Robert-Wise Movie Reviews

Whether you are a Sci-Fi fan or not, buy this DVD ! The star line-up of actors, writers, and directors explaining their parts in the various films outlined is worth the price of addmission. You'll be surprised-and perhaps amused-at some of the faces, and the films they worked on. But be warned: You'll want to race right out and buy everyone of George Pal's films after you view this great DVD. Hats off to Arnold Leibovit.

The Fantasy Film Worlds of George Pal is truly worlds of wonder! Arnold Leibovit, producer of this marvelous documentary, has done a wonderful job at encapsulating the colorful life and career of producer/director George Pal - from his meager beginnings as a cartoon artist, through his years of creating the stop-motion animated short films, fancifully named "Puppetoons", and into his wonderful works of feature motion pictures. The documentary guides us with affection through Pal's career, by way of interviews with the cast, crew and peers of his films, and includes interviews with Pal himself. His work touches a cord within all of us - the child that lives within and is dazzled by science and fantasy, prophetic visions and flights of fancy. All who have known or worked with him remember Pal with delight - "He was a sweet, sweet man; ...a gentle man.", as Tony Randel puts it when telling of his experience of working with Pal. This was a sentiment felt by all who have had the honor of knowing and working with Pal. This documentary thoroughly captures the whimsy and kind heart of a man who not only was a dreamer, but was one who inspired us to dream. People like George Lucas and Steven Spielberg only stand on Pal's shoulders, and continue the line of imaginative filmmaking which he started. The contemporary term "eye candy" can so easily be applied to this documentary, for it is a treat to see this montage of works by the master that started it all. Thanks George! And thank you Arnold Leibovit, for giving us this special and delightful glimpse into the life and works of a man who will never be forgotten! The Fantasy Film Worlds of George Pal was obviously a labor of love!

During the science fiction and fantasy boom of the 1950s, few names could compare with George Pal. In many ways the pioneering visionary in the ways we view outer space and fantastic creatures on the screen, he turned out a string of masterpieces as both director and producer, using his experience with puppeteering and special effects to bring previously unimaginable sights to stunned audiences around the world.

This informative and extremely entertaining documentary takes a thorough look at Pal's career, from his early days in Hungary and Germany making European shorts with various types of puppets combined with simple techniques involving painting and glass. His transition to Hollywood following the rise of Naziism allowed him to bring his Puppetoons to audiences of impressionable children, but the move to live action proved to be even more fruitful. His groundbreaking Destination Moon presented a heightened new realism for cinematic space travel, and he soon realized that science fiction could become a trememndous box office draw. His literary adaptations remain loved by audiences today: The War of the Worlds, The Wonderful World of the Brothers Grimm, 7 Faces of Dr. Lao, The Time Machine, tom thumb, and his last film, the pulpy Doc Savage:Man of Bronze.

The Fantasy Film Worlds of George Pal assembles a who's who of Hollywood filmmaking, combining actors who worked on Pal's productions (such as Rod Taylor,Tony Randall, and Barbara Eden) to admirers like Joe Dante and Ray Harryhausen (who worked with Pal along with animation legend Willis O'Brien). The clips from Pal's early works are especially tantalizing and could have gone on much longer; "Sleeping Beauty" in particular looks like a dazzler. Unlike standard Hollywood biographies, this one keeps up a rapid pace and keeps a steady flow of fascinating clips and home movies to provide a solid, well rounded portrait of a man who loved entertaining people in any way possible.

The Image DVD looks quite good for a mid-'80s documentary, with strong colors and no noticeable compression flaws. The contrast level and clarity vary wildly from clip to clip, for obvious reasons, but such is the nature of an archival beast. The mono audio also gets the job done quite well for its age. The disc also includes a host of Pal-related extras, such as promotional material for many his films from Destination Moon to Doc Savage, as well as more interview footage deleted from the final cut, some additional home movies, some warm and intriguing comments from Puppetoon veterans, and a peek at the newsreel premiere footage for Brothers Grimm. In short, no fantasy film buff should be without this disc, and hopefully his entire catalog will one day be available to perfectly complement this love letter to one of the 20th Century's most significant creative talents.

"Second Time Around" is quite possibly the best of the 33 "Inspector Morse" episodes. If you're a fan of the series and don't own it yet, then you should consider it a must-have. If you're new to the series - start here.

An old police detective is murdered while writing his memoirs. A suspect, Frederick Redpath, is brought-in for questioning. Morse and another chief inspector on the case, Dawson, recognize the man as a suspect from a child murder case from over a decade ago. Dawson becomes heavily involved in the new case, and Morse and his sergeant, Lewis, are trying to work at it from their own angle.

There is conflict, emotion, heartache, introspection, and mystery aplenty in "Second Time Around", and all of these factors come together to help make the episode a real treat. The direction is wonderful, and the acting is amazing. John Thaw, as usual, excels as Morse, and Kevin Whately does well as the ever-faithful Lewis. Oliver Ford Davies, an underrated gem of an actor, is convincing as the troubled Redpath, but the real star of this story is Kenneth Colley (famous from the first "Star Wars" trilogy) as Chief Inspector Dawson. Probably one of the best characters ever to grace the Morse series.

"Inspector Morse" is one of my all-time favorite television shows, and this episode is simply tremendous. It encompasses the best aspects of the series: an introspective Morse, a haunting murder case, great guest stars, and sorrowful music from Puccini ('Senza Mamma' from Suor Angelica). This is simply the best of "Morse". Don't pass it up.

Inspector Morse shines in this film, as always. It's one of the most fascinating Morses ever made. This film leaves you guessing until the end.

This episode of the Morse series provides the viewer with some insight into the development of Morse's character.

The death of senior police office shortly after his retirement celebration sets the scene of a murder investigation which departs from the immediate concern of his murder to become a much broader investigation which encompasses an 18 year old unresolved murder mystery which Morse was involved in.

In this rather unusual Morse there are some exemplarary performances notably from Pat Heywood (RootInto Europe) and Oliver Ford Davies (who would later co-star with Thaw in the sublime series, Kavanagh Q.C.). What distinguishes this particular Morse from the others is the degree of personal involvement shown by Morse. Despite his usual disspassionate, academic approach. Morse cannot resist responding to the friction from his old colleague who found success following his mentor, the Deputy Chief Police Commissioner to London. Also there is a heightened sensitivity shown by Morse to the case of the young girl, murdered many years earlier.

There are the usual twists and turns but in particular the scenes where the long suffering suspect of the child's death is finally completely cleared of any involvement. At that point the latest suspect is mentioned only for the first accused to fiercely criticise the police for their continued incompetence.

The conclusion to the story is a tragic scene wherein Morse confronts the killer with the evidence of his guilt. At that juncture the viwere is faced with sympathy with the killer's motive for the crime only to discover that the man who was killed was doing so protecting his child's life in just the same way that the murderer is revenging his.

Here the extent of Morse's involvement is revealed and one of the lasting impressions we have is the depth of tremendous sadness in his eyes.

This episode shows us the emotional side of Morse in many different ways. The storyline is supported in this regard by a stellar performance of Kevin Whately who gives vent to his frustrations with what he perceives to be Morse's attitude and verbally lashes him, only to discover later that he was wrong and very sheepishly apologises. Morse is magnanimous in his acceptance of the apology and moves on.

All around a very polished performance and an enthralling whodunit in the very best traditions of the genre. A+++

Hollywood has a way of glamorizing the worst of life's problems and wrapping everything up in happy endings by a film's end. Not so with SAINT. Having dedicated 10 years of my life volunteering with the homeless on the streets of New York City, I can relate firsthand to the characters depicted by Glover and Dillon. There is no question that this movie is realistic. The emotions behind the words, the feelings behind the actions, all of it speaks to the portion of humanity that all of us are guilty of neglecting as we hurry past them on the busy streets. Stop and look, listen and lend a hand. If you buy or rent one drama this year, make it THE SAINT OF FORT WASHINGTON. And hats off to Matt and Danny for portraying a searing vision of homelessness from the bottom of their hearts and souls.

The film borders on melodramatic at times, but the characters are beautiful and their realness add immeasurably to the impact of this film. Danny Glover is brilliant as the caring, street-wise Vietnam vet who takes care of Matt Dillon's character, a young man burdened with untreated schizophrenia. Both are homeless, through no lack of trying, and both are plagued by illness and a few members of a dumb but dangerous gang leader, Little Leroy, played well by a thoroughly nasty and vulgar Ving Rhames, who terrorizes the men's homeless shelter at Fort Washington.

Matt Dillon (Matt) plays the most sincere, nice guy on the planet. He's not immune to the fact that he's handicapped by his mental illness, but can't overcome it until he meets Danny Glover (Jerry). Together, armed with a little money and so much spirit (not to mention unrivaled positive attitudes), they set out to slowly climb the "economic ladder" - as Jerry calls it - and meet some of the most extraordinary characters. Unneccesary forshadowing gives the movie a constant feeling of sorrow, doom, and hopelessness, while the characters involved maintain an every-hopefull attitude about the future.

Not a happy film, but so well done it's hard not to feel it was money and time well spent. You will be forever changed.

hopeful honest friendship survival These are all word I relate to the Saint of Fort Washington.

This film inspired me to actually do something about the problem of homelessness. Danny Glover and Matt Dillon star in this wonderfully honest movie that might change your views on homelessness. Dillon gives the best performance I've seen from him. The characters are all very believable. A bit like Of Mice and Men. There are some gently humorous scenes with Matthew, Dillon's character, and Jerry, Glover's character. There are other scenes that can seem foolish on the surface, but touching once you think about it. More films like this should be made. I recommend it to everyone

Hollywood has a way of glamorizing the worst of life's problems and wrapping everything up in happy endings by a film's end. Not so with SAINT. Having dedicated 10 years of my life volunteering with the homeless on the streets of New York City, I can relate firsthand to the characters depicted by Glover and Dillon. There is no question that this movie is realistic. The emotions behind the words, the feelings behind the actions, all of it speaks to the portion of humanity that all of us are guilty of neglecting as we hurry past them on the busy streets. Stop and look, listen and lend a hand. If you buy or rent one drama this year, make it THE SAINT OF FORT WASHINGTON. And hats off to Matt and Danny for portraying a searing vision of homelessness from the bottom of their hearts and souls.

The film borders on melodramatic at times, but the characters are beautiful and their realness add immeasurably to the impact of this film. Danny Glover is brilliant as the caring, street-wise Vietnam vet who takes care of Matt Dillon's character, a young man burdened with untreated schizophrenia. Both are homeless, through no lack of trying, and both are plagued by illness and a few members of a dumb but dangerous gang leader, Little Leroy, played well by a thoroughly nasty and vulgar Ving Rhames, who terrorizes the men's homeless shelter at Fort Washington.

Matt Dillon (Matt) plays the most sincere, nice guy on the planet. He's not immune to the fact that he's handicapped by his mental illness, but can't overcome it until he meets Danny Glover (Jerry). Together, armed with a little money and so much spirit (not to mention unrivaled positive attitudes), they set out to slowly climb the "economic ladder" - as Jerry calls it - and meet some of the most extraordinary characters. Unneccesary forshadowing gives the movie a constant feeling of sorrow, doom, and hopelessness, while the characters involved maintain an every-hopefull attitude about the future.

Not a happy film, but so well done it's hard not to feel it was money and time well spent. You will be forever changed.

hopeful honest friendship survival These are all word I relate to the Saint of Fort Washington.

This film inspired me to actually do something about the problem of homelessness. Danny Glover and Matt Dillon star in this wonderfully honest movie that might change your views on homelessness. Dillon gives the best performance I've seen from him. The characters are all very believable. A bit like Of Mice and Men. There are some gently humorous scenes with Matthew, Dillon's character, and Jerry, Glover's character. There are other scenes that can seem foolish on the surface, but touching once you think about it. More films like this should be made. I recommend it to everyone

"Of all sad words of tongue or pen. The saddest are these 'it might have been' " That proverb seems made specifically for this film. Orson Welles' big screen adaptation of the "Magnificent Ambersons" was cut from two hours down to an hour and a half. The excised footage was destroyed so there will be no 'directors cut' of this film.

Lavishly shot, wonderfully directed, and superbly acted this film takes it rightful place as a movie classic. It consistently makes the list of the all time greatest films.

HOWEVER, the loss of 1/3rd of the film shows throughout. It is a masterpiece of design and acting, but I found the plot to be jumpy often skipping over important elements from the novel. The characters (with the notably exception of Agnes Moorhead) never really get a chance to grow and develop or show their inner selves.

The basic plot centers on new money versus old money. The Ambersons are the acknowledged masters of the town and their crown princess Isabelle spurns the advances of Eugene Morgan a young inventor. Twenty years later Morgan, now a rich widower, and his comely daughter return to the town and meet up with the Ambersons. George Amberson Minever scion of the clan falls in love with young Lucy and the elder Morgan begins to renew his courtship of the widowed Isabelle. George objects to the match and places all possible obstacles in the way of the automobile magnet and his mother. As progress moves forward the automobile changes the way of life for everybody and the rich and powerful Ambersons find themselves behind the times and losing both thief fortune and prestige.

This is a classic movie and what is left is well worth seeing over and over again.

Orson Welles's adaptation of Booth Tarkington's award-willing novel and follow-up to Citizen Kane is a true screen classic. As with Kane, this film contains many wonderful performances by all the leads including Joseph Cotton, Agnes Moorehead, Dolores Costello, and Tim Holt as George Amberson Minafer. Welles continued his experimentation with film technique and you will notice similar camera angles and lighting, to those in Kane. The lighting is something exploited to good affect here, especially in the scenes inside the Amberson mansion. The story is a simple one: Eugene Morgan (Cotton) and Isabel Amberson (Costello) young lovers, who through a somewhat frivolous circumstance end up marrying other people. After they've both raised children, they again find themselves free to begin where they left off in their youth. But Isabel's son (Holt) does not approve of their relationship, in spite of the fact that he is in love with Morgan's daughter, Lucy (Anne Baxter). Set at the turn of the 20th century, the movie has a wonderful feel and texture, which effectively evokes the period. An interesting backdrop is the development of the automobile, with Cotton an early proponent and tycoon, and its effects on not only the American economy, but on the changes it brings to society as well. Morgan, once spurned as a little too common for Isabel returns again to his hometown a successful industrialist. As his fortunes climb, those of the Ambersons fall. As already mentioned, the film is packed with wonderful performances. Agnes Moorehead was nominated for Best Supporting Actress and won the Best Actress award from the New York Film Critics Circle. As the lonely, sorrowful Aunt Fanny, hers is a delicately crafted characterization. Cotton as the auto tycoon Morgan, gives another understated and subtle performance; a young Anne Baxter is lovely as Cotton's daughter Lucy; and Tim Holt, a name all but forgotten today, is magnificent in the pivotal role of George Amberson Minafer. One of the most interesting scenes in the film is the ball at the Amberson mansion. The camera seems to float along with the players seemingly without a break, putting the viewer right in the midst of the cast. A great film, worthy of multiple viewings, The Magnificent Ambersons has earned its place among Hollywood's greatest films.

What a travesty it is that as of this writing, Orson Welles' "The Magnificent Ambersons" is not available on DVD, while the far inferior 2002 remake is. Welles' managed to follow up his landmark debut "Citizen Kane" with another masterpiece, despite studio meddling which reduced the film's length by 43 minutes.

Eschewing "Kane's" fragmented structure, "Ambersons" employs a linear narrative to chronicle the rise and fall of the Amberson family, who become an allegory for pre-industrialized America. Though the film undeniably laments the passing of the simpler, 19th century way of life (most effectively in a nostalgic prelude narrated by Welles himself), the conflict between past and progress is complicated by the impudence of George Minafer (Tim Holt), scion of the Ambersons, and the amiability of Joseph Cotten as the inventor whose automobiles contribute to the decline of the Ambersons' magnificence. "Ambersons" is characterized by masterfully choreographed long takes, which allow Welles to extract thematic content from the material through sheer compositional virtuosity. "The Magnificent Ambersons" remains a powerful experience despite the loss of several key scenes; RKO chopped Welles' diamond, but could not obscure its brilliance.

Atmospheric, heartbreaking, and totally mesmerizing tale about a lonely, misunderstood child. So amazing to hear how it was sneaked into existence using "Curse of Cat People" title studio execs would think they were funding a horror film! In roundabout ways the plot and its message does relate to the original 1942 "Cat People": the first film is about a woman who is a social outcast. In sequel this character returns to befriend a little girl who is herself an outcast. This film does seem to have escaped wide attention due to the misleading title. The little girl's performance is unbelievably convincing and will move you to tears. Somehow this oddball movie gets to the heart of the universal heartbreak of childhood. Not to be missed!

CURSE OF THE CAT PEOPLE is one of those movies that begs to be seen a number of times to be fully appreciated. Even if the story were absolute garbage -- it isn't -- the visuals alone captivate and entertain on a grand scale. Val Lewton, who made a mark in the horror genre by creating moody and atmospheric thrillers, does it again here, thanks in no small part, no doubt, to co-director Robert Wise's helming (Gunther von Fritsch shares directing credits). Seldom is light and shadow used this effectively in film. New students of cinema should study this picture in order to learn to create truly magical and uneasy moments simply through the use of light and shadow.

I hadn't watched this movie in a while but I just wrapped up another screening on a dark and gloomy fall evening here in New England. The film is set in Tarrytown and it truly captures the moody atmosphere of its location through a variety of seasons.

More important, CURSE OF THE CAT PEOPLE succeeds in capturing childhood on celluloid. It is the story of a lonely and misunderstood little girl whose biggest crime, it seems, is having an overly imaginative soul. Enter the stunning Simone Simon as ethereal companion to the child. I think this film succeeds so well because it seldom drifts far from the point of view of the child and the emotions that are running through her system: loneliness, isolation, insecurity, the first realizations that sometimes "life just even fair" (she gets punished for telling the truth) and other childhood themes are explored here, and very effectively translated via the talents of Ann Carter.

Producer Val Lewton grudgingly agreed to the title if RKO allowed him the opportunity to do a follow-up to his successful CAT PEOPLE. He refused to further compromise his principles, however, especially when it came to the story. It's really too bad that this beautiful fantasy isn't known by another title. I'm sure if it were called just about anything other than CURSE OF THE CAT PEOPLE, it would by known by a much greater audience.

The sequel to the original Val Lewton horror film, "Cat People" is disappointing in that it doesn't follow up on the growl-slash-bite were-cat premise at all (opting, instead, to stick to the "it was all in her head" version of the story). Otherwise, though, this one's a winner. Kent Smith reprises his role as the all-too-rational modern man, Mr. Reed, who is now a husband and father, having married the "other woman" from the previous film, Jane Randolph. Things are just peachy, except that their daughter has somehow picked up on the weird vibe that plagues their family, and becomes pyschically linked to what appears to be the ghost of the dead cat lady from the first film (played again by Simone Simon.) The drearily sensible, scientific-psychological perspective dukes it out with the fantastical-supernatural viewpoint: we the audience are encouraged to root for the ghost story explanation, as the filmmakers provide some brilliant, spooky visual cues to accompany the little girl's altered state of mind. Young Ann Carter is quite good as the daughter. Not your standard-issue horror movie, yet very definitely recommended!

Prior reviews of this movie (see below) cover its style and substance very well, so I won't attempt to duplicate their efforts. I will only add that while this is a fine film, it moves excruciatingly slowly by today's standards. So if you're expecting fast-paced action, this isn't the movie for you. The pacing and style -- and even the "twist" ending -- reminded me of the old "Twilight Zone," which was produced in the same era. It's not too far off the mark to think of this as a triple-length TZ episode!

Odds Against Tomorrow is arguably the final entry in the "film noir" genre, filmed in exquisite shades of gray and black that underscore its truly dark tale of bigotry and class alienation.
Ryan scores again in his corrosive portrait of a loser from the South strapped with Dust Bowl angst, able abetted by director Robert Wise. Wise, lest we forget, directed Ryan ten years earlier in The Set-up, another classic entry that is now compared with Raging Bull as the best film about boxing.
Ryan allied himself with Wise because the two shared the same ethical belief systems: both were avowed Liberals, and both were committed to making films that not only had a message but which also bore a distinct artistic imprint: from cinematographer John Alton's subtle exploration of black and white film to his daring use of infrared film in the film's opening minutes; to Abraham Polonsky's stark screenplay of desperate people living on the edge, Odds Against Tomorrow achieves its goals in a grim, humorless expose that indicts greed and prejudice. Holding the film firmly in his grasp, Ryan proves again that his acting skills traverse the origins of his psychopathy in a spine-chilling tour de force. Reprising his disturbing portrayal of the cagey, Jew-hating bigot in Crossfire, his role as the loser Earl Slater in Odds Against Tomorrow allows for more complexity to explain his motivations.
Besides Ryan, "noir" stalwarts Ed Begley and Gloria Grahame elevate the film considerably. Grahame, as many "noir" aficianados are aware, was also featured in Crossfire, achieving fame as one of filmdom's "noir" females, duplicitous, alienated and jaded. Ed Begley turns in another realistic portrait as the disgraced ex-cop with an axe to grind, while Harry Belafonte's down-on-his-luck gambler emerges as a man afflicted with a gambling addiction that covers up his deep insecurities. Viewers should also take note that the film is chock full of secondary players, including a very young Cicely Tyson and Wayne Rogers, along with character actors, Will Kuluva, Lew Gallo, Richard Bright (possibly the first depiction of homosexuality in the cinema), and William Zuckert. The score by the Modern Jazz Quartet is aptly spare, underscoring the grim tale. Finally, observant viewers may notice that the nightclub bouncer who lends Belafonte a pistol in a smoky Harlem nightclub bares a striking resemblance to James Earl Jones (in fact it is his brother, Robert Earl Jones). Kudos to all involved in this "noir" masterpiece.

Director Robert Wise is probably most identified with his two Oscar winning musicals, West Side Story and The Sound of Music. Wise's Odds Against Tomorrow, a 1959 film produced at the end of the noir cycle should have earned him his first Oscar, but that year Ben Hur's eleven Academy Awards left little in the wake of cinematic honors. Odds Against Tomorrow may have been slighted by the Academy and the box office, but it unassumingly remains as one of the first films to address racism towards blacks in American society. Wise's casting of African American Harry Belafonte as Johnny Ingram and Robert Ryan as the bigot Earl Slater revealed the racial tensions that marked the social undercurrent of the 1950's. Odds Against Tomorrow may have been an emblematic precursor to the racial violence that exploded into the consciousness of mainstream America during the 1960's. The film's plot is structured around a planned bank hiest involving a retired police detective (Ed Begley), a gambling, jazz musician (Belafonte) and a psychotic loner (Ryan). The three protagonists are drawn together by the lure of money; each thinking that a big score will erase the haunting failures of their past. Unlike other noir films in which lust, greed, or deception caused a downward spiral for the protagonist, our trio's well devised plan unravels from within. Earl's seething malevolence and resentment towards Johnny causes the caper to disintegrate. James Coburn deservedly won an Oscar for his role as an alcoholic, abusive father in Affliction; Ryan's portrayal of an emotionally unstable, violent, racist is equally noteworthy. Noir critics cite the Richard Widmark characterizations of Tommy Udo and Alec Stiles as the most devious, psychotic criminals to shock film audiences; but it is Ryan armed only with a cold stare and a few callous words who could really bring burning hatred to a violent boil. In Odds Against Tomorrow, Ryan's scenes in the tavern, elevator, and gas station, are but a few glimpses into the mind of an unstable, dangerous man. Shelly Winters is cast as the insecure loner who desperately smothers Earl with love that is not returned. Gloria Grahame appears as the strange apartment neighbor who inexplicably is drawn to the abusive Earl. Director Wise craftfully places characters in scenes that drip with realism. The mob boss, the homosexual henchman, the bartender, the black elevator operator, and Jonny's estranged wife create a multi-dimensional atmosphere that does not distract from the central flow of events. Wise's camera work is exceptional as he allows viewers quick images of hallways, city streets, and concrete highrises. The opening shot of a fire hydrant on a desolate street corner which is suddenly invaded by wind swept newspaper is chilling. Wise is also not adverse to draw his camera away from city settings where noir scenery could easily be captured. Instead he mixes urban concrete and smokey club interiors with panned shots of open highways and cold Novemember landscapes dotted with leafless trees. Wise also contrasts the concepts of day and night into the picture's climax. Not constrained within the limits of shadows, darkness, and night, which characterize most noir films, Wise utilizes the impending nightfall as a scenic metaphor. Odds Against Tomorrow is one of the greatest noir pictures ever made. It may have been the last exemplar of screen noir in American film making.

There's been a murder here, but it's not the one you think. The adaptation of Colin Dexter's "The Remorseful Day" has left a stinking corpse of what was a masterful story, an exquisite exposition of the "Parsifal" like heart of Endeavour Morse. The culprits? Rebecca Eaton and her doltish cadre of American PBS writers who have distinguished themselves in missing the entire point of the book.
Mind you, if you have not read the book, you'll enjoy this video. All the great elements are there: John Thaw essays Morse brilliantly, Kevin Whately turns in a terrific performance as Lewis, although he is compelled to deliver a totally ridiculous and melodramatic "Morse is dead!" proclamation. He acquits himself and moves on. All the supporting players, the family intrigues, the score, the filmwork - all executed brilliantly. So, you'd have little reason to suspect something is awry.

But there is and it is as great a disservice to a book as I can ever remember. Now, that argument can be made about a lot of transfers from book to film, but in this case, and with this series, which has been so faithful to Dexter's works, it is just incomprehensible. I can only conclude that it is due to the American fascination with smoothing out any sense of nuance in order to champion the easily digestible. I should tell you where the crime lies, but that's not fair to anyone who really would enjoy what actually happened in the story. Suffice it to say that much of the story turns on the Parsifal legend, and how in fact the pure of heart are vindicated with vision of the grail, whatever form that grail may take. So, Endeavour Morse is vindicated in a coda that lingers with you long, long after you put the book down. Throughout the film, there are efforts made to quote not only Wagner's theme for "Parsifal", but Han Knappertsbusch's direction of it in the 1962 score. Why? Well, Morse makes reference to it in discussion with Lewis, and it fits with the T.S Elliott quote that includes the title of the story, plus Knappertsbusch was himself the most Morse like of conductors in every way imaginable, and in 1962 was well aware that he was dying. So with all of the main clues in tact, why on earth Eaton and her merry band of nitwits elected to miss the point is not only unimaginable but unforgiveable.

Certainly, enjoy this DVD for what it is. I assure you that if you read the book, you will want, as I want, to grab the murderous crutch and shove it where PBS don't broadcast. The most heinous murder in Oxford was committed in Boston. Shame on Eaton. Perhaps one day Dexter will insist on a reshoot, although Thaw is not well, and Whately may have no interest in any further casting as Lewis. Somehow, the record, as it is in the book, needs to be set straight.

This is probably one of the best (if not *the* best) Inspector Morse television episode. I admit to alot of that bias *not* going toward it for being the final installment of the series, but more for it being such a WELL-DONE final installment of the series.

The obligatory murder plot/premise has to do with the re-opening of a case involving the death of a middle-aged temptress/nurse named Yvonne Harrison. Lewis and Morse tackle the case, with the latter acting particularly strange concerning many aspects of the matter. There are a plethora of suspects, one of whom is Morse's own doctor, which conveniently leads to scenes showing how the great Chief Inspector's health is deteriorating rapidly. The Harrison case, while definitely being worked-through carefully, isn't the real focus of the story.

Morse's plight is the prime meaning behind "The Remorseful Day". Never before has the character been rendered so human, and so pathetic. His lady-friend (appearing in recent TV adaptations) has apparently left him, and so Morse is utterly alone. There are poignant scenes between he and Lewis, of him making final preparations, and of him sitting alone in his home listening to profoundly sad classical music. John Thaw as Morse gives a veritable tour-de-force, in the most subtle and gracious way possible, of the great detective in his declining days.

Special note should be given to all involved in the television adaptation, for they have, in my opinion, surpassed the novel. Colin Dexter's book was fine, but it dealt more heavily with the actual murder case, and the illness of Morse was left for small parts, usually at the end of each day. Here, with the version made for the small screen, we have the situation of Morse's closing life brought to the forefront. It is done well, and an experience to watch.

The last scene is terribly moving. I always make it a point to realize that when I sit down to watch a movie or television show, NOT to get too emotional, because there are only actors upon the screen - nothing is real. I thought I would be able to hold forth with said beliefs while watching "The Remorseful Day". But the very last scene, involving just Lewis and Morse, brought tears to my eyes. The swelling music and the starkness of the scene was a wonderful way to end the series.

The impression left is one not easily forgotten.

Sad to see that the great actor, John Thaw has passed away from esophageal cancer.

This episode is on par with all of the other great episodes of this outstanding series. Thaw's portrayal of an intellectual, world-weary British detective who confronts often complex and involved cases of murder and other crimes.

Now episode to this point really brought home to me how much I loved Inspector Morse. I was actually quite angry to see the great Inspector face such health problems (an understatement), but in light of John Thaw's actual illness, I guess it is to be expected.

My only regret is that there are not 100 more episodes hidden away somewhere. Inspector Morse and John Thaw will be sorely missed.

I watched this documentary as part of the Citizen Kane DVD. It is good, telling about the power struggle between Orson Welles and William Randolph Hearst. I also never knew before just how much Welles and Herman J. Mankewickz borrowed from Hearst's life when they wrote the Citizen Kane screenplay. But though it was supposed to be about Citizen Kane, the documentary didn't tell that much about the film itself. It was also rather slow and repetitive. How many times do I need to know that Hearst was a powerful man or that Welles was a young genius? I wanted to learn more about the movie itself. The extras were also nil, there being only a chapter selection and ads for other documentaries...

I've seen "Citizen Kane" dozens of times over the years, and had a general idea of who the film was really about (Hearst) and the controversy it created. After watching "The Battle Over Citizen Kane," however, I now feel that I have a much better understanding not only of the movie itself, but the full story of the two men locked in battle over it---Orson Welles and William Randolph Hearst.

This documentary provides a generous amount of personal information about both men, and comments from experts in relevant fields (Hearst biographers, etc.) as well as people who knew Welles personally. If you're a fan of "Citizen Kane," this companion piece is not to be missed.

There is nothing more delicious in this world than irony, and the biggest irony about "The Battle Over Citizen Kane" is that this Oscar-nominated documentary proves that the film was just as much about Orson Welles as it was about William Randolph Hearst. The fact that the fabled journalist tried to kill the movie is a part of Hollywood lore, as is the supposed special meaning of "Rosebud" for Hearst. This documentary airs out all of the dirty linen on both sides, using plenty of clips from "Citizen Kane" to help the arguments along. More importantly, it reminds us of exactly how much of an enfant terrible Orson Welles was when he came out to Hollywood to make Kane. His decline ("we will sell no wine before its time") is so firmly entrenched in the public memory that a reminder of the heights Welles achieved with the release of "Citizen Kane" is well warranted. After all, this is a man who had three films on the AFI Top 100. Of course, this documentary makes a fascinating double-bill with Kane itself. If you want the other side of the story regarding how much credit Welles deserves for this fabled film, check out Pauline Kael's book on "Citizen Kane."

The highlight of this episode is Phyllis Logan. She does a good job of being an ordinary person. You never "see" Lady Felsham in her character. One amusing part of the story is the ceaseless lampooning of academia using the theme of fund raising at Oxford. The basic detective story involves multiple murders and the ways the murderers use to escape justice or receive it themselves by what could be judged as divine guidance of the affairs of mortals.

"The Daughters of Cain" is one of the most clever of all Inspector Morse's adventures. Not only is he up against three women with a deadly purpose, he is somewhat sidetracked by the seductive one of the trio, Ms. Kay Brooks. The mature Morse pitted against a gorgeous girl "on the game" who is half his age? We have lots of sidelines (all of which fit nicely with the plot) like the political correctness of university fundraising, a teenage hoodlum in love, drug dealing, a terminal illness, spousal abuse, and the Ashmolean in danger of being burglarized! This one is sexy and cool, expertly delivered. And no one can express disillusionment (and touch our hearts) like the forthright Sergeant Lewis.

The beauty of this story is that Morse acknowledges he is being outwitted by three interesting women. The plot starts in such a simple way with an unlikely friendship between a cleaning lady and a teacher. When it progresses to include a high priced girl "on the game", Morse becomes entranced as well as baffled. Everything works here - the writing, the directing, the acting. Morse is intrigued and so are we. Our wonderfully honorable Sergeant Lewis struggles with the politics of police work, disillusioned and hurting. Thaw and Watley have excellence to work with in this episode and they pull it off with exceptional skill.