"When a naked man is chasing a woman through an alley with a butcher's knife and a hard-on, I figure he isn't out collecting for the Red Cross!"

A sadistic serial killer who calls himself "Scorpio" murders a young woman in a San Francisco swimming pool, using a high-powered .30-06 hunting rifle from the top of a building. Clint Eastwood finds a ransom message promising his next victims will be "a Catholic Priest or a black man." if the city does not pay $100,000. The chief of police and the mayor (John Vernon) assign the inspector to the case.


Callahan is assigned a rookie partner, Chico Gonzalez. The veteran officer notes that his partners always get injured or worse so he needs someone experienced, but has no choice. Scorpio kills a young black boy from another rooftop, and the police believes the killer will next pursue a Catholic priest. Callahan and Gonzalez wait for Scorpio near the Sts. Peter and Paul's church A shootout ensues, but Scorpio escapes, killing an officer.



Scorpio kidnaps, rapes, and buries alive a teenage girl hen demands twice his previous ransom before the girl's air runs out. The mayor decides to pay, and tells Callahan to deliver the money with no tricks, but the inspector wears a wire and brings a knife Scorpio sends Callahan to various payphones throughout the city to separate the inspector from any backup, but his partner follows him. The chase ends at the enormous cross at Mount Davidson. Scorpio brutally beats Callahan; Gonzalez arrives and saves his partner, but is wounded. Callahan stabs Scorpio in the leg, but the killer escapes without the money.

Gonzalez survives his wound, but decides to resign from the force.The doctor who treated Scorpio tells Callahan and his new partner, Frank DiGiorgio, that he has seen Scorpio in Kezar Stadium. Running out of time, the officers search the killer's room without a warrant and Callahan shoots Scorpio in his wounded leg. When Scorpio refuses to reveal the location of the girl and instead asks for a lawyer, Callahan tortures the killer by standing on the leg. Scorpio confesses and the police exhumes the dead girl.

Because Callahan broke into his home illegally and improperly seized his rifle, the DA decides that the killer cannot be charged. An outraged Callahan follows Scorpio on his own time. Scorpio pays a thug to give him a severe, but controlled beating, then claims that the inspector is responsible. Callahan is ordered to stop following Scorpio, despite his protest that he did not beat the killer. Meanwhile, Scorpio assaults a liquor store owner and steals his Walther P38 handgun.
Scorpio kidnaps a school bus load of children. He demands another ransom and a plane to leave the country. The mayor again insists on paying but Callahan instead pursues Scorpio without authorization, jumping onto the top of the bus from a railroad trestle. The killer flees into a nearby rock quarry, where he has a gun battle with Callahan. Scorpio retreats until he takes a young boy as a hostage.
The inspector pretends to be willing to surrender then wounds the killer. The boy runs away and Callahan stands over Scorpio, gun drawn. The inspector reprises his "Do you feel lucky, punk?" speech. Scorpio tries his luck and lunges for his Walther P38 9mm pistol. The inspector shoots him in the chest, propelling Scorpio into the water. As Callahan watches the dead body float on the surface, he takes out his inspector's badge, angrily hurls it into the water, and walks away.



I do like a good Clint Eastwood film and it did not take long to be my one of the films I go to when I really want to feel nostalgic. Dirty Harry is a film really about the anti hero Harry Callahan. Every dirty job he is assigned to. He even mentions it when asked in the film. You really feel for the guy. It's a film, if you are a true film person like me, notice that he goes through so much stuff that you wonder why he does not get any praise for catching the killer. In the rest of the Dirty Harry series you see the same result but with a different protagonist.

It's a film that still after all these years has not lost much of it's luster and is put on the top of everybody's Clint Eastwood films. I grew up realizing that sometimes movies just can be great with the very little acting involved. Over the years Clint made some great ones and this one here is a great place to start. I know you might think his westerns are wonderful, but this is what makes everything fall into place. His films are iconic and stand high in a great filmography. Enjoy a film when a good action film was more important then a good story driven film. I am sure you too will love this like I do. Enjoy!!

That was stupid - stealin' a lousy pack of razor blades! To prove what? (Perry) It's the national pasttime... (Dick)

Holcomb, Kan., Nov. 15 [1959] (UPI) -- A wealthy wheat farmer, his wife and their two young children were found shot to death today in their home. They had been killed by shotgun blasts at close range after being bound and gagged ... There were no signs of a struggle, and nothing had been stolen. The telephone lines had been cut.

This 300-word article interested Capote enough for him to travel to Kansas to investigate the murders. This also got me interested in the film and history of this true event. At one point, this film and book were one of my favorite films. It still is a top favorite of mine because of the true story and the story about the two killers. The classic black and white of the film gives a better detail and the wonderful Conrad Hall chromatography adds a great and unique balance of this riveting tale. It is a film that also shaped the decade of the sixties for film.



Perry Smith and Dick Hickock concoct a plan to invade the home of the Clutter family, as Mr. Clutter supposedly keeps a large supply of cash on-hand in a safe. While the two criminals felt that their plan for the robbery was sound, it quickly unravels, resulting in the murder of Mr. and Mrs. Clutter, as well as two of their teenage children. The bodies of the Clutter family are discovered the next day, and a police investigation is immediately launched.

As the investigation builds, the two wanted men continue to elude law enforcement but are eventually arrested. The police interrogate the two men and confront them with evidence, such as a bloody footprint matching the boots worn by one of the men ("You boys signed your own work!"), but are slowed by Smith's refusal to provide answers. The police claim that another mistake made by the men is that they left a witness. Finally, Hickock confesses and states that he does not want to be executed for the crime.

This film was seen once by myself on TV and from that point on I fell in love with the way the film was done. It was a film that turn my head to understand how film was made too. I saw that same documentary that I saw Days of Heaven, and knew right away that this is what I wanted to do. This film struck me in an odd way. I saw the film and read the book and was really taken by the historical study of this story. It was odd but this film turned out to be one of my favorites for a long time. It still is a film I can watch over and over again and also easily put it in my top twenty films.

I think what also caught my eye with this film was the way the film was made. It could have never been made now (there was a made for TV version) and it could not be a film that was made in color too. It was a film that took a great gamble and put two somewhat unknowns in it and really gave me and the people the sense of these two killers. Nowadays, this film would be talked about and the story line would have been so over played that it's real themes would be lost. Brooks handles a flawless production, mixing gritty docudrama with Hollywood style. The movie is just on the edge of the Hollywood revolution: there's some nudity and a surprising amount of cussing, but the violence remains mostly off-screen.

In Cold Blood pulls a neat trick in humanizing the killers without making them particularly sympathetic. Our protagonists are the anti-Leopold and Loeb: too stupid to know what they're doing, their "perfect crime" goes horribly wrong from the word go, degenerating into senseless killing and immediate regret. These losers don't even have the wit to escape, fleeing to Mexico then drifting back to the scene of the crime. The moments of humanity they get - Perry's warped fantasies and flashbacks, Dewey's interviews with their parents, the amusing scene where Hickock and Smith help a vagrant kid collect soda bottles - only accentuate their crime's nastiness. Individually they'd be cagey but harmless hoods, but together they're the perfect storm of neurotic destruction.

The movie is a classic and strong suggestion is that you watch it. It is a tough movie to watch because you see these two killers exposed so well that you kinda mumble under your breath at all the times they make a mistake. There are reasons I love film and this is a wonderful page two story that stuck with Truman Capote and myself for many years. It is a classic and I think you might enjoy this. Enjoy and watch with intent and I am sure you will catch all the film stuff I love in this one film! Enjoy!!

"Who says I can't? I'm only doing my job." "Some people are bullfighters, some people are politicians. I'm a photographer."

The plot is a day in the life of a fashion photographer (David Hemmings). It begins after spending the night at a doss house where he has taken pictures for a book of art photos. He is late for a photo shoot with Veruschka at his studio, which in turn makes him late for a shoot with other models later in the morning. He grows bored and walks off, leaving the models and production staff in the lurch. As he leaves the studio, two teenage girls, aspiring models (Jane Birkin and Gillian Hills, ask to speak with him, but the photographer drives off to look at an antiques shop. Wandering into Maryon Park , he takes photos of two lovers. The woman (Vanessa Redgrave) is furious at being photographed. The photographer is startled when she stalks him back to his studio, asking for the film. This makes him want the film even more, so he hands her another roll instead. His many blowups (enlargements) of the black and white film have rough film grain but seem to show a body in the grass and a killer lurking in the trees with a gun. The photographer is frightened by a knock on the door, but it is the two girls again, with whom he has a romp in his studio and falls asleep. Awakening, he finds they hope he will photograph them but he tells the girls to leave, saying, "Tomorrow! Come back tomorrow!"

As evening falls, the photographer goes back to the park and finds a body, but he has not brought his camera and is scared off by a twig breaking, as if being stepped on. The photographer returns to his studio to find that all the negatives and prints are gone except for one very grainy blowup showing the body. At a drug-drenched party in a house on the Thames near central London, he finds both Veruschka (who tells him she is in Paris) and his agent (Peter Bowles)whom he wants to bring to the park as a witness. However, the photographer cannot put across what he has photographed. Waking up in the house at sunrise, he goes back to the park alone, but the body is gone.



Befuddled, he watches a mimed tennis match, is drawn into it, picks up the imaginary ball and throws it back to the two players. While he watches the mime, the sound of the ball being played is heard. As the photographer watches this alone on the lawn he walks into the distance, leaving only the grass as the film ends.

When I discovered classic films I was watching them contently. I would even go out of my way to ask people who has the pay cable stations like HBO, Cinemax, The Movie Channel and others to tape me a movie I wanted to see. These movies were always on and back when I saw them they were basically uncut and very little commercials. Not like today where you can watch a film and there is five minutes of commercials and when you get back to the film the area where you knew where it continued was cut and they moved to another scene entirely. It is one reason now I don't watch films on TV because of that fact.



Then something happened to out cable. It was a stumble that to this day makes me watch films more and more. The creation of TCM. The TCM channel or Turner Classic Movies showed films without commercials. It was great I got to see films that I never saw before and films I loved without seeing a break in the action. One night they were celebrating Italian Cinema they showed a Sergio Leone film and also they showed another classic The Leopard which was pretty rare looking back because that was a hard film to track down. Just before my father went to bed, they previewed what was coming up next. He saw with me what they were showing. It was the movie called Blow Up. He told me that he saw this when he was in the service and loved it. He also told me to throw a tape in the VCR and he would watch it at a later date. He suggested that I watch it too. He said it's a classic film. I stood up till it was over at 1am to understand how right he was.

Blow Up is a great film for people who want to appreciate and understand classic world cinema. The film was defiantly unconventional for it's time and it was also a pretty daring. Also my dad told me that the part with The Yardbirds is classic cinema. You will have to see the scene to understand it. It made my day when I saw that scene. The movie is not a Hollywood film, it's a film that opened my eyes to the love of foreign film. This is the film people mention when they list foreign films. I know I put it up there in my favorite of that genre.



I suggest you see Blow Up it will give you a whole new outlook on how and why films are made. This move so far has not been remade and I really don't think they could. It is a film that make you think and also fall in love with the sixties like I love the sixties. It is a true classic and for that I totally suggest you watch this as well. A great film, a great time period and most of all a great watch and study. Enjoy!!

Nobody's perfect. There was never a perfect person around. You just have half-angel and half-devil in you.

The story is set in 1916 (the film shows a 1916 newspaper, and a scene late in the film shows American soldiers headed off for World War I). Bill (Gere), a Chicago manual laborer, knocks down and kills a boss in the steel mill where he works. He flees to the Texas Panhandle with his girlfriend Abby (Adams) and younger sister Linda (Manz). Bill and Abby pretend to be siblings to prevent gossip.
The three hire on as part of a large group of seasonal workers with a rich, shy rancher (Shepard). Although he is young, he learns he is dying of an unspecified disease. When the rancher falls in love with Abby, Bill encourages her to marry him so that they can inherit his money after he dies. The marriage takes place and Bill stays at the ranch as Abby's "brother." The farmer's foreman, Robert Wilke, suspects their scheme. The rancher's health unexpectedly remains stable, foiling Bill's plans.


Eventually, the farmer discovers Bill's true relationship with Abby. At the same time, Abby has begun to fall in love with her new husband. The farmer goes after Bill with a gun, but Bill kills him. Although the killing was in self defense, due to the class difference between them and the fact that Bill and Abby had started a scam on the farmer, he fears being charged as a murderer if caught. Bill and the women escape. The foreman Wilke puts the police on their trail, and the police kill Bill in the hunt. Abby leaves Linda at a boarding school and goes off on her own.



In my early years of watching and studying film, this was the first film that made me love film as much as I do. I saw the scene you see below in a documentary called Visions of Light: The Art of Cinematography. In this film the they talk about great ways of visual expression and one of the scenes they show is the picture below. The music of Leo Kottke, one of my favorites, is playing why they cross that bridge. The scene in the film is short, but totally breathtaking. I did not know much of the film then. I got a whisper in my ear about the film and had to see it for myself. It was a good idea to to watch that film. It now is one of my favorite films of all time and to me the best of Terrence Malick career.


I continued watching this documentary and realized there are films in here I needed to see. The film opened my eyes to so much out there. I realized also that my film obsession would need to grow. True, I liked a few classic films at that time, but I did not realize that I need to watch more films and get better knowledge on the films I loved. As the friend who came with me pointed out to me she asked me why do I like these films. Is it the acting? Is it the story? Is it the way the film is presented? After watching the documentary I changed my film outlook. This gave me ideas that there are films out there that I should see and films of today needed to part of that example. There were very few at the time that I could actually say I loved. It got a bit better over time, but my scope of films had to follow some kind of criteria. Classic, great contemporary, among other things was what I needed to follow.


Film was always good, but after watching Days of Heaven it was so much better. The film turned my idea of what film was. It did not have to be simple, but the complex could work so well and the story had to be better then most. With my great love of film I realized I had to keep some of these films at high expectations. I now and used to look for a good film to go see. I needed to be engaged in the film and also like what the film is about. I don't often go to the movies because I look for one that make me learn and understand how great films are made.

I even stopped going to my local theater and went to the local art house or college movie theater to check out the classics. If you need to find a film that has these qualities then look no further. Days of Heaven is quite amazing. It's a movie that needs to be scene for all it's great visual mastery. I suggest you go as soon as you can whatever way you get your movies and check it out. Enjoy this classic.

"This life's hard, man, but it's harder if you're stupid!"

Eddie Coyle is an aging, low-level gunrunner for a crime organization in Boston Massachusetts. He is facing several years in prison for a truck hijacking in New Hampshire set up by Dillon, who owns a local bar. Coyle's last chance is a sentencing recommendation from a ATF agent, Dave Foley, who demands that Coyle become a confidential informant in return.

A gang led by Jimmy Scalise and Artie Van has been pulling a series of robberies in broad daylight at local banks, Coyle having supplied them with guns. Another gun runner, Jackie Brown, is in popular demand. Coyle wants to buy more pistols from him while a younger couple is shopping for machine guns.

Jackie goes to great lengths to get Coyle what he needs. Coyle delivers the guns to Scalise, but then he offers to set up Jackie for the cop Foley to avoid jail. In a train station's parking lot, waiting to sell his machine guns, Jackie is apprehended by Foley's men.

Coyle feels he has fulfilled his end of the deal. Foley, though, claims it still is not enough. He wants more or else it is prison for Coyle. In desperation, Coyle agrees to inform on his friends Scalise and Van as they prepare to pull off their next bank job, but it turns out Foley already has inside information and has caught them in the act. The mob thinks that Coyle was the snitch. They assign his friend, Dillon, to kill him. Before carrying out his orders, Dillon treats his friend to a night on the town, taking him to dinner and a Boston Bruins hockey game.

I was introduced to this Film when I was in high school. I was in a class that had to read a book I really did not want to read. It was an assignment from a teacher I really did not care to listen to. I was mumbling one day to one of my other teachers mentioning to him how does this book we are reading have to do with the class that I am taking. The teacher asked me about the book I was reading. I told him that the book is not that great and really not worth much in the way of reading. The teacher asked me if he could help. I told him, yea, find me a book worth reading and I will read that and write a paper on it. He laughed and the next day when I saw him he handed me a copy of Friends of Eddie Coyle. He even told me if I can find a copy on video of this film he be happy to see it again. That day in class the teacher came up to me and told me I had no right to ask for a book change. I told the teacher that I just complained about the subject matter and wanted a new book. It was the other teacher that gave me something better to read.

Over the course of that semester I read this Friends of Eddie Coyle and loved the story. Hunting down the movie took a bit more time. In the age before internet I had to ask my co-worker at the library and they had to go through a database that had all the public records of what each library owned. It was quite labor intensive. The co-worker found it and got it to my library. He told me I have three weeks with this video. One day I showed the copy to the teacher that wanted it and he told me that he will have it back in a few days. The few days came and went. No movie, yet. One day just before it was do he asked me to stay after school. I agreed to it and we watched the movie together. I could not believe my eyes on how great these characters where playing the roles they were assigned. The movie was like watching normal people act like normal every day lives. It was amazing to watch these actors do such a great job. He told me after watching the film, this is one of his favorite books and favorite films of all time. I could not agree more.



The book was a great read and I got an "A" on the paper because of my excitement and of course watching the film. The teacher finally realized that if you want to capture the attention of a student find someway that will interest them. I really liked this movie. I wanted my own copy of this film. One day that came true. I saw it on TV and I taped it. I could not believe that movie was on. I was excited to see it again and watch all the great acting that came with it. In the age of the DVD it became harder and harder to find it. Even when I was in college I was looking for it. I mentioned it to one of the film teachers and he loved the film too and yet no DVD.

2009 was a great year for DVD's because Friends of Eddie Coyle was finally going to be put out. I got the e-mail from Criterion that they were going to put it out. This excited me to no end. Finally I get to see the film again in sharp great picture and wonderful and subtle acting. This movie is a must watch. The movie set in some areas in and around Boston give a whole fresh feel to it. The movie is great and you should watch this too. Enjoy!!

Mister Hart, here is a dime. Take it, call your mother, and tell her there is serious doubt about you ever becoming a lawyer.

The story centers on Hart, a brilliant young law student from Minnesota who attends Harvard Law School and becomes obsessed with one of his teachers, Professor Charles W. Kingsfield, Jr. Hart becomes an expert on Kingsfield's subject, contracts; he reads everything about the subject, including all of Kingsfield's papers, most of which are not on the reading list. He goes so far as to break into the law library to read Kingsfield's original law school notes. Hart becomes such an expert that Kingsfield asks him to contribute to a paper.

At the same time, he begins a relationship with Susan Field, who turns out to be Kingsfield's daughter. Susan stands aloof from the law-school rat-race and dismisses all the things Hart cares about most.

At the end of the term, Professor Kingsfield really means something to his students, but he still does not know their names. For him, the class is only a group of people, the students simply names on a paper. He does not even recognize Hart after several encounters and classroom debates. After one incident, wherein Kingsfield asks Hart to leave the class, Hart says in front of the lecture hall, "You are a son of a bitch, Kingsfield."

After much effort preparing for the final exam, Hart's grade is delivered to him, but he simply makes a paper airplane out of his final report card, and sends it sailing into the Atlantic Ocean without looking at it.

I saw this movie on TCM one night and really thought it was well done. It is a great movie to show would be lawyers who are about to go to law school or even ready to pass the bar to become one. The movie is well written and has a nice side plot of a love story. The greatness of this film is it's like other films I like. The era of this film is why I really like watching films. I think re-watching a film like this gives you a feel of how great films like this from 1973 should be. Even some the authenticity of the behind the scenes of going to law school and studying for those dreadfully hard tests show in the film.

I know three friends who are lawyers and let me tell you, all three have seen the film and love how great film shows how some law professors are that way in real life. I would recommend to any film buff or anyone who wants to get into law. Hope this film will have you enjoy what goes on behind the scenes of what it is like to be a lawyer. Enjoy!

You sell whatever you want, but don't sell it here tonight.

Ambitious politician Walter Chalmers is holding a Senate subcommittee hearing in San Francisco on Organized Crime in America. To improve his political standing, Chalmers hopes to bring down mobster Pete Ross with the aid of key witness Johnny Ross, Pete's brother. Bullitt takes place the weekend before the hearing, from Friday night (during the opening credits) to Sunday night. Following the theft of $2,000,000, and his escape to San Francisco Johnny is placed in the San Francisco police custody for the weekend. Chalmers requests Lieutenant Frank Bullitt's unit to guard him.

Bullitt, Sergeant Delgetti, and Detective Carl Stanton give Ross around-the-clock protection at the Hotel Daniels, a cheap flophouse near the freeway. Late Saturday night, a pair of hitmen burst into the room and shoot both Inspector Stanton and Ross, seriously wounding them both. Bullitt wants to investigate who shot the pair and find the Mafia boss who ordered the hit. Chalmers attempts to shift blame on to Bullitt and the San Francisco Police Department.



Ross subsequently dies of his wounds. Bullitt suppresses news of the death, asking Doctor Willard to misplace the chart and have the body placed in the morgue under a John Doe. Chalmers arrives at the hospital on Sunday morning and is angered that Ross has disappeared. He is further incensed when he and his police minder Captain Baker receive no help from Bullitt. Chalmers places pressure on Bullitt to produce Ross, to no effect.

Bullitt reconstructs Ross's movements, finding his way to a hotel where he finds a woman registered under the name Dorothy Simmons (Brandy Carroll). With the hearing the next day, Bullitt suspects the dead mobster may not be who he seems. After picking up his Ford Mustang Bullitt is tailed by the two hit-men, resulting in a famous car chase that ultimately kills the hit-men.

Back at the police station, Bullitt is interrogated, and is given until Monday morning to follow his remaining lead. He begins to investigate Simmons, but discovers that she has been murdered. Later, Bullitt and Delgetti learn that Simmons's true identity was Dorothy Rennick, and that the murdered man that they knew as Ross may in fact be her husband, Albert. Bullitt asks immigration for a copy of Mr. Rennick's passport, hoping to prove this theory.

Chalmers arrives at the morgue, demanding, from Bullitt, a signed admission that Ross died while in his custody. Bullitt refuses, producing a copy of the Rennicks' passport photos. Chalmers realizes his mistake upon seeing the couple's true identity: the murdered man was not Johnny Ross, but Albert Rennick. The real Ross set Rennick up in order to escape, then killed Rennick's wife to silence her. Chalmers later tries to smooth things over by offering Bullitt a chance to further his career, which Bullitt refuses on the spot, knowing how Chalmers operates. Based on clues in the Rennicks' luggage, Bullitt follows Ross to the airport, where he discovers the real Johnny Ross and pursues him. A stand-off ensues, with Bullitt eventually shooting and killing Ross.

My first viewing of Bullitt was when I was eleven years young. I was coming home from playing outside when my friend from up the street came over with his brand new VW GTI. I was much younger then this friend. He was actually ten years younger then my parents. The reason I called him a friend is because we both shared the love of cars. I would ride my bike past his house and he be outside with his two seat classic car washing it and detailing it. I loved that car. I always thought it was cool to see him work on it every weekend during the summer. He would take it out for it's usual route around the block and maybe to the store and back. One day he asked if I wanted to be his passenger. His wife always laughed at the car because it was not the hip car to have, but it was a car that actually was pretty cool.



He and I became friends. He told me all about classic muscle cars and also about the wonderful world of European classics. These cars all had a history and lore that would make the car fanatic that I am now. I loved everything about the stories of past cars he had. He even told stories to my father who also shared some of the same history. His VW GTI was a car that was not cool now (or maybe it was) but it was flashy and cool for me. It was quick, it made a unique sound compared to my parents wheels at the time and and was fast around the block. We would go to Lime Rock every year that I knew him. We did this for about six years till he moved away and got divorced. He kept the GTI for a while then bought an Alfa Romeo which I loved to death. It was sad to see him get divorced, and also to not see him again.

In the time I knew him, beside teaching me about cars he taught me about classic films with great cars in them. He told me about LeMans, Bullitt and Grand Prix. All classics in their own way. He always liked Bullitt because of it's famous chase scene in downtown San Francisco. It was that scene one day when he came over to pick me up my dad and him were watching. I caught the beginning of it on my dad's small TV. My friend telling my father about the time they saw it as a kid. My dad telling me and my friend that he saw it in the drive in. The chase scene was so great that my dad said all the cars at the drive in were stepping on their breaks. The stories they told about this film were great. I had to see it from beginning to end.



Every moment of the film was exceeding my expectations and I was having a blast reflecting on what makes older films such classic icons. This movie does that. It is part of every American Culture lore. Steve McQueen is in the world of acting one of the great of his time and all other chase scenes will be judged by the one in this film. Every once in a while I try to pick up something new in the film and here and there I do. It's the greatness of using San Fransisco as a character that makes the film. There is a few websites devoted to the areas that this film used and you should check it out.

This is one of my films I tell my friends to watch, so it's old and not new, but you know it's a film that just does a great job for it's time. It's classic beyond words. It's awesome and wonderful to watch and just see the actors play cool like it's no big thing. The music is pretty damn good too. it's the reason I like good movies with great music. I just wish you all could enjoy the pleasure of this film like me. Never saw it in the big screen I would love to see how it would be presented. Watch this and tell me what you think. The 1960's films were great for their time and this one is no different. Enjoy!!