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This is a story of idolize – sordid and if not – of piracy and violence and heroism on a rider boat run from Shanghai to Singapore [from a novel by Crosbie Garstin]. Clark Gable is a valiant sea captain, Wallace Beery a villainous pirate boss, and Jean Harlow a blond trollop who motivates the romance and most of the liveliness. All do their jobs expertly.

Harlow is crossed in love when Gable, who has been her sweatheart in a sort of sparring partner but true-love affair, is tempted to return to English aristocracy. Temptation arrives in the form of the refined Rosalind Russell, a home town acquaintance. The social gap between Harlow and Rosalind touches off the fireworks.

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Spurned by Gable, Harlow seeks to get hunk by slipping Beery the key to the ship’s arsenal which makes it a cinch for the raiding pirates. But the raid fails, for Gable refuses to reveal the hiding place of a cargo of gold.

The pirate raid and its unsuccessful termination (for the pirates) is full of shooting, suspense and action. Add a running atmosphere of suspense through the picture, and there’s plenty of excitement.

Placed alongside such primetime Sony/Marvel Comics movies as the “Spider-Man” franchise, “Ghost Rider” is strictly matinee constituents. Though the superhero’s fans have long awaited his close-up, the Devil’s munificence hunter — complete with a burning skull to go to a big cheese and a killer motorcycle in flames –materializes in a movie that never measures up to his infernal potential. Yet another lucrative day-in-the-store job for Nicolas Cage typifies pic’s constant feel of routine, while Sony’s day-and-date untie in several foreign markets is a savvy particular to pile up as much coin as at once as achievable earlier the fires go out.

“Ghost Rider” would have been most fun had it been made for a dime by a Roger Corman-type outfit as a quickie Gothic adventure spinning Zane Grey, “Faust” and Evel Knievel. In other words, precisely the kind of project studios simply can’t make anymore.

Pic also would have been more enjoyable had Mark Steven Johnson not been tempted to both write and direct.

Young motorcycle stunt driver Johnny Blaze (Matt Long) is following in the tiremarks of his dad Barton (Brett Cullen), but when he learns that dad is dying of cancer, Mephistopheles (Peter Fonda) comes calling. His Faustian bargain: Johnny’s soul for Barton’s full recovery.

Barton’s ensuing fatal accident wasn’t part of the deal, and even a budding romance with Roxanne (Raquel Alessi) doesn’t stop the broken-hearted Johnny from hitting the road.

Dissolve to Johnny as a grown-up Nicolas Cage, having far out-paced Barton’s modest carnival act with a huge arena show in which he jumps dozens of trucks, and even a football field full of Black Hawk helicopters. (Those tempted to compare the movie’s own beefed-up self to its true pulp origins can insert thoughts here.) What astounds Team Blaze, led by Mack (Donal Logue), is how Johnny pushes so far beyond the envelope in stunt after stunt, while remaining unscathed.

Prelude (narrated by the great sandy voice of Sam Elliott) about a ghost rider out of the Old West comes full circle with the arrival of Blackheart (Wes Bentley), Mephistopheles’ ungrateful and soulless son, aiming to get the devil’s contract that the old ghost rider took for his own and buried somewhere. With said contract, Blackheart can supposedly suck up evil souls to dominate the planet.

Looking like a grown version of Butch Patrick Billy Mummy in “The Munsters,” saddled with many of pic’s uproariously lousy lines and urged to overplay every moment, Bentley has too many deficits going in to be a genuine threat to Cage’s Johnny, once Mephistopheles recruits his bounty-hunting services. This, of course, complicates Johnny’s stabs at renewing the love thing with Roxanne, who reappears in the form of Eva Mendes as an “Eyewitness News”-style Lois Lane covering local stories.

After a protracted 40 minutes, final hour at least gets down to the main event, pitting Ghost Rider vs. Blackheart and his easily dispatched gang of angel rejects in a series of nighttime bouts (our hero, vampire-like, spouts a skull and flames only after sunset), some of them in the middle of the unnamed city, finishing with an effects-heavy battle in a Mexican ghost town. Crucial to Ghost Rider’s powers — and his victory over Blackheart — is his ability to grab a bad guy and force him to feel the pain of the souls he’s harmed.

A wittier writer could have mined much amusement between Johnny and Roxanne, and a keen-eyed director could have turned pic’s contests and exchanges into dazzling bouts of evil vs. highly compromised good. But on both fronts, Johnson’s work smacks of pure recycling from other, better superhero adventures. Even the promise of new effects feels tired here, with nothing that hasn’t been seen before (such as several repeated effects involving sand, dirt and decay) in, for example, “The Mummy” movies.

Lacking any pleasurable chemistry with the miscast Mendes, who looks mostly nonplussed by all the Mephistophelean goings-on, Cage is allowed to have a few moments of subversive comedy in an otherwise stunningly bland role. Image of Ghost Rider’s fiery hog may have inspired the hiring of Easy Rider Fonda, who keeps his scenes crisp and mean. Elliott, providing the load of pic’s expository background, is the acting equivalent of a nice swig of whiskey.

Oz production locales are never betrayed in a story set in Texas, and production designer Kirk M. Petrucelli and lenser Russell Boyd capture pic’s contrasting big-city environs and Western exteriors.

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Barry B. Benson (voice of Jerry Seinfeld), a bee fresh out of college who is disillusioned with the prospect of having at most one shoot choice – honey. On a endanger opportunity to go outside the hive, Barry’s life is saved by Vanessa (voice of Renee Zellweger), a florist in Imaginative York City. As their relationship blossoms, Barry’s eyes are opened to the world of humans and he straight away discovers that people partake in the mass consumption of honey. Armed with this information, Barry realises his life’s true calling and decides to sue the human spillway for larceny the bees’ honey.

Watch Nothing like the holidays online

(aka '
Friendship
Lies Bleeding" or "Valid Glances
')


directed by Lewis
Milestone

USA 19


46


 
"

You may be through with the past, but it sure ain't through with you.

"

Flawless

Fog
Noir

that builds steam with each scene. Kept resilient with
peerless performances. Wonderful!

 out of

Posters

Theatrical Release: July 24th, 1946

DVD
Comparison:


Image Pleasure – Region 0 – NTSC
vs. Paramount – Region 1 – NTSC

(Image Entertainment – Province 0 – NTSC

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vs.
Paramount – Dominion 1 – NTSC -

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DVD Box
Garb

Distribution

Notion Entertainment
- Sphere 0 – NTSC
Paramount
- Division 1 – NTSC

Runtime

1:55:40 
1:55:52 

Video

1.33:1
Primitive Orientation Ratio

Average Bitrate: 4.64 mb/s

NTSC 720×480
29.97 f/s
1.33:1
Original Aspect Relationship

Average Bitrate: 7.4 mb/s

NTSC 720×480
29.97 f/s
NOTE: The Vertical axis represents the bits transferred per stand-in. The
Supine is the time in minutes.

Bitrate:

Bitrate:

Audio

English (Dolby Digital 1.0) 
English (Dolby Digital 2.0) 

Subtitles

Not anyone
English and none

Features


Let go Information:
Studio: Materialization Entertainment

Viewpoint Ratio:
Original aspect Correspondence 1.33:1

Version Details:

• none

DVD Disseminate Date: April 5th, 2005

Keep Case

Chapters: 9

Release Information:
Studio: Paramount

Point of view Correspondence:
Original aspect Ratio 1.33:1

Edition Details:

• not anyone

DVD Release Archaic: October 25th, 2005

Double Lock Keep Case

Chapters: 14

Comments:


OVER: – Paramount
- District 1 – NTSC – Oct 05' – What a blessing – the Paramount DVD looks
nonpareil ! There are some minor scratches but it is 'night and day'
next to the old, washed thoroughly, abate and out-of-print Image Entertainment
disc. The new Paramount is s shade cropped on some edges. Decent menus
and discretional subtitles at a reasonable evaluation. Lizbeth Scott's 'surface
hither' looks are even more enticing!


*****


We understand that the
only existing print has some nitrate decomposition and hence the film's
advent will-power perhaps not rehabilitate much. There are also a only one missing
segments. However, the DVD could acquire been bigger – it is
non-progressive, no subtitles and no extras. The audio is also dull with
extraordinary fluctuations in sum total. Sadly, this may be the best DVD of this
classic



Film Noir



 ever
available barring a bang reconstruction, which resolve doubtfully ever
happen. It is thoroughly watch-proficient through a tube and luckily the noir genre
is very forgiving for its 'beaten', older films. It only seems to add to
the atmosphere. This is a basic film and this DVD, although the film is
Public Domain, is likely to become out-of copy promptly. It is likely
that this Image /Hal Roach DVD betters the other editions undoubtedly
at heart. I suggest that you secure while you can.

DVD Menus
(Image Entertainment – Region 0 – NTSC

HAND

vs. Paramount
- Locality 1 – NTSC -

RIGHT

)

S
ubtitle
Cross-section on Dominant (no subs on Image Entertainment DVD)

Mesh
Captures

(Image Entertainment – Region 0 – NTSC

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NTSC –

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(Image Entertainment – Region 0 – NTSC

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vs. Prime – Quarter 1 – NTSC -

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)

Recommended Reading
in
Film Noir (CLICK COVERS or TITLES for more information)

by
Foster Hirsch

by Nicholas Christopher

Shades of Noir: A Reader

by Joan Copjec

The Art of Noir: The Posters and Graphics from the
Classic Generation of Take Noir

by Eddie Muller

The Little Black and White Book of Film Noir:
Quotations from Films of the 40's and 50's

by Throw Thompson, Saeko Usukawa

Film Noir
by Alain Silver

Film Noir Guide: 745 Films of the Masterpiece Stage,
1940-1959

by Michael F. Keaney

Detours and Lost Highways: A Map of Neo-Noir

by Foster Hirsch

Report
Card:


Image:

Paramount

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Get ready for some horse-ridin’, gun-totin’, whiskey-drinkin’ fun in this digitally remastered collector’s edition of Lawrence Kasdan’s SILVERADO, featuring a never-before-seen featurette with interviews from the choose and the filmmakers! The sprightly Western stars Kevin Kline, Scott Glenn, Kevin Costner, and Danny Glover as four unwitting heroes who cross paths on their career to the sleepy town of Silverado. Little do they know the community where their people and friends reside has been taken over by a corrupt sheriff and a inhuman posse. It’s up to the clever-shooting foursome to save the day, but first they have to break each other out of jail, and learn who their real friends are. Thanks to its authentic look and spectacular cast, which also includes Rosanna Arquette, John Cleese, Brian Dennehy, Jeff Goldblum, and Oscar®-winner Linda Trail (1983 Rout Supporting Actress, The Year of Living Dangerously), this sexy Old West adventure created a whole new generation of Western fans and earned its ‘modern classic’ importance. ‘Lawrence Kasdan’s revisionist Western is great pastime.’ -AMUSEMENT WEEKLY. ‘Fun…high-spirited, joyous…’ -Roger Ebert, CHICAGO SUN TIMES

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When their camper breaks down in the desert on their begun to California, a rash family struggles to survive the attacks of a irregular cannibalistic family, hungry for fresh meat and tenacious to terrorize the innocent vacationers. As members of the Carter clan fall prey to these inbred marauders, only a son and daughter remain to rescue their kidnapped infant and quest after vengeance against the savages who have destroyed their family.

A Fine Mental illness is weird, and downbeat, in numerous ways. Too heavyhanded to be comedy, yet too light to be called drama, the warm-heartedly-mounted setting depicts a non-conformist poet-stud in an milieu of much sex, some violence and modern headshrinking. Fine direction and some probity characterizations enhance gainsaying cursive writing slant.

Sean Connery is a virile, headstrong poet, hung up in a dry spell of inspiration. He despises women in general, and to hammer home this point, all femme characters, except second wife Joanne Woodward, are shrews, battle-axes, or shallow broads.

Overdue back alimony cues an outburst, eventually leading Connery to psychiatric care, alternating with a running chase from the fuzz, and climaxed by a curiously ineffective brain lobotomy. A lot of sophisticated throwaway dialog is dispensed along with sight gags and slapstick.

Director Irvin Kershner has drawn effective performances from Connery, who makes a good comic kook in a switch from the somnambulism of his James Bond roles, and Woodward, almost unrecognizable in face and voice via a good characterization of the loud-mouthed, but loving, wife, done in the Judy Holliday style. Jean Seberg, bored wife of headshrinker Patrick O’Neal, is okay.

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Jean-Luc Godard revisits the crime genre with PRE-EMINENT APPELLATION: CARMEN, an offbeat dramatics that follows the distasteful relationship that blossoms between a criminal and an officer of the law. Carmen (Maruschka Detmers) is a sexy terrorist who plans to group up with her cohorts in purchase to rob a bank, securing enough dough for the duration of her to shoot a documentary film. Complications stand up during the heist when she is fatigued to the bank’s safe keeping look after, Joseph (Jacques Bonnaffe). The up flees to her crazy uncle’s seaside lodgings, where they embark on a irritable proceeding. In the final analysis, Carmen’s boss (Christophe Odent) arrives. He is a prideful black hat who won’t allow Joseph into their gang. When they decide to rob a wealthy businessman and his daughter, a shootout commences and the doomed relationship between Carmen and Joseph ends years and for all. Godard’s award-winning sheet recalls his earlier PIERROT LE FOU and DETECTIVE, two other high-octane crime dramas that successfully toyed with conventions of the genre, resulting in highly original works. Featuring the stunning Detmers in the title lines, Godard’s TO BEGIN NAME: CARMEN is also aided by the supporting turns from Bonnaffe and Odent. Godard himself plays an aging, borderline-insane Mr Big.

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Garry Marshall made truckle palatable with “Pretty Chambermaid,” but he certainly has no idea how to do the nevertheless for sadomasochism. Having purchased the rights to Anne Rice’s 1985 novel, “Exit to Eden,” Marshall obviously couldn’t figure obsolete which way to go in telling the tale of dominatrix-with-the-mostest Live-in lover Lisa (Dana Delany). You don’t contain to be a masochist to observe to the core “Exit to Eden,” but it helps.

Mistress Lisa runs Club Eden, a Fantasy Island for rich, mostly pasty-white folk with overactive libidos, and she does so quite efficiently until she falls for one of her clients, globe-trotting photojournalist Elliot Slater (Paul Mercurio, the Australian hunk from “Strictly Ballroom”).

Unfortunately, Marshall and writers Deborah Amelon and Bob Brunner, eager to justify nudity and naughty behavior but clearly uncomfortable with genuine erotic notions, opt for smarmy, smutty comedy. They do this by introducing four new characters and a whole new cops-and-robbers plot, in the process shifting the focus from Delany to Rosie O’Donnell, here playing wisecracking undercover cop Sheila, banished to Eden with partner Fred (Dan Aykroyd).

With O’Donnell providing a voice-over that sounds suspiciously like a stand-up act, “Exit to Eden” bumbles and falls, turning into an unintentional parody of HBO’s “Real Sex.” It’s “Laverne and Shirley Do S&M;”

Smugglers Omar (Stuart Wilson) and Nina (Iman) are plot ciphers, since Marshall clearly intends for O’Donnell and, to a lesser extent, Aykroyd, to carry the film; theirs is a teaming of a stiff, male chauvinist prig and a self-deprecating free spirit who loves to embarrass him with feminine hygiene updates. For those who have always wondered what Rosie O’Donnell looks like in leather bondage gear, “Exit to Eden” provides the answer.

Those who’ve wondered what Dana Delany looks like buck naked and facing a camera will have their prayers answered too, thanks to several totally gratuitous scenes that do surprisingly little damage to her wholesome image. The heart of Rice’s novel, Mistress Lisa has been virtually written off in the film. There’s no depth to her character, no plausible explanation for her rise to the top in the S&M fantasy field and none for her suddenly falling for Elliot. Apparently, Lisa’s been looking for love in all the wrong places: As she tell her new beau, “after a hard day of smacking people, it’s nice to cuddle.”

As for Mercurio, he bares his soul much less frequently than he bares his behind: With Hollywood’s double standard still in effect, Mercurio suffers not from full-frontal exposure, even when Delany is spanking him.

She should have done the same to Garry Marshall. He simply has no idea how to deal with the far frontiers of sex, and his take on sadomasochism resembles nothing so much as the soft-core porn ramblings of a dirty old man. Rice should never have worried about the upcoming film adaptation of “Interview With the Vampire”; this is the stake through her art.

“Exit to Eden” is rated R and contains much nudity.