jawlaw

In Steinbeck's "The Pearl" a tale is spun of a poor man who finds a pearl of great worth and all the "bad rich folk" seek to cheat him out of it. Despite Steinbeck's lofty status as a great writer, that was truly an overrated story. This screenwriter comes along with a similar story, only EVERYONE is greedy, rich and poor alike. On wonders if the writer was not lampooning "The Pearl."

Richard Boone and Robert Blake turn in A-list performances in what is one of the most entertaining hours of anthology TV ever.

This G.E. production was filmed before "The Heros of Telemark" with Kirk Douglas, but is essentially the same story with a much lower budget. This is a story about commandos destroying the Atomic weapon capability of the Third Reich. Even though it's been over a half century since I saw it, I remember it as a gripping and very entertaining production. In fact, this may be one of the best anthology show installments I have ever seen.

I note the reviews on this film are quite mixed. I think those that have a poor opinion of it are used to spy films that are full of explosions, bikinis and gadgets. This is a different sort of spy film with a more realistic treatment of the subject matter. It is much more in the John Le Carre tradition than the Ian Fleming tradition.

Like the Jimmy Sangster novels and films "The Spy Killer" and "Foreign Exchange" the viewer has to watch closely because the plot subtly develops with very unexpected twists and turns....and I do mean twists. Richard Johnson is excellent as a very low key assassin who is seeking to get out of the business.

If you are longing for kinetic fight scenes and explosive action, forget it. This is a spy yarn that is cerebral and not a vehicle for continuous action. It does not infuse hot war action into a cold war setting. Someone else wrote that it is a gem of a movie. I think that well sums it up. Carol Lynley plays the spy's live in lover, but do not mistake her for mere scenery. Enough said.

This was one of the best episodes of this short-lived, but very well produced, series. Barbara Stanwyck, Robert Horton, and James Best show off their more than ample acting skills and provide consistent tension assuring that no point of this episode drags. Without giving any spoilers let it suffice to say that one of the scenes in this episode and the overall feel of the episode leads one to believe that the movie "The Shining" has borrowed a great deal from it.

This script, written by Richard Maibaum (who would later write most of the screen plays for the early James Bond movies), was based on 19th century suspicions that John Wilkes Booth (Lincoln's assassin) somehow survived his pursuers and hid out for the rest of his life.

It is hard to review this one without giving spoilers, so suffice it to say that the talents of Dane Clark, Robert Vaughn and Robert Horton produce a wonderful little drama that plays more like an episode of the Alfred Hitchcock Hour than an episode of Wagon Train. Other reviewers have been less kind to the script. In contrast, I think it was one of the best of all.

The 50's and 60's saw a lot of great shows that, for one reason or another, only lasted one year. Someone needs to release a DVD anthology of some of those shows, for many have substantial entertainment value. This show is one of those great shows. Each week was a new story with a new character for Barbara to play. They were generally gripping and very entertaining. I think, specifically of "The Choice" with Robert Horton where a deranged man terrorizes Barbara in a remote pub. It was clearly the inspiration (indeed the rough draft) for "The Shining" but I don't think it is ever recognized as such. If you can get your hands on episodes, you won't be disappointed.

I watched this old film on Turner Classic Movies recently. I had no intention of watching it, but after a few minutes it drew me in. A very young Ralph Meeker, Keenan Wynn, and Robert Horton were in it before they each hit their stride as film and TV stars. It is a surprisingly good low budget 'film noir" piece. Although it is predictable, and formulaic, it still has appeal. It was sort of like the rough draft for the show "Highway Patrol" and "Chips."

I recall seeing this episode as a kid and watching the series weekly. I recently got my hands on some episodes and watched it from the start. I am convinced the same Nielson ratings that got Star Trek canceled got this show canceled--and unjustly so. In brief, Horton plays a man who is wounded and left to die--but doesn't. He awakens without memory of his past or identity. Week to week he seeks clues as to who he is. Horton wrote and sang the lyrics to the theme song using the traditional "Shenandoah" tune. Horton was multi-talented and a fine singer and actor.

It was a mysterious show with good acting by Horton and the many notable guest stars. The 30 minute time slot made for good action and efficient plot development. In "The Onslaught" we are quickly dragged into Horton's drama and dilemma, and go from week to week thereafter sharing his curiosity and frustration while he looks for his name and identity. The only regret I have regarding this show is that it was canceled without a wrap-up. A couple of more seasons and a finale would have been great.

Indeed, someone like Bruce Boxleitner could do a wonderful movie now using the original show as flashback footage. Boxleitner looks like someone Horton could have aged into. In a world of endless remakes, a stand alone movie providing a finale for this character's struggle would be nice.

I have always been a fan of Robert Horton and regret that he became typecast as a Western star as a result of his "Wagon Train" success. Before his tenure on that show, he did a lot of interesting work outside of the Western genre. Apparently, Hitchcock saw in him a lot of potential and used him in seven episodes of the show.

This is his best appearance. In it he is no "Flint McCullough" but rather a user and a gigolo. Heroes are a dime a dozen, but good heavies are worth their weight in gold. Horton proves he can be both hero and heavy in this role. This story is essentially a deadly love triangle built around two people who struggle to be more controlling and manipulative than the other. Without giving away anything, we do find that last laughs are best. This is one of the all time classic endings to any episode. The only episode with a more twisted ending than this one is "Final Escape" which, in this writer's opinion, was the zenith of all such endings. This one is a close second. If you are a fan of the show, this one is a "must see."

The Western Genre has produced many good and bad films, but occasionally a western rises up above shoot-outs and "saloon fights" to make a wonderful statement. Like "High Noon" and "Shane," "The Ox Bow Incident" is not just a battle between "white hats and black hats" or "Cowboys and Indians." Every so often a western comes along that moves past the genre in a profound way. "The Ox Bow Incident" is such a movie. This writer is an attorney, who is frequently asked "Why even give a murderer who is obviously guilty a trial, why not just execute them." I always respond, "Rent 'The Ox Bow Incident' and you will never ask such a question again."

Dana Andrews and company, in this film, have purchased cattle from a man, and are overtaken by a posse looking for the man's murderer. What follows is a gripping two hours of intrigue between those that want quick justice, and those that are willing to let the law take its course. Every performance is very good, and this may be the greatest acting performance for Dana Andrews' career.

Without giving you away any spoilers, suffice it to say that this is a tale about how good, indifferent, and bad men view and seek that thing which we call "justice."

Due, in part, to President Kennedy's affinity to the Ian Fleming novels, and the seemingly endless "Cold War," the 60's saw the founding of the spy movie genre as we now know it. After the Bond movies made box office gold, there were soon other franchises such as the "Flint" movies and the "Matt Helm" and "Harry Palmer" franchises. While the Harry Palmer films were serious spy stories, most of the competing franchises were more spoofs of the Bond series than serious spy films. The Bond films eventually devolved into less serious spy films as well, until the Daniel Craig era brought things back to a more serious tone.

When the spy movie era arrived, television jumped on the bandwagon right away. There were series such as "The Man From Uncle" and "I Spy" which sought to cash in on the spy genre. However, other than these regular series, there was only one "made for TV" spy movie franchise known to this writer and that was the John Smith series. This series has simply not been given the attention deserved as these are very good stories in the John le Carre' or "Harry Palmer" tradition. They were made in Pinewood Studios in Britain (where many of the early Bond films were made) and enjoyed a British flair to their production. These movies stand out as excellent spy movies (with a strong film noir feel to them) albeit made for the ABC movie of the week time slot which limited them to 75 minutes each. This is the only draw back in these films—the editing to fit the time slot sometimes moved the story too quickly.

Robert Horton was cast as the lead character. This was quite a departure for him since he had been primarily an actor in westerns prior to filming "The Spy Killer" and its follow-up film "Foreign Exchange." After his departure from "Wagon Train" there was briefly talk of him starring in a private eye series but this never came to pass. He continued to play characters from the old west until this series. Horton was a good actor and a good choice for this franchise as he had good screen presence and was convincing in the role. John Smith is a former operative of the C.I.A. and, later, British Intelligence and has been an assassin for his English boss "Max"--- played exquisitely by Sebastian Cabot. Smith has retired from the spy business because he was forced to kill someone who "didn't have it coming." Jill St. John plays his girlfriend during her long hair period when, in this writer's humble opinion, she was her most beautiful. Her acting in this is actually pretty good for sometimes she has been called upon to be eye candy rather than a serious actor.

The novels that these films were based upon were written by Jimmy Sangster (Britain's answer to America's Richard Matheson, with more of a bent for film noir) who wrote only two novels in the John Smith series, viz "Private, I" (which became "The Spy Killer") and "Foreign Exchange." The stories are serious spy stories, without the flashy cars or gadgets and constant gun play. Indeed, Smith's pistol is kept in a safe deposit box and it is a Colt 1911 A-1 Army model—the kind of gun to which a former military man might have an affinity. Sangster keeps everyone guessing as to who will double cross whom next. The beauty of these films is that, as in the real world of espionage, nothing is to be trusted or taken at face value. The plot and dialogue of both films are extremely good (which tends to be the case with British productions—face it, the Brits are more artful with the language than most Americans).

These films would be the last starring roles for Robert Horton in a movie, for he would soon take his career to the stage and Broadway and only occasionally appear thereafter on TV or in film. It is a pity that three or four additional installments to the series did not come to pass for it was a great character. But, like the Flint saga, it ended after only two movies. This writer hopes and predicts that, now that Robert Horton has passed away, these films will be rediscovered. Good luck finding copies of these films. "The Spy Killer" is available on Amazon in a DVD with four other old movies, but "Foreign Exchange" is currently only available in bootleg copies.

Due, in part, to President Kennedy's affinity to the Ian Fleming novels, and the seemingly endless "Cold War," the 60's saw the founding of the spy movie genre as we now know it. After the Bond movies made box office gold, there were soon other franchises such as the "Flint" movies and the "Matt Helm" and "Harry Palmer" franchises. While the Harry Palmer films were serious spy stories, most of the competing franchises were more spoofs of the Bond series than serious spy films. The Bond films eventually devolved into less serious spy films as well, until the Daniel Craig era brought things back to a more serious tone.

When the spy movie era arrived, television jumped on the bandwagon right away. There were series such as "The Man From Uncle" and "I Spy" which sought to cash in on the spy genre. However, other than these regular series, there was only one "made for TV" spy movie franchise and that was the John Smith series. This series has simply not been given the attention deserved as these are very good stories in the John le Carre' or "Harry Palmer" tradition. They were made in Pinewood Studios in Britain (where many of the early Bond films were made) and enjoyed a British flair to their production. These movies stand out as excellent spy movies (with a strong film noir feel to them) albeit made for the ABC movie of the week time slot which limited them to 75 minutes each. This is the only draw back in these films—the editing to fit the time slot sometimes moved the story too quickly.

Robert Horton was cast as the lead character. This was quite a departure for him since he had been primarily an actor in westerns prior to filming "The Spy Killer" and its follow-up film "Foreign Exchange." After his departure from "Wagon Train" there was briefly talk of him starring in a private eye series but this never came to pass. He generally continued to play characters from the old west until this series. Horton was a good actor and a good choice for this franchise as he had good screen presence and was convincing in the role. John Smith is a former operative of the C.I.A. and, later, British Intelligence and has been an assassin for his English boss "Max"--- played exquisitely by Sebastian Cabot. Smith has retired from the spy business because he was forced to kill someone who "didn't have it coming." Jill St. John plays his girlfriend during her long hair period when, in this writer's humble opinion, she was her most beautiful. Her acting in this is actually pretty good for sometimes she has been called upon to be eye candy rather than a serious actor.

The novels that these films were based upon were written by Jimmy Sangster (Britain's answer to America's Richard Matheson, with more of a bent for film noir) who wrote only two novels in the John Smith series, viz "Private, I" (which became "The Spy Killer") and "Foreign Exchange." The stories are serious spy stories, without the flashy cars or gadgets or constant gun play. Indeed, Smith's pistol is kept in a safe deposit box and it is a Colt 1911 A-1 Army model—the kind of gun to which a former military man might have an affinity. Sangster keeps everyone guessing as to who will double cross whom next. The beauty of these films is that, as in the real world of espionage, nothing is to be trusted or taken at face value. The plot and dialogue of both films are extremely good (which tends to be the case with British productions—face it, the Brits are more artful with the language than most Americans).

These films would be the last starring roles for Robert Horton in a movie, for he would soon take his career to the stage and Broadway and only occasionally appear thereafter on TV or in film. It is a pity that three or four additional installments to the series did not come to pass for it was a great character. But, like the Flint saga, it ended after only two movies. This writer hopes and predicts that, now that Robert Horton has passed away, these films will be rediscovered. Good luck finding copies of these films. "The Spy Killer" is available on Amazon in a DVD with four other old movies, but "Foreign Exchange" is currently only available in bootleg copies.

I have seen the Charlton Heston film version of this Lew Wallace novel more times than I have fingers to count. It is an classic in every sense of the word. However, this version has much to commend it. Without giving away any spoilers, its underlying theme is perhaps more Christian oriented.

I think all of the actors are all very good in this version and some of the performances are quite compelling. I don't think every rendition of a great novel has to be compared with prior interpretations of it. For example, both "True Grits" offer something quite wonderful for the viewer. There is a tendency for people to think of two versions of a film to be in competition with each other when, if fact, they are simply two distinct interpretations of the underlying literary piece. I have seen this film twice and would see it again.

I saw this film when it first ran. I was amazed at the quality of the script and the acting especially since this was a "made for TV" movie. Such films suffer generally from a low budget and more rigid timetable for production.

Robert Conrad played a character in this film that was a complete departure from his previous "macho" personas. In this film he is the protagonist, but a man with many weaknesses. His weakness becomes a strength when the medication he is taking keeps him from becoming paranoid and psychotic like those around him who are overcome with a mind altering intoxication caused by a chemical in paint used on the ship. As the men around him begin planning to use a nuclear device, he, as the only sane one, has to stop them.

This film is gripping and very well directed. It could have been a very successful Indy film. I join all others when I say I wish it were on DVD.

I have read many of the reviews posted here. The earlier ones appear to be very positive towards this film, and then there is a dramatic shift. This funny little documentary must have scared some one! It appears that there is a "grass roots" effort by atheists to "dis" this film for fear that it might threaten their tenuous position. When I see the film rated at one star by some of the reviewers I know that some one's sense of security is threatened—for it is a finely produced documentary and very entertaining—unless you are an atheist that does not want to "take one" to the Achilles tendon. The really crappy "Attack of the Killer Tomatoes" is currently rated higher than this film. This would indicate that some one is trying to "skew the scales" for polemical reasons.

I saw this film with a friend who is not really all that religious. He loved it. It made him think about things that he had never before considered. When he realized the complexity of cellular biology he commented: "Yeah, that just could not happen by random chance." Notwithstanding, the fear of this film, manifested by the many vitriolic reviews found in these pages, demonstrates the need for more conservative based documentaries.

Ben Stein is no mental light weight. He is not pandering to fundamentalists creationists, who will also hate this film, and he does not burn any incense at the altar of political correctness. My own experience with ardent, proselytizing atheists is that they believe themselves intellectually superior to others and they frequently claim that their atheism is a result of their "thoughtfulness." In reality they are full of themselves and it's not a nutritious snack. The atheists in this film were no different. They were condescending and self-important—and legends in their own minds. Yet, when asked to explain how a single cell, with its DNA code and all of its complexities, emerged from the non-organic stew, these men were stumped and too proud to admit that they were stumped. It was amusing to behold.

Life and the complexities thereof is the best fingerprint of a creator--this is the heart of the intelligent design theory. Ben Stein deserves accolades for his bravery and for taking a difficult subject and treating it with both a glib and serious approach. If you are thoughtful, you will laugh at some portions of the film, and be deeply moved (almost to tears) as he goes to the concentration camps where the Nazi Darwinists eliminated the "less fit." Atheism and Darwinism gave us the worst holocausts of the 20th century. It's about time some one pointed it out.

Epilogue: Since my original post I noted in re-reading the remarks of several atheists herein reviewing this film that it is admitted that they didn't even see the film. What a dip stick (the operative term) into the minds of fair thinking, open minded Darwinists. "Fear the unknown, and criticize it" said the frightened atheists. You fellas need to run out and show all those inferior and mentally deficient believers how to make some DNA in a laboratory so you can prove you're smarter than fat chance.

If George Bush had a theory about human evolution, I'm not sure I'd care. He is not an anthropologist. If he found select anthropologists to proof text his positions I would care even less. Experts are everywhere these days. . .newscasts, courtrooms, city counsel meetings, etc. An "ex" is a has been and a "spurt" is a drip under pressure. That's the definition of experts with regard to movies like this.

Experts have so enlightened me in my lifetime. In 1967 I was told by experts used by the media that air pollution would kill everyone in 20 years--no stopping it. In 1974 I was told by experts that in 20 years the world oil supply would be gone--kaput! In 1977 I was told we were entering a new ice age. In the early 80's I heard that the ozone layer was being destroyed and that skin cancer would be the death of us all.

And now for another "Inconvenient Truth." Yes, we may be seeing climate change--but there has always been climate change and it is more dynamic that anything humans would have aspired to do to change or stop it. I'm sure our primitive ancestors who chased mammoths on the glaciers which covered much of North American would have loved to hunt in the sun and fun. Their descendants got to do so without even one Republican caucus intervening. Of course, by then the mammoths were gone but buffalo proved a tasty substitute (sorry to you PETA folks but my canine teeth tell me I'm a carnivore).

Now, I, too, am tired of the left always waving their arms in panicked exclamation. The evidence is hardly in, and even if Manhattan is under water in 20 years, I'm sure we will adapt just like our Mammoth hunting forebears who had no one to blame for the climate change.

However, in 20 years I think it is more likely that the Mets and Yankees are still playing in the New York, and Manhattan will still be just a subway ride away. In those days to come our living descendants will have movie nights where they watch "Reefer Madness" and "An Inconvenient Truth" for the shear fun of seeing how panicky the modern left had become. Newsflash: The sky is not falling!

I saw "That Thing You Do" back in 1996 and was convinced that the film would never be outdone in its genre. In that film a song from another age is created as a backdrop for a fictional garage "one hit wonder" band. Adam Schlessinger wrote the title song for that movie. He is up to it again.

He writes several songs used in this movie including the retro 80's "Wham" sound-alike song "Pop Goes My Heart." This film starts with a retro video of that song and anyone who remembers the digital drums and synthesizer sounds of the "over-produced" 80's songs will be in stitches. This film is based loosely on the plight of Andrew Ridgely--the other guy from Wham who was not George Michaels and who did not have a great after-Wham career. The part is played quite well by Hugh Grant, who is very likable and humorous throughout the film.

As the story goes, Grant, playing Alex Fletcher, the 80's has-been, has a chance to escape the stagnating economic necessity of playing Oldies concerts for one more chance to write a hit song for a current artist. Unfortunately, like Elton John, he is a tune-smith, and not a lyricist. Enter Drew Barrymore, who he convinces has what it takes to be a lyricist. The story unfolds and is a bit predictable in places--yet totally satisfying.

I got hooked into seeing this film with my wife. "Another Chic-flick" I thought. I have now seen it three times--taking one of my daughters each time. It was a good excuse to keep going back and to keep laughing at this well crafted romantic comedy. One like this has not come along for a good while. For two hours of pure delight, good music, and a lot of laughs, this one is recommended.

This film was my first acquaintance with the talents of Chris Cooper. I was deeply impressed with the character he played. I knew when I saw the film that more great things were to come from this gifted actor. He plays a Union Captain who, along with a couple of enlisted men, are foraging in Eastern Kentucky. They happen upon the farm of a "Secesh" woman whose husband has chosen to go off to the Confederacy.

The portrayal of Eastern Kentucky, and its seriously divided sentiments during the War, is so very accurate. If you are looking for a war film with a lot of blood and guts, this would not be it. If you are looking for a drama that explores the psychology of peoples at war, actually and philosophically, then this is the best study of how divided loyalties affected the interaction of peoples in the border states during America's Civil War.

This is a film I saw as a child at a local matinée. It was supposed to be like a "James Bond" movie so I eagerly went expecting an action packed two hours. What I ended up seeing (even as a child I realized it was a really bad movie) was a film that was entirely derivative of other spy films.

Troy Donahue, like so many pretty boys of the 60's, did not have the acting ability to pull off the kind of character the film was trying to create. Connery was Bond; Caine was Harry Palmer, and James Coburn was Derek Flint. They defined the roles. They were interesting and magnetic. The hero in this film is not even a faint echo of those great spy film characters.

The film was cheaply made with scuba scenes reminiscent of Thunderball. However, in one of the underwater fight scenes, the injured diver has his hand in his wet suit clearly pumping a plastic bottle full of stage blood that is then permeating the water. I watched thinking surely a mistake like this couldn't slip through any professional film editor--but it did.

If you can even find this film, don't waste your time--unless bad movies as humor is your gig. Oh, and I almost forgot. The theme song is catchy but and performed by Smokey Robinson, but with ridiculous lyrics: "Come spy with me, live a life of danger and of mystery! etc etc etc" Regardless, the film is truly bad!

This show stands out as one of the best shows ever killed in its first season. The balance of action, humor, plot, and plot twists came together to make this, in my mind, the best PI show (next to the Rockford Files) of the 70's. What a shame that it was given only 24 episodes to prove itself.

I remember how cool the characters were and how fresh the humor--including one scene where Tony Curtis bursts out of the show to answer the phone. It turns out to be a wrong number and he speaks brusquely: "No this is not Bernie Schwartz!!!" Of course the punch line for those in the know was that this was Curtis' given name before going to Hollywood.

The good news is that some one besides those writing here recognizes the unique quality of this show. Ben Stiller will appear in a movie rendition of the show which is now in pre-production. Whether it will become another "Starskey and Hutch" type spoof, or attempt to stay true to the original remains to be seen. Stiller will assume the amiable role of Danny Wilde played by Curtis in the original.

Who would have thought that four Liverpool boys from the lower middle classes would find each other and all be musical prodigies? Who would have thought that they could change the world in so many ways with their music? Who would have thought that their first film, an attempt to mock Presley by going from vinyl to celluloid, would be a major musical classic--far surpassing any film made by Presley? Who would have thought that America's introduction to "Monty Pythonesque" comedy would come to us via Richard Lester and the Fab Four? Yet, I submit that the premise of all these questions is verily true.

I watched this film for the first time in years the other night and I appreciate it on so many levels. No, the Beatles were not just hype. They deliver on almost every creative endeavor (Magical Mystery Tour excepted--fun though incoherent). How sad half the crew is now gone, but how fortunate we are to be able to ever enjoy them through this funny masterpiece.

I saw this as a child and remember how grisly the action was. At the time, of course, war movies were really my thing since my Father, and most of my friends' fathers had fought in WWII. I then (and now) loved the pure and believable action to be found in many war films. "Heroes" was particularly violent for its time. German soldiers are graphically burned to death with flame throwers, shot to pieces with tommy guns, and cut to ribbons with a machete. The action was especially graphic for when this film was made and I am very surprised so much intense violence got past the censors.

I think the high resentments still around "post war" account for this. People wanted to see the Nazis get their well deserved violent end. The film is a good depiction of war and what it does to the men who are on the front lines. I am amazed when I watch it to see what a good actor Bobby Darin was and how well newcomer Boby Newhart did in his comic relief role. Steve McQueen and James Coburn were just about to hit their stride. They both give memorable performances--especially McQueen who is the dark hero. Harry Guardino, who would later work for director Seigel in Dirty Harry, is also a sympathetic figure. He was such an underrated character actor. The American soldiers depicted in the film are a good cross section of America as it was constituted in the 40's. If you love war films, and have not seen this one, go out of your way to do so. This is, I think, the best of the low budget black and white war films of the 50's and early 60's.

This episode remains in my memory as one of the most eerie of all. It was well suited to the one hour format that was alloted to Serling for one year's worth of the show. The story concerns a sailor from WWII who is a career military man and still serving in the early 60's. A submarine sunk during the war, of which he was the sole surviving crew member, is discovered by sonar. A strange banging noise has brought the sunken hulk to the attention of the sonar operator. The sole survivor, recognizing his shipmates are all still sealed up in the wreck, becomes convinced that the tapping sound is their ghosts reaching out, as it were, from the grave for him. As always, Serling plays up the psychological aspects to the hilt. It is, in my estimation, the best of the one hour episodes, with an eerie Serling conclusion.

I agreed to go and see this with my wife and had high hopes for the film. I have liked Ann Hathaway and Meryl Streep is one of the finest actresses of all time. The acting in this feature is quite good. The technical aspects are superb. The supporting actors are all terrific. The dialogue is often clever. But something is missing, like:

a. any likable character; b. a protagonist that can make even one good decision; c. and most of all, a point.

I know the fans of this film will point out the (warning--spoiler) last minute epiphany of the heroin as evidence that this film has a "moral." But this was an "awakening" that would have occurred to any normal person well into the first reel.

For all of you men who, like me,agreed to go see a "chick flick" with your wife, remind her that, after this, she owes you a good war movie.

I rate this film as one of the 10 greatest comedies of all time. The acting is simply superior with Griffith as a simple and unsophisticated country boy with a heart of gold. Myron McCormick, the Sgt. did few movies (check out "The Hustler") but was exceptional whether doing comedy or drama. Many of his lines, which would otherwise be ordinary and forgettable, are remarkably memorable and funny due to his delivery and demeanor. He was an actor of unique wit and ability. Sadly he passed without leaving a great body of work.

Don Knotts shows up in the film in his first pairing with Griffith and the scene they have together would foreshadow more great comedy to come. As a corporal overcome by his own rank and authority, Knotts' job is to test the country boy's manual dexterity. The scene is one of the funniest in motion picture history in my estimation. So too is the scene where Griffith is being tested by the neurotic military "shrink." This movie is non-stop laughs in a day when amusing comedies with sometimes little more than pleasantly clever dialog were hailed as great successes. This film keeps the viewer laughing the whole way through.

Even Nick Adams, the ill-fated character actor that died so young, delivers a great performance. This is also true of Murray Hamilton, who would later play Mr. Robinson in "The Graduate." His role as the recruit who knows it all because he had ROTC for one year (Griffith thinks it was an illness) is a great study in conceit unfounded upon any real achievement. In the end it is Griffith's fresh and innocent humor that makes this films so funny. As a "character" comedy, as opposed to a "gag" comedy, the film gets funnier with each viewing.