AlAnn

This is one of those movies I watch over and over--no matter at what point I find it, I settle down and watch it. As another viewer said, this movie has it all--love, humor, violence-- and best of all, the good guys win! I think it's the best thing Demi and Patrick have done (I admit I haven't seen all their work), and I think Demi should wear her hair that way all the time--to me, it's much more becoming than her later long styles. I was so happy to learn that Whoopi won an Oscar for her performance--she was funny and scared and puzzled and all the things Oda Mae would have been. I've just reviewed the list of awards this film won, and believe it deserved every one of them. As the loathsome Carl, Tony Goldwyn should probably have won one of the awards too, because he did a great portrayal of the classic coward, the type who tries cozying up to someone to get what he wants the easy way, but has no way of coping with problems except to go kill someone or hire it done for him. I'm glad the dark spirits got him too! In all, a very satisfying movie!

We watched "The Richard Boone Show" regularly during its all-too-brief run. Everyone else in the country appeared to be watching "The Fugitive", which--to our way of thinking--couldn't't't't compare in quality to Richard Boone. This was a repertory company, and all the regulars played many different types of characters. Many of them went on to star in better-known productions, while their excellence in this show went largely unnoticed. I'm glad to see that it did receive some nominations and one Golden Globe award, but it should have had a much longer run and received many more awards. I agree with a comment on the message board, that there should be copies available for purchase. I would greatly enjoy seeing these episodes once more on one of the cable or dish channels that feature "oldies but goodies".

When I went through sorority rush just two years after this movie came out, one of the faculty sponsors made it a point to tell us that the sororities at our college were nothing like those in "Take Care of My Little Girl". I'm sure I wasn't the only one to feel mightily relieved. But I see, in more recent TV series and movies, the stereotypes still prevail. The fraternity men are still referred to as "frat" boys, and it's always assumed that Greeks do nothing with their time but drink and have toga parties. I'm so happy my own Greek experience, and that of my husband, were nothing at all like that, and in fact, were the most valuable experiences of our college lives.

We've just discovered Blue, as we babysit our under-two granddaughter. Our granddaughter's parents have recorded numerous episodes so they can be viewed at any time. I just found out, reading these comments, that Steve is no longer with the show, and haven't yet "met" Joe, so I'll have to comment on the show with Steve. We, like several of the reviewers, have liked Steve's talking to the audience as if they are "people", rather than condescending to them. His energy and enthusiasm are contagious! I hadn't known that Blue is a "girl" puppy until we started watching recently; that's a very good thing, because in children's stories, dogs always seem to be male, while cats always seem to be female. I'm interested now to see Joe, and am sure he's doing his own good things. I'm glad to hear that a believable transition was made for the audience's sake.

I agree with most of the words of other reviewers, who commend the current series as well-cast and having a good sense of the visual images of the books. However, the one flaw in them, and one that has kept us from watching more than one full episode, is that Nero Wolfe (whose trademark in the books is iron self-control) becomes almost apoplectic, shouting and screaming at anyone who sets him off. In the first episode we watched, we couldn't believe what we were seeing. Nero Wolfe, the written character, finds ways to scald his targets with well-chosen words or simply walking out. I think everything else about this series is excellent, especially the casting--too bad about that one (to me) damaging flaw.

This was one of our favorite shows during the one brief season it was on. I've taken every opportunity to watch reruns, but they are almost never available. I would watch every episode many times over again, and hope to be able to at some time. The writing was clever and sharply witty, delivered by actors who knew exactly how to speak the lines and how to fit their expressions and actions to the words. I could take each one and say his or her performance was priceless. It's sad that it did not receive the audience in the U.S. to keep it running for many seasons.

Like other viewers who commented on this show, I felt that it did not have a proper period of time to settle in and become part of people's viewing patterns. I was almost ten years old when the war ended, old enough to know that much of what "Homefront" depicted was pretty accurate. I think it tried to move too fast, charging full-speed into soap-opera-ness, with the characters becoming too involved, too fast, in things like union riots, premarital sex and pregnancy, the polio scares of the period, and so on. These things did happen, but not so rapid-fire to all the same people. This is another example of how American comedies could profit by the example of British comedies, by letting human interactions take their natural courses. There wasn't time for us to get a feel for life on the homefront during and immediately after the war. Still, it was one of our favorites, and recalled a time we hear too little about nowadays.

I saw this version when it was presented new, as a part of the "Mr. Magoo" TV series (which were all, by and large, excellent). In many ways, it's my favourite version of this classic. One reason is because the special effects work so well in animation; it's difficult for the spirits to be convincing in live-action, but they can do all sorts of magical things in animation. Another reason is that emotions are conveyed so well through dialogue and music. If you think you wouldn't like it because Mr. Magoo isn't one of your favourite animated characters, please think again and give it at least one viewing. You may be surprised!

This was fun to watch, mainly because of people like Anthony Andrews whom I feel I don't see enough at best. I think it would have been far more entertaining and taken more seriously, had it not been billed as "Agatha Christie". One look at the scenery, sets, and costumes tells us that it was not set in Christie's originally-intended places nor at the times she knew. When movie-makers start toying with the author's intent, the result is questionable and sometimes disastrous. Because the cast was good, this one was not disastrous, but definitely questionable; if we tune in for a good old-fashioned Christie, we'll be disappointed because this clearly isn't it! If we view it just on its own, and don't think of it as Christie, we'll have a better chance of enjoying it on its own merit. I think it's worth a couple of hours of viewing, but I'd also recommend reading the book and trying to find a version that's truer to the original.

I didn't really care about seeing this movie when it came out, but when I ran across it on TV, I immediately was caught up in it. Not being a particular Julia Roberts fan, I was delighted to see how well she played the part of a modern-day Eliza Dolittle. I enjoyed seeing how the two principals began to interact--not just billionaire and prostitute, but two people, each of whom had something to offer the other. It's always good to discover that a movie I hadn't wanted to see turns out to be one I'll want to see again! I see no problem with its being a "modern day fairy tale" with no basis in reality--sometimes reality isn't all that great!

If you've seen the other incarnations of Zorro before seeing this black-and-white silent version, you may think this one is going to be boring. Wrong! Because it is silent, the visuals kept me captivated; much more seems to be conveyed through gestures and body language than in a film in which the characters speak. The accompanying organ music is masterfully matched to the action (when someone slams a hand down on to a table, there is an appropriate "thump" in the music.) Best of all, though, is watching the legendary Douglas Fairbanks in some of his trademark athletic leaps, which appear effortless. I have to say that this is one of the very best versions of Zorro.

Although at first, it's surprising to see a musical about the writing of the Declaration of Independence, the viewer is soon caught up in the politics and emotions of this important American event. It should be watched more than once, because it can be appreciated on several different levels. There are some of the biggest laughs, some of the most poignant moments, and the sweetest love songs you'll see in movies. Much of the dialog is taken straight from the documented letters and conversations of the principal characters, and we get to see them as real people with real worries and real feelings, rather than as the marble statues seen in the history books. This is definitely a must-see movie (and stage play, if you get the chance), and one you won't forget.

We came across this series by accident, then discovered the principal players in other movies. Judi Dench and Geoffrey Palmer have become actors to watch for, and the series is the one I most look forward to all week. We were especially happy when the episodes started showing from the beginning, so we could find out how it all began. We couldn't help comparing it to American sitcoms, in which the principals would have tumbled into bed by the end of the first half-hour. Slowing the progress of Lionel's and Jean's latter-day friendship increases the suspense, even though we already know the outcome, having watched later episodes beforehand. Somehow, their gentle courtship is far more provocative than the whirlwind type most often seen on series TV. Long live Lionel and Jean!