Doctor in Distress [VHS]

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Doctor in Distress [VHS] Review

VCI Entertainment and The Rank Collection presents "DOCTOR IN DISTRESS" (1963) (103 min/Color) -- Starring: Dirk Bogarde, James Robertson Justice, Samantha Eggar, Dennis Price, Leo McKern, Mylene Demongeot, Donald Houston, Barbara Murray

Directed by: Ralph Thomas

Another great film from the British Invasion which VCI has restored and brought from their vaults.

This movie sees the return, after an absence of six years, of Dirk Bogarde to the role of Doctor Simon Sparrow.

'Doctor In Distress' is my personal favorite of the 'Doctor' series. To be honest, Bogarde is largely wasted in this film; still it is nice to see Simon Sparrow for one final time. The film main emphasis is not placed on the young, bungling medic, but, refreshingly, focuses on the wonderful James Robertson Justice as Sir Lancelot Spratt. It's a joy to see James Robertson Justice take center stage for a change, whether bashfully admitting his childhood nickname of 'Porker' or visiting a health farm; he never fails to raise a smile. It is a real pleasure to see these two fine actors reunited once again.

You do come away with a smile of satisfaction, the supporting cast is a real who's who of British screen acting, with people like Timothy Bateson, John Bluthal, Donald Houston and a nice surprise to see Michael Flanders as the food writer at the health farm.

But for James Robertson Justice, his acting credentials are priceless in the early 60s, simply perfect.

For product description and editorial review check this out on the Amazon site above my review

SPECIAL BONUE FEATURES:
Photo Gallery

BIOS:
1. Ralph Thomas (Director)
Date of Birth: 10 August 1915 - Hull, Yorkshire, England, UK
Date of Death: 17 March 2001 - London, England, UK

2. Dirk Bogarde [aka: Derek Jules Gaspard Ulric Niven van den Bogaerde]
Date of Birth: 28 March 1921 - Hampstead, London, England, UK
Date of Death: 8 May 1999 - Chelsea, London, England, UK

3. James Robertson Justice [aka: James Norval Harald Justice]
Date of Birth: 15 June 1907 - Lewisham, London, England, UK
Date of Death: 2 July 1975 - Winchester, Hampshire, England, UK

4. Samantha Eggar [aka: Victoria Louise Samantha Marie Elizabeth Therese Eggar]
Date of Birth: 5 March 1939 - Hampstead, London, England, UK

Mr. Jim's Ratings:
Quality of Picture & Sound: 4 Stars
Performance: 5 Stars
Story & Screenplay: 4 Stars
Overall: 4 Stars [Original Music, Cinematography & Film Editing]

Total Time: 103 min on DVD ~ VCI Entertainment #8664 ~ (August 2, 2011)

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King Kong

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King Kong Review

Firstly, I'd like to dispel a misconception that many "reviewers" here onsite are promoting: that the 1976 verison of "King Kong" was a notorious financial flop. This is simply not the case.

King Kong (1976)was a huge hit back in the seventies--I know because I was there, I saw the frenzy, I remember the crowded theaters. It cost $24 million and made $60 in 1977 dollars, only a little less than the highly regarded blockbuster "Jaws" made a couple of years earlier. Calling the film a commercial "flop" is not just inaccurate--it is a statement that borders on stupid.

Now, admittedly, it also had a huge pr campaign, which undoubtedly helped it garner a lot of that dough, but there was a lot more to the flick than just the hype.

While the commercial success of the film is a matter of indisputible record, its artistic success is a matter of personal opinion. I happen to think this is one of the best pop films of the Seventies--and there are a lot more folks out there who agree with me than you think.

Many people rag on the film for not being reverential to the original, ignoring that fact that "being reverential" was the antitheseis of what the 70s were about. Kong 76 could have probably been an even bigger hit than it was if the filmmakers had played it safe and hadn't gone out of their way to make a film so stubbornly odd. I mean this thing stomps over a gigantic swath of styles: panoramic spectacle, high adventure, pathos, romance, social commentary, absurdist comedy, thrills, and occasionally outright goofiness--all comprised in a slyly satiric package designed to tweak the noses of Kong purists. Lorenzo Semple Jr.'s ("Papillon ") screenplay is all over the place when it comes to style and tone, borrowing from whatever and whenever, almost as though it had been patched together from several different treatments--yet it still remains incredibly tight in terms of interesting, well-drawn, consistent characters, witty dialog, exploration of theme, and the forward momentum of the plot. King Kong 76 is a great example of anarchic postmodernism being perfectly wed to the staunch formalism of good storytelling. A contemporary example of this approach would be Quentin Tarantino's Kill Bill films.

The direction by veteran John Guillermin was absolutely fearless, pushing each of Semple's concepts to its limit, even at the risk of seeming silly. And he had a great cast to work with, especially young Jessica Lange in her first film role. Unfortunately, Jessica played the role of the vivacious, childlike, kinda dimwitted bubblehead blonde Dwan so incredibly well that most people wrote her off, assuming she was just a dumb blonde playing herself. But in actuality it is a bravura performance, one of the best in her career, and certainly a more individual, more fully-realized character performance than we get in most movies these days.

As big a hit as the disco era Kong was, however, there were a lot of people who were put off because they weren't expecting anything as freewheeling and insane as what they were given. They weren't expecting weirdness and satire. They weren't expecting to see Kong blowing a hot, wet blonde dry after a dip in a lake (metaphors anyone?), a scene simultaneously erotic and ridiculous. They weren't expecting to see the captured Kong turned in to a corporate shill--is there any scene in mainstream 70s cinema more surrealistically satiric than that of Kong being presented to the masses encased in a thirty story replica of a gasoline pump? They also were not expecting to see a big budget adventure film with a downer ending--the romantic leads ending up emotionally separated by their experiences instead of united. And they didn't expect to feel bad when the monster died.

So I put it to you all that not only was the 1976 Kong a financial success, it was also an artistic success. But you can't watch it as a remake of a classic film. It is no more a remake of the 1933 King Kong than Quentin's Kill Bill is a remake of Sonny Chiba's Streetfighter's Revenge. Watch the film for what it is, not what you think it should have been, or what you wanted it to be, and you will be better able to appreciate its cracked brilliance.

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Half Baked

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Half Baked Review

i love this movie so much. i mean, i've watch this movie so much coz i just can't stop laughing. i recommend this movie to everybody..even those who aren't potheads. trust me, you'll enjoy watching it.

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Große Mädchen weinen nicht

Gro e M� dchen weinen nicht

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Gro� e Mädchen weinen nicht Review

In most movies about teens - at least those made in America - we usually don't have to spend a great deal of time trying to figure out who are the "good" people and who are the "bad." The filmmakers are usually kind enough to do that for us. This is obviously not the case in Europe, however, for in the German film "Big Girls Don't Cry," the adolescents we meet are anything but morally and ethically clear-cut.

The two best friends, Steffi and Kati, seem like fairly typical middle class teens - somewhat mischievous, obsessed with boys, and faintly rebellious against the authority figures of the adult world. They also drink, party and experiment with drugs - nothing too radical for teens anywhere in the world today. However, one night Steffi inadvertently discovers that her father is having an affair. At this point, all hell breaks loose, as Steffi decides to take her anger and revenge out on the innocent daughter of her father's mistress, an aspiring singer named Tessa. Steffi sends Tessa to a potentially dangerous local pornographer, leading her to believe that he is actually a record producer searching for new talent. This single action leads to a series of cascading events that winds up, in some way or other, adversely affecting most of the people in Steffi`s life.

Steffi and Kati are both fully realized and complex characters who refuse to be pigeonholed at any given point in the movie. Steffi begins her crusade of vengeance convinced that she is acting strictly out of righteous anger, especially since, in her mind at least, her actions are as much a way of protecting her mother's honor as her own. And if innocent victims have to be sacrificed along the way, well, so be it. What Steffi doesn't realize, until it's too late, is that we can't always control how the human dramas we set in motion will ultimately act themselves out. Kati, who is far more rebellious and far more promiscuous than Steffi, finds herself torn between her loyalty as a friend and doing what she knows is right. It is Kati, the less self-assured one, who, ultimately, becomes the moral beacon that Steffi will be forced to follow if she hopes to survive in the world.

Anna Maria Muhe as Kati and Karoline Herfurth as Steffi give brilliant, well-rounded performances, as does the rest of the talented cast. The acting, writing and directing are so good and true, in fact, that the movie is able to override the occasional implausibility or touch of melodrama that wanders into the storyline.

I just wish American movies about teenagers were this thought-provoking, interesting and impressive.

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Celluloid Closet

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Celluloid Closet Review

Based on the book by Vito Russo, written by Armistead Maupin, and narrated by Lily Tomlin, THE CELLULOID CLOSET uses interviews and hundreds of film clips to examine the way in which Hollywood has presented gay and lesbian characters on film from the age of silent cinema to such recent films as PHILADELPHIA and DESERT HEARTS. Throughout the documentary, the focus is on both stereotypes and the various ways that more creative directors and writers worked around the censorship of various decades to create implicitly homosexual characters, with considerable attention given to the way in which stereotypes shaped public concepts of the gay community in general.Overtly homosexual characters were not particularly unusual in silent and pre-code Hollywood films, and CLOSET offers an interesting sampling of both swishy stereotypes and unexpectedly sophistocated characters--both of which were doomed by the Hayes Code, a series of censorship rules adopted by Hollywood in the early 1930s. The effect of the Code was to soften some of the more grotesque stereotypes--but more interesting was the impetus the Code gave to film makers to create homosexual characters and plot lines that would go over the heads of industry censors but which could still be interpreted by astute audiences, with films such as THE MALTESE FALCON, REBECCA, BEN-HUR, and REBEL WITHOUT A CAUSE cases in point. Once the Code collapsed, however, Hollywood again returned to stereotypes in an effort to cash in on controversy--with the result that throughout most of the sixties and seventies homosexual characters were usually presented as unhappy, maladjusted creatures at best, suicidal and psychopatic entities at worst.The film clips are fascinating stuff and are often highlighted by interviews of individuals who made the films: Tony Curtis re SOME LIKE IT HOT and SPARTACUS, Shirley MacLaine re THE CHILDREN'S HOUR, Stephen Boyd re BEN-HUR, Farley Granger re ROPE, and Whoopie Goldberg re THE COLOR PURPLE, to name but a few. All are interesting and intriguing, but two deserve special mention: Harvey Fierstein, who talks about the hunger he had as a youth to see accurate reflections of himself on the screen, and Susan Sarandon, who makes an eloquent statement on the power of film as "the keeper of the dreams."Although the material will have special appeal to gays and lesbians, it should be of interest to any serious film buff with its mix of trivia and significant fact. The DVD also includes notable packages of out-takes from interviews that are often as interesting as the material that made the final cut. If the documentary has a fault, however, it is that it offers no "summing up," preferring instead to show only how far the portrayal of homosexuals has come and indicating how far it has yet to go. Recommended to any one interested in film history and interpretation. Help other customers find the most helpful reviews� Was this review helpful to you?�Yes No Report abuse | PermalinkComment Comments (4)

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Shi di chu ma [VHS]

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Price: $731.26   

Shi di chu ma [VHS] Review

There's no doubt about it, Jackie Chan is one of the most accomplished martial arts action stars in the world today, but long before he made it to the North American mainstream, this little beauty was alive and well in Hong Kong. Other than the 1977 version of Drunken Master, this has got to be the best film I've seen from Jackie Chan in his earlier period. The fight scenes are truly a spectacle to behold. The lion dance is one thing, but the actual fighting is just superb. During the scene where the crime boss is released from the custody of the authorities, he delievers the greatest kick I have ever seen. I must have stopped and rewinded about 8 times! The sound is not bad at all, and the picture is not too shabby either. The story and plot is pretty good, even if some dialouge leaves more to be desired. Other than that, no complaints. The Young Master is really something to see, and I would recommend it to those who truly enjoy Jackie Chan's martial art skill!

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