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I grew up in a family with an alcoholic parent, and that is the reason why I saw this film. As bad as some of my memories are, this film did nothing for me. It was so poorly directed and slow that any value or impact the story had was watered down. Awards aside, including many nominations, this, as art, was a waste. I think Nick Nolte is a fine method actor. His constant muttering and mumbling made this all the more unbearable. Twitching in my seat to finally get closure, most of the actions portrayed on-screen were going nowhere. James Coburn did an okay job as an abusive drunk, but he, much like the rest of the cast was never allowed to fully bloom in to a character. Painful as it was to watch it wasn't because of the social content as much as the lack of artistic content.

I just want to say that this was one of the best flicks I've

ever seen. Casting, acting, writing and production, awesome.

I have not seen the alternate DVD version and don't plan to.

The original is just perfect as it stands. I will see this one

again and again. I can't say another word!

Now let's see, the last time I looked, a movie was supposed to

tell a story and entertain you. It is supposed to take you where

ever the writer wants to take you. Well, that's the case here.

And let me tell you that I know a thing or two about films and

New York. If view this film, you will see a modern story un-

fold before your eyes. It is an international situation which

was represented with the latest technology. The cast is excell-

ent. The direction brings each character to full bloom and you

soon realize that this can really happen here. See this film and

you will appreciate the art form of film making. Denzel Washing-

ton is realistic, Bruce Willis is awesome as a general and

Anette Bening shows great ability. Tony Ghaloub is an under-

rated and under-used talent. His screen presence makes the whole

situation come to real life.

A delightful flick that will help you forget your cares. Love

triumphs with romantic partners and family members as the cast

shows that money dosen't buy happiness. Frank Capra assembled

a great cast, close to the same group as in "It's A wonderful

Life" and really loosens up a wealthy family who frowns on the

woman their son chooses to marry. Her family is a collection of

eclectic individualists who support each other by giving them the

space they need to live freely. This is a smooth escape to a aid

in the relief of the heavy concerns of daily living.

Filmed in Berlin in the early days of naziism, you get the feel-

ing that the citizens of Berlin knew something terrible was on

the way. Peter Lorre stars as a child killer. No one suspects

him at first because he appears so harmless. After much futile

police work, there is finally a break in the case. The under-

world element decides to capture the elusive killers themselves.

Not out of a sense of duty to the community but to take the heat

off their own illicit operations. They want to get back in to

the business of making money. They charge the town beggars with

the task of watching out for Lorre. A blind vendor finally

remembers that the abductor whistled a certain tune which was a

habit of his. Thus, they were able to isolate him and corner him

shortly thereafter. You must see this film just for the shooting

of the scenes alone. A great spartan technique that gets the

message across, with a strange but plausible ending. It really

is a piece of film making history.

Stephen McNally, what a mean man. Boy, could he play the bad guy >and almost make you love him. Not to condone his actions in the >flick, but to say that he acted with bravado. He had the knack >for being mean. In this film, he needs to be the "man" to stay >alive, but fate has a way of making humans small. This story is >so tight and well done, that this is a keeper. Next time it's >run turn on the VCR and hit record. It's the kind of flick that >stands up well today by fitting in with the violent control >people will always display when they are criminals on the run. >Beautiful Alexis Smith and sultry Jan Sterling bring out the >animal instincts in the men of the cast. Their looks are just as >persuasive as their acting abilities. This is a "B" movie that >rates an "A+" for showing that it could be done with the right >chemistry of the cast, director and producer. I love this type >of flick!

Mervyn LeRoy does it again. Exquisite cast, superb production >and tight story line make this a must see. Several persons in >this saga want revenge, but you'll have to see how it shakes out >to see just who gets whom. Barbara Stanwyck and Van Heflin are >united on screen once again (The Strange Loves of Martha Ivers) >with an unbelieveable supporting cast. Gale Sondergaard, Ava >Gardner, Cyd Charisse and Nancy Davis make up the bevy of head- >liners and head-turners in a film about love, lust and morality. >See how James Mason figures in with a great ending where some- >one makes a point and leaves no doubt what it's all about.

George Raft Made a decision with his career during the forties. >He was tired of playing the bad guy and wanted to be on the side >of the law. In "Nocturne" he gets his wish and instead of his police department supporting his efforts to disprove an apparent >suicide they discharge him. Now we all know that George Raft was >touted as a great leading actor. I fail to see his greatness. > . This film did >>not help him make the switch to being a good guy. The shots were >filled with his presence and he was supposed to carry the film. >Most of the supporting cast did an admirable job. But it was so >slow, you need patience to finally get the piano player, in >this case, Joseph Pevney, to admit to a murder. Compared to >other examples of this genre, I'm sorry to say that this dosen't >do it for me. I LOVE film as an art form. I wouldn't consider >this a great work of art but an exercise in number painting >futility.

To me, this film typifies how we lived in the fifties. Who's to >say things like this couldn't happen in a small town? Where ever >there are humans experiencing life this can happen. The Paul >Douglas character restores your faith in humanity by being >strong and forgiving. Barbara Stanwyck did a fine job in por- >traying a woman who thinks she knows what she wants. She gets a rare opportunity to take back something she had little right to. Films of the type do not need action sequences to make a point. The humanity in this case shows how weak and fragile we all are. Physical emotions as well as a need for survival are what's shown here. Many of the movies of the past were based on plays and most, I think, have transferred >well to the silver screen. The two older men in this story >showed opposites and how they figure in to the scheme. The >father was lonely and still missed his wife even though they >fought daily. The uncle was a pest, a nuisance and a leech. They >rounded out the sub-plot to make this good to watch. Robert >Ryan turned in a great performance as he usually did in a deep >story such as this. Capable casting and tight direction make >this film stand up today.

Lucille Ball made a fortune with her first husband, Desi Arnaz >by selling comedy. In "The Dark Corner" she portrays a loyal >secretary to Mark Stevens' character. She carries this gumshoe >vehicle in the old fashioned American detective style film. This >film is slow at times, but the villains do what they must and so >does the rest of the cast, Besides, it gives you more time to >admire Lucille Ball. It's a shame she didn't do more of these.

The movies of the thirties and forties (my absolute favorites) >exemplify not only the greatness of the entertainment but the >contributions that ladies of film made. These two, Ida Lupino >and Anne Sheridan made this movie fly. Without them it would >have been pointless. George Raft, while a good actor might very >well have over-rated. Not to say he couldn't maintain a strong >presence on screen. But he appears to be similar in many of his >roles. The rest of the cast, Bogie included, does a respectable >job of representing the good ol' U.S.A. in pre-war freedom. >While the story line is not very complex, it comes to the point >very clearly. Truck driving is hard work. Hard men (at that >time) made it go and women gave them something to strive for. >This is one of my favorite movies. My store-bought copy is in >need of being replaced because I watch it so often. Why? It >makes me feel patriotic to a degree. Because we are a determined >people who work best through adversity. The cast goes through >quite a bit and ends up with everyone winning and feeling fine. >All except poor Mrs. Carlson who in the end loses her freedom >because she loses touch with reality. Love this flick and the >whole cast. Even Farnsworth the loan guy was done in plausible >Americanese.

I have a question regarding a scene in "Rebel Without A Cause".

I am looking for the name of a song that played on Jim Stark's

car radio the night of the chickee run. It was aired after the

members of the gang saw Jim Stark go in to the police station.

It was dedicated to him by Buzz and meant to make him think

twice about revealing any of the details of the crash. It is

the same song that was used in "Little Red Riding Hood" by

Warner Bros. (Bugs Bunny). Can anyone help me? The movie was/is

a classic representation of teen angst.

Here is proof that Hollywood can capture the genre perfectly. I

for one love period pieces, and this flick is one of the best.

It has no weak links or sags in the presentation, acting and

production. These people did all the homework and scored an "A"

all the way through. Details were perfect too. I always usually

pick up some discrepancy with cars in these movies. Excellent.

This flick is awesome. James Cagney and his brother made this with their own company and had all the right ingredients for a classic good guys and bad guys gig. I can never get enough of this movie as I am enamored with everything of the 20's, through the 50's films. I am also a certified car nut and wonder if anyone can identify the huge sports car driven by the young rich woman in the film? It looks like an import but with left-hand drive, I'm not quite sure. This film is a real work of an almost lost art. Films like it can be made today (such as L.A. Confidential) but not very often. Thank you to film preservation which unfortunately is too slow to save them all.

Yes, the idea is spectacular. Yes, the execution is paltry. You'd think with all the technology available and the decent story, the producers could have given us an adult film. Michael Pare' is a limited actor at best. He has a face the camera loves but is really wooden in his expressions. The director did not push him, and if he did, he didn't push hard enough. If this film were made today, there are many quality people who could fill all the characters aptly. Although I personally like Nancy Allen's look, she could expand her acting as well. I know she can act, if only a director would get inside her head and bring out her ability.

As far as the story line goes, again, it could have been handled so much better, It has a cheap made-for-TV quality to it. I hope someone makes it over. Yes, a repeat performance of the Hollywood kind would be greatly appreciated.

The cast of the flick is very good, indeed. The wrting of the script is nowhere near as good. The slo-mo during the train station sequence is so boring that it can put one in a trance.

You need nerve soothing tea to be able to endure that sequence. It is well known that the embellishment of Elliot Ness's story has gotten out of hand over the decades. This story is not accurate and not total falsehood. The Canada scene is also a sleep potion. Poorly done with shooting a corpse in the mouth- (done in Godfather Two) and with more meaning.

I'm Italian and really dig mobster movies. Having read the book makes me think that this flick was an afterthought. The casting was a mixture of people who looked Italian but didn't sound it.

Trying to speak with an accent of any type isn't easy as it is, but the dialogue here is embarrassing. Charles Bronson looks tough and cool but he's no Joe Valachi. They are completely opposite. The Godfather had class and was well done. Look in the background of The Valachi Papers and see automobiles filmed in th thirties surrounded by cars of the present (when filmed. They should have waited and gotten it right. This could be done today with ease and look good. too bad.

This flick is awesome. James Cagney and his brother made this with their own company and had all the right ingredients for a classic good guys and bad guys gig. I can never get enough of this movie as I am enamored with everything of the 20's, through the 50's films. I am also a certified car nut and wonder if anyone can identify the huge sports car driven by the young rich woman in the film? It looks like an import but with left-hand drive, I'm not quite sure. This film is a real work of an almost lost art. Films like it can be made today (such as L.A. Confidential) but not very often. Thank you to film preservation which unfortunately is too slow to save them all.