A vintage (c. 1978) secret baby romance, characters with more gravitas than today's remakes, great writing as w/ all RDs
926204
BRIDE AT WHANGATAPU by Robyn Donald

FROM BACK COVER: "Nothing has changed," Fiona said in desperation. "Jonathan is my son."
Fiona had had five years to think about her youthful folly--five years to remember Logan Sutherland's treatment of her. Now, a whim of fate had brought them together again, and he laid claim to the son he hadn't known existed.
Well, for Jonathan's sake she would marry this cool, calculating stranger as he demanded. But she would never be his wife!

*SPOILERS*

For an author's first published romance, this book is very well-written and polished. The characters already have that uniquely compelling quality which seems to be the trademark of a Robyn Donald romance.

In this story, Fiona and Logan first met during a skiing holiday. She was 18 and he was 26. They had one champagne fueled night of passion. Logan went ballistic on her the next morning, a guilt turned inside out, because he only just realized she was that young and innocent. Fiona left in shame. Apparently he tried looking for her later but then came the news that his Dad died and he had to return home.

At present time, which is five years after they met, Fiona is applying for a job that would take her out of the city to a drier part of the country. It's the doctor's advice for her son Jonathan's cough which he couldn't shake off. The job interview was with...yep, you got it! with Logan. He's as surprised as she is. Fiona backs out of the interview. Logan remembers her CV mentioning a 4 y.o. son. Snatching her purse, he finds the photo of his mini-me. Long story short, Logan marries her to legitimize his son. Cliche? Maybe not. This was in the late 1970s and set in New Zealand which I'm assuming was still a mostly traditional/conservative place at that time.

Fiona's biggest challenge was how to make Logan love her. Until he does, he isn't getting nooky from her. Not after being burned in that morning-after five years ago. Her second big challenge is fitting into Logan's distinguished family and their way of life. His Mom tells her in no uncertain terms she either fits in or she goes. The faithful family housekeeper is also tough on her. Then there's the OW- an old family friend who Logan would have married had he and Fiona not met again.

Luckily Fiona is intuitive and artistic. She also has a solid character, carries herself well and is firm in her resolve over Logan. Perhaps too firm she kind of backed herself into a corner that she ends up frustrated at times. I like Logan, too. He's supremely confident and, is it just me to whom it matters?, a disciplined man. He and Fiona have got this nice sexual tension. I think it's largely due to the fact that they have their passions well in leash but as a reader I felt the effort of it, mostly Fiona's. How shall I put it? Their interactions kind of remind me of the film Remains of the Day's intense pantry scene, the scene which sent enthusiasts into paeans of praise for being well done. Less is definitely more! Neither of Fiona nor Logan displays any of the lusty incontinence one readily finds these days among M&B billionaire heroes and their housekeeeper/ baby mamma or whatever. Fiona's internal dialogue, therefore, is consistent with her outward behavior. None of that tough inner chick dialogue when physically she's simply gagging for it. H/h's dialogue is not the annoying bickerfest of most 1970s/80s Mills & Boon. They have a real battle of wills, not of gob.

Jonathan has got his own personality and is really adorable. The author gave him good page exposure. He's not simply a plot device to get H/h together.

This was the first RD romance I read and it stayed with me all these years. I re-read it recently and it has not lost its original gilt for me in terms of H/h characterization, storyline and quality of writing. In short, a comfort read and a keeper.
2659081
This is a charming romance taking place a century ago or so, with some touches of fantasy.  Well written and engrossing.  Very similar to the movie--also an enchanting experience with Gene Tierney and Rex Harrison.
4718461
A film that, for me, brings back all sorts of fond memories. I first saw it as a teenager during its initial American release in the 60's when I was just discovering that there were some really good films out there that weren't in English. I had loved That Man From Rio and here was the great Jean-Paul Belmondo re-united with director Philippe De Broca in a rollicking swashbuckler. And having the luscious Claudia Cardinale along for the ride didn't hurt either.

Cartouche (also known by the terrible title of Swords Of Blood) is a very French and very Sixties flick. De Broca's loose style of film making encompasses broad comedy, adventure, satire, romance and even tragedy. It is the same  style that made The King Of Hearts so memorable and it works just as well here. The story of a charming and incorrigible petty thief who rises to be a sort of bandit chief - after a comic interlude in the army - is the perfect excuse for fist fights, sword fights, chases, and romance with lusty wenches with wonderfully heaving bosoms. The flavor of the 18th century is beautifully captured with a realism that extends to the smallest details. At times, the realistic visuals seem almost at odds with some of the film's more slapstick elements, but it actually contributes to the superb period feel. In this respect, Cartouche is somewhat reminiscent of some of the bawdier bits from that other great Sixties period romp Tom Jones.

Jean-Paul Belmondo is perfect in the title role, not only more than equal to all the physical demands of the part but also moving through all his character's moods effortlessly. Belmondo is a wonderfully natural actor and it is hard to imagine anyone from Hollywood doing this sort of part so well. Co-star Claudia Cardinale has seldom been better or more beautiful - her character is well-named as Venus. She is overflowing with earthy passion both as an outlaw and a lover - even more so as a jealous lover. Both as a teenager and now as an allegedly wiser fifty-something, I could never understand why Belmondo would prefer the icy aristocratic Odile Versois to the magnificently sexy Cardinale.

As usual with these films, Belmondo gets a couple of sidekicks. One is a gentle giant played by Jess Hahn, a sort of European Alan Hale who was forever popping up in films of various languages. The other is a young Jean Rocheforte, that wonderful French actor who would have such a long and impressive career. Here he is The Mole, a slightly more refined bandit with the soul of a poet. The villains are suitably hateful, if not quite in the Basil Rathbone league.

Cartouche is great fun and blessed with true star quality performances from Belmondo and Cardinale. It's one of those movies that is always a joy to take out and watch again. If you're seeing it for the first time, you're in for a real treat.
3594530
I loved this movie, perhaps more for sentimental reasons. We'd been looking for it for a long time & were excited to find it on Amazon. Teenagers will find fault with it because it was made in the early 80's & doesn't appeal to their "standards," but my husband & I thoroughly enjoyed it.
48366
4.5 Stars

This is a retro release by author Linda Lael Miller, and one I read when it first came out in 1984. I  re-read it for this review and still found it an enjoyable read. There are a couple of additional chapters, but explaining them would include spoilers, so I will just say they add something to the story.

This is strictly a psychological drama, focusing on the marriage of Nathan and Mallory McKendrick, who are struggling to maintain intimacy in a world where neither can call their time their own. Nathan is a rock star, one who is subjected to groupies who are after him all the time, including his own press agent, Diane. In order to fill time while he was touring, Mallory auditioned for-and earned-a spot on a local soap opera. Nathan isn't happy about that nor the fact that Mallory is using her maiden name while working.

When making love, the connection between Mallory and Nathan is exactly right-but when sex isn't involved, they seem to fight constantly. Add in the fact that Nathans press agent and Mallorys boss are conspiring against them and you have all the ingredients for a broken marriage.

I liked Mallory, although given her situation, her insecurities seemed a bit excessive. And Nathan had his own moments when he needed a head slap, but overall, he was a likeable character. Even the bad guys refused to stay totally bad.

When this book first came out, this author was one of the few mainstream authors who went into great detail about the sex scenes, especially oral sex. Some euphemisms find their way in, but overall, this author led the way for other authors to become more explicit. The scenes still sizzle all these years later.

A highly recommended read.

Review copy provided for an honest review.
3591757
Even though this is a remake The plot remains essentially the same. Arthur is a cheery wastrel whose wealthy family (here represented by an icy Geraldine James) wishes him to marry a suitable young lady (the effortlessly warm Jennifer Garner, seriously miscast as a gold-digging, status-seeking, nymphomaniac bitch  a far cry from the boring bride-to-be in the 1981 original).
Arthur goes along with this to keep his fortune, but then meets the love of his life  in the old movie, a tough-talking waitress played by Liza Minnelli, but here a whimsical tour-guide and wannabe childrens author, played ineffectually by Greta Gerwig.
I really love this movie, its mindless fun to watch with friends, not really suitable for children though, so don't plan on this one being a family movie.
1566442
Funny, touching, quirky, and romantic!

This is a classic friends-to-more romance that pays homage to all those 80s movies we love and can't get enough of.

The writing is well done. The characters are lovable, cute, and genuine. And the plot flows nicely, has just the right amount of drama, with a side of movie trivia, that will keep you engaged until the last page.

I really enjoyed this book and I highly recommend it.

And between you-and-I, I always secretly hoped that one day I would be sitting on a dining room table, and Jake Ryan (Michael Schoeffling) would give me a birthday cake and ask me to make a wish!
2008831
I'm a bit mystified by some previous comments about this film being "dated" -- it's certainly of its time, but that's one of its many strengths. Period films set in the Middle Ages had a particularly authentic look & flavor when made in the late 1960s/early 1970s, a certain grimy reality made all the more pointed by the 60s/70s tone of the filmmakers. It was an ideal allegorical window for not only examining the ignorance & fanaticism of the past in scathingly satirical detail, but an equally ideal way of commenting on the present as well. Because of course everything that the film says about religious intolerance, political squabbling, greed, bigotry, the love of power, the abuse of the poor & helpless, anti-intellectualism -- in short, every aspect of humanity at its worst -- is just as applicable to the present day. Some might even say more so.

Having said that, let me add that it works just as superbly as a faithful retelling of the classic tale, without any pandering to the audience or a false happy ending. Donovan, who wrote the music & songs as well as playing the titular character, is good in his role -- his fey, otherworldly persona suits that of the Piper to perfection. And he's ably surrounded by fine actors: in particular, a very young John Hurt, playing a nasty & vicious young German nobleman; Donald Pleasance as his father, obsessed with building a great cathedral to ensure safe passage into Heaven; and Michael Hordern as the Jewish doctor/alchemist, the wisest & most sensible man in Hamelin, who pays a terrible price for being humane & decent.

It seems to me that director Jacques Demy was influenced more than a little by Ingmar Bergman -- as in "The Seventh Seal", there's a traveling family of players, in many ways the POV characters for the audience; and the atmosphere of constant paranoia, dread, and looming despair is quite similar. There's also a strain of dark humor that emerges at unexpected times, adding to the ominous tone. And all of this without any CGI or inhumanly sculpted bodies in slo-mo! It's a film that really deserves to be much better known -- most highly recommended!
4054168
4 stars for being classic old hollywood and starring a couple A listers. The plot is quaint by today's standards but it's a hoot to see them ride the bus all night to get from Miami to Gainesville :) Funny, it just occurred to me that Clark Gable and Sean Connery share that same quality of dopey masculinity. And Claudette Colbert certainly has star power. A nice light weight rom-com with a very suggestive final scene.
1439700
Originally released as KISS FOR CORLISS, this 1949 coda of Temple's silver screen performances again finds Corliss Archer (Shirley Temple) with a crush on an older man. She secretly confesses to her diary an imagined relationship with wealthy, though frequently married, Kenneth Marquis (David Niven), 20 years her senior. Out of spite for a despised Mr. Archer, attorney for his last wife, Marquis confirms the story after Corliss's parents discover the diary. Wedding plans ensue. This leads to a public scandal and jealous true boyfriend, Dexter Franklin (Darryl Hickman).

It seems the only roles offered to teenage Temple were ones where she nurtured affections for mature men. (<a data-hook="product-link-linked" class="a-link-normal" href="/THE-BACHELOR-AND-THE-BOBBY-SOXER/dp/B0001WTWRY/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">THE BACHELOR AND THE BOBBY-SOXER</a>, 1947;&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/I-LL-BE-SEEING-YOU/dp/B0002KPHXI/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">I'LL BE SEEING YOU</a>, 1945) Though she likely wanted to play more womanly parts, from her youth she was type cast as a precocious girl. The quality of this delightful B+W film is surprisingly poor (fair w/o digital restoration) considering it is the treasured climax of Temple theater. This was a wonderful vehicle for prolific child-star Hickman's unbridled antics which were much more subdued in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/LEAVE-HER-TO-HEAVEN/dp/B00074DY0M/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">LEAVE HER TO HEAVEN</a>&nbsp;(1945) and too brief in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/THE-STRANGE-LOVE-OF-MARTHA-IVERS/dp/B000ANVPVU/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">THE STRANGE LOVE OF MARTHA IVERS</a>&nbsp;(1946). Though some of the acting may be a bit exaggerated, ALMOST A BRIDE is an enjoyable comedy for the entire family.

Movie quote: "Oh, and if the indignity of taking money from Daddy Dear ever becomes too great to bear, don't hesitate to call on me."
929684
I hate to call things "classic" because the phrase is overused but Princess Bride qualifies. As old as it is, it's not dated and it remains one of the greatest gentle comedic romance fantasies ever made. The entire cast is marvelous, the script is charming and cracks along nicely, the visuals are sometimes great, sometimes good enough. For those who've only read the book, it's been cropped heavily and some of the framing story has been changed but nothing really affects the overall success of the movie. It appeals to several generations too: watch it with grandma.
798043
This is Jo Manning's 2001 spin-off from/sequel to&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/The-Reluctant-Guardian-Signet-Regency-Romance-InterMix/dp/B007P7I2X8/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">The Reluctant Guardian: Signet Regency Romance (InterMix)</a>.  IMO, it's one of the best "traditional" or old-school Regencies around, with well-developed characters, splendid writing, well-researched period, and a less-traditional plotline to make it more interesting.  This takes the cast-off lover of the hero of the first book and turns her into the protagonist of this one.

Lady Sophia Rowley, twice widowed and now the wife of an elderly, ailing baron, had left him and their two young sons in Yorkshire to live the fun life in London.  She has had several lovers and had been hoping to become the wife of her latest one when her ailing husband dies.

But this is not to be.  Her lover dumps her for another woman.  Then her husband dies.  Now she's moving back to Yorkshire to lick her wounds, so to speak.  She hadn't been likeable up to this point, but everybody has a story, a reason they're the way they are, and author Manning lets us in on details of Sophia's past and also gives her a chance to redeem herself.  It's really quite a lovely story.

Of course I haven't yet mentioned that "man of God".  The young, handsome, devout vicar of the neighborhood church has been named guardian of Sophia's two young sons.  Oh, now you know what's going to happen.  But, in spite of the predictability and inevitability of the romance, it's well developed, funny at times, romantic, with some sad and some heart-warming moments.  (For funny, you've just got to read the first meeting between Sophia and the vicar.)

The writing is excellent.  The research into the period superb.  It's truly one of the best traditional Regencies I've read.
1806617
If you're not into older "vintage" TV series of the late 50's and 60's, you probably won't be buying Steve Canyon anytime soon.  But I  honestly think you'll be missing out.  Out on what?  A very interesting, well thought-out script and story line episodic series...with great 'vintage' clips (file and allegedly purposely shot for this USAF sanctioned series) of USAF aircraft, period bases and service life along with a revealing glimpse into what made the Air Force so great in it's heady, post WWII early days as a fledgling, but rapidly growing autonomous service.  Well...at least that's how it hits me.  Great stuff. Dean Fredericks as Lt Col Steve Canyon on special TDY/mission taskings by Dept of Air Force/HQ is 'perfect' in this role and amazingly looks just like the Steve Canyon in Milton Caniff's original comic strips.  Amazing likeness and 'believe-ability".  Each story is different (supposedly based on an actual USAF project or event), and the video and audio quality is surprisingly good.  I also liked the period TV commercials (from subsequent re-runs on different network).  A nostalgia trip for me?  Perhaps. I remember this series from when I was a single digit punkster.  But I find the look back into "the way it was" during the beginnings of the Cold War and prior to the roaring 60's and Vietnam Era most entertaining, enlightening and enjoyable.  So enjoy for yourself too!
2050548
This is a good version of the classic and is based on Billy Wilder's screenplay. However, even though the Instant Video Rental is advertised here as the 1957 film with Tyrone Power and Marlene Dietrich that I watched as a kid, it is actually the made-for-TV version released in 1982. I wish Amazon would get this right and not mislead users with the wrong poster/cover image, wrong cast, and wrong date. Luckily, as a Prime member, I didn't have to pay for watching the wrong version. That said, it is still a very good version. Ralph Richardson is great as Sir Wilfred. Diana Riggs is a decent Christine Vole. Beau Bridges is okay as Leonard Vole. And it is Agatha Christie after all. Check out IMDB to learn more about the 1982 TV version.
305162
As I read through the first chapter of this story something kept tugging at me like an old friend trying to get you to reminisce about an event that you can't quite remember. Suddenly it came to me that it's the dialog that is familiar. This is the type of rapid-fire dialog of Howard Hawks' His Girl Friday, between Cary Grant and Rosalind Russell, or Cary Grant and Katharine Hepburn in George Cukor's The Philadelphia Story.

Then, there are the characters, Sam, who could easily transition into Philip Marlowe. I can also imagine Ally telling Sam, "You know Steve [Sam], you're not very hard to figure, only at times. Sometimes I know exactly what you're going to say. Most of the time. The other times... the other times, you're just a stinker." I'm not certain if Ms. Darling intended to tip her hat to the classic movies, but that's how it worked for me, and I loved it.

Sam, who has what he believes is a fool-proof plan for having relationships with girls that keeps him desired, yet detached, is handed the perfect opportunity to make his best friend in his image. The fact that his best friend is female is just icing on the cake. A female who thinks with her libido, rather than her heart--Wow! Ally, recently dumped and feeling it, has come to the conclusion that Sam's plan can benefit her in oh, so many ways! The quest is a perfect story of the "game" of love involving the back and forth between a couple until they eventually end up on the same page--a place that only they did not see in advance.

Guys will identify with the timeless question, "Why can't girls be more like guys?" Girls will identify with Ally's quest to answer that question for herself. All will recognize the search for identity that is universal. Some, like me, will be able to ignore the updated language and settings and be drawn back into the world of the 30s & 40s classic movies. Intentional or not, this book lends itself well to the big screen. Are you writing the screenplay now, Ms. Darling? You should.

Speaking of the updated language and settings, assuming this book comes to the attention of just the right "keeper of our morals," it will of course be banned in the U.S. That is not a bad thing for two reasons: 1) It will be in excellent company, and 2) It will then be read and enjoyed by many more teens who may have not noticed it originally.
2455185
"The Gun in Betty Lou's Handbag" falls under the same category as other beloved late 80's/early-90's films put out by Touchstone Pictures such as "Adventures in Babysitting" or "Don't Tell Mom the Babysitter's Dead."  Certainly not enduring works of cinematic brilliance to be studied by film students forever, but charming little films that hold a ton of entertainment value nonetheless.  Not to mention these films also serve as windows into what life was like in the late 80's and early 90's, a much more innocent and light-hearted time in American pop culture.  Penelope Ann Miller is delightful in the title role.  And the supporting cast is brilliant as well.  Eric Thal plays her less-than-appreciative cop husband who will mend his ways by the end of the film.  Ray McKinnon is the cop sidekick who reassures Betty Lou's husband that Betty Lou will definitely learn plenty from a night behind bars and that his own wife Joan could use the same.  Julianne Moore plays Betty Lou's kooky sister.  Cathy Moriarty is brilliant as the hooker Betty Lou meets in prison.  And Alfre Woodard delivers a delightfully comic turn as Betty Lou's novice attorney.  The violent scenes are a little heavy-handed, but I think it serves the plot well as it shows just how much trouble Betty Lou stirs up for herself and the people she cares about.  Overall, just a great, feel-good, early 90's comedy that definitely rewards repeated viewings.
1396020
It from the era when Wonder Woman gave up her powers and lived as a mortal. The production values are very low(this being 1970's television),but the story is engaging and the plotting well done for the era.

Wonder Woman is presented as in a very 1970's way that unlike early Lynda Carter episodes does not hit you over the head constantly with feminist platitudes but instead portrays women as compassionate yet capable. Gone here is the classic bustier,replaced with a blue zip-front tunic over red leggings,and a large gold belt with built-in grappling hook (bracelets do something too but cannot remeber what).

Ricardo Montalban is the villan here,another amazon is helping him.

This is far better than 65% of Lynda Carter series(which tended towards insipid pap),but is very different from the Wonder Woman most are familiar with. Keep an open mind and you may enjoy this!