The Man With Two Brains [1983]

Dr Jekyll & Mr Hyde (1941)
Classy MGM was not the studio most likely to make a horror movie in 1941, and in fact its production of Dr. Jekyll and Mr. Hyde ended up looking more like a glossy costume drama than a B-movie frightfest. The mood of Robert Louis Stevenson’s tale of a divided doctor is ably captured in Joseph Ruttenberg’s Oscar-nominated cinematography–more so, perhaps, than in Spencer Tracy’s lead performance. Tracy wasn’t especially happy about playing the role, although his transformations from good Dr. Jekyll to evil Dr. Hyde are convincing enough. One of the main reasons to see this version of the story is the young, impossibly beautiful Ingrid Bergman, then still a year shy of Casablanca. Bergman was cast in the good-girl part, but proved a shrewd judge of material, even this early in her Hollywood career; she finagled her way into playing the floozy instead, thus securing a more colorful acting platform than Lana Turner, who ended up in the more respectable role. Director Victor Fleming’s previous movie was a little number called Gone with the Wind, and the Big Picture approach to that project may have influenced his work here–this Dr. Jekyll is just a bit too stately, too polished to really engage. The picture is so dignified it never cuts loose with the kind of wild invention that marked the 1932 version of the story, which won Fredric March an Oscar. It’s the tale as imagined by Jekyll, rather than Hyde. –Robert Horton
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Customer Review: A Victorian Sight of Good and Evil Struggle.
Robert Louis Stevenson (1850 - 1894) was a remarkable author from the Victorian Era. He has left us at least two masterpieces: “The Treasure Island” (1883) and “The Strange Case of Dr. Jekyll and Mr. Hyde” (1886). Both of them have been used as original story to produce remarkable and not so remarkable filmic versions. “Dr. Jekyll and Mr. Hyde” (1941) is one of the best translations from Stevenson’s tale to screen. IMHO the changes made to the story for this version enhance the dramatic force of it. Dr. Jekyll suspect evil burdens every human soul, being an obstacle in its way to goodness. So he investigates and produces a drug that “liberates” the evil spirit and doing so he intend to be relived of it. He is in love with Beatrix Emery and wants to marry her. Unfortunately after expressing his ideas at a diner meeting, his father-in-law to be, decides take his daughter to France and let unfortunate Jekyll to abandon his “outrageous” ideas and focus on ordinary medical practice. After receiving this troublesome notice, Jekyll accidentally meets beautiful Ivy Peterson which disturbs his Victorian prudish notions. Griped by turmoil of emotions Jekyll decide to experiment his “liberating” potion on himself giving birth to Mr. Hyde, that instantly jumps into ruthless action. From this point on Evil starts to grow each time more powerful and Mr. Hyde end cornering Dr. Jekyll into impotence and fear. This cinematographic version emphasizes Freudian conceptualizations with some dreamlike scenes containing images full of erotic meaning. Spencer Tracy performance’s as Dr. J./ Mr. H. is really top-notch, centered more in psychological aspects than in physical changes. Mr. H. unbounded brutality emanates from his corporal demeanor and not from the make-up. Ingrid Bergman is… well she is a dream. She melds innocence with voluptuosity; seduction with na?vet?. Some scenes may be judged risqu? for those times nevertheless she plays them with honors. A very young Lana Turner fleshes Beatrix in an anodyne performance. Joseph Ruttenberg’s black & white pictures are almost expressionist recreating a fogyish London; he was deservedly nominated for an Oscar. He had already won one and will won more in the future. Director Victor Fleming is remembered for directing “Gone with the Wind” (1939), nevertheless even if he never repeated such allure he directed some excellent ones as this film, “The Wizard of Oz” (1939) and “Joan of Arc” (1948). A Classic movie you shouldn’t let passes by unheeded! Reviewed by Max Yofre.
Customer Review: Is Evil Necessary?
In the horror films of the 30s and 40s, a common thread was often the question of the limits of knowledge. Was there truly an area that man was supposed to not go? The novel DR. JEKYLL AND MR HYDE and the various filmed versions have each attempted to answer, however imperfectly, that question. The 1941 version with Spencer Tracy as Dr. Jekyll sidesteps this issue, instead focusing on the consequences of splitting a human into his good and evil selves. Director Victor Fleming sets up the eventual fall of Mr. Hyde by stages. He uses both the dreariness of fogged London streets and the considerable talents of Spencer Tracy to suggest a noble but flawed Henry Jekyll. The dark corners of the twisting avenues surrounding Jekyll’s house suggest a lurking evil. The smiling earnest face of Henry Jekyll suggests a similar unsettling moment as he contemplates that all men have within themselves a duality of morality that can be brought out by man’s technology and science. The two female leads, Lana Turner as Jekyll’s fiancee and Ingrid Bergman as Hyde’s forced paramour, are seen as reduced female images of Jekyll-Hyde. Turner is the pure Jekyll–loving, caring, endlessly forgiving. Bergman is the rougher, more edgy version of Turner. Various critics have been harsh in their condemnation of these two women, both in the characters portrayed and the acting involved. Yet, these actresses’ performances are exactly right. Turner’s innate goodness is associated with Jekyll; each supports the other even when family and circumstance dictate otherwise. Bergman’s acting role requires more subtlety. Her beauty allied with her working class image is what attracts Hyde in the first place, but she has to shed her edginess each time she and Hyde interact. The dramatic center of the movie is Jekyll, rather than Hyde. It is he who gives form and substance to a plot that allows him to branch off to become the monstrous Hyde. All of Hyde’s evil is more a reflection of what Jekyll could have done rather than what Hyde did. Spencer Tracy shows a Jekyll that needs his dormant Hyde to make life’s difficult decisions. Before his first transformation, Jekyll lived a life that was normal, yet bland. It was only after his exposing to himself of his Hyde personality, that his Jekyll side was able to become more confident. When Hyde is killed by bullets, of course Jekyll too dies, but the death of both is more than the closing of a police blotter of crimes now solved. Hyde’s death indicates that Jekyll’s goodness was incomplete without a recognition of the dark side that has existed deep within all humans since the apple eating incident of the Garden of Eden. DR JEKYLL AND MR HYDE points out that undirected good needs directed evil to avoid plucking that apple from the tree in the first place.

Everything That Rises
A realistic portrayal of the struggles of today’s American farmer. Each family member must make their own sacrifices - as they are able. Inspiration for all Americans.
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Customer Review: Wonderful movie!!
This movie is sad, but very heart warming. The story is very dramatic. I think that this movie is a great family movie that makes everyone feel happy.
Customer Review: “Everything That Rises”
Great movie, breathtaking scenery, stunning performances (especially by Ryan Merriman). Just one flaw…could Turner possibly put it on DVD in a letterboxed format??? All that scenery, bigger than life performances…and that lousy full-screen format!!! Please put it on DVD and in a letterboxed format!!!!!

Deuce Bigalow, Male Gigolo
Regardless of what you might think of this controversial comedy starring former Saturday Night Live star Rob Schneider, the soundtrack features several tracks as classic as leisure suits and roller boogie. Which is to say the 1970s never die, they just get reupholstered from time to time. Once used as the signature track to Paul Schrader’s American Gigolo, Blondie’s “Call Me” is presented twice. Blondie’s original version is the one worth breaking out the dancing shoes for, whereas Emilia Mojello’s cover is stiff, constricted by a halting beat. Marvin Gaye’s “Let’s Get It On” is a first-rate call to sexual arms. “Spill the Wine” by War with Eric Burdon (formerly of the Animals) is a classic period piece. 10cc’s “I’m Not in Love” mixes AM-lite pop with progressive rock to dizzying effect. Hot Chocolate and KC and the Sunshine Band are typical additions to this shag-carpeted soundtrack. –Rob O’Connor
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Customer Review: Good, but…
It doesn’t have the song I was looking for. You know when he goes into the dance club and gets the overpriced martini and grape juice? There is a rap remix of Stayin’ Alive as he is walking in. That one is not on here.
Customer Review: i like this but it’s missing the same song as…
WHile this OST is decent, I will admit that Scary Movie AND Deuce Bigalow have this one song in them that plays in the MATRIX-spoof scene of BOTH movies. I can’t find out who did it or what the name of it is. if anyone knows…PLEASE tell me. this is driving me up the f(_)cking wall! it’s not listed on IMDB.com or any other internet related movie database. please please help me if you can. thanks!

Dame Eva Turner - The Collected Recordings
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Customer Review: Interesting representation of the singer
Eva Turner was condemned to be remembered as a one role singer; the role of Turrandot. Her artistry went far beyond that. She was a slow starter in many ways, and it took a considerable amount of time for major houses outside Italy to notice her. Yes, she was enjoyed and used in the Italian opera houses, but ignored in her own land. Eventually, she made her debut there and was a hit. Her voice is not to everyone’s liking, and some critics found her interpretations very “ordinary.” Some felt she couldn’t color her voice enough to render complete interpretations of the roles she sang. The real problem was her voice was not subtle at all. Through her development it grew and grew in size (many other singers didn’t want to sing with her, not because of her personality — she was a trouper, but because they had to strain so to be heard when singing with her). As with all very large voices, the virtues are astonishing and the vices just as pronounced. Perhaps she was not capable of much subtle coloring as many smaller voices were capable of, but she was able to “raise the roof” in the theatres she sang in, and present a very powerful living drama. Her intonation was nearly perfect at all times. And, unlike is often thought, she had great stage presence. Finally, when a role came her way, one in which she had no competition, people were willing to actually open their ears and hear what she had to offer. This set of recordings is very interesting to listen to. Yes, as with all “complete works of anyone” we hear repeats of various arias. The key then is to listen and see what changes had developed as the performer expanded their understanding of the role. Few singers really show much development in that regard. In this case, there are improvements that we hear from time to time. Some of the pieces recorded do nothing for me, and I wouldn’t have wasted the time recording them, however, they reflect what producers were having singers record at that time. One role that Turner sang and excelled in was the Leonora from Trovatore. Yes, she had the necessary agility. She even produced a beautiful trill. Sadly, nothing here gives evidence to this fact. I recommend this recording for those interested in having recordings of this great and under appreciated singer who had so much to give. I recommend it also for those interested in hearing a truly huge voice (some say that even Nilsson could come close to the power of Turner) recorded with minimal destortion. We are not able to know exactly how magnificent her voice really was, not even through these recordings, but we can hear the even quality of her noble instrument. It is a pricey set, but for those who are interested in historic recordings of very famous singers, I would recommend it.
Customer Review: Voice of a Legend
Dame Eva Turner was arguably the greatest singer that England produced in the last century. Sadly, she was also one of the most under-recorded singers in history. This compilation finally releases in one package all of the material that we know of at this time. Unfortunately, that means that there are numerous recordings of the same arias, done at different times. Rumors continue as to the existence of more material in the vaults of companies in England, but none of that is available. What you will hear is the voice of the definitive Turandot, a role which Dame Eva premiered in many houses, though the first performance of the opera was sung by Rosa Raisa. However, Franco Alfano, who completed the opera after Puccini’s death proclaimed Dame Eva as the perfect Turandot. She effortlessly produces enormous waves of sound that are, at turns, steely or supple. Her instrument was one that has only been equaled by the great Birgit Nilsson. Dame Eva left the stage in 1949 and moved to Oklahoma, where she was a professor of voice at the University of Oklahoma for 10 years before returning to her native England and taking her place on the faculty of the Royal Conservatory. She died in 1990, at the age of 98.

The Man With Two Brains [1983]
Meet Dr Michael Hfuhruhurr (Steve Martin), the famous brain surgeon. Perhaps the name is not unfamiliar, though it is unpronounceable; the good doctor is the inventor of the celebrated “screw-top” method of brain surgery, in which the top of the skull twists off as easily as the lid of a pickle jar. The man may be a medical genius, but his talent for love leaves something to be desired, which explains his marriage to a gold-digging vixen (Kathleen Turner). Ah, but Dr. Hfuhruhurr may yet find true love, in the form of the disembodied brain he discovers in the lab of a mad scientist–David Warner, gone the Frankenstein route. (Lovely image: Hfuhruhurr in a rowboat, taking the brain out for a romantic ride on the lake.) Thus, in its own utterly goofy way, does The Man with Two Brains delve into the eternal dilemma of male indecision: does a man fall in love with a woman’s body, or with her mind? Along the way, of course, there are gags both highbrow and very, very lowbrow, a mind-body split that might be why critics have tended to prefer the more sophisticated slapstick of All of Me (directed, like this film, by Carl Reiner) and Roxanne among the early Steve Martin outings. Still, this is one of Martin’s funniest pictures, and a game Kathleen Turner, fresh off her Body Heat success, ably spoofs her own sultry image. The cerebral love object is voiced by Sissy Spacek. –Robert Horton

Customer Review: Twice as boring
Dr. Michael Hfuhruhurr (Steve Martin) has a problem choosing between brain waves, Anne Uumellmahaye (Sissy Spacek), and “Body Heat”, Dolores Benedict (Kathleen Turner). The whole premise is can love be found in a bottle.

I thought ‘The jerk’ was bad until I saw this movie, both mysteriously directed by Carl Reiner. All he does is make faces with no real acting or thought behind them. A few faces are o.k. but over an over of watching grins and grimaces can get monotonous. I almost stopped watching Steve martin that is capable of making good movies like “House Sitter” (1992) with Goldie Hawn.

Customer Review: Dated movie but a classic
This is Steve Martin before he started making boring not so funny family type movies. It’s a bit dated but he is so silly. So many funny scenes, such as when he is rowing a boat on a lake with a brain in a jar and he sticks a pair of wax lips on the jar so he can kiss it (he fell in love with a brain).