Oscar Wilde wrote: "In this world there are only two tragedies. One is not getting what you wants, and the other is getting it."

To rephrase his thought, Jill suggests there are likewise only two joys... One is having God answer all your prayers, the other is not receiving the answer to all your prayers...

The four words: Your injury is permanent' slam into Jill Kinmont's consciousness like a bullet... She was a ski champion, full of life, action and beauty... Now, almost totally paralyzed after a bad fall...

Being Quadraplegic, means that every aspect in her life is different from that point on... Her total care is left up to other people: She cannot bathe herself, feed herself, or dress herself... Jill automatically suffers the effects of having no arms and no legs, and becomes incontenant as well...

Marilyn Hassett makes Kinmont a fighter whose determination initially explodes and inspires some to have unreasonable expectations of her limited recovery... She tries to reach a state of empowerment, the right to feel proud of herself, and what she is, and what she does, and to have that pride recognized as acceptable by her love ones... The tender romance between her and Beau Bridges provides some fine moments...

The film, a tearjerker based on a real case, is altogether too much of a good thing...


This movie is a touching human interest story and gives the average viewer a better appreciation of the overwhelming challenges faced by those who must deal daily with disabilities, particularly adjustment to quadriplegia. It also brings sharply to mind that this young girl, Jill Kinmont's fate could so easily in a split second be our own, resulting from a sports injury, car accident, or whatever. Jill's story reminds me of another lovely & famous quadriplegic, Joni Eareckson Tada, who suffered a diving accident as a teenager but went on to become an accomplished artist, and has a remarkable faith which is an inspiration to many.

This film is based on the real life story of Jill Kinmont, an eighteen year old skiing champion & Olympic hopeful, who suffered a severe fall down a mountain, which not only ended her skiing career but paralyzed her from the shoulders down. Jill's struggles are poignantly chronicled as she learns to cope with life as a quadriplegic and regain a hopeful spirit, assisted by her devoted family. Eventually she even finds a love interest in the form of Dick (called 'Mad Dog') Buek.

Marilyn Hassett is convincing and very sympathetic in her portrayal of the vibrant & determined young Jill, and Beau Bridges wonderful as the warm & adventuresome Dick.

A strong recommendation for this film. It paints a vivid portrait of the realities faced by those who must depend on others for personal care and simply daily tasks, also their struggle for some measure of independence and the same respect granted able bodied individuals. Hopefully, this movie might tend to impart to those of us not disabled a little more gratitude for abilities we take for granted every day. Also, this story has a very appealing heroine and a touching romance.


I am disabled and I could not sleep one night. I was flipping through the channels and I found this movie on. It brought tears to my eyes. This movie made me realize that now matter how bad things get, there is always someone worse. An excellent movie :)


I have loved this Movie ever since it's release in 77 i believe. I can not say enough in terms of touting this story's appeal to all those looking for that one movie that shows a Womans courage and determination. Beau Bridges set the standard for what I think a True Man is like. He gave a Very Fine performance! The part that truly had me crying my eyes out was when she/Jill was waiting for Dick to give her that call,but it never came. And I will not say why the call did'nt come because if I did, I would actually feel tears welling up in my eyes. The ending was VERY Poignant and also left me with a feeling like This Woman is gonna be OK. She has conquered the most devastating of Tradgedies and has emerged from it with the Courage of a True Hero! God-Bless YOU Jill Kinmont.


I have read all the comments posted here and I am surprised to see that no one of you ever mention John Denver as part of this movie music track, only Olivia Newton-Jones is mentioned. Don't you guys ever remember..."Lady, my sweet lady.." I saw this movie in mid 70' while living overseas. The tittle was "A window to the sky" subtitled "Una Ventana Al Cielo".

My friend Fernando Tabilo and I were on the phone talking about this film and he said to me that he has not been able to get a hold of a DVD of this film, or seen it played on a movie channel. Frankly, me neither, and I have not even looked for one, for I was the movie house projectionist and I saw the movie enough times to remember about it many years to come.


I visited the Star Trek Experience in 1999 and was TOTALLY blown away by the ride! I loved the experience and still wonder how all of the trip was possible (maybe it's best not to know). Too bad it's pretty much gone, but I am glad to have had the pleasure of taking the trip! To this day, I don't know how it was done. The plot of the ride is that one of the members of the group is a distant relative of Capt. Picard and that in order to prevent a change in the time line, the group members must take off in a shuttle to avoid the Klingons. The ride has the members flying through space and over present day Las Vegas. Cameos by Jonathan Frakes and LeVar Burton.


Some of it's a bit hokey, but if you're a Star Trek The Next Generation fan, or any of the newer Star Trek variations, you'll enjoy this.

It's worth the price of admission. I don't want to say anything about it so I don't spoil it for anyone. But, don't miss it if you're out there. It's fun and as realistic as they can make it.

I didn't know what to expect. And I think that's the best way for people to enjoy it the most. Simply walk into it. See all the planning and behind the scenes stuff for all the Star Trek generations. Then, just plan on enjoying the "experience".


I was actually at a bachelor party in Vegas when we decided to split up for a few hours and I rushed straight over to the Hilton.

It was great to be surrounded by all things Star Trek. In fact, you can tell the exhibit hasn't been updated much since 1998, as everything was referencing Star Trek at that time. But that was also when Star Trek was in its prime, so it really brought be back.

As for the ride itself, I could tell it was pretty dated but it was still fantastic. The only thing I wished was that they had upgraded to digital projection, as the images were all kind of dark. But all in all, it was fantastic. Reminded me a lot of Back To The Future: The Ride at Universal Studios.

****SPOILERS**** Okay, I have to admit I was totally taken by surprise. I was expecting a halfway decent shuttlecraft ride and was BLOW AWAY when I realized I was the Enterprise transporter room. THEN we got to walk through the Enterprise corridor THEN go on the bridge. THEN going into the to the turbolift on top of the was a real treat. I was totally able to wrap myself up in this world.

****END SPOILERS***** The only thing that I got depressed about was that the Star Trek franchise is at a standstill right now, and this reminded me of everything I loved about it


Very well done, you enter expecting to go into a "back to the future" type ride and then they "transport" you onto the Enterprise (They actually change the floor underneath you!) You get to battle Klingons on the bridge, ride a turbolift, etc. One of the best ways to spend a few dollars in Las Vegas.


Picture the scene,me and a buddy are on holidays in Gran Canaria.Its a cloudy day so we decide to stay in our hotel room and sample a random day time film.We flick to channel 6,THE MOVIE CHANNEL.

We settle down to watch a film entitled ANGEL FLIGHT DOWN........sounded promising,I always like watching disaster films especially ones involving planes.We start to watch the film,immediately I recognise David Charvet from Baywatch fame although I'm too embarrassed to tell my mate I actually remember his face so....I keep quiet.The films plot involves a GRIEF-STRICKEN child in need of urgent medical assistance,so urgent,they needed an angel flight,unknown to them,it was going DOWN,hence the title,Angel Flight Down.

Its a snowy night,but they just gotta get that kid(terribly played by Deanna Milligan,for the whole film she makes silly noises that is supposed to portray a sick child)to the hospital.The plane takes off and everything seems fine but ten minutes into the journey,something.......goes wrong.The engine fails.At this point in the review I must point out that the plane going down scene is pretty good with outdoor and indoor cockpit shots of the disaster about to happen.

The plane crashes in the snowy mountains but all inside survive the crash.OK,this review is a bit long winded so I'll cut to the chase,the acting is god awful,terrible,shocking,diabolical. After I watched the film I felt violated.After the plane crash we are left with an hours worth of bilge of a film.The people in the plane try to stay warm and for some reason one of the people gets out of the plane and rants and raves for a bit only to walk back inside the plane for absolutely NO REASON.

Obviously,in the end,all the people in the plane are rescued by live helicopters and David Charvet learns to be a better man blah blah blah.Terrible film.....seriously,how do people who make these films sleep at night?If you want to see a half decent disaster air-plane movie go rent out Alive.


I just watched the movie again and would like to restate how good it is! It's suspenseful! It's adventurous! Survival! The little "Justin" boy is the comic relief of the movie. But there also are some weaker parts of the movie, but it is still strong and great for the whole family! "Two Scoops!"-Daniel Busheikin, Part of Justin. David Charvet puts on an amazing preformance! The plot is about a plane crash! That's all I can say without ruining it!


at first I had no intention of watching this movie well at first i didnt then i watched the last half hour of it and it really held my attention the next day it was on again. this is a wonderful flim with great acting im not saying its for everybody but pretty much everyone will enjoy it.If its on it is worth watching.


As a pilot rated in both airplanes and helicopters I was appalled at the gross lack of technical accuracy in portraying the in flight emergency. I can't believe that with all the aircraft used in this film that the producers did not get any technical advice. The engine problem was never accurately portrayed and even a trainee on twin engine aircraft would have known to feather the prop so it would not be windmilling and creating more drag. An emergency locater beacon is required on every King Air aircraft of the type used in the film would have pinpointed the aircraft's location quickly. I hate it when aircraft movies feed more inaccurate information to an audience which may be fearful and unknowledgeable of aviation. The story was also unrealistic when I discussed it with friends of mine who are in the medical transportation field. The producers should be penalized for such an ignorant attempt of a film.


TV flying movies usually have cardboard sets and phony shaking cameras and lame shots of wrong aircraft types. Not this one.

As someone who remembers the true story this movie was based on, and as a private pilot I take off my hat. The story is a bit weak - what TV movie isn't? But the sense of fear one gets, trapped in the mountains, hurt, out of touch, beyond all help, freezing to death, is really exciting and I think accurate.

The aviation sequences were amazingly detailed, true and well shot, way more than many big features, like Turbulence and Alive, both of which fell down in the accuracy departments. Good work.


What do you get when you combine an Aussie celeb and her hubby, a video camera, some Bondi regulars, and sexism and sleaze galore? The answer? Dust off the Wings.

This film has been reviewed positively here on IMDb, but it's hard to see why ... Now, those who follow my reviews will know i appreciate some 'low-grade' stuff ... But this is really bottom of the barrel ... Basically a collection of (overlong) shorts of bloke surfing, blokes going on about the last 'chick' they scored, blokes and chicks getting tanked and discussing that gendered 'double standard', blokes and chicks getting their rocks off like they told their mates/girlfriends they do ...

Not much of a plot, no character development. Most appealing character is Kate Ceberano's, and she and her husband made the film (funny that!) And did anyone catch who the bride actually was? I finished watching the film a few hrs ago, i can't remember her!! The title refers to a metaphor, but one that is so plain dumb it's not worth repeating. And don't get me started on this movie's sexual politics!! 'Dust' is the love child of 'Kids' and 'They're a Weird Bunch' - except it makes those films look like revolutionary film-making! If that excites you, tune in. If not ...


Lee Rogers has a unique, sharp style -- both in shooting/laying out a scene, and story-telling. I know he has done several Aussie commercials, but Iwould love to see him do more features. Any in the making? I recommend this film highly for people new to Lee's work. I suppose what attracted me to this film initially was the star, Kate Ceberano, who I know as an incredible singing sensation from Oz. Who knew she could act as well? Maybe it was her director-husband who coaxed that out of her, but the result is still a star-turn for both her AND her husband. I know she has done more music videos, but I would also like to see her in more feature work. Maybe the two of them can work again together soon? I for one will be there in line to watch their work.


A story of a groom going through the pre-wedding dilemmas of manhood and loyalties. A uniquely told story by talented director Lee Rogers. The raw style captures the lifestyle and heartbeat of the ozzie beach scene in sydney, or more specifically, Bondi beach. Great performances by all cast members, including singing sensation Kate Ceberano. Very relatable storyline that is heartfelt and honestly told. A bunch of unique characters that are fun and humorous and make for good comic relief. Surfing in the nude is always fun to watch, i don't care who you are. Definitely worth watching for wit and charm that is brought to the table by this troupe of Australian surfers and their friends.


I could understand why some people wouldn't find this funny - if you didn't absolutely connect with the humour that's involved, you'd almost describe DUST OFF THE WINGS as annoying. But, if you've ever glimpsed Sydney's party-surf-party-surf-party lifestyle, you'll know what this film's on about, and the humour is undeniably aussie. Kate Ceberano is surprisingly good; there are some fantastic and memorable quotes ("I'm opening a brothel." "Yeah? What's it called?" "C***s-R-us"); the acting, while not brilliant, is funny at least. If you want to see Sydneysiders making fools of themselves, DUST OFF THE WINGS is the ultimate viewing experience.


In less than 5 years, the cinema had made a gigantic jump from the short "documentaries" of the early pioneers (Le Prince, Dickson and the Lumière brothers) to the amazing Cinemagic of french director Georges Méliès, who became one of the first filmmakers to focus entirely in making fiction movies. Ever since he watched a movie for the first time (as a member of the Lumières' first audience), Méliès was convinced of the enormous potential of the new invention as a form of entertainment, as as soon as he could he started to make his own films. By 1901, stage magician Georges Méliès had already 5 years of making films and experimenting with special effects, and his movies were well-known around the world as the finest films of his time. With his many discoveries in the field of special effects, Méliès was able of making films that looked like real magic, and his movies became more complex with time, and even more fascinating.

"L' Homme à la Tête en Caoutchouc" (literally, "The Man with the Rubber Head") is another one of Méliès' many "trick films", which were short movies that showed him making an impossible magical trick. In this movie, an alchemist (as usual, Méliès himself) is preparing a strange experiment in his laboratory. The alchemist puts an odd devise on a table, and connects it to his bizarre creation: a living copy of his own head (Méliès again) that stands over the table without a clue about what will happen to it. Using an air pump he connected to the head, the alchemist begins to blow, and the living head begins to increase its size as if it was a balloon made of rubber. The head reaches a gigantic size, but the alchemist decides to release the air from it as he fears the head may explode. Proud of his invention, the alchemist decides to show it to his assistant (quite probably played by his wife Jeanne d'Alcy, but this is not confirmed), but the assistant may not be as careful as he was.

As in many of his early shorts, this movie is a "gimmick film", in other words, a movie devised around a special effect in order to show it like a magician would make a trick. In this case, the movie combines an excellent use of multiple exposures and editing to create the two heads, and a remarkably creative use of zoom to create the illusion of a head increasing its size. While a quite simple trick to our modern standards, the effect achieved is one of Méliès' most amazing and better done special effects, making "The Man with the Rubber Head" one of the best "gimmick films" in the Cinemagician's career. However, this short is more than an excellent gimmick, as what makes "The Man with the Rubber Head" different from his earlier films (and the similar movies of his competitors) is the care Méliès put to create a "story" to his trick.

While in his first films he simply appeared as a magician doing his show, in this movie there is a set build for the scene (instead of a simple circus stage), and while simple, the movie is clearly set in the middle ages. This gives the movie a distinct atmosphere, and already shows the path that Méliès was taking at that stage in his career, as that very same year he would start making his now famous series of fantasy films, which would be far more complex than his "gimmick films". One can say that it was with in those movies where Méliès tested his craft before making his masterpieces like "Le Voyage Dans la lune" the following years. 8/10


The very early French film director Méliès was super-famous for his trick cinematography. He deserved this fame for such standout films as Le Voyage Dans le Lune and I personally think he was the greatest movie maker of his age. Compared to Edison and Lumiere's films, his movies were always superior--featuring great sets, stories and camera-work. And, compared to later luminaries such as D. W. Griffith, I think Méliès' films are much more watchable today.

This film features the director's disembodied head as the star. Believe it or not, this was not very unusual for Méliès, as I have seen several films where his disembodied head performs! This is very clever and funny and it differs in this case because the head it enlarged again and again using a pump until it ultimately explodes! And, for the year it was made, it looked amazingly real! Funny stuff indeed.

If you want to see this film online, go to Google and type in "Méliès" and then click the video button for a long list of his films that are viewable without special software.


Melies had a sense of playfulness about his films, and this is one of the more amusing ones: Melies takes a head -- which is Melies' head, attaches it to some bellows, and blows it up like a balloon. True, there's no deep thought involved, but there needn't be. It's less than a minute and easily sustains the one joke.

Melies was inventing techniques as he went along, borrowing from other media, just as D.W. Griffith shortly would. There is an exuberance in seeing something done for the first time that is sorely lacking in later uses of the same editing effect. I suppose it's because Melies was having fun himself.


Okay so maybe I am just biased by my unending adoration for David Bowie but I am also a big fan of great games and this is one. Interesting plot to this RPG that is not overdone. The music and scenarios are unique from every other game I have played. Lovely :)


This game is in a very real sense, very good. You are the Nomad Soul - a disembodied spirit in a hostile world. You must possess the inhabitants and use their bodies in order to free the world of Omnikron from its demonic overlord. During your (third person perspective) adventure, you will encounter 3d fighting sections, 1st person shooting areas, and concerts by David Bowie himself in seedy nightclubs!


This film *is* the Robin Hood of the screen: it's merry and witty, tender and bold, impudent, dashing and brightly clad... and an undoubted legend in its own lifetime! I recently had the chance to see it in the cinema for the first time, with the release of the remastered print, and wondered if it could possibly hold up to televised childhood memories. The joyous answer is that indeed it does. It's not only the breathtaking adventure I remembered; it's a fiery and surprisingly gentle romance that isn't afraid of laughs.

It's unthinkable, once you've seen it, to imagine this film with anyone other than Errol Flynn. Every subsequent interpreter has had to struggle to reclaim the part from the memory of his roguery and grace - and most modern 'Robin's have been handicapped by an insistence on authentic mediaeval murk and grime. In the 1930s, with Technicolour the latest craze, mud and homespun were the last thing a studio wanted. Flynn's Robin Hood sports the Lincoln green of legend and a forest as brightly coloured as a painted backdrop, and the rich furs and silks on show at Nottingham Castle are straight out of fairy-tale; or an illuminated manuscript.

The story itself is purest escapist magic. Greedy barons, a wicked usurper, a rightful king in exile, and a proud beauty in distress... and, of course, England's eponymous outlaw hero, robbing the rich to give to the poor with a jest on his lips in true swashbuckler style. The script sparkles. And the stunts, in those days before wire-fu or CGI, are all for real and still take the breath away. Flynn was in superb physical condition at the time - co-star Basil Rathbone, who played his proud opponent and would-be suitor to Marian's hand, Guy of Gisbourne, described him simply as 'a perfect male animal' - and misses no opportunity to show off his flamboyance.

Unlike today's pretty-boy heroes, however, Flynn shows a surprising talent for acting with his face alone. The expressive reaction shots throughout his boudoir scene with Marian tell a different tale to the quickfire banter of his words, and, like Marian, despite ourselves we are drawn in. Olivia de Havilland, as Marian, is somewhat ill-served by her period costume - she is at her most beautiful in this scene, without her hair confined in her wimple - but together they duel their way through a classic tempestuous romance of the high-born lady and the outlaw, ultimately risking their lives to save each other. Marian is no anachronistic action heroine, but no-one, not even Robin, can keep her from what she thinks is right.

As Guy of Gisbourne, Basil Rathbone is also playing one of the landmark roles of his career, and gives a superb performance. His Gisbourne is no cardboard villain, but a clever, arrogant man, who matches wits and blades with Robin as a worthy rival, and whose courtship of Marian is not without grace. And his wily master, rufous Plantagenet Prince John (Claude Rains, in a small but well-cast part) is no fool either. He knows precisely what he wants and what he can get away with, wasting no time in bluster or empty threats.

Comedy of a broader nature is provided by the cowardly Sheriff of Nottingham, and by Bess, Marian's maid. But even Bess's farcical courtship with timid Much (she has buried more husbands than he has had kisses) is not without its tender moments, and perhaps only the Sheriff is entirely a cut-out figure of fun.

Few people can whistle 'the theme from Robin Hood'. But the famous Korngold score, with its full orchestral depth and rousing fanfares, is as familiar today as it was seventy years ago, when it won its Academy Award. From the faultless casting through unforgettable pageantry and timeless romance to the final spectacular duel, when Robin and Gisbourne meet "once too often", this picture richly deserves its reputation as *the* Robin Hood on film - from which on present showing it is unlikely ever to be dethroned.


Michael Curtiz received only a single Academy Award for directing the best of wartime espionage movies "Casablanca" but made great classics like "Captain Blood", "The Charge of the Light Brigade", "The Sea Hawk" and "The Adventures of Robin Hood," orchestrating enthusiastically great stars and skilled technicians... He refined with charm and elegance plot and character with fluid camera movement and exquisite lightning, mixing action with peculiar sense of humor capturing with brilliant photography the natural look of Sherwood Forest, the cool tones of Nottingham Castle and the inn at Luton with its crackling fireplace...

The film had great marvelous scenes: When Robin decides to tackle with a staff Little John (Alan Hale); Robin's swordsplay with the gallant Friar Tuck (Eugene Palette); Robin and his Forest outlaws giving a warm welcome to Lady Marian and to the treasure's wagon lead by Sir Guy and the High Sheriff ; The Archery Tournament; Robin's Merry Men entering Nottingham Castle; and the magnificent final duel, with a masterful score, between Robin & Sir Guy...

Errol Flynn was the best swashbuckler of the sound era... He was ideally cast as the Saxon knight Sir Robin of Locksley who became a rebel outlaw robbing the rich to feed the poor... With his Merry Men he saved Saxon England against Norman ambitions... His most frequent enemies were the noisy High Sheriff of Nottingham (Melvin Cooper), the evil Bishop of Black Canon (Montagu Love), the eloquent chief conspirator Sir Guy of Gasbourne, and Prince John...

Flynn's splendid figure 'leaping, jumping, scaling and swinging' made him a great leader of men sheltering the old and the helpless... He was a romantic hero 'twinkling' with malice, gallantly courting the exquisite Olivia De Havilland...

Olivia De Havilland was a pretty and delicate woman in love with a brave and reckless outlaw...

Basil Rathbone, superb as the arrogant Sir Guy of Gisbourne, spreads terror by torturing, rivaling Robin for Lady Marian...

Claude Rains was the treacherous prince John who orders his Norman knights to oppress the helpless Saxons suffocating them with thefts, and burning their farms... He vows that Robin must be captured...

Winner of 3 Academy Awards (Art Direction, Original Score and Film Editing) "The Adventures of Robin Hood" is a delighted tale of high adventure, a tale of action and colorful pageantry, a great film for all the family...


This is it; this is THE classic movie I grew up adoring as a kid. It fueled my dreams of knights and ladies, made me fight battles against evil enemies in our backyard and inspired me to conclude my quest with honor, courage and romance.

"Robin Hood" features all the criteria of a masterpiece: great actors, a great staff, a great plot and a great overall product. Plus, this movie contains elements which, as normal as they may seem today, were revolutionary back in the late 1930s: a full-scale blockbuster that finally triggered the success of Technicolor and color movies as such, production costs of an astonishing 2 million dollars, sophisticated sword-fighting and arrow-shooting that even the masters of today's action sequences respect, a great score used to underline the peculiar character of every scene, huge crowds of people fighting simultaneously and a romantic couple of Errol Flynn and Olivia De Havilland, who in their emotional harmony may be unrivaled to this day.

Even though this was a super-modern state-of-the-art blockbuster, "Robin Hood" has maintained a curious innocence which still strikes me today. Women are not raped; they are merely pushed around, but the message is loud and clear ("the mistreatment of our women"), and Prince John's soldiers can be knocked out by a wooden table instead of being martially hacked into pieces by the film's hero. In its entirety, "Robin Hood", though presenting so much hardship and violence, is as smooth and gentle as they come, just like a ferry-tale banned on celluloid.

Of course, some may say that no other than Douglas Fairbanks is the original Robin Hood, and they may be right, but this "Robin Hood" is far from being a mere remake: It is another, even greater original. Today, of course, "Robin Hood" may seem simple and outdated, but this movie possesses more atmosphere and character than any other film I have ever seen.

Sure, "Robin Hood" has its weaknesses, ranging from poorly-concealed Sherwood trampolines to crooked prop swords, and in some of the shots, the continuity is simply terrible, but much like with a beloved person, I cherish each and every one of those imperfections and would not have them changed for anything in the world.

I have decided to give this movie a 10 out of 10 score, which does not mean that it is perfect, but in my opinion, its status as a timeless masterpiece, to be enjoyed by people for generations to come, and its revolutionary approach and features, which I mentioned above, allow no other judgment.


Historically, this film is a heap of hooey. If Robin Hood ever existed, he would have lived about 150 years after the period in which the film is set. Modern historians are of the opinion that good King Richard and bad King John should be the other way around. This film should be thus regarded as fantasy.

The fact that so many Robin Hood films have been made since, and not one of them remotely measures up to The Adventures of Robin Hood shows just how good the film is.

Favourite scenes? Well, there's the scene in the great hall at Nottingham castle where Errol Flynn gives cheek to everyone. The escape, the ambush and the final showdown with Sir Guy of Gisborne. (Basil Rathbone makes a superb villain.) I'm very impressed with the sharpshooting. This was done by Howard Hill. Howard Hill appears a few times in the film. In the escape from the great hall he is the only archer among Guy of Gisburne's crossbowmen. In the archery tournament scene, he is Owen the Welshman (in spite of what it says in the credits at the end.) It has been said before, and I'll say it again: Errol Flynn did not play Robin Hood; he is Robin Hood.

Performancewise, the cast are superb, with hardly a poor performance among them.

I did at one time think that Una O'Connor was hamming it up a bit. However, I have recently worked in Buckinghamshire with a woman with exactly the same accent and - yes - exactly the same laugh. (Absolutely true). Therefore, Una O'Connor, who plays Marian's servant who resembles Chaucer's Wife of Bath, is brilliant!


You know that there are things in your life that you just derive a great deal of comfort from. It may be an old worn jersey, a hot cup of tomato soup on a cold day or the simple smile of your children. All these things are true for me and I will add The Adventures of Robin Hood to that list.

I first saw the film when I was a small boy and I have deliberately avoided buying the DVD on the basis that over-familiarity could breed contempt. I much prefer the serendipity of finding it scheduled on a wet winter Sunday afternoon. Then I can relax in front of the fire and just revel in Errol's hammy balletic performance as Hood, or the simply too-beautiful-for-words Olivia in soft focus or the delightfully dastardly duo Rathbone and Raines...superb!

Just do yourself a favour occasionally and let this Technicolour wonder wash over you - forget that it bears no relationship to actual history; just accept this Hollywood version of how England once was (and should still be).

Cheers!


This is undoubtedly the best filmed version of the Robin Hood legend ever made. Errol Flynn leads a remarkable cast that seems to jump off the screen in their Technicolor brilliance. Flynn seems born to play this role (or any Swashbuckling Role for that matter). I urge all fans to read his highly entertaining autobiography My Wicked, Wicked Ways. After reading it you see that if he wasn't born to play these types of roles then he certainly spent his life practicing for them. The co-director Michael Curtiz is responsible for so many of the films one thinks about when the 'golden age of the studios' is mentioned  the list is amazing with Casablanca and Yankee Doodle Dandy among them. And just listen to the music! Erich Wolfgang Korngold's musical score is without a doubt one of the finest pieces ever written for the silver screen. If you are a listener of classical music on the radio you are bound to hear the score to this film at least a few times a year. One cannot blame Hollywood for not matching this level of perfection in other Robin Hood versions. Does lighting ever strike in the same place twice?


I am almost ashamed to say it,but I only recently saw this film for the first time at the ripe old age of 36.After it was over, I thought,"Why on earth did I wait so long?".This is really a fun movie full of adventure,romance,with a healthy dose of laughs. Errol Flynn,by far gives the most credible performance of the Robin Hood character.He oozes charm and wit,here.This film is a great trip back to a special time in movie making when we didn't need extreme sex and violence to entertain us.Now that I have seen it,this movie definitely goes on my video shelf.If you have children,or if you love to feel like one,as I do,I highly suggest you give this a look.Great film.


Although my personal favorite among Errol Flynn's films is The Sea Hawk, most will argue that his career role was this one in The Adventures of Robin Hood. It certainly has a deserved enduring popularity that's lasted for generations.

Just about every version of the Robin Hood legend from Douglas Fairbanks's silent classic to the one in 1997 with Kevin Costner, deals with the same story facts. A young nobleman, deprived of his lands and title by Prince John and his cohorts, takes to Sherwood Forest and gathers a band which practices their own form of financial leveling. Robbing from the rich and giving to the poor until the day comes when good King Richard the Lionhearted comes back from the Crusades and sets things right.

Were there ever a more attractive and idealistic a pair of young lovers on the screen than Errol Flynn and Olivia DeHavilland? If there were, I'd be hard pressed to name them. They did eight films together from 1935 to 1941 and this one is probably the best. Errol all dash and charm and shy and retiring Olivia who just lights up the screen with beauty and romance.

Directors Michael Curtiz and William Keighley photographed this in some gorgeous technicolor. And they put together an almost perfect cast. You can't tell at all which scenes were directed by Curtiz and which by Keighley so seamless is the film's fabric.

The small roles are truly memorable. The best comic moments in the film come from Melville Cooper, the not quite so bold Sheriff of Nottingham and from Herbert Mundin and Una O'Connor as Much the Miller's Son from Robin Hood's band and DeHavilland's maid. Herbert Mundin was the first one in this cast to die, he was killed in an automobile accident just two years after this film was finished. He was a funny little man who played nervous types, a kind of English Don Knotts. But in what was probably his career role, he literally decides the fate of English history here in a superb act of bravery. We expect bravery and courage from the Errol Flynns on the screen, but Mundin's performance shows the virtue can be found in some of us you wouldn't expect. His is my favorite performance apart from the leads.

Basil Rathbone and Claude Rains make a superb pair of villains as Prince John and Guy of Gisborne. Rains covets the throne and Rathbone covets Olivia. They both provide the right touch of menace and make their performances real.

As I write this Olivia DeHavilland is the last surviving member of this classic film. During her career she fought hard with her studio to get roles where she would be more than the crinoline heroine waiting for her man to finish his brave deeds. She knew her worth and talent and got a pair of Oscars to prove it.

Back in the day DeHavilland dismissed films like The Adventures of Robin Hood. But several years back she attended a revival of both The Adventures of Robin Hood and Dodge City two very different type films she did with Errol Flynn.

As she watched it she saw the reverence and respect the audience had for both of these classics. When they were over she got a stunning ovation and she confessed that looking back now, she was real proud to have been associated with these films.

You have every reason to be proud Olivia. And we're real proud of you.


How does one start a commentary on such a perfect specimen of film making? Is this exaggeration. I think not.

Every aspect and element of the movie is absolutely top of the line in the cinematic Arts & Sciences. Once again, where to start? Casting is so important. Who could find a better line up of Actors than this. Starting with Errol Flynn. Never was there a better screen Robin Hood; not Douglas Fairbanks, not Richard Green, not even Kevin Costner. Mr. Flynn was sure a handful for the studio in real life and a lot of this surely rubbed of on his screen persona. Added to a great Athletic ability, probably a natural athlete.* Next, we have delicately, beautiful Olivia de Havilland who brings not only her feminine pulchritude to the movie, but also an innate sense of class and intelligence too. Her Lady Marion was much more than a helpless female. Was she a damsel in distress? Oh, most surely she was that, but not a screaming, whiny helpless girl.

Basil Rathbone (Sir Guy of Gisbourne) was perhaps the best villain in the business. Next to his characterization of Sherlock Holmes in all those films (and some Radio & TV work as well), as well as being a top fencer. Ironic it is that this master swordsman lost so many screen duels with the likes of Errol Flynn and Tyrone Power (THE MARK OF ZORRO).

Claude Rains as Prince John gave th story a somewhat foppish, prim and prissy version of a Bad Monarch, which this future King John surely was. His type of person could never do some of the assignations and executions that he ordered, but saw no difficulty or remorse in ordering underlings to do so.

The rest of the cast reads like a who's who of British Actors in Hollywood or a role call of regular Warner Brothers players. Just consider the following: Melville Cooper (Sheriff of Nottingham) Una O'Conner , Alan Hale (Little John**), Eugene Palette (Friar Tuck), Patric Knowles (Will Scarlet) and so on and so forth, en ad infinitum! To these talents add the great sets and the forest of the Pacific Northwest. They had such great Castles, Towns and Tournament Fields. And how could simple B & W film do any justice to the beautifully tailored, multi hued costuming. This is Technicolor Work at its very best! Please let's not go any further without remembering our sense of hearing, or namely the musical score. The theme (Overture) and the incidental music by Erich Wolfgang Kornkold is at once classical, exciting and multi-faceted. It plays no small role in moving the story along as well as underscoring action, danger, solemnity and even humorous moments. It belongs right up there with compositions by some of the guys like Mozart, Beethoven, Brahms, Tchaikowsky, Chopin, Rossini, etc. (you get the idea!).

A well written, tight, intelligent script was the foundation for this once in a lifetime true work of Art. When a fine script meets able talent in the Director's chair the two elements act to make the final product even better and better and better.............

* Errol Flynn was a member of the 1928 0r 1932 Australian Olympic Boxing team, a talent that no doubt, made him a candidate for the Lead in GENTLEMAN JIM four years later.

** Alan Hale, an all purpose supporting player who portrayed a tremendously wide variety of types. From Mongol Chieftan Kaidu in MARCO POLO to James Cagney's Father in THE STRAWBERRY BLONDE. He must have really liked portraying Little John, for he was the Big Quarter Staff Man in Douglas Fairbanks' silent screen ROBIN HOOD(1922),a role he re prised not only for this picture but also for ROGUES OF SHERWOOD FORSET (1950).


Simply put, this film is the best version of Robin Hood and one of the best adventure films ever made. It's the golden age of Hollywood at it's best. Errol Flynn is Robin Hood for me, dashing, roughish, athletic and Olivia deHavilland the most beautiful and charming Marian. Add to that Basil Rathbone and Claude Rains as Sir Guy and Prince John, two of Hollywood's best character actors. 102 minutes of pure fantasy from a creative team totally on top of it's game, not forgetting the marvellous Korngold score!

OK, all well and good, but the HD DVD version I bought this week was restored using a process invented by someone at Warners called Ultra Resolution that digitally re-aligns the three strip Technicolor film to the original state it was in when shot in 1938. The result is amazing, the detail is such that you can count the chain mail rings and see the embroidery on the costumes. As for the colour you can see why they used to call it Glorious Technicolor, it's like a painting brought to life. Stunning. Even my gf, who normally won't watch anything made before about 1980, came in when the film was just starting and ended up watching the whole movie with me and enjoyed it!


Possibly the greatest (and most celebrated) of swashbucklers, it's also the best Robin Hood film (once again improving on Douglas Fairbanks' already impressive Silent version) and Errol Flynn's finest hour: delightful script (not only providing several great lines for the actors to sink their teeth into - Claude Rains' Prince John in particular - but it's put in the service of a plot which remains absorbing despite its over-familiarity), beautiful three-color cinematography (by no less than three top-notch cameramen!) and costumes, an outstanding and Oscar-winning Erich Wolfgang Korngold score (he virtually composed all of Flynn's swashbucklers and some of the best Warner Bros. films from this period), expansive sets (Hollywood credibly standing in for 12th century England - Carl Jules Weyl's art direction receiving another Oscar, with a third going to Ralph Dawson's exciting editing).

It might well be the epitome of Hollywood entertainment during its golden era with the colorful legendary characters - all flawlessly enacted by one of the best casts ever brought together for one film - supplying comedy (and not just that involving Una O'Connor and Herbert Mundin, which I didn't find as icky as I remembered it!), drama and romance (Flynn and Olivia De Havilland's Maid Marian not only are cinema's last word on this famous fictional couple, but their pairing here also proved to be the highpoint of their lengthy on-screen collaboration which stretched to 8 films); not forgetting, of course, countless unforgettable and stirring action scenes: the ambush in Sherwood Forest, the contest for the Golden Arrow, Robin's escape from the gallows, the final storming of the castle (highlighted by one of the best-remembered duels ever to grace the silver screen between Flynn and Basil Rathbone's Guy of Gisbourne), etc. Interestingly, three actors - Rathbone, Eugene Palette and Montagu Love - would go on to co-star together again in another equally renowned swashbuckler, THE MARK OF ZORRO (1940; which I also just rewatched): Love, then, can be seen as well in yet one more similar film - the definitive 1937 version of THE PRISONER OF ZENDA (which is forthcoming on DVD from Warners as part of a "Literary Classics Collection" and coupled with its inferior 1952 scene-for-scene remake); incidentally, all of these classics virtually constitute the three top titles in the entire swashbuckling genre!

Curiously enough, the film was started by William Keighley (apart from having helmed the Flynn swashbuckler THE PRINCE AND THE PAUPER [1937], he had been responsible for Warners' previous venture into three-strip Technicolor GOD'S COUNTRY AND THE WOMAN [1937]). However, studio executives were dissatisfied with how the action sequences had turned out and summarily handed the film over to Michael Curtiz - who had directed Flynn in his two most popular vehicles up to this point, CAPTAIN BLOOD (1935) and THE CHARGE OF THE LIGHT BRIGADE (1936); neither he nor Flynn, apparently, were happy with this decision as they despised one another: nonetheless they made all of 12 films together, several of them bona-fide classics.

In the end, this has certainly made me want to pick up the "Errol Flynn Signature Collection" (also featuring a documentary on the notorious star) a.s.a.p. - especially since I haven't watched these films for what seems like ages - but I won't be doing so immediately, given that a second set is actually coming in March; that said, of the 10 films included, only 1 will be a first-time viewing for me - THE DAWN PATROL (1938) - but it would still be great to have these childhood favorites readily available on the new medium (rather than in the worn, and often colorized, prints I've had to make do with up till now)!

Needless to say, there have been scores of films about this popular character and, going by the IMDb, apart from the afore-mentioned 1922 Douglas Fairbanks ROBIN HOOD, I've also watched the following: THE STORY OF ROBIN HOOD AND HIS MERRIE MEN (1952; a live-action Walt Disney version), SWORD OF SHERWOOD FOREST (1960; a Hammer Films effort directed by Terence Fisher and co-starring Peter Cushing as the Sheriff of Nottingham!), ROBIN HOOD (1973; the Disney animated feature), ROBIN AND MARIAN (1976), ROBIN HOOD (1991; TV) and ROBIN HOOD - PRINCE OF THIEVES (1991). Still, the IMDb listings appear to be incomplete, as at least the first two among those I would like to watch are omitted: THE BANDIT OF SHERWOOD FOREST (1946), ROGUES OF SHERWOOD FOREST (1950; Alan Hale's third and last stab at the character of Little John, following those of the 1922 and 1938 classics!), THE MEN OF SHERWOOD FOREST (1954; if only because it's directed by Val Guest), ROBIN AND THE 7 HOODS (1964; a musicalized version featuring The Rat Pack and reset to 1920s Chicago), A CHALLENGE FOR ROBIN HOOD (1967; another Hammer Films variation), L'ARCIERE DI SHERWOOD (1970; a "Euro-Cult" obscurity directed by Giorgio Ferroni and starring Giuliano Gemma) and ROBIN HOOD: MEN IN TIGHTS (1993; the inevitable Mel Brooks spoof which, amazingly, I've yet to catch up with in its entirety!).


In 1938 Australian-born motion-picture actor Errol Flynn won the heart of Maid Marian (Olivia de Havilland) and defeated his evil foes as Robin Hood in "The Adventures of Robin Hood", a legendary motion picture about a Saxon knight who steals from the rich and gives to the poor oppressed people of England, based on the well known English medieval legends. Released in 1938, the film won 3 Academy Awards for art direction, film editing, and musical score, and it was nominated for that of Best Picture. It was also Selected for Registry by the National Film Preservation Board (1995). "The Adventures of Robin Hood" is listed among Warner Bros. Studio's classic films and biggest hits and solidified Flynn's image as the dashing young swashbuckler hero who always saves the day. Robin Hood (played by Errol Flynn) fights against the villainous Prince John (Claude Rains), who took control of the kingdom as regent when King Richard (Ian Hunter) was captured in Austria during his return from the Holly Lands after Third Crusade's end . Prince John conspires with Guy of Gisbourne (Basil Rathbone) and certain Norman Knights against his brother Richard the Lionheart so to become a King and oppresses the poor, yet faithful to Richard, Saxons. Robin Hood and his brave men waylay caravans that travel through Sherwood Forest, including one carrying Maid Marian (Olivia de Havilland). Robin Hood woos Maid Marian and helps King Richard regain his throne. Even based on legends, the movie has a quiet accurate historical set and a very interesting depiction of the conflict between Norman conquerors and Saxon vassals, in medieval England. In my opinion this is one of the greatest film ever made in Hollywood. Undoubtebly it's the definitive Robin Hood version, where Errol Flynn surpassed Douglas Fairbanks who had played the same role in 1922. Kevin Costner's remake of this movie and newest version (1991) on the same medieval legend, although is quiet interesting and entertaining, seems to be inferior and mediocre in all comparison to this excellent, and brilliant large-scale epic. Flynn's accent, (which sounded very English to most Americans), and the fact that he brought athletic exuberance, dashing good looks, and a sense of boyish fun, made him a natural choice to star as Sir Robin of Locksley. He plays one of his best roles with bravado and charisma ,appearing his great talent that made him a legend. Olivia de Havilland (who's really of Norman descent!!) gives an other great performance as the definitive Maid Marian, a sweetly beautiful romantic Norman heroine who's loyal to Richard and Robin's love interest. Claude Rains, Basil Rathbone, Melville Cooper (the coward High Sheriff of Nottingham) and Montagu Love (as the Bishob of Black Canons) are simply perfect as villain conspirators and Rathbone displays his great talent in sword fighting in the magnificent final fencing between Gisbourne and Robin Hood which is one of the most famous scenes in cinema's history. Great and brilliant performances too from Alan Hale(Little John),Eugene Palette (astonishing as Friar Tuck), Una O'Connor (Bess), Herbert Mundin(Much the Miller's Son) and Patrick Knowles(Will Scarlett) as Locksley's loyal companions. Curtiz's direction is marvelous and authentic, art direction and costumes are splendid, Korngold's music score is unique and the Cinematography Color is astonishingly beautiful so that deserved to be awarded. The movie is excellent and give it all the stars that I can.


The Adventures Of Robin Hood (1938): Starring Errol Flynn, Claude Rains, Olivia De Havilland, Basil Rathbone, Melville Cooper, Patrick Knowles, Eugene Palette, Alan Hale, Ian Hunter, Una O'Connor, Herbert Mundin, Montagu Love, Robert Noble, Leonard Willey, Kenneth Hunter....Directors Michael Curtiz, William Keighley...Screenplay Norman Reilly Raine, Seton I. Miller.

Released in 1938 in the new Technicolor of the time, "The Adventures of Robin Hood" was the one film that not only launched the career of actor Errol Flynn but that of his co-star Olivia De Havilland as well as director Michael Curtiz and even elevated Warner Bros Studios to a new level of greatness, simply because this film boasts a strong cast and oozes with grand old Hollywood spectacle. The popular folk legend of the heroic outlaw Robin Hood is an old one, dating back to the time of the Medieval Crusades and the reign of King Richard the Lion-Hearted. Errol Flynn brought the familiar character to brilliant life in every detail of his performance; from the physicality of his acting (he did all his own stunts!) to the accurate "Robin Hood" mannerisms, language, accent and even laugh. He was exactly what audiences felt Robin Hood should be. It's even likely he inspired the later Disney animated version of Robin Hood in the 60's, in which the characters were animals. The story of Robin Hood has endured over the years because it's at heart a classic tale of heroism. The social outcast Robin Hood and his band of Merry Men,despite lacking the comforts of home and titles, save a then feudal England from the corruption of the Sheriff of Nottingham and the usurper Prince John. While righting wrongs, Robin Hood falls for the noblewoman Maid Marion. Can he defeat the evil Prince John and restore the rightful king Richard to the throne ? A notable cast heads up the film. Rising star Olivia De Havilland is pretty, elegant, charming and yet very resourceful as Maid Marian, and her chemistry with Robin Hood is electrifying. She would later become far more than just Errol Flynn's leading lady and win two Oscars for strong dramatic performances in the 40's for "To Each His Own" and "The Heiress" and her acting career lasted over 30 years. What we see in her as Maid Marian is a young Olivia De Havilland, a new arrival in Hollywood. But the rest of the principals were established stars. Actor Basil Rathbone, who plays Sir Guy of Gisbourne, had been a silent film star of swashbuckling adventure films. Claude Rains (Prince John) was popular at this time and would continue to enthrall audiences with great performances over the years, including his memorable films "The Invisable Man" and the "talkie" "Phantom Of The Opera". Claude Rains as Prince John is a nasty piece of work, blinded by ambition and ruthless in his pursuit of power, hoping to rule England in the absence of King Richard (Ian Hunter) who is portrayed as a lost adventurer himself. Having fought in the Crusades, he comes home to an England he hardly recognizes and one that does not recognize him. Melville Cooper portrays the corrupt Sheriff of Nottingham.

The Merry Men of Sherwood Forest, including Patrick Knowles as the dashing Will Scarlett, Alan Hale as the burly Little John and Eugene Palette as the godly Friar Tuck are also what audiences imagined they would be. When the characters are not fighting, plotting or saving the day, there is a considerable amount of humor, especially in such characters as Bess, portrayed by Una O'Connor, who serves as lady-in-waiting to Maid Marion. This film had two directors, Michael Curtiz and William Keighley because during this time in Hollywood, the more ambitious, expensive or difficult-to-produce films normally needed extra direction. But it is Michael Curtiz who garnered fame and he would later direct Errol Flynn in other successful films such as the Elizabethan adventure "The Sea Hawk" and the pre-Civil War epic "Santa Fe Trail" in which Flynn was once again paired with Olivia De Havilland. This film is a winner and a classic slice of old Hollywood.


According to the new two-disc DVD of this movie, it wasn't until the 1950s that Olivia de Havilland realized how fantastic a movie she had been involved in. That was when she saw "The Adventures of Robin Hood" for the first time in many years in a packed theater in Paris and caught the buzz of the people seeing it around her.

It sort of makes sense. "The Adventures of Robin Hood" was made as popular entertainment, designed to amuse and thrill rather than make audiences think. It was probably a drag to make, especially with bad weather, clumsy new Technicolor technology to accommodate, and the harsh director Michael Curtiz ordering everyone around like Colonel Klink. De Havilland was in "Gone With The Wind," she won Oscars playing much more serious roles than Maid Marian. The words of Sir Guy might have rung in her ears, as they have been echoed over time by certain less-kind judges of this film: "Very charming, but not exactly clever."

But as Olivia discovered in that French theater and so many of us have been discovering ever since, "Robin Hood" is audaciously clever, a perpetual-motion motion-picture machine when it comes to delivering the goods. Beginning with the performances, and carrying forward with the script, the set design, the Technicolor camera work, and especially the fantastic Erich Wolfgang Korngold score, "Robin Hood" is one of those older films actually gaining stature over time, as it becomes clearer how much of a miracle it really is.

Taking elements of the Robin Hood saga, both from longtime legends and screen treatments like an earlier Douglas Fairbanks Sr. silent film, the scenarists manage to create an upbeat story of wit and pace fully in tune with the merry cast and score. As played by Errol Flynn, this Robin doesn't die in bed an old man, and his banditry is underplayed in favor of a historically incongruous but richly satisfying freedom-fighter figure trying to save his fellow Saxons from the predations of their Norman overlords. He meets Marian, a proud Norman maiden, and, while showing her how the people suffer under the yoke of her fellows, they fall in love.

Making Robin a little less radical, and more palatable to mainstream audiences, is the fact he is actually loyal to England's real king, the usurped Richard. This could have been mawkish but sets up a terrific reveal later that jump-starts the last act of the film.

There were two directors on "Robin Hood." My guess is that both brought something important to the table, and together created a film neither would have been able to on their own. William Keighley set the gorgeous template, a nod in the direction of N.C. Wyeth's storybook illustrations as Raul daSilva of New Haven has already noted, and as an actor's director, gave useful pointers to the cast, especially the bad guys, who uniformly give subtle, off-center performances. Then, as Keighley wrestled with his bete noir, action, he was replaced by the great Curtiz, who took Keighley's sturdy framework and cracked the whip to liven things up.

People wouldn't celebrate "Robin Hood" as much without the rescue-from-the-gallows sequence, or the final duel between Robin and Sir Guy, both of which showcase Curtiz at his best. But you wouldn't have so much invested in the principals without Keighley's help in giving the actors the proper space and depth to connect with viewers.

You can run out of room rapidly singing the praises of a film like this, a classic adventure that works as a love story and makes one laugh, so effortlessly and all at once. Flynn was never better as a Robin that sacrifices grittiness for humanity and crack one-liners. And De Havilland is quite possibly the most gorgeous woman ever filmed, at the very least up there with the likes of Maureen O'Hara in "The Quiet Man" and Cameron Diaz in "Something About Mary" for the way she glows on screen, her gorgeous browns gazing up at Robin in a way that inspires a sad sort of rapture, at least for me.

There has never been a film since that did the things "Robin Hood" does, but I find that less remarkable than the fact a film this good was ever made at all.


The Adventures of Robin Hood holds up remarkably well, perhaps because it focuses on the story elements which have had universal appeal throughout the centuries. Unlike the regrettable Robin Hood, Prince of Thieves, which tried to give the hero a ponderous psychological complexity, the 1938 film offers a fast paced examination of what is essentially a man of action.

The film is able to dispense with any lengthy exposition simply by portraying its characters in easily identifiable terms - either as valorous champion of liberty, or as hissable oppressor, with no room for grey shading. Although characterization is elementary, the purpose of the story is not; it was meant not only as a tonic for depression weary audiences, but as a warning to foreign despots who might try to disrupt the world stage.

Several elements in the film stand out: the breathtaking colour photography, spirited if not historically authentic battle scenes, and Korngold's vibrant score. What stands out the most, however, are the performances of a flawless cast. Errol Flynn, here at his physical peak, displays both effortless panache and a winning sincerity. In contrast, Rathbone's vicious Guy of Gisbourne is defined not only by his own sneering persona but by the manifold suffering he inflicts on the peasants. Alan Hale, Eugene Palette, and Herbert Mundin provide sturdy performances and comic moments, but possibly the best performance belongs to Claude Rains. His effete Prince John is a villain for all seasons. The bold, often broad performances are in keeping with the straightforward narrative.

The enchanting, storybook texture of the visuals, combined with vivid acting and action, is a welcome relief from some of today's jaded cinema.

Trivia Note: During the forest banquet, Flynn blows one of his lines. When talking to Maid Marian, he says "kindness instead of riches." According to the screenplay, it should be "kindness instead of whips."


One of my earliest memories is watching this particular version of Robin Hood on television. Even then the quality, the characters and even the music stuck with me (it has one of the most perfect scores ever composed!).

Years later, after seeing it countless times on video, I saw it on the big screen when it was shown locally, and it was a whole new experience of the film. Seeing it with a crowd that was enjoying it with me, the families that had brought their children, the applause at Robin's first appearance and at key moments of the film (which I will not spoil for anyone who has not seen it) added to the joy and excitement at seeing it in a theater.

If you have never seen "The Adventures of Robin Hood" then do so as soon as you can, show it to your kids and, if possible, see it on the big screen. You will not regret experiencing one of Hollywoods finest achievements!


I saw this movie first about 40 years ago when I was 5 or 6 and all I could think of was how much fun it would be to head off to Sherwood Forest to be a Merry Man -being a girl and living in America put that right out of the realm of possibility ! But I have loved the film and Errol Flynn ever since. Just traded in my VHS for the 2 disc DVD and all I can say is WOW -- The color is so rich and bright, the extras are outstanding which includes trailers, cartoons, and an excellent documentary on the history of the Technicolor process. The plot and Errol Flynn are still simply the best. I wonder if Monster.com has any listings for Merry Men jobs -- now with equal opportunity I could apply.


This film is nothing short of perfection: it has heart-pounding adventure, nerve-wracking suspense, gut-busting humor, exhilerating action, wonderful characters, an excellent plot, sheer unpredictability, romance that isn't nauseating or cheesy, and a brilliant script. It's great fun for the whole family, holds up well to multiple viewings, and is one of my favorite movies. 10/10


Movies have changed in many ways since this was made. The Adventures of Robin Hood is one of just a few oldies that I can watch. The casting, costuming and sets are all incredible. Its a good thing that this was one of the first movies shot in Technicolor, as that process holds up really well as you can see in the new ca 2003 DVD release, unlike Eastman color films that have all gone to hell. Fantastic greens, purples etc.. make the movie come alive again. Great action and swordplay along with real chemistry between deHavilland and Flynn makes it easy to see why this is on the top 250 movies list right here on IMDB.


There is very little i can say about this film that hasn't been heard before but i will anyway.Errol Flynn was and always will be the greatest swashbuckling adventurer the cinema has ever known. THE ADVENTURES OF ROBIN HOOD is by far his most fondly remembered role. Nobody was ever better as the dashing rogue swinging from trees,waving his sword or flirting with Maid Marion(the beautiful OLIVIA DE HAVILLAND).But Flynn is not alone.He is joined by what is my opinion the best supporting cast ever assembled in an adventure film. Claude Rains is brilliant and the evil and despicable Prince John.Basil Rathbone(one of the very best screen villains)plays Sir Guy of Gisbourne to the max. Little John is played by the always wonderful Alan Hale(Flynn's on and off screen buddy),Eugene Pallette is a hilarious Friar Tuck and Montagu Love adds to the fun as the corrupt bishop.The film is further enhanced by the early use of three color technicolor and the outstanding music by Erich Wolfgang Korngold.William Keighley and Michael Curtiz both sat on the director's chair for this film and both give their touch to it.The climactic duel between Robin and Sir Guy is by far the most imitated and influential sword fight in cinema history. So for those out there who want to see something worthwhile i recommend THE ADVENTURES OF ROBIN HOOD,not only for being Flynn's greatest role or being the best of all Robin Hoods but for being one of the greatest adventure films of all time!!!!!!

AN EASY 10 OUT OF 10


This is easily the better of all the Robin Hood versions, simply for sheer charm. The chivalry and gallantry of Robin Hood makes him one of the alltime heroes to all ages. The story holds strong in that, for the time, they didn't need nearly as much special effects as we use now. It's bravado and excitement, a movie your kids deserve to see.


I first saw this wonderful movie as a young boy in 1938. I don't know how many times I've seen it since then, but it always gives my heart a lift and I leave the theatre (it must be seen on a large screen)with a happy face. Above all else, there is the master of charm and grace, Errol Flynn, who gives, probably, his best performance. Close behind comes the superb, Warner Bros. regulars - lovely Olivia de Havilland, the evil Basil Rathbone and Claude Rains, and, of course, the Merry Men, with Alan Hale, Patrick Knowles, Eugene Pallette, Herbert Mundin leading the list. The story is well known and is told in a respectful and loving fashion, with perfect direction by William Keighly and Michael Curtiz. The cinematography, by Tony Gaudio and Sol Polito, is in glorious, three strip Technicolor and the famous score by Maestro Erich Wolfgang Korngold is outstanding and won him an Oscar. This is a movie for all ages; they will all be happy to have seen it. +


Starring Errol Flynn, Olivia de Havilland, Basil Rathbone and Claude Rains, this is often cited as the most popular adventure film of all time. Certainly, in comparison with later Robin films it comes out well, and it didn't hurt to have Technicolor, and Michael Curtiz' master direction. Errol Flynn was rarely more appealing, or de Havilland more luminous, and after sixty years, this remains a classic.


This is Hollywood at it's ultimate best, the 1930's. When almost everything they made turned to solid gold and that's what you get while watching the highly enjoyable The Adventures of Robin Hood. This is the film that sealed Errol Flynn's stardom and made him a well known human being all throughout the world. He's at his most dashing and humourous, and know one can play Robin Hood better than he can. Kevin Costner doesn't even come close. This film has a great supporting cast and features that I think the most beautiful woman to ever grace the screen, Olivia DeHavilland. Great action sequences, especially the duel at the end with Flynn and Basil Rathbone, magnificient sets, great costumes and shot nicely in glorious technicolor make this film enjoyable for the entire family. Memo to Warner Bros: Why hasn't this film come out on DVD yet? ***1/2 out of ****


And, I'm referring as much to the movie, itself, as I am to its male lead. Even Kevin Costner's version is only three stars, at best, compared to the four stars I give this one. *Some spoilers ahead.* The dialogue is classic.

SIR GUY: "You've come to Nottingham, once too often!"

ROBIN: "When this is over, my friend, there'll be no need for me to come again."

The cinematography was great; especially the silhouettes of Robin and Sir Guy backlit against that pillar! *Often imitated, but never surpassed.*

And, that Erich Wolfgang Korngold music!! What other movie can boast xylophone music that actually makes you tense enough to literally sit on the edge of your seat, no matter how many times you watch it? And, believe me; I will never---repeat; NEVER---tire of watching it. So, in the immortal words of Little John (Alan Hale, Sr.):

"LONG LIVE RICHARD THE LION-HEART!"


When you watch a movie and you find yourself thinking about it days later...i believe thats a sign that the movie you have seen was a good one....and thats what happened when i saw this movie.

I have not seen a darker movie than this for some time....maybe not ever...but as well as the darkness, Dead Mans Shoes also offers some extremely poignant and moving moments I think the acting performances from all involved are first class...but paddy considine is a cut above that. The dialogue in the movie and the way he handles it has me watching in awe......the way he talks to his brother and the fact he seems to have so much love and patience with him....is even more amazing when you see how crazy and precise, the character of richard is.

As my title suggests...i don't know why, but some of this movie brought memories of taxi driver to me....a character that has passed a point here he cannot go back from.....and that comparison shows what a good movie this is


I think that score's fair. There was something voyeuristic for me about this film as I have met people similar to the poor unfortunate deceased. I didn't expect a lot from it but it was the best film I'd seen out of the last 10 I've watched.

The central actor (Paddy Consadine) played his part perfectly never really letting you into his head. Not entirely unpredictable story BUT still a good story. And I think that's why this film succeeds; because it has a good story.

I don't really understand some of the low scores for this film. I guess that it may not translate outside of Britain due to the characters involved?

Next film Paddy/Meadows please. Recommended.


This film is superb, miss it at your peril.

Me and my Brother watched this together and the first words that came out of our mouths at the credits was "that was brilliant".

The forward inertia the film is excellent, it's one of those films that builds up and up but unlike other movies, does not fail to disappoint at the climax.

The film is also laced with some classic dialogue, such as:

After Richard has stolen the drugs and is sitting with Anthony at the farm... (Summarised)

Richard, "F*ck it, I'll stick the lot in." Anthony, "Whoahh, that's acid, what are you gonna do with it?" Richard, "I'm gonna give them a super-duper f*cking dose man, I'm gonna send them to space man, but this spaceship ain't f*cking coming back though baby".

...

Another quality line is when he has one of the three dweebs drugged up...

Richard, "You don't know who I am do ya?" Dweeb, "Can I go home?" Richard, "Ohhh your going." Dweeb, "Are you going home?" Richard, "You're f*cking going mate, just stand there mate, don't you move, I'm gonna shut you off man"

an outstanding gritty film, makes me proud to be English.

McGeezer


God will forgive them etc..., This is the best line in any film i have ever seen from the very outset of the film you have no doubt that Richard (Paddy Considine) is uncompromising in his attitude towards revenge . I live in this area of England and the stark grey images combined with the lush green fields work fantastically well on film , the characters are your everyman types that everyone knows or knows of in their town .It shows the dark under belly of small towns in central England , its stark imagery doesn't glorify violence in the way usually associated with this type of film . The characters that Richard reeks his revenge on are likable in there own way and comedic at times , i think thats the winning formula you don't hate the characters and want to see them die but you don't mind that they must .Its a fine balance that most films don't manage to achieve , all in all its one of the best revenge flicks i have seen in years . Paddy Considine plays an excellent anti hero who you sympathise and empathise with in equal amounts knowing all the time what he is doing is lawfully unacceptable but morally just . Altogether a fantastic film with an excellent engaging storyline , its not 'Hollywood' so will have its critics but its a step in the right direction for British film .


A man returns from the army to revenge the ill treatment of his brother by a gang of unsavouries.

People are often put off British films with reviews which begin with "Gritty" or "Realistic," but people should definitely give this film a try. It can be uncomfortable viewing at times, but thanks to the performances and direction it is a truly gripping piece of work. Special praise should go to Considine, whose performance has been favourably compared to De Niro in Taxi Driver. He is able to play menacing without ever resorting to hammy, OTT gestures or even a raised voice, its one of the most frightening, beautiful and realistic performances i've ever seen. Toby Kebbell is also great as his simple brother, his warm, lovable performance making the final scenes all the more distressing.

This is a great film and i would urge everyone who is not afraid to stray from blockbusters once in a while to see it.


This film is quite simply the best thing I have seen for a very long time.

A seemingly straightforward morality tale of revenge and retribution, it builds to a climax that will hold you fixed in place and squirming as the conclusion unfolds.

There are violent moments in the film, but life is sometimes violent, and what you see is never glamorized or fetishized - it is simply the way it is.

I heartily recommend this film to anyone who is sick of big budget Hollywood nonsense and longs for a simple story, well told and superbly acted.

10/10


The film starts beautifully with a montage of old pictures and film of the childhood of the characters coinciding with a song by Bill Callahan that really fits the mood of the beginning scene.

Paddy plays an incredible cool headed ex-military freak that would stall anyone in their shoes. Great images of terror when he arrives to vandalise in a gas mask.

The drug scenes are well done (coming from experience)and the hatred and cruelty in this film are well portrayed. The characters really make you hate them, and you feel good about the revenge that is taken upon them.

The revenge plot of the film is a bit heavy sided until you come to understand the actual events of the past through the 8mm black and white scenes ...

Great British film. I recommend it highly if you aren't too squeamish about violence.


I am quite the horror buff, so after seeing that this movie was in the top 50 horrors of all time, I had to rent it. I must admit that the low budget filming and the strong English accents took a bit to get used to, but once I got past that I was able to see a movie with great acting, a decent script and some great brutal scenes. The lead actor playing the soldier coming back home did a magnificent job at playing a "pissed off mother fu*&er"! I will definitely make it a point to see some of his upcoming films. As for the supporting actors, they also did a wonderful job, including the thugs and the mentally challenged brother. All in all, this was a good thriller with quite a twist!


There I was, watching this film, and a scene happens about ten minutes in roughly, where Considine's character confronts a man in a pub. His acting turned the hairs on the back of my neck upwards, and I was glued to the film all the way to the end from then on.

I haven't seen a film like this before. It is essentially a revenge movie, but done on a low budget, with a non-star cast, but it was terrific. It just goes to show that you don't need special effects for a good film that keeps you glued. Look how crap The Phantom Menace was, and then look at Twelve Angry Men, and how amazing the script was.

The script to this film is good, but the reason for watching it, and liking it is Paddy Considine. He was scary, and put on one of the finest performances I've ever seen in cinema.


Paddy Considine plays a young ex-soldier who returns to his small hometown to exact revenge upon the local thugs who treated his younger, mentally-retarded (I don't like that word but it IS the most fitting in this case IMO) brother so badly. That's all I want to say about the film, the rest is about the performance of the masterful Considine.

In this movie (and, almost equally, in A Room For Romeo Brass) Paddy Considine outshines practically every other actor with career opportunities in the early part of the 21st century. He will gain your sympathy, wring emotion from you, terrify you and leave you slack-jawed and in awe of his talent as he burns through the screen to face everyone and everything with a blatant disregard for his own personal safety.

This movie resonates so much with me because I know many little, ultimately insignificant, "hard men" like those shown here, the big fish in little ponds who would not last 5 minutes outside their comfort zone. And Considine drags them outside that zone, bloodied, kicking and screaming.

Part bodycount flick, part emotional drama, part vengeance movie, it all adds up to one of the most satisfying pieces of work that the UK has provided since . . . . well, since goodness knows when. A modern masterpiece and, worried as I was about subsequent viewings, one that loses none of it's power no matter how many times you watch it.

See this if you like: A Room For Romeo Brass, Paddy Considine, Death Sentence.


Wow, Dead mans shoes is such a big surprise... what they worked out a small budget is incredible and especially main actor and writer Paddy Considine should have been thrown at with Oscars for this performance as Richard.

Dead Mans shoes might be summed up as a revenge movie but goes beyond that. Richard has a mentally challenged brother named Anthony who had trouble with a gang of drug dealers. We don't know why Richard is so obsessed with taking harsh revenge and it slowly unfolds towards the end when some of the thugs already were taken down. It starts slowly with Richard stalking some of the thugs, painting their leader a clown face in his sleep... but in one of the strongest sequences of the film when Richard is talking to the thugs about why he stalks them you can feel something bad is going to happen. In this scene Paddys facial expressions and disgusted, angry yet kind of deeply hurt way of talking is priceless. Overall his character appears kind of twisted... a cold avenger who uses what he learned in military and takes harsh and precise planned revenge (the "drug party" is some pretty heavy stuff although it doesn't use any gory shockers)... yet he seems deeply hurt and vulnerable which in the end turns out to be true and still the worst revenge on one of the thugs. The movie has some beautiful shots with the two brothers in the irish landscape... the opening is superb with the music and pictures and although the flashbacks often look a little cheap I don't care about these minor flaws... Dead Mans shoes is an intense experience and must see for fans of underground cinema. This movie works because its setup in a small town with backstreet gangsters who at times look ridiculous driving in their small car and hunting Richard is not the typical depiction of good/bad but rather different. The revenge is cold and often cynical... its those small scenes like Richard playing with a thugs kids with a knife that are pretty scary and of course the ultimate degradation of the totally doped up drug-dealers.... I loved this movie and am sure to watch more movies by/with Paddy Considine.


I came away from Dead Man's Shoes with a sense of pride; a sense of acknowledgment; a feeling that British film at its lowest budget level and at its grittiest and simplest is very much alive and active. The reaction I had also affected the way I perceive Hollywood a little bit more; it's true that films like Zodiac, Blood Diamond and Apocalypto occupy my top three of 2007 but even some of them and the many others on that list do not match the fondness and recognition that I had for Dead Man's Shoes upon seeing it  the great thing is, this was extensively levelled down in terms of funding but pumped up in terms of quality. Make no mistake, Dead Man's Shoes is very good.

I suppose in order to identify this film, I'd have to borrow from America somewhat but that is no shame; this film is 1988's Rain Man meets a hard as nails, gritty revenge film  perhaps something staring James Cagney in his pomp. But it is a revenge film with an air of indifference; the film is often funny, often touching and often heart-warming in its portrayal of inept small time crooks, its nasty flashbacks of bullying and its small inclusion of scenes in which someone with special needs is present and displaying his innocence. While I have only seen the rather underwhelming Once Upon a Time in the Midlands from director Shane Meadows, this isn't so much as a jolt back in the right direction as it is a full blown shove back onto the correct tracks. Meadows directs and unfolds his story in a brilliant manner but in a manner that utilises so many techniques that we the audience flip from happy to sad to anger to disgust and in such a way that we have time to appreciate what we're seeing; feeling and what we think of it all.

Paddy Considine plays Richard, a soldier fresh back from, what I can only assume to be, the horrors of Iraq and the Iraq war going on. But where road side bombs and ambushes have been erased, Richard is psychologically stuck with constant explosions going off in his mind  anger, rage, sadness and that lust for revenge when he learns his younger, more simple brother has suffered torment and bullying at the hands of the local drug dealers and young adults who have not matured enough to shake off that 'chav' mentality. Needless to say, he brings home the horrors of Iraq with him in all their bloody infamy in what could be one of the best post-war syndrome studies since Travis Bickle in Taxi Driver. The film poster of said film on someone's flat wall perhaps hints at this.

But apart from the horror and the tragedy, which does grab you thanks to some flashbacks that I eventually came to fear popping up, everything is revealed in a satisfying and balanced way. Initially, the users of the boy call him over and tap him on the back and invite him in and everything seems very harmless; we even think he is close enough to these people to go out and get some groceries for them if nothing else is on. But whatever we thought is quickly presented to us over and over in a, frankly, quite brilliant piece of directing and pacing as we realise these people are not what they are cracked up to be. Further utilisation of the kid follows; then it gets more serious when drugs and women come into play. Meadows also gets across the element of humour early on in his film; indeed, when you see Herbie (Wolfenden) trundle down the road in his Citroen 2CV with the other guys in the back, you cannot help but smirk at how real this all feels; at how these people are presented as people who live, breath, hang around in apartments and drive obscure cars.

But then again, you get the feeling of disturbance. We are not aware of the true extent of things until much later but looking back at the events in the opening hour, the leisurely way in which the gang hang around and talk about nothing in particular considering what they have done is shocking. Meadows also gets across his feeling of foreboding and the sense its all building up to something. Richard's initial work that he carries out on the gang all feels as if it builds up to the big showdown with the final gang member; the one member we will feel a juxtaposition toward since he has a wife and two children. Onto the wrongdoers in question; initially, Herbie is introduced but then we get two of his lackey accomplices living in an apartment; onto a further pair of heavies that come over and finally, Sonny (Stretch) who is the chief antagonist in the bullying of the brother  to him, it goes beyond a joke; it turns into an actual hatred, a hatred of those with special needs with elements of fascism towards those who are not 'normal' starting to creep into the film and its character's psyche.

So this is Meadows introducing to us the villains in stages; the targets Richard must deal with if he is to get his revenge  we are systematically told what Richard is up against but there is also that nice little touch of Richard showing up now and again with scare tactics. But with a hero on a mission and a twist that packs a punch Dead Man's Shoes is a big success. When he confronts the family man at the end, Richard himself says that he "is now the monster" which tells us that we do not have to root for him any more if we don't want to as he is confronting an apparent innocent but the film is brilliant in its build up, its finale and its attention to detail - great stuff.


After years in the army Richard returns to his hometown at the countryside with his simpleminded brother Anthony. He soon realizes that nothing has changer. The smalltime gangsters rules the city and the locals try their best to maintain some degree of peace in their small society. When Richard decides to let the toughs know that his back, he immediately causes fear and awakens hidden memories from the darkest sides of their past. Richard is not back to reunite with old friends! Behind his cold and robust appearance lies a merciless hate. A hate about to overcome his soul. Anthonys absentmindedness makes him incapable of understanding Richards plans. Richard was always the one to watch over Anthony and protect him from trouble, but he seems to have lost his sense of responsibility to his younger brother. Someone has crossed Richards line of tolerance. They have committed a heartless act without considering the consequences. Remorse is to late. There is no remedy for their action. Richards heart is bowling over in hate and his soul has no room for forgiveness.

Paddy Considine known from "In America"(2002), "My Summer Of Love"(2004) and "Cinderella Man"(2005), plays the revengeful ex-marine Richard with authority and credibility in on of the best performances of his career. Toby Kebell delivers a remarkable portrayal as the gullible Anthony. The detailed cinematography by Danny Choen balances between adventures beauty and cryptic darkness. Shane Medows use of flashback scenes in black and white gives the film a grieving and disturbing mood. A strong and invading thriller that's uneasy to forget!


Fredric March gave a magnificent performance, probably the best of his career, as Norman Maine, the actor whose career is in the descendant as that of his wife, Vikki Lester, is in the ascendant in this, the first 'official' version of "A Star is Born", (the 1932 film "What Price Hollywood" roughly told the same story). March displays just the right degree of brashness, of knowingness, and a combination of ego and a real actor's almost complete lack of ego. It's a miraculous piece of work.

As Lester, Janet Gaynor is touchingly blank but the star quality she is meant to display seems conspicuously absent; (in the 1954 musical remake Judy Garland was almost too much a star). It seems inconceivable that she could eclipse March on screen (even with his drinking). If Lester is a star and possibly a great actress Gaynor keeps the secret to herself.

The script for this version was partly written by Dorothy Parker and Alan Campbell and it shows. It's an acerbic and, at times, savage movie about the movies, quite cynical for a major studio picture of it's day. It is very well directed by William Wellman who draws first-rate performances from the supporting cast, in particular Lionel Stander as a heartless, slime-ball studio hack. This remains the best of the three versions to come thus far.


I believe this as one of the most beautiful pictures I have ever seen. I enjoyed the story, the dialog and above all I enjoyed the atmosphere and the actors. All of them are great but to me Fredric March is outstanding.

Norman/Alfred is a wonderful character: frail, undignified, touchy, weak and able to love Vicki/Esther so much, with all his heart.

Fredric March brings all of it on the screen, providing one of his best performances here.

If you would like to become an actor, I believe you should watch this movie and Mr. March's way of acting. Pay attention to his eyes, his hands, his face and his moves, especially when he interrupts his wife thanking everybody for the Oscar she got and claims he deserves three statues for the worse performances.

He is overcome by himself and starts dying. I just shivered.

To me, this version can't be compared to its remakes. The allure and the fascination of Hollywood have been perfectly represented here, together with an unpleasant and creepy feeling of emptiness.


I had not watched this movie until today, passing up each opportunity over the years to view it, as I feared it would not live up to the 1954 blockbuster starring Judy Garland and James Mason.

I was right, it does not; it far surpasses the 1954 remake. Judy Garland is my favorite all-round entertainer, favorite singer, and the songs in the 1954 movie are classic treasures, and James Mason never disappoints in any film. However, in the 1937 version the story is told more sensitively, with more shading. Janet Gaynor is perfect as the home-grown farm girl seeking to make her mark in Hollywood, and Fredric March is very convincing as the has-been who cannot cope with his declining value in Hollywood, especially since he caused much of it himself.

I had thought that I might miss the music in this earlier version, but I found after having watched it that I didn't miss it at all. The movie was engrossing from beginning to end and stood on its own merits. I was moved by this film in a way that I never had been by the later remake.

SEE this film if you love a good story; don't put it off for years the way I did. Simply, simply wonderful...


One of the all-time greats, A Star Is Born (1937) is a classic Hollywood story of power and love and the fickleness of fame. Janet Gaynor has her great talkie role and Fredric March has one of his best as the star-cross lovers, Esther Blodgett and Norman Maine. Both had already won Oscars, but both were worthy of wins here. Gaynor is wonderful as the country girl who yearns for Hollywood fame. She is a great comic actress, doing impressions of Hepburn, Garbo, and West while serving snacks at a party and trying to get noticed. She is also heartbreaking in her famous finale, "This is MRS. Norman Maine." March, who had a tendency to be hammy, strikes just the right balance between Norman's vulnerability and his pomposity. You never doubt that he loves Esther. The supporting cast is peerless, with Adolphe Menjou, May Robson (one of her best roles), Andy Devine, Lionel Stander, and Edgar Kennedy all good. The color photography is, although maybe a tad washed out now, still striking in its use of shadows. Great script and direction. One of the best. Gaynor and March deserved their Oscar nomination, but May Robson was robbed by not being nominated. Her character was left out of the 1954 remake, but she is the anchor of the 1937 version. A Star Is Born is a must for all film buffs, especially for those who have only see Gaynor is silent films, including the great Sunrise (1927).


When you see this masterpiece, remember that more than 65 years have passed since it debuted on the big screen. How many contemporary films will dazzle and delight in 2065?

Sure, we have seen this story before, but this was the first incarnation. Sure all films are in color today, but notice the rich, full-rigged use of color here, only a decade after talkies began. Dialogue sound familiar, well many of the lines originated here (thanks Dorothy Parker).

First caught this in the movie theatre around 1975 as this David O. Selznick production had been out of circulation. Judy Garland's troubled but ultimately engrossing and hugely entertaining remake was already familiar to me. So how does a classic compare to its first version. To me, it is one of the 1930's masterworks.

How perfect to cast Janet Gaynor in the role, an Oscar winner herself at 20 --- that child-like voice unforgettable. Fredric March, like Gaynor already a star and early Oscar recipient, world weary and helpless. The art deco, lavish production, haunting music, and scene after scene of "behind the scenes Hollywood", well they sure worked for me. "Kitsch" an old friend labeled it, but to me, memorable.

I love watching this movie --- hope you enjoy it as well.


Having seen the two later versions of this tale, it was a surprise to find the original one, even if it doesn't compare with the 50s remake with Judy Garland. This one is worth a look because of the great cinematography and the use of color for a film made in the early years of its invention. William Wellman deserves credit for his direction of a Hollywood story about itself.

The mere idea of young and very naive, Esther Blodgett making it big in Hollywood, is stretching the imagination big time. This girl from the heart of the country yearns to be somebody in the pictures that are her escape from the dreary life she leads. To even think that she would have a chance in becoming a bit player, is a stretch of the imagination, but to have her become a star in her own right with her unsophisticated looks, is even harder to believe. Hollywood of those years was a factory of dreams where many went to be part of it, but for one Esther Blodgett, there were thousands who were rejected.

We watch as Esther is transformed into Vicki Lester, a star larger than life, who captures the public's imagination and goes to eclipse bigger stars such as Norman Maine, her discoverer, and the man she falls in love with. Norman's decline is very fast, while Vicki's ascent into glory is even faster. His drinking habit will get the best of him at a time when help agencies such as A.A. didn't exist. Unfortunately for Vicki, she ultimately has to pay for her own meteoric success.

The cast is superb. Not being a fan of Janet Gaynor, I have to confess that she strikes the right note with her Esther/Vicki role. She is totally believable even though we never even see her take an acting class, much less see her waiting tables to help herself. Frederick March brings an intensity to Norman, the self destructive star, that makes us pity him.

Adolphe Menjou is the studio head who sees a winner in the young, aspiring actress, and gives her the chance. Most surprising of all is the star performance of Lionel Standing as Matt Libby, the studio publicist who is behind the creation of the new star. Andy Devine, May Robson, and the rest are equally satisfying.

This film was a happy surprise in many aspects and will not disappoint.


A Star is Born has had two remakes since this 1937 version, but when this film is discussed this is usually the version that stands out.

I guess if the story has a moral to it, it's that for one star in 'shimmering firmament' to be born one has to die. It can be a funny end like what happens to Lina Lamont in Singing in the Rain or it can be a tragic tale as what happens to Norman Maine in this film. But Kathy Selden and Vicki Lester do go on.

Esther Blodgett as played by Janet Gaynor is a symbol for all the young people, women in this case, who dream of seeing themselves on the big screen. Encouraged morally and financially by her grandmother May Robson, Gaynor goes to Hollywood and experiences all the frustrations of a young hopeful. But fate is on her side in the person of leading man Norman Maine, played by Fredric March in one of his best screen performances.

Though Gaynor and March were both nominated for Gaynor the part of Esther Blodgett/Vicki Lester was no stretch for her. She'd been doing the part of fresh small town girls for most of her screen career, this being the best of them. For March however, he has to play a weak character, something he had not really tackled before.

I guess Hollywood knows itself better than anyone else and films about the industry can be scathing. The star is a creature with a fragile ego, one moment a whim can move mountains, a slip in public affections and no one wants to know you. March as Maine has been slipping for some time and he catches on, way too late.

But as March is going down, Gaynor is on the up escalator and they meet mid point and fall in love. How they deal with their joint careers or lack thereof in one case is what A Star is Born is all about.

March and Gaynor get good support from Adolphe Menjou as an understanding producer, Andy Devine as Gaynor's fellow boarder at her place of residence and most of all from Lionel Stander as the cynical press agent who inadvertently puts the finish to March's career.

Gaynor's final moment on the screen is one of the great classic events as she proclaims to the world she's Mrs. Norman Maine. And why March does what he does is will start an endless discussion of speculation. Watch this film and come to your own conclusion.


A young country girl named Ester Blodgett (Janet Gaynor) arrives in Hollywood filled with dreams of becoming a famous movie starlet. However, she gets nowhere until she's noticed by famous movie star Norman Maine (Fredric March), a performer on his way down in terms of popular appeal. The two fall in love but just as Ester's star, under the stage name Vicki Lester begins to rise, Maine's begins to fade.

The best thing about this film is the performance given by Fredric March as actor Norman Maine. He nails the inner emotional turmoil going on inside his character and makes him always sympathetic to the viewer even as Maine falls in and out of sobriety. It's Maine's character that proves most interesting to the viewer here as March completely steals the film away from star Janet Gaynor.

Gaynor doesn't prove quite as appealing or convincing in her lead role as Ester Blodgett/Vicki Lester and honestly it's hard to see why the public should favor her so. Maybe this was to symbolize the fickleness of the public in that they should prefer a pretty new face over a talented older one. Who knows? Nevertheless Gaynor just doesn't ever prove as appealing here in her role as she should.