The Song of the Lark (2001) Review

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(More customer reviews)After the horrid job Hollywood did on her novel A LOST LADY, Willa Cather refused to allow her works to be converted to dramatic form--and she put it in her will. But that was before Masterpiece Theater raised the stakes for the transformation of literary classics to film. Now that a few of Cather's works are no longer in copyright, some have been filmed with mixed results. The Masterpiece Theater film, THE SONG OF THE LARK, is the best of the lot, a fine presentation of the story of a young girl who finds her voice when she connects the two things--the western lands and the music--that she loves. This production has the good sense to end the story at its climax, leaving the weaker ending (which Cather herself acknowledged) to the reader's imagination.

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Knockin' on Heaven's Door (1998) Review

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(More customer reviews)A little bit like "Lock, stock, and Two Smoking Barrels" with less people involved in the story. Great movie if you can watch it. The German only made it a bit difficult for me!
Once the major downfall I found with the film was the lack of subtitles on the copy that I had purchased. This time I gave it a 5 star so people might actually look at it, one. Two, because the film itself was a 5, and this region 2 version may have the one thing I had missing.
*I do not own the DVD listed here on amazon, but this is the only copy I have ever seen with English language listed on it.

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Holocaust (The Mini-Series) (1978) Review

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(More customer reviews)I watched this on network tv when it premiered. It's even harder to watch it today. With twenty years of ethnic cleansings, and smaller holocausts under our belts, one of the major themes of the story holds even truer. If we aren't very very careful any of us can become a killer.

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Before the Fall (2004) Review

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(More customer reviews)BEFORE THE FALL ('NAPOLA') is a brilliantly made film that addresses the blind hopes of youth in becoming a success as a man, a factor that allowed and allows dictators to entice young men into the realm of warriors under the guise of applauded bravery and the golden promise of achieving glory for a great cause. This story just happens to be about Hitler and his 40 Napola (training camps for the elite German youths in 1942) and the young boys and men who trained in these National Political societies. It could be found in many places and in many times...
Friedrich Weimer (handsome and talented young Max Riemelt) comes from the lower class in Germany (his father is aiming him toward factory work) and is a fine young boxer. His talents are noted by some representatives from the Nazi party and he is asked to report for enrollment in a Napola, an important means of education and training that Friedrich sees as being his way to become something special, someone important. His father is anti-Nazi and refuses to let Friedrich go, but Friedrich is determined and runs into the night to join the Napola. Once there he is admitted, groomed as a boxer for the Napola, and introduced to the Hitler's youth movement. His fellow classmates vary from the very wealthy to other fine Arian lads. They are trained, observed, and brainwashed as to the glory of the Thousand Year Reich. Problems begin to arise when Friedrich gets to know his fellow classmates: Siegfried (Martin Goeres) is a bedwetter and is humiliated publicly for his problem; Albrecht (Tom Schilling) is a poet and writer whose father is one of the governors of the Napola and Albrecht is anti-war; other lads seem on the surface to be obedient yet most have hidden reservations about what they are doing.
Being 1942 some changes are occurring in the Nazi dream and the Senior class is sent out on a mission to fight the enemy. And one night Friedrich's class is called out of bed and sent into the woods to find Russian soldiers who are 'threatening' their security. The boys open fire on the Russians only to find that they have killed a number of unarmed Russian boys. This profoundly disturbs them all, but Albrecht in particular. Friedrich continues to observe the manner in which he and the other boys are used and slowly his best friends find ways to martyr themselves and ultimately Friedrich does the same in his only way - by changing the way he approaches the Napola expectations of his boxing.
Max Riemelt as Friedrich is outstanding: not only does he have the solid extraordinary good looks but he also can act, satisfying every nuance of this challenging role. The remainder of the cast - both young boys and the adults running the Napola - are superb. The cinematography is subtly beautiful, ranging from the tough interiors inside to the vistas of a Germany before it was destroyed by the not too distant fall. Director Dennis Gansel, who co-wrote the script with Maggie Peren, is a young man (the featurette with the DVD has an enlightening conversation between Gansel and Riemelt) knows exactly how to capture both the wide-eyed innocence of youth and the slowly crumbled ideals of young men. This is an outstanding film to see and experience. Its lessons are terrifying and intense. In German with English subtitles. Grady Harp, June 06



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The Pied Piper of Hamelin (1957) Review

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(More customer reviews)This Alpha Video DVD of 'The Pied Piper Of Hamelin' is the best source print of this film I have ever seen.
'Pied Piper Of Hamelin' (1956) is a family treat for all ages and for all holidays. First filmed in color as a Hallmark TV special, it is a masterful, musical re-telling of the legendary fairy tale using the beautiful mysterious, music of Edward Grieg with new lyrics.
The cast is first-rate, with movie great Van Johnson brilliantly playing the strange and often frightening piper, as well as the kind school teacher Trueson, who is also the village concience. Legendary movie villain Claude Rains is absolutely wonderful as the clever, sneering, and corrupt lord mayor of Hamelin. Rains has a ball playing him like Prince John of 'Adventures Of Robin Hood' (1938) in retirement! He even does a comical, show-stopping song and dance! Jim Backus also appears as the King's messenger, and his comedy is sorely needed as this fairy tale goes dark in it's second half.
One highlight of the film, is Van Johnson as the Pied Piper, leading the rats out of Hamelin to their deaths in the river. He is playing on his pipe the haunting melody of 'In The Hall Of The Mountain King' from Mr. Grieg's 'Peter Guint Suite' as the cleverly animated rats march to oblivion!
Unlike the fairy tale, this 'Pied Piper Of Hamelin' has a happy ending with a lesson for everyone about greed, selfishness, and false pride.

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Amen (2002) Review

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(More customer reviews)Based on a true story, *Amen* is an important, and heretofore unexamined, angle in cinema's ongoing grappling with the Holocaust: the complicity of the Catholic Church with the Third Reich's "Final Solution". Important BECAUSE the subject hasn't been examined in film. Precise, too; the movie is concerned with the murder of the Jews in particular. Early in *Amen*, we see the German Catholic Church put a stop to the euthanizing of what the Nazi Party calls "unproductive citizens", e.g., people with Down's Syndrome and, indeed, any who suffer from mental illness. The local archbishop threatens the Nazi bureaucrats with exposure to world opinion, and thunders indignant, logical arguments from the pulpit ("'Unproductive!' And what of injured soldiers returning from the front? Are they 'unproductive', too?" etc.). But the thing is, these mentally ill were baptized as Christians. The JEWS, on the other hand. . . . Director Costa-Gavras gives them an unlikely champion: an SS officer and chemist Kurt Gerstein (Ulrich Tukur) whose creation of a cleansing agent, designed to filter contaminated drinking water for the troops at the front, becomes a primary tool in the mass-murder campaign by the German government. The chemist, a devout Protestant, is horrified when he discovers to what uses his invention is being put. He is eventually brought to a concentration camp, and is more or less forced to view a gassing through a peep-hole on a gas-chamber door. Thankfully, WE'RE spared the sight. Indeed, we "see" almost no atrocities: Costa-Gavras assumes we're intelligent and moral enough to already know that genocide is evil. (Obviously a faulty assumption, considering that this movie received almost zero attention from audiences and critics. We clearly need piles of bodies displayed with Barber's *Adagio for Strings* swelling in the background, and a Schindler-like hero played by a robust and good-looking Irishman.) Instead, he shows us the hideous paperwork, the incessant criss-crossing of the cattle-cars (empty one way, full the other way) . . . the whole damnable mechanical PROCESS of the Holocaust. Gerstein decides to be the "eyes and ears" of this process, and even tries to slow it down in his fumbling way by hysterically claiming that THIS batch of chemicals is leaking from their canisters and must be destroyed, THAT batch won't be ready for months, and so on. Meanwhile, having learned that the Church managed to stop the murdering of the mentally ill, Gerstein appeals to the local diocese. Upon informing the local big-wig prelate that the Nazis are systematically wiping out the Jews, the prelate muses suspiciously, "Are you even Catholic?" But he DOES get the attention of a fictional young Jesuit, Father Riccardo (played with agonizing understatement by Mathieu Kassovitz). Riccardo becomes determined that Pope Pius XII should learn of the atrocities . . . and is fiercely checked by the Church bureaucracy and finally by the Pope Himself. *Amen* savagely attacks the Church in general and the Pope in particular: it's rather telling that Costa-Gavras could find no single figure to base Riccardo upon, but had to create an amalgam from various (and doubtless feeble) voices in the Church hierarchy at that time. Some may complain that Riccardo is merely a symbol of Good, and that another character in the film, known only with chilling anonymity as "The Doctor", is just Evil personified. But I think enough ambiguity is provided by Gerstein himself: we like him, we identify with him, we sympathize with his disgust, we encourage his attempts to alert the world, but we also feel uneasy that he remains in his position as SS Lieutenant. What IS the truth about Gerstein? We'll never truly know what was in his heart; we only know what he documented about the process of the gassings, after he was incarcerated after the war. Was he trying to condemn his murderous colleagues, or merely hoping to absolve his own continued participation? Or both? Perhaps Riccardo and the Doctor, both fictional, represent his own divided soul.

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Red Riding Hood Review

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(More customer reviews)My almost four year old granddaughter picked this film as she already knew the story of Little Red Riding Hood from her mom and dad. I was a little concerned it might be too scary as it is PG but I should have realized that she was able to handle it very well.
The wolf is a werewolf. Lainie Kazan is the grandmother and is reading the story to her grandchildren. Lainie is wonderful in this!! If you are over 50 you may remember her singing on the Mike Douglas Show or on Ed Sullivan.
While the wolf swallows people whole, it is done by special effects that make it look cartoonish thus not scaring even my granddaughter! She really loved the whole film and was very enthusiastically telling her aunt, one of my other daughters, how good it was!!
If you have a mature preschooler who understands pretend and cartoon violence, they will enjoy this as the singing and fun stuff are hilarious. There is a precarious situation for the two kids in the film but even that is broken by humor and turning out not to be as dangerous as it looks. Otherwise I would recommend the viewing be by at least 5 or 6 year olds.

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Town Without Pity (1961) Review

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(More customer reviews)Town Without Pity is a signature Kirk Douglas performance. He plays a JAG lawyer in Germany charged with defending a group of soldiers who are accused of raping a local girl.
Douglas' character knows that to properly defend his clients (who include Richard Jaeckel, Robert Blake, and Frank Sutton), he will have to destroy the girl on the stand. He doesn't want to do it, but circumstances seem to point to its inevitability.
Douglas always seemed to play one of two character types. As the villain, he was ruthless, ambitious, arrogant, and willing to do whatever and sacrifice whomever to achieve his goal. As the hero, he seemed to specialize in playing men who are decent, honorable, noble people who are trying to do the right thing despite overwheliming obstacles like bureaucracy, intolerance, and cruelty. In both, he excelled at playing the tortured soul who suffers despite his motivations.
This is a great film, and worthy of many viewings.

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Morituri Review

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(More customer reviews)It's thought by many that Marlon Brando was probably one of the greatest actors to grace the silver screen, if not one of the weirdest (at least later in his life). Based on that alone (his acting, not his weirdness), I purchased Morituri (1965), having heard little to nothing about the film. The fact it also stars Yul Brynner didn't hurt either. Regardless, I am glad I picked this one up, as it's really quite good.
The title, as far as I can tell, is Latin meaning `for those about to die', which seems apt after watching the film. Directed by Bernhard Wicki, someone I've never heard of, probably because he was an Austrian who mainly directed German films, the film stars Marlon Brando and Yul Brynner. Also appearing are Janet Margolin (Nevada Smith), Trevor Howard (The Third Man), and a German actor I've never heard of named Martin Benrath who I thought was quite good.
The film, set during WWII, begins with German Captain Rolf Mueller being given charge of a cargo ship, leaving Japan and destined for occupied France, one that contains critical raw materials, mainly rubber, important for Germany's war effort. He's none too happy with his assignment, as some of the crew is made up of undesirables and political prisoners destined to be tried upon arrival (I would guess they wouldn't be to eager to reach their destination). The Allied forces, on learning of the contents of the ship, approach Robert Crain, a German demolitions expert and ex-patriot hiding in English ruled India, for the purpose of getting him on the ship, not to blow up the ship, but to disarm the scuttle charges (apparently German ships contained explosives so that if they were to get captured, the captain was to detonate the explosives and `scuttle', or sink, the vessel to keep it out of enemy hands). The Allies want the contents of the ship, not only to hinder Germany's war efforts, but also to assist their own. With assistance, Crain does get aboard the ship, under the guise of an SS security officer named Hans Kyle. Members of the SS, it seems, were not entirely popular by any one's account, especially not by other Germans (think the police and their dislike for their own internal affairs division). This creates complications for Crain/Kyle, as he must secretly search the ship for an unknown number of explosive charges, disarm them, within a certain amount of time, all while keeping the captain and the crew `in the dark'. Not only that, but the ship is forced to take on a group of American prisoners for transport. Things are getting hairier by the minute...
Most of the film takes place on a cargo ship, providing for a very claustrophobic, tense atmosphere throughout. Brando plays his role in a very subdued manner, but it works well. I thought his German accent a bit odd, not entirely bad, just odd, but I got used to it, especially since the movie runs about two hours. Not only did Brando have the acting chops to pull off his character, but he also had the physique, as he had to run, climb, swing and crawl to get around the ship to disable the explosive charges. He seemed very within character, especially the parts when his character discussed his feelings against against war in general. Brynner was also very good as a non-party German, who, while maybe not believing in his leaders political motives, wasn't a traitor either. I really liked the diverse complexity, including compassion and kindness, of his character, the sailor committed to his duties, forced to captain this particular ship with a questionable crew.There was a great deal of character development throughout, which served well to really display the differences among the German people in general with regards to their feelings and loyalties towards their leadership and/or their country. I thought the direction of the film to be really good, as the camera always seemed position in such a way to capture the best possible point of view for that particular scene. The story moved along well, although some will say it was too slow, but I didn't think so...I found myself pretty much glued to the screen, enjoying all aspects of the movie. One of my favorite scenes was when Crain/Kyle is confronted in closed quarters by two German officers from the submarine, which delivered the American prisoners. His ability to play on their own sense of paranoia as they questioned him about his reason for being on the ship was very intelligent and interesting to watch. The plot is complicated, but if you can watch with no distractions, you should be able to follow it along well.
The anamorphic wide screen picture on this DVD looks pretty good, but I did feel it could have been cleaned up a little. There were some very minor flaws visible every once in awhile, but the main thing I noticed was the `softness' in the black parts when scenes were heavily shadowed. It's kind of hard to explain, but a bit more noticeable than the other flaws. As far as special features go, there's a teaser trailer for the film (I'm unsure who made this, but after watching the movie, I felt the person who did make it had no idea or even a sense of what the film was about, as it presented something other than what the movie was, at least I felt), and original theatrical trailer, and trailers for some other, older Fox war films like Crash Dive (1943), The Hunters (1958), and What Price Glory (1952). All in all, I thought Morituri was very decent, well made film rich with characters and a complex plot that rewards those with the patience to enjoy the more sophisticated side of films (I'm not trying to be snobby here, but I do feel this film hasn't gotten the attention it deserves, unduly so).
Cookieman108


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Suspenseful action highlights this film in which Marlon Brando and Yul Brynner team up to defuse a Nazi freighter, poised to explode upon capture.

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The Sissi Collection (2007) Review

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(More customer reviews)This delightful trilogy tells the story of Elisabeth of Bavaria (nicknamed Sisi) who ascended to the Austrian throne at the age of 16 upon marrying her cousin Franz-Josef. In doing so, she became Empress of Austria and beloved Queen of Hungary.
Elisabeth's beauty was legendary. 17-year old Romy Schneider was perfect in the role of the enchanting, outgoing, free-spirit. She plays Sisi from the age of 15 to her mid-20s when the last film ends.
The films were made between 1955 and 1957 as an Austro-German co-production under the helm of Austrian director Ernst Marischka. They are not historically accurate. They are in the style of mid-50s romantic comedies, good-natured and innocent and with a large dose of cornball humour. To modern viewers they may appear dated, schmaltzy and yes corny.
The first film "Sissi" is my favourite. It has the most pageantry and is the archetypal romance with the fairy-tale ending. It begins with Elisabeth's chance meeting with the young Franz-Josef, literally "hooking" him while out fishing in the lakes around Austria's picturesque Salzkammergut. It chronicles their secret whirlwind romance against the wishes of their parents and ends with the lavish Royal Wedding in Vienna amidst general rejoicing.
"Sissi: Die Junge Kaiserin" (The Young Empress) charts the first year of her marriage to Franz-Josef, her unhappiness at court, the meddling of her mother-in-law, her championing of Hungarian rights and ends with the Hungarian coronation.
"Sissi: Der Shicksalsjahre einer Kaiserin" (The Fateful Years of an Empress) chronicles her estrangement from the Austrian court, her diagnosis with a severe lung disease, presumably tuberculosis and her moving to warmer climes; her travels to Madeira, Corfu, Athens, Milan and Venice. The third film takes the most liberties in conflating fact and fiction. All the sad parts of her life have been removed or altered. The film ends with the Imperial Family meeting the Pope at St Mark's Basilica in Venice. The final lingering shot is of the happy family waving at their loyal Italian subjects in the Piazza San Marco as the band strikes up Haydn's rousing Kaiserhymne one last time.
Each of the 3 films is presented on its own individual disc. Disc 4 contains the 139min abridged version shown in America. It is recut with scenes reordered and dubbed into English and contains a new title song "Forever My Love" sung in English. In doing so it omits the original Sissi theme music. It is too truncated for my liking though American viewers averse to reading subtitles and not wanting to spend 5-plus hours on the originals may find this a worthwhile substitute.
Disc 5 contains the 1954 film "Mädchenjahre einer Königin" (Youthful Years of a Queen). 15-year old Romy Schneider plays Britain's newly crowned Queen Victoria. Amidst the scheming to get her married off to one or other of the royal houses of Europe, she travels to Dover and falls madly in love with a dashing young man who turns out to be the love of her life, Prince Albert of the German House of Saxe-Coburg and Gotha. Like the Sissi films this is also a light-hearted romance with humour provided in the form of the 3-stooges-like ladies-in-waiting and the young Queen's bumbling old manservant. Nice costumes and sets but not on the scale of the Sissi films. And the lovely Miss Schneider is much too beautiful to be believable as the stumpy, dour-faced Queen. Still it is a nice change from the Austrian court. And after 4 films filled with the Kaiserhymne (Deutschlandslied), it's actually a pleasure to hear "God Save The Queen" once again. The film is in German with optional English subtitles.
Picture quality is excellent in the main Sissi Trilogy. The entire trilogy has been restored and remastered. A few scattered instances of damaged and off-colour segments can be found but they are thankfully rare. All 3 films are presented in their original 1.33:1 aspect ratio (fullscreen). Sound quality is clear 1.0 mono, although it tends to be very bright, noticeable especially when the children come screeching onto the screen. Overall, very pleasing picture and acceptable sound. Optional English subtitles are provided. The 139min American version has NOT been restored. Contrast is set pretty high, the image looks a lot brighter, washed out at times, and colours are slightly off - Franz's blue uniform looks almost green at times. "Mädchenjahre einer Königin" has similarly not been restored and suffers from the same deficiencies. Still they are watchable, about comparable to a TV broadcast of vintage 50s material. Extras are pretty limited: A trailer each for the first and last Sissi films and a vintage 18-minute "Behind the Scenes" featurette for "Die Junge Kaiserin" on Disc 2. Romy Schneider takes us through the filming at the Schönbrunn Summer Palace, the honeymoon in the Tyrolean Alps, and Fuchsl Castle which stands in for Sisi's childhood home of Possenhofen. Three truly delightful gems from the past, beautifully restored. The price though should be a little lower.

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At the age of seventeen, Romy Schneider became an international star through her portrayal of Princess Elisabeth (Sissi) of Austria in the first of three lavish films directed by Ernst Marischka.While she would go on to work with some of the most influential and daring European directors of the era, Schneider will always be remembered by this defining role.Now for the first time on DVD, KOCH LORBER Films proudly presents the restored "Sissi Trilogy" (Sissi, Sissi: The Young Empress, Sissi: The Fateful Years of an Empress) in its entirety along with the U.S. theatrically released, English-language dubbed version, Forever My Love, and Victoria in Dover (The Story of Vickie), a precursor to the trilogy in which Schneider plays Britain's Princess Victoria.

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The Big Red One - The Reconstruction (Two-Disc Special Edition) (2005) Review

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(More customer reviews)Whenever I would catch it on cable years and years ago, Sam Fuller's "The Big Red One" was a quirky war movie with strange pacing and a very uneven balance of comedy and tragedy, of high and low-- several great moments strung loosely together. Working on the upcoming DVD, I was not aware of the fact that Fuller had shot 4 hours or that he wished to his dying day that the film would be lengthened, and I was skeptical as I always am with extended versions (this one carries the subtitle "Reconstruction"). I got to look at it several times, once for business and twice more for pleasure, because the film is transformed and made great, and there are so many memorable scenes that one wants to go back to it again and again. 40-plus minutes have been added on, some full scenes, some simply extended bits to old scenes. The narrative structure of the movie is still very free and loose, very episodic, but the greater length is absolutely crucial to the plot, since we are meant to get at least some slight idea of the tedium and homesickness that goes along with being a soldier in an ongoing war. Fleshed out is the character and performance of Lee Marvin--everything that he is capable of as an actor, everything that that stone wall of a face can convey is on display here--tough as all hell but with a simultaneous sweetness that can be, when called upon, heartbreaking. Look at his expression when a gunfight breaks out after the Italian girl places flowers on his helmet--he jabs the rifle into position along his chin and begins firing rounds, his face jerking only slighty with each shot. We don't see anything of the gunfight, only close-up on his face and the expression says nothing and everything all at once--we're meant to meet him halfway and fill in the blanks ourselves. He makes it easy for us because by this point in the movie we know what kind of a man he is. And because this is Sam Fuller, the movie has a diabolical sense of humor, sometimes downright hilarious, as when some of the boys swap sexual fantasies, some of which have become warped and deranged after so much time in battle. Another sequence has the Sergeant and the boys of the One helping to deliver a baby inside the belly of a German tank--the mispronunciation of the French word for "push" setting the stage for some verbal slapstick. This juggling of moods doesn't seem quite so out of place in the longer version, and I get the impression that if they ever decide to cut together the 4-hour picture that Fuller had intended, we still wouldn't tire of the characters or their tours of duty. But as it stands now at 2 hours, 40 minutes, it has been rounded out for us and has jumped to the top of the heap alongside the small handful of truly important movies depicting war. The most common complaint I hear is that the German tanks are clearly American tanks dressed-up. This is true-- if you are searching for dead-on accuracy and detail in set design such as in Private Ryan, this is not for you. "The Big Red One" is a gritty personal little movie that is not burdened by the kind of strained sentimentality that sometimes hampers Spielberg. It can be at times surreal and absurd, but not the kind of surrealism that floats above and transcends the actual war as in "Apocalypse Now"-- it keeps its feet firmly on the ground. The tanks don't pass the test, but the characters more than make up for it... Lee Marvin's nameless Sergeant, stone-faced, intransigent, whose tragic prologue sets up a touching epilogue... Keith Carradine's cigar-chomping, novel-writing Private Zab-- a fill-in for Fuller, who lived all these experiences in his days with the Big Red One-- and Mark Hamill's Griff, the most fleshed-out character, whose unforgettable finale in the Falkenau concentration camp gives new meaning to Conrad's notion of "shelling the bush". The Falkenau scenes, by the way, were shot, like much of the movie, in Israel with Jews playing the Nazi wardens--a surrealistic slap in the face to anyone itching for strict realism in their war flicks. Inconsistencies be damned. This is a great one, and now, thanks to Richard Schickel and his gang, a fuller Fuller movie, a very generous update of a picture that never got a fair chance its first time around.

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DVD Features: Audio CommentaryDocumentariesPhoto galleryTV SpotTheatrical Trailer

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Cinderella (Walt Disney's Masterpiece) (1950) Review

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(More customer reviews)I believe that the 1950 Disney adaption of the fairy tale by Charles Perrault is one of the most popular Disney movies released since 1937. This movie is funny, sad, and charming at the same time, which may sound impossible for some movies.
I have watched this movie since I was 2, and I am now 12, and let me tell you that after 10 years, you never get tired of it. I have the Masterpiece copy on this page, and it is very, very worn out, so I cannot wait for Disney to re-release this classic on Disney VHS and DVD in 2007, so I can buy it and technically get my hands on it! :)
Anyway, this movie is about a girl named Cinderella, who's father and mother have both died. She is forced to live with her vain and ugly stepsisters and cruel stepmother, and furthermore is forced to become a slave in her own home.
Cinderella's only friends are the loyal mice, the birds, the dog an also the horse. One day, an invatation arrives from the palace, stating that every eligible maiden in the kingdom has to attend to a royal ball, honoring the return of the prince.
Cinderella's stepmother lies to her, saying she can go only if she gets her chores done, and if she finds something suitable to wear.
She does all her chores, while her animal friends make a dress for her. Sadly, the stepsisters tear it up, and leave. However, Cinderella meets her Fairy Godmother, who sends her off to the ball, but she has to be back before the stroke of midnight, otherwise, the spell will be broke...
Enjoy this Disney masterpiece once again, which proves that dreams can come true.

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This is a GREAT movie and will love

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The Man Who Never Was (1956) Review

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(More customer reviews)Although the film was a ostensibly a 20th Century Fox production, THE MAN WHO NEVER WAS was filmed in England using primarily English crew and cast (though American leads). It belongs to a tradition of English war films in which aspects of the war are treated slowly, deliberately, and with great precision. While in the US war films tended to feature John Wayne leading Marines into combat, the British tended to focus much more on the preparation and plans of operations. For instance, the very fine film THE DAM BUSTERS features very little in the way of actual combat. And THE MAN WHO NEVER WAY has no combat whatsoever.
The movie is based on a book by the same name about Operation Mincemeat, in which the British attempted to mislead the Germans about the intended invasion spot for D-Day by planting a corpse with fake papers on a beach in Spain, knowing that the Spanish would pass the papers onto the Germans. The entire movie is involved with the formation of the plan, and then creating the man who never was, creating his papers and personal effects. On one level, not much happens in the film, but on another it is one of the most fascinating films ever made about the war, because of the practical problems they deal with in the executing of the operation. Knowing that it was all based upon real events greatly adds to the appeal of the film.
Clifton Webb, who was in fact far too old for the part, turns in a convincing performance as Lieutenant Commander Montagu. In most of his films he comes across as arrogant, but in this one he instead communicates competence and intelligence. Gloria Grahame is excellent as the primary female presence in the film. If you look carefully, you can spot Stephen Boyd in a small role, a few years before he would portray Messala in BEH-HUR.

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Clifton Webb stars in this fascinating account of a daring intelligence operation designed to mislead the Nazis prior to the 1943 Allied invasion of Sicily.In an effort to convince the Germans to redeploy their defenses, Lt. Commander Montagu (Webb) creates a false English officer and fabricates letters that indicate the British intend to land in Greece.Montagu than plants these documents on a dead man and orchestrates the "discovery" of this "officer" on the coast of Spain, Knowing the papers will fall into German hands.What follows is a taut cat-and mouse game as British Intelligence waits for Berlin to respond, then races to stay one step ahead of the Nazi agent dispatched to determine if the dead man is genuine.This true story of ingenious deception is a riveting tale of wartime espionage.

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A Bridge Too Far (1977) Review

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(More customer reviews)In a film of beautiful nuance, Richard Attenborough captures the horrors or war and the dignity of those who must endure, soldiers and civilians alike. The stellar cast of "A Bridge Too Far" (a veritable who's who of acting greats) sets this film apart. Sean Connery leaves behind the cool assuredness of Bond and faces futility with a mug of tea while Anthony Hopkins, a proper Englishman in Hell, surrenders with dignity, only reluctantly accepting chocolate from the enemy. James Caan is a particular standout. With true American grit, he bends all the rules and makes good on a pledge. The scale of the film could have wrought disasters on par with the campaign it portrays. Fortunately, the immensity of the Market-Garden campaign, which historically met its Waterloo at Arnhem, doesn't swallow up the stories of individual characters, of the Brit with umbrella for instance or the Dutch resisters who spy for the Allies.
Few World War II flicks showcase the absolute beauty of the European countryside. In "A Bridge Too Far," the landscape, made all the more picturesque in its contrast to the gore and destruction, is certainly an additional star and supports the wisdom of shooting this expensive epic in the Netherlands. The wide-angle approach, as well as the moving score, give balm to eyes and ears now accustomed to the tortorous naturalism of "Saving Private Ryan." Attenborough pulls back, thankfully. In its final scene, "A Bridge Too Far" achieves poignance without dialogue, without bluster, and without the common contrivance of summoning tears with half-baked, insipid bathos. Sir Lawrence Olivier and Liv Ullman stare straight ahead, the fresh graves of British paratroopers lining their path from an elegance destroyed, from an order and faith utterly shattered. The scene is perfection. And the film itself is close to it.

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An epic film that "re-creates in stunning detail one of the most disastrous battles of World War II" (The Hollywood Reporter), A Bridge Too Far is a spectacular war picture. Painstakingly recreated on actual battlefield locations and boasting a remarkable cast that includes Sean Connery, Anthony Hopkins, Sir Laurence Olivier and Robert Redford, A Bridge Too Far accurately recaptures the monumental scope, excitement and danger behind one of the biggest military gambles in history. In September 1944, flush with success after the Normandy Invasion, the Allies confidently launched Operation Market Garden, a wild scheme intended to put an early end to the fighting by invading Germany and smashing the Reich's war plants. But a combination of battlefield politics, faulty intelligence, bad luck and even worse weather led to disaster beyond the Allies' darkest fears.

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