Rating: 
Summary: Devil of a Cast
Review: A One of a kind film experience. Walter Huston( Mr. Scratch) goes up against the great Daniel Webster to save the soul of Jabez Stone( James Craig).A peerless performance by Mr. Huston, matched by Arnold all the way.Its possibly like "Our Town" gone wrong. It all takes place in ol New Hampshire and the verdict is in by the sunrise of the Midnight Court presided over by H.B. Warner. Wonderful vignettes by Simone Simon, John Qualen and Jane Darwell. ........."and dont ever step foot in New Hampshire again" Is it possible that Bernard Herrmann only won one Oscar for a film score and this is it? His last " Taxi Driver"
Rating: 
Summary: The Lost Formula For A Good Movie
Review: Actually this black and white movie combines drama, suspense, comedy, dramatic irony, and harsh realities better than most people seem able to do these days. We can easily sympathize with Javis when EVERYTHING starts going wrong. What I find striking is that the devil's evil is prevalent, but he is very likable. It is clear that the devil TEMPTS BUT DOES NOT FORCE Javis onto the path of degeneration. Also, the devil never actually lies either. Javis' life starts to crumble and he rebukes the devil for broken promises; but the devil did not actually lie: "I promised you money and all that money could buy. I don't recall any further obligations." Even when the lady devil Belle comes on the scene, it is clear that she tempts Javis, but does not force him into cheating on his wife. Javis' mother and wife are memorable as the characters who are not moved by wealth and riches. (They help to remind us of what Javis was before everything started.) Stevens is a real complex character. Right away we can see that he has done the same thing Javis has; his bad nature makes the recently mislead Javis look good; yet Stevens starts to regret his actions; as bad as Stevens was at first, Javis starts to make him look good; and before he meets his tragic doom, he warns Javis to think seriously of what he's falling into. Webster is very memorable. Throughout the movie, we see him as a sign of benevolence. When Javis has nowhere to turn, Webster rises to help him. The author did a great job of creating the midnight trial. At first, it looks impossible; later, we can see that the devil made a mistake; it must have made him feel secure to have damned jurors who would have little if any sympathy for Javis; but the sharp Webster was able to make the jurors see how they were mislead as Javis was; we can then see that the jurors don't want Javis to be doomed the way they were. The images are done well, and the effects are excellent.
Rating:
Summary: Proof that nothing comes free.
Review: Although this movie differs from the original short story to some degree, this movie provides a visual for how Daniel Webster could possibly defend a man who knew the consequence, clearly signed away his soul. When I first read the story, Webster's defense just went over my head. I culdn't have depicted it better than this movie had.
Rating:
Summary: Enjoyable Movie
Review: An unjustly underrated film. Few movies I have seen are as visually impresive and verbally moving as "The Devil and Daniel Webster." Walter Huston's representation of the Devil is definitive. He's charming and sly to the naked eye, but pure evil at heart. I think the real Devil would have applauded. Edward Arnold is equally impresive as Daniel Webster. The Faust legend always makes for a good story, and this is the best use i've ever sen the legend put to. This movie is a pleasure. P.S. Warning: The end will give you goosebumps.
Rating:
Summary: Resurrection of a True Classic
Review: Criterion's release of this film is a true resurrection of an American classic in that, prior to it's release on Laserdisc by this company, this film was only shown in an eviscerated version that was about (as I recall) 15-20 minutes shorter than the current version. This movie has been restored using elements found in locations around the world. It has a slightly "stitched together" appearance but the elements that have been restored to the print add to the depth and pace of the story, which is a distinctly American variation on the "Faust" theme. Bruce Eder's commentary tells of the film's rather tortured history: it's Orson Welles connections, the problem of having to recast the title character when Thomas Mitchell, the original Daniel, was injured in an on-set accident, and the fact that, once the film was "in the can," RKO did not know what to do with it. Criterion really knows what film enthusiasts want on a secondary soundtrack. By the way, much praise has rightly been bestowed upon Walter Huston's "Mr. Scratch," but I feel that I must say that Edward Arnold's "Daniel Webster" was the performance of his career by this distinguished actor.
Rating: 
Summary: Great film, bad soundtrack
Review: Finally the complete film in a 35mm transfer, but... What was once a glorious sound track with a major
Bernard Herrmann score has been ruined by filtration
and badly judged noise reduction.
Rating:
Summary: STORY TELLING AT ITS GREATEST
Review: Great "Saturday afternoon" movie to sit back, watch and enjoy. For both young and old.
Rating:
Summary: Daniel Webster runs Devil out on a rail!
Review: If you are ever tempted to sell your soul to the devil, best watch this movie first. Devil, he don't play fair--never has, never will. If you still insist on selling though, better locate a Daniel Webster first, just in case. Pay careful attention to the selection of the jury when your case comes up. Very enjoyable movie but it leaves you thinking, what if?
Rating:
Summary: What Doth It Profit a Man...?
Review: If you could summon old Beelzebub up from the pits of Hell and trade your soul for seven or so years of wealth and good luck, would you do it? And if you DID do it but later had second thoughts, would you have any course of redress? These are the questions that--on the surface, at least--are explored in the 1941 cinematic masterpiece THE DEVIL AND DANIEL WEBSTER (originally released as ALL THAT MONEY CAN BUY and shown to preview audiences as HERE IS A MAN). Based on the popular 1937 short story by Stephen Vincent Benét, THE DEVIL AND DANIEL WEBSTER extends far beyond the scope of its source material to become more than just a facet of the legend of larger-than-life U.S. 19th-century American statesman and orator Daniel Webster. The film is actually a satire of Depression-era perceptions of unfettered capitalism and moneylender institutions like banks, mortgage companies, and pawnbrokers, and it even manages to take a few jabs at blind patriotism and the idealistic American conception of personal freedom. The character of Webster, though important to the plot, is ancillary to the film's overall Populist message. The movie covers a slice from the life of one Jabez Stone (James Craig), a mid-19th-century New Hampshire farmer who seemingly has no respite from his perpetual run of bad luck. Under the shadow of the impending foreclosure on his farm, Jabez enters into a Faustian agreement with a certain "Mr. Scratch" (Walter Huston), who promises the farmer seven years of good luck and prosperity in exchange for his soul. Jabez takes to his newfound wealth like a fish to water, and it isn't long before his lifestyle and behavior mirrors that of the greedy moneylenders he once so despised. But as the end of his 7-year contract draws nigh, he starts to worry about his ultimate fate. When his wife, Mary (Anne Shirley), senses that something evil is tormenting her husband, she appeals to the famous statesman and lawyer Daniel Webster (Edward Arnold) for help. Always willing to assist a fellow New Englander, Webster rises to the occasion and engages Mr. Scratch vis-à-vis in the most hellish court of law ever assembled. But can Daniel Webster save Jabez from eternal damnation, or has the great agrarian champion and statesman finally met his match? Excellent performances from the cast, especially the great Walter Huston's portrayal of Mr. Scratch and Edward Arnold's depiction of Daniel Webster; beautiful cinematography, which includes a combination of new, groundbreaking camera techniques with lighting styles that hearken back to German Expressionist cinema; clever, stylish special FX that still stand up well, even against today's CGI stuff; a fantastic musical score that includes elements of Americana folk music and experimental electronic techniques; and a well written script all serve to elevate THE DEVIL AND DANIEL WEBSTER to the level of a minor masterpiece. Yet despite this fact, the film was an unfortunate box-office flop during its initial release. Part of this failure was due to bad timing. CITIZEN KANE (1941) was released only a few months before, and the hype and controversy generated by Orson Welles' magnum opus pushed many other great films to the background. In addition, the film was simply ahead of its time. The subtle left-wing subtext, the sometimes enigmatic depiction of the supernatural, the strange lighting, and the obvious allusions to blasphemy and infidelity were not as common in that era as today, and critical reviews of the era indicate that THE DEVIL AND DANIEL WEBSTER's literate script was over the heads of the average moviegoer in 1941. Nonetheless, Walter Huston was nominated for an Oscar for his portrayal of the bedeviling Mr. Scratch, and though he didn't win, the film DID beat out CITIZEN KANE in the category of best musical score. (Film buffs might be interested in the following bits of trivia: Both CITIZEN KANE and THE DEVIL AND DANIEL WEBSTER were scored by Bernard Herrmann, so he was competing against himself for the 1941 Oscar. Herrmann also later scored Hitchcock's VERTIGO (1958) and PSYCHO (1960), as well as numerous other films and TV shows. The film editor on THE DEVIL AND DANIEL WEBSTER was Robert Wise, who would later go on to direct genre greats like THE DAY THE EARTH STOOD STILL (1951), THE HAUNTING (1963), and THE ANDROMEDA STRAIN (1971), among others. And more recently, this film was also parodied in an episode of TV's THE SIMPSONS entitled "The Devil and Homer Simpson.") In later years, the film was heavily cut for re-release, and this butchery pared the original 106-minute running time down to approximately 84 minutes. Of course, that much loss of screen time made the film's plot confusing and vague, and THE DEVIL AND DANIEL WEBSTER never received the appreciation it deserved. But now, thanks to the wonderful Criterion Collection release, contemporary audiences can see the film as the filmmakers intended. Cut elements, many of which were once thought to be lost, have been replaced and the film cleaned up as much as possible, and this restored version is what is now available via DVD. Some minor wear is still noticeable, but overall the DVD transfer is beautiful. Extras include a fascinating commentary from film historian Bruce Eder and composer Bernard Herrmann's biographer Steven C. Smith, actor Alec Baldwi's cool reading of Benét's original short story, old-tyme radio dramatizations of the story, and much more! This is a disc that all lovers of great classic films or fans of older, milder horror films should add to their collections.
Rating:
Summary: What Doth It Profit a Man...?
Review: If you could summon old Beelzebub up from the pits of Hell and trade your soul for seven or so years of wealth and good luck, would you do it? And if you DID do it but later had second thoughts, would you have any course of redress? These are the questions that--on the surface, at least--are explored in the 1941 cinematic masterpiece THE DEVIL AND DANIEL WEBSTER (originally released as ALL THAT MONEY CAN BUY and shown to preview audiences as HERE IS A MAN). Based on the popular 1937 short story by Stephen Vincent Benét, THE DEVIL AND DANIEL WEBSTER extends far beyond the scope of its source material to become more than just a facet of the legend of larger-than-life U.S. 19th-century American statesman and orator Daniel Webster. The film is actually a satire of Depression-era perceptions of unfettered capitalism and moneylender institutions like banks, mortgage companies, and pawnbrokers, and it even manages to take a few jabs at blind patriotism and the idealistic American conception of personal freedom. The character of Webster, though important to the plot, is ancillary to the film's overall Populist message. The movie covers a slice from the life of one Jabez Stone (James Craig), a mid-19th-century New Hampshire farmer who seemingly has no respite from his perpetual run of bad luck. Under the shadow of the impending foreclosure on his farm, Jabez enters into a Faustian agreement with a certain "Mr. Scratch" (Walter Huston), who promises the farmer seven years of good luck and prosperity in exchange for his soul. Jabez takes to his newfound wealth like a fish to water, and it isn't long before his lifestyle and behavior mirrors that of the greedy moneylenders he once so despised. But as the end of his 7-year contract draws nigh, he starts to worry about his ultimate fate. When his wife, Mary (Anne Shirley), senses that something evil is tormenting her husband, she appeals to the famous statesman and lawyer Daniel Webster (Edward Arnold) for help. Always willing to assist a fellow New Englander, Webster rises to the occasion and engages Mr. Scratch vis-à -vis in the most hellish court of law ever assembled. But can Daniel Webster save Jabez from eternal damnation, or has the great agrarian champion and statesman finally met his match? Excellent performances from the cast, especially the great Walter Huston's portrayal of Mr. Scratch and Edward Arnold's depiction of Daniel Webster; beautiful cinematography, which includes a combination of new, groundbreaking camera techniques with lighting styles that hearken back to German Expressionist cinema; clever, stylish special FX that still stand up well, even against today's CGI stuff; a fantastic musical score that includes elements of Americana folk music and experimental electronic techniques; and a well written script all serve to elevate THE DEVIL AND DANIEL WEBSTER to the level of a minor masterpiece. Yet despite this fact, the film was an unfortunate box-office flop during its initial release. Part of this failure was due to bad timing. CITIZEN KANE (1941) was released only a few months before, and the hype and controversy generated by Orson Welles' magnum opus pushed many other great films to the background. In addition, the film was simply ahead of its time. The subtle left-wing subtext, the sometimes enigmatic depiction of the supernatural, the strange lighting, and the obvious allusions to blasphemy and infidelity were not as common in that era as today, and critical reviews of the era indicate that THE DEVIL AND DANIEL WEBSTER's literate script was over the heads of the average moviegoer in 1941. Nonetheless, Walter Huston was nominated for an Oscar for his portrayal of the bedeviling Mr. Scratch, and though he didn't win, the film DID beat out CITIZEN KANE in the category of best musical score. (Film buffs might be interested in the following bits of trivia: Both CITIZEN KANE and THE DEVIL AND DANIEL WEBSTER were scored by Bernard Herrmann, so he was competing against himself for the 1941 Oscar. Herrmann also later scored Hitchcock's VERTIGO (1958) and PSYCHO (1960), as well as numerous other films and TV shows. The film editor on THE DEVIL AND DANIEL WEBSTER was Robert Wise, who would later go on to direct genre greats like THE DAY THE EARTH STOOD STILL (1951), THE HAUNTING (1963), and THE ANDROMEDA STRAIN (1971), among others. And more recently, this film was also parodied in an episode of TV's THE SIMPSONS entitled "The Devil and Homer Simpson.") In later years, the film was heavily cut for re-release, and this butchery pared the original 106-minute running time down to approximately 84 minutes. Of course, that much loss of screen time made the film's plot confusing and vague, and THE DEVIL AND DANIEL WEBSTER never received the appreciation it deserved. But now, thanks to the wonderful Criterion Collection release, contemporary audiences can see the film as the filmmakers intended. Cut elements, many of which were once thought to be lost, have been replaced and the film cleaned up as much as possible, and this restored version is what is now available via DVD. Some minor wear is still noticeable, but overall the DVD transfer is beautiful. Extras include a fascinating commentary from film historian Bruce Eder and composer Bernard Herrmann's biographer Steven C. Smith, actor Alec Baldwi's cool reading of Benét's original short story, old-tyme radio dramatizations of the story, and much more! This is a disc that all lovers of great classic films or fans of older, milder horror films should add to their collections.
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