Posts Tagged ‘Oscar’
The Bad Seed Discount.
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The Bad Seed Discount.
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The Bad Seed Description:
- Amazon Sales Rank: #6727 in Movie
- Released on: 2008-12-05
- Rating: NR (Not Rated)
- Running time: 130 minutes
Customer Reviews:
Why would I tell and get killed?
This movie is simply a masterpiece. There are no better words to describe it. The chilling morbidity of Rhoda Penmark, and the emotional ringer Christine goes through…it is wonderful! I am a fourteen year old girl who doesn’t like the Varsity Blues and Scream movies of my generation, I love the Bad Seed. Most of my friends, however, have never heard of it and don’t want to see it. I try to explain to them what a wonderful movie it is, but most of them just don’t care. All my generation has grown up seeing slasher films. None of them can truly appreciate The Shining, Psycho, or the elusive simplicity of the Bad Seed. I have seen it many times and know it word for word. It’s not a stupid slasher film, or even just a simple murder mystery. It is a solid psycological thriller. I adore it. I love LeRoy and his wonderful ability to be droll, I love Monica and her “I know everything” frame of mind, I love everything about the movie! My dream is to be in the play. Who knows? It could happen… :c)
My Favorite Horror Movie of all Time
I personally feel that this is one of the greatest horror movie made. Forget all of that blood and guts and popping out of the bushes to scare people. That fear only lasts for a second…This movie plays with your mind and lasts forever. Nothing is scarier than polite Miss Rhoda Penmark.
This movie contains brilliant direction and an amazing cast. Many people feel that the acting is overdone and that they act like they are still in the stage version, entertaining an audience in a theater but that is the way it was meant to be made. Making it look like a regular movie would ruin the essence of the evil, 8-year old killer. Nancy Kelly is truly amazing as Christine. Her “breakdown” scenes are heart wrenching and done very well. She is most-natural and does a wonderful job in playing a woman going through the delemma of whether or not she should hate or love her daughter. Her performance is beautiful, “She killed him! But she’s my little girl…and I love her!”. The highlight of her acting is when Rhoda just kills one of her victims (I won’t say who) and Rhoda is playing the song she always plays on the piano faster and faster and faster. It is such and amazing scene. She deserved the Tony she won during the play and the Oscar nomination. Now, there is Patty McCormack who is definatly chilling in this role. Her perfect smile is just as scary as her evil ways. When she describes the way she killed the little boy I always shudder ,”But he told me that he was going to tell on me…SO I HIT HIM WITH MY SHOES AGAIN!! I hit him harder that time.” After the scene where she confesses her murders and Christine tells Rhoda to throw her shoes down the incinerator, the shot of Rhoda’s sillouette tossisng the shoes while Christine just sits in the backround and watches with fear, as Rhoda smiles, brings chills down my spine. Her acting gets an A+ and she also deserved the Oscar nomination as well as Kelly. Another, nominated for an Oscar for her role, was Eileen Heckart for the role of (which I think is one of the greatest characters in theatrical history)Mrs. Dagel..the grieving mother of one of Rhoda’s vicitms. Although only appearing in two scenes, she makes just as big of an impact as Christine and Rhoda do. Heckart is brilliant in the role and it would be almost imposible to find someone who could do as good of a job as she did. Her beautiful monolougues are truly amazing and heartfelt. Other great performances are that of Henry Jones, the creepy Leroy who is the only one who realizes that Rhoda is evil, Evelyn Varden, as the housekeeper, Monica, who spoils Rhoda terribly, Miss Fern (I can’t quite think of her name), as the teacher at The Fern School, and Christine’s father (I can’t think of his name now either), who is a former mystery writer with a big secret that he is keeping from Christine, which has to do with why Rhoda is a bad seed, something inside of Christine that she passed down to her daughter.
There is a lot of controversy over the ending curtain call and the happy spank that Christine lays on Rhoda. I feel that the curtain call and spanking gives the audience a sese of relief since the movie is so disturbing.
I reccomend this movie to everyone that can handle a plot that is different and disturbing.
Don’t blame Rhoda for her murderous acts. It isn’t her falt, she is just a bad seed.
“Rhoda, what happened to old Mrs. Post in Witchita?”
Does heredity and environment play equal parts in a child’s development? Or is one factor stronger than the other? That’s the loaded question the film The Bad Seed (1956) brings forth, seemingly siding on the side of heredity. Personally, I would tend to lean towards environment, but until we can definitely discern the nature of the wiring of our brains, mapping the neural networks and determining the thought processing pathways, we may never know…does bad beget bad? It’s possible, but if so, what choices do we have in terms of ending genetically transposed evil from traversing one generation to another? Enforced sterilization? I wouldn’t touch that subject with a ten foot Lech Walesa…
The Bad Seed, directed by Mervyn LeRoy (No Time for Sergeants), is actually a film based on a play written by Maxwell Anderson, which was based on a novel written by William March…quite a circuitous path to the silver screen, but one worth waiting for, in my opinion.
As the story begins, we meet the Penmarks, Kenneth (Hopper), Christine (Kelly), and their eight year old daughter Rhoda (McCormack), replete with blue eyes, blonde hair and pigtails. The family appears very normal, except Rhoda, who seems just a little too sweet, a little too ingratiating…but whatever…soon after Kenneth, who’s a colonel in the military, has to leave for an extended period of time on some army business, one of Rhoda’s school mates dies mysterious drowning incident, after supposedly falling off the end of a pier (seems the boy won an award coveted by Rhoda). No one is overtly posing the theory of foul play in the boy’s death, but Christine discovers evidence suggesting her daughter may not be `sugar, spice, and everything nice’ (by this time the audience has already entertained the notion that the glossy, sickly sweet veneer presented by Rhoda may conceal more than any of the cast is willing to accept). Connections are made, and truths are revealed (along with a long buried secret), but how does a mother accept the possibility that her child, her own flesh and blood, may be a cold, methodical, remorseless monster, especially when nearly everyone else believes differently .
While I did enjoy this movie, it does have its’ faults. As others have mentioned, the film appears much like that of a staged play (not necessarily good for a film). The theater and film are two very different mediums, and what’s good for one may not be good for the other. The theatrics within some of the characters (especially that of Ms. Kelly), while necessary for the stage, didn’t always jibe on the screen. I do think all the actors did really well, even if a few of the performances tended to be over the top, but for the sake of the film, I think director LeRoy could have provided a stronger production coaxing a bit more subtly from certain cast members. Also, I have to say I found it a little hard to swallow at times that nearly everyone should except Rhoda’s sweet, sweet act so whole-heartedly, as she tended to pour it on so very thick. Are, or were, adults ever this gullible? I could understand a certain amount of denial, as we like to think children are basically pure, unadulterated little lumps of clay, waiting to be fashioned into beings better than ourselves, but it seemed everyone (well, except for the handyman Leroy, played by Jones) was so very patently blind to her rather transparent act. Maybe I complain too much…the film did have an incredibly eerie quality throughout, and Patty McCormack did a wonderful job presenting her character, often giving me a major case of the creeps with a side order of the willies. Two performances that really stand out are that of Eileen Heckart and Henry Jones. Heckart plays the mother of the boy who died, drowning herself in the drink, trying to come to terms with what happened, knowing there is more to what happened than nearly everyone believes. Jones performance as Leroy, the creepy, borderline pedophilic handyman is probably the best, as he believes, while Rhoda has most everyone else fooled, he can see right through her act she puts on for the other adults, and takes some kind of perverse pleasure in teasing and taunting her, that is until he comes to the realization that Rhoda might not be just a spoiled, bratty child but something much more…something truly evil… The scenes with Jones and McCormack are chilling, partly because McCormack’s character tends to drop the sweet, charming, adorable act knowing it won’t work on Leroy, but also secure in the knowledge no one would believe him. The film runs surprisingly just a tad over two hours, but I felt the time was used well. Some have commented on the ending, and the difference between the film and the play, but one should keep in mind the ending used complied with The Motion Picture Production Code which had specific requirements with regards to criminal activity portrayed on the screen. It may have felt `tacked on’, but it sure was satisfying (divine retribution, perhaps?)
The full screen (original aspect ratio) picture on this DVD looks really good, and the audio is clear and sharp. Special features include an original trailer, an interview piece with McCormack titled Enfant Terrible, and a commentary track featuring Patricia McCormack and everyone’s favorite cross-dressing actor/playwright and Bette Davis enthusiast Charles Busch
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Stream Goodbye, Mr. Chips Online
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Stream Goodbye, Mr. Chips Online.
Movie Title: Goodbye, Mr. Chips Goodbye, Mr. Chips is available for streaming or downloading. |
Peter O’Toole and Petula Clark shine in this vastly underrated 1969 musical adaptation of James Hilton’s classic original. Beautifully directed by Herbert Ross, this film deserves to be restored to its 70MM / 6 track stereophonic glory and released in theaters and on widescreen DVD.
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This is a heart-warming film for the entire family. Some would argue the acting isn’t gargantuan, O’Toole can’t content and Robert Donat was better in the 1939 novel. They miss the point. This film has a soul. It has grace, charm, warmth, music and is in a class of its gain. I didn’t question to like this film and its songs — but I do. Leslie Bricusse and John Williams won the Oscar for Best Music, Get of a Musical Portray (Modern or Adaptation) and picked up the Golden Globe as well. O’Toole was nominated for, but did not derive, the Oscar that year. However he did score the Golden Globe for Best Motion Portray Actor – Musical/Comedy and the NBR Best Actor Award for this film. And Petula Clark sings beautifully!
Please, whoever holds the film rights (MGM or Warner), give us O’Toole and Clark in this astounding, heart-warming film, both on DVD and CD. Delectable film. Highly recommended!
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January 27, 2009 UPDATE:
See: ASIN: B00005JO3W. The restored film was released on DVD in its unusual widescreen format and 5.1 surround sound. Yes!
“Goodbye, Mr. Chips” was a mountainous surprise to me when I first saw it in 1969. I had read the reviews (but most critics panned musicals no matter how great they really enjoyed them) . I hadn’t read anything that credited the vast quality lavished on every component of the film. Peter O’Toole, whose performance was singled out by most critics, is startlingly extraordinary as the scared, yet intensely sharp Mr. Chippings. Petula Clark is totally gleaming as Katherine. It was a fabulous follow-up role to her lovely debut in “Finian’s Rainbow”. We are most downhearted that we never got more of her musical talents on film.
The music is exquisite. You impartial don’t hear music arranged/orchestrated like this any more. Most of the lyrics are simplistic, and often quite comic, but I deem they all are endearing and enduring. I have friends who savor this film as worthy as I. Whenever one of us is ready for another peruse (via the widescreen MGM laserdisc…not YET available on DVD, drat it!) we usually let the others know by quoting the lyrics to “London is London” (can there be any doubt about it? ) .
This film stands up powerful better than most film musicals of the era. For sheer entertainment value and an emotional wallop, it’s nearly in a class by itself. O’Toole’s then-wife, Sian Phillips, has one of the most luscious turns in film musical history as a man-mad (and man-eating) vamp.
Anyone who loves musicals will collect this among the best they’ve ever seen.
John Williams adapted and conducted the obtain. Songs were written by Leslie Bricusse. Williams’ adaptation efforts were to bewitch Bricusse’s songs and do an underscore that seamlessly blended with the songs and action on the film. He accomplished this with a brilliance we have since become accustomed to. For his heavenly efforts, Williams was nominated for the 1969 Best Scoring (adaptation) Oscar but did NOT collect (Lennie Hayton and Lionel Newman won for “Hello, Dolly!”
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Stream The Bad Seed Online
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Stream The Bad Seed Online.
Movie Title: The Bad Seed The Bad Seed is available for streaming or downloading. |
This movie is simply a masterpiece. There are no better words to record it. The chilling morbidity of Rhoda Penmark, and the emotional ringer Christine goes through…it is amazing! I am a fourteen year veteran girl who doesn’t like the Varsity Blues and Weep movies of my generation, I care for the Abominable Seed. Most of my friends, however, have never heard of it and don’t want to look it. I try to define to them what a fantastic movie it is, but most of them unbiased don’t care. All my generation has grown up seeing slasher films. None of them can truly savor The Intelligent, Psycho, or the elusive simplicity of the Awful Seed. I have seen it many times and know it word for word. It’s not a dumb slasher film, or even unprejudiced a simple kill mystery. It is a solid psycological thriller. I appreciate it. I cherish LeRoy and his astounding ability to be laughable, I care for Monica and her “I know everything” frame of mind, I worship everything about the movie! My dream is to be in the play. Who knows? It could happen… :c)
I personally feel that this is one of the greatest alarm movie made. Forget all of that blood and guts and popping out of the bushes to anxiety people. That anxiety only lasts for a second…This movie plays with your mind and lasts forever. Nothing is scarier than polite Miss Rhoda Penmark.
Buy,Download, Or Stream The Bad Seed! Click Here
This movie contains shining direction and an fabulous cast. Many people feel that the acting is overdone and that they act like they are level-headed in the stage version, moving an audience in a theater but that is the map it was meant to be made. Making it contemplate like a regular movie would extinguish the essence of the immoral, 8-year feeble killer. Nancy Kelly is truly wonderful as Christine. Her “breakdown” scenes are heart wrenching and done very well. She is most-natural and does a extraordinary job in playing a woman going through the delemma of whether or not she should dislike or treasure her daughter. Her performance is dazzling, “She killed him! But she’s my petite girl…and I like her!”. The highlight of her acting is when Rhoda unbiased kills one of her victims (I won’t say who) and Rhoda is playing the song she always plays on the piano faster and faster and faster. It is such and unbelievable scene. She deserved the Tony she won during the play and the Oscar nomination. Now, there is Patty McCormack who is definatly chilling in this role. Her perfect smile is unprejudiced as scary as her putrid ways. When she describes the blueprint she killed the petite boy I always shudder,”But he told me that he was going to squawk on me…SO I HIT HIM WITH MY SHOES AGAIN!! I hit him harder that time.” After the scene where she confesses her murders and Christine tells Rhoda to throw her shoes down the incinerator, the shot of Rhoda’s sillouette tossisng the shoes while Christine unbiased sits in the backround and watches with alarm, as Rhoda smiles, brings chills down my spine. Her acting gets an A+ and she also deserved the Oscar nomination as well as Kelly. Another, nominated for an Oscar for her role, was Eileen Heckart for the role of (which I believe is one of the greatest characters in theatrical history) Mrs. Dagel..the grieving mother of one of Rhoda’s vicitms. Although only appearing in two scenes, she makes fair as spacious of an impact as Christine and Rhoda do. Heckart is knowing in the role and it would be almost imposible to fetch someone who could do as kindly of a job as she did. Her lovely monolougues are truly wonderful and heartfelt. Other stout performances are that of Henry Jones, the creepy Leroy who is the only one who realizes that Rhoda is harmful, Evelyn Varden, as the housekeeper, Monica, who spoils Rhoda terribly, Miss Fern (I can’t quite believe of her name), as the teacher at The Fern School, and Christine’s father (I can’t reflect of his name now either), who is a outmoded mystery writer with a titanic secret that he is keeping from Christine, which has to do with why Rhoda is a awful seed, something inside of Christine that she passed down to her daughter.
There is a lot of controversy over the ending curtain call and the overjoyed spank that Christine lays on Rhoda. I feel that the curtain call and spanking gives the audience a sese of relief since the movie is so disturbing.
I reccomend this movie to everyone that can handle a situation that is different and disturbing.
Don’t blame Rhoda for her murderous acts. It isn’t her falt, she is objective a dreadful seed.
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The Blue Angel Movie Streaming
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The Blue Angel Movie Streaming.
Movie Title: The Blue Angel The Blue Angel is available for streaming or downloading. |
Relative newcomer Marlene Dietrich’s electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her veil presence also more than overcomes Josef von Sternberg’s rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic plot.
Kino’s region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions glance very desirable for a 71-year-old film, although impartial a tad less bewitching than I would have liked. The English version looks a bit cleaner serene. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The dim bars, of course, camouflage up piece of the narrate. I would suggest Kino spend white, black-bordered lettering for subtitles in the future instead.
The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to assert her bare succor side to her nightclub audience) . The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich’s role is all English-speaking, while the other actors divulge a combination of both languages — English for principal dialogs, German for less distinguished ones.
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The included audio commentary on the German disc is a collected disappointment. Although historian Werner Sedendorf’s analytical comments are safe, he impartial does not reveal often enough. Long stretches of silence are frequent. Kino should have idea of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.
The DVD does include a suitable amount of extra material. There is a astounding biography share that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film’s production history. The best extras, unquestionnably, are the 4 film clips of Dietrich’s hide test and concert performances. There is a memorable clip of the 1930 cloak test of Dietrich singing “You are the Cream in my Coffee.” There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of “Falling in Cherish Again” and “Lola Lola”) . There is another TV footage of her singing “You are the Cream in my Coffee” after reminiscing about her 1930 hide test.
The film that turned the head of Adolf Hitler and sky-rocketed Marlena Dietrich to international stardom is as recent and orginal today as it was when it first hit theaters in Germany 70 years ago.
With the wait on of english subtitles, we are introduced to Dr. Immanuel Rath, an esteemed professor of an upper-class German prep school. A stern and authoritative man, his feathers are ruffled severely when he learns some of his students have been neglecting their studies in favor of visiting a night club, the Blue Angel, on the more sordid side of town to hear a heavenly singer named Lola Lola.
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When Rath confronts Lola, he becomes smitten with her. An infatuation which will eventually lead to his occupy professional and personal downfall.
Emil Jannings (the first person ever to gather a Best Actor Oscar) is obedient as the stuffy and destructive Rath, and his ham-handed pirouette into complete emotional and physical breakdown is mesmerizing. Dietrich is equally fundamental in her role as Lola, slowly seducing, not objective her fellow characters, but the audience too, with her entralling presence.
Is it any wonder this film lives on?
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Stream Limelight Online
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Stream Limelight Online.
Movie Title: Limelight Limelight is available for streaming or downloading. |
LIMELIGHT must benefit as the ultimate “appreciate it or loathe it” film. If you fit into the “loathe it” category, then you’ll score this a droll, self-serving, self-indulgent, over-long part of megalomania. You may assume of it as overly sentimental and possibly emotionally manipulative, with Chaplin pitying himself at every turn and pitching all his neuroses onto the mammoth veil. On the other hand, I absolutely fancy it. Determined, it’s melodrama, but it’s the purest and best perform of melodrama. It comes straight from Chaplin’s heart and the autobiographical feel gives the sunless moments impartial that grand more of a kick.
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Set in London in 1914, the chronicle and its characters are very simple. An used music hall clown at the kill of his career turns to alcoholism and a young ballerina loses her confidence and attempts suicide. If that sounds depressing, you’re right; and that’s only the film’s opening sequence. The movie isn’t an out and out downer though; it has its emotional highs and lows as the pair pursues the only thing that brings meaning to their lives — the stage. It’s lively to impress that during the dream sequence where Calvero (Chaplin) performs alone, the audience disappears; when his dream places Terry (Claire Bloom) alongside him, the applause echoes. And, of course, without Calvero to attend her, the ballerina cannot accomplish.
Odd to say this about a Chaplin film, but the dialog is honorable. It shouts out to be quoted, with Chaplin’s character opining on everything up to and including the meaning of life. Obvious, it isn’t realistic, but the speeches are enormous and fit in with the movie’s bombastic attitude.
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It’s the relationship between the young ballerina and the obsolete clown that brings me abet to this film. The documentary touches on this briefly and raises the fair questions. Are they in treasure? Can they be? Are they fooling themselves as well as each other? They both clearly need each other, but how self-destructive is the relationship? Calvero tries to vow Terry to be optimistic while standing on the cliff of depression himself and Terry praises Calvero’s abilities while unable to advance to terms with her contain. The questions and contradictions obtain for a very thought-provoking experience.
Much has been made about Buster Keaton’s extended cameo arrive the film’s conclusion. I’ve read that during the filming Keaton was great funnier in their comedy scene together and Chaplin (being director) edited the result in such a design as to throw the spotlight encourage on himself. I’ve also read denials that this ever happened, and I’ve even read that even if this were accurate, it makes sense in the context of how the film is progressing (Calvero being upstaged at this moment would have wrecked the whole point of the scene) . I honestly don’t know what’s right, but Keaton’s presence is more than welcome, serving as a grumpy counterpoint, anchoring the film before it floats away in schmaltz. It seems oddly fitting that he is point to in the background as a sight to Calvero/Chaplin’s farewell.
The DVD extras work well, with a whole second disc devoted purely to features. The “Chaplin Today” mini-documentaries have been the highlights of these Chaplin DVDs and the one on here continues that tradition, a nice balance being struck between contemporary analysis and interviews with the surviving cast. In addition, included is all that exists of a short film from 1919 in which Chaplin plays the headman in a flea circus, a gag which he would eventually utilize in LIMELIGHT.
The film’s Oscar winning soundtrack is also available on the second disc, though one can only retract tracks and cannot rewind or hastily forward through individual selections. Also included are two homemade movies from the Chaplin estate, the first being the family running around enjoying themselves in the US in 1950, while the second documents Chaplin returning to his childhood London neighborhood in 1959. They’re about as monotonous as one would question watching someone’s vacation films to be. The selections are soundless (the only noise is the gentle whirring of the projector) and the second part could really have faded some narration to account for what we are looking at.
LIMELIGHT works on so many different levels. It’s the account of two fictional characters. But it’s also the myth of the demolish of the music halls. And it’s also clearly autobiographical, with Chaplin sensing the demolish of his career and his life. And, ultimately, it’s a comment on humanity, the worn fading away and their station being taken by the young. It’s a bittersweet movie, with even the final tragedy somehow giving us hope for the future. An pleasurable film if you allow yourself to become caught up in it.
To this day, the audiences don’t know whether to laugh or scream when encountering this long-winded melodrama about an primitive performer and a timid young ballerina.
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Director Bernardo Bertolucci is among those who reflect “Limelight” Charles Chaplin’s masterpiece. When the tramp clown breathes his last, “Who is dying here is not Calvaro, but Charlie Chaplin,” Bertolucci says in the DVD documentary. “With ‘Limelight,’ tears poke very easily.”
The MK2 documentary for “Limelight” is the Chaplin Collection’s best so far. It covers the period in which Chaplin left the United States, only to return once, reluctantly, for his honorary Oscar.
The docu doesn’t address the feeble charges that Chaplin spiked Buster Keaton’s best work in the film. Regardless, the extended Keaton-Chaplin slapstick sequence remains the highlight for many viewers. The DVD photo gallery includes W. Eugene Smith’s terrific stills of the men at work.
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The film bask in across-the-board improvements in video and audio, including digital transfers from Chaplin family elements and Dolby Digital 5.1 mixes. Imaginative bonus features allege and entertain without wearing out their welcome.
“Limelight” extras include footage of Chaplin getting a hero’s welcome in London and revisiting the places of his youth. Home movies from the 1950s expose Geraldine Chaplin as a child and teenager. (The ample Chaplin comes across like any other proud goofy dad, playing with his kids.) A hilarious 1919 short shows Chaplin on the loose as a flea-circus wrangler.
Chaplin and his collaborators’ delightful fetch, which won a belated Oscar in 1972 — once the film finally generous by screening in L.A. — can be enjoyed separately, as an extra. The music sounds beautiful in mono or in the 5.1, but the surround seems to introduce some boominess.
The film has an intro by Chaplin biographer David Robinson, rendered exquisite powerful useless by placement on disc 2 (almost all of his information is repeated in the docus anyway) .
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