I like the storyline of this show,it attract me so much

best movie i've ever seen.

It's entirely possible that sending the audience out feeling lousy was intentional

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Long before the invention of contraptions, the children of the world learned about that world through the God-given gift of nature. Whether it be exploring the woods, climbing mountains or observing wildlife, the young were most times fascinated, and here, that fascination for a beautiful pony turns into devotion. The little boy is a forgotten child actor named Peter Miles, and he is the focus of the story where adults Myrna Loy, Robert Mitchum and Louis Calhern are top-billed. Loy is his loving but stern mother who sympathizes with him, Shepperd Strudwick his emotionally distant father, and even more to young Miles, loving grandpa Louis Calhern and ranch hand Robert Mitchum, who is pretty much a mentor to him. This doesn't follow the usual pattern of similar movies, and is actually pretty adult in nature with themes such as death and anger to study.Among the several disturbing sequences which may not be right for young, sensitive minds is a thunderstorm scene where Miles stands at a schoolhouse window and another where he is attacked by a vulture. The school teacher happens to be played by none other than that wicked old witch, Margaret Hamilton. Beautifully filmed in color with a few fantasy moments, this truly is an adult movie where the adults are forced to remember what it was like being a child.

Herbert J. Yates presents John Steinbeck's THE RED PONY (Feldman Productions/Milestone Productions/REPUBLIC PICTURES, 1949) Starring Myrna Loy, Robert Mitchum, Louis Calhern. Written by John Steinbeck, Directed by Lewis Milestone, Original Music by Aaron Copland.REPUBLIC PICTURES, long the mainstay of the "B" Western, the Juvenile Comedy Series and (of course) the Saturday Matinée Serial, occasionally brought out through release a truly remarkable film. Case in point, we present you with The John Ford & Merion C. Cooper Argosy Production of THE QUIET MAN (1952). Films of such stature are rare anywhere and particularly so when produced (at least in part) by an outfit such as "The Thrill Factory". There were many others over the years; but as we said in the whole they were rare.LIKEWISE we have the case of this John Steinbeck tale of family, generational gaps, hero worship, fraud and ultimate discovery of mutual humanity; with of all its virtues, frailties and foibles notwithstanding. The screen adaptation is a surprisingly successful blending of emotion all around the spectrum. Although we have a setting in the American West , in the early part of the 20th Century, well after the Frontier had been tamed; we find the story to be universally relevant and relative to all in any time, setting or situation.FOR a project that is at least partially founded in a "poverty row", lesser tiered Hollywood Studio, the film marshals first rate talent from the best of that available. The Cast, featuring such luminaries as: Myrna Loy, Robert Mitchum and Louis Calhern, is equally well supported in the lower portions by fine performers with less well names. Shepherd Standwick, Margaret Hamilton, a young Nino Tempo and an even younger Beau Bridges (yeah, Lloyd's Son, Jeff's Bro). We're also treated to an uncredited appearance by Pro Wrestler, 'Wee Willie' Davis as a truck driver.THE cinematography is beautiful and the open country natural settings are truly breath taking. Stark realism, as exemplified by the ranch buildings and corrals, barn, etc., receives an outstanding dose of contrast by the finely conceived and rendered dream sequences. One tends to magnify the intensity of the other. The inclusion of the Technicolor Process is used to the utmost level; making for the best and most natural palette on any screen.LEST we forget our hearing, we must make mention of the beautiful original score composed by Mr. Aaron Copland. The theme and the incidental music, while sounding like vintage Copland, still manages to be a unique overall composition; deserving to be classified as a symphonic masterpiece, had it been written in another era.IN the hands of veteran Director's Director, Mr. Lewis Milestone, the story manages to Classify itself as being virtually unclassifiable. You'll find no pigeon holing or square and round pegging here. What could well be called a Western, a Comedy, a Coming of Age Tale, a Family Story or a Juvenile Tale, could be and would be classified in any of these categories; ergo, it's in essence none of these.AND that my dear Schultz, is what we believe to be the real criterion for true, singular classification and uniqueness. That's It and That's All, Story Over! POODLE SCHNITZ!!

Quite by accident I caught this great classic on television today and copied it, to share it later in the day with my teen age daughter, thrilled to have a copy of one of the rare movies that Aaron Copland did the soundtrack for, and having as well a distant memory of how beautifully touching this film was. I realize now, after watching it again, I had suppressed a highly traumatic scene when the young boy discovers his dead pony, and at that moment a very disturbing scene as he fights off the carrion birds. It is definitely not suitable for younger children and a bit of a shocker even now considering the movie was made in 1949.But. . . and there is always a "but" for something like this. The movie is beautiful and elegant. Aaron Copland's soundtrack is lyrical, so rich with its "sense" of Americana. Every performance, from the grandfather, now out of place in time (and darn what moving eloquence when in this setting around 1900 he describes the "westerning" spirit of the America of his youth and now "we are old men, standing on the shore of an ocean, and there is no more west for us.") to as always the beauty of Myrna Loy in any role she plays.The varying themes triggered a deep and heart felt conversation with my teenage daughter. Memories of my own aging father, remembering his youth and telling the same stories once too often (and oh how I wished I had listened with more love and respect), to the anguish of losing a beloved animal companion. . . My daughter and I cried together during that scene and talking about it afterwards. . .and even the deeper issue of what was America and how the "westerning" spirit shaped us.This is a remarkable film, and definitely look beyond the exceptional cast to who was behind it, Copland for the music and Milestone directing. . .do not miss it, and if your children are in their teens, definitely share it with them as well. . .and be ready for some heart felt conversation afterwards. Sharing this tonight with my daughter was a true blessing.Wm. Forstchen

Two of the funniest men I ever saw were Bob and Ray. A comedy team that did some of the cleverest word play ever. An example. Bob would say, "You can see the Kimodo Dragon at the Washington Zoo. Ray would look at him and ask, "And if you wanted to see one of these interesting creatures, where might you and your family go." The delivery was slow and drawling. That's what this movie is like. It's a great story. It's about relationships and pain and isolation. It's about a father who just can't relate to his son. Then there's Billy Buck, played by Robert Mitchum. He speaks like this too. There are these pregnant pauses all over the place. You almost want to say, "Hurry up. We're not getting anywhere." The grandfather drones on about his adventures in the Western movement, driving the father crazy. The little boy has about as much charisma as a stump. I used to assign this story to ninth graders. They really like the book. The movie was so anti-climactic after the reading. They were so disappointed, it detracted from the enjoyment of the book. I'm not saying this is the worst movie ever. It could have been truly better with a little better direction and writing.