Hottoceame The Age of Commercialism

Sexyloutak Absolutely the worst movie.

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

bkoganbing This short subject film chronicles the last day in the life of General Thomas Jonathan Jackson better known as Stonewall. The fate of the southern cause may very well have died with him that day in Chancellorsville in 1863.He got the nickname of Stonewall at that first major battle of the Civil War, Bull Run. So named because the brigade he commanded stood against the charging Union army and turned it back. But his finest hour was Chancellorsville.Jackson was a man of deep religious faith who never doubted the rightness of his cause. That's usually the problem with those who think God is on their side, there were some folks like Oliver O. Howard on the Union side who prayed as much for their troops as Jackson is shown here.That he was a military genius is unmistakable. He devises the strategy with Robert E. Lee which brings victory at Chancellorsville which you will see here in Under Southern Stars. Fritz Lieber is impressive as Jackson as is Pierre Watkin as Robert E. Lee. A pair of young lovers played by Fred Lawrence and Jane Bryan get more in the way of the main story, attractive though they are.A nice thumbnail history of Chancellorsville.

Michael_Elliott Under Southern Stars (1937) ** 1/2 (out of 4)Mildly entertaining, if rather confused docu-drama about "Stonewall" Jackson (Fritz Leiber) and his final battle, which cost him his life. The film also centers on a young man in love with his daughter who must prove that he has no more feelings for the North, which is where he comes from. This is a pretty strange film because the thing is all over the map in terms of one trying to understand what it's trying to do. We start off with what appears to be a musical because we have some fancy singing at a party. Things then take a turn when the "hero" General Lee shows up and a battle is going to follow. We then learn that Stonewall has a great sense of humor. We then see the battle finally happened but Stonewall is injured. Things switch again back to the good singer who just happens to need to prove himself to the dying man. The movie never knows if it wants to focus on the war, the young man or Stonewall. On that level the movie is all over the place but the production values are high enough to keep on entertained throughout the 16-minute running time. The performances are pretty good as are the brief battle scenes. The music isn't too bad either but it's the beautiful Technicolor that steals the film.

Christopher jones In an age when the appearance of the confederate battle flag is offensive to so many, it follows that a film glorifying the Confederate cause and its leaders may one day merit a viewer advisory. If not that, then maybe an advisory for the unquestionably 1930's sounding song performed at the film's opening. What were they thinking? Thank heavens there was no Busby Berkely number at the opening of Gone with The Wind!Aside from the above, this is a splendid example of Technicolor; a process that I wish would be revived. The startling saturation of color might liven up some of today's 'dogs.' Civil War buffs will certainly find authentic-looking costumes and the portrayal of Generals Lee and Jackson more than a little interesting. In many regards it is more convincing than Selznick's 1939 masterpiece.

max von meyerling A really dopey and inappropriate title song crooned by a tenor and a sappy and perfunctory love story have been tacked on to this tale of the death of Confederate General Thomas 'Stonewall' Jackson. However it does have unexpected moments of power and sentiment very much in the D.W. Griifith tradition. Strong words indeed for what is a Warner's short subject used mainly to show off the three strip Technicolor process and train technicians in its use. There are shots of General Lee with his artillery battery with the land dropping off and rising up beyond that seems very much a Griffisonian composition and the handing of Jackson on his deathbed wallows in exactly the type of emotionalism that Griffith openly courted. The Turner Classic copy runs at only 16 1/2 minutes and there seems to be a somewhat jarring cut after Jackson dies but whether this is responsible for the short running time or it is mislisted is a subject for further research.