Principe Raphael

I’m going to make this short and sweet. I apologize for offending any of Lucy’s followers. But this was not a good idea for her to make this film. Lucille Ball is MAIM.

Stiff acting, unlikable leads.

Tense and well-acted. Great cast and great special effects, since the sinking and fire scenes are all the real thing, courtesy of the great liner ILE DE FRANCE. I love Woody Strode in this - his character is brave and almost top-heavy with dignity.

Watchable only for its camp factor.

Don't watch this film if you are a stickler for details; most of the sets are inaccurate and there are anachronisms galore. There was no siren wailing during the sinking; the ice sliced open the starboard (right) side, not the port (left), there are countless other errors in this film too many to count. What makes it so watchable? Why, Barbara Stanwyck and Thelma Ritter of course!!! Stanwyck gets the histrionics as only she can deliver them while Ritter gets all the wisecracking one-liners - as only SHE can deliver them. Robert Wagner and Audrey Dalton make a beautiful couple, but they take a backseat to the two "tough broads" of the silver screen. Even Clifton Webb seems weak and prissy here. But then to me, he always does. The script has crackling dialogue and deservedly one an Oscar for Best Original Screenplay.

Some of the storylines are inconsistent, but the acting, atmosphere and pace make this a must watch. Unlike US cop shows, this is so direct and to the point without resorting to pontificating with too many messages or glamorizing the police.

Well acted ensemble drama from the land Down Under; they never cease to amaze me about how direct and honest their TV programming is. In comparison, US TV shows seem much more pretentious and high-concept. I will admit though to not liking AS once most of the original cast left and the setting moved to the emergency room - then it got preposterous. But up until Ward 17s closure, I love it.

Decent performances cannot save schlocky, amateurish CGI and a ridiculous, fictionalized plotline cannot save Britannic from sinking.

Superb melodrama about a talented but arrogant violinist who falls in love with his patron, and older married woman who drinks too much. Superior to MILDRED PIERCE IMO; Crawford is magnificent in this, everything a film actress is expected to be - beautiful, glamorous, TWISTED. Garfield is great too; their onscreen chemistry sizzles.