This film is one of my all time favourites , it reminds me a great deal of trading places, in as much as it has very funny,quotable scenes, but also a solid story that strings along the jokes.

Michael Keaton just bounces off the walls as Billy Blaze, it is still to this day ,one of his most memorable turns. Henry Winkler obviously wanted to play against his persona as the Fonz, and manages inject great pathos into his character , without ever being overly sentimental.

Shelley Long is a master of light comedy , she may not instantly be an actress one would consider to play a lady of the night, but realism would have worked against this film ,as it really is a flight of fantasy.

Its a true feelgood comedy, well written, well acted and very likable, in other words ,far superior to cynical, race to out-gross , slew of humorous films we are subjected to now.


Ron Howard directed his "Happy Days" co-star Henry Winkler in this wacky story of two men turning a morgue into a brothel. Winkler plays discontented employee Chuck Lumley, whose life seems to be going nowhere. But when opportunistic Billy Blazejowski (Michael Keaton) takes a job in the morgue, things change for the crazier.

It's especially neat that this movie turned Michael Keaton into a star (Howard would go on to direct him in "Gung Ho" and "The Paper"). The first time that I'd seen this movie's title and didn't know anything about the movie, I assumed that it was a horror movie. But it's not; it's a super-hilarious comedy. Michael Keaton has some truly wacky lines (namely his comment about the photograph, his license plate, and his question in police detention). Also starring are Shelley Long as Chuck's hubby Belinda Keaton, Richard Belzer (Henry Winkler's cousin) as one of the bad guys, Ron Howard's brother Clint as a client, and Kevin Costner in his film debut. There is also character actor Vincent Schiavelli, who died yesterday. I'm sure that he's now up in that great cinema in the sky, taking pride in his filmography - including "Night Shift". 10/10.


Although the premise is interesting, this movie doesn't always carry it through well. That being said, this movie features some of the funniest lines I have ever heard in a movie, particularly from Michael Keaton, who made one of the GREATEST entrances ever in what was his first film.


I saw this film a long time ago, just when it was new (1982) and was blown away by the very talented (and hyperkinetic) Mr. Keaton. Also notable are Henry Winkler in a most restrained and touching way. A welcome surprise is Shelley Long (For the record: I am NOT her fan) as a prostitute with a heart of gold. A small, early gem from the Ron Howard-Ganz-Mandel, with personal touches, to wit: The line when `Belinda' (Shelley Long) tells `Chuck' (Henry Winkler) just after they made love that `she is not wearing her watch' to tell him that she loves him is just beautiful, a nicely semi-polished little gem that I think most people can appreciate and enjoy.

Trivia: Clint Howard in a small role (His brother, Ron always gives him work.)

Trivia: In the closing credits Rod Stewart sings a beautiful version of `That's what friends are for' that would later be made popular by Dionne Warwick..


Ron Howard used this movie in an attempt to give his old friend from Happy Days, Henry Winkler, a leg up in the movie business, and gave one to Michael Keaton instead.

Keaton steals this movie with a wonderful performance as a self-styled 'idea man', setting up a pimping business out of the city morgue with the financial help of Winkler who falls for one of the prostitutes in the form of Shelley Long, who has certainly been better cast.

Almost everything Lowell Ganz and Babaloo Mandel have ever written has been brilliant, we'll ignore the City Slickers sequel and The Flinstones, and this is one of their early movies which, while still hilarious, somehow didn't do that well at the box-office.

Good direction from Howard, good performances from the stars and supporting cast, and a wonderful script, make this a brilliant movie, and shows why Keaton can be such a comedic star.


This is a great movie. I am amazed that some folks rated it "5" or less. Perhaps the horribly miscast Shelley Long gave these folks indigestion. Maybe there was a negative reaction to seeing "The Fonz" in a completely different light. Oh well, their loss. This movie has many great moments ("This is Chuck reminding Bill to shut up!" . . . "Call Starkist!" . . . "LOVE BROKERS!!!!" . . . etc.) and is well worth seeing. Now available on DVD!!


When Michael Keaton's character is first seen as silhouette in the morgue door, a totally original comedic character was born. This character continues to be imitated but never duplicated.


I admire all the majors in this film. I grew up watching Henry Winkler as the Fonz and he's had success as a serious actor and as a producer. Ron Howard went on from this very early film to grow as a director into one of the finest in his craft. Keaton has rarely made a bad film and is consistently good to watch in both dramatic and comedic moments.

Having said all this, I have to forgive them all for having made this film. In the day it was made I suppose this type of humor was acceptable and tickled not a few funny bones. Frankly, it has not aged well and having now watched it for the first time in 2007 it made me roll my eyes in disbelief. The script is silly beyond reckoning and totally not believable. I mean, when we watch "Ghostbusters" for example, we know that the script is a cartoon and no one stops to consider if it could have happened. When we watch "Blues Brothers" or "Animal House" we know that although very exaggerated, they are believable in their own crazy ways. When we watch "Night Shift" then no, it is not believable for these types of lunacies to carry on in the night shift of a city morgue.

I know it's a farce but the humor was lost on me. Winkler's character was the most limp-wrist pansy I've seen in years. One get's the impression that a strong gust of wind would blow him over. Keaton, in his debut steals all his scenes and is funny to watch, given the script.

There were all kinds of films from that era (I just watched "Nine to Five") that at the time we thought quite funny. Now they just make me squirm or wonder why they were made? Great humor is universal and passes it's message on from generation to generation. Think of Chaplin and Keaton and you'll see my point. This film, while early in their careers is just too weak, silly and in our internet-violent world just ridiculous.


This could easily be considered THE funniest movie if not as funny as any movie Michael Keaton has ever been in, including, Mr. Mom, Beetlejuice, Multiplicity, and probably even funnier than Johnny Dangerously (because Dangerously is intended to be pure slapstick and black humor COMEDY all the way). Whereas Night Shift is a parody and shows some pretense towards the normal but abnormalities of living in a big city, yet does so with pure improvised humor, the type that leaves you rolling on the floor laughing literally so, by the movies end. Perhaps Ron Howard's best Comedy he ever directed as well. If you need a guaranteed night of hard laughter, definitely rent or buy this movie. It can still occasionally to rarely be found in VHS sale racks, and was remastered for DVD. Definitely one of my favorite comedies. This movie and Keaton's role as the bumbling fumbling crazy but serious idiot makes this movie what it is, while Henry Winkler and Shelly Long attempt to balance this hilarious riot comedy with some serious sides of what is a attempt of living a normal life, but infiltrated with Keaton's wit, (which is as sharp and funny spontaneously as any Robin Williams stand up comedy has ever been). Keaton at his best, while his character is intensely amped up and nuts but serious. Keaton's character, Billy Blazejowski is the new hire in the Night Shift at the local morgue, a apprentice to the withdrawn surrendered Winkler. Blazejowski always carries around a mini tape recorder to capture his moments of brilliance, as he often comes up with inventions one after another. For example, at one point on his way out the door, he stops due to a brilliant plan for a invention and speaks into his voice recorder. New invention, feed Tuna mayonnaise, that way you already have Tuna Salad, boy would that save a lot of work! Kevin Costner's little role in this movie is not even worth mentioning, as he perhaps is on screen for 1 or 2 minutes, and this role could of been played by anyone. Costner's role was not cast with anyone special in mind. However, perhaps only Robin Williams is the only other actor who could of fulfilled Keaton's role, with the genius spontaneity of comedy. This movie was during a period in Keaton's life when he was only known for his comedy, and he definitely peaked with it here. However being the great actor he is, and like so few are unable to (exception being Robin Williams, again), was gifted enough to break away from the stereotypical nut ball comedian, by performing in serious roles with brilliance, later on in his career. This is a real sign of a great actor, who can float between a wide diverse number of different roles, from comedy, to serious drama, to Super Hero, and wicked criminal, to any serious drama and horror characters. Without doubt a 10 rating, and a genius by the Director Ron Howard, and lead actors, mainly Keaton.


This movie came from out of nowhere (as did Michael Keaton) to be one of the funniest movies around. Keaton's character of Billy Blaze was so over the top funny that it was worth seeing over and over and over again. Perfectly countered by Henry Winklers low key Chuck.

The supports characters were great as well - the future inlaws, the judge, the pimps, the Sandwich delivery guy; even the Dog. All lines written and delivered to perfection. All characters (no matter how small) were memorable.

I read the original script for Night Shift recently and it was not NEARLY as funny as the movie became - CUDOS to cast and Director Ron Howard for taking this modest comedy to the next level. Every scene that was intended to be funny made you crack up. The scene in the Courtroom; the girl scout on the elevator; the finale in the Club.

In my opinion, Ron Howards best movie (along with Possibly Parenthood).

Also, look for appearance in this movie by such future stars as Kevin Costner, Shannon Doherty, and Richard Belzer.


I saw this film a long time ago, just when it was new (1982) and was blown away by the very talented Mr. Keaton.

Also notable are Henry Winkler in a most restrained and touching way.

A welcome surprise is Shelley Long (For the record: I am NOT her fan) as a prostitute "with a heart of gold".

A small, early gem from the Ron Howard-Ganz-Mandel team, with some personal touches, to wit: The line when `Belinda' (Shelley Long) tells `Chuck' (Henry Winkler) just after they made love that `she is not wearing her watch' to let him know that she loves him is just beautiful, a nice, semi-polished little gem that I think most people can appreciate and enjoy.

Trivia: Clint Howard in a small role (His brother, Ron almost always gives him work.)

Trivia: In the closing credits Rod Stewart sings a beautiful version of `That's what friends are for' that would later be made really popular by "Dionne Warwick and friends".


I saw the play, the one-woman show years ago, and went to see Julie Harris (from Grosse Pointe) in her dressing room, after the show. I had to tell her how moved I was, and how amazed that she had BECOME Emily Dickinson.

Years later, as I watched the video, I was riveted to the screen and many times moved to tears to actually experience the tenderness, passion and acerbic wit of the great poet. I regaled in her joys and suffered her frustrations and disappointments. She showed the world what a person can do with loneliness and spinsterhood. Dickinson had a unique talent and will go down in history as one of America's finest poets, and Julie Harris made the person vivid and believable. The range of her acting talent was remarkable, as she went freely from light humor and delight to deep passion and excruciating emotional pain. And she relished in the fact that she was a nonconformist who disturbed the gossips around her.


Julie Harris is one of America's most acting stage treasures. England has Dame Judi Dench, we have the wonderful Julie Harris who brings life about Emily Dickinson in this one woman stage performance. Of course, only somebody like Julie Harris would have the power to hold us for the ninety minutes of performing solo without any supporting characters like Emily's sister, father, mother, brother, and sister-in-law. Maybe that would distract us from the real purpose and that is the life of Emily Dickinson. When Julie introduces herself as Emily Dickinson to her audience as in a theater, we believe her to be this long-revered poetic genius. Julie is charming, brilliant, and marvelous as Emily Dickinson on-stage in a performance that will forever should be studied by acting students all around the world. Julie's Dickinson is one of humor, light-hearted, sad at times, and real. She becomes very real to us and we feel like we just spent an evening with the real Emily Dickinson.


Thank God for Great Performances on PBS. They have brought us another gem in the form of Miss Julie Harris. She not only brings Emily Dickenson to life, she invites us in to live it with her. The joy and pain and all that, and it's REAL and moving and absolutely wonderful. Seek out this hard to find video, you will treasure it forever.


I had the pleasure of seeing Julie Harris perform this one-woman show back in 1975 in San Diego. Then, when this video came out (as part of Great Performances on PBS)I was thrilled to see how close it was in conveying the actual stage performance. This is a must for all teachers of American literature who want their students to get a sense of Dickinson.


I haven't seen this video, but I did see Julie Harris perform this role on stage in London many years ago. It is a fond and treasured memory. I'd love to own the video but can't seem to find it here in the UK. I became a Julie Harris fan after seeing her in East of Eden when I was a very young man. I love Emily Dickinson too so the combination of ED and JH is irresistible. I also saw her in Terence Rattigan's In Praise of Love, co starring with Rex Harrison, in New York in 1974. And I think her performance of Sally Bowles in the film of I Am A Camera is by far the best performance of that role. Although Judi Dench was pretty good in the musical Cabaret on stage in 1968 or thereabouts.


This is the absolute worst play I've ever seen. The whole point to it was, "Yea lets get inside Emily Dickinson's head and learn more about her life". In that respect, its good, but its terribly done. You'll find yourself wondering why Julie Harris is yelling at you throughout the play. Yes that's right, whenever she has an emotional line, she tends to yell at the audience and scream her thoughts. Um...yea less of the crap and more of something productive. But, nevertheless, it never gets above the crap and I found myself crying at the end wondering: "WHY ME!!!???". So, if you're interested in seeing this play, I would highly encourage you to rethink your life and ask yourself, "Is 2 hours of pain really worth it???"


The Purple Rose of Cairo really does rate up there with Woody's best - from Annie Hall, Manhattan to the earlier, more slapstick efforts, such as Love and Death and Sleeper. Cairo happens to be one of the best 80's movies Woody actually made - Crimes and Misdeameanours and Braodway Danny Rose being other greats.

The reason why I think that Cairo is better than the other 80's efforts is that the idea is really inventive. The movie raises so many questions of reality and fantasy, but does so in a highly surreal fashion. The switching of scenes, from reality to fantasy (movie) made me realise where movies take us as a viewer. Cecelia finds solace in the world of movies and comes up against the decision of which is better - the perfect world of movie, or reality, where things are never certain.

Jeff Daniels is so enigmatic in this movie. Not only as Tom, the screen legend, but as Gil the actor. Two very different characters, both played brilliantly. Mia Farrow is great as usual, and shows how broad her talent is (Broadway Danny Rose and Radio Days - both very different characters. Danny Aiello is good as the lazy slob-of-a-husband, Monk.

Like Radio Days, Woody isn't actually on screen (he narrated Radio Days, mind) and in a way this eased me up. Woody is fantastic when he is on screen, but this film benefited from losing his neurotic nature, and instead concentrated on the era, the love of movies and the complex themes of a movie within a movie. I will admit, some neurosis is retained in the dialogue (talk of morality to prostitutes!) - and this added to the surreal nature of the movie.

This has to be one of my favourite films Woody has directed. Annie Hall probably being my fave, Manhattan, Crimes and Misdeamenours and Sleeper following. Cairo is so constantly fresh and inventive, I couldn't help being captivated during it's short running time. I recommend this to any fan - or any lover of movies themselves. A real treat.


Woody's stories are often derivative, but he's forgiven that, usually, because the results are good and ultimately do deserve his signature. For PURPLE ROSE, he swipes Buster Keaton's gimmick in SHERLOCK, JR., then lets his imagination run free as he did in the best of his NEW YORKER stories. We wind up with the most fascinating and realistic meditation regarding what it is to be an audience, a viewer's relationship to art, art's relationship to reality. The triumph is amazing, because, despite the depth of the symbolism, PURPLE ROSE can also be seen as sheer entertainment; on its surface, it is still one of the most entertaining pictures Woody has ever made.

Farrow and Aiello are marvelous here; Mia, who is quite underrated, has only been as good once -- in BROADWAY DANNY ROSE. The photography is superb, influenced perhaps by Edward Hopper with generally less obvious light sources.

Splendid, splendid work.


Woody Allen's Purple Rose of Cairo is a brilliant piece of film-making. He combines drama, comedy and even a little bit fiction (people jumping out of movie screens into the real world). Its a great story involving a woman with marital problems played superbly by Mia Farrow. Here Farrow gives one of her best performances, much better than she was in a film i recently viewed called Shadows and Fog. Jeff Daniels is also good in his role as the movie character who comes into the real world, as well as the actor who plays that role. This is by far one of the most complex yet well written Woody Allen flicks. All the performances are good as well as the direction and writing, almost everything is perfect. A must-see for any Woody fan.10/10 #60 on my list of all-time favorite films


THE PURPLE ROSE OF CAIRO has got to be one of the most original and inventive of all the films Woody Allen has done--and all the more enjoyable because we're not subjected to the Allen character in the film itself. Instead, we get MIA FARROW (one of her very best performances) and JEFF DANIELS in what has to be the most original role of his career, as the man who walks off the movie screen and into Farrow's humdrum life.

Farrow is the Depression-era movie fan whose film idol walks right off the screen and interjects himself into her life--brightening it, at least for awhile, until the rather downbeat ending. DANNY AIELLO, as Mia's abusive husband and DIANNE WIEST have good supporting roles, but the story really depends on the wonderful chemistry between Farrow and Daniels--and they truly bring the bittersweet comedy and fantasy to credible life.

Furthermore, the script is not only very clever, but the film is technically brilliant in the way it has the film within a film characters on the screen interacting with the movie audience.

Summing up: Stylish mixture of comedy and fantasy, fully deserving the many nominations and awards it won that year.


This was a unique storyline - a character comes right out of the movie screen to join the "real" world - at the time. I've seen several others copy this sort of thing, although it also was done in some silent comedies, too, if memory serves. Nonetheless, it was done well here and I got a kick out of watching it back in the '80s. It's part fantasy, romance, drama, comedy. Woody Allen, who made this movie, is not on screen.

I have found (with one or two exceptions) that I like the best when he only narrated, such as in "Radio Days" and "Sweet And Lowdown." I like it when he leaves the acting to others.

Mia Farrow as "Cecilia" Jeff Daniels does a terrific job in a dual role, playing Tom Baxter and Gil Shepherd. One an actor, the other a "real-life" guy. Mia Farrow is appealing, as she usually was, as "Cecilia." Danny Aiello is another usually-interesting actor who gets your attention no matter who he is playing.

An inventive film that still holds up today.


THE PURPLE ROSE OF CAIRO is a lovely, funny, and heartbreaking entry from Woody Allen that still remains one of my favorites. This romantic fantasy tickles your funny bone and tugs at your heartstrings at the same time and I go through a myriad of emotions whenever I watch it. Mia Farrow stars as Celia, a depression era housewife, trapped in a dead end marriage to a pig (Danny Aiello) whose only escape comes from going to the movies. She goes to see the movie of the title several times and then at one show, the main character in the movie (played by Jeff Daniels)speaks to Celia directly from the screen saying, "You must really love this movie, don't you?" The character then walks off the screen and into Celia's life, claiming that he loves her and wants to be with her forever. Meanwhile, the actors in the movie on the screen are stuck and don't know what to do because they can't finish the movie without Daniels' character and they are seen conversing with each other about what to do and to the audience in the theater, who for some reason, sit and watch the actors on the screen trying to figure out what to do. Further complications arrive when the character starts walking off the screen in other theaters around the country and the actor who played the character (also Daniels) arrives in town to try to convince his character to go back in the movie. Woody doesn't delve into the territory of fantasy too much, but this one totally works with one of his most intelligent screenplays and winning performances from Farrow and Daniels and the ending is a heartbreaker. A must-see.


Mia Farrow gives one of her best performances as Cecilia, a Depression-era waitress with her head in the clouds who gets dumped on over and over; after a miraculous situation comes her way and promises a better life, she has to choose between reality and fantasy...although some outcomes are predestined. Luminous Farrow is at her most vulnerable, and writer-director Woody Allen allows her to be funny too, yet the film is a preconceived, bittersweet whimsy about dashed dreams; it's ready-made to collapse. In the interim, we get bland Jeff Daniels in two roles (occasionally working the same scene!), a whorehouse full of romantics, a group of acidly funny movie actors on a theater screen, and Danny Aiello as Mia's abusive husband. The theme of "Cairo" concerns the blurred line between movies and reality--it's a valentine to the magic of the movies--but the central idea plays itself out too quickly, and Allen's sub-plots don't always work (you can sense that he's biding his time). Wonderful production design and music score, some marvelous sequences. *** from ****


Mia Farrow is the wife of an unemployed bully and womanizer Danny Aiello. She works in a diner, and when she tries to forget her lousy life in the Depression she turns to the movies. Currently she is seeing a "B" feature again and again called THE PURPLE ROSE OF CAIRO, about a bunch of bored socialites (Edward Herrmann, John Woods, Zoe Caldwell, Van Johnson) who go to Egypt for a change. They meet an archaeologist played by Jeff Daniels, who is trying to find a mythical flower (the one of the film title) that will lead to a true love. We see Farrow go again and again to the film until Daniel starts noticing her and asks if she really likes the film that much. This unsettles Farrow who leaves the theater. But she returns and she sees that Daniel is interested in her. Interested enough to leave the film, much to the consternation of Herrmann and the other characters in the film because they are trained by the fact that they were shot in a way by the film company and edited to follow the same pattern forever. So the characters are at a loss at how to continue. Also they can't leave the film (as Daniel did).

Allan is one of the few directors brave enough to look at philosophical situations in his film. Here it is the odd rules governing reality and falsity. The world of the movie is as rigid as that of the real world, despite the cinematic Daniel's discovery of color and real space in the outside world. The real world requires real training (not the idiotic false title the cinematic Daniels has as a so-called archaeologist) and real money (Daniels has fake money on him from the movie set). But the characters in the film are losing their mind for being unable to go ahead with the plot without Daniels. That is some of them are: the actress playing the African-American maid in the movie becomes more real in her not acting like a female stereotype (she takes off her shoes and plots down on a couch, to the dismay of the others).

The revolt sensed by Daniels stepping out of the screen spreads consternation in other worlds: the theater management and the movie company see it as a threat of left wingers trying to undermine the American film industry. Indeed, we hear that other copies of the film have incidents elsewhere in the country. The film company sends the real Daniel to the site where his character came to life, and soon it is Daniel v. Daniel wooing Farrow. Who will she choose - and will she choose wisely, between a naive fictional character who adores her and a man of flesh and blood and potential, who is ambitious and devious? But what is wisdom in such a choice?

THE PURPLE ROSE OF CAIRO is one of those films that makes one look twice at reality in the world we inhabit, and the world that we seek to enter through our imaginations. It is an exceptionally clever film, and a very funny one. Certainly one of Allan's top five movies.


"The Purple Rose of Cairo" was the first Allen's movie I saw back in Moscow in the end of the 80s and it started my eternal love for his films. "The Purple Rose..." is wonderful, is one if Allen's greats - a perfect combination of poignancy and humor, romance and drama, reality and fiction. It is the movie-within-themovie that blends sophisticated romance from the lives of rich and beautiful where the dashing main hero with bravery and chivalry written into his character always gets a girl and Depression Era New York City where a poor waitress tries to escape the realities of her joyless life in the movie theater. The story focuses on Cecilia (Mia Farrow), a waitress and a battered wife of an unemployed abusive man (Danny Aiello). Cecilia only feels alive when she watches her favorite movies that take her away from her dreary realities. One day, as she watches "Purple Rose of Cairo" for the 10th or maybe 15th time, the leading man Tom Baxter (Jeff Daniels) decides to leave the movie and be with Cecilia in real life. His screen partners are left confused and "trapped" in a scene they can't get out of. The live actor who plays Baxter is blamed by the film's producer for his character's rebellion and tries to get him back on the screen. Cecilia's husband finds out that his wife was seen with a good looking man instead of working as a babysitter in the evening. On the top of all, Tom Baxters in other theaters try to leave "Purple Rose of Cairo", too... It is not the first or last time Allen has played with the concept of the thin line (in this film, the silver screen) that divides film's world and reality but rarely has he created the film as sweet, gentle, sad, technically realized and simply terrific as "Purple Rose of Cairo".

9/10


***SPOILERS*** Charming little depression era film set in New Jersey about a women who's only way of forgetting her drab hard and lonely life as a waitress and only breadwinner of her household. Who's husband Monk, Danny Alello, is a no good drunken bum who should know and appreciate how lucky he is to have such a sweet and caring women like Cecilia, Mia Farrow, for a wife.

Trying to forget her troubles Cecilia spends her free time going to the neighborhood movie house, like millions of Americans did back then in the 1930's, to get lost in a dream of better times that are projected on the great sliver screen. Woody Allen and Mia Farrow were never better as a director and actress in this gem of a movie. The ending of the film, even though it's a bit downbeat, was just what the film needed when you realize that dreams are best kept to oneself and in their right place. Not to try to make them real since you'll only end up hurt and disenchanted as well as detached from the real world by thinking that they are.

Mia Farrow is sweet and touching as Cecilia as she falls so madly in love with the character Tom Baxter, Jeff Daniels, of the movie "The Purple Rose of Cairo". She goes to see the movie every night until Tom,noticing her, comes to life and jumps off the screen to the shock and surprise of Ceilia to wine and dine and start up a romance with her.

Tom is charming but at the same time very naive about the real world. Since everything he knows about life is from the movie that he's in, which is G rated where everybody is both rich and happy, and not the hard truths about depression life in America. These realities confuse Tom since he never was in a movie like the world that he's in now.

Tom doesn't know what a hooker is and when he's picked up by one who takes him to where she works, a bordello, Tom thinks he's at some social gathering with a number of well dolled up high class ladies. Tom is such a nice guy that when Cecilia"s husband Monk fights with him Tom after he knocks him down, with the old one two, offers Monk a hand to help him up! Only to be kicked and punched for his noble effort.

Meanwhile the actor who plays Tom Gil Shepherd tries to get Cecilia to get Tom back in the motion picture to finally end the movie so he can get back to his acting career. While back at the movie house the cast of the movie are just left stranded on the screen doing nothing and the audience is up in arms and wants their money back. In the end Tom, realizing that he's not meant to be in the real world, goes back into the film "The Purple Rose of Cairo" and when the movie is over so is Tom and Ceilia's romance.

Ceilia find the truth out when she goes to the theater and sees a new movie on the screen and as we see the movie "Top Hat" Inter-cut with Cecilia and as Fred Astaire and Ginger Rogers dance and sing "Cheek to Cheek". Cecilia's eyes fill up with tears and then when she realizes that her romance with Tom was a dream but by being a dream, as short as it was,it will never be forgotten and will always be with her forever like the movies that she loves so much.

Beautiful little movie that really tugs on your heart strings and chokes you up in the end that proves what the saying "Big gifts come in little packages" really mean.


This film simply passed me by over the years and I finally was able to enjoy one of Woody Allen's great pictures about the depression days when most people escaped from the real world and were entertained by Hollywood and all the dreams that people wished would come true in their lives someday. Mia Farrow,(Cecila) played the role of a woman who was married to an abusive husband and a just plain Good For Nothing of a man. Cecila found her way to the local movie house and never missed a new showing of any film which came to town. Stephanie Farrow,(Cecilia's Sister) gives a great supporting role as a waitress where they both work together in a diner. Cecila goes to see the showing of "The Purple Rose of Cairo" five(5) times and something happens in the movie theater which completely changes her life and she has to face the fact that Hollywood is fake and unreal and real life is what really matters. Enjoyable film with lots of humor, sadness and romance.


Woody Allen tends to rehash his movies a lot, and when he every so often makes a movie that departs from his usual formula, I'm doubly pleased. The Purple Rose of Cairo is one of the most brilliantly weaved and most original stories I've ever seen on film. It doesn't even just stop at the inventive and inspired premise. The film manages to arouse every emotion. It's hilarious, it's romantic, it's heartbreaking.

In all, The Purple Rose of Cairo is one of the most effective movies I have ever seen in stimulating one's sense of imagination and fantasy. I'm getting corny and about now is where I realize that there's nothing else specific that I can substantially comment on. I mean, the acting is great, the camera-work is fine, et cetera. But it's inarguably one of Woody Allen's best films. It's proof that he is one of the greatest, funniest, and smartest screenwriters.


The first segment, the one with Roddy M. and Ossie Davis, was by far the scariest movie, tv show, etc. I have ever seen.

The first time I saw it I was 13 years old and it scared the wits out of me! Even 20 years later, during the day with all the lights on-it still has the same effect. I still get goosebumps just thinking about that painting.

Rod Serling's Night Gallery is a throwback to the good old days of horror movies when good writing was more important than senseless violence or gore.

In other words, this is 'old school' horror that will really strike a chord with the viewer, much like Serling's 'Twilight Zone' episodes.

This tv-movie is difficult to purchase and is not aired often so make sure you see it when it comes on.

But if you see it at night and alone, don't say I didn't warn you!


"Twilight Zone"s Rod Serling creates another creepy TV series: "Night Gallery." A series of paintings that lead into another dimension.

This is the TV movie that started it all: a series of paintings that were helmed by Boris Sagal, Steven Spielberg, and Barry Shear.

The first segment is about a swine nephew who kills his uncle in order to inherit his fortune; the second segment is about a blind woman who gets an eye transplant; and the third segment is about a former Nazi who is trying to escape his past, but a Holocaust survivor denies him of that.

My favorite was, of course, the second segment. I thought it was a fantastic effort on Spielberg's part. You could definitely tell that the youngling director had some talent then.


An excellent segment to this trilogy involves Roddy McDowall as Jeremy, a never-do-well nephew waiting for his wealthy uncle to die, and leave him his estate.

Portifoy, well portrayed by Ossie Davis, is the uncle's faithful butler, who had served him most of his life. When the uncle finally dies, he has bequeathed his estate to Jeremy, but only under duress. Jeremy laughs as he tells Portifoy he will keep him on for $200.00 per month.

Portifoy is not happy with the arrangement and decides to stay on just for a short time.There is a painting of the estate and the cemetery is in the back yard. The picture becomes distorted, and Jeremy, each day, becomes more and more terrified, thinking he sees his uncle's corpse rising from the cemetery and coming toward the house.

There is a twist at the conclusion, and you will enjoy this episode. 10/10.


the Plot Summary is wrong ,the Germany militar from the third story of the movie is not in Brazil, he is located in Buenos Aires Argentina , anyway the locations doesn't look at all like Buenos Aires , there is no doubt it was filmed in other place , everything is wrong , Argentine people don't look like Mexican and do not sing "cielito,,,"(typical Mexican song) in the restaurants, the national music in Argentina is tango, very disappointing , i guess that the director didn't know much about this culture , and the person who made the plot summary didn't see the movie very well . i didn't see the other stories, just the last , and it was enough to understand is not a masterpiece from the creator of twilight zone , it looks too that people voting didn't found the movie like something great ,


Amar, Akbar and Anthony are separated from their family and from each other as small children, and each is raised separately and in a different faith. Amar is raised a Hindu and grows up to become a police officer, Akbar is raised a Muslim and grows up to become a Qawaali singer whilst Anthony is raised Christian and grows up to be a small time hoodlum.

Most of the movie is focussed on the character of Anthony, which is fine by me since he is played by Amitabh Bachchan - surely the most charismatic actor India has ever produced.

As adults, none of the brothers have any idea of their familial origins, but believe their parents to be dead. To make matters worse, each parent thinks the other is dead and both think their children are dead. It must be said that they didn't go to great lengths to discover this, but the film would hardly have worked if they had so that's one piece of disbelief that has to be suspended. It's not the last one, as the film is wholly guided by a series of coincidences that gradually has the various members of the family crossing each others paths. I suppose one is encouraged to believe that these coincidences are orchestrated by the fates or a higher power, but putting it down to dramatic convenience worked just as well for me.

Also brought into the plot are the loves of the three brothers, for the requisite romance and feminine wisdom. The boys are lucky enough to have secured the affections of a bevy of beauties, and the actresses add a nice touch of glamour and colour to the film. In addition to and intersecting with these we have the evil villain of the piece, carrying the terribly intimidating name of "Robert".

At 175 minutes, Amar Akbar Anthony has plenty of time to flesh out its characters and develop the plot in a well paced fashion. The movie goes through many different moods and emotions, but after the first 15 minutes of melodrama the tone is generally kept light and pleasant.

As well as the romance and drama, the movie has a few moments where it shifts into action territory - Anthony especially has a knack for getting into a scuffle. The fights are very imaginatively choreographed but terribly executed, looking very staged and faked. This all adds to the fun of them though. There's also the songs of course, though not too many - especially in the first half of the film. Some of these are very catchy and the dance choreography cheerfully engaging.

Although it has something of an ensemble cast, there is no question that the movie belongs to Amitabh. His character is the most complicated and interesting, and his performance the most subtle and engaging. He gets all the best lines, too. He won the "best actor" award for this role, and it is largely for his performance that the movie is considered an Indian classic.

Like many Indian movies that run in the three hour range, there's something in AAA for everybody, and Amitabh's charisma especially means that it never grows wearisome. Although the first half an hour didn't have me terribly engaged, the film does just keep getting better and better (and more imaginative) as it progresses. I had to constantly keep upgrading my rating for the film as I watched. By the time the movie reaches its climax, it has managed to weave everything together so well that I was thoroughly delighted to be watching it.

Recommended!


Get this:

Having just been released from prison, a chauffeur who took the rap for a driving-accident by his boss, finds his children living in poverty and his wife having tuberculosis. He goes to his gangster-boss to demand the pay he was promised but is rebuffed. In a rage, he shoots at the boss, but he's wearing a bullet-proof vest. The chauffeur makes a getaway with one of the gangster's cars, not knowing that the car is loaded with gold. He runs home, where he finds that his wife has gone to commit suicide. On the run for the gangsters, he leaves his three children at a park ordering them to stay put and drives off, with the gangsters in hot pursuit. In the ensuing car chase, his vehicle is run off the road and explodes. With both gangsters and police believing him dead, he discovers the gold and runs away. Meanwhile, the wife, instead of offing herself, is struck by a falling tree branch and loses her sight. The kids in the park get separated and one's adopted by a Muslim, one by a Hindu police officer and one by a Catholic priest. Years later, when they've grown up, the three of them meet again donating blood to save the life of the woman they don't know is their mother. AND ALL THAT IS JUST THE PRE-CREDIT SEQUENCE!!! (eat that, James Bond!).

If you expect the narrative to slow down after that, think again. Amar Akbar Anthony is a wild, delirious roller coaster of a movie that rushes from pathos to comedy to action to thriller to pathos again and somehow manages to work perfectly. It has to be seen to be (hardly) believed.

Sit back, relax, turn off you sense of logic, suspend your disbelief and enjoy the ride.


This film is a true Bollywood classic. The story is wonderful and quick moving. The acting, brilliant. It is a must see for anyone interested in Bollywood. The film follows a standard Bollywood format,i.e. family tragedy and the ability to overcome. Add that splash of romance and this movie has it all.


Amar , Akbar, Anthony whenever I hear any of those three names I think of one of the greatest movies I've seen. I'm 15 minutes into the movie and I'm already in tears, I couldn't believe a movie like this had so much impact at the first 15-20 minutes. This movie was all around a good movie and is a must see. It starts out with a poor male & female who have three children and the poor man is in trouble seeking out some way to get money for his wife's sickness plus food for his children. When he goes to Robert he begs and the emotion he put into that movie was so heavy you could feel the pain the poor man was going trough. Robert was actual one of those guys that made me say "Just kill this guy already". Usually I like negative rolls and support the negative rolls but Robert was doing a amazing job. The poor man escapes from the sharp claws from Robert he leaves with a car which was filled with gold. He stops by his house to find a "sucide" letter from his wife so he takes his kids and drives off to somewhere then put's his kids in some random park. The bad guys start chasing him so Robert tries to lose em but get's tied up in a car accident which he survived I must say that was a very fake part in the movie but every movie has a flaw eh? Oh well anyways he finds the gold which surprisingly isn't burned and runs around the street with it trying to avoid the cops. He goes to the park to see that his kids are nowhere to be found he starts yelling Aman..? He dosen't yell the other two names so it's him screaming AMAN! Akbar was raised by a Muslim by the time he found the child he was going to drive home but to see Akbar's mom in the street then the Muslim guy takes her to her home but she's blind! She has no idea she is in present with one of her kids. Anthony faints at a local church and Amar was found by a police officer. All three of them grew up with pride of there religion so here we are somewhat 20 years later.

The mom loses bunch of blood then is rushed to her hospital but what the kids don't know is that they are brothers and they really don't know there real mother nor does the mother know her kids due to her being blind. So Amar, Akbar , and Anthony all end up at the same place in the hospital because they have the same blood type of there mother(NO DUH!!!) so they donate blood all to there mom then here comes the opening cerdits with a very touching song. We get to the journey of the three young men and we find out that Akbar & Anthony are very close(Well at least in the first half) so anyways Anthony always refers to the old woman as his mother and so do the other two I think. Anthony also calls Akbar & Amar as his brothers but let's get back to there real dad it seems his the evil guy now LMFAO! But Robert get's away with bunch of gold and Anthony somehow helps him out for a little bit in the movie but what happens? Will Robert regain control of money and power again? Will Amar, Akbar, Anthony find the truth? Will the mom ever be able to see her children again? Watch the blockbuster to find out.

Also the girl who fell in love with Amar did horrible acting at first she said she stole money because there family was poor but she looked like she was giving false information(worst crying in a movie I've seen) I wouldn't believe her no matter what but it turns out she told the truth. I was shocked..


Probably the best example of Bollywood cinema from the early 80's, AAA is eye catching and wonderfully acted with a brilliant score. Amitabh Bachchan truly steals the show with his over the top "My name is Anthony Gonsalves" sequence. Shabana Azmi is fantastic in a supporting role. The real dealmakers for the film, however, are Pran and Jeevan who respectively are devilishly fiendish as Kishenlal (reborn of course -- who can forget the brilliant "Sewer ka putter ..." sequence after spotting Robert on his return) and Robert, the antagonist to all. Sure the ending is over the top, but hey, this was the heyday of Bollywood. And isn't Taiyyab Ali one of the most comically genius roles of all time.

Exceptionally done and a must-see.


This is a perfect hindi masala movie - it has everything - love, action, comedy, good songs and a great story. Amar, Akbar and Anthony are all brothers separated when they are very young. However fate has them crossing paths and eventually a big family re-union at the end.

You walk out of the film, however, only remembering Amitabh as Anthony. He is at his hilarious best. There are places when he becomes the Angry Young Man he is famous for - but his comedy scenes are what set him apart in this movie. The song "My name is Anthony Gonsalves" is an absolute classic and himself talking into the mirror after being beaten up is another great scene.

All in all if you want a movie to entertain you for 3 hours this is it.


This movie is very good. The movie begins when Kishenlal (Pran), a taxi driver for the gangster Robert (Jeevan) returns to his wife Bharati (Nirupa Roy) and sons after spending many years in prison because of a crime committed by Robert. He is furious to see that they have no food and the sons are nearly starved to death. He immediately goes to Robert to get revenge, but is humiliated by him. In the process, Kishenlal escapes with booty, steals a car and drives away to his family through a raging storm. But before he arrives, Bharati runs away leaving a suicide note. Kishenlal then takes his sons with him while being chased by Robert's henchmen. Upon reaching a park, Kishenlal leaves his sons there and drives away to divert his enemies and the police from his path. However, his car meets with an accident and falls from the cliff, but Kishenlal survives with the money. Bharati is still running away to commit suicide. Suddenly a big branch falls on her, completely blinding her. She then becomes homeless and thinks that her husband and sons are dead.

Meanwhile the sons are each adopted by a childless man in the park. The eldest, Amar (Vinod Khanna) is adopted by a Hindu police officer and grows up to be a police officer as well. The second son, Anthony (Amitabh Bachchan) is adopted by a Christian priest and becomes a hoodlum on the streets, while the youngest, Akbar (Rishi Kapoor) is adopted by a Muslim tailor and becomes a Qawwali singer. The rest of the movie is about how the family is reunited. Very good movie. The songs where excellent ! (Kishore Kumar sang for Amitabh Bachchan, while Mohammed Rafi sang for Rishi Kapoor.) Amitabh won his first Filmfare Best Actor Award in this movie. Laxmikant-Pyarelal got the Best Music Director award as well. This movie is very good. Excellent cinematography, performance & direction. It is watch worth. ****.


A true Manmohan Desai film tot he hilt...

This was one of the late '70s movies whose mega success defied the logic of all movie pundits. A typical lost-and-found formula of three brothers (brought up in three different religions); the movie stands out for brilliant individual performances and "seeti"(whistle) comedy and dialogues. Besides the All-Time Amitabh in his memorable role as 'Anthony' and star-studded cast, it is the crispy one-liners and dialogues that lifted this movie above all. Practically every song in this movie was big hit e.g. 'Anhonee ko Honee' 'My name is Anthony...', 'Tayab Ali', to name a few. Don't miss to catch all the patented dialogues by the Villains - Pran, Jeevan.

Back in my school, I remember my classmates reeling out dialogues at the back of their mind.

A must have "Timepass" collection


Amar Akbar Anthony is a film about three brothers who get separated at a very young age and have their own interests and religions. The three heroines, Parveen babi, shabana azmi and Neetu singh do a good job and get who they want to be with. The three heros, Amitabh bachan,Vinod khanna and Rishi kapoor do their job.

This film is good and the producer did a good job of the story and i think if there was to be a remake of this film it woulden't be the same. Nirupa roy and Pran do a good job of their role as Amar Akbar Anthony's mum and dad.

Amitabh bachan steals the show by performing the song "My name is anthony gonsalves" but at the end the three heros perform a song together which is "Amar Akbar Anthony" all the songs are good but those two are one of my favourites.

over all the film deserves a 10/10 and i'd recommend this film to anyone.


This is a movie close to my heart as this was one of the movies I used to watch when I used to go to my Grandma's house. This movie is absolutely perfect. What makes it so perfect is that so much is packed into one film, there is action, comedy,drama and so much more. The plot was not original but how it is packaged is extraordinary.

The story, for those who don't already know is about three brothers who get separated from their parents and how their lives intertwine. One is brought up by a Hindu, one by a Christian and the other by a Muslim. Years later they meet when they give blood to their real mother (they don't know that yet). Their Father(Kishenlal) is seeking vengeance on Robert, who he blames for separating his family. Coincidentally he is also bringing up Jenny, Robert's daughter who he stole from him. Cues heaps of fun for all ages.

The songs also deserves a special mention, all of them are perfect. My personal favourite was the title song. This was a huge hit when released and it my opinion remains of Manmohan Desai's best films. All the three heroes performed well, however on the downside there was not much scope on the heroines. Another downside was Jeevan,in my opinion he is not good as the main villain. Pran and Nirupa Roy were superb as the parents. Coincidentally 4 years later Manmohan Desai made Naseeb, another one of my favourite movies. Wonderfully done, well done Manmohan Desai.


Amar akbar anthony is brilliant cinema and full of entertainment. Directed by Manmohan Desai who has made films like coolie, mard and naseeb. Once again Manmohan directs a fabulous movie with action, comesy and family drama. Vinod plays Amar a hindu character and gives a good performance. Rishi plays Akbar and gives a lovable performance. Amitabh plays Anthony and gives an outstanding performance. Amitabh received a Best actor award for his role of Anthony. Shabana Azmi gives a decent performance, Neetu Singh is alright. Parveen babi is lovely, Pran and Nirupa Roy are supporting roles in this movie and give good performances. The movie has loads of great songs, my favorite is My name is Anthony Gonsalves.


This really was a great movie to watch, my mum really loves this film too, it;s the story about 3 brothers Amar (Vinod Khanna who played his part so well in the film,this guy is such a great actor and i hope he makes more great films like this one) Akbar (Rishi Kapoor, who is such a legend, he played his part so well and make me laugh in the film) and Anthony( played by Big B he was so funny and i just love the ending of this film too. Shabana Azmi is in this film too, she looked so beautiful and elegant, and she too along with the other female leads acted really well. and i really loved the music especially the title song, the film really is a classic and worth watching, it's a nice family movie. go and check it out.


Manmohan Desai was known for larger then life entertaining and illogical films AAA is one of them

The film marked one of Bachchan- MD most famous films and also a blockbuster

The plot is the similar long lost brothers theme but it's well handled and entertaining

The plot is revealed in the initial 20 mins itself which is damn serious but then the film gets funny and entertaining Amitabh's character is one of the best parts, Anthony Gonsalves became a big rage and is remembered even today The scenes between Amitabh- Vinod, the fight and the jail scenes are well handled(in PARVARISH surprisingly both played opposite roles of cop and thief) though the long lost theme isn't taken much further like other films(meaning the searching of the siblings.etc) but the film is more on entertainment then story

The film then focuses on love stories between Amitabh- Parveen, Rishi- Neetu.etc There are several entertaining scenes like Bachchan carrying Mukri to the hospital, Amitabh's long drunken monologue, Amitabh- Pran scene and many more There are too many songs though, like after the famous MY NAME IS ANTHONY GONSALVES in few minutes there is HUMKO TUMSE HO GAYA and PYAAR KE DUSHMAN

The film ends too in a slapstick manner with the disguises which also got famous and the long fight scene

Direction by MD is fabulous Music is good too

Amongst actors Though an esemble cast Amitabh towers above all and no doubt his character of Anthony became a rage and won him best actor award too He excelled in his character which is completely different from what Bachchan did mostly Vinod Khanna plays the cop role with elan and his last funny act is hilarious Rishi is a natural in his role and he is at his best towards the end Amongst the girls Neetu is alright, Shabana irritates, Parveen is very good Pran excels, Jeevan is as usual Hercules is okay


Thinking that old Bollywood movies are filled with too much dialogue and/or extensive action sequences, I wasn't too thrilled watching this movie. Surprisingly this movie does not have neither, and is an excellent movie. The plot is nice and original. The movie is excellent in screenplay and editing. The action sequences are well done especially for a 70's film. The casting in the movie is excellent. The star of the movie is Amitabh Bachchan. Though I expected him to be the down point because he was playing a Christian, he pulls it off with lots of confidence which proves he is a legend in Bollywood. The second star was without a doubt Vinod Khanna. He fits his character so perfectly, I don't think Vinod was being anyone but himself. Rishi Kapoor was good as well, but against the two other stars he pales in comparison. However, his comedy scenes with Neetu Singh's father are memorable. The female star is definitely Parveen Bhabi. She looks amazing and also has loads of confidence. Second is Neetu Singh. She looks pretty, but adds lots of comedy and needs to come back to movies. Shabana Aazmi isn't in many scenes, but she looks beautiful and adds lots of charm. The songs fit the movie well. My favorite is Parda Hai Parda, but Rishi Kapoor is too jumpy in the song. Otherwise the rest of the songs are terrific, and the movie is deserved to be watch.


Amitabh Bachchan is a fantastic actor. Him and Sharukh Khan are known as the Bollywood kings. Nearly every film that Amitabh Bachchan comes in I give it either 9 out of 10, or 10 out of 10 like Naseeb, Coolie, Amar, Akbar, Anthony, Mard and a lot of other films. Amar, Akbar, Anthony is about 3 brothers who are left by their Mum with their Dad and they all get separated while they are children. Amar is found by a Indian and is grown to be an Indian.

Akbar is found by a Muslim and is grown to be a Muslim.

Anthony is found by a Christian and is grown to be a Christian and at the end the family including the mother all find each other.

I loved the storyline and the fighting too.


Gidget was a movie I saw when I was just going into high school. After I saw it I wanted to be Sandra Dee so badly. She was so perky and pretty, and just so naive. It was a great film set on the beach at Malibu. Young juniors in high school going to the beach to get the attention of the college men. Woo who! And all the antics that go with it. Including when Gidget meets James Darren and he is so very dreamy. He took my breath away. Wow that most handsomest man next to John Saxon. Yep I was taken with this young actor. Who was not only handsome, but he could sing too. That song Gidget I had on 45rpm as did all the girls after we all got a load of Sandra Dee and James Darren together. The story is not too complicated, girl likes boy, girl chases boy who is a surfer, girl learns to surf and tries to make boy jealous, boy pretends he is not interested, then comes unglued when she is with someone else. In the end the prettiest girl Gidget gets Moondoggie. This movie was legendary in 1959 and it made alot of girls want to be a surfer like Sandra Dee in the movie. She even shoots the curl with Moondoggie on his board with him. She tells him it is the ultimate! Cliff Robertson plays the Kahuna and the wisest of the group of surfers who sit on the beach all day sunning themselves and goofing off.

I liked this movie so much!


The reputation of the original "Gidget" (1959) has eroded over the years thanks to two weak sequels and a truly dreadful television series. So if you have never seen the original don't dismiss it based on the extremely shallow content of the Gidget stuff that came later. While not a good double-feature match for "Rebel Without a Cause", it is dark and serious enough to still have some relevance

While presenting a rather tame portrait of California's surf and beatnik counterculture, it fits solidly with the better coming-of-age/generational revolution stuff of the 1950's and 60's.

Sixteen year-old Francis Lawrence (Sandra Dee at her most innocent) is the film's title character; girl plus midget equals Gidget. Dee managed to avoid the other two features and the television series but not fatal type casting. She would become more associated with "Tammy" than any other character. Although soon to be a teen idol, looking at her films it is probably difficult for today's audiences to understand her appeal. She was a talented actress with an especially good performance in "The Young and the Innocent" but was never able to transcend the teen idol stigma.

Francis and her more mature and boy hungry friends (watch for "Batgirl's" Yvonne Craig) start their summer vacation trolling the beach for excitement. Francis doesn't really like boys but she can see that they will inevitably become a big factor in her life. Rescued by a boy named Moondoggie (James Darren who was never much of an actor but would also develop into quite a teen idol), Francis is introduced to the surf culture (watch for "Billy Jack's" Tom Laughlin). She is both attracted and repelled by the hedonist freedom and the inherent hypocrisy of the culture's preoccupation with money. In no sense is she the ditzy Gidget later portrayed on television by Sally Fields.

There is a pervasive sexual undertone to the film with the possible loss of Gidget's virginity a unifying theme. But she is essentially a child, and the three main male characters are each protective of her in their own way. Along with Moondoggie are her clueless father (Arthur O'Connell) and The Big Kahuna (Cliff Robertson).

Robertson is a combat veteran (Korea) who has basically dropped out and is living in a shack on the beach. Robertson does a good job in a challenging rol, as The Big Kahuna alternates between the seriousness he would soon bring to his portrayal of Jack Kennedy in "PT-109" and the manic qualities of a Dick Shawn character.

Ultimately some irony is introduced as "Moondoggie" turns out to be Jeffrey Mathews, the clean-cut boy Mr. Lawrence has been trying all summer to persuade his daughter to date. Their summer at the beach is just a transitional point on the road to a ranch house in Sherman Oaks.

Then again, what do I know? I'm only a child.


It seems that while I was growing up, my best friend and I could not have a sleepover or a slumber party without watching "Gidget" and "Grease". We rented the former one day and we loved it instantly, slightly dated as it is. We totally identified with Gidget (the adorable Sandra Dee, God rest her soul), who summed up the innocence and longing of teenage love. Our favorite lines were, "Yeah, but what if the young man doesn't know you're alive?" and, " 'To be a real woman is to bring out the best in a man.' Tell that to the boys today." We, of course, couldn't help but remark, "More like today!" It's easy to see why this film inspired so many beach movies of the 60s. We found it particularly amusing how protective and neurotic Gidget's father (Arthur O'Connell) was, and how he wanted her to date suitable college boys. And James Darren was so great as Moondoggie, and he even got to croon a great love tune! It's priceless when Gidget gets one of the surf boys, Hot Shot, to help her make Moondoggie jealous, and Hot Shot backs out of their deal, and Moondoggie steps up to the plate, completely unaware that he was the intended target. Gidget then pretends that it's the Big Kahuna (a young, buff, and tanned Cliff Robertson) she's out to get, and ends up getting in a little deeper than she planned to.

Of course, it all works out in the end. But this movie is a treasure. Now that it's available on DVD, so many people can enjoy it. It takes you back to a simpler time, but at the same moment you can identify with the characters. You may even want to learn how to surf! Best of all, it is a great tribute to Sandra Dee, in her most famous role. "Gidget" is one in a million!

The DVD: While I'm glad I found these great movies in a DVD collection, the formats are no different than the pan and scan VHS tapes that have been in circulation for so long. The original film, in particular, suffers. At least TCM airs it in widescreen, and then the color looks crisp, clear and glorious. Columbia has done the same injustice to countless vintage gems, such as "The Trouble With Angels" and its sequel, "Where Angels Go Trouble Follows". Viewers had to clamor for "Tess" to be released in widescreen format, a special edition, but much of the film's condition had not been cleaned up - lines across the screen, hissy sound. Columbia also has an annoying habit for not including extras, except for some theatrical trailers; a few classic films (Gilda, The Lady From Shanghai, etc) are lucky to have a featurette or a commentary.

These movies and their stars deserve a much better reissuing and presentation on DVD than they have been given - film restoration is important in preserving film history. I am holding out hope that Sony will rerelease the Gidget films and some of the aforementioned in better quality conditions someday, but my hair might be grey by then. Here's a prayer that Sandra Dee's other great teen movie classic from 1959, "A Summer Place" (through Warner Brothers) due for a DVD release in a few days as of this writing, will be restored to widescreen, recapturing its theatrical glory that enchanted and captivated moviegoers way back when.


Probably the genesis of the Grade-B surfing and Beach Blanket movies, no mean feat in my humble opinion. Dee is spunky teen (only 15 when this was filmed!) who gets in over her head, in more ways than one, hanging out with the older guy surfers. The boys don't know whether to take her seriously or not, until she ends up on "old-timer" Robertson's couch with the lights off and the fire roaring..... Light comedy/drama played straight by the actors to a pleasing finale. Kind of ahead of its time, it has more of an early-mid 60's than a 50's feel. There's only one real Gidget - this one - which was followed by several inferior movie and television productions, none involving Dee. Frankie Avalon stole Robertson's character name, the Big Kahuna, for his 1987 beach blanket reprise "Back to the Beach".


I remember when I first received that movie. I fell in love with it right away. I could actually say the script word for word. "Keep your shirt on, she's coming!" Sandra was fun and exciting in this film. Her bubbling energy kept me laughing and glued to my seat. I recommend anyone to watch it for some innocent and old fashioned values. For example when Kim Novak was preparing dinner and she had salad and lemonade all sitting there before her family was home. Now, how many people have actually experienced that? It takes me to the time when life was innocent and we could use the word 'gay' to mean happy.


Sandra Dee gets to play the first "Gidget" (combining "Girl and Midget"). She's seems too made-up and beautiful for the role, but she acts the perkiness well. James Darren has a good role with "Moondoggie". Cliff Robertson is the "The Big Kahuna" of the beach. At different times, Ms. Dee's Gidget seems to want to: have fun, have sex, grow up, grow out, stay young, and/or learn to surf (which is not at all unusual). Most of all, Gidget wants a boyfriend.

This film seems much more significant in hindsight; since, the Gidget character proved to be so enduring, and filmmakers discovered an audience for teenagers in swimsuits was ready for action. As a film, "Gidget" only fair, and its story is standard. I thought the most interesting part was Mr. Robertson's character - do you want him to "grow up" and leave the beach, or should he become an old beach bum? You do get an answer, at the end of the movie. Also interesting is how Robertson relates to the younger characters. The music is slight. Mr. Darren does the title song nicely (later on); and, the soundtrack often sounds like the melody to "Tammy" is about to begin.

**** Gidget (4/10/59) Paul Wendkos ~ Sandra Dee, James Darren, Cliff Robertson, Arthur O'Connell


the film had loads of late 50s surfing symbols which had a lot to do with the surfing explosion of the mid-60s on the east coast. it had a sun loving and easy going lifestyle feel which accurately summed up California attitudes of the day. yes, glossy and middle of the road, but a huge surfing film nonetheless. in addition, there are subtle references to booze and sex. for nostalgic value, there isn't a boomer around who wouldn't be immediately mesmerized by this swinging movie. for surfers, the long boards are of interest. car lovers will love the vintage cars. the concept of the surfing shack was something not present on east coast beaches, and one wonders if the the local beach patrol would have allowed such a building to be built and occupied on a public beach. maybe in hawaii, but not California. the beach is assumed to be the famous surfing beach, malibu; however reference is made to santa monica. whatever, we know the movie is taking place in southern cali. if one were to guess the year, one is tempted to say early 60s--say, 1962 or 63. but the film is significant because it documents a solid, burgeoning beach culture which had been in place since the years immediately following W.W. 2. this film is a rich summation of what transpired on the beaches of southern California in the 1950s.


I have loved this movie ever since the first time I saw it years ago when I was a preteen. Although it is an old movie, it is still quite enjoyable. It was made in 1959 so of course it lacks the newer features which todays movies emit. However, I think the simple, sweet story of first love is a nice escape from the harsh realities of todays world. I always choose movies that provide something I cannot find in real life. I prefer escaping the norm. If I want to see sex and violence all I have to do is watch the news.

Gidget takes us all back to a simpler time and place where we can relive the memories of our youth or imagine how it might have been. I not only own the video but I also watch it on television whenever it airs. Having just finished watching again, I have to say that the idea that BL was a lesbian never entered my mind. They speak about how she has it made cause she wears her boyfriends pin. I always took that to mean that she was involved in a relationship with a guy who just happened to be away at college or working a lot. Just cause someone has short hair doesn't make them a lesbian in my mind and I think the person who made that comment was way off base and didn't really follow the conversations of the movie closely.

I love all of the Gidget movies, however to me Sandra Dee will always be the ultimate Gidget and I am sad that we have lost her recently.


"The Endless Summer" it ain't. Still "Gidget" has a cool quality about it, being the original. Though the movie is kinda cheesy in places (a little bit of that surf meets Hollywood thing going' on), but it's cool. Takes me back to the days of surfing L.A. beaches as a kid. If only one could still find a board for $25. And those surfers are definitely hot. Especially that Tom Loughlin dude. A very cool, hot Loverboy. Always thought he was a really good looking guy. That red swimsuit on him is definitely something. In my opinion, "Gidget" edges the "Gidget Goes Hawaiian" sequel. I think it is definitely better than the third one (in Rome) though.


Okay, no one will ever put this movie alongside The Godfather or Citizen Kane in the pantheon of great movies (at least I hope not). And maybe it wasn't even realistic about teen life in 1959. But as entertainment this is sure a lot better than scores of movies (think Waterworld or Ishtar) that believed they were a good way for people to spend a couple hours of their lives. Gidget may not aim high but it hit the exact spot it was aiming for.

With a daughter about to turn 21, I sure wish girls spent their teenage years interacting with boys the way Gidget did. Never worrying about drugs or alcohol, knowing not to let boys take advantage of her. Listening to the Four Preps instead of that damn rap music today.

Sandra Dee does a great job of playing a teenager (which shouldn't have been a stretch for her in 1959 unlike James Darren or the other surfers). She does a great job of acting like she's really on a real surfboard in those rear projection shots. I mean, I'm sure Gidget and Moondoggie could surf a few feet from each other all the while giving meaningful glances at each other. And while Arthur O'Connell does a good job as her father, I've never been able to picture him as anything other than a determined bachelor after his role in Picnic.

So if you have a couple of hours that you just want to veg out on the couch and give your brain a rest, you could do a lot worse than spend it with Gidget. RIP Sandra!


What? BL not a lesbian? Be real folks, even in my high school in SoCal in the very early 70s, we'd have wondered. And, it turns out, the people we wondered about? Turns out that at reunions they brought same sex spouses. Already, in this movie, this is a cultural "poke in our eye" to re-examine our ideas.

Still, the movie is very fun. Very interesting, well written, and very well photographed. Malibu! Well, hell, yeah! Even better than the beaches in Orange County.

For those who haven't seen the original movie (which this is), give it a shot. It holds up very, very well.


I LOVE watching these films of the 1950's which say so much. Well, they say so much about the 1950's. What a ridiculous bunch of substantively nothing some of these films were. The plots are so thin as are the women. I think when one looks at these films ... really looks at them ... one can see why there had to be a feminist movement. All the clichés apply. The women surely do not seem to have a brain in their head.

In this film Gidget's friends simply do not know what on earth will happen to poor Gidget if she doesn't have a successful summer which means getting a steady boyfriend. She cannot even return to school if that doesn't happen. Gidget, well, she just ruminates and hand wrings wondering why oh why she just does not have the right stuff. Maybe there is something "wrong" with her that she simply does not care about men. She's such a cutsey tomboy. Uh oh..Nope, not to worry, gay an not an issue. Gay is an impossibility in that era and not even eluded to even though one of her friends seems ever so lesbian to me. Worry not though, her friend who helps her dress for the loowow and listens while Gidget worries about men but says nothing, is pinned, to a guy of course. Gidget's mother reassuringly stands by and tells her everything is AOK and she will know that man when she meets him. Whew, I was SO worried.

We know, all's well that ends well and Gidget does finally get a man and of course remains virginal to boot. She realizes there is nothing "wrong" with her at all. She simply did not meet the "right" one. Thank God. She's saved. How could this ever-so bleached blond not meet anyone with those platinum looks and pancake makeup whiter than white skin? One could never take her for a black woman that's for sure. Of course in the 50's there were no blacks right? Did anyone of that era really have hair and skin that color? If one cared to notice her eyebrows were brown! No one notices as blond and white especially women are what America in the 50's wants everyone to be.

What was that character all about? If one expects a discussion of War and Peace, Dickens, Steinbeck or even Louisa May Alcott forget it. How about a discussion of James Baldwin, Alan Ginsberg or Lenny Bruce? No way. Will she talk about Jim Crow laws in the south, the Plessy v. Fergusson decision or American foreign policy post WWII? I don't think so. Gidget is about worrying though. It is worrying about learning how to surf, attending loowows in the right clothes, hunky guys and Gidget's lack of attraction to men err lack of attraction to the RIGHT man. Serious stuff.

Perhaps, the film is about innocence. Innocence though without some reality is simply trash. That is what the Gidget films are. They are pure and simply ridiculous trash. Sandra Dee had talent however as movies such as "Imitation of Life" and "A Summer Place" attest. It's too bad her talent was wasted on that genre of film. Obviously those films made money and THAT was what Gidget was all about.

Oh well, I will admit watching those films is like taking a drink. It's utter escape into a life of pure fantasy and into the innocent life of a 1950's that really never was all that innocent if one was black, female, disabled or, certainly, heaven forbid homosexual. Nope Gidget was surely not reality. For a moment, though, when I watch it, I step away from the sadness and vicissitudes of life as it is.


I do not agree at all with the comment made about this film as I find it even malicious and narrow-minded. Who the hell cares if the film lacks structure or pacing? The most important thing is that real facts are well-presented and narrated very clearly. Regarding humour, I am afraid there's no room for humour in here. I recommend to whoever wrote that awful review to go and check out the latest Jim Carrey's film if he or she is looking for some humour. Unfortunately, I suspect that the author of such one-sided point of view cannot tolerate anything that does not come out of Hollywood whose films are indeed well-structured, well-paced and contain humour but at the same time are mostly idiotic, shallow and meaningless.


Phenomenal documentary portraying the turmoil unfolding in Argentina leading up to the 2001 economic crash. The movie begins by showing Argentina in crisis, and then goes back in time to some of the problems that predicated the crisis. The documentary focuses attention on the role of former president Menem, though it definitely does not skip over other important aspects of recent Argentine history. The view given to the audience by the movie accurately reflects the opinions and feelings of many Argentinians. As of Spring 2004 when I was in Buenos Aires and watched the movie in theaters, many older couples were yelling at the political figures speaking in the movie. Often the director places comments from trusted officials that later prove to be complete lies taken in back-sight. Great images can also be seen throughout the movie. Don't miss Menem with a belly dancer and the underlying angst and sarcasm felt by the people of Argentina. I would recommend this movie to people who want to learn more about the mood of the Argentine people. Great movie, though hard to watch.


"fechy from Switzerland" you are sick bastard who doesn't know a thing from the great Pino Solanas. This man has been producing documentaries with strong political content since the 60s and you dare to consider him a bad copy of Michael Moore? He was 12 years old when Pino had already released his masterpiece The Hour of the Furnaces.

How come you demand a little bit of humor when we are talking about the lives of millions of people that were ruined? Over the past 32 years they resisted a genocide dictatorial regime and governments financed by narcs. This is the result of liberal economic programs implemented by corrupt politicians in a fake democracy.

Pino was a congressman also, the only one who dared to report the abuses during the Menem era. He received 6 bullets in his legs for it.

This is a saga followed by The Dignity of Nobodies, Argentina Latente and the unreleased La Tierra Sublevada. We may discuss his political ideas but never his work. Something a lot of nobodies were longing to let the world know. Someone to speak for us. The social awareness of Evita, the revolutionary ideas of Che Guevara, the democratic values of the great nations and a gifted artist. Ladies and gentlemen that's Pino Solanas. A unique person.

Pino thanks for your dignity, your humility, your coherence, your honesty and your legacy.


Both if you are interested or not in politic, or if you have different political ideas with the Director, you may see this film. New generations of every Latin American country must know what happened and how happened the facts, and Solanas shows everything in a perfect way. Anybody can see this documentary film, even if don't have any previous knowledge about the issue, and can understand the real reasons of the most important political, social, institutional and moral crisis in the whole Argentinian history. Like in "The Hour of the Furnaces" Solanas make too much with few economical resources but a lot of talent. Thanks Solanas for your dignity and your work.


'Carne Trémula' is another good film from Spanish director Pedro Almodóvar. It comes before his great films 'Todo Sobre Mi Madre' and 'Hable Con Ella', both more mature than his earlier films, and this film is the beginning of the grown-up Almodóvar. It tells the story of five people with lives that cross paths from time to time. The film starts with Víctor (Liberto Rabal), who has fallen in love with a girl he has only seen once. Her name is Elena (Francesca Neri). She does not remember him, so when he shows up at her house she takes a gun and forces him out of the place. He does not go and because the gun goes off the police arrives a couple of minutes later. Two detectives arrive, David (Javier Bardem) and Sancho (José Sancho). They have issues, since Sancho's wife Clara (Ángela Molina) cheats on him, probably with David. Sancho got in a struggle with Víctor, a gun goes off.

Four years later David, hit by the bullet, is in a wheelchair and married to Elena. Víctor is released from jail and he has not forgotten about the events years earlier. To tell you what happens would spoil a lot of things since Almodóvar is a master with surprises here. Even in single scenes he makes you think one thing is going to happen and the exact opposite does. It is kind of brilliant.

'Carne Trémula' is a film that plays with genres, like Almodóvar's earlier films such as 'Mujeres al Borde de un Ataque de Nervios' and 'Tacones Lejanos'. It is a comedy, a drama, a detective, a mystery, a romance. In some single scenes it also shows other genres. When the two detectives climb a stairs early in the film there is a typical film noir shot, with shadows and a certain camera movement. Things like this add a lot of fun to the film.

Besides this it is also a very well-acted film, especially by the very dependable Bardem. Alfonso Beato provides the film with a gorgeous cinematography and Alberto Iglesias, like always, comes with a score that is beautiful on its own, but also fitting the film in a perfect way. If you like Almodóvar you will definitely like this one, but even if you normally don't there is a good chance this will change your opinion.


Part Hitchcock thriller, part Sirk melodrama and part Wilder cynical comedy, this far-fetched, and at times, absurd and overheated drama is destined to become one of my favorite Almodovar films. The film's plot is ridiculous, filled with unbelievable twists and silly coincidences (and a stupid happy conclusion to boot), but it is energetically directed by a filmmaker that never ceases to amaze me. It is as if Almodovar said, "forget logic, and let's have some fun." This attitude worked for Hitchcock, Argento, and De Palma, and it certainly works for Almodovar. Critics may complain about the film's lack of substance, but Almodovar's stylish direction is more than enough to make the production satisfying and interesting. I don't think it is as good as Almodovar's "Talk to Her (2001)" and "Bad Education (2004)" (my favorite Almodovar films, so far), but it is definitely one of the best Spanish films I've seen. It is wickedly funny, and very sensual movie, but not for viewers who demand realistic situations. Affonso Beato's cinematography is brilliant, and Alberto Iglesias' over the top music score reminds me of Miklos Rozsa in his prime. Give it a chance, you won't be disappointed.


Curious, seeing this after the smash hits of "Todo Sobre Mi Madre" and "Hable con Ella", because this movie sort of prepared the viewers to what was coming. Grabbing a solid and original story, Pedro Almodovar creates a movie that revolves around a strange set of characters, and on the process gives an excellent essay on the effect time has on people's lives. All the actors are top notch, specially the commanding Javier Bardem, who would later become an Oscar nominee with "Before Night Falls". Great music, cinematography and direction give this movie an even more satisfying look, and make this a well-achieved movie that ends up being the first part of an unofficial trilogy of Almodovar's best works.


Almodovar has always been the king of kitsch, the naughty, the pervert (who isn't anyway?), the generator of endless dirty language conversations, the good the bad and the ugly of the movie world. Well, he seems to have grown mature, but not tamed in that sense. He probably will be strongly criticized for the oral sex scene, on grounds that he is abusing disabled individuals, just like he was almost damned by feminists because of the looong rape scene in Kika. Well, although he seems to have moved away from his bright colors and chaotic chasing sequences, and although Live Flesh is to the best of my knowledge the first movie where he openly praises the post-Franco era, it was as tasteful as its predecessors. And who can build up such a web of events and relations better than Almodovar does, anyway?


If you intend to see such a film, I warn you that you should not miss any scene if you really want to understand its intelligently arranged plot. Sometimes I see Almodovar as a kind of Victor Hugo of cinema because he makes various complicated scenes not coherently inserted in the film that you should put in order step by step. May be in this way the excitement increases and you will be more anxious to know the end of the film. Javier Bardem (David) played the role of ex-agent and ex-basketball player who was shot in fact accidentally. The Italian actress Francesca Neri is David's wife, and young Liberto Rabal is Victor, the man supposedly spoiling the lives of others, and strong lover. Love and sex scenes of the film are intense as if they were real. The behavior of the actors and actresses in the film is convincingly human, i.e. people having their merits and shortcomings in their lives, there is no fictitious models of behavior. Almodovar, as usual, tries to reflect the reality. There are many good dramas in cinema but this one is probably one of the best.


Pedro Almodóvar changed the way of making cinema in Spain; and doing it, he has impressed movie watchers around the world. You have seen his movies; they are a mix of cruelty that includes honesty and passion. Not honesty in Almodovar's characters, but in the way they are written, showing a tough reality. About passion, well, it occupies a place in every person, but is not always shown; Almodóvar takes care of that.

He introduces you to the characters in the story, then he starts to develop a plot that you're going to see, even if it is predictable. Víctor (Liberto Rabal) has lost, or not, his virginity with one woman (older than him). He's not an expert when it comes to casual sex, but she wants to see this woman again, and doesn't understand why she acts like she didn't care what happened. The thing is he doesn't know she does it every week. Then we see David (Javier Bardem) and Sancho (José Sancho) working in their car. They are cops. David is honest and professional, Sancho is alcoholic and incontrollable; his wife, Clara (Ángela Molina), cheats him with another man. Sancho loves her, but beats her and keeps her locked in the house. The one who connects them all is Elena. Víctor fights with her, the police arrives, someone is shot and we see a frame that shows the movie some years later.

The person who was shot is David, who walks (well, he doesn't walk) in a wheel-chair. David saved Elena's life; they're married. Víctor is getting out of jail; he shot David. Sancho is in the same situation with his wife. Now Víctor is angry, and plans his revenge; eventually he meets Clara, and follows Elena, and everything is connected again, until the end.

Javier Bardem is excellent as David. He can cry while he talks and convince you that he is suffering. He is the finest Spanish actor, and it was wonderful to see him fighting against his character's decisions to do the things he has to.

Francesca Neri didn't seem Spanish while I was watching the film. She isn't, but she has the looks of a "femme fatally", and that was perfect for her role, which connected everything and had the strongest lines.

José Sancho gives a good support as Sancho, reaching the extremes with his face. His character is doomed, because what happens to him now is not going to stop, and the worst part is that he knows it.

Ángela Molina doesn't have the chance to shine, but still does a decent work, with what she has got. She can't be having sex with one only man, and she shows it.

Liberto Rabal doesn't show much acting talent, he's not the mos experienced in the cast, but somehow, when he talks, he seems not right, but perfect, for his role. Listen to him at the end and you'll see.

Almovodar is gifted and he proves it in each frame of this tale. You need to look at every part of the shot to see the details he is giving to the piece. Look at the sexual scenes; the balance he achieves: it's not so strong, but not soft either. It's subtle. His way of directing the actors is amazing. He writes the movie, and knows it more than anyone, so you know he is there to tell the cast what to do, and help them obtain their amazing performances. It's a visual style with life of its own.

I said it. There's cruelty and honesty at the same time. There's passion. There's betrayal, lies, sex. You see it in the characters, in their words. When David arrives home and sees his wife Elena in bed, and starts to touch her; she doesn't like it. "What's the matter?", he asks. "It hurts", Elena answers. "Why?", he says. And with a face that involves everything I'm talking about, she looks at him: "Because I've been having sex all night"


Mr Almodovar shows once again that he is the master of the camera as it peers inside the female psyche. This film also allows us to look inside the male psyche, without the cliches and judgements that spoil so many other attempts. Another good film by a great master. I eagerly await his next work.

Carlo Infante


Pedro Amoldovar's 'Live Flesh' is a stylish, original and watchable revenge-thriller, featuring not just a love triangle, but a love pentagon; moreover, one of the participants is that rare creation, a disabled character who inspires envy not pity. But there isn't too much substance beneath the surface: all the leading figures are gorgeous without being lovable, and while the central sex scene is certainly quite erotic, I don't imagine you'd see anything quite so arousing by sticking a camera in any real couple's bedroom. There is one theme behind the story, which is brought forward in the conclusion of the movie, and that is the changing face of Spain over the last quarter of the twentieth century; but the connection of this idea to the plot is slight. Overall, it's a film with interesting parts, but their sum is a little underwhelming.


Almodóvar seems to be following the rule-"Stick to one thing and do it well." As usual he was able to create great characters and involve good symbolism based on a story which is full of ridiculously impossible coincidences and the sometimes predictable, but always irrational behavior of the characters.

As in some of his other films, the story involves characters who seem to be completely led by fate and always bound to their destinies. Each of the characters goes through a radical transformation in a relatively short period of time. In the end, noone is innocent and all are victims, but there is a romantic hope for a brighter future and a new start at life.

I liked the new set of actors and actresses that were cast, and I would hope to see them cast differently in another film


Hey there everyone,

"live flesh" is one of those fine movies which go through your mind days after the movie. Like all Almodovar's movies, this one also features desperate characters who cope with loneliness. Picture Victor, a young street kid who falls in love with a ravishingly beautiful woman (The Italian Francesca Neri) after a one night stand in a disco bathroom. He calls her and she rejects him in a mean, cold hearted way.

What Victor doesn't know, is that Elena is actually a drug addict. Victor goes to her apartment for an explanation. There he gets entangled in a weird shooting accident with two cops, which leaves him in jail for seven years and a cop paralyzed. This cop (a young Javier Bardem) becomes a paralympics star and weds Elena. After his jail time Victor returns for Elena, but things have changed. Both David and Elena fear Victor, but he has no bad intentions. Even though Victor does try to get mingled back into the life of his former love. Victor also becomes involved with the other cop's (Sancho) wife and she (Clara) starts to fall in love with him. Victor and Clara make out constantly, but Victor stays in love with Elena. He finally confronts Elena about the injustices done to him in the past and her crucial role in it. He knows to seduce her for a one night and vows to never see her again. He dumps Clara later on, leaving her in tears. In agony she finally has to courage to escape her drunken husbands and his domestic beatings. Sancho (after a tip from jealous David) and Clara meet each other at Victor's house, which again leads to a shoot out. This time Victor escapes painful consequences. Elena runs to the house, hearing gunshots and screams out her love for Victor. Victor and Elena are reunited after 7 years and get a baby. This time things will turn out right for Victor. Spain has become a free country and his son will have a better future.

In all of Almodovar's movies the characters are nice to watch (both in acting and appearance). The color use is always good and adds to the atmosphere of an intimate story. And if you don't like the story... Just check out the movie pure for the beautiful blue eyes of Francesca Neri. They express both a beautiful soul and an agonizing spirit.


Pedro Aldomovar is seen as a real genius and personally I think that one film is better than the other but this movie from 1997 certainly belong to the best the Spanish infant terrible has made. In 1970 a woman bears a child in a bus and it's that boy, Victor (Liberto Rabal), who we are going to follow. Victor is an ordinary guy but due to circumstances his whole life will be twisted up as he's the victim from two policemen who are arguing. Like so many other movies by Aldomovar it would be a real spoiler to reveal things as the magic of the movie is to be found in its surprising storytelling that at first doesn't make that much sense but develops itself into a perfect, surprising story. Aldomovar is becoming the master of telling the little things in life and it's in that we can found so much beauty. Also nice to see Penelope Cruz as special guest star, even if she's in it for about 5 minutes. "Live Flesh" certainly is one of Aldomovar's easier movies as for once he gives all the answer even if you have to wait till the end of the movie. A tip!


Victor says to Clara in Bulgarian 'As Imam Odin Golyam Kur' and says her this means let's move the stuff. In Bulgarian that means 'I have a big penis'. Bulgarian is not common language that any people who know few languages would understand what he is saying.So 99% of the people who watch it don't know Bulgarian.That means they don't have to understand details. Like most of the Spanish movies I have watched, it has sexuality on it. The problems that people might get in their lives spontaneously. It's interesting that the accidental shot fired by Elena changed her life and the life of 5 other people. Overall it's a nice movie to see.


an amazing film. unpredictable, even to a film junkie and his or hers thousand films. Pedro is a true storyteller.this film withstands numerous viewings.as always, Pedro's bright color schemes make this one(too) a visual delight


I don't understand people writing here this movie is a soap opera. OK it's about relationships and it's not a character sketch, but it's also a well done movie with some very strong moments and some fine details.


This was my first Almodovar movie and I was impressed. Not only was the story satisfying- lots of twists and turns, the actor who played Victor was both sexy and vulnerable. The sub-plots of adultery and jealousy work well with the main plot of a man pursuing an impossible love. I liked the frantic pace of the first scene, the humor of his birth and the justice of the ending. Everyone in this ensemble adds something- from the troubled partner to the lovestarved wife. The only drawback is the video version destroys the beauty of the passionate love scene-- see it on big screen if you can.


Unfortunately, Cruz is not long in this film. She is a prostitute who give birth on a bus. The story is really about her son, whom we join 20 years later.

Now, hang on. Victor (Liberto Rabal), her son, is infatuated with Elena (Italian beauty Francesca Neri), but she is just a junkie who is more interested in seeing her dealer than him. They scuffle and the police (David and Sancho) come. Sancho's wife is fooling around, so he is drunk and gets into a fight with Victor and a gun goes off injuring David. David (Javier Bardem) heads off to a life of wheelchair basketball and marriage to Elena. Victor goes to jail. When he gets out, he takes up with Clara (Ángela Molina), Sancho's wife.

If you are not confused yet, it gets more interesting as secrets are exposed. Pedro Almodóvar has written and directed another interesting film. It ends just as it begins, but in a dig at the repressive Franco regime, with a nod to freedom.

It is a comedy, a detective story, a thriller, a drama - a bit of everything. - An Almodóvar paella for the eyes.


Almodovar is a master story writer--he knows exactly what to tell the viewer and when to tell it. He understands the volatile nature of the film medium, preferring to illustrate the motives of his characters rather than simply state them. As in "Todo Sobre mi Madre" and "Mujeres al Borde de un Ataque de Nervios," Almodovar uses subtler methods than others to draw attention to important details. The movie holds together like an artfully composed opus, returning to hints given earlier on and embellishing on them. In this way Almodovar will definitely mess with your mind; by the end of the movie your judgments on the characters will make a total about-face.

However, the first time viewer should be warned not to take the circumstances too seriously. Almodovar's plots thrive on unlikely circumstances and chance meetings of characters. It is something more akin to the magical realism in literature, not to be taken literally.


The geometry of "Live Flesh" involves two eternal triangles which share one man at a common apex with two men and two women at the opposing corners and lines drawn between each collectively representing the spectrum of emotion; love, hate, desire, jealousy, etc. Beautifully crafted, visually crisp, and an intriguing blend of drama noir and artful comedy, this film tells its tale of human relationship entropy with an abundance of verve and style. In Spanish with subtitles, "Live Flesh" makes a solid watch for film buffs and foreign film enthusiasts into tales of human drama. (B+)


The young Victor is irresistible to Clara and Helena, and you can see why. This man is the sexiest thing I've seen on the screen in a long time. Great story, Almodovar style, a different perspective of Madrid, great acting, but Liberto Rabal stands out amongst all of it. Very tasty indeed.


is a great movie with a no-usual drama. Bardem is great.. and almodovar good as always. is a very unusual drama and so easy to understand, maybe one of the best representation of spanish movies..