This Italian-Russian endeavor is a lost treasure and one of the great historical dramas. The movie is really a dream of General Nobile, a survivor and commanding officer of the Italia, a dirigible that met with disaster in a grand Artic exploration during the Mussolini era. It is about the psychology of guilt, accountability, and leadership. Beyond the human psychological profile of the film, it captures the harsh, expansive grandeur of nature better than almost any movie I've seen. The cinematography of the Artic is unlikely to be ever met again with the computer-generated film of today. The Russian ice-breaker ship which rescues the Italian crew survivors requires no special effects and remains a challenge for today's movie producers to emulate. Sean Connery, Claudia Cardinale, Peter Finch and the rest of the cast give very fine acting performances. Ennio Morricone composes one of his greatest scores. As great as a film composer he is, he still is not remembered for one of his most haunting compositions in this film. It is a shame this film was not recognized perhaps in part due to its Russian influence in a Hollywood-dominated market. It is a bit rough around the edges (meaning editing and directing could be smoother) but in terms of great film-making, it rarely gets better. When you watch it a couple times, you begin to appreciate the beauty and human drama of this film.


Arctic climes didn't do Sean Connery's initially troubled post-Bond career any favours, although his top billing in The Red Tent is highly misleading, since his supporting role is not much more than a cameo. Instead, forth-billed (after Claudia Cardinale and Hardy Kruger) Peter Finch takes the lead as General Nobile, whose ill-fated 1928 airship expedition to the North Pole, intended to boost Fascist Italy's international prestige, instead ended ingloriously with the survivors stranded on melting ice packs for weeks while inertia, lack of initiative and the poor chain of command resulted in buck-passing, recriminations and destroyed reputations rather than rescue attempts. The real-life disaster was the inspiration for Frank Capra's Dirigible (Capra and studio boss Harry Cohn were both huge admirers of Mussolini in the early days), but this ambitious Russian-Italian co-production is best remembered, if at all, for either its catastrophic box-office failure or its unusual framing structure. Although unusual may be an understatement: in a move more akin to theatre of the 60s rather than epic cinema, it begins with the ageing Nobile, tormented by another sleepless night, summoning up the ghosts of those involved in the disaster and the rescue to put his command on trial.

As a dramatic device, it's too theatrical to entirely work, especially in the clumsy opening reel, but it impinges little on the main drama once the film gets going and ultimately pays dividends, both in the stark poetry and terrible beauty of a scene where Connery's Roald Amundsen recounts his own death and in the final moments which come to some kind of peace with the issues of responsibility, human fallibility and forgiveness. But it's the survival story that works best, with director Mickail K. Kalatozov often eschewing the spectacle (airship and plane crashes, icebreakers and vast landscapes of ice) with a preference for medium shots that keep the film surprisingly intimate (unusually for such an expensive picture, it is also shot in the more confined 1.78:1 ratio rather than Scope).

I can't answer for its historical accuracy beyond Connery's philosophical Amundsen being nothing like the ruthless egomaniac of reality that he had become by this time (indeed, Amundsen's death in this rescue did much to salvage his heroic reputation after the public backlash to his bitter score-settling memoirs). However, far from having to be persuaded to join the rescue attempts, Amundsen had immediately volunteered only for Mussolini to specifically insist he be excluded because of his earlier public disputes with Nobile in the aftermath of their previous expedition, leaving Amundsen to finance his rescue attempt privately. Nor was Amundsen reluctant to return to the Arctic: shortly before the opportunity arose, he said that he wanted to go back and die there "in the fulfilment of a high mission, quickly, without suffering." (The fact that he was undergoing painful radium treatment at the time may have colored his words.) Poetic license aside, it is surprising that the political fallout is not dealt with more overtly - it was a huge national embarrassment that Il Duce's heroes had to be rescued by Russian communists. Indeed, the film is almost totally apolitical, with Il Duce mentioned only once in passing in the opening newsreel footage. However, as a drama it's unsensationally compelling, and Ennio Morricone's score is one of his best.

Paramount's widescreen R1 DVD transfer is pretty good but sadly lacking in any extras.


atching THE RED TENT gave me that rare fulfillment and dramatic wholesomeness one can only get from a stonecold classic, a CITIZEN KANE or a ONCE UPON A TIME IN THE WEST. Granted it doesn't compare to these or other heavily praised list toppers and film behemoths, mainly due to questions of style and cinematic pioneering (or lack thereof as the case may be), it still deserves more than the meagre 500 votes and 6.6. rating it has here.

As far as I can tell the story is faithful to the real events that transpired in 1928 during and after General Nobile's first attempted expedition to the North Pole by air. His airship (zeppelin), 'Italia', was forced to abandon its mission due to forbidding weather conditions and return home. On the way back it was shipwrecked on the ice somewhere 100 miles away from its base at Kingsbay island and the handful of survivors that weren't blown away with the keel were forced to carve a meagre, frostbitten existence as they waited for rescue parties. Three years earlier famous polar explorer Roal Amundsen had flown over the Pole using another of Nobile's airships, the 'Norge', and it was the subsequent fight for who deserved the most credit (engineer, explorer or airship pilot) that led to Nobile's fateful expedition with 'Italia'. The amount of bad luck involved in that expedition, the one month the survivors huddled together in the freezing arctic wasteland waiting for rescue, and the mishaps that plagued rescue parties, in both air and sea, is staggering to think. To watch it all unravel in 2 hours makes for a haunting experience.

You don't need to trawl Wikipedia for info on the events before sitting down to watch the movie. The first few minutes consist of very tastefully done 'period' footage of Nobile's expeditions, as the aged general watches newsreels of the events on a TV. After all these years Nobile (Peter Finch) is still plagued by guilt, slowly eroding his soul with questions he can't possibly answer. But the dead can and it's their authority to judge him. And so Nobile invokes them in his living room, figments of his guilt-crazed imagination, the dead imperative personified as nemesis divina. People that died and people that survived are summoned by and in Nobile's mind to absolve or condemn him for his actions. The old general coping with his guilt and from these discussions the bulk of the story unfolds in the form of long flashbacks.

Needless to say that if you have even a remote interest in polar explorations (or any kind of explorations really, as all of them, from the old west to the moon, are but retreads on the same path) and generally survival adventures on harsh environments, this is a must see. Unlike Scott's fateful expedition in the South Pole however, the tragic end here remains internalized, mostly taking place inside Nobile's soul as he finds himself unjustly branded a coward and deserter upon his return. But the stark nature of the windblasted arctic landscape and the men trying beyond all hope to survive in it offers its fair share of physical bleakness.

This Italorussian co-production spared no corners in the budget. This is a lavish production with hundreds of extras, an icebreaker ship tearing through the ice and some truly breathtaking photography shot on location (or some location that passes for the North Pole at least, Siberia must be full of 'em). With an international cast that includes Peter Finch (capturing the anguish and despair at the heart of the protagonist without resorting to the overbearing histrionics that earned him the Oscar in '77 over DeNiro's Travis Bickle), Claudia Cardinale (without doubt the most astonishingly beautiful woman on the planet in the late 60's), Sean Connery (in a small role as Roald Amundsen) and Mario Adorf (familiar face from many Italian b-movies), a rousing score by maestro Ennio Morricone, and sturdy direction by Mikhail Kalatozov (five years after I AM CUBA), this really is a lost classic any way you slice it up and just a great f-cking movie.

As much a poignant character study on guilt and memory (Nobile needs only his own forgiveness in the end and it's his memory that punishes him a thousand times for things out of his control), as it is a stark piece of survival grit, THE RED TENT deserves a larger audience. You be it.


The Red Tent chronicles the series of polar disasters beginning with the crash of the dirigible piloted by Italian General Umberto Nobile trying to make a historic air crossing of the North Pole. Nobile is played by Peter Finch in this epic film that unfortunately due to a bad publicity campaign and an indifference to the subject by western audiences made this historic Russian-Italian jointly produced film a financial disaster.

That's a pity because photographically it's one of the finest things ever put on celluloid stock. There are some absolutely breathtaking shots of the frozen tundra and the performances of the actors battling the elements are first rate. Maybe a straight narrative might have been better instead of having the aged Nobile confronting some angry spirits of the past. Nobile was still alive when this film came out, he would die in 1978 still a figure of controversy. The dream with the angry spirits is a device frankly ripped off from George Bernard Shaw's St. Joan.

Maybe the film could be best compared to William Wellman's Island in the Sky that starred John Wayne. The fictional characters there are mostly rescued and held together by Duke's leadership. Of course some thirty years advance in aviation and no political interference helped Wayne's men. And Island in the Sky is a work of fiction.

Maybe it wouldn't be so if men of science could simply be men of science without answering to competing ideologies. Nobile and his men got caught up in the politics of the time. Politics claimed a lot of their lives and the lives of Roald Amundsen and party who vanished in a rescue attempt.

Nobile also made some bad choices and had some bad choices forced on him by Mussolini's fascist government. He was also a man out of his element, he was great aviation pioneer, but not a polar explorer. He paid with his reputation, some of his party paid with their lives.

Sean Connery has a small role as Roald Amundsen and I wish we had more of him here. Finch has a very effective scene with Claudia Cardinale the widow of one of his men where she takes him to task. Hardy Kruger does a fine job as the aviator presenting Finch with a very disagreeable choice.

I'd recommend seeing it, but only on the big screen. Or definitely in a letter box version. The formatted VHS I have definitely hampers the spectacle.


Showing how out of touch some people can be in the 1970s, myself included, I was assigned to see that "Russian Blimp" film and tell the guys who made the Warner flick "Zeppelin" producers Ownen Krump et al exactly what our "compeition" was up to.

I was at a loss to begin. Sean Connery vs. Michael York? Elke Sommer vs. Claudia Cardinale? Model ships vs. Russian Atomic Icebreakers using burning tires to simulate coal streaked sky trails. A twenty two foot fiber model vs. an actual flying reduced scale one? The Irish AirForce stunt pilots vs Soviet test pilots? $1.5 million dollar flick vs $10 million

Most importantly,

..a boorish Hollywood product vs. the philosophical Slavic outlook on life...

Naturally, I exaggerated the unhappy conclusion to the Russian EPIC... and.... broke down and admitted that the Red Tent was possibly one of the most beautiful film I had ever seen....

Owen, Arthur and the rest looked at me as if I had sung "The Internationale".

Owen was still smarting over the disastrous "Darling Lili" that tossed him off the Paramount Lot... Ron looked so strange - was daddy (J. Paul)Getty right about the biz and his abilities? Arthur glared so intently - as if I was blowing his only shot (and it practically was) in the feature film world.

But I still loved the Red Tent....


I reckon I must have seen this as a young boy, probably around the age of 11, in the late 70'es. I saw it on TV at that time. The images of this movie to this day are very vivid in my memory, the ice, and the desperation it depicts. Although I don't recall much of the plot, and perhaps didn't even grasp it completely at the time, a few scenes are simply as etched in my brain: The scene where they struggle to repair the radio with graphite from a pencil. And of course Nobile's talks with the ghosts. I also seem to recall that Amundsen as portrayed by Connery came across as a rather self-righteous and arrogant person.

A movie that can make such a lasting impression must possess some significant qualities.


A fascinating tale of lust, jealousy and mourning. Well acted and skillfully written, it shows why British cinema is best at giving us a view of the dark side of human nature.

This film is not for the squeamish, and those of a delicate stomach should close their eyes at the first sound of "Anyone Who Had A heart", and not open them until it ends. Great use of old (1960's)songs.


Heart is one of the most impressive movies of 1998. It's a drama that fascinates so much, because you have absolutely no idea what is going to happen next. All the characters are totally believable, which makes the story so disturbing.


"Heart" is an engrossing study of extremes.This film takes us on an extremely profound journey of obsessions,manifested in four characters. Maria,the mother grieving over the loss of her son.Gary,the husband tormented by his wife's infidelity.Tess,the unfaithful wife & Alex,the lover. Each characters arch,is the fact that they are so human that it is easy to lose yourself in each characters personal journey.The plot itself is perfectly structered to allow the story to unfold itself. One of the best Brittish films I have seen in years.


"Heart", a lean and taught psychodrama, peers into the life of a heart transplant patient as a strange and aberrant relationship develops between him and the heart donor's mother. An excellent film for those into razor sharp, no frills drama, "Heart" qualifies as an under-rated "sleeper". The film's only deficits are (on the DVD version I watched), mediocre video quality and poor sound with no English subtitles or CC. I listened to it via headphones so as to not miss a syllable. (B+)


I was really looking forward to this movie. I'm a great fan of Jimmy McGovern's work. But this film just failed to engage me at any point. It felt like an episode of Cracker, but without the Cracker side of the plot. In fact, the whole thing felt like a lame TV drama, despite the widescreen format. Unltimately, a disappointment.


This film didn't make much sense to me. The story is told fairly straight, but its twists and turns are contrived and I couldn't discern any unifying dramatic structure. The climax is so overblown it's amusingly bad. The acting was excellent, but that is not enough to make the film worth watching.


Although publicized as a dramatization of Custer's Last Stand, this bears little relation to the events as known. It is a story of.... well, it is one of the most morally ambiguous pieces of Griffith's that I have seen. Griffith spent most of his career using his serious pieces to dramatize society's problems, even when he had no solution to offer, from WHAT WILL WE DO WITH OUR OLD to his last credited directorial job, THE STRUGGLE. I think Griffith meant to raise questions and tell an exciting story, as he always did.

The first question is: which massacre? After some setting scenes, we witness a massacre as a cavalry unit attacks an Indian village. We are not told why they are attacking it. Then, when that is over, we see a wagon train moving west. Was the massacre of the Indians intended to leave their lands empty for settlers? The camera pulls back, and we see a wolf watching the wagon train, then a bear appears and drives off the wolf. Then the bear is driven off by an Indian scout in a bearskin.... and he brings the Indian forces that massacre the wagon train, leaving only Blanche Sweet and her baby alive.

To which massacre does the film's title refer? Who is to blame? Who began this cycle of massacres? Who benefits? Was there no beginning and can there be no end?

Although Griffith directed more than five hundred pictures, almost all of which survive, he has a vast corpus of works that are rarely seen, because so many people concentrate on his best features and perhaps a dozen of his best-known shorts. Kino is to be applauded for including a sizable number of his lesser-known, but equally powerful shorts in their most recent compilation, and for hiring John Mirsalis to do scores.


DW Griffith films are like proverbs. For every one preaching one point of view, you can find another stating the opposite. The Massacre is, perhaps, the "Too many cooks spoil the broth" to The Battle of Elderbrush Gulch's "Many hands make light work".

Although the framing story is that of a family of white settlers, the central segment showing a seemingly unprovoked raid on an Indian village (an equally viable candidate for the titular massacre) is a different matter. The camera is literally on the side of the Indians, joining them on the hillside as they flee. The cavalry charge is not exciting (and Griffith was more than capable of making it so had he wished), and in both this and the final massacre the mid-shots are mostly of victims being gunned down, whereas the attackers are only shown in distant "god" shots.

The Massacre was Griffith's last two-reeler before he moved onto features (which Judith of Bethulia could be counted as), and there are some good examples of how he is now adept at balancing out a longer story. While the opening scenes are fairly inconsequential, there is a single close-up of Blanche Sweet's baby  which not only elicits an emotional response, but also helps us remember the child later on. Later, there is a short scene of some of the settlers playing cards, which seems superfluous at the time, but it pays off towards the end when one of the men is killed, the cards spilling from his hand as he falls. Perhaps most significant of all are the couple of brief family shots from the Indian village shortly before the first massacre, neatly echoing the scenes with the settler family.

Another shot, not as effective but nevertheless remarkable, is of a wolf being frightened off by a bear, just before the Indians attack. It's a rare bit of symbolism from Griffith and while not particularly subtle it was quite a novelty for the time. And it does sum up the message of the picture, the same as that of Fort Apache; that Native Americans, while being traditional antagonists of the Western genre, should never be underestimated.


Important early film, directed by D.W. Griffith. Stephen (Wilfred Lucas) wants to marry his young ward Blanche Sweet and raise a family. She thinks it's a good idea - until she meets young Charles West. Of course, Mr. Lucas wants to kill Mr. West for coming between he and Ms. Sweet. Lucas, however, decides her happiness is more important; he gives the couple his blessing (and home); then, he re-joins the Army. Years pass. Sweet, West, and baby join a Wagon Train. When the Wagon train is attacked by Indians (Native Americans), Lucas arrives to serve as its military escort.

Watch for some great shots - like, the distant Wagon Train moving along with a bear in the foreground. The battle scenes are as exciting as you'd expect them to be in a Griffith production. In fact, the battles in "The Massacre" look more realistically fought than in thousands of subsequent westerns.

Also noteworthy is Griffith's presentation of the "Indians". Watch some of the Indians' body movements, and the way the camera lingers over some of their dead bodies - characters previously introduced sympathetically. Griffith presents Native American characters in a far more sympathetic manner than is usual for the time (and director). The film loses this characterization as the film progresses. The Indians' point-of-view is dropped. The "love triangle" of characters from the beginning end up only remotely involved in each others' lives; and, "The Massacre" misses out on some obvious dramatic possibilities for Sweet, Lucas, and West.

******* The Massacre (2/26/14) D.W. Griffith ~ Blanche Sweet, Wilfred Lucas, Charles West


This is the very last film included with the GRIFFITH'S MASTERWORKS DVD set from Kino Video. And, after seeing 22 other shorts, I noticed a lot of the previous films in this 30 minute film (that's very long for one of these shorts, by the way). It was highly reminiscent of both THE BATTLE OF ELDERBUSH GULCH and THE LAST DROP OF WATER--two other Western shorts he made in 1913 and 1911--as they were all about Indian massacres of White settlers. Plus, like both these two films and DEATH'S MARATHON and THE MOTHERING HEART, it's about what happens AFTER a woman is pursued by two suitors and marries one of them.

In this film, we are treated to the obligatory "will you marry me scene" with the two male leads. And, after choosing one, the other becomes a Cavalry scout who just happens to be involved in a raid on an Indian village. The Indians are understandably ticked and attack the nearby settlers--and guess who is among them?! Yep, the lady and her new hubby. While a very derivative film, it's final scene in which practically everyone is massacred is very unique and worth seeing. Not a great film, but still pretty good.


My Goodness, what a bomb! We didn't drop anything this big on Iraq!

Perfect is the story of a Rolling Stone reporter (Travolta) who trips over his ethics, or lack there of while writing two big stories. His first story deals with a computer tycoon in hot water with the U.S. government for selling his products to an Eastern-Bloc country. This angle is played way up considering the lack of details we are told about the situation. No matter, the story you will remember deals with a swanky health club in L.A.. Travolta wishes to write a piece about how health clubs in the 1980s are replacing the singles bars of the 1970s as the #1 place for people to meet. Take that premise and see how long you can stretch it. Director Bridges apparently thought he could drag it out for nearly two hours and still keep our attention.

This film suffers from a severe lack of focus. There are too many location changes to count. There is also too much running around and too much time wasted on insignificant little things. For example, what was up with Travolta's sudden trip to Morocco near the end of the film. It had no purpose what so ever! Another problem this film has is its tendency to drag out every scene to last as long as whatever cheesy 80s dance song is playing in the background. That gets old pretty darn quick.

This film is also hopelessly dated in terms of fashion. If any guy came into my health club wearing tights or a fish-net tank top, he'd probably get beaten up. Bridges & CO also try to recycle a gag that worked in Urban Cowboy. In that film, there was a scene featuring numerous women dressed up for a Dolly Parton look-alike contest. In this film, we get about a hundred people dressed up as Boy George in a scene at a hotel. In Urban Cowboy it worked since there was a legitimate reason for all the people to dress that way. They were at least trying to win a contest. The scene in Perfect is useless and it only serves to date the film even further.

This film was by no means Travolta's worst. Has anyone seen The Experts or Shout? This film did, however, have his most embarrassing scene. In it, he's sweating away in Jamie Lee Curtis's aerobics class and doing a never-ending series of pelvic thrusts to the dance beat. His crotch has obviously been stuffed with a sock, or perhaps the thing Hammer used in his Pumps in a Bump video. Truly hilarious!

Travolta is a talented actor, but he has nothing to work with here. Jamie Lee Curtis is also a great talent, but she is wasted as well. She looks absolutely gorgeous, but her character is so moody and abrasive that we can hardly stand her. The supporting cast of mostly unknowns fills out their respective stereotypical roles as well as they can.

In all, this is a poor film on all levels. It tries to be an insightful look at journalistic ethics and falls flat on its face. It comes off as being little more than a two hour plug for Rolling Stone Magazine. Too Bad.

3 of 10 stars

So sayeth the Hound.


John Travolta tries his best as writer for Rolling Stone magazine hoping to finish an unflattering piece on the faddish California health club scene, but complications arise after he falls in love with a sexy, sensitive aerobics instructor. Perfect-ly awful drama, shallow and dated, is surprisingly cynical about Rolling Stone and its ethics (this despite the fact the producers had the magazine's input and even cast its editor, Jann Wenner, in a supporting role!). Film does get a tiny bit of class from Jamie Lee Curtis, and supporting players Anne De Salvo as a photographer and Laraine Newman as a wallflower are more than respectable in clichéd roles. * from ****


Being that I was in my early 20s I remember very well the 80s, which was I need to be perfect decade. Smarts took a back-seat to buff & tan. Everyone was pumping iron, getting tan, blow-drying their hair, checking their look in the mirror, and flaunting their bods. Gosh! Darn! It sounds exactly like South Beach today!! Nothing has changed!

What is a shock is how badly John Travola and Jaime Lee Curtis have aged. They were both so "perfect" in 1985. There's no excuse for a "sex-Symbol" like Johnny T. to have gotten so bloated and out-of-shape. Hey, don't get me wrong, I'm a big fan of Travolta. However his best work(aside from Pulp Fiction) was made in the late 70s and early 80s-Carrie, Saturday Night Fever, Grease, Urban Cowboy, and even for its time, Perfect.

And Jaime Lee was so beautiful, so well-built, and so sexy. Oh well, thank goodness for videos.

Funny how today's generation thinks the out-fits in this film were so strange. I look at the out-fits today and I think they are really "stranger" than anything we wore in the 80s.


This film was definitely the final nail in Travolta's metaphorical coffin having been preceded by 'Staying Alive' and 'Two of a Kind'. Upon first viewing of the film, I was dumbstruck to find what I thought was Travolta acting poorly and the story seemed to be absolutely forgettable and pointless! But after persevering with the movie a couple of times more, I enjoyed it. I even changed my mind on Travolta's performance and realised what he actually tried to do-a mixture of anger, frustration, fatigue, mild charm-all of which are attributed to a workaholic Rolling Stone journalist such as his character Adam. The music has a pulsating beat although I do admit some songs on the film's soundtrack are better than others but the music does seem to carry this film along. Curtis is dazzling in her role as the 'Aerobics Pied Piper.'(Her sexy body and amazing legs are a plus for this movie.) Jann Wenner deserves special mention even though he's probably playing himself considering he was then the editor and now owner of Rolling Stone Magazine. This is a real 80s movie, and a strange theme involving both journalism and aerobics somehow merging together. Travolta and Curtis both do a great job in their roles bringing a contrast of characters in their relationship. I didn't however like the beginning or ending credits at all. The beginning was just basic and static-a list of credits against a plain background. The ending wasn't great either--Berlin's 'Masquerade' song (which is, in my opinion, a weak link in the film's soundtrack), plays on while ALL of the key characters do aerobics...Is that realistic? Bizarre. I rather liked it when Curtis meets Travolta at the end and they drive off. There, is when it should have ended. But I guess all in all, an entertaining mid-80s movie.


"The Hitcher" (young C. Thomas Howell) and "Risky Business" came out, Wes Craven was doing his "Nightmare on Elm Street" series...so what did we young people have for drama? This.

If you need a laugh now, you may want to tune in. While Jamie Lee Curtis tries to elevate this, it is simply not elevate-able.

Laraine Newman and Marilu Henner are gym groupies with no self-esteem, (Marilu gets the Chippendale man though, so it's all good). John Travolta as a semi-literate writer at "Rolling Stone". (We know he is good, because in the end he goes to jail for protecting a source). There are some scenes with Jann Wenner and Lauren Hutton, apparently the then in-crowd, at a party.

The really sad part about this is that there really were people like this; the gym was a sense of self-esteem;(along with anorexia). Aerobics class became the next singles hang-out as the song "Masquerade" blares out, while everyone obsesses over plastic surgery and the perfect body (The Laraine Newman character is particularly pathetic).

We see the superficiality. Has anything changed? Indeed, they could remake this with Jessica Simpson as the lead. Someone get on the phone to CAA!.


Question: what do you get when you take Tony Manero and ad body oil and a script that single handedly reminds us of ALL the reasons the 80s sucked? Answer: A 'perfect' movie. ...in which our hero trades in his Saturday Night Fever for a pair of leg warmers and a synthesized soundtrack. Where to begin? How about with an insipid script in which a Rolling Stone reporter (who happens to look like a movie star, like most reporters do..)seeks out the "truth" behind the health club craze of the Reagan years--not exactly Hunter S Thompson stuff huh? Career killing moments abound in this one, including a post-rhinoplasty Laraine Newman who actually says "it's a lot safer looking for Mr Goodbody than Mr Goodbar..."). No really! She says that! AND Jann Wenner, RS Editor, even gives an unconvincing performance as...HIMSELF! AND a few years later, it took Quentin Tarantino to rescue Travolta's career from forever doing talking baby movies. Redeeming feature: a very, very 'pert' Jamie Lee Curtis! If you like unintentionally bad movies, then this truly IS your Perfect choice.


I think this movie was great, Jamie Lee and John couldn't have been better! Especially the soundtrack, the songs really suited the movie. I have been looking for the soundtrack for ages, but no luck... I reckon it has a entertaining storyline, It's not the best film of JLC and JT but I'ts still worth watching. I've seen it quite a few times and It doesn't get old. I'm one of Jamie Lee Curtis' biggest fans, she has never looked better in this movie, her figure Is just to die for... And yes, she wears leotards for most the movie. Jamie has said herself "Jee, I was HOT", when she was watching the movie with her daughter Annie and one of her friends.


Although this movie didn't do as well as expected at the box office in 1985, this by no means takes away from the energy and atmosphere of this movie. The main drawback back in '85, was that everyone had high expectations for this movie since it was directed by the same guy that gave us "The China Syndrome". The main plot of a Rolling Stone reporter (Travolta) trying to get the inside scoop of the fitness boom of the '80s from (Curtis) is the most enjoyable. The sub plot of white collar crime is a little on the boring side, and doesn't really mesh with the fitness plot. It's interesting to see all of the aerobic exercises in total '80s style, but by today's standards are outdated. Everything from the neck rolls Jaime Lee Curtis does, to the high impact aerobics which looks like it's done on a minimally padded floor, really makes this movie dated, but funny in a way. One thing to remember is that "Perfect" was made during a time when "going for the burn", and "no pain, no gain" were the buzz words throughout the fitness industry. Little did people know that trying to be a "hardbody" could land you in the hospital! If you are looking for some light entertainment, and you are a fan of John Travolta, Jaime Lee Curtis, Marilu Henner etc, then you will definitely enjoy this enjoyable taste of '80s nostalgia, legwarmers & all!


I was surprised to see that this movie was only rated a 4 by IMBD members. I loved this movie. Jamie Lee Curtis and John Travolta were very good in their roles. The double story lines about the MacKenzie and Health Clubs reports were very realistic and interesting.

But I guess the real reason I liked this movie is because I decided two months ago to get into shape. I am already seeing amazing results and this movie with it's health club story and terrific soundtrack help keep me motivated. But even if you aren't currently involved in a fitness program you will find it impossible to keep from dancing to the music in this movie. One song I loved was "Masquerade" by Berlin.

For those of you who are wondering if you should see this movie, please ignore the negative things you have heard and rent it anyway.


First of all, I would like to ask those of you who voted for this picture, why you voted so poorly. This is not a bad movie.

I saw this movie recently and found myself liking into the first 30 minutes. Energetic music and exhausting aerobic dance scenes were quite enjoyable.

Although it is a typically daggy 80's film, it stills captures your interest from beginning to end. While most of the actors are basically average (not-famous otherwise), there were standout performances by both Lee Curtis and Travolta.

To add to the credibility of this film, the storyline is very engaging and does not lose its flow. Energetic, fun, absorbing. It has been under-estimated by many viewers, but at least there is one person out here that enjoyed it.

**** out of *****


Jamie Lee is enough reason for me to watch this flick. Jamie Lee in tight leotards...Yummy. Good Acting Also. You have to see it.

PK


PERFECT reminds you of precisely what you wanted to forget about the mid-80s, including the movie, itself. That's why so many are uncomfortable with it, myself included.

Yes, Jamie Lee looks lovely (though she'd go on to look much better -- and much healthier -- in subsequent films), and it's fun to grin along with Travolta and the Tent in His Shorts in that entirely-too-long "hot aerobics moves" sequence.. But PERFECT is useful for one thing and one thing only, being an send up of East coast pretentiousness and presumptions about the "Los Angeles"/airhead image. Oh yes, and it's probably the only film on earth to mention the ABSCAM scandal of 1980. Give it two stars for that, alone.

There's a not-so-subtle gay undercurrent running through PERFECT be it the impromptu Boy George Fandom conference at the hotel, the pretty blonde fruits prancing around Sport Connection and incredulous "Chippendale (i.e. homosexual) boyfriend" of the aggressively heterosexual Sally; or the purposely genderless introduction of Jessie's "swim coach" rumor. Be honest: you wait with bated breath until the movie provides you with the sigh of relief that the swim coach was indeed male. It could have been worse: all that memory trauma could have been over an allegation of...lecherous PE teacher LESBIANISM...(gasp, the horror!)

Before you tell me I'm imposing today's standards on yesterday's film, consider that these were pertinent issues, particularly for gays and gays-to-be, even (perhaps even "especially") in 1985.

But I found myself actually agreeing with the central message of the film, as articulated by that hokey Travolta analogy on pop culture and individual dreams.

Diagnosis: if PERFECT is any indicator, the "California"/LA image is the fantastic, mass-marketed product of the very people claiming to critique it from such an "objective" distance. Whatever it's funny-ha-ha flaws, anyone over age 35 is acutely aware that we're really only laughing at ourselves, our active denial of blatant, obvious 1980s in your fact homosexuality; our long-spent cans of sparkly rouge, styling mousse, and L'Oreal; synth bass and gated snare dance lines, the wrong-then-and-wrong-now spandex, and pushbutton on-screen/zero-chemistry heterosexual promiscuity.

PERFECT is the warped mirror back in our face. That is precisely WHY it was such a monumental failure at the BO. Two stars for that part, too.


I first saw this movie some years ago on TV having missed it at the cinema, and found it very entertaining. The story and 'visuals', though not fantastic, was I think good enough to hold the shortest of attention spans. Mine included. The film is set in a health club in Los Angeles, with John Travolta starring as an ace investigative reporter for real-life mag Rolling Stone. It also features a brilliant funked-up disco soundtrack, featuring long forgotten artists like Jermaine Jackson, Jermaine Stewart, and Carol Lynn Towns, and follows Travolta's charchter as he writes a piece about the health club scene, and courts one of the fitness instructors there, played by Jaimie Lee Curtis. Unbeknownst to her, he's using her and some of her patrons, in order to write a sleazy story for his voracious boss played by the real Rolling Stone editor. It's not hard to guess what happens next, as Travolta and Curtis fall for each other, Curtis finds a copy of his article on his computer which causes conflict between them, and we get to see some fine acting from Jaimie Lee during those scenes. Travolta decides to kill the story, but his angered boss enlists the help of photographer played by Anne DeSalvo, in order to rewrite it without Travolta's knowledge.

But the best parts of the film, has to be scenes set during Curtis' classes (the visuals I mentioned earlier). Along with the pumping disco soundtrack, these scenes are excillerating to watch - and not just for the sexy hard bodies. When this film appeared again on TV recently, I just had to record it, and watch it all over again. Not because I'm perverted you understand, but because it's so...kitsch, and seems to be indicative of the silly hedonistic LA scene of the early 1980s. It has some truly funny moments also. Watch for the scene where Travolta searches for Jaimie Lee in a hotel holding a convention, which features Boy George look-alikes. It's hilarious!!


Trashing "Perfect" is an act of unnecessary cruelty. A film where every character attaches serious importance to Rolling Stone articles calls for a depth of insight and cinematic brilliance even Welles would have trouble summoning. One wonders what projects Godfather cinematographer Gordon Willis gave up to lend his expertise to this embarrassment. Perhaps this film has value in warning future generations against the emptiness of Trendy Living.

If any costume screen tests, outtakes, and deleted scenes featuring Jamie Lee Curtis exist, they could salvage the film for DVD. At 26, the enchanting Ms. Curtis delivered a powerful performance. Her dazzling beauty and inner power are the only facets of this creepy time-capsule that hold up today.


Wow! Here it is. Very likely the worst movie I have ever seen. I had read about this film long ago but never seen it. What was going on (if anything) in the minds of the people involved? This must be the movie which inspired "Showgirls". I thought that was the worst until I watched this. No wonder so many actors' careers seemed to end with this one. I finally understand he meaning of "bad taste". Phew - quel stinko!


They don't come any better than Midnight Run. It has everything except a few Academy Awards and that's a mystery in itself. Dialogue, action, comic timing, stunts and all around fabulous acting ability from everyone involved. If you haven't seen this film yet, dig up a copy from somewhere, get a few beers and prepare to be captivated from beginning to end. To think that only 10,000 or so have voted for this film on IMDb and it's not even in the top 250 is a complete travesty. I know, there are other films just as worthy that are not in the top 250 but this is the one that get's me riled up. There are no weak moments or poor scenes in the whole film and the ending is pure joy. Someone please explain why this didn't clean up when it was released because I can't see anything else that came out in '88 that comes close to Midnight Run.


DeNiro is (Jack Walsh) a self-righteous ex-cop so unpopular with the Chicago police department, now wanting to make one final 'midnight run' that'll pay big so he can buy a nice coffee shop

He is hired by an hysterical bondsman to find and bring back a former Mob accountant called Jonathan "The Duke" Mardukas (Grodin) who has stolen $15 million from the Los Angeles mob, given the money to the 'unfortunates of the earth.'

DeNiro quickly captures the 'white-collar criminal' in New York, and is given five days to bring him to Los Angleles, to collect his $100,000 fee...

Unfortunately for DeNiro, the fugitive accountant is too neurotic to fly the distance... The embezzler's ex-boss wants him badly for knowing all his financial transactions, and agent Yaphet Kotto warns Walsh not to interfere with the FBI's plans to bring the 'Duke' into federal court And if this isn't enough, there is some third-rate bounty hunter (John Ashton) who is intrigued about DeNiro's special deal

In an extended cross-country chase, the two men's personalities and relationship develop

DeNiro shows how to catch talents of improvisation... His cheeky schoolboy look certainly supplies some of the film's lighter moments... He delivers some of the best punchlines, when he replies: 'Well if you don't cooperate, you're gonna suffer from fistophobia.'

Charles Grodin is perfect as the prisoner who gets some of Serrano's records on computer disks, figuring if things got too rough, he could always trade them for his life He continually gets on DeNiro's nerves, and with his soft and ironic tone of voice he advises Walsh that a restaurant is 'a very tricky investment.' He easily dips into Jack Walsh's life ('Don't you want to be loved?'), wandering about his broken marriage ('Did she hurt you, Jack?'), his habits ('Cigarettes are killers. Put the cigarette out.') and whatever he can think of...

The best parts of the film are, in fact, the interactions between the two stars The story holds up perfectly and entertains the viewer in every way Martin Brest does bring out the realistic, funny and moving sides of his likable characters Suspense is maintained to the very end


One of the smartest, funniest, and exciting buddy pictures ever made. It has never received the wonderful attention it justly deserves. The performances by the two leads (De Niro and Grodin) are wonderful and they get outstanding support from Joe Pantolino, Dennis Farina, and Yaphet Kotto. But what separates this picture from all the other action / comedies ever made is that the screenplay is so sharp and original. Easily my all time favorite movie - you know how I know that? I must have seen "Midnight Run" at least thirty times and every time I see it, it gets better and better. A true film classic and is getting rereleased on DVD in June of 2003.


Here is a movie of my favourite sort regardless of the genre - you feel you would neither add nor substract anything from it. Excellent cast, beautiful script, professional director's work. The main strength of the movie can be found in its unpretentiousness. It primarily aims at providing fun and entertainment, and fulfills it in an efficient way. You have your comedy and action galore.

We are usually willing to suspend our disbelief when watching comedies. No such need when it comes to this movie - the plot, the relations between characters, their motives, everything works like a flawless machinery. It is as credible as life itself.

The movie is brimming with memorable scenes. I have seen it twice - first when it appeared more than 15 years ago, and then again yesterday. I was delighted to find that the movie had lost nothing of its freshness and endured all time traps. I highly recommend it.

9/10 !


Way too much objectionable language is the only fault of this otherwise extremely-entertaining film that is justifiably popular.

Humor is what makes this "crime film" stand out as tough guys Robert De Niro, Joe Pantoliano, John Ashton, Dennis Farina and others provide a lot of laughs as not-so-tough guy Charles Grodin is escorted from New York to Los Angeles to face retribution from a mob boss.

The dialog between Grodin and his bounty hunter captive De Niro, is terrific all the way through. The soundtrack, featuring the guitar of Ry Cooder, also is outstanding and adds to the fun of this film.

The capper to this likable story is the satisfying ending, which almost everyone seems to like.


Hilarious odd-couple / road movie / cop movie / action comedy packaged together very well. Robert De Niro is Jack Walsh, an ousted former Chicago cop now working as a bounty hunter, who is determined to bring in bail-jumping accountant Jonathan Mardukas (Charles Grodin) who embezzled millions of dollars from nasty Mafioso Jimmy Serrano (Dennis Farina). Of course, it is not that easy, both the FBI and the Mob are on their trail - and the whole story snowballs into a sorry ordeal along the lines of "Planes, Trains and Automobiles" as Walsh and Mardukas are forced to continuously change their mode of transportation.

This was made back when producer / director Martin Brest made GOOD movies - not notorious box office duds like "Gigli". He only makes a movie once every couple of years so he shouldn't have disappointed everybody like that.

Anyway, THIS movie, while rather lengthy, is upbeat, action-packed, and pretty funny, as the swaggering De Niro and the very dry Grodin display perfect odd-couple chemistry. Good supporting cast, too, and lively music score by Danny Elfman. This here is the kind of action comedy that is actually fun to watch, without getting lame or stupid or annoying.

Followed by two made for television movies in which Jack Walsh was played by Christopher McDonald.

"I tell you what, you don't co-operate, you're gonna be suffering from fist-o-phobia."

9/10


To hell with the pretentiousness of a Shyamalan or the increasingly misplaced self-adulation of the Coens, 'Midnight Run' has no other purpose in life other than to use the movie as a medium of entertainment. . . and it does. Oh boy; it does.

Badly underrated on release and still unfairly under valued even now, 'Midnight Run' is actually class-act film making, the narrative impeccably engineered and the acting uniformly excellent throughout.

Faults? Definitely, not the least of 'em being the gratuitous use of profanity: the movie's tone is such that it just doesn't need the endless ear-grating use four letter words -- 'Midnight Run' isn't about reality or anything remotely approaching it, so the insistence on so much gutterspeak is a major error.

Set pieces though are gloriously handled, and the helicopter sequence is quite as good as anything in a Bond movie -- a genre that has managed quite well without spraying profanities everywhere because it knows, and we know, none of it's real.

9/10 then for 'Midnight Run', because as an exercise in how to develop a movie, to establish characters and plot trajectories, to bring 'em all together in a final wrap up and still leave space for a minor plot twist, it's of textbook quality.

* I happened to see this as a late-night TV re-run, the day after watching the Coen's 'The Man Who Wasn't There'. 'Midnight Run' is everything that the Coen's work is not: it isn't self reverential, it isn't seeking to be a cult, and above all, it knows how to tell a story with speed and with style. RECOMMENDED.


Pleasantly surprised by this one. I had heard people refer to this one, but hadn't seen it for myself until recently. One of the better buddy-action movies I've seen, due to a very tight script. Superior writing by George Gallo. The story is what drives this movie from beginning to end, and doesn't need to depend solely on the cast to keep the audience interested for the full 2 hours. DeNiro and Grodin are excellent together, with a great supporting cast. I would keep this movie in my personal collection. I would also consider it a fine example for other buddy action movies to follow, even today. Highly recommended for great comedic writing, directing and acting.


What can one say about their favorite movie? A movie that would make one laugh, in suspense, excited, and even touched. A film that takes two personalities which clash, and learn to get along with each other, to where they actually care for one another in the end. A film that touches one's soul, is a film that one can consider to be their favorite of all time. Robert De Niro plays Jack Walsh, a ex-Chicago police officer who is currently a bounty hunter. He works in Los Angeles for Eddie Moscone (Joe Pantoliano) who is a bail bonds man. Eddie offers Jack a job to catch and bring back the infamous Jonathan "the Duke" Markukas (Charles Grodin). Jonathan is a accountant who stole millions of Jimmy Serrano's (Dennis Farina) money, and gave it all to charity. Jonathan jumped bail and is in hiding. Jack needs to find John, bring him to the L.A. county jail within four days, and Jack will collect 100 thousand dollars. Jack does find John, in New York City, the first day. But Jack has many people following him. First there's the FBI, led by Alonzo Mosely (Yaphet Kotto) who wants John to testify against Jimmy Serrano. Second there's Tony Darvo (Richard Foronjy) and Robert Miranda (Joey), two dim-wits working for Serrano, who want John dead. Then there is Marvin Dofler (John Ashton), another bounty hunter who wants John also, but for a smaller price.

 From there on, it's a cross country trip which involve all of the men looking for Jack and John. A film which has some very exciting moments with action. Other moments where the scenes are intense where Jack and John's lives are in danger. And scenes where the two men share each other's thoughts and feelings, which surprisingly makes the movie touching. The acting by De Niro is at his best. He does his usual tough guy attitude, but he also mixes it with some humor, and emotions. Charles Grodin is also great as the sensitive accountant who is the exact opposite of Jack's personality. And Dennis Farina is funny and scary as the outraged mob boss who has a vicious attitude. The music by Danny Elfman, I find to be his career best. It's not like his famous BATMAN, BETTLEJUICE, or SLEEPY HOLLOW style of score. It's more like a mixture classic Chicago rhythm and blues, which even Elfman himself considered to be his most unusual score. The writing by George Gallo is also excellent. He manages to fit a cross country story within two hours of time, while still bringing out personalities of the characters and making sure there are no holes in the plot. He also manages to have some very funny scenes involving Jack and John. And the direction by Martin Brest is outstanding. He keeps the movie at a very fast pace, without any slowing down. He does brilliant moves like having De Niro and Grodin improvising their lines while arguing. Brest also does a great job by making the film enjoyable for it's 125 minutes. This is a movie that touched me, it can be considered a "man's" movie on the surface. But take apart this film, and it's also a film that women can enjoy also. The most emotional scenes involve Jack seeing his ex-wife and daughter after not seeing them for ten years. It shows that everybody makes a mistake in life, and that we can all try to forgive people that emotionally hurt us. People say that one can identify a person's personality by the movies and music that they like. To find out what I am like, pop in this movie into your DVD player or VCR, and you'll see. Saying this movie is better than CITIZEN KANE, STAR WARS, GODFATHER, and GONE WITH THE WIND is a pretty bold statement. But, the character of Jack Walsh shows my personality. This is the way I am, therefore it's my favorite movie of all time. And I'm not the only one, Robert De Niro said on a interview on Oprah Winfrey, that this is his most enjoyable film that he's done. ***** (out of five; THE BEST MOVIE OF ALL TIME)


Absolute Classic. Incredibly great combination of Charles Grodin and Robert Deniro. One of my personal 10 best comedy movies of all time. Along with "My Cousin Vinny" one of the best movies to watch if you just feel like laughing and feeling good.


This is the most enjoyable movie I have ever seen: hilarious situations, unforgettable lines, car chases, characters you care for, and even a dramatic scene that makes me cry every time. A real American classic: call it a road movie, action comedy, buddy film, whatever---it's a beautiful script, professionally executed. What a country, huh? What a country!

My friends and I rented this movie to celebrate a reunion after 12 years, and we were rolling with laughter in five minutes. Don't watch the TV version if it's got the f-words edited out---they are very important to the experience.

I can't believe: (a) this movie didn't get an Oscar, (b) it's not well known even in the U.S., and (c) there's no DVD version available any more. I want to buy it! Why don't they want to sell it???


This movie is one of the best Robert De Niro films ever made. Its endlessly quotable and has enough comedy and action to keep everyone happy. Watch out for Dennis Farina as Jimmy Serrano. The funniest part he's played until Get Shorty's Ray Bones. The banter between Johnaton Mardukas and Jack Walsh is genius and watch for Joe Pantoliano playing basically the same part he would play later on in Bad Boys. I would recommend this to anyone with a decent taste in movies. 7.5 is an abomination for such an excellent film. Everybody needs to see it and then give it the rightful place it deserves 10/10. More laughs can be gotten from Yaphat Kotto's portrayal of Alonzo Mosely FBI. It has solid acting and a solid script. It is an absolute must see for fans of De Niro or films like Welcome to the Jungle or buddy comedies. It's a film that will never become dated or old. In fact am going to watch it again now


With his portrayal of Jack Walsh, Robert De Niro proves that he is one of the most versatile actors of our time, this time in a comedy, not his usual genre. However, it is not all laughs: his excellent performance evokes laughter, pity, and frustration with the ease that we have come to expect from him. This film was brilliantly cast and very entertaining. All of the acting, in addition to De Niro, was superb: Yaphet Kotto, John Ashton, Dennis Farina, Joe Pantoliano, and my two favorite goofs "Tony and Joey." Charles Grodin is unarguably in his best role: it seems as if he is essentially playing himself. Do yourself a favor, and watch the uncut version of this gem and you'll be very glad you did.


Charles Grodin, De Niro , and Josh Ashton make a terrific and hilarious trio. Charles Grodin's humorous skeptimism of De Niro's professionalism is hilarious. The scene while they are getting chased by the helicopter is outstanding. I love how they are all screaming, then you hear Ashton comment that maybe the helicopter is gone, and you hear Grodin reply, "Oh Im sure we're perfectly safe" in a very dry and disapointed tone is SO FUNNY. On a scale of 1 - 10, this movie breaks the meeter and goes to an 11.


I would just like to say that I love this movie. First of all, it pleases me to see De Niro when he is at his prime, or at least a lot younger. I think this is the kind of movie, where De niro's desire for humor in movies comes at his best! His ability for perfect sarcasm in this film is beyond me. How many times a laughed in this film, I don't know. Probably trough out the whole movie. But it's not just De Niro, which makes this movie great. Every single actor does his best to make this a fine movie, with good acting and directing. I'd recommend this movie to anyone who wants to see a GOOD movie, where he can laugh , or enjoy the action , or even enjoy the "romantic moment" === ( e.g. when his daughter runs out, to give all her babysitting money. To her father, who she hasn't in 9 years.) Thought this was a touchy moment. I gave it 10 out of 10, just because I couldn't find anything that was missing in this movie !! One of the greatest , watch it !!


This is simply a masterpiece. There is a fantastic story line, there is just enough of the whole one dimensional character aspect to so many of the baddies here, but wonderful explorations of De Niro's and Grodin's characters. Truly, the film explores right and wrong and comes up on the side of the Angels. Angels with dirty faces maybe, but Angels nonetheless. No commentary on this film could be complete without remarking upon De Niro's incredible comic role. I haven't been moved by any of his comic turns since... indeed upon reflection, could it not be suggested that Raging Bull was in essence, high class comedy? Never mind... a piece of magic.


Midnight Run is one of the most underrated movies of recent memory. There has been many attempts a regurgitating the story line from my fellow commenter's, so I will go in a different direction.

The Deniro character is awesome. Most Deniro fans will have to see this movie a couple of times to understand his comedic brilliance in this movie. The interaction between Deniro and Grodin is incomparable. It has been rumored that Grodin aggravated Deniro so much on the movie set that it brought out the best in these two actors in the film.

The soundtrack is marvelously written by Danny Elfman. I have one question on the soundtrack...who is that playing the Slide and Electric Lead Guitar on the soundtrack? Is this Danny Elfman himself? There is not any listed credits for the musicians so it is impossible to tell who it is...but suffice it to say that the slide guitar player sounds like Ry Kooder on Steroids. The music complements the chase scenes like I haven't heard or seen in many years.

If you do not have this movie in your collection, BUY IT. It is one of those movies you can watch every couple of months and never get bored with it or its characters.

Jim Morris


This has to be one of the most entertaining movies I have seen. The action never gets too violent, and the comedy is great!

It's great that they choose Robert De Niro to play Jack Walsh, because he adds a great sadness to the character. Charles Grodin is PERFECT as The Duke, few other actors could have made an "annoying" character like Jonathan charming!

The story is about a man (Grodin) who stole 15 million dollars from a Las Vegas gangster (Denis Farina), but then got caught by the police. He escaped from his bail bondsman and is now on the run. A bounty hunter (De Niro) is trying to catch him and bring him to LA. But he only has five days to do so...

Of course, it is a roadmovie. Which means that along the road (from New York to Los Angeles) the two characters (who are hunted by F.B.I., the mafia and another bounty hunter) start to like each other. Or they just might in the next life...


I was lucky enough to see this one in the theatre when it came out. Martin Brest is one of the truly underrated directors of his time for comedy - this film just is PERFECT. A great road/buddy movie that is made for adults - more like "One flew over the cukoo's nest" than "cannonball run", really. All the supporting characters are great as well...Witness Dennis Farina talking to his Vegas Lawyer, played by Philip Baker Hall (not the first time he would be a guy in a suit in Vegas named Sidney!), Yaphet Kotto as a frustrated agent or Joe Pants as the shady Bail bondsman.

The pacing, dialogue, story, acting, editing are all top notch - I just love this one.


Writing, acting, direction---this is hands-down the best buddy movie ever made. For the life of me, I don't understand why it's not more popular or better known!

The plot flies. It's hilarious and poignant, full of wonderful little touches and unforgettable performances (Dennis Farina is a mob boss who threatens his employees with lines like "you and that other dummy better start getting more personally involved in your work, or I'm gonna stab you through the heart with a f--king pencil").

And the ending is unbelievably satisfying. A great guy flick, and my top "sleeper" hit of all time.


Jonathan Mardukas embezzled 15 million dollars. The mob wants him dead. The F.B.I. wants him alive. Jack Walsh just wants him to shut up.

Summary written by rcs0411@yahoo.com: Jack Walsh is a former cop from Chicago, who was framed by criminal he was investigating and about to arrest. He is now a bounty hunter based in Los Angeles. His boss wants him to find, Jonathan "The Duke" Mardukas, an accountant, who was working for Las Vegas mobster, who stole millions of dollars from him and gave it away. His boss was the one who bailed him out, and now unless he can get him back in L.A. in the next 5 days, he will forfeit the bond and be placed out of business. So he sends Jack to get him, which is Midnight Run or easy job in the bail bond business. Except for the fact that the man The Duke stole the money from, wants to get him, and he is also the same man who framed Jack. And also the FBI wants to get Mardukas so that they can use him to get his boss, so they warn Walsh not to get in their way. But Walsh nevertheless finds The Duke and is about bring him back but when Mardukas claims that he has difficulty with flying the airline throws them out of the plane, so they have to go back on the road. When Walsh's boss, learns that he didn't arrive when he was suppose to, he sends another bounty hunter, Marvin, who is Jack's greatest adversary, to get Mardukas. And when Marvin cancels Walsh's card, they don't have enough funds to make it all the way, so they have to scrape everything they have. And it doesn't help that Mardukas is doing everything he can to escape, cause he says that his former boss can get him even in jail.

Robert De Niro and Charles Grodin are perfectly cast in their roles. The film is very good and underrated, for reasons that I don't know. I cant find it on DVD and wish it would get a re-release this is better than 80% of the action films out there.


I've never seen a film starring DeNiro which disappointed. He is a brilliant actor, one of the very best, and I expect first class entertainment. Some situations in this film are hard to swallow i.e. the helicopter chase where machine guns fail to stop DeNiro and his two "companions", a "dip" in a very turbulent river fails to shake the determination of DeNiro's pursuit of Grodin who manages, despite the encumbrance of a large overcoat, to remain afloat. Aside from a few other minor flaws it is good entertainment with lots of wise cracks from DeNiro which help underline the comedic aspects of the film. I've seen it three times and will see it again.........K.M.


Midnight Run is a great movie from the director of Beverly Hills Cop Martin Brest. It provides Robert De Niro with a chance to show his comic side (don't worry if you like him mean and moody, because he gets to be that too). It also provides Charles Grodin with one of the best roles of his career, mainly because this is not a simple-minded one-dimensional farce but an intricate mixture of gangster thriller, road movie and comedy.

 De Niro plays Jack Walsh, a down-on-his-luck bounty hunter working for a very unreliable and sleazy bail-bondsman named Eddie Moscone (Joe Pantoliano). Eddie wants Jack to find an accountant named Jonathan Mardukas (Grodin), a.k.a The Duke. It turns out that The Duke embezzled a few million dollars from the Mob, and now that Eddie has bailed him out of jail he needs to get his money before the Mob can locate and eliminate the Duke. However, Walsh realises that bringing the Duke in is not necessarily to his advantage, because the Mob bigwig from whom he embezzled the money is called Jimmy Serrano (Dennis Farina), an old adversary of Walsh's. Therefore, Walsh senses an opportunity to get one over on his old enemy by using The Duke as bait.

 All right, the plot is complicated! But that's not a bad thing, and it's a credit to Brest the writer that he has managed to make his film fairly easy to comprehend, even though there's an awful lot going on. Brest the director deserves a lot of credit too, for drawing dry, witty performances from all his main actors and for delivering some terrific action sequences. The dialogue is great, with lots of snappy and funny interplay between Walsh and The Duke, and some fabulous crudities from rival bounty hunter Marvin Dorfler (John Ashton). There's a heck of a lot of swearing in the film (it might even set a record for the most bad language in a "light" comedy film) but because the actors deliver their lines with wit and relish, the abundance of cursing is surprisingly forgivable.

 Midnight Run is an absolute blast. A character-driven action-thriller-comedy which moves at a terrfic pace and has style and energy to spare.


In what has to be one of the most under-appreciated "Buddy-Formula" movies of all time, Robert Deniro & Charles Grodin strut their stuff on screen for one of the greatest chase films ever made.

Yes, for those of you who did not know that Charles Grodin actually DID have a successful movie career (i.e. "The Heartbreak Kid", "Heaven Can Wait", "The Lonely Guy", et al.) before getting into the talk show circuit, you'll be pleasantly surprised to catch his performance in this late 80's jewel of a movie.

It stars Robert Deniro as Jack Walsh, a bounty-hunter who sets himself apart because he thinks that he has something that the people in his business usually don't have: "principles". The funny part is that those same "principles" are exactly what links him to the Charles Grodin character, Jonathan Mardukas, also known as The Duke, who has stolen 15 million dollars from the mob, and claims to have done it out of "principles", in order to give the money away to the poor.

Whoever thought of the idea of bringing these two totally different actors together is a genius, as their chemistry is literally palpable on the screen, what with Deniro's intensity and Grodin's non-chalant ways, the blend is outstanding.

The movie is basically a formulaic chase one, since Walsh and Mardukas are being followed by the FBI, led by Agent Alonzo Mosley, in a great performance by Yaphet Kotto, the mob, led by Jimmy Serrano, in a scary/funny turn by Dennis Farina, and another bounty-hunter named Marvin Dorfler, played by the much under-appreciated John Ashton. There are planes, trains, and automobiles in the movie, but it never gets tired, as it all comes to a magnificent conclusion.

We're not used to seeing Deniro play a character like Jack Walsh in a comedy or an action/comedy, as his comedic turns have been more of the intellectual variety (i.e. "The King of Comedy", "Meet the Parents", etc.) or have been ones where he is fully disguised or almost unrecognizable (i.e. "Brazil", "The Adventures of Rocky & Bullwinkle"). But what he does here is brave and courageous, and it pays off big time, as he ALLOWS the character of Walsh to GET THE LAUGHS based solely on WHO THE CHARACTER IS, because there is no change in the way he utters out his threats in this movie, from the way he did it in movies where he was far more scarier (i.e. "Goodfellas", "The Godfather Part II", et al.).

"Midnight Run" is a highly entertaining action/comedy movie with a heart, and if you have half the fun, watching it, as the actors obviously had while doing it, then you will have already enjoyed yourself a whole lot more than in any other movie that is "similar" to this one. Recommended as a great entry in the Robert Deniro filmography.


I enjoy this film each time I watch it. I watched it twice on the Video, later I bought the DVD and have watched again a couple of times. Even though I know what is going to happen, the humor does not miss to bring laughter.

Its a gradual moving comedy drama without some stupid 'sexual' comedy.

One has to understand the movie in order to enjoy the funny moments. Particularly my favorites are:

Marvin look.... !!! Sunglasses. Son of a bi*** stole my cigarettes again. Take a wild guess.

Watch it, you will like it :)


From opening to closing Midnight Run is the definative road movie, and is an absolute must view. DeNiro is perfection incarnate as the angry ex-cop with honor, Grodin is a loveable goof while maintaining his classic dead-pan, and all of the multiple supporting characters are great and well used by Martin Brest. The stand out is Koto's FBI Agent, and one has to wonder how hard it was for him the keep his characters stoic facade. Buy it, rent it, copy it, whatever you do you will love this movie.


A wild and hardball comic adventure that stars Robert De Niro as Jack Walsh, a sarcastic bounty hunter who is sent to the Big Apple to bring back Jonathon "The Duke" Mardukas (Charles Grodin), an accountant (who jumped bail) back to L.A. in four days. Walsh's boss, Eddie Moscone (Joe Pantilano) defines it as a "Midnight Run". Get it?

The only thing that Walsh doesn't suspect that's Mardukas' former boss, Jimmy Serrano (Dennis Farina), a hot-tempered Las Vegas mobster, has ordered the hit on "The Duke" for donating a large amount of Serrano's money to charity. Besides dealing with the Mob, the two men must dodge the feds and Alonzo Mosley (Yaphet Kotto), an FBI agent who's determined to get back at Walsh for snatching his badge and Marvin Dorfler (John Ashton), a fellow bounty hunter who tries to get Mardukas for less money.

What makes the movie work so well? Director Martin Brest ("Beverly Hills Cop", "Scent of a Woman") and screenwriter George Gallo let the film go at a steady pace and in the scenes where De Niro and Grodin aren't being chased or shot at. Mardukas tries now and then to get Walsh to open up and tell him about his past. One perfect example of that is when Jack and Jon go visit the home of where Jack's ex-wife and daughter live.

The performances here in this film are nothing short of excellent and shows how great of a director that Brest himself is.


This is simply one of the most enjoyable films of all time. It is endlessly watchable because it understands what makes a film great. So many films in the eighties used the same template and placed wafer thin characters in the story which left them with a poor film. Midnight Run's strength is its ensemble of fleshed out, beautifully realised characters that make the whole thing so damn funny. You have interest in all of the characters, not just the main-men. Lets not forget the pacey direction, witty script and the raport between the two charasmatic leads Robert De Niro and Charles Grodin.

Often overlooked by the general audience, this film probably should have been the action/comedy of the 80's, because in my eyes it is.


When I come across Midnight Run while channel surfing, I always stop and stick (if it's the uncut version)...instant velcro. It starts with a bang and doesn't slow down -- the script, acting and directing are impeccable. There's even a scene that gets me choked up. And the movie is funny from beginning to end. Laugh-out-loud funny.

When I was introduced to this movie I hesitated. DeNiro and....Grodin? DeNiro, the Method Actor and Grodin the limp dishrag?? In a BUDDY COMEDY??!? Yecch.

Boy, was I wrong. Every major character is perfectly cast and gives a nearly perfect performance, and I am not exaggerating. DeNiro and Grodin are the perfect foils, and do not slip into the trite ruts laid by a thousand other buddy movies. Yaphet Kotto, John Ashton, Dennis Farina and Joe Pantoliano all take what would normally be two-dimensional, stereotypical supporting parts and imbue them with life, personality and realism.

About the uncut version...don't watch the broadcast (edited) version. It's awful. Some of the characters are hard-bitten and street-wise, and the profanity is used as a natural spice, but not gratuitously. If you are easily offended by profanity, even in context, then skip this movie altogether. Watching the edited version of this movie would be like viewing a classic Rubens painting with crude pasties and fig leafs awkwardly drawn over the naughty bits. Watch the premium cable version, or better yet rent (or buy!) the video.

If you're looking for a comedy with depth, bite, wit and excitement, then catch Midnight Run.


Midnight Run is a great action movie with great actors, great plot and a humor that really works. An action-film with warmth and likeable characters. clearly one of the greatest films from the 80's. Highly recommended. A must to see for most people.


I am amazed at the 'good reviews' given to this movie. I saw it in 1957 when it came out and the whole audience in London yawned their way through it. I saw it again in 2000 on TV just to see if it really was as hopelessly bad as I remembered it. Believe me, it was. In fact, it was worse than I recalled. It is PAINFUL to watch Dick Sergant and the others. The film was advertised as a vehicle for Pat Boone - all he did was sing a few songs alone on screen and utter a couple of words. I still do not understand the point of this movie. American white middle class kids could NEVER have been this dumb - I think that this is what the executives wanted them to be - stupid and willing to watch this rubbish. How on earth did Janet Gaynor and Dean Jagger get themselves involved in it? I am only giving it ONE out of TEN since there is no zero or a negative number.


Atrocious college comedy follows a group of campus goof-offs who do little but chase after girls. One of the most idiotic scenes in movie musicals has to be Pat Boone, in the boys locker room, instructing Richard (Dick) Sargent on the art of picking up chicks, crooning "Technique" a la Harry Belafonte. Boone, actually playing the coolest of the kids (!), is repugnant enough in his striped shirts and sweater vests, but if cinematic justice were at all serving, this picture would've put the kibosh on squeaky-voiced Sargent's career ("Ohh, gee!!"). Terry Moore plays the telephone operator the guys get hung up on, and her placid demeanor and condescending smile suggest she's no brainier than the boys. * from ****


A nice family film about a trials and hardships of a working girl in 19th century America. The film has an array of characters that Lyddie interacts with. It is an enjoyable, relaxing movie that has a purpose -- showing how a young woman was able to successfully meet the challenges of life through hard work and goals.

The movie is wrapped around Lyddie's decisions based upon her strong beliefs about doing what is right -- what is right for her, her family and the young women she works with.

Moral issues that the move tackles: 1. Slavery, 2. Factory working conditions, 3. Sexual harassment


Lyddie is one of my favorite books for quite a while now, so when I found the film on video I decided to get it.

It really recreates the mood and the theme of the book in my opinion, although as usual some details had to be omitted. Good acting, a beautiful landscape and "on theme" music really add to it.

If your are looking for a good family movie which everyone in the family will enjoy, this is one for you.


Now I'm not really into olden time movies. I am also very picky about dramas. This movie wasn't the kind of drama I was looking for. I don't like movies that take place long ago before the twentieth century. I would however recommend this movie if you like olden time dramas. The book was very boring. I just read it and it just dragged along. Nothing much to it. As usual though they changed a lot of stuff in the movie which I hate. I confuses me and I'm used to the way the book was and it throws me off. I don't understand why they just can't keep it the same. There were some pretty good actors and actresses in the movie. This movie would be good if you like plays because it reminded me of one.


An heiress is murdered while honeymooning on a Nile cruise. Fortunately, the famous Belgian detective Hercule Poirot is holidaying on the same paddle steamer, and begins an investigation. However, it would seem that all of the other passengers on board have clear motives for committing the murder.

This was the second of Agatha Christie's novels featuring Hercule Poirot to be filmed, after the success of 'Murder On The Orient Express' a few years earlier. The great Peter Ustinov, who so recently passed away, took on the role this time, and injected it with his own droll humour. Indeed the whole film seems rather tongue in cheek, with the all star cast having fun with their roles. Bette Davis, Maggie Smith and Jack Warden all enjoyably ham it up, but Angela Lansbury manages to outdo them all with a delightfully over the top performance as the perpetually drunk author of erotic novels. David Niven, ever the archetypal British gent, proves a good foil as Poirot's partner in the investigation.

Where the film really scores is in the locations and photography. Egypt proves a stately backdrop to proceedings and veteran Cinematographer Jack Cardiff makes the most of it. The 1930's setting also gives an air of genteel opulence to the surroundings. While the film couldn't claim to be a classic tension filled mystery, it is a pleasant, laid back and enjoyable entertainment, that's clever enough to keep you guessing until the end.


I have always loved Agatha Christie novels because she never cheats in her mysteries. We're given all of the information and if we're clever enough, we can unravel the mystery and all will be revealed. This is true with the film adaptation of Death on the Nile. I adore Mr. Ustinov's Poirot and Maggie Smith, Betty Davis, Angela Landsbury, Mia Farrow and David Niven are just fabulous. Just so that no one is surprised the murders are very grisly even by todays standard, but the scenery is breathtaking and the sets and costumes transported me to Egypt and I loved every minute of it. Watch and enjoy!


The book, from which this film was adapted, is probably one of Agatha Christie's best. The plot centres on Linnet Doyle, a woman who stole her best friend's fiancé. The scorned Jackie pursues the couple wherever they go, and when she follows them onto a Nile cruise, it seems that Jackie is not the only one who has a motive for murder. Of course, the ever dependable Poirot is on hand to solve the incredibly cleverly planned crime.

This film contains some fantastic scenes set in the heart of Egypt, along with an all star cast. The most brilliant performance of all comes from Angela Lansbury, who plays Mrs. Otterbourne, a drunken old writer who apparently used Linnet in one of her overly erotic books and is consequently being taken to court where she may loose everything. Lansbury captures the humorous side but also the unfortunate aspect of the character and it is this immense acting ability that should have won her an Oscar.

The chemistry between the main characters is marvellous and at the end, when the final solution to the affair is presented, the audience is shocked when they learn who did it, appreciating fully the extent of Christie's genius. This is a fantastic film, which builds up tension fantastically, and is perhaps one of the greatest films ever made, and is always underrated.


This movie was the first and best of Peter Ustinov's performances as Hercule Poirot. Though physically not very accurate to Agatha Christie's description of the little Belgian detective, for this one movie everything worked and the discrepancy was not a problem. The film is well-paced, with all the plot turns and clues coming with perfect timing, not too fast to be confusing, but not too slow to strain the rather flimsy fabric of the story. The whole cast is very good, especially Bette Davis as a malevolent old spider of a woman, gleefully tormenting her long-suffering companion, Maggie Smith. The scene where she smiles indulgently at a group of Egyptian children waving at her on the river bank, only to sink into mortified disgust as they turn around and moon her, is a highlight of the movie. The climax of the film is quite surprising, and unlike many mysteries, does not cheat the viewer by withholding vital information until the last moment. We feel the pleasure of being honestly fooled throughout, and the conclusion is thoroughly satisfying.


A wonderful cast of superb actors playing a wonderful cast of outrageous characters. Exotic locale. Lots of laughs. Great lines. ("If there are two things I hate it's heat and heathens.) Ustinov gives a somewhat harder spin to Christie's Poirot than Suchet but he's just as wonderful. Angela Lansbury should have had the Oscar for best supporting actress that year for her tipsy, dipsy authoress. Maggie Smith is her usual incredible self. The great and always fascinating Bette Davis. And the wonderfully synchophantic "manager" of the steamer. All this with exotic locations, superb camera work and well paced suspense. Not too often I vote a ten. On this one I did. Bravo!


Filthy rich Lois Chiles is killed on a ship traveling down the Nile River in Egypt. Good thing that detective Hercule Poirot (Peter Ustinov) is aboard. Unfortunately, everyone on board had a reason to kill her. Poirot tries to figure out who did it while the bodies start to pile up....

Visually beautiful and totally fascinating adaptation of an Agatha Christie mystery. It was a deserved Oscar Winner for Costume Design--all the clothing was in period and looks truly beautiful. Also they shot on location in Egypt which helps. The cast went through hell though--it was very hot and the clothes they wore were heavy and uncomfortable. Bette Davis especially complained loudly about the clothes and tore into Olivia Hussey for playing loud music in her cabin--at 6:30 in the morning.

The cast, however, is very good in their roles. Ustinov is perfect as Poirot--much better than Albert Finney in "Murder on the Orient Express". Bette Davis does wonders with next to nothing in her role as a jewel thief. David Niven just tags along with Ustinov helping him solve the mystery. Mia Farrow is (sadly) miscast--she struggles in a very difficult role. Angela Landsbury (obviously enjoying herself) runs away with the movie as an alcoholic novelist. George Kennedy barely registers--he's very underwritten. Maggie Smith, playing Davis' maid, is a treat--the sparring insults between her and Davis are VERY funny. Jack Warden is OK faking a fairly convincing German accent as a doctor. Lois Chiles looks absolutely stunning...but is killed off. Olivia Hussey is sadly underused. Simon MacCorkindale is very good as Chiles' husband. And Jon Finch is very wooden as a revolutionary. Still, everything works.

I saw it back in a theatre in 1978 and loved it. Over 20 years later, I STILL love it. Much better than the overrated "Murder on the Orient Express". A definite 10 out of 10.


I love Peter Ustinov as Hercule Poirot. Forget all those other phonies who've tried to fill his shoes! Including that ridiculous Murder on the Orient Express!

His sly, lovable demeanor rivals any of the great actors playing detectives- Peter Falk as Columbo, etc. He has a wonderful way of gaining the confidence and trust of each of his suspects, while probing them for information. You never really know who he suspects, and that's the fun of the mystery. He guides you through the maze like true detective.

I have seen each of his delicious portrayals as the great, Belgian detective several times, and they just get better with age.


This film is one of my all time favourites.

As an Agatha Christie fan I am carefully critical about adaptations of her works. The screenplay is as good as one of her better novels; it makes a seamless transition from book to screen, eliminating some subplots and more minor characters (e.g. the Allertons) in order to achieve a flowing and 'easy to understand' plot with no holes.

The choice of Peter Ustinov as Poirot was inspired. His Poirot is distinctly recognisable as that from the books but the talent and ability of Ustinov shines through. Albert Finney would not have been as good in this film.

The supporting cast is brilliant. Each gives a performance that makes you wish they were on screen for longer; Angela Lansbury as a drunken novelist, Mia Farrow as a cold calculating murderer, etc.. One of the best is the young Simon MacCorkindale, for whom this was his breakthrough film (he is currently Consultant Harry Harper in BBC One's Casualty, for UK readers), as the man torn between love and then led to murder. Also David Niven gives an especially strong performance as Colonel Race.

All in all; it is, in typical Christie fashion, a satire on the lives of the upper class that is buoyant with snippets of humour and romance as well as the inevitable murder (or rather four and a suicide). The score is very good too and the movie has a good old straight backed stiff upper lip feeling to it that makes it a pleasure to watch and makes one wish they could be there themselves.


I most enjoyed this movie. I viewed it years ago, and found myself enjoying it all over again. I couldn't quite remember who did it, but during the 'gather all the suspects in one room please' scene, I suddenly remembered. Ustinov looks to be having the time of his life here, and being paired with David Niven, who wouldn't? The rest of the cast are mostly hit and miss, the hits are Bette Davis, Olivia Hussey, Simon Mccorkindale and Mia Farrow. The misses are the spectacular "what WERE they thinking?" miscasting of Jack Warden as a Swedish doctor ("Vaht, you accuse me?") Peter Finch as a communist sympathiser, and Angela Lansbury just chewing the scenery up as a booze swigging romance novelist. The who-dunit is actually presented in an entertaining (and surprisingly violent) way, and makes for an entertaining time.


Peter Ustinov is an absolute joy to behold in the role of Hercule Poirot. He played Poirot in three theatrical films: Death On the Nile, Evil Under the Sun, and Appointment With Death. He also played Poirot in three TV movies: Thirteen At Dinner, Murder in Three Acts, and Dead Man's Folly. It's always a delight to spend time with Ustinov's Poirot. He's so much fun! The three Poirot TV movies starring Ustinov are now available in a three DVD set. I've had a great time watching these with friends and family and all of Ustinov's Poirot movies are worth watching and re-watching. My deep affection for Ustinov's Poirot grows with each viewing. He's brilliant and each of his Poirot movies are fantastic fun.


The screen version of Agatha Christie's Death On The Nile would be one of the definitive adaptions of the very old fashioned(but still strangely popular) murder mystery genre. After twenty-seven years the movie holds up very well.

The most was made of the Egyption setting of the film as it was filmed mostly on location and the stunning ancient sites of Egypt are filmed beautifully. Tourism in Egypt apparently increased significanlty after the film's release. Not surprising.

Also making the film a treat is the wonderful cast. Peter Ustinov stepped into the role of Hercule Poirot for the first time and despite no resemblance to Christie's descriptions of Poirot, made the role his own for the next decade. Ustinov gives a stern but comic portrayal of Poirot which is balanced with the casting of Ustinov's close friend David Niven as Colonal Race, Poirot's sidekick.

Heading the feast of suspects is the legendary Bette Davis as a grand dame with a sour Maggie Smith as her paid nurse/companion. There bickering scenes together are a hilarious highlight of the movie. Angela Lansbury is also a scene stealer as a tipsy, uninhibited novelist who does a hilarious tango with David Niven. Mia Farrow delivers a very good dramatic performance, as the women scorned which almost steers away from the usual cardboard stereotype characterisations of Agatha Christie.

Director John Guillerman let his great cast have fun with their characters partly because veteran thriller writer Anthony Shaffer wrote the screenplay. Although the murder mystery is a clever one and played out very well Shaffer injected the script with more wit and spice than the original novel had. (The Bette Davis and Maggie Smith scenes being the best example) The soundtrack of the film is an underrated gem with veteran composer Nino Rota producing a grand, sumptuous, inviting and mysterious soundtrack which perfectly complements the setting and the drama. Also his arrangement of the tango tune "Jealousy" is the best I've ever heard.

All this makes for a fun, lively old fashioned treat of a film that can be returned to from time to time.


I haven't seen every single Agatha Christie adaptation, of course, but I know that "Murder on the Orient Express" is considered by most fans to be the best of them all. I believe that "Death on the Nile" in a vastly superior film, for the following reasons:

1) Ustinov is a much better Poirot than the cold and dislikable Albert Finney. Ustinov combines intelligence and sweetness in the role, and the scenes where he displays Poirot's vanity ("I leave luck to others!") are hilarious.

2) The logic in this movie is flawless and everything is CLEARLY explained, while in "Murder in the Orient Express" Poirot reached many ARBITRARY conclusions. You won't guess either ending, but it takes a brilliant person (like Poirot) to guess the ending here, while it takes a magician to guess the ending there.

3) "Murder on the Orient Express" is somewhat claustrophobic, while "Death on the Nile" contains many more scenes filmed in beautiful natural locations. Visually, it's a much more pleasing film.

"Death on the Nile" has only one serious flaw: its overlength. But it's still an unpredictable, highly enjoyable film, and the scene where Poirot reveals everything is so perfectly done that you'll want to watch it again and again.


The main virtue of "Death on the Nile" is Agatha Christie's unbeatable whodunit plot, which is arguably even more beautifully constructed than that of "Murder on the Orient Express." The latter had been adapted for the screen in 1974 by one of America's great filmmakers, Sidney Lumet.

Like its predecessor, "Death on the Nile" was filmed with a fine all-star cast, in which Peter Ustinov, Bette Davis, Angela Lansbury, Maggie Smith, Mia Farrow, David Niven and Jack Warden stand out. Ustinov's Hercule Poirot is perhaps a bit less eccentric than Albert Finney's or David Suchet's, but I actually like all three interpretations.

The film is as lavishly produced as "Orient Express." It has nice costumes and beautiful natural locations. John Guillermin isn't as strong a director as Lumet is. Consequently, the images in "Death on the Nile" are pretty, but less artistically interesting than those in the preceding film. Moreover, Guillermin's visual storytelling is a bit repetitive (he shows all the possible versions of the murder in detail, which tends to become a bit tedious after a while), and the first half could have been shortened a bit. Still, the direction is way above average, and Guillermin handles the action scenes and the solution in a convincing way.

To me, "Murder on the Orient Express" is the most artistically satisfying Poirot film, but "Death on the Nile" is the most entertaining of the Poirot adaptations with Ustinov as the Belgian detective. "Evil Under the Sun" is also enjoyable, since its strong second half more than compensates for the overlong exposition.

I'd give "Death on the Nile" a rating of *** out of ****.


I watched this film when it was broadcast on channel four last Christmas and I was so blown away by it that I had to buy the movie on DVD. Coming from a true fan of murder mystery TV shows with my all-time favourite series being Midsomer Murders, I can tell you this has to be one of the best detective dramas ever to be adapted from one of Agatha Christie's novels. Peter Ustinov gives a wonderful performance as Christie's world famous Belgian detective Hercule Poirot, who along with his sidekick has to solve three violent shootings on a luxury cruise ship sailing off the coast of Egypt. The story is full of red herrings, great and really well acted characters and lots of fantastic humour. It is also very gripping with a crime that is forever tricky to work out and a truly unpredictable killer gives the film a perfect ending. I would suggest to all fans of classic British Murder Myestries to see this 1970's Agatha Christie tale but you will have to be prepared to be blown away by it. I overall give Death on the Nile 8/10 stars.

ONE OF THE BEST DETECTIVE STORIES EVER WRITTEN!


This film has to be the most underrated films ever made. It hosts some of the best performances to date of the likes of Ustinov, Lansbury and Mia Farrow and brilliant characterisations from Maggie Smith, Bette Davis and Jane Birkin. To be honest they all gave this film their best. The locations are magnificent, the costumes stunning and the intrigue is masterfully worked on. Simply the best "Christie" film of them all. I was a Bette Davis fan before the film and when I saw it upon release I was introduced to so many other performers that I have this film to thank for that. 10 out of 10 !!!


Agatha Christie's "DEATH ON THE NILE" is a wonderfully crafted suspenseful drama set aboard a river barge floating on the Nile against a beautiful backdrop of Egypt and its famous landmarks. Director John Guillermin adapts the novel for the big screen, successfully transferring most of the prime aspects contained in the book including both characters and scenery resulting in a breath-taking and highly entertaining film, and most definitely a highly-recommended follow-up to 1974's "MURDER ON THE ORIENT EXPRESS".

Guillermin handles the huge cast with such ease, you can easily see the likeness in his earlier film "THE TOWERING INFERNO" in which he gracefully directed more than 15 major stars and their roles and made the audience care about each and every one of them. Here, Guillermin directs 13 stars of which include Bette Davis, Angela Lansbury, Maggie Smith, Peter Ustinov, David Niven, Mia Farrow, George Kennedy and Jon Finch.

Surprisingly, "DEATH ON THE NILE" was only nominated for one Academy Award (ie. 'Best Costume Design') of which it won. I thought Angela Lansbury, Peter Ustinov and Maggie Smith all played wonderful roles. Ustinov is Hercule Poirot, the infamous Belgian detective whose 'vacation' is ruined by senseless murders and it is up to him to figure out 'who done it'. Here, he is assisted by David Niven who plays a Private Eye hired by the lawyers of the initial murder victim, a wretched and wealthy American woman (played by Jane Birkin) who has stolen the fiancé of Mia Farrow and has brought herself a death wish by upsetting just about everyone she comes into contact with. On board this barge are a group of characters who all have it in for her, including - Angela Lansbury, a famous erotic novelist who is currently battling a defamation suit with her - Bette Davis, a con-artist on the prowl for her next scam, the victim's set of priceless pearls - Maggie Smith, Davis' ill-mannered servant whose father's career was ruined by the victim thus leading her to a life of servantry.

When the victim's body is found with a bullet in her head, Poirot must step in to solve the mystery. Everyone is a suspect and all with good reason, but who really killed her and why? The outcome is fiendishly delicious and extremely gruesome, but you will revel in the delights of your favorite actors doing what they do best - entertaining you. Lansbury nails down her role as a batty old drunk who writes steamy novels. Davis turns in a highly camp performance as a miserable old wretch who has eyes only for the victim's jewels. Ustinov easily nailed down the performance of Poirot, taking the reins from Albert Finney as he fills his shoes to portray the detective audiences and readers across the world have come to love.

Some funny scenes to look out for would include Angela Lansbury riding a donkey, Bette Davis scrambling behind an entourage holding a parasol and the countless clues that may help you solve the mystery if you don't already know who did it.

Between the actors featured in "DEATH ON THE NILE" are 4 Academy Award winners and countless nominations. The most surprising thing that I found while watching the movie are the multiple death scenes featured in this 'supposed' PG-rated film. Three women get their heads blown off by a hand gun and another woman has her throat slashed with a scalpel. This film is probably not suitable for children, but most adults will enjoy this classic feature. In a year where movies such as "DAWN OF THE DEAD" and "THE SWARM" filled theater screens and drive-ins, "DEATH ON THE NILE" was the lone gem that outshone them all.

My Rating - 9 out of 10.