Rating: 
Summary: Thriller with a First-Rate Cast
Review: When the film was made almost a quarter century ago, the concept of "cloning" was the stuff of science fiction, as far as the general public was concerned. However, with the recent developments in the area making headlines worldwide, the idea is not reserved to the imagination. Therefore, the basic premise of Hitler authorizing his own cloning doesn't seem as farfetched as it may have been. Hey, the Germans have given the world the Volkswagen; thus, their scientists could have possibly been working on the cloning process prior and during World War II.Regardless, the film features excellent work from stars Peck, Olivier, and Mason. Peck went against type by portraying Josef Mengele as a crafty, calculating, and ultimately evil scientist who would go to any length to preserve the Third Reich. Olivier, as the Nazi hunter Lieberman, displays his versatility with accents by doning a very believable Jewish brogue. Mason shows his usual cool as a Nazi hesitant but forced to support the machinations of Mengele. But, the film has an outstanding group of supporting players whose on-screen time may be brief but is memorable. Uta Hagen as an imprisoned Nazi nurse is captivating; stage veteran Rosemary Harris stands out as the widow of one of Mengele's victims; A young Steve Guttenburg shines as a Nazi hunter; and comedy team member Anne Meara (sans her husband) is great as another "mother" of a Hitler clone. But, it is Jeremy Black, a young actor who seems to have drifted into obscurity since the release of this motion picture, who is impressive as four of the "boys." Oh, yeah, the great Michael Gough is "hanging around" in this one, too! Look fast and you will see Prunella Scales from "Fawlty Towers" as Gough's wife.
Rating:
Summary: Thriller with a First-Rate Cast
Review: When the film was made almost a quarter century ago, the concept of "cloning" was the stuff of science fiction, as far as the general public was concerned. However, with the recent developments in the area making headlines worldwide, the idea is not reserved to the imagination. Therefore, the basic premise of Hitler authorizing his own cloning doesn't seem as farfetched as it may have been. Hey, the Germans have given the world the Volkswagen; thus, their scientists could have possibly been working on the cloning process prior and during World War II. Regardless, the film features excellent work from stars Peck, Olivier, and Mason. Peck went against type by portraying Josef Mengele as a crafty, calculating, and ultimately evil scientist who would go to any length to preserve the Third Reich. Olivier, as the Nazi hunter Lieberman, displays his versatility with accents by doning a very believable Jewish brogue. Mason shows his usual cool as a Nazi hesitant but forced to support the machinations of Mengele. But, the film has an outstanding group of supporting players whose on-screen time may be brief but is memorable. Uta Hagen as an imprisoned Nazi nurse is captivating; stage veteran Rosemary Harris stands out as the widow of one of Mengele's victims; A young Steve Guttenburg shines as a Nazi hunter; and comedy team member Anne Meara (sans her husband) is great as another "mother" of a Hitler clone. But, it is Jeremy Black, a young actor who seems to have drifted into obscurity since the release of this motion picture, who is impressive as four of the "boys." Oh, yeah, the great Michael Gough is "hanging around" in this one, too! Look fast and you will see Prunella Scales from "Fawlty Towers" as Gough's wife.
Rating:
Summary: chilling prospect in light of recent cloning advances
Review: When this film was released, science could at best clone a frog's egg, and that was about it... but now that cloning mammals seems to be a piece of cake, it can make you queasy when you see this film. The premise is that surviving Nazi's save some of Hitler's DNA for cloning. Knowing that it's a mixture of nature and nurture that makes a person who he his, they make several copies and distribute them around the world, putting them in family situations that best mimic the childhood that Hitler had as a child. As the aging Jewish Nazi hunter, Sir Lawrence Olivier travels the world and is stunned to see what on the surface seems to be the same identical young boy in different countries, speaking different languages. Jet black, straight hair, blue eye, smart mouth. The child they got to play this part is nothing short of remarkable. I'm sad to hear that the DVD version of this film was such a disaster. I was hoping to pick up a copy, but I'll hold out for a collector's edition if they ever come out with one. Gregory Peck is flawless in his performance of the evil Dr. Mengele bent on raising a race of little Hitlers. An interesting concept that is even more realistic in light of today's scientific advances in cloning. Definitely worth watching.
Rating:
Summary: THE JOY OF FINE ACTING
Review: Who cares if Gregory Peck and Laurence Olivier overact in this stylish adaptation of Ira Levin's novel? These men are such great actors that they deserve it..and is it really overacting, or merely a supreme transition into some pretty flamboyant characters. Peck plays Josef Mengele, the heinous surgeon of the Third Reich, who has concocted a scheme to resurrect Hitler in the form of 94 little boys, cloned from genes from the notorious Adolf. Peck's final scene in the farmhouse in Pennyslvania is chilling, as he pleads with the little boy to fulfill his destiny. Olivier, who was ill during the filming, seems like a tired old man, but still with the energy to confront Mengele on his own terms. Watching stars of this caliber in any kind of film only shows their immense talents.
Steve Guttenberg in one of his earliest roles plays a young man whose nosiness nets him tragedy; Uta Hagen is riveting in a brief role as the adoption negotiator; Lilli Palmer is wonderful as Olivier's sister/partner; James Mason is stoically demonic as a fellow Nazi; and Jeremy Black as the four little boys possesses the same kind of evil as the children in the 'Village of the Damned'.
The recently departed Jerry Goldsmith contributes a marvelous score, and Franklin J. Schaffner's direction is terse and professional.
Not as campy as some have made it seem..it's a disturbing and timely examination of the cloning controversy.
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