Michael-J.-Fox Movie Reviews

Patton is a film that was made in 1970. It's a film that tells the story of one of America's most remembered and most telling characters in history. George C. Scott gives the performance of the century playing George S. Patton, looking and sounding and acting just like the real Patton, as recorded by Gen. Omar Bradley in which the film is based on.

Patton is a very different war movie. It was quite revolutionary in its time. Unlike a lot of war movies that survive off special effects, gore and heroism, Patton shines with its drama and realism as you follow the war-time biography of Patton. You learn a great deal about the politics, the system of the upper brass in our armed forces, and the frustration to coordinate and perform critical opperations. You also learn a great deal about the man, Patton, himself.

There is so much character developing, so much hard work put into the character of Patton, it clearly pays off in a huge way. This film will intrigue you as well as enlighten you. Patton's character is entertaining, he's real, he's distant yet close when it comes to relating, and he can be serious as well as funny. All of this makes Patton a master piece.

There is one little problem I had with the film. And that is I wasn't really pleased with Patton's heroic march through the winter of '44 to save the sieged soldiers. It wasn't very clear and it had little to no action in it, just telling you that they won it. This wasn't satisfactory, and yet it was Patton's highlight of his military career. A major let down, but it wasn't major enough to ruin the film. Thankfully. If it wasn't for the structure of the film, which already lacked action and engagements of battles, this might've ruined it if you are somebody who is interested in detailed history of the occurrences in WWII like me.

Overall Patton is a very powerful, dramatic film that circles around a man and his obsession with being a combat general in the heat of a war. It's a film that you will probably see more than once because it is a very special film.
You cannot get enough Patton, his character will live on because it comes across so powerfully in this film. It is a character and a story you are unlikely to forget.

"Patton" offers one of the great marriages of actor and role with George C. Scott's riveting portrayal of the notorious American tank commander. As a film biography "Patton" forgoes the rise of the celebrated general and merely hints at his ironic death because of injuries suffered in a traffic accident, focuses entirely on his military career commanding troops in North Africa, Sicily and France during World War II. The strength of the script by Francis Ford Coppola and Edmund H. North, as well as of Scott's performance, is that the paradoxes of Patton are completely embraced. Not even Patton's loyal cadre of staff officers can keep him from shooting off his mouth every time there are reporters around, but then neither German Field Marshall Rommel or English Field Marshall Montgomery can beat him on the battlefield. Karl Malden's performance as General Omar Bradley is just as solid as Scott's, presenting a man whose personality is the complete antithesis of Patton. Viewers find themselves identifying with the German captain who is the intelligence expert on Patton and arguably the only person in the film who really understands or respects the American general. But the more I watch "Patton," the more I am very impressed with the battle sequences of director Franklin J. Schaffner ("Planet of the Apes," "Pappillon"), which were staged live and full-scale without special effects of miniatures. Schaffner provides not just the large spectacle of a desert tank battle, but smaller and equally memorable moments, such as a soldier falling dead in the snow. "Patton" deserved its Oscars.

In terms of extra features on this DVD, the second disc features the 1997 50-minute retrospective documentary, "The Making of Patton: A Tribute to Franklin J. Schaffner." Recent interviews with the cinematographer, composer, etc., are blended with audio interviews of Schaffner and Scott from 1970, newsreel footage of Patton, along with clips and publicity stills from the film make a fitting tribute to the late director. The audio commentary on the first disc is really more of a lecture on Patton by Charles M. Province, the author of the book "The Unknown Patton" and founder/president of the General George S. Patton, Jr. Historical Society. Province more than adequately fills in what the movie leaves out about Patton's life. On the second disc Jerry Goldsmith's Oscar nominated musical score is presented in stereo, including alternate takes and a series of radio spots. You certainly have to appreciate what Fox has put together here: This is a "Special Edition" DVD priced as a regular DVD, a real treat for those of us who remember being mesmerized by George C. Scott giving that profanity laced opening speech standing in front of that giant American flag.

'Das Geheimnis Pattons ist die Vergangenheit,' says a captain in the German high command. 'Patton's secret is the past.' The secret of the man and the movie.

From the moment Patton opens, you know this will be like no other war movie. Standing before the biggest American flag I've ever seen, General George S. Patton Jr. wears a highly buffed, black helmet and a uniform suggesting the 18th or 19th century, weighed down with medals domestic and foreign, bearing not one but two ivory-handled revolvers, and holding a riding crop. As a bugler plays 'To the Colors," the camera focuses on each feature in turn. And then Scott lets loose with the picture's famous monologue (an edited version of a speech he actually gave to American troops in England on the eve of D-Day).

'Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country'.'

Atten ' tion!

Consider the time. In 1969, when Patton was made, America was mired in an unpopular war in Vietnam, the draft was just about to be ended, and America was preparing to pull her fighting men out of the first military defeat in her history. Many who supported the war effort, felt the military had been sabotaged by the media. And here was this spirit from the past, saying that 'Americans love to fight,' and 'will not tolerate a loser'!

Early in Patton, we hear the sound of distant trumpets, as in 1943, the general surveys the ancient battlefield where Carthage (modern name, Tunis, in Tunisia) was burnt to the ground by the Romans in 146 B.C.

Patton is standing near the Kasserine Pass in Tunisia, where over 1,000 American G.I.s were butchered in their first encounter with the German Wehrmacht, in the form of Field Marshal Erwin Rommel's Afrika Korps. 'I was there,' he tells his assistant. In 146 B.C.

Is he mad or is he teasing? The answer is, a little of both.

He quotes from a lush, romantic poem of the eternal warrior ' he is the poet. An American poet-general? Clearly, we are dealing with a man singular in the annals of 20th century American warfare. 'I hate the 20th century,' the old 'cavalry horse officer' remarks.

He refers to himself as a 'prima donna,' but as director Franklin Schaffner, scenarists Francis Ford Coppola and Edmund H. North, and star George C. Scott portray him, 'megalomaniac' is more like it. Before going in to battle, as he stands before his mirror, his Negro soldier-valet carefully placing his begoggled helmet on his head, he more closely resembles a Roman general (or Il Duce) than a modern officer. And in a notorious, true incident, upon encountering a shell-shocked soldier, he slaps the man silly, threatens to shoot him, and is almost cashiered by Ike. But he was our greatest 20th century field commander.

(The valet is played by a trim, youthful-looking, fifty-year-old Jimmy Edwards. Unfortunately, Edwards (Home of the Brave, Bright Victory, The Member of the Wedding, The Manchurian Candidate, etc.), whose career was limited by racism, died of a massive heart attack before the film's release. He went through hell, paving the way so that the likes of Sidney Poitier and Denzel Washington could become screen icons, while he was forgotten.)

In Patton's brutality, in his talk of never giving up an inch of land (Hitler said the very same thing.), in his contempt for civilian authority, in his joy at killing, he comes across as a fascist or Nazi, which is how he was often depicted at the time. Amazingly, the movie is able to glorify this man, while maintaining a posture of cold sentimentality towards him. Schaffner loves Patton, but without illusions. Patton wasn't 'larger than life' ' no one is - he WAS life, or at least the martial, intellectual, and aesthetic lives, in all their fullness.

George Patton Jr. had a sense of destiny; his purpose in life was to achieve greatness leading 'desperate men in combat.' And as he observes, only once in a thousand years, do the heavens so align themselves that a soldier has such an opportunity to change history.

Fortunately, in the movie as in life, Patton had humble, ordinary Joe - at least as Bradley tells it - Gen. Omar Bradley (the last five-star, General of the Army, in the history of the U.S. Army) as a counterweight. Bradley is played by Karl Malden with a restraint and self-effacing humor that perfectly contrast Patton/Scott's bravado.

Jerry Goldsmith's score has just the right blend of the elegiac (distant trumpets) and the pompous yet playful (fanfare of horns and flutes), corresponding to the tempers of Patton's personality.

While almost three hours long, Patton does not flag, and could easily have been longer.

The DVD has a lovely documentary on the making of Patton, as well as Jerry Goldsmith's rousing score.

Just as Patton could not savor his success, so too George C. Scott, the rare actor who could carry a film on his shoulders, was unable to build on his success as Patton. But for one moment, he tasted of that perfection that comes when the stars align, and a great role is delivered into the hands of just the right actor at just the right moment in his career. It was George C. Scott's destiny to play Patton.

Originally published in The Critical Critic, September 20, 2003.

Patton is a film that was made in 1970. It's a film that tells the story of one of America's most remembered and most telling characters in history. George C. Scott gives the performance of the century playing George S. Patton, looking and sounding and acting just like the real Patton, as recorded by Gen. Omar Bradley in which the film is based on.

Patton is a very different war movie. It was quite revolutionary in its time. Unlike a lot of war movies that survive off special effects, gore and heroism, Patton shines with its drama and realism as you follow the war-time biography of Patton. You learn a great deal about the politics, the system of the upper brass in our armed forces, and the frustration to coordinate and perform critical opperations. You also learn a great deal about the man, Patton, himself.

There is so much character developing, so much hard work put into the character of Patton, it clearly pays off in a huge way. This film will intrigue you as well as enlighten you. Patton's character is entertaining, he's real, he's distant yet close when it comes to relating, and he can be serious as well as funny. All of this makes Patton a master piece.

There is one little problem I had with the film. And that is I wasn't really pleased with Patton's heroic march through the winter of '44 to save the sieged soldiers. It wasn't very clear and it had little to no action in it, just telling you that they won it. This wasn't satisfactory, and yet it was Patton's highlight of his military career. A major let down, but it wasn't major enough to ruin the film. Thankfully. If it wasn't for the structure of the film, which already lacked action and engagements of battles, this might've ruined it if you are somebody who is interested in detailed history of the occurrences in WWII like me.

Overall Patton is a very powerful, dramatic film that circles around a man and his obsession with being a combat general in the heat of a war. It's a film that you will probably see more than once because it is a very special film.
You cannot get enough Patton, his character will live on because it comes across so powerfully in this film. It is a character and a story you are unlikely to forget.

"Patton" offers one of the great marriages of actor and role with George C. Scott's riveting portrayal of the notorious American tank commander. As a film biography "Patton" forgoes the rise of the celebrated general and merely hints at his ironic death because of injuries suffered in a traffic accident, focuses entirely on his military career commanding troops in North Africa, Sicily and France during World War II. The strength of the script by Francis Ford Coppola and Edmund H. North, as well as of Scott's performance, is that the paradoxes of Patton are completely embraced. Not even Patton's loyal cadre of staff officers can keep him from shooting off his mouth every time there are reporters around, but then neither German Field Marshall Rommel or English Field Marshall Montgomery can beat him on the battlefield. Karl Malden's performance as General Omar Bradley is just as solid as Scott's, presenting a man whose personality is the complete antithesis of Patton. Viewers find themselves identifying with the German captain who is the intelligence expert on Patton and arguably the only person in the film who really understands or respects the American general. But the more I watch "Patton," the more I am very impressed with the battle sequences of director Franklin J. Schaffner ("Planet of the Apes," "Pappillon"), which were staged live and full-scale without special effects of miniatures. Schaffner provides not just the large spectacle of a desert tank battle, but smaller and equally memorable moments, such as a soldier falling dead in the snow. "Patton" deserved its Oscars.

In terms of extra features on this DVD, the second disc features the 1997 50-minute retrospective documentary, "The Making of Patton: A Tribute to Franklin J. Schaffner." Recent interviews with the cinematographer, composer, etc., are blended with audio interviews of Schaffner and Scott from 1970, newsreel footage of Patton, along with clips and publicity stills from the film make a fitting tribute to the late director. The audio commentary on the first disc is really more of a lecture on Patton by Charles M. Province, the author of the book "The Unknown Patton" and founder/president of the General George S. Patton, Jr. Historical Society. Province more than adequately fills in what the movie leaves out about Patton's life. On the second disc Jerry Goldsmith's Oscar nominated musical score is presented in stereo, including alternate takes and a series of radio spots. You certainly have to appreciate what Fox has put together here: This is a "Special Edition" DVD priced as a regular DVD, a real treat for those of us who remember being mesmerized by George C. Scott giving that profanity laced opening speech standing in front of that giant American flag.

'Das Geheimnis Pattons ist die Vergangenheit,' says a captain in the German high command. 'Patton's secret is the past.' The secret of the man and the movie.

From the moment Patton opens, you know this will be like no other war movie. Standing before the biggest American flag I've ever seen, General George S. Patton Jr. wears a highly buffed, black helmet and a uniform suggesting the 18th or 19th century, weighed down with medals domestic and foreign, bearing not one but two ivory-handled revolvers, and holding a riding crop. As a bugler plays 'To the Colors," the camera focuses on each feature in turn. And then Scott lets loose with the picture's famous monologue (an edited version of a speech he actually gave to American troops in England on the eve of D-Day).

'Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country'.'

Atten ' tion!

Consider the time. In 1969, when Patton was made, America was mired in an unpopular war in Vietnam, the draft was just about to be ended, and America was preparing to pull her fighting men out of the first military defeat in her history. Many who supported the war effort, felt the military had been sabotaged by the media. And here was this spirit from the past, saying that 'Americans love to fight,' and 'will not tolerate a loser'!

Early in Patton, we hear the sound of distant trumpets, as in 1943, the general surveys the ancient battlefield where Carthage (modern name, Tunis, in Tunisia) was burnt to the ground by the Romans in 146 B.C.

Patton is standing near the Kasserine Pass in Tunisia, where over 1,000 American G.I.s were butchered in their first encounter with the German Wehrmacht, in the form of Field Marshal Erwin Rommel's Afrika Korps. 'I was there,' he tells his assistant. In 146 B.C.

Is he mad or is he teasing? The answer is, a little of both.

He quotes from a lush, romantic poem of the eternal warrior ' he is the poet. An American poet-general? Clearly, we are dealing with a man singular in the annals of 20th century American warfare. 'I hate the 20th century,' the old 'cavalry horse officer' remarks.

He refers to himself as a 'prima donna,' but as director Franklin Schaffner, scenarists Francis Ford Coppola and Edmund H. North, and star George C. Scott portray him, 'megalomaniac' is more like it. Before going in to battle, as he stands before his mirror, his Negro soldier-valet carefully placing his begoggled helmet on his head, he more closely resembles a Roman general (or Il Duce) than a modern officer. And in a notorious, true incident, upon encountering a shell-shocked soldier, he slaps the man silly, threatens to shoot him, and is almost cashiered by Ike. But he was our greatest 20th century field commander.

(The valet is played by a trim, youthful-looking, fifty-year-old Jimmy Edwards. Unfortunately, Edwards (Home of the Brave, Bright Victory, The Member of the Wedding, The Manchurian Candidate, etc.), whose career was limited by racism, died of a massive heart attack before the film's release. He went through hell, paving the way so that the likes of Sidney Poitier and Denzel Washington could become screen icons, while he was forgotten.)

In Patton's brutality, in his talk of never giving up an inch of land (Hitler said the very same thing.), in his contempt for civilian authority, in his joy at killing, he comes across as a fascist or Nazi, which is how he was often depicted at the time. Amazingly, the movie is able to glorify this man, while maintaining a posture of cold sentimentality towards him. Schaffner loves Patton, but without illusions. Patton wasn't 'larger than life' ' no one is - he WAS life, or at least the martial, intellectual, and aesthetic lives, in all their fullness.

George Patton Jr. had a sense of destiny; his purpose in life was to achieve greatness leading 'desperate men in combat.' And as he observes, only once in a thousand years, do the heavens so align themselves that a soldier has such an opportunity to change history.

Fortunately, in the movie as in life, Patton had humble, ordinary Joe - at least as Bradley tells it - Gen. Omar Bradley (the last five-star, General of the Army, in the history of the U.S. Army) as a counterweight. Bradley is played by Karl Malden with a restraint and self-effacing humor that perfectly contrast Patton/Scott's bravado.

Jerry Goldsmith's score has just the right blend of the elegiac (distant trumpets) and the pompous yet playful (fanfare of horns and flutes), corresponding to the tempers of Patton's personality.

While almost three hours long, Patton does not flag, and could easily have been longer.

The DVD has a lovely documentary on the making of Patton, as well as Jerry Goldsmith's rousing score.

Just as Patton could not savor his success, so too George C. Scott, the rare actor who could carry a film on his shoulders, was unable to build on his success as Patton. But for one moment, he tasted of that perfection that comes when the stars align, and a great role is delivered into the hands of just the right actor at just the right moment in his career. It was George C. Scott's destiny to play Patton.

Originally published in The Critical Critic, September 20, 2003.

Patton is a film that was made in 1970. It's a film that tells the story of one of America's most remembered and most telling characters in history. George C. Scott gives the performance of the century playing George S. Patton, looking and sounding and acting just like the real Patton, as recorded by Gen. Omar Bradley in which the film is based on.

Patton is a very different war movie. It was quite revolutionary in its time. Unlike a lot of war movies that survive off special effects, gore and heroism, Patton shines with its drama and realism as you follow the war-time biography of Patton. You learn a great deal about the politics, the system of the upper brass in our armed forces, and the frustration to coordinate and perform critical opperations. You also learn a great deal about the man, Patton, himself.

There is so much character developing, so much hard work put into the character of Patton, it clearly pays off in a huge way. This film will intrigue you as well as enlighten you. Patton's character is entertaining, he's real, he's distant yet close when it comes to relating, and he can be serious as well as funny. All of this makes Patton a master piece.

There is one little problem I had with the film. And that is I wasn't really pleased with Patton's heroic march through the winter of '44 to save the sieged soldiers. It wasn't very clear and it had little to no action in it, just telling you that they won it. This wasn't satisfactory, and yet it was Patton's highlight of his military career. A major let down, but it wasn't major enough to ruin the film. Thankfully. If it wasn't for the structure of the film, which already lacked action and engagements of battles, this might've ruined it if you are somebody who is interested in detailed history of the occurrences in WWII like me.

Overall Patton is a very powerful, dramatic film that circles around a man and his obsession with being a combat general in the heat of a war. It's a film that you will probably see more than once because it is a very special film.
You cannot get enough Patton, his character will live on because it comes across so powerfully in this film. It is a character and a story you are unlikely to forget.

"Patton" offers one of the great marriages of actor and role with George C. Scott's riveting portrayal of the notorious American tank commander. As a film biography "Patton" forgoes the rise of the celebrated general and merely hints at his ironic death because of injuries suffered in a traffic accident, focuses entirely on his military career commanding troops in North Africa, Sicily and France during World War II. The strength of the script by Francis Ford Coppola and Edmund H. North, as well as of Scott's performance, is that the paradoxes of Patton are completely embraced. Not even Patton's loyal cadre of staff officers can keep him from shooting off his mouth every time there are reporters around, but then neither German Field Marshall Rommel or English Field Marshall Montgomery can beat him on the battlefield. Karl Malden's performance as General Omar Bradley is just as solid as Scott's, presenting a man whose personality is the complete antithesis of Patton. Viewers find themselves identifying with the German captain who is the intelligence expert on Patton and arguably the only person in the film who really understands or respects the American general. But the more I watch "Patton," the more I am very impressed with the battle sequences of director Franklin J. Schaffner ("Planet of the Apes," "Pappillon"), which were staged live and full-scale without special effects of miniatures. Schaffner provides not just the large spectacle of a desert tank battle, but smaller and equally memorable moments, such as a soldier falling dead in the snow. "Patton" deserved its Oscars.

In terms of extra features on this DVD, the second disc features the 1997 50-minute retrospective documentary, "The Making of Patton: A Tribute to Franklin J. Schaffner." Recent interviews with the cinematographer, composer, etc., are blended with audio interviews of Schaffner and Scott from 1970, newsreel footage of Patton, along with clips and publicity stills from the film make a fitting tribute to the late director. The audio commentary on the first disc is really more of a lecture on Patton by Charles M. Province, the author of the book "The Unknown Patton" and founder/president of the General George S. Patton, Jr. Historical Society. Province more than adequately fills in what the movie leaves out about Patton's life. On the second disc Jerry Goldsmith's Oscar nominated musical score is presented in stereo, including alternate takes and a series of radio spots. You certainly have to appreciate what Fox has put together here: This is a "Special Edition" DVD priced as a regular DVD, a real treat for those of us who remember being mesmerized by George C. Scott giving that profanity laced opening speech standing in front of that giant American flag.

'Das Geheimnis Pattons ist die Vergangenheit,' says a captain in the German high command. 'Patton's secret is the past.' The secret of the man and the movie.

From the moment Patton opens, you know this will be like no other war movie. Standing before the biggest American flag I've ever seen, General George S. Patton Jr. wears a highly buffed, black helmet and a uniform suggesting the 18th or 19th century, weighed down with medals domestic and foreign, bearing not one but two ivory-handled revolvers, and holding a riding crop. As a bugler plays 'To the Colors," the camera focuses on each feature in turn. And then Scott lets loose with the picture's famous monologue (an edited version of a speech he actually gave to American troops in England on the eve of D-Day).

'Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country'.'

Atten ' tion!

Consider the time. In 1969, when Patton was made, America was mired in an unpopular war in Vietnam, the draft was just about to be ended, and America was preparing to pull her fighting men out of the first military defeat in her history. Many who supported the war effort, felt the military had been sabotaged by the media. And here was this spirit from the past, saying that 'Americans love to fight,' and 'will not tolerate a loser'!

Early in Patton, we hear the sound of distant trumpets, as in 1943, the general surveys the ancient battlefield where Carthage (modern name, Tunis, in Tunisia) was burnt to the ground by the Romans in 146 B.C.

Patton is standing near the Kasserine Pass in Tunisia, where over 1,000 American G.I.s were butchered in their first encounter with the German Wehrmacht, in the form of Field Marshal Erwin Rommel's Afrika Korps. 'I was there,' he tells his assistant. In 146 B.C.

Is he mad or is he teasing? The answer is, a little of both.

He quotes from a lush, romantic poem of the eternal warrior ' he is the poet. An American poet-general? Clearly, we are dealing with a man singular in the annals of 20th century American warfare. 'I hate the 20th century,' the old 'cavalry horse officer' remarks.

He refers to himself as a 'prima donna,' but as director Franklin Schaffner, scenarists Francis Ford Coppola and Edmund H. North, and star George C. Scott portray him, 'megalomaniac' is more like it. Before going in to battle, as he stands before his mirror, his Negro soldier-valet carefully placing his begoggled helmet on his head, he more closely resembles a Roman general (or Il Duce) than a modern officer. And in a notorious, true incident, upon encountering a shell-shocked soldier, he slaps the man silly, threatens to shoot him, and is almost cashiered by Ike. But he was our greatest 20th century field commander.

(The valet is played by a trim, youthful-looking, fifty-year-old Jimmy Edwards. Unfortunately, Edwards (Home of the Brave, Bright Victory, The Member of the Wedding, The Manchurian Candidate, etc.), whose career was limited by racism, died of a massive heart attack before the film's release. He went through hell, paving the way so that the likes of Sidney Poitier and Denzel Washington could become screen icons, while he was forgotten.)

In Patton's brutality, in his talk of never giving up an inch of land (Hitler said the very same thing.), in his contempt for civilian authority, in his joy at killing, he comes across as a fascist or Nazi, which is how he was often depicted at the time. Amazingly, the movie is able to glorify this man, while maintaining a posture of cold sentimentality towards him. Schaffner loves Patton, but without illusions. Patton wasn't 'larger than life' ' no one is - he WAS life, or at least the martial, intellectual, and aesthetic lives, in all their fullness.

George Patton Jr. had a sense of destiny; his purpose in life was to achieve greatness leading 'desperate men in combat.' And as he observes, only once in a thousand years, do the heavens so align themselves that a soldier has such an opportunity to change history.

Fortunately, in the movie as in life, Patton had humble, ordinary Joe - at least as Bradley tells it - Gen. Omar Bradley (the last five-star, General of the Army, in the history of the U.S. Army) as a counterweight. Bradley is played by Karl Malden with a restraint and self-effacing humor that perfectly contrast Patton/Scott's bravado.

Jerry Goldsmith's score has just the right blend of the elegiac (distant trumpets) and the pompous yet playful (fanfare of horns and flutes), corresponding to the tempers of Patton's personality.

While almost three hours long, Patton does not flag, and could easily have been longer.

The DVD has a lovely documentary on the making of Patton, as well as Jerry Goldsmith's rousing score.

Just as Patton could not savor his success, so too George C. Scott, the rare actor who could carry a film on his shoulders, was unable to build on his success as Patton. But for one moment, he tasted of that perfection that comes when the stars align, and a great role is delivered into the hands of just the right actor at just the right moment in his career. It was George C. Scott's destiny to play Patton.

Originally published in The Critical Critic, September 20, 2003.

Patton is a film that was made in 1970. It's a film that tells the story of one of America's most remembered and most telling characters in history. George C. Scott gives the performance of the century playing George S. Patton, looking and sounding and acting just like the real Patton, as recorded by Gen. Omar Bradley in which the film is based on.

Patton is a very different war movie. It was quite revolutionary in its time. Unlike a lot of war movies that survive off special effects, gore and heroism, Patton shines with its drama and realism as you follow the war-time biography of Patton. You learn a great deal about the politics, the system of the upper brass in our armed forces, and the frustration to coordinate and perform critical opperations. You also learn a great deal about the man, Patton, himself.

There is so much character developing, so much hard work put into the character of Patton, it clearly pays off in a huge way. This film will intrigue you as well as enlighten you. Patton's character is entertaining, he's real, he's distant yet close when it comes to relating, and he can be serious as well as funny. All of this makes Patton a master piece.

There is one little problem I had with the film. And that is I wasn't really pleased with Patton's heroic march through the winter of '44 to save the sieged soldiers. It wasn't very clear and it had little to no action in it, just telling you that they won it. This wasn't satisfactory, and yet it was Patton's highlight of his military career. A major let down, but it wasn't major enough to ruin the film. Thankfully. If it wasn't for the structure of the film, which already lacked action and engagements of battles, this might've ruined it if you are somebody who is interested in detailed history of the occurrences in WWII like me.

Overall Patton is a very powerful, dramatic film that circles around a man and his obsession with being a combat general in the heat of a war. It's a film that you will probably see more than once because it is a very special film.
You cannot get enough Patton, his character will live on because it comes across so powerfully in this film. It is a character and a story you are unlikely to forget.

"Patton" offers one of the great marriages of actor and role with George C. Scott's riveting portrayal of the notorious American tank commander. As a film biography "Patton" forgoes the rise of the celebrated general and merely hints at his ironic death because of injuries suffered in a traffic accident, focuses entirely on his military career commanding troops in North Africa, Sicily and France during World War II. The strength of the script by Francis Ford Coppola and Edmund H. North, as well as of Scott's performance, is that the paradoxes of Patton are completely embraced. Not even Patton's loyal cadre of staff officers can keep him from shooting off his mouth every time there are reporters around, but then neither German Field Marshall Rommel or English Field Marshall Montgomery can beat him on the battlefield. Karl Malden's performance as General Omar Bradley is just as solid as Scott's, presenting a man whose personality is the complete antithesis of Patton. Viewers find themselves identifying with the German captain who is the intelligence expert on Patton and arguably the only person in the film who really understands or respects the American general. But the more I watch "Patton," the more I am very impressed with the battle sequences of director Franklin J. Schaffner ("Planet of the Apes," "Pappillon"), which were staged live and full-scale without special effects of miniatures. Schaffner provides not just the large spectacle of a desert tank battle, but smaller and equally memorable moments, such as a soldier falling dead in the snow. "Patton" deserved its Oscars.

In terms of extra features on this DVD, the second disc features the 1997 50-minute retrospective documentary, "The Making of Patton: A Tribute to Franklin J. Schaffner." Recent interviews with the cinematographer, composer, etc., are blended with audio interviews of Schaffner and Scott from 1970, newsreel footage of Patton, along with clips and publicity stills from the film make a fitting tribute to the late director. The audio commentary on the first disc is really more of a lecture on Patton by Charles M. Province, the author of the book "The Unknown Patton" and founder/president of the General George S. Patton, Jr. Historical Society. Province more than adequately fills in what the movie leaves out about Patton's life. On the second disc Jerry Goldsmith's Oscar nominated musical score is presented in stereo, including alternate takes and a series of radio spots. You certainly have to appreciate what Fox has put together here: This is a "Special Edition" DVD priced as a regular DVD, a real treat for those of us who remember being mesmerized by George C. Scott giving that profanity laced opening speech standing in front of that giant American flag.

'Das Geheimnis Pattons ist die Vergangenheit,' says a captain in the German high command. 'Patton's secret is the past.' The secret of the man and the movie.

From the moment Patton opens, you know this will be like no other war movie. Standing before the biggest American flag I've ever seen, General George S. Patton Jr. wears a highly buffed, black helmet and a uniform suggesting the 18th or 19th century, weighed down with medals domestic and foreign, bearing not one but two ivory-handled revolvers, and holding a riding crop. As a bugler plays 'To the Colors," the camera focuses on each feature in turn. And then Scott lets loose with the picture's famous monologue (an edited version of a speech he actually gave to American troops in England on the eve of D-Day).

'Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country'.'

Atten ' tion!

Consider the time. In 1969, when Patton was made, America was mired in an unpopular war in Vietnam, the draft was just about to be ended, and America was preparing to pull her fighting men out of the first military defeat in her history. Many who supported the war effort, felt the military had been sabotaged by the media. And here was this spirit from the past, saying that 'Americans love to fight,' and 'will not tolerate a loser'!

Early in Patton, we hear the sound of distant trumpets, as in 1943, the general surveys the ancient battlefield where Carthage (modern name, Tunis, in Tunisia) was burnt to the ground by the Romans in 146 B.C.

Patton is standing near the Kasserine Pass in Tunisia, where over 1,000 American G.I.s were butchered in their first encounter with the German Wehrmacht, in the form of Field Marshal Erwin Rommel's Afrika Korps. 'I was there,' he tells his assistant. In 146 B.C.

Is he mad or is he teasing? The answer is, a little of both.

He quotes from a lush, romantic poem of the eternal warrior ' he is the poet. An American poet-general? Clearly, we are dealing with a man singular in the annals of 20th century American warfare. 'I hate the 20th century,' the old 'cavalry horse officer' remarks.

He refers to himself as a 'prima donna,' but as director Franklin Schaffner, scenarists Francis Ford Coppola and Edmund H. North, and star George C. Scott portray him, 'megalomaniac' is more like it. Before going in to battle, as he stands before his mirror, his Negro soldier-valet carefully placing his begoggled helmet on his head, he more closely resembles a Roman general (or Il Duce) than a modern officer. And in a notorious, true incident, upon encountering a shell-shocked soldier, he slaps the man silly, threatens to shoot him, and is almost cashiered by Ike. But he was our greatest 20th century field commander.

(The valet is played by a trim, youthful-looking, fifty-year-old Jimmy Edwards. Unfortunately, Edwards (Home of the Brave, Bright Victory, The Member of the Wedding, The Manchurian Candidate, etc.), whose career was limited by racism, died of a massive heart attack before the film's release. He went through hell, paving the way so that the likes of Sidney Poitier and Denzel Washington could become screen icons, while he was forgotten.)

In Patton's brutality, in his talk of never giving up an inch of land (Hitler said the very same thing.), in his contempt for civilian authority, in his joy at killing, he comes across as a fascist or Nazi, which is how he was often depicted at the time. Amazingly, the movie is able to glorify this man, while maintaining a posture of cold sentimentality towards him. Schaffner loves Patton, but without illusions. Patton wasn't 'larger than life' ' no one is - he WAS life, or at least the martial, intellectual, and aesthetic lives, in all their fullness.

George Patton Jr. had a sense of destiny; his purpose in life was to achieve greatness leading 'desperate men in combat.' And as he observes, only once in a thousand years, do the heavens so align themselves that a soldier has such an opportunity to change history.

Fortunately, in the movie as in life, Patton had humble, ordinary Joe - at least as Bradley tells it - Gen. Omar Bradley (the last five-star, General of the Army, in the history of the U.S. Army) as a counterweight. Bradley is played by Karl Malden with a restraint and self-effacing humor that perfectly contrast Patton/Scott's bravado.

Jerry Goldsmith's score has just the right blend of the elegiac (distant trumpets) and the pompous yet playful (fanfare of horns and flutes), corresponding to the tempers of Patton's personality.

While almost three hours long, Patton does not flag, and could easily have been longer.

The DVD has a lovely documentary on the making of Patton, as well as Jerry Goldsmith's rousing score.

Just as Patton could not savor his success, so too George C. Scott, the rare actor who could carry a film on his shoulders, was unable to build on his success as Patton. But for one moment, he tasted of that perfection that comes when the stars align, and a great role is delivered into the hands of just the right actor at just the right moment in his career. It was George C. Scott's destiny to play Patton.

Originally published in The Critical Critic, September 20, 2003.

Most people will let the titles "GOODFELLAS", "THE GODFATHER (I & II)", "ONCE UPON A TIME IN AMERICA" and "THE UNTOUCHABLES" roll off their tongues when asked what their favorite movie is in the "mob" genre. Although seldom mentioned, "MILLER'S CROSSING" must take its rightful place alongside the above as one of the definitive treatments of gangster dynamics in American Cinema. I like to call it "The Thinking Man's Mob Movie" because it's a film that requires one to really focus on the action and dialog and not merely sit back in a lounger without attention span and wait for kill. These characters are multi-faceted, the plot is complex and the payoff for the viewer is delivered through outstanding cinematography (perhaps the Coen's best!) and skillful pacing. Coupling their usual stable of actors (Turturro, Buscemi, Polito) with veteran thespo Albert Finney, the exquisitely laconic Gabriel Byrne, and femme-semi-fatale Marcia Gay Harden, the Coen Brothers have assembled a truly great ensemble cast that transcends the brutality and authenticity of the era. Sure, there's great kill! In the good gangster pictures, violence is actually a character unto itself, always lurking in the background until called upon to make a point. In "MILLER'S CROSSING", the Coen Brothers seem to downplay the actual mechanical violence by isolating the factors and sequences that are responsible for it. Betrayal and revenge are important themes in this film. The crisp writing makes the conversation between characters appear effortless and uncontrived. There's a certain casuality in the dialog that belies the Coen's alarmingly accurate renderings of gangland execution. Finally, the enjoyment one derives from viewing "MILLER'S CROSSING" is not related to how much he/she understands the action or knows about the mob lifestyle, but to the appreciation of the filmmaker's art in communicating the brutality and fraternity of these individuals with astonishing beauty and precision.

Yes, FARGO won lots of awards, and sure, RAISING ARIZONA isuproariously funny, but make no mistake: MILLER'S CROSSING is thequintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.

The script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. (It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed.)

The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Reagan, a trusted advisor to the city's Irish mob lord who falls out of favor and "defects" to the Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -- even from himself -- almost excuse her twisted machinations. J.E. Freeman drips evil and impending violence all over the screen as smarter-than-you-want-him-to-be enforcer Eddie Dane. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in his environment.

There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: every person who comes into frame, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The whole of it actually makes it difficult not to notice acting and casting problems in other films.

I'm running out of room here, so I can only nod to some of the other perfect elements of production. Barry Sonnenfeld's dead-on photography is measured and seamless where appropriate, frenetic where necessary. Set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9, not 69 years ago. And even the sound -- from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -- is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly woven into the designed effect of a scene in a movie?

What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Reagan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

Fargo, schmargo. This is the Coen brothers' movie that should've won an Oscar. It has everything that makes a movie a classic: a script so twisted and tight that it makes a pretzel look like a donut; pinpoint acting and editing; dark humor; and the classic Coen brothers look.

Byrne and Finney, as Tommy and Leo, have an acting chemistry that I haven't seen in years. But even the other characters have ties and/or hatreds that are so believeable that they're almost unbelieveable: Caspar and the Dane, the Dane vs. Tommy, Bernie vs. Tommy, etc. In fact, at times, it's the entire world vs. Tommy. (How many times does he get beaten anyway? I lost count.) And, of course, there's Verna who has just about everyone wrapped around her cigarette stained fingers. What a character.

My favorite scene? The amazing shoot-out to the tune of "Danny Boy". It's a waltz with bullets. To me, this is where the Coen brothers hit their peak.

Most people will let the titles "GOODFELLAS", "THE GODFATHER (I & II)", "ONCE UPON A TIME IN AMERICA" and "THE UNTOUCHABLES" roll off their tongues when asked what their favorite movie is in the "mob" genre. Although seldom mentioned, "MILLER'S CROSSING" must take its rightful place alongside the above as one of the definitive treatments of gangster dynamics in American Cinema. I like to call it "The Thinking Man's Mob Movie" because it's a film that requires one to really focus on the action and dialog and not merely sit back in a lounger without attention span and wait for kill. These characters are multi-faceted, the plot is complex and the payoff for the viewer is delivered through outstanding cinematography (perhaps the Coen's best!) and skillful pacing. Coupling their usual stable of actors (Turturro, Buscemi, Polito) with veteran thespo Albert Finney, the exquisitely laconic Gabriel Byrne, and femme-semi-fatale Marcia Gay Harden, the Coen Brothers have assembled a truly great ensemble cast that transcends the brutality and authenticity of the era. Sure, there's great kill! In the good gangster pictures, violence is actually a character unto itself, always lurking in the background until called upon to make a point. In "MILLER'S CROSSING", the Coen Brothers seem to downplay the actual mechanical violence by isolating the factors and sequences that are responsible for it. Betrayal and revenge are important themes in this film. The crisp writing makes the conversation between characters appear effortless and uncontrived. There's a certain casuality in the dialog that belies the Coen's alarmingly accurate renderings of gangland execution. Finally, the enjoyment one derives from viewing "MILLER'S CROSSING" is not related to how much he/she understands the action or knows about the mob lifestyle, but to the appreciation of the filmmaker's art in communicating the brutality and fraternity of these individuals with astonishing beauty and precision.

Yes, FARGO won lots of awards, and sure, RAISING ARIZONA isuproariously funny, but make no mistake: MILLER'S CROSSING is thequintessential Coen brothers film. In point of fact, it's flawless, a jewel you can turn over and around in your hands again and again, seeing a new facet every time, each one striking and smooth and perfect.

The script is awash with Prohibition-era jargon both historically grounded and whimsically invented, a symphony of phrases and exchanges that linger and echo long after being heard. (It isn't unusual after a viewing to walk around asking friends, "What's the rumpus?", or to complain about being given "the high hat" upon being snubbed.)

The performances, as well, are individually and collectively irresistable. I defy you, in fact, to find a single film in which _any_ of the major players has ever been better. There's not a false or miscast note in the whole of the dramatis personae. There's Gabriel Byrne as the inscrutable, Machiavellian Tom Reagan, a trusted advisor to the city's Irish mob lord who falls out of favor and "defects" to the Italian camp to save his own skin...or does he? Albert Finney plays Leo, the aforementioned Irish power broker whose fists of iron, vicious survival instinct, and all-too-vulnerable heart congeal into a simply remarkable, unforgettable character. John Turturro is equal parts pathetic outcast and conniving opportunist as Bernie Birnbaum, the unscrupulous, vampirically pale bookmaker whose shady maneuvers set the whole plot into motion. Marcia Gay Harden exudes fierce intelligence and buckets of carefully-aimed sex appeal as Bernie's sister Verna, whose unflagging drive to protect her brother -- even from himself -- almost excuse her twisted machinations. J.E. Freeman drips evil and impending violence all over the screen as smarter-than-you-want-him-to-be enforcer Eddie Dane. Jon Polito, as hot-tempered Italian ringleader Johnny Caspar, may be the only character at hand to actually feel sorry for, as his oddly consistent ethical code makes it a sure bet he doesn't stand a chance in his environment.

There's more to say about the acting, of course, but I'll stop there rather than pour accolades onto the entire cast. And when I say "entire," I'm not exaggerating: every person who comes into frame, from the leads to the smaller parts to the people with one line or none at all, fit together and play off of each other as though they'd been born to do nothing else in their entire lives. The whole of it actually makes it difficult not to notice acting and casting problems in other films.

I'm running out of room here, so I can only nod to some of the other perfect elements of production. Barry Sonnenfeld's dead-on photography is measured and seamless where appropriate, frenetic where necessary. Set design and costuming make for such an astonishing illusion that were this not a color film, you might actually forget that it was released 9, not 69 years ago. And even the sound -- from the music (diegetic and otherwise) to the crystal-clear sound effects that pierce the visual and draw you in by the ears, like they're supposed to -- is a _presence_ in its own right throughout the film. I mean, when was the last time ice cubes dropping into an old-fashioned glass or the wringing out of an alcohol-soaked rag into a tinny dish felt truly woven into the designed effect of a scene in a movie?

What continues to amaze me about MILLER'S CROSSING is that no matter how many times I see it, regardless of how hard I look, I _can't find anything wrong with it_. That's an extremely rare situation in my experience. It's what we all want out of a movie, and almost never get. MILLER'S CROSSING delivers exactly that feeling, and when Tom Reagan leans against that tree and adjusts that hat in the haunting final shot, he knows it just as surely as we do. He doesn't seem to feel especially happy about it, but that's okay. _You_ will.

Fargo, schmargo. This is the Coen brothers' movie that should've won an Oscar. It has everything that makes a movie a classic: a script so twisted and tight that it makes a pretzel look like a donut; pinpoint acting and editing; dark humor; and the classic Coen brothers look.

Byrne and Finney, as Tommy and Leo, have an acting chemistry that I haven't seen in years. But even the other characters have ties and/or hatreds that are so believeable that they're almost unbelieveable: Caspar and the Dane, the Dane vs. Tommy, Bernie vs. Tommy, etc. In fact, at times, it's the entire world vs. Tommy. (How many times does he get beaten anyway? I lost count.) And, of course, there's Verna who has just about everyone wrapped around her cigarette stained fingers. What a character.

My favorite scene? The amazing shoot-out to the tune of "Danny Boy". It's a waltz with bullets. To me, this is where the Coen brothers hit their peak.

Beware, this widescreen edition is not enhanced for 16:9 televisions.

This two-disc DVD package is nothing short of stunning in both it's content and presentation. 20th Century Fox DVDs of late are top class examples of the power of DVD, which put the simple video-to-DVD transfers which some companies put out to shame. THE ABYSS is a fantastic film and the ability to choose which version to watch (Theatrical or Special Edition) is a real boon. The aminated menus are brillant, based on the Moon Pool part of the rig, an example of which is the selection of the version of the film to watch. There are two doors - you pick the one for the version you want to watch. Then before the version you've picked starts a water tentacle rises up and goes through the door you picked. It's touchs like that which distinguishes the class from the dross. After watching the film, there's the second disc. This positively bursts with in-depth background information: The one-hour documentary "Under Pressure: The Making of the Abyss" and a supplemental guide containing a mass of material relating to the film including the original treatment, a shooting script and every single storyboard! Not to mention all the other stuff (one of my favourites being the 7 minute time lapse sequence showing the building and filling of the main Deepcore exterior set). A must for any serious DVD collector. Essential for any fan of this superb film.

I couldn't wait for The Abyss Special Edition to be released on DVD. I already have the Special Edition Widescreen released on VHS in 1995 with the 10 minute featurette on the making of The Abyss. But as soon as I bought the DVD - I went home to watch it. You can choose to watch the theatrical version or the Special Edition with 28 minutes of additional footage. The commentary is visable via subtitles in the black bar. Which is great. For anyone who hasn't already seen this movie - it's an action-adventure/sci-fi/romance. Basically it's for everybody.

Ed Harris play Bud Brigman, the toolpusher on an underwater drilling platform designed by his soon-to-be-ex-wife, Lindsey (Mary Elizabeth Mastrantonio). A US submarine sinks near Cuba & the Navy enlists the help of the workers on the drilling rig in a rescue attempt. Four Navy SEALs are sent down to supervise this mission. Headed by Lt. Coffey, played by Michael Biehn. Too bad that Coffey suffers the effects of HPNS and begins to go a little over the edge.

All this and oh yeah, there seem to be some unidentified underwater flying objects. Of course only Lindsey seems to see the & Coffey thinks they're Russian.

This movie is full of conflicts, romance, action and adventure & is one of my favorite movies. This DVD is just full of extras that I haven't even fully explored yet. Just a few are a 59 minute documentary on the making of The Abyss as well as a 10 minute featurette. There are stills, cast historys, storyboards and anything else you could ever possibly want to know about this movie. This is a must buy DVD. 20th Century Fox takes it's time and puts out first rate DVD's. The Abyss, Fight Club & Aliens are just a few examples of this. If you do enjoy The Abyss Special Edition - try these others.

Beware, this widescreen edition is not enhanced for 16:9 televisions.

This two-disc DVD package is nothing short of stunning in both it's content and presentation. 20th Century Fox DVDs of late are top class examples of the power of DVD, which put the simple video-to-DVD transfers which some companies put out to shame. THE ABYSS is a fantastic film and the ability to choose which version to watch (Theatrical or Special Edition) is a real boon. The aminated menus are brillant, based on the Moon Pool part of the rig, an example of which is the selection of the version of the film to watch. There are two doors - you pick the one for the version you want to watch. Then before the version you've picked starts a water tentacle rises up and goes through the door you picked. It's touchs like that which distinguishes the class from the dross. After watching the film, there's the second disc. This positively bursts with in-depth background information: The one-hour documentary "Under Pressure: The Making of the Abyss" and a supplemental guide containing a mass of material relating to the film including the original treatment, a shooting script and every single storyboard! Not to mention all the other stuff (one of my favourites being the 7 minute time lapse sequence showing the building and filling of the main Deepcore exterior set). A must for any serious DVD collector. Essential for any fan of this superb film.

I couldn't wait for The Abyss Special Edition to be released on DVD. I already have the Special Edition Widescreen released on VHS in 1995 with the 10 minute featurette on the making of The Abyss. But as soon as I bought the DVD - I went home to watch it. You can choose to watch the theatrical version or the Special Edition with 28 minutes of additional footage. The commentary is visable via subtitles in the black bar. Which is great. For anyone who hasn't already seen this movie - it's an action-adventure/sci-fi/romance. Basically it's for everybody.

Ed Harris play Bud Brigman, the toolpusher on an underwater drilling platform designed by his soon-to-be-ex-wife, Lindsey (Mary Elizabeth Mastrantonio). A US submarine sinks near Cuba & the Navy enlists the help of the workers on the drilling rig in a rescue attempt. Four Navy SEALs are sent down to supervise this mission. Headed by Lt. Coffey, played by Michael Biehn. Too bad that Coffey suffers the effects of HPNS and begins to go a little over the edge.

All this and oh yeah, there seem to be some unidentified underwater flying objects. Of course only Lindsey seems to see the & Coffey thinks they're Russian.

This movie is full of conflicts, romance, action and adventure & is one of my favorite movies. This DVD is just full of extras that I haven't even fully explored yet. Just a few are a 59 minute documentary on the making of The Abyss as well as a 10 minute featurette. There are stills, cast historys, storyboards and anything else you could ever possibly want to know about this movie. This is a must buy DVD. 20th Century Fox takes it's time and puts out first rate DVD's. The Abyss, Fight Club & Aliens are just a few examples of this. If you do enjoy The Abyss Special Edition - try these others.

Beware, this widescreen edition is not enhanced for 16:9 televisions.

This two-disc DVD package is nothing short of stunning in both it's content and presentation. 20th Century Fox DVDs of late are top class examples of the power of DVD, which put the simple video-to-DVD transfers which some companies put out to shame. THE ABYSS is a fantastic film and the ability to choose which version to watch (Theatrical or Special Edition) is a real boon. The aminated menus are brillant, based on the Moon Pool part of the rig, an example of which is the selection of the version of the film to watch. There are two doors - you pick the one for the version you want to watch. Then before the version you've picked starts a water tentacle rises up and goes through the door you picked. It's touchs like that which distinguishes the class from the dross. After watching the film, there's the second disc. This positively bursts with in-depth background information: The one-hour documentary "Under Pressure: The Making of the Abyss" and a supplemental guide containing a mass of material relating to the film including the original treatment, a shooting script and every single storyboard! Not to mention all the other stuff (one of my favourites being the 7 minute time lapse sequence showing the building and filling of the main Deepcore exterior set). A must for any serious DVD collector. Essential for any fan of this superb film.

I couldn't wait for The Abyss Special Edition to be released on DVD. I already have the Special Edition Widescreen released on VHS in 1995 with the 10 minute featurette on the making of The Abyss. But as soon as I bought the DVD - I went home to watch it. You can choose to watch the theatrical version or the Special Edition with 28 minutes of additional footage. The commentary is visable via subtitles in the black bar. Which is great. For anyone who hasn't already seen this movie - it's an action-adventure/sci-fi/romance. Basically it's for everybody.

Ed Harris play Bud Brigman, the toolpusher on an underwater drilling platform designed by his soon-to-be-ex-wife, Lindsey (Mary Elizabeth Mastrantonio). A US submarine sinks near Cuba & the Navy enlists the help of the workers on the drilling rig in a rescue attempt. Four Navy SEALs are sent down to supervise this mission. Headed by Lt. Coffey, played by Michael Biehn. Too bad that Coffey suffers the effects of HPNS and begins to go a little over the edge.

All this and oh yeah, there seem to be some unidentified underwater flying objects. Of course only Lindsey seems to see the & Coffey thinks they're Russian.

This movie is full of conflicts, romance, action and adventure & is one of my favorite movies. This DVD is just full of extras that I haven't even fully explored yet. Just a few are a 59 minute documentary on the making of The Abyss as well as a 10 minute featurette. There are stills, cast historys, storyboards and anything else you could ever possibly want to know about this movie. This is a must buy DVD. 20th Century Fox takes it's time and puts out first rate DVD's. The Abyss, Fight Club & Aliens are just a few examples of this. If you do enjoy The Abyss Special Edition - try these others.

Beware, this widescreen edition is not enhanced for 16:9 televisions.

This two-disc DVD package is nothing short of stunning in both it's content and presentation. 20th Century Fox DVDs of late are top class examples of the power of DVD, which put the simple video-to-DVD transfers which some companies put out to shame. THE ABYSS is a fantastic film and the ability to choose which version to watch (Theatrical or Special Edition) is a real boon. The aminated menus are brillant, based on the Moon Pool part of the rig, an example of which is the selection of the version of the film to watch. There are two doors - you pick the one for the version you want to watch. Then before the version you've picked starts a water tentacle rises up and goes through the door you picked. It's touchs like that which distinguishes the class from the dross. After watching the film, there's the second disc. This positively bursts with in-depth background information: The one-hour documentary "Under Pressure: The Making of the Abyss" and a supplemental guide containing a mass of material relating to the film including the original treatment, a shooting script and every single storyboard! Not to mention all the other stuff (one of my favourites being the 7 minute time lapse sequence showing the building and filling of the main Deepcore exterior set). A must for any serious DVD collector. Essential for any fan of this superb film.

I couldn't wait for The Abyss Special Edition to be released on DVD. I already have the Special Edition Widescreen released on VHS in 1995 with the 10 minute featurette on the making of The Abyss. But as soon as I bought the DVD - I went home to watch it. You can choose to watch the theatrical version or the Special Edition with 28 minutes of additional footage. The commentary is visable via subtitles in the black bar. Which is great. For anyone who hasn't already seen this movie - it's an action-adventure/sci-fi/romance. Basically it's for everybody.

Ed Harris play Bud Brigman, the toolpusher on an underwater drilling platform designed by his soon-to-be-ex-wife, Lindsey (Mary Elizabeth Mastrantonio). A US submarine sinks near Cuba & the Navy enlists the help of the workers on the drilling rig in a rescue attempt. Four Navy SEALs are sent down to supervise this mission. Headed by Lt. Coffey, played by Michael Biehn. Too bad that Coffey suffers the effects of HPNS and begins to go a little over the edge.

All this and oh yeah, there seem to be some unidentified underwater flying objects. Of course only Lindsey seems to see the & Coffey thinks they're Russian.

This movie is full of conflicts, romance, action and adventure & is one of my favorite movies. This DVD is just full of extras that I haven't even fully explored yet. Just a few are a 59 minute documentary on the making of The Abyss as well as a 10 minute featurette. There are stills, cast historys, storyboards and anything else you could ever possibly want to know about this movie. This is a must buy DVD. 20th Century Fox takes it's time and puts out first rate DVD's. The Abyss, Fight Club & Aliens are just a few examples of this. If you do enjoy The Abyss Special Edition - try these others.