Young Joan Crawford learned a lot from watching and talking to Lon Chaney on the set of this very strange horror film.

Alonzo the Armless is a knife thrower with a traveling circus in Spain. His assistant is Nanon, who has a phobia about men with arms. Her fear is real - "men's arms clutching, grabbing". Malabar the Mighty is the circus strongman who loves Nanon - but he has arms. Alonzo also loves her. Without arms - she trusts him and tells him her deepest feelings.

Alonzo has a secret - he does have arms but because he has two thumbs and is responsible for a spate of robberies that occur whenever the circus stops - he binds up his arms as the police will not suspect an armless man. Nanon's father is the ringmaster (who may be responsible for her irrational fears) and hates Alonzo. In a heated scuffle Alonzo chokes him. He has been strolling around with his arms unbound. Nanon sees someone strangling her father - a man with two thumbs but she doesn't see his face.

With her father dead, the circus breaks up and Alonzo tries to make a home for Nanon. Malabar will not give up his love for her. When Alonzo threatens a doctor with exposure unless he amputates his arms, Nanon finally loses her fear and learns to love Malabar. Even though the film I saw was around an hour in length part of the storyline was missing to do with this doctor. He knew Alonzo and the audience was supposed to know why - there was also a cryptic note the knifethrower sent him as well.

When Alonzo returns and finds his beloved almost married to Malabar, his insanity knows no bounds. Once again Lon Chaney's acting is superlative - his facial expressions are spellbinding - you really believe he is going mad!!!! He secretly hatches a plan. Malabar's new act involves a show of strength where he is strapped to galloping horses!!!! If the gears are going too fast his arms will be torn from his body.

My first impression on viewing this film was that I didn't like it - then as I thought about it I realized it was a compelling if bizarre movie.

Norman Kerry who was supposed to be the Errol Flynn of the 20s played Malabar. Lon Chaney and Joan Crawford are the stars to watch. I have already praised Chaney's acting but the skill with which he used cutlery, lighted and smoked cigarettes, to say nothing of throwing knives and shooting pistols - all with his feet is amazing!!! A young and beautiful Joan Crawford in one of her earlier film appearances played Nanon. She acted with assurance and polish.

Highly recommended.


My second Chaney film! Despite it's huge reputation as one of "the" silent films, I think I preferred LAUGH, CLOWN, LAUGH to this. That's not to say I didn't enjoy it. It's a very good film, and Chaney is again amazing as tortured circus performer Alonzo, who is hopelessly in love with young Nanon (Joan Crawford), who doesn't like to be touched by men. Alonzo, of course, is the armless performer who actually has arms, and after killing Nanon's father (she sees his deformed hand), he decides to have them removed so he can be with her. Things are not so simple. Crawford has suddenly gotten over her fear of being touched, and has fallen in love with the (boring) hero, Norman Kerry.

The film is coated with irony and it is remarkably perverse. I'm undecided about Browning as a director- he contributes some excellent moments, and some very dull, flatly directed scenes. His best asset is his star, Chaney. Crawford is less likable than Loretta Young in LAUGH, CLOWN, LAUGH- in fact, I found her rather unattractive and forgettable when compared to Young's sweet charm. I saw this over youtube (it's the TCM version) and it must be missing a few scenes, because the official running length has it at 65 minutes, and the version I watched ran under an hour.


Two of earlier cinema's suspense and ghoul masters are in fine form in this traveling circus story about an armless knife thrower and the woman he made the ultimate sacrifice for. Lon Chaney is once again unlucky at love as Alonzo the Armless, a mysterious man with plenty to hide. He loves his assistant Nanon, who through unexplained hang-ups of her own (she is repulsed by the touch of a man) rebuffs the advances of Malabar the circus strongman, instead preferring Alonzo. Alonzo gets in an argument with the circus owner and strangles him. He then in reality has his arms amputated to throw the police off his trail. A short while later Nanon is treated and cured of her phobia. She then hooks up with Malabar. A devastated Alonzo plots revenge.

Lon Chaney had the most intimidating face in the history of silent film. In Unknown there is less make-up and body parts than in Phantom and Hunchback but no less menace of character as he seethes and explodes with volcanic ferocity on more than one occasion. Joan Crawford as Nanon displays a decent silent acting style and great legs. There is a softness about her in this film that would soon disappear behind the hard Joanie of the 30's and 40's.

Writer, director Tod Browning would return to the circus setting with even greater critical success when he would make Freaks (it was a box office disaster) in 1932 but Unknown holds its own with the classic in many ways. His script is filled with Freudian implication and scenes suggestive of ritual sado masochism. Combined with Chaney's penetrating revenge driven performance Browning delivers a provocative thriller and a little more.


Lon Chaney (as Alonzo the Armless) is a criminal posing as an armless circus knife-wielder; he amazes by throwing knives with his feet, notably at assistant Joan Crawford (as Nanon Zanzi). Actually, Mr. Chaney's arms are tightly girdled to his chest; he suffers from an obvious deformity, which would identify him to authorities - he has two thumbs on his left hand. Evidently a victim of sex abuse, Ms. Crawford has an unusual fear of arms; so, she rejects the advances of circus strongman Norman Kerry (as Malabar the Mighty). Instead, she warms up to the armless Chaney. He mistakes Crawford's affection for love, and decides to make himself her ideal, by amputating his arms! While Chaney recuperates, Crawford overcomes her fear, and begins to enjoy Mr. Kerry's muscular arms. When he returns, Chaney is understandably upset

Chaney and director Tod Browning are superb in this disturbing, horrific drama. Browning builds great suspense in the wonderful ending, wherein he winds up disturbing images in your mind, and teasingly leaves them on the verge of exploding - as usual, the horror unseen is the most unsettling. Crawford excels in one of her best early roles; she plays falling in love with Kerry exceptionally well. Of course, no one can match Chaney; though great throughout, his scene realizing Crawford never truly loved him is emotionally wrenching. Great character actor John George (as Cojo) has a fine role as Chaney's helper - the scene where he first unwraps the girdled "Alonzo" should have your eyes glued to the screen. There appear to be some portions of "The Unknown" missing, but the amputation of footage hasn't spoiled the film.

********* The Unknown (6/4/27) Tod Browning ~ Lon Chaney, Joan Crawford, Norman Kerry, John George


Queens Logic is an excellently written film about a bunch of late thirty somethings who are still trying to figure out how to get their act together. I worry that this film is only going to be accepted locally (i.e. New York, Long Island target audience) when it really has a multitude of universal levels to it. The acting was brilliant--absolutely brilliant, from Kevin Bacon to Linda Fiorentino, Joe Mantegna and John Malkevich. The actors really understood these complex characters (Malkevich is SO good once again it's scary). And the writing and direction could not have been better for these roles. Congratulations for writing a script with so many thoughtful, intelligent and original characters which reflect so well on the time and all of our struggles to figure out what it is that makes us happy--and to do it so humorously as well. This is one of those rare very smart and very funny films. Like I said though, people who are not necessarily from the New York area may not buy or believe these characters, but I guarantee you there are so many people like them. Guarantee it. They're great people with same problems as everyone else. They just choose to deal with them on their own terms and in the best format they know how: with Queens logic.


I grew up in queens in the mid seventies and it's not much different. Look, the film works. It works on so many levels, I can't begin to catalog them all. But for me, it works because, at the end of the day and looking back over thirty years, I knew a few of those guys. Everone has a dream, and the dream has a way of changing as you grow up. But is is rarely the same one you started with.

You want to be happy? find a girl you can climb to the top of a building with and howl. Howl your heart and soul out and don't ask why. Or find a woman who "is Queens" and don't let her go. And, after all is said and done, it's not always about climbing a bridge. Acting in a movie or painting a masterpiece. What it's about dear readers, is what this movie is about. Friendship that lasts.


I never really had any true friends when I was growing up (I was weird, okay), but I know that the best friends are the ones who stay around. "Queens Logic", an under-looked , sleeper indie film (unless you look really hard in the discount DVD bins) starring a name cast, proves that in the largest borough of New York City.

Wedding jitters plague Ray (Ken Olin of "thirtysomething" and a producer of "Alias"), since he's a talented painter born and residing in Queens, and is about to marry longtime sweetheart Patty (Chloe Webb) a hairdresser with a philosophical outlook. His other pals from childhood, fish marketer cousin Al (the talented Joe Mantegna of "Criminal Minds"), Al's right-hand man Eliot (John Malkovich of "Changeling"), visiting musician Dennis (Kevin Bacon) and working actor Vin (Tony Spiridakis, who co-wrote the film with Joey Savino) help him out by throwing a decent bachelor's party (men and women invited), but they each have their problems.

Despite his jester charm, Al's Peter Pan persona irritates his frustrated wife Carla (the sexy Linda Fiorentino); Eliot's a homosexual who has no desire to play "the love game"; Dennis's still struggling on making it big in Los Angeles and Vin gets one-night stands but no romance. Adulthood: IT SUCKS! But not this film.

Director Steve Rash ("The Buddy Holly Story", "Can't Buy Me Love" and the two DTV sequels to "Bring It On") is competent, but the actors help out more, pumping the tale with humanity, especially Mantegna's breezy, arrested development demeanor, Malkovich's non-stereotypical attitude and Webb's down to earth perspective. Also entertaining is Jamie Lee Curtis as a high society dame, who gives Al a lesson about maturity in a colorful way, and rocker Tom Waits as a grave-voiced but likable lowlife associate of the gang. Look for a pre- "Will & Grace" Megan Mullany as a drunken conquest of Vin's. The film's soundtrack is littered with rock and disco tunes from the 1970s, the decade the guys grew up.

Likable, poignant, sly, funny and a love letter to its' backdrop (Queens's Hellgate Bridge is prominent here), "Queens Logic" reminds us, despite how we grow up or wherever we are in our lives, the neighborhood we grew up is part of us and vice versa, and the best friends we have reminds us of that.


It is a shame that I could not give this movie a much higher rating. The acting was great. Kevin Bacon played Dennis, a struggling actor in L.A. who returned home for his friend Ray's (Ken Olin)wedding. Bacon does a terrific job playing someone who is superficially cheerful, hiding his insecurities and loneliness. The other actors and actresses were also very good. Joe Mantegna plays Al, an extroverted person, who isn't afraid to be himself. John Malkhovich also does his usual good job, playing Eliot, a man trapped in the machoistic World of Queens, yet struggling with his homosexuality. Perhaps the best scene is when Eliot tells a "pesky" homosexual to "bug off", because he just doesn't like him. This movie could have been a lot more, but it tried to do too much, didn't explain to the viewer what was going on, and became predictable by the ending. First of all, we never understand why exactly Al's wife, played by Linda Fiorentino, leaves him so suddenly and violently. All we know is that she is mad at him. We similarly understand that Ray is having second thoughts about getting married. We understand that Eliot is kind of an angry character. We never really find out why. Eliot befriends a homosexual pianist. We never really find out much about the pianist, except that he is rather mild mannered. There are also things that just don't help the plot much. Jamie Lee Curtis plays a character who is never really developed well, and in the end we have no idea why she behaved the way she did (and how this changed Al's life). Another scene that doesn't work is the swimming pool scene. Al's wife steals Al and all four or five of his buddies clothing, yet somehow he has spare clothing for all of them in his car. This movie could have been a good movie. Instead, it was confusing and not very well written.


This is one of my favorite movies. Everyone in it is wonderful and perfect in their roles. I, for one, can never get enough of Chloe Webb or John Malkovitch or Joe Mantegna, and this movie supplies all in a stunning array. The writing is wonderful, and it's beautifully shot. Not a movie to be missed, although the clothes and music are slightly dated now.


I have seen a ton of reviews of this movie over the years and I am always shocked and disappointed as to how "low" the movie is rated. This is simply one of the best movies ever made. It's that simple. Look at the cast: John Malkevich, Joseph Montegna, Chloe Webb, Linda Fiorentino, Kevin Bacon, Jamie Lee Curtis, Ken Olin, and on and on (including Tom Waits - hysterical as Monte). It is sweet and funny and engaging and the sound track is super. I have the DVD and I have lent it out to friends dozens of times and the before and after is always the same: before "never heard of it" - after "loved it" --- and it doesn't matter the age or gender or politics of the viewer. Sure it helps if they are from some urban area as opposed to a rural area. And it helps if childhood friendships still mean something to them. But even if you're a lifelong lonely country boy, you should love this movie.


After watching Dogma for the umpteenth time on Comedy Central, I became a Linda Fiorentino fan along with others out there who wondered what happened to this promising actress since 2002. I have seen other films. This one shows that she can play a desperate housewife who can be both strong and vulnerable to her husband played by Joe Mantegna. Jamie Lee Curtis is underused in this role. Fiorentino and Chloe Webb's characters form a believable friendship on screen that I wonder why Linda hasn't worked in five years is a mystery to me. Anyway, it's an all star cast featuring besides Webb, Mantegna, and Fiorentino but also Kevin Bacon, Ken Olin, John Malkovich, and Jamie Lee Curtis. The storyline needs some work. I loved the scene where Carla steals the guys' clothes while they are skinny dipping in a pool. The movie is about a reunion of friends who get together for a wedding that may or may not happen anyway. I plead that Linda gets work soon again because she is really one of the best actresses out there playing strong women rather than weak and superficial.


I love this film and I can't understand why it hasn't been more popular. Try and get hold of a copy if you can.

The cast is amazing - Joe Mantegna, John Malkovic, Linda Fiorentino, Jamie Lee Curtis ( in her best ever role), and Kevin Bacon all giving restrained but emotional performances.

The soundtrack is wonderful too. An eclectic mix of songs that work perfectly. It took me a long time to track down the song from the closing credits but it was worth it.

It's one of those films that you can watch if you're feeling a bit down and it will lift your mood. Especially recommended if you've had a pointless argument with a loved one!


The only non famous movie on my top 25 list is Queens logic. I dont know why I relate to this movie. Its got a little of everything I like in a movie- comedy, male bonding or whatever you call it, good music, romance, fighting, pain, and a host of other things. Not to mention the incredible cast.


Actually this came as a reaction to carmenjonze-1. I really wonder how someone can be disappointed by this film. Granted, it's in the Big Chill vain, but it features a fabulous cast in top-notch form, real attitudes, compact characters, and quite a few memorable scenes, even if it doesn't do justice to JL Curtis. Yes, it's more verbal than visual, but that's not necessarily a bad point, considering it leads to comments like "wounded animal convention" or Eliot's rationale for not going' out. All in all, I find it quite entertaining; a gem of a story about everyday people in everyday situations. And yes, again,it's not Bergman. But if you're sick of films that blackmail your interest in a once-in-a-million character in a once-in-a-trillion-situation, then you could definitely give this one a try.


God - I love this movie! I must've seen it 20 times by now, and I still can't pass it up when it appears on some random cable station at 1 in the morning! This film was an epiphany to me - great cast, great characters, great story, great locations - all without becoming a stereotyped "Nu Yawk" movie. And Tom Waits as Monte? Perfect! Whenever I see this, it makes me miss the City. I was really lucky to have lived there in the early 90's - only a little later than the film's setting. Anyone who doesn't think these Bridge & Tunnel characters are real should spend some time in the boroughs. I highly recommend this film to anyone who wants a slice of New York City life away from the glitz of Manhattan.


I think it's a wonderful movie and it's been unjustly underestimated:it's oneiric,sentimental,poetic and the dramatic plot is dealt with a sense of humour.There are various issues like male bonding,homosexuality,friendship and I think every role is proper for the actor who plays it:my favourite actor JOHN MALKOVICH(GREAT)is a homosexual with some existential problems and he falls in love with Marty(Michael Zelniker)and they get engaged at the end of the film;Dennis(Kevin Bacon)has in vain tried to get successful in Hollywood as a musician,Al(Joe Mantegna)grows up thanks of Jamie Lee Curtis,Vinny(Tony Spiridakis)dreams to become an actor and Ray(Ken Olin)a painter.Even if the dreams of some of these guys don't come through,their strong and profound tie is the reason to continue to hope in the future.I also think the title is the only very funny thing of the movie(in Italian language it's "Dreaming Manhattan")but the film succeeds to alternate melancholy and thoughtless scenes:Mantegna climbs up the bridge which links Astoria to Manhattan,Ken Olin listens to his message "I love you guys" while he's thinking about his life,Kevin Bacon and Michael Zelniker play "ordinary people song" while Zelniker and Malkovich look at each other,Malkovich jilts Terry Kinney,who had fallen in love with him,because he doesn't like the way he talks about his friends(when Kinney asked him if those guys were his type,he replied "that I don't know but they are the best I could do"),Tony Spiridakis howls with a healer without a reason,Tom Waits reads his odd poem at Jack's,Jamie Lee Curtis takes Mantegna's gun and learns him to throw all away,Chloe Webb tells Madame Rose,a palmist, she's surrounded by idiots,the five boys shout out Arnold's name while they're having a bath under Hellgate during the night because he was the only guy,apart from Mantegna,who climbed up that bridge and they don't see Linda Fiorentino stealing their clothes out of spite,because her husband Mantegna spent all his time with his friends(he also kisses John Malkovich at the disco)...well,these guys are amazing!They are either crazy or gay,either sad or happy,sometimes they make you cry,sometimes they make you amuse.Personally I was a depressed sixteen year old girl when I saw this movie for the first time on a night during last summer and it made me dream:this movie is everything for me,it lets me to take refuge in another world and it makes me isolate from my reality,whom I hate as much as I can, but fortunately I'm not here,I'm under Hellgate Bridge to dream with other Queens.I thank Tony Spiridakis,who wrote the story,and all the actors very much for this wonderful movie!!!


this movie is absolutely terrible. the script is horribly written, the plot is so weak it caves in on itself, and even the acting doesn't save it. you'd think with a handful of good actors that it would at least be enjoyable. well, it's not. i found myself watching it in fast forward towards the end, because the it just would not end. all of the characters, except maybe malkovich, were unlikable and annoying. you know something is wrong when you get done watching a movie, and you find yourself saying, "oh that malkovich guy did a really good job." this movie tries desperately to be "the big chill", so if you're in the mood for that sort of thing, then rent the big chill, even if you've already seen it a thousand times. 2/10


Another boring early 90s movie about desperate, unattractive males and the desperately conventional women who coo and giggle at them. What is comedic about this? Why is it considered entertaining to watch uninteresting, perpetual losers?

Self-conscious "homosexual" subplot is supposed to make it new and different. Fails.

Merits: Tom Waits, and a decent soundtrack. And perhaps a third: the Artisan DVD indicates Queens Logic was filmed in 1:33. That means no dizzying pan and scan.

It's movies like this that turned me towards the classics. Not even the presence of John Malkovich or Jamie Lee Curtis can redeem this criminal misuse of celluloid. 3/10. Get rid of it.


Twins of Destiny is probably the only show I have ever watched, live to air, each and every week, and been so gripped by that I never missed an episode. Factor in that I was in primary school at the time, and this is something special. I remember being conflicted by the ending - not because it was bad, but because it was so (for me, at that age) adult that I really had to sit down and think about what it meant for all the characters. Now, I can only remember little snippets of the show, and I really wish - like the few other people I've ever met who've seen it - that it was available on DVD. It's a travesty to think of it mouldering away on celluloid somewhere, unwatched and unloved. If the technology and audience exists to put old children's shows like She-Ra and Tintin onto DVD, then surely Twins of Destiny deserves the same treatment.

Anyway - this show had a profound impact on me as a kid, and I absolutely loved it. I'd love to recommend it to people, but seeing as how it's next to impossible to lay hands on, I'll have to settle with pleading quietly for its re-release.


In the year 1995 at 5pm in the afternoon on ABC TV, I settled down after school to watch this show religiously. It had me hooked as it wasn't 'silly' like most of the cartoons on at that time, It is saddening that there is barely a trace of this show left on the internet, let alone on TV. I'm 25 now, and find myself rather worried at some of the cartoons that are produced these days. They're a waste of money compared to the in depth cartoons, that were shown on ABC in the early to mid 1990s.

Hopefully one day it will be released on DVD.

It is one of the cartoons I miss, along with Spartakus and the Sun Beneath the Sea.


After reading all the heavy reviews of this movie, I have to respond. Hey, chill out and don't be so serious, people! I had never seen it before, let alone even heard of it. So when I tuned into it one night on Turner Classics, at first I wasn't too sure what to think. But it didn't take long before I began to really like it. It doesn't pretend to be anything other than a corny, light-hearted spoof. Lionel Barrymore is great as always, and so is Wallace Beery. I really liked the fact that there is no musical soundtrack, and it's kind of a piece of theatre with long takes of dialogue and interaction between the goofy characters. All the other members of the cast like Ronald Reagan and Henry Travers simply revolve around the masterful characterizations of Barrymore and Beery. Yes, Beery has the worst Mexican accent of all time----he's doing it deliberately for laughs. And nobody can play a crusty old curmudgeon better than Lionel Barrymore, the world's greatest scene stealer. These two legendary talents have a great rapport. Don't even remotely attempt to take this movie seriously in any way, just enjoy it for what it is and appreciate the amazing talents of two of the greatest actors in movie history. Who couldn't help but laugh at the final scene of Beery galloping through the desert on his horse, pulling Barrymore in his wheelchair? Great comedic acting and a really original, funny script.


Smooth rough and tumble character western with a great grizzled performance from Lionel Barrymore, but a grating one from Wallace Beery. This one has a great closing scene of Barrymore trailing behind a horse on his wheelchair through the desert.


Trombonehead got one thing wrong: Wallace Beery's "Mexican" accent is not the worst of all time. It's only third worst.

Lafe McKee probably should have been shot for his in some small Western, the name of which I can't remember, and Marlon Brando's, in "Viva Zapata" was the second worst.

Other, though, than his poor accent, Berry's characterization is pretty funny, although it doesn't seem to translate well from the stage to the screen.

Lionel Barrymore was rather -- and I apologize for the cliché -- over the top, but he had some great lines and characterization.

Ronald Reagan, in an unusual loan-out from Warners, looked great, and did a very good job as the hero. Laraine Day looked great, too, and was mostly quite believable.

Tom Conway is another under-rated actor, and his role was rather thankless, but he looked and sounded very good.

Chris-Pin Martin, on the other hand, was outstanding ... although he nearly always was. Whenever he was on screen, he drew the viewer's attention. He was a great talent.

In his mini-bio, Gary Brumburgh calls Nydia Westman "adorable." That says it perfectly. She stood out in every scene she was in.

Perhaps the reason so many commenters here rate this film low is that it seems to start out as a serious Western, and that it is really a comedy doesn't become apparent till later.

I'll admit it took me a while to realize it, but when I found myself laughing at, especially, Barrymore's "shoot him" and other extreme comments, I finally caught on.

I seriously recommend the people who didn't like this to give it another chance; and anyone who hasn't seen it, I urge you to do so.


I don't know if I'll ever see another Wallace Beery picture as bad as this one. I hope not, but I'm sure he made some other dogs. Usually Beery can be counted on to bring the laughs, and do something memorable with his character.

Beery's is not the worst performance in this piece (that distinction belongs to Lionel Barrymore, obviously loathe to be in this production and cantankerously chewing the scenery with noisy and irritating aplomb like nowhere else on his filmography) but he offers little more than updating his Pancho Villa schtick from Viva Villa. Not much originality or send-up in his performance and he doesn't even appear until around the 30 minute mark. He does look cartoonishly amusing galloping away with the Mexican Federales in hot pursuit though.

This really isn't a funny comedy or a watchable western. At 70 minutes it feels overlong. Everyone stands in one spot and talks endlessly, Ronald Reagan does the hero bit with his usual one dimensional panache, Barrymore won't shut up, and the oppressive sepia tone this was shot in kind of makes you queasy by the end. Chill Wills at least is his usual lovable self as Reagan's sidekick.

Definitely not a Beery classic


This is Roberto Rossellini's extraordinary tribute to the art of Anna Magnani in two parts. The first part, based on Jean Cocteau's "The Human Voice" is a relentless, desperate plea from a woman to the man she loves. Love (Amore) Magnani style. Shattering, all consuming. The voice of her love comes through a telephone line and the camera invades the desolation in her eyes with savage determination. The second part is a devastating fairy tale. Magnani is a semi demented inhabitant of a village where she meets a stranger, played by Federico Fellini, that she believes to be Saint Joseph. He makes her drink and rapes her. She gets pregnant, convinced that she will give birth to Jesus himself. I'm not even going to try and tell you what Anna Magnani does with this character. You have to see it to believe it. Unique!


L'Amore is divided into two parts, the first called "A Human Voice", and the second named "The Miracle". Anna Magnani is wonderful at both. The first episode is about love and sadness. A woman is pursuing for a man who does not love her any longer. The whole episode occurs whitin a bedroom, with Anna and a telephone. The dialogue of Anna with her ex-husband is simply fantastic and very emotive. The second episode, more cryptic and stronger, shows us a medieval Italian town with all its beliefs and supersticions. A woman, Anna Magnani again, makes remember us the mistery of creation, with symbolic references to some christian icons (as virgins, poor people, saints, etc.). In sum, this is a wonderful film.


It could be something of a challenge to be fair to L'Amore as a whole if one of its two shorts, one titled 'The Human Voice' (script by Jean Cocteau) and the other titled 'The Miracle' (original script by Federico Fellini), sold short of the other. But in the end, one only slightly edges out over the other, and not by much, which is really saying something in this case. Italian neo-realist icon Roberto Rossellini changed gears, to a point, after bringing forth his 'post-war' trilogy of films (Roma Citta Aperta, Paisa, Germany Year Zero) that would catapult him into worldwide recognition. This is essentially a small film, in a way smaller and even more (considering his previous trio, amazingly) simplistic in storytelling terms and scope. Instead of war's anguish coming on as the main dread of the existences of the characters, here there are only two key characters for the two stories respectively, and played by the same actress no less.

This could be a gamble for Rossellini, putting so much faith in an actress to pull off two quite different roles (well, maybe not TOO different, there are some underlying qualities to both). Anna Magnani, however, was worth the gamble for him. This is proved right off the bat with 'Voice', where Magnani, for 75 percent of the film's running time, is in either medium-close up or close-up by Rossellini's elegant, probing (without seemingly to try) lens, as Magnani's character has a long, painful, and ultimately confessional conversation with her love who has left her. This is off the bat something that most can identify with; we know what it's like sometimes to be in a room and over-hear an outpouring of emotions through the walls (or sometimes ourselves talking in these conversations), practically wanting not to listen at all. But Cocteau understands that a conversation like this can be made into a kind of extraordinary poetry of sorts, by stripping away at the seams of the human soul (err, voice in this case), and aided by the right person to pull it off. Magnani, therefore, works because she conveys so much in her expressions, her eyes and of course voice, all without having to go into soap opera hysterics. Even towards the end of the film, where some of the momentum is lost, Magnani is like some force that you can't look away from.

This notion that Anna Magnani is in this overall project almost like her own vehicle, as Scorsese has said in his film My Voyage to Italy (which inspired me to seek this out to start with), it's un-thinkable to see anyone else play either of the two roles. This is especially so in 'The Miracle', different from anything else Rossellini had done up till that time (I could be wrong, I haven't seen anything he made pre Roma Citta Aperta) in that it takes place in a time unknown. It could be present day, or hundreds of years ago. It's a fable, with its story origins in a budding cartoonist, Fellini, who also appears here in his one and only acting role as a kind of Vagabond (and quite a suave looking one, ho-ho). Magnani plays the peasant woman, perhaps not altogether in her head, and believes as he passes by she has seen St. Joseph. She stops him, she praises and rambles, he offers her wine, and she passes out. Cut to another time in the future, and she discovers she's pregnant. Never had sex? Hmm...

The Miracle, a film that got in a heap of controversy, and in the process changed a vital point of how films were allowed to be shown in American cinemas from the 50's onward (a little historical fact few know of today), is to me perhaps one of the most powerful 'fables' I've ever seen, at least from people like Rossellini and Fellini (the later made a great career out of fashioning them out of almost nothing). It is also a very telling story about religion and faith, and to my way of thinking still holds a relevance just as meaningful today as back in the later 40's and early 50's. The peasant woman turned homeless that Magnani plays so beautifully (for such a simple character there is enough nuance for two performances) holds onto faith because, frankly, it's all that she has. She gets berated by all the townsfolk- particularly the religious folk for having a child out of wedlock and under such strange circumstances- yet nothing gets in the way of her own determination of what she thinks is true.

Even if you don't have a belief in Catholicism or even just religion, the film has an impact because of elemental questions Rossellini is trying to raise. I can't say what they are here, as they will bring different answers for the individual viewer. But the fact that Fellini and Rossellini are stirring up such thoughts among such touching and near-perfect acting and stylizing (there's even a slight touch of humor in the early scenes with Fellini) and not forcing them on the viewer, not to sound catchy about it, is a miracle in and of itself, and one of the director's best films taking into account the two as L'Amore... Be advised though- as of now this film is EXTREMELY hard to find, and only after many months and more money than I'd care to say I discovered a copy on video, so only if you feel a strong urge to see the film (likely, as with myself, from having seen the clips from My Voyage to Italy) would I recommend it. But if you do, it could serve a very rewarding experience.


Initially banned in the UK, only the section entitled THE MIRACLE was shown by special permission of the London County Council. Somehow people seem to persist in interpreting the story as a Second Coming narrative, whereas the character played by Anna Magnani only believes she is to bear a "special" child as a reward for her piety. There is not a shred of evidence to suggest she believes she is carrying the Christ-child. Dubbed by the Vatican as "a sacrilegious blasphemy", it is ironic that, as an atheist, the power and emotional intensity of this film brought me the closest I have ever been to what could perhaps be termed a transcendental experience. A masterpiece.


Aside from being a great, dark film, with a substantial plot line and a GIANT cast (Oldman, Penn, and Harris), this is an Oldman performance not to be believed. Mr. Oldman himself has been quoted as saying that "State of Grace" is HIS favourite performance. And, as usual, he gives a performance to be equalled by none.

Sean Penn is marvelous, too, and Harris portrays evil incarnate.

This film should be re-evaluated, and Gary Oldman should have received the Oscar for it. His portrayal of Jackie Flannery, a wild, violent young gangster with an ethereal tender streak - is simply phenomenal.


I'm shocked that I've been a film fan for many years, and have only just seen this gem! In a world where The Godfather and Goodfellas are at the top of most people's lists of favourites, it's hard to believe that a film as strong as State of Grace could be so criminally under seen. The film is about love, friendship and betrayal; and takes place in New York's infamous Hell's Kitchen. The fact that it was released in the same year as Martin Scorsese's more acclaimed 'Goodfellas' probably didn't do it many favours; but if you ask me, this is the better film. Boasting a strong cast, director Phil Joanou's film follows Irish-American Terry Noonan as he returns home after an absence of ten years. He soon hooks up with his old friends, including Jackie and his brother Frankie; who is now the head of the Irish mafia. However, it doesn't take long before Terry's rekindled relationship with his old friends and his new loyalties to another party become at odds with one another, and our hero soon finds himself torn between the two.

State of Grace has all the violence, foul language and hot-headed characters that are part and parcel of this sort of film; but at its core is a very well worked plot, bolstered by some great characterisation. The characters are the main focus point in this film, and it's through their motivations that the plot is allowed to move. A film that puts so much focus on its characters needs a strong cast in order to work, and this film certainly has that. Sean Penn takes the lead role and delivers an early version of the strong lead performance that would go on to earn him high praise from the critics. He is supported by the underrated Ed Harris, who grows on me more and more every time I see him, in the film's most level-headed role - but the real star of the show is Gary Oldman. This actor has the ability to completely steal any film that he's in, and he really does stand out here; delivering what is surely one of his all-time best performances. Familiar faces such as John Turturro, John C. Reilly and Robin Wright Penn do well; but it's the main trio that take home all the acting plaudits. Hell's Kitchen is beautifully brought to the screen in the most downtrodden manner possible, and the music and atmosphere combine with the shockingly realistic violence to ensure that the film is always gritty and unrelenting. State of Grace comes with high recommendations.


The credits have just begun rolling on what has been my 7th full viewing of State of Grace. (This number doesn't count the times I've watched it after having missed some portion of the film.) I first saw this film as a rental some time around 1992, and it has not lost a bit of its relevance. It is nothing short of mesmerizing. Every time I watch it I'm pulled in completely. The performances are the reason this is one of my all-time favorite films. Gary Oldman was so convincing that I was surprised the first time I heard him speak in his native dialect. His performance in this film, as in virtually every film he's been in, was a thesis on acting. Sean Penn turned in a masterful performance that was complex and nuanced. And Ed Harris displayed his usual laser beam intensity. Everyone in this ensemble piece resonated perfectly to create this vivid story. I hope this film comes to be recognized as the classic I already believe it is.


Once in a while a movie comes along that is a gift for an actor. It is like a golden opportunity that has been given to them, but there is a catch they have to deliver. Three actors were given that opportunity in State of Grace: Ed Harris, Gary Oldman and Sean Penn. All three deliver performances that easily merit a Best Actor Oscar, but it is the chemistry between Penn and Oldman that issue forth true gold. Oldman completely and utterly loses himself in the role of Jackie Flannery, a small-time Irish gangster that happens to be the younger, impulsive, reckless brother of the head boss of the Irish mob in Hell's Kitchen, Frank Flannery. Frank is brokering a deal with the Italian Cosa Nostra that will result in a major windfall of money and power for the much smaller gang of Irish mobsters. Frank is one of the only people who seems to understand how important this deal is, while the rest of the gang bristles against the direction of the much more powerful and organized Mafia. Every time it looks like the deal will go through, some member of Frank's gang does something stupid to insult the Italians, and each time this happens Frank is called upon (by the Italians) to do their retribution upon his own people.

In the midst of this very dangerous situation enters Terry Noonan (Sean Penn), Jackie's best friend from childhood who is now a cop and undercover with the directive to do no less than take down Frank's entire gang. In the beginning Terry seems eager to do his job, but as the reality of what he must do comes crashing down he is torn between his love for his old friend, and his duty as a policeman. This is further complicated by the fact that Jackie's sister Kathleen (Robin Wright Penn) and Terry were childhood sweethearts. As Terry renews his relationship with both Jackie and Kathleen he begins to lose his identity and his soul as he is torn apart by the things he must do as a policeman, what he sees being done by Frank and his gang, and his deepening relationship with Kathleen.

Oldman delivers an explosive performance and he seems to become even more unhinged and unpredictable each moment that he and Penn spend together. The true beauty of his performance is the fact that we know how intelligent Oldman is; yet he is totally believable as this half-witted madman who is rushing towards his own demise. It is Penn though that has the heavy lifting to do, because he doesn't have the luxury of hiding behind the frenetic machinations that Oldman's character does. You actually feel pain as you watch Terry get in deeper and deeper, drinking more and more, sleeping less and less, losing his direction and his mind.

The music by Ennio Morricone is haunting, brooding and electrifying; perfectly suited to the evolving story on screen. As we watch Terry betray his friends and himself, it seems as if pieces of him actually float away, carried on the wings of Morricone's music. Robin Wright Penn also delivers as a young woman who is desperately trying to escape the mean streets of the Kitchen, the violent world of her brothers, and her meager upbringing. She also underestimated what being with Terry would mean, especially after learning Terry's true identity. She is sucked back into what she has tried so hard to become free of, and must watch as her family and Terry disintegrates.

The entire movie is set upon a collision course between Terry and Frank, and when they finally collide, director Phil Joanou films it almost like a dream sequence. The power of this film is how it manages to so vividly portray one man's attempt to finally confront his past and his own character flaws. All of us have demons and we promise and strive to finally confront them, but do we ever? Facing our fears is one thing, but the true measure of a person's character is how we perform when that fear stares into us, face to face. Here, Terry comes full circle and finally confronts the demons of his youth, and the showdown might cost his life.

Watch this film for the terrific performances of all the lead actors, for the fantastic music, the frenetic action, and the moving drama, but watch it also to ask yourself, what are your demons, when will you finally face them and what will happen when you do?


Yeah, I love this film. Ever since I saw it at a preview screening, this has been one of my favorites. I said then Gary Oldman should get nominated for Best Supporting Actor and he should have been, except nobody saw this movie, probably because Orion didn't promote this movie at all. All of the leads are awesome. Sean Penn is so messed up and confused, and the hints that he's having trouble with all the drinking are a nice touch. Ed Harris does so much with so little. There's one scene where you can almost see him literally blow his top. By the end, the effects of each different subplot can be seen on each other, all coming together for one climactic moment. And the ending--I get chills from the music. See this movie. Then tell everyone you know.


I truly enjoyed this movie. With both Ed Harris, Sean Penn, Gary Oldman, Robin Wright Penn, John Turturro and John C. Reilly in the cast, I was surprised that this movie didn't get more famous. It was flawless, the script was well-written, and the whole cast did a good job. Gary Oldman is simply hilarious in this, he had some really funny & sick lines. And I gotta admit, I decided to watch this just because he was in it. A truly versatile actor. Ed Harris and Sean Penn were exceptionally good as well. The ending could have been done better, but overall this movie was good from start to finish, and if you like good crime/mobster films, you should definitely see this one.

Score: 79/100


'State Of Grace' is a well-crafted gangster film from start to finish. From the appropriate saint-paddy's day parade opening-scene to the legendary parallel montage in the end, and everything in between. A fairly lengthy film, SOG never bores but sucks you in and though it doesn't stray far away from the basic gangster genre plot lines and characters, it's got a very own feel to it. This is due to the great Morricone score and the witty dialog, SOG is hilarious at times but overall takes itself seriously. Morricone's soundtracks are legendary for a reason and though this is certainly not one of his best, it does add a lot of class to the picture. I'm sure many of you will agree that the music is very reminiscent of his work in The Untouchables and even more so his work in Once Upon A Time In America (the greatest thing Leone has ever accomplished). The recurring theme always stirred up feelings of nostalgia and a melancholious sadness with me, it quickly gets under your skin and stays there for the rest of the movie. It goes well with the themes of hearth ship and longing for the happiness of youth often appearing in the script.

State Of Grace isn't just a run in the mill gangster movie with a memorable score. The comparison with other genre classics, especially 'The Departed' is unavoidable, and this may just be the right-after-credits-exhilaration (I'm sure you know what I mean) speaking but in my very humble opinion it simply outclasses Scorsese's latest baby. A huge factor here is the cast; Oldman delivers a knock-out-of-the-park performance as the greasy-haired nut case gangster and both Penn and Harris are memorable too. Being a huge Penn and Oldman fan, I can't believe I didn't discover this film sooner. Torturror's role is small so fans, don't get too excited when you see his name.

State of Grace is definitely a genre movie, but not 'just' a genre movie. It belongs to the top of the cream and should be recognized for it.

9/10


Overshadowed by the flashier Goodfellas on its release, this dark, brooding and deeply-satisfying thriller draws heavily on Shakespearean tragedy, Catholicism and the troubles, as well as more conventional gangster thriller narrative to deliver a giant film that will in time hopefully be considered as the masterpiece it is.

It is superbly made, lit and edited, and Joanou elicits magnificent performances from the entire cast but especially his three leads - this is Oldman's best work by some considerable margin. There is lots of attention to detail here - not least Kathleen's red dress during the Paddy's Day parade as the principals head for the Peckinpah-style denouement.

This is darker and more adult than any other gangster film and has a doomed hopelessness at its core: no-one can escape from what they really are. Consistently intelligent and understated, it is also superbly and movingly scored by the great Morricone, which almost lends a contemporary western elegy feeling to the film.

Quite simply superb.


My third viewing of this masterpiece some time ago revealed to me just how brilliant it really is. Expertly directed, well-crafted, and featuring an intriguing story, State of Grace was unfortunately overlooked upon it's debut in 1990 in favor of more well-known gangster films, such as Goodfellas and the bookend to Coppola's epic Godfather trilogy.

I'm not sure how a film of this caliber can go so grossly overlooked, even nowadays (though, as is the case with many films, it's appreciation has been snowballing the last few years.) All I can say is that it has quickly propelled itself to the elite of my favorite films, and I consider myself lucky to have it sitting in my DVD shelf.

State of Grace was one of the earliest films that depicted the Irish mob, a topic that, so far, has an impeccable track record at being transitioned to the screen: Miller's Crossing, a masterpiece by the Coen Brothers that arrived the same year as this film and was also criminally overlooked, 2003's Road to Perdition, Sam Mendes' beautiful father/son epic, and, most recently, Martin Scorsese's triumphant return to the genre with his slick adaptation of Hong Kong blockbuster, The Departed.

State of Grace takes place in the gritty environment of Hells Kitchen, New York City. Terry Noonan (Sean Penn) is an undercover cop from Boston, on a mission to infiltrate one of the top crime organizations headed by Frankie Flannery (Ed Harris) and his brother, Jackie (Gary Oldman), Noonan's boyhood pals. While in town, Terry falls into his old ways with Jackie, and requests that Frankie put him on the payroll as a worker. He also rekindles his relationship with the brothers' sister, Kate (Robin Wright.)

As Terry becomes more and more entrenched in the underground affairs of Frankie and Jackie, his morals become devastatingly conflicted. He finds that his allegiance to his pals is at ends with his job assignment. His devotion to either is constantly tested. Things take a turn, however, when Frankie's psychotic methods and attempts to align with a powerful Italian syndicate reveal him to be worse than Terry imagined, and he takes matters into his own hands.

Specific mention of the top three actors deserves marquee attention. It is rare that you'll find a cast headlined by as talented a trio as that of State of Grace. Sean Penn, Ed Harris, and Gary Oldman are all their most fierce, and rarely have either of them been better. Each brings something different that is crucial to the movie's success, and the entire package would have been brought down severely without either of them. Penn's tortured cop, who finds himself reverting more and more to the old lifestyle that he tried to get away from, is the crux of the movie. The anguish and guilt that he keeps bottled up inside him really conveys how difficult a situation he is in. Harris adds another level to the cold, calculating mob boss. His sadistic nature is matched beautifully with a fear he protrudes subtly. And Gary Oldman, who never requires any commendation, is, as always, spectacular. He steals every frame of the movie he's in as the impulsive, hot-headed brother/best friend who values little in life, except family and the task at hand. As Harris brings "cold" to another level, Oldman supplies an entirely new definition of "crazy". All of the work done by each of these talents shows why they are considered some of the best in the business.

The supporting cast deserves recognition. The three leads are backed by an impressive cast of character actors, who lend fervently to the style and attitude of the film. Superb character actors John Turturro and John C. Reilly make whatever impressions the lead three allow them, and Robin Wright is a smoldering pillar of sensuality as Penn's love interest (soon to be his wife in real life), and she fleshes out a bit of back story. Burgess Meredith and R.D. Call are also superb.

Ennio Morricone is at hand, and while his score here is not his best (certainly not a bad thing), it really adds to the feel of the movie; first played over the opening credits over a St. Patrick's Day parade in slow motion, and reoccurring throughout the film, it is a nostalgic, haunting theme that takes us to times past and reminds us of the contexts of the scenario.

The cinematography done by Jordan Cronenworth is strangely beautiful, making the well-played grit of the urban area look appealing. A shade of blues dominates the look of the film and gives it a glossy luster.

The finale finds Penn marching to a bar in slow motion to the beat of and through a St. Patrick's Day parade, followed by a shootout inter-spliced with footage of the parade, and it is one the coolest, most adrenaline-pumping scenes ever put to celluloid.

It's too bad this gem isn't recognized more, because it's a real treat. I've found a new perennial favorite, one that is perfect for every third Thursday in March.

The Italian mafia films are great, but it's great to have a few standing points on the board for us Irish.

Erin Go Bragh!


Here is a movie I've been a fan of since it's release in 1990. Gary Oldman is the gem of this film. He plays a long-haired Irish-American thug in New York's Hells Kitchen, employed by an Irish mob headed by his brother played by Ed Harris. This group is backed by the Italian Mafia, and Ed Harris's character is always trying to impress the Mob Chiefton. Sean Penn plays Gary Oldmans child-hood friend and fellow gangster, who left town one day years ago without notice. Now he's back, and welcomed heartily. Without question, he is accepted back into the gang, and put to work. Only problem is, when he left, he went to Boston to become a cop, and now he's undercover and infiltrating his old friends.

A tale of loyalty, betrayal, and murder, done with a style befitting a New York gangster flick. And for Irish-Americans such as myself, it's a great movie to drink to on St. Patty's. This is a good film with a solid cast full of action and drunken Irishmen which leads to one of the best endings to any movie ever; a bar room shoot-out with New York's St. Patrick Day parade as the back drop.

If this movie had a flavor, It would taste like whiskey. Speaking of whiskey, I have been celebrating St Patricks day every year since '95 by downing several glasses of Jameson, and viewing STATE OF GRACE.----now thats Irish.


Hey, I love this gem of an overlooked major motion picture. I just saw this 15 plus-year-old film for the first time today. All the big and little name actors were credible and believable. The story and relationships rang true.

Sure, a lot of blood is spilled but really no more than any other gang film. And there is hot romance, partial nudity, deep betrayal, lethal weapons of all types and sizes, highly manic and inappropriate anti-social behavior, dark shadows, old rooftops, bad language, slow motion gun fights, fierce fist fights, yucky dead bodies, severed body parts, things blowing up, screeching tires, dingy subways, lots of alcohol, several funerals, a grand parade - what's not to like here?

If you liked Mystic River, Reservoir Dogs, Goodfellas, Godfather I & II, and various cop & robber shows on TV over the past 50 plus years you'll love seeing this realistic portrayal of a little self-destructive crime family that could be operating in any ethnic neighborhood in any larger city at anytime in history.


This could have been brilliant. As it is, it's just damn good.A superb tale of friendship, loyalty and trust, Sean Penn and Gary Oldman are both absolutely fantastic, giving, for my money,the best performances of their careers. In fact, there's not a bad performance here.

It's beautifully shot, the music is absolutely spot-on and it has that rare ability to get to you deep inside.

It's just that the final scene is absolutely terrible. First, there's a huge slow motion overload, which for me, just doesn't fit. Second, without spoiling the ending, let's just say that Frankie's (Ed Harris)marksmanship leaves a lot to be desired, which for a mob boss is absolutely ridiculous. This is the main problem. Up and until this moment the film has been a perfect example of believable, gritty realism. Then it just throws everything away with a badly thought out, unbelievable climax.

10/10 down to an 8/10 just like that.


In this great mafia movie, i was really impressed with the realism of the scenes, is well shown in the movie all the previous research about the lives, behaviors and methods of some gangs in the U.S.; while i was watching the film i felt like watching real crime scenes in New York! that was great!. Gary Oldman is definitely a great actor for this type of characters; he was the one i liked most; good friend, good and risky mafia boy and good brother, and with some alcohol problems, he performed this character with perfect domination of the role. Sean Penn was great and he feels totally as one of the people of the real Irish mafia!; dark scenes, a great casting and realism is what this good movie have to offer. I didn't like of the film, that sometimes it cuts from scene to scene quickly showing different parts of the whole story that for a good part of the film you can't understand, this spaces are somewhat long and i got bored like at the middle of the film. But fortunately the movie restore it's pace and conclude in a excellent and thrilling way.

ABOUT THE FILM: Sean Penn is Terry Noonan a guy involved with some obscure business and people who after an incident with drugs, returns to New York where he join his old gang of Irish in New York after ten years, he met with his old great friend Jackie Flannery (Gary Oldman) and his ex girlfriend Kathleen Flannery (Robin Wright), the Flannery brothers are a Irish family that dominate the mafia business in the area and are leaded by Frankie Flannery (Ed Harris). When Terry join the group, he meet some other old friends like Stevie McGuire (John C. Reilly), and other important bosses of the mafia and extortion like Borelli (Joe Viterelli), dark interest start to rise in the gangs, where Terry plays an important role, Terry's interest start to be uncovered trough the film showing incredible events that make the film a great one. John Turturro as Nick plays also a great role.

7/10! for this good movie directed by Phil Joanou.


I bought this movie on the clearance rack at a local electronics store recently, and it was worth every penny. I saw Sean Penn, Ed Harris, and Gary Oldman on the cover.....how could it not rock?! Well, it does. Gary Oldman is one of my favorite actors and he really steals the show here. You really believe he's the character that he's depicting. Oldman fans must see this film.

 POSSIBLE SPOILERS!!!!:

 Sean Penn is an undercover cop sent back to his home town to infiltrate the local Irish gangs, who coincidentally enough, happen to be comprised of some old friends...including his best friend Jackie (Oldman). Frankie (Harris), Jackie's older brother, runs the show in the gang, and calls all the shots. It was very satisfying to see Harris play a ruthless bad guy, as it's usually not his cup of tea. Terry (Penn) is torn between his commitment to his job and his feelings for his old buds. The Irish mob is in the middle of negotiations with the Italian mafia to make some more dough as well. Terry comes in and all hell breaks loose.

 This movie has excellent acting from Harris, Oldman, and Penn.....but for me Oldman steals the show. He's just crazy. Wild, uninhibited and completely convincing. The score in this movie is quite moving too, and really suits the movie. I feel this movie has gone quite unnoticed and deserves more credit. I can't believe it only has a 7.1 rating. I give it an 8 myself. Smokers beware. Have your cigs handy, because this movie will make you want to smoke a pack!

 If you like any of the cast in other movies, I highly recommend State of Grace.


This a superbly acted film about an undercover cop( Sean Pen) who infultrates a group of American/Irish gangsters who he used to be friends with. The storyline is not the best but it does not have to be when you are watching people like Gary Oldman act his socks off. The film is shot superbly too , especially the fantastic gun fight at the very end in the Irish bar. If there was one critisism i have to make of this film it would be that it is a little too long which can make it feel a little slow. Overall , if you like gangster movies you will like this. 8 out of 10.


Well what can I say about this film, its an utterly gripping mob movie without having to indulge in the grandeur of a scorsese/de niro mob movie. This Flannery gang are white knuckeld hoodlums who would shoot before they even spare a thought, even their own flesh & blood.

The true revelation in this film is Gary Oldman-what an actor! I don't know if I've ever seen such a realistically sociopathic performance from another actor in any other film- its chilling you just don't know what he'll do next but one thing you do know is that someone is going to get seriously hurt. Sean penn is excellent as undercover cop noonan and Ed Harris is another revelation as the colder than ice boss.

If you like mob movies, crime thrillers, heck just watch this movie. Your in for one hell of a ride.


The Irish-American gangsters in this bloody neo-noir aren't entirely clear on which is a worse offense between murder or gentrification. That's one of its more appealing themes. Phil Joanou's entertaining St. Patty's celebration reflects its characters' screwy allegiances and brutal deviation from any healthy, normal, or efficient condition. They're extremely inept low-level Irish-American gangsters in Hell's Kitchen, and the reach of their benefit from crime is that raised leases are coercing them out of their neighborhood. They are about to strike a deal with the Italian Mafia, who operate like the British Parliament by comparison. But Oldman's first words to them in the movie are, "The last guinea who walked around up here was Columbus, and he only lasted a week!"

This dramatic crime thriller opens with a homecoming. Sean Penn, who used to live in the neighborhood, is back in town, and surprises his best friend Gary Oldman in one of those trashy pubs where gangsters and alcoholics appear to be the exclusive patronage.

The Irish gang is led by Oldman's older brother, Ed Harris, who runs the show from his bourgeois house on a residential avenue, far from the botched drug runs that finance his loan agreement. The two brothers have a sister, Robin Wright, who has also tried to escape the neighborhood by working at the front desk of an uptown hotel. But she and Penn's muddle-headed protagonist were once in love. Though the drama seems formulaic, Penn's separate histrionics with each of the three siblings are interesting.

Because what is vital to the drama in this forgotten gangster contemporary involves a considerable twist that it not fully divulged till halfway through, I reference carefully, but the most arresting element of the movie is outright, the disconcerted mindset Oldman's perfectly realized character who believes he is somehow Hell's Kitchen's Robin Hood by his murders, arson and other such crimes. Though the disorganized gang's central enterprise seems to be drug dealing, Ed Harris is ready to pull some sideline gigs merely as a public duty. He has Oldman and Penn burn down a construction office on a site for a new white-collar apartment building. The film bears great similarities to Scorsese's superior Irish mob picture The Departed.

Gary Oldman's performance steals the film. Sean Penn is an equally great actor, but he has a standard screenplay lead without as much room to build. He has to be reasonable and all torn up with internal strife. Oldman's character is more natural and unadulterated. He acts only on the inclinations of his feral reactions, intolerance, revenge and panic.

There are moments in the film that are very disquieting, as when Ed Harris, who normally distances himself from his rackets, finds that he has to himself kill someone he loves. But the movie's plot paradoxically gets less and less original, the more complicated it becomes. At the outset, when it seems concerned only with the behavior of its characters, it's original and challenging. Then it turns into a story filled with familiar elements, and by the end everything is happening by the numbers.


Why does no one EVER talk about this movie? I'm not even that into mob movies but I feel like without a doubt this is one of the best mob films ever made. The more you watch you see all the bits you missed the first time. And what a cast! Gary Oldman, Sean Penn, Robin Wright, John C. Reilly, Nick Turturro, and of course Ed Harris. I think Oldman actually deserved an Oscar nod for this. He was outstanding in his role as Jackie. What other movie besides DAHMER would you find a guy who keeps body parts in his freezer who actually like! This movie was way underrated in the box office and on rental. . i can watch this movie over and over. Every scene is so intense and well played by the actors.


Amusing movie. No doubt. At the first time I see somebody shout Italians. Anyway Italian starts be boring in the crime movies.

Movie is very balanced. Love be twin him and her is so real. Like you are inside. All actors are real. Usually actor are fake, more dump than fake. but in this movie I can't see any fakes. Producer know the job. Have a sense.

The quote I like: If they go in Europe, that doesn't mean that they are good fellows!

My ten points.

Best.


Very seldom is a movie a collection of really cool photographs. Phil Joanou is an amazing director and this movie is one of my favorites. Such a cool story with some amazing actors. A total all star cast. Please give this one a shot if you like dramas that don't move so fast that its all action and no story. There are some great moments in this film. Some cool slow motion stuff. Just good, real moments. I am looking forward to more movies from Phil. As I watched this one, I just kept picturing that he must have been a photographer, a still photographer at some point. Cuz every shot is just so well done and so well lit. Not to mention the stellar acting job by everyone. Just read the list of actors and you will see how awesome it is.


This is one of my top 10 movies of all time. I still think this is Gary Oldman's best performance of his career and Sean Penn and Ed Harris were very good as well. The title of the movie explains it for anyone who doesn't understand the movie and if you still need clarification on what a state of grace is Penn's character explains it in detail in the movie when visiting Robin Wright Penn's characters apartment. The acting is superb, the story is great, the dialog is witty and dramatic. I am an Irishman but that does not make me biased. Anyone who watches this movie and "gets it" will really like it. Trust me if you have not seen this movie make sure you do. The whole movie is great but its worth seeing for Gary Oldman's performance alone.


This movie has a few minor flaws that keep it from being what i consider a classic. The first time i saw this movie, i missed the opening scene where sean penn meets with his contact before going undercover, so i didnt know noonan was a cop until he confessed it. For me this made the movie much more interesting. I think something is lost by knowing the characters secret from the beginning.

I also liked the irish-italian mafia subplot, but did not like the fact that it was the driving force behind all the key events in the film. In my opinion it would have been better left in the background. However, I admit I cant think of a better vehicle for the story. Maybe I would have liked it better if Terry wasnt a cop at all, but then it would have been a whole different movie.

State of Grace as it is is a very good movie. I found the nighttime and early morning scenes when terry is first back in the kitchen absolutely intoxicationg. The Rooftop scene with Oldman, and Terry seeing Kathleen for the first time really communicated the feeling of Terry being home after a long time, and truly being HOME.

Sean Penn and Robin Wright did a great job of portraying characters torn apart inside by conflicting feelings and loyalties. In contrast Gary Oldmans character is also torn up in side, but he has no conflict, he is happy going right over the edge.

Worth seeing for any gangster film fan if for no other reason than because it is one of the few that deals with the Irish Mob. Also worth watching at least once for anyone who has experienced conflicted loyalties or rediscovered a lost love.


Having grown up New York Irish I can completely empathize with the characters and their lifestyles. A truly first class job by Director Phil Joanua and leading men Sean Penn as Terry Noonan and Gary Oldman as Jackie Flannery. Robin wright (Penn) is excellent as Cathleen Flannery and Ed Harris is great as the elder Flannery. One of my favorite movies of all time- a masterpiece.


This is a real diamond in the dirt. The kind of movie that gets out to video too soon due to marketing failure. I saw this on video and thought that it was one of the best gangster movies I've seen, ever... You've got to give the best credit to the casting - Sean Penn, Gary Oldman, Robin Wright-Penn, Ed Harris, Nick Turturro - whoever did this piece of work was really ahead of their time. The action sequences are stunning and realistic. To summarize this movie - probably the most 'atmospheric' modern gangster movie since the Godfather.


This is the best movie ever! It features some of the best actors ever! It has the best movie showdown in history! This is definately a milestone in this movie genre!! Did I already mention, that this is my favourite movie??


When thinking of this movie, the only word that comes to mind is AMAZING. From start to finish, one of the best gangster movies ever made. All of the key actors; Oldman, Penn, Harris, and Wright, feel as if they were made to play each individual role. Right on the money. These aren't even the best parts of this film. Director Phil Joanou uses such wonderful music throughout the film and blows us over with one of the best filmed endings in the past 25 years. Without a doubt one of my top ten!!! But don't take my word for it, see for yourself. If it would only be released on DVD soon.


I never even heard of this movie, until about a year ago. I seen it for sale at blockbuster. I bought it because of Sean Penn. This is one good gangster movie that few know about. The acting is great, it surprises you and even has a pretty good love story going on. One of the best scenes you have to see, is when Ed Harris meets with his boss about killing his brother(Oldman). The tension is so strong when he tells his gang to come and back him up if he don't call by 2:oo o'clock. This is good movie making. You have to see this scene and the movie has a lot of great ones. I highly recommend State of Grace.


Although the acting is, as you would expect, excellent throughout, one scene stands out for me. Lookout for Ed Harris's reaction at the funeral when he learns the truth about Terry. This film also shows what Gary Oldman could do if he sticks to his promise of not playing any more one dimensional bad guy roles.


This 1990 classic puts us in the middle of the Irish mafia in New York's Hells Kitchen. This masterpiece tells the story of old friendships, different perspectives on life, betrayal, loyalty, and the destruction of the self. Sean Penn delivers a strong performance here, as does Ed Harris and Gary Oldman. This is overall a truly emotional and violent roller-coaster of what happens when friends grow and and the repercussions of what that means, be it good or bad. A must see for Penn/Oldman fans, and any drama film fanatic.


This really is an excellent film, one of my favourites, up there with Godfather II and Once Upon A Time In America. Sean Penn's acting has never been better, and Gary Oldman is a revelation. Ed Harris is intense and does a great job, as always. It's unusual to have a gangster film with such fine across-the-board acting.

I think this film "bombed" (i.e. didn't have queues around the line - but then who cares about that?) back in 1990 because it had to contend with Goodfellas, Godfather III and Miller's Crossing.

All in all, an accurate portrayal of Irish life in America from that time, and an acting tour de force. Also, the dialogue and action are pure Tarantino, before Tarantino was there. *****


***WARNING SOME SPOILERS*** This is the one that started it all, before King Kong, Beast From 20,000 Fathoms, Godzilla, Jurassic Park, etc. Nearly eighty years ago, this ambitious silent film was unleashed on an astonished public, the story adapted from the famous novel by Sir Arthur Conan Doyle. Although there had been silent short subjects featuring prehistoric animals before, The Lost World was the first full-length feature to introduce the concept of such outsized monsters invading a major metropolis. Today, such a plot seems terribly cliched, but it's unfair to judge The Lost World by modern standards- technically or artistically. In fact, if imitation is indeed the sincerest form of flattery, this original version of the Lost World should be blushing from the attention!

 Willis O'Brien (who had produced many short animated subjects previously) was the primary resource behind Lost World: without his expertise and participation, the movie would likely never have been completed, or even considered. The film's producers rightly figured audiences would want to see the film primarily for the prehistoric animals, so the human cast took a supporting role. O'Brien and his crew went above and beyond Doyle's story, populating the Lost World with seemingly dozens of creatures, (only a few are mentioned in the novel). The inclusion of more dinosaurs allowed the film to feature them as the primary menaces, instead of the novel's plot of tribal warfare between natives and ape-men. Except for stuntman Bull Montana as the villainous missing link inexplicably traveling in conjunction with a chimpanzee, this portion of the novel was excluded from the film.

The film varies somewhat from Doyle's novel: a group of intrepid explorers accompany the volatile Professor Challenger (Wallace Beery) to a plateau in the jungles of South America. Beery's Challenger is probably the most interesting character in the film. He's a man driven by his convictions and unwilling to back down on his arguments. In several ways, he can be seen as a precursor to King Kong's Carl Denham. Lewis Stone as Sir John Roxton provides the only real subtlety of character, an older man in love with the sole woman of the expedition, Paula White (Bessie Love). Roxton sees his chances for romance fade as Paula falls for Ed Malone (Lloyd Hughes) a younger man who hopes to make his career as a journalist on the expedition. Roxton first conveys dismay at the budding romance, then resignation as he chivalrously bows out of this romantic triangle. It's an unexpected touch of subtlety in a film that is geared towards drama and conflict.

Inevitably- because of this emphasis on the special effects- this romantic subplot seems intrusive. If only the film could have sustained such human interaction, or managed to evoke some compassion in audiences. Sadly, though the effects themselves are quite startling, the pacing and direction of The Lost World are merely serviceable. O'Brien and his crew worked wonders to create the dinosaurs and volcano eruption, but the technical wizardry is let down by the workmanlike, unimaginative direction of Harry Hoyt, who seems completely disconnected to the possibilities inherent in such a plot. Unlike King Kong, which wisely built up suspense and tension when introducing the prehistoric denizens of Skull Island, the dinosaurs in Lost World appear abruptly and without context. The brontosaurus, for instance, is first seen grazing sedately through a simple cut away from the live action, and is not shown in scale with the players until later, almost as an afterthought. The Allosaurus that stalks into the nighttime camp, contrarily, is well handled. With its eyes eerily reflecting the glow of the campfire like a jungle cat's, the dinosaur advances from the darkness towards the explorers. Even here, however, the suspense is dissipated by the fact we've already seen the Allosaurus (or another like it) attacking first a Trachodon, then a Triceratops, so its appearance in the camp is less of a shock. (Its attack, as well, is too brief).

As for the effects themselves, it is obvious that there were many technical bugs that O'Brien worked to improve upon during production: the results are mixed. Sometimes the animation of the monsters is smooth, (most notably with the Brontosaurus running amok in London) but in earlier scenes it is obvious much of the stop motion was shot using two or even three frame exposures between moving the models. This gives the animation an uneven look, and it's odd that these more primitive scenes survived into the final version. It's also strange that a Brontosaurus was selected to be loose in the finale, especially since this sequence wasn't included in the novel. Unlike Kong, the dinosaur doesn't have much motivation other than lumber through the streets. Even the collapse of Tower Bridge seems anticlimactic rather than a spectacle highlight. People are injured, but the dinosaur provides little intentional menace. Had the filmmakers substituted a flesh-eating Allosaurus as the captive that broke loose (as shown in the posters for the film!) it would have provided far more of a threat. (Hmmm, sounds a lot like ANOTHER `Lost World made 72 years later!)

The Lost World has recently been re-released on DVD in a beautifully restored (and much extended) print, culled from several sources. Most of this restored footage is of the human drama, but there are a few significant dinosaur scenes, as well. There is more footage of the dinosaur stampede, and it appears some of the existing animation was replaced by a different `take' of the same scene featured in earlier releases. On the whole, The Lost World is one of the more interesting silent films-- mostly because one can see some of the seeds of King Kong being sown here, seven years before. This version of the Lost World, while perhaps not a true classic like King Kong, nonetheless has its moments. If you're curious about the birth and development of stop-motion, or see what inspired the more recent Jurassic Park films, I'd recommend visiting this Lost World again.


More than 80 years after its release, the first adaptation of "The Lost World" remains as one of the most influential silent films ever, due to Willis O'Brien pioneer advances in the field of special effects, as it showcases the first time stop motion animation was used to create creatures on a feature length film. These innovation was of huge importance for this and future films, and earned Willis O'Brien and his dinosaurs a place in history as an iconic image in film history, only surpassed by another of O'Brien's creations: King Kong.

Based on Arthur Conan Doyle's novel of the same name, "The Lost World" is the tale of Prof. Challenger's (Wallace Beery) epic quest looking for the living dinosaurs who supposedly live in the deep Amazonic jungle, according to the journal of his fellow explorer Maple White, who disappeared in his last exploration. Maple's daughter, Paula (Bessie Love) joins the expedition looking for her missing father, as well as Sir John Roxton (Lewis Stone), an experienced hunter friend of Challenger. Prof. Summerlee (Arthur Hoyt) goes as well, hoping to prove that Challenger is a fraud, and finally, reporter Edward Malone (Lloyd Hughes) joins the expedition, hoping to prove his girlfriend Gladys (Alma Bennet) that he is brave enough to face death.

Cleverly adapted by Broadway playwright Marion Fairfax (who also adapted in 1922 another of Conan Doyle's works, "Sherlock Holmes"), the film is an excellent mix of action and adventure that even when it's not entirely faithful to the novel, keeps the spirit of wonder and fascination with the unknown. From the obsessive Challenger to the incredulous Summerlee, every character is very detailed and for the most part well constructed, giving each one of them a defined personality and a certain degree depth absent in many silent films.

However, the film's best remembered characteristic is the incredible special effects by Willis O'Brien, who after mastering his craft in short films got his first work in "The Lost World" and changed special effects forever. His imagery is very vivid, and very detailed considering the limited resources he had. Sadly, Harry O. Hoyt's direction takes zero advantage of Fairfax's story and O'Brien's effects, and delivers a simplistic and unoriginal work that adds nothing to the whole work and seems to let the cast and crew do their job. It's not a bad direction as a whole, but it feels uninterested on the many possibilities a film like this posses.

The cast is quite effective, and really does a great job with what they have, starting with legendary Wallace Beery, who as Prof. Challenger delivers one of the best performances in a silent film. Without the aid of sound, Beery shows a wide range of emotions in his complex character and is great in both drama and comedy. Lloyd Hughes is very good as the cowardly Malone, and showcases a talent for comedy as well as a romantic figure, as his character shows interest in Paula White, played by Bessie Love, who makes a fine counterpart to Hughes and delivers a natural, and fresh performance. Lewis Stone completes the cast and his dignified performance as Sir John Roxton is very effective.

It's safe to say that "The Lost World" owes more to O'Brien and Fairfax than to O'Hoyt, and that probably with a more experienced director the film would had been even better. However, the film's real problem has nothing to do with the way it was made, but with the way it was preserved during most of its history. Nowadays there is not a complete version of the movie, most home video versions are of the 64 minutes version, while one (Image) is of a 93 minutes reconstruction. And while probably that version is the closest we can be to the original runtime of the film, it sadly has modernized the dialogs, to the point that some lines are rewritten to fit our modern standards.

Hopefully, one day we'll be able to see "The Lost World" as it was intended to be, but meanwhile, we can still appreciate the enormous importance of its amazing special effects, and how it forecasts films like "Jurassic Park" in many ways. This epic tale of action, adventure and horror has probably not seen a better adaptation than this, the movie that set everything for the arrival of King Kong and changed special effects for ever. 8/10


This first, silent version of The Lost World is the best one for dinosaur fans as it has more dinosaurs in it than any other. I have two VHS copies of this, an hour long version and the restored copy, which lasts for about 100 minutes.

Professor Challenger leads a party into an uncharted part of the Amazon where prehistoric monsters still live. When there, they explore the land and see the many dinosaurs that roam it. They then decide to try and capture one of these alive and bring it back to London! They manage this and bring back a Brontosaurus, but it escapes and goes on the rampage through London, brings down Tower Bridge and then escapes down the Thames.

The stop-motion dinosaurs are done excellently by Willis O'Brien and also include Allosaurus, Tricertops and Pteranodon.

The cast includes Wallace Beery as Chellenger, Bessie Love and Lewis Stone.

This movie is a must see, especially if you are a fan of dinosaur movies like myself. Excellent.

Rating: 4 stars out of 5.


The story has been remade so many times very few people know of the original, and the best, in fact I had not even heard of it until I found a copy in my dads huge collection of old video tapes, and I decided I might as well watch it, what else to do, in the end it ended up being one of the best films I had everseen. Filled with amazing power, and the best visual effects that I have seen in any film from the thirties, much less the twenties. It also has some wonderful performances by its hole cast, and is expertly directed, in almost a Spielberg way, with the talent of Alfred Hitchcock. No matter how against watching old movies you are, you should watch this masterpiece, I have watched it over and over again, it never gets old.

If you enjoyed The Lost World, you might also like, On the Waterfront, Its a Wonderful Life, and Jurasic Park.


This was the first movie I ever taped when I got my first VCR back in the 1980's. I saw it was going to be on at 3:00 a.m., so I decided to try the programming to see it it worked. It did. I was so excited. The movie is so much fun. It has Wallace Beery as a borderline madman scientist leading an expedition to a far off island to find dinosaurs. There is a subplot of a reporter who is trying to talk him into letting him go along. There are scenes where Professor Challenger (Beery) chases and assaults this man because he hates reporters. Of course, we all know the story. They do bring back a dinosaur and it gets loose (ala King Kong) and leaves a path of destruction. The special effects are like Claymation, but one could only wonder how exciting and impressive these things were in their time. As a period piece, I urge people to see this. There are full length prints of it, not just the one some have commented on, which only shows the dinosaur scenes. If you have an open mind, you will have a lot of fun.


The Lost World (1925) D: Harry O. Hoyt. Bessie Love, Lewis Stone, Wallace Beery, Lloyd Hughes, Alma Bennett, Arthur Hoyt, Margaret McWade. The special effects film of its time, a story based on the novel by Arthur Conan Doyle about an expedition to a lost world where dinosaurs rule. The version I watched was the most complete (running 93 minutes). Being a silent film, the actual plot is hard to follow but the special effects are terrific for a 77-year-old dinosaur movie. The most complete version was compiled from 8 different sources; that probably explains why the film seems very choppy and incomplete. All in all, a historically entertaining movie and certainly recommended to silent film buffs. RATING: 7 out of 10. Not rated.


Always enjoyed the silent films and how actors were able to show their real talents by acting from head to toe with no sound at all, except the piano player in the movie house. This film starred some great Classic actors, Wallace Berry, Lewis Stone(Sir John Paxton), and Besie Love, (Miss Paula White),"The Barefoot Contessa",'54, and many more. I could hardly believe the special effects that were created in this film, I never expected to see Dinosours and prehistoric animals with movement in the year 1925. All I can say, this picture must have been a great success years ago, however, this film at times made me think about "King Kong" and how Kong escaped and almost destroyed New York City. If you love to watch what people enjoyed in the 1920's, this is worth viewing.


The Lost World 1925 is a great film.It's a classic. I'm 14 years old writing this review.Not much teenagers watch silent movies, but I do. I'm familiar with The Lost World 1960 and The Lost World 2001,both of which I enjoyed. I always wanted to see the first film version of Sir Arthur Conan Doyle's classic tale. This film has likable characters and of course, a likable storyline with a good dose of humour. The dinosaurs are good for their time. We see: Brontosaurus(or Apatosaurus as it is known now)Allosaurus,Triceratops,Tyrannosaurus Rex and more. Wallace Beery plays a good George Challenger,and all the other actors too. Accompaynying Challenger is, Paula White, John Roxton,Edward Malone and Sumerlee. The ending is also great.They bring a brontosaurus back to London and it runs amok, it also destroys Tower Bridge. This film is considered influential on films like "King Kong" and "Jurassic Park" both of which are brilliant. Although, this film has had so many versions.The one I bought runs for 63 minutes.I was hoping to get to one that runs for 93 minutes.My verdict of this film: 4 stars out of 5 stars, ****/*****


Hello and welcome to my first review. Let me start by saying that the movie is not worth watching unless you see the IMAGE DVD version. Any other version is missing half of the movie and has bad image quality and incorrect tints. For those of you who are unfamiliar with movies from the 20's, this is a silent film which means there is a musical track playing throughout the film to match what is going on and in some cases sound effects. As far as tints go, unless everything was done in studio where the lighting and other effects could be controlled, the technology at the time only allowed for filming during the day so different tints were used so show that it was daytime/nighttime, indoors/outdoors, and other events. Since the actors did not have dialog in silent films, they had to over act a bit to show you what is happening. Inter-titles(written speech/narration) cuts in and out of the film. Let it be known that this means that you have to pay very close attention to a silent film to fully enjoy and understand it.

The movie was made in 1925 and runs 93 minutes. The restoration involves the combining of 8 versions from around the world to give you the most complete version possible making this film one of the best restorations as of yet. The IMAGE DVD contains two musical scores, outtakes, audio commentary, and a reproduction of the original souvenir program in print where the insert is contained. I don't want to give anything away from the movie but I will just say that this is the first of the large monster movies and is the framework for any other movie of this kind without question not to mention that this movie is a masterpiece. Watch it a few times before you make your judgment and you will see how great it is.


I'm not a fan of silent movies - that said, the restored version I saw was decent. The dinosaurs were at least as realistic if not more than the Japanese monster movies of the 1950s and 60s. In fact, the close ups of the dino eyes in Lost World looked *exactly* like the eyes of Godzilla, Mothra, et al. I find the silent movie format tiresome but this was great to see as a curiosity piece. The audiences of 1925 must have been thrilled to see dinosaurs come alive on the screen like this.


I guess I'm sort of out of my league discussing this movie as I'm not a silent film fan and know absolutely nothing about silent films.

Still I'm going for it because this movie was good. I liked Jurassic Park and similar movies. And, of course, those had better effects. But what blew my mind was how GOOD the effects were in this movie made 70 years before Jurassic Park. I've seen worse stop-motion animation on movies made 30 years or more after this one ("The Beast From 20,000 Fathoms" and "Jason & the Argonauts" come to mind).

I never read Doyle's book and don't know if it's true to the story, but I liked the idea of the dinosaur being brought back to London and getting loose. (I like those types of movies where the big beast gets loose and wrecks things...Godzilla, Beast from 20,000 Fathoms, Reign of Fire, etc.) For all the technical aspects of this movie, you'll need to check out the other reviewers. But from a purely "watching for enjoyment" standpoint, I have to recommend this movie even if it is silent (although the disc I have has a pleasant audio accompaniment).

To sum it up, this movie is not just for silent movie buffs. I really think the average person will enjoy it. I did.


A group of explorers find themselves stranded on a plateau where prehistoric beasts still live, cut off from the rest of the planet's evolution.

This is still the best adaptation of Conan Doyle's gripping novel. It may be silent but the characters are exactly how they were envisaged in the book, the dinosaurs are well-made and there is barely a dull moment. The first film of this genre to really attract attention is still one of the highlights.


This is the movie that got me interesting in the art of film making. It's the first and adaptation of Sir Arthur Conan Doyle's classic tale. And in my opinion, the most faithful in keeping with the spirit of the story. The technical achievements of the movie are the most fascinating aspect of this movie though. Not only predating computers by a huge margin, but also predating the Dunn Optical Printer which became a standard in motion picture effects departments. The stop-motion scenes are quite lifelike, if not entirely believable. It also ranks with Jurassic Park in it's scientific accuracy, based on the knowledge of prehistoric life at the time. Occasionally, the animated dinosaurs step ahead of their time, traveling in family groups and herds. The story structure itself in this film is choppy, even in the restored length. However it is still very enjoyable and worth viewing at the very least as a curiosity piece.


OK, mabe only second best behind a certain Speilberg movie, but the first real classic. The first big-bugget (for the time) special effects movie, the first dinosaur movie and one of my favorites, one of my most prized possesions is a FULLY RESTORED 135-MINUTE VERSION! for everyone who wants to see the restored version, keep watching TCM and keep a vcr handy with some blank tapes.


This is the first film of Sir Arthur Conan Doyle's tale and significant for two reasons.

First, Sir Arthur Conan Doyle appears in the film and, since he died five years after it was released, it may be the only chance you have to see the creator of Sherlock Holmes.

Secondly, it was the first significant use of stop-motion animation in a major motion picture. The Allosaurus (I was really surprised they didn't use T-Rex), and the brontosaurus and the other dinosaurs were three-dimensional and really seemed alive. Amazing for 1925.

Sure, it is a silent film, but it had a King Kong/Jurassic Park story that was fascinating. They actually brought a brontosaurus back to London. It went swimming down the Thames at the end and I imagine is currently seen in Loch Ness.

The film features Oscar Nominee Bessie Love; Oscar nominee Lewis Stone, who was nominated in an Oscar winning film, The Patriot, which has been lost; Oscar winner Wallace Beery (The Champ, The Big House); and professional wrestler Bull Montana as an ape man.

A true classic!


Harry Hoyt's The Lost World is about as thriving an adventure picture one might try to find in the silent film world of 1925. This doesn't mean that the film overall is an incredible landmark, only in part and only there on the technical side of things. But where it does succeed is taking a sense of bewilderment and danger with an unknown world- as one would find in print ala Arthur Conan Doyle's text- and transform it into something as 3-D as possible for the period. It's flaws are mostly in continuity and unnecessary plot points (or, actually, points that could make for a more compelling adventure movie, had it been longer or more focused in B-movie terms). One might wonder why there's even a love interest angle between Paula White (lovely and most-oft scared or in good-mode crying Bessie Love) and the news reporter in the midst of all of the mayhem in the jungle. Or what the deal is with that ape-man who meddles in the escape attempts- one of those classic cliffhanger moments- even as it is cheerfully campy. And given how primitive some of the production design is, it's a wonder they were able to get the actors and the models in the same shots!

But when it does work it's classic dinosaur excitement, even when going past 80 years time. As the first stop-motion techniques used, it is extraordinary, just to see a fight between a gnarling brontosaurus and a small T-Rex-ish dinosaur, and preceding King Kong by eight years (and with many of the same crew including O'Brian especially) there's a sad quality to the dinosaurs like said brontosaurus as it wiggles all bruised and in tar at the bed of the mountain. Just seeing the stegosauroses all on the move in packs, or the first sudden image of the pterodactyl, is thrilling. It's crude and not without some jagged timing due to the nature of how silent film (when not properly restored like the DVD I watched), yet there's never a dull moment once the action starts rolling around; only Wallace Beery can add to the fun as his reaction shots as 'Challenger' are as classic as the dinos themselves. And the climax, like Kong, saves it from losing its focus once leaving the island. Only this time, as opposed to Cooper's film, we jump right away to the monster let loose in the city with a string of infamous images.

It goes without saying that there's some irony in seeing the sequence put to music that was also used in the 'romantic' moments of Barry Lyndon. But Hoyt and company's success is like that of a new model of a hybrid-car; you're getting something you're used to, like a pot-boiler of a tale tuned with a little more class and spunk, and made fresh with stuff that's "new" and "out-there". Parts may look typical and even slow, but it's also alive in ways that many CGI action films of today (Eragon I'm looking at you) fall flat completely in comparison.