertain you by making you laugh. Two guys compete against each other to get a girl's phone number. Simple. The fun in this show is watching the two males try to accomplish their goal.

Some appear to hate the show for various reasons, but I think, they misunderstood this as an "educational" show on how to pick up chicks. Well it is not, it is a comedy show, and the whole point of it is to make you laugh, not teach you anything. If you didn't like the show, because it doesn't teach you anything, don't watch it. If you don't like the whole clubbing thing, don't watch it. If you don't like socializing don't watch it. This show is a comical show. If you down by watching others pick up girls, well its not making you laugh, so don't watch it. If you are so disappointed in yourself after watching this show and realizing that you don't have the ability to "pick-up" girls, there is no reason to hate the show, simply don't watch it!


Sure, it seems like there is only about 17 minutes of actual content in each episode, but it is certainly fun to watch. You might find yourself cringing in your chair as buddy sticks his foot in his mouth and gets shot down, or chuckling and shaking your head when some ridiculous line actually works. The panel of hosts have more of a good-natured, friendly (dare I say Canadian) style of commentary compared with cutthroat US reality programming. I think the people who complain about this show don't get the joke. They are taking the show more seriously than the show takes itself. Keys to the VIP is a great caricature of reality shows, sports TV culture, and the club scene. I hope they do another season, and I'd be interested to see if a US version appears. It's certainly a fun, original premise.


I can't say this show is perfect. Perhaps all the previous commenters remember the old Tuesday 10:30 slot taken up by the childish humour of butch Elvira Curt ("There's a space shuttle humping a 747!"). Oh the glory of scrambling to hit any button on the remote to make it change.

Face it, comedy can't pull a Showcase and create the comedic genius of the truly Canadian Trailer Park Boys. But hey, they try.

This show is by far one of the better original shows. However, none of the following will find themselves laughing at the apparent "players" who showcase their stupidity in picking up girls:

a) "Dumb" Girls - Obviously, they can't realise that they are just like the girls on the show. Oblivious. Jump on the man meat, you can call yourself a whore tomorrow and get his name. He looks good, he must be popular and nice. HAHAHAHA!!! Oh but you'd never do that! Nobody would... if they knew it was happening

b) Unsocial guys who think women like nice guys - Obviously seeing these guys succeed at what you fail at or don't even get to experience is going to make your primal rages boil. Watch more closely, they get shot down most of the time. They say stupid crap.

c) Girls with respect for one another - Obviously seeing your separate distinctly female species get caught up in real world situations is wrong wrong wrong. Nobody gets played. Women are not objects, they can't be played, because they are all very faithful angels who are going to clubs to converse politely with one another without fear of guys trying to pick them up.

Oh wait... hmmmmmmmm

As much as EVERYBODY will say that this show is not funny, and that it doesn't teach you anything, I have to take the opposite side. The show is very good at detailing the way relationships work for both men AND women. The way they think, and the way they think each other think, and social hierarchy. Its funny to see and hear the guys make absolutely idiotic comments to things the women say ("My grandfather died recently" "Oh... well are we having fun tonight?").

Besides, its a club. The place people go to have fun, and get laid. No matter who you are, you're going to a club to get or give attention to someone. Guys go there to test their game and pick up girls. Girls go there to flirt with guys and find the one that sweeps her off her feet the best. Lighten up!

If you're a guy, learn a thing or two about different approaches and the different effects they have. If you're a girl, learn what these "studly" man whores really think like, and learn to tell them apart from genuine guys. Next time you get broken up with by one of those douchewads, realise its not because of him, its because you're dumb and thought he was the greatest guy ever when he was quite clearly a dick to you the whole time


this has to be one of the best and most useful shows on TV. keys to the v.i.p. demonstrates some of the best seduction techniques and the humor that goes along with the techniques that are not up to par. to the person who wrote the negative comment, i only have one thing to say. stop hating on us because we are better looking and have more game then you. have you ever seen the inside of a club or do you just watch it on TV. and your so called female friend. she is not attracted to us because if guys like me saw her in the club, we would just walk right by and talk to the hot girls, like the ones on the show.

STOP HATING watch keys to the V.I.P. and improve your game


There are too many people on this board who have obviously missed the subtle wit of this series.

This show is great because it's a hilarious parody of itself. Guys who are self-proclaimed studs are given a fair chance to convince us of their seduction abilities until they "hit the field" just to expose their complete lack of "game" on national TV  it's absolutely hilarious and the guys who are actually skilled are extremely compelling to watch as they effortlessly seduce the pretentious women that frequent these trendy nightclubs!

It celebrates unique charisma when deserved and mocks delusional douchebags when deserved. Either way, it's always entertaining because, unlike other dating shows, it perfectly captures the authentic awkwardness and excitement of a "pickup". I highly recommend this show to anyone with a sense of humor.


I think it is a brilliant show with cool talking heads and very cool action. 2 guys who pretend to be masters in women seduction demonstrate their skills at different night clubs and 4 experts (pickup artists themselves) comment on them, choosing the winner. Their jokes are amusing, and some participators are really fun to watch. More so, this show really teaches men how to get in touch with women, lots of expert's comments are useful while you may see how it works in the field. Actually I think this is one of the best TV shows and I totally recommend this to all men, who like women.

ps/ pardon for my broken engrish.


For all losers who gave it negative review,its because you probably have sex once in 2 years,or you are in LTR with one girl for years. And guess what ? She is going to cheat on you when player like those on that show approach her somewhere.Off course any male who is not as good as these guys are going to hate them and hate the show. And that one chick who thinks this show is meant to mock these guys.. its more actually how to show clueless man how to pick up woman.What these guys are doing it way better then what most man are doing-not approaching at all.For anybody who has open mind I recommend to read the book "the game" by neil strauss.It deals with similar theme as this show


I don't know what the last reviewer is talking about but this show is pure entertainment. Basically 2 dudes are put in competitions at a club to pick up girls in 3 different scenarios. They mix up the scenarios for each show so it is not the same every time. The panel of 4 judges is not afraid to call people out or admit it when they recognize game. They will break down what the guy did wrong, and what they guy did right. Some contestants are weak, some are strong but what happens is always entertaining. If you are a guy that goes out, you can relate. I've seen weak game, I've seen strong game, and this show is for real. No doubt.


Keys to the VIP, an original series by the Canadian Comedy Network (comedynetwork.ca) scored big with this entertaining, yet inspirational gameshow. This show is hosted by four funny, good-looking guys who judge others on their 'game' (ability to pick up women). Each episode features two guys who go head-to-head in various pick-up games. There are three different sections and the winner scores a night as a VIP in an exclusive Toronto night-club.

Being a guy, I naturally find this show hilarious. We all know that it's hard to confront women and watching these guys do it naturally sparks the curiosity of men. The guys who compete on this show might even give you a few pointers -- if you pay attention.


Don't mind what this socially retarded person above says, this show is hilarious. It shows how a lot of single men are in a bar atmosphere, and also shows that women are not as gullible as men think they are.

The contest aspect of the how is really cool and original. Its not the standard reality show that we are all used to now a days.

Give it a chance everyone, we are only one episode in, we finally have some Canadian programming that isn't absolute crap. As Canadians what do we normally get, Bon Cop, Bad Cop, or Corner Gas. Come on people show that we are all not as prudish as the previous reviewer.

Way to go Comedy Network, giving a new show a chance. The panel is funny and the contestants so far are pretty good.


It's pretty evident that many of your nights were spent alone. If you watched 5 minutes of the actual show instead of watching the commercial you would have seen one of the greatest television shows in Canadian history being made. Too bad you would have been watching it alone. Probably the reason you hate it... no game. Keys to the VIP is hilarious, light and funny. Guys are going to eat this show up. My game is tight and I can hardly wait to get on this show. The chicks were HOOOOOT and the clubs kicked ass. I'll be watching every week. It makes me wonder why more great shows like this one aren't being made. Now it's clear that the talent in Canada has the ability to produce American quality television.


The Polish brothers are unique film artists, and they've really pushed the envelope here. A fantasy that has points in common with "Wings of Desire," "Northfork" tells the story of a '50s era small town in the middle of nowhere that is two days shy of being inundated and submerged thanks to the U.S. government's desire to make a reservoir on the place where the town stands. It's a wry parable about loss and remembrance, featuring angels, dreams, premonitions, and the most hilarious government reclamation functionaries since "Repo Man." The performances are all outstanding, especially Nolte and Woods. I've noticed in reading down some of the comments that there are people who were offended simply by the fact that the Polish twins use elliptical storytelling tactics, and I want to say, that's one of the things that makes this film so great: its willingness to embrace the mysterious as an aspect of everyday life. David Mullen's cinematography is stunning. Highly recommended; if you've suffered a meaningful personal loss, such as the death of a parent, I would even call this film necessary viewing. - Ray