We forget our roots and the origins of others but this film will nicely remind you of the beginning of may Americans and how they came to this land of the free. First of all one must dream of something greater and for tens of millions of people America was that dream. This is nicely portrayed in this movie as we focus on one family and its one family member that caught the liberty and freedom gene and never let go no matter what came to take it. Today, 3 generations of Americans have forgotten what a privilege it is to be born here and to come here because they are here and have forgotten the contrast which keeps you humble and appreciative for what we tend to take for granted every day. There are a few poignant scenes that will excite emotions as well as a satisfying ending bringing closure to the point made in the movie. Get to America at all costs because whatever it cost is worth it if only everyone could see and have this. Many who came here were so overwhelmed with the experience (for the good) that all they could say or think of was I want all of family back home, wherever that was, to come here and see for yourself. The movie covers that too. We also learn that without passion, life is cheapened and with passion, life has meaning. Next time you go for a burger and fries, or to a movie or a park, give a moment to where you are and why and how beautiful it is to not only be here but to have that "here" in your heart. Good movie for sunflower or pumpkin seeds munching with a tasty drink. Sandwich works too. Take note of America's nick-name: Oh beautiful

While I am not sure I'd consider this to be Elia Kazan's best film, it certainly ranks up there with his best--which is saying a lot considering he's the same guy who brought us "On The Waterfront", "A Streetcar Named Desire" and "Rebel Without a Cause". As for Kazan himself, this was his favorite film as it's the story of his uncle--a man who busted his butt to get himself to America around the turn of the century.When the movie begins, Kazan himself narrates and explains that the story is about the man who is responsible for him and his family immigrating to the US. His story begins in Turkey. It's around the time in history when the Turks were about to wipe out most of the Armenians--and things for other minorities in their land (in this case, the Greeks) weren't very good either. So, a family decides to send their oldest son, Stavros (Stathis Giallelis), to Constantiople to earn his fortune--and to be able to afford to eventually bring them all to America...and freedom. Stavros is a very, very determined man...but also quite naive. Again and again, he's used by people and left with nothing. But, he's an amazingly resilient guy and soon he's willing to do just about anything to make the money he needs to take the ship to America.While the story is rather simple, it's handled exquisitely. You can really tell that it's a labor of love, as the story unfolds very slowly and patiently. This is NOT a complaint-just a statement about the writer/director's style in the movie. It's really great what he was able to achieve with mostly inexperienced actors and non-actors. Perhaps Giallelis' performance is a bit too quiet and even stilted...but it is hard to imagine that he wasn't even an actor! Overall, it's a beautiful tale--and one of the most American of movies because it tells a story of immigration that most of us in the US can relate to. Even though my family was not Greek, so much of the rest of the film is pretty typical of what other poor families like my own probably went through on their way to a new land. Well worth seeing and a nice history lesson.

Reading the rave reviews here, I feel a bit like the boy in the Emperor's New Clothes, but ARE YOU KIDDING ME? I found this movie almost unwatchable. I really don't understand the cult of Kazan -- I wonder if sometimes he doesn't benefit from a kind of reverse discrimination -- some people just determined to like the films --- good or bad -- just to spite those who feel so strongly about his political / ethical behavior in the 1950's. (FYI - from what I understand of it all, I can't say that I think he behaved as well as possible, but I have no problem separating that from his movies.) The movie is pretty in some parts, but I found the acting to be clichéd and hackneyed. The dialogue was worse and was aggravated by the fact that the actors were apparently all directed (or at least allowed ) to SHOUT LOTS OF THEIR LINES (to show that they are a heartfelt peasant folk wearing their emotions on their sleeves? Or maybe just to try to keep the audience awake.) The fact that most of them do it with a Lower East Side New York accent is just a bonus. Except the lead, who somehow picked up a Greek-ish accent (it starts to sound more Latino as the movie goes on) in a village where his parents and neighbors sound like Anne Bancroft and Mel Brooks (no wonder he wants to go to America.) But he doesn't talk so much -- his specialty seems to be long, dark smoldering looks. I guess the looks are meant to substitute for motive -- while he is obsessed with getting to America, it's hard to believe that his desire to do so overwhelms the other opportunities he's presented with in Constantinople ------ frankly, he ends up seeming a bit simple-minded throughout the film.I agree with the commentator who noted that there aren't a lot of movies that deal with the Armenian genocide, but I don't see where that means you should celebrate a bad one (especially one that is really about the Greeks anyway, not that they were treated well by the Turks either). I certainly don't think that a movie that perpetuates every dumb stereotype about Greeks and Turks and immigrants (and Americans, come to think of it) is anything worth getting excited about. I'd say the only reason to rush to get this one on DVD is that it'd be easier to fast forward through it than on VHS.

Imagine a film like "The Godfather" receiving almost no audience, relegated to the occasional appearance on the AMC channel, barely being released on VHS or DVD, and you will have some idea of the tragic fate of this lost epic masterpiece. As hard as it is to believe, this may be the prolific director Elia Kazan's greatest film achievement, yet hardly anyone has seen it. This is a film on the epic scale of "The Godfather," about a young Armenian man's escape from Turkish persecution, flight from Anatolia, and eventual immigration to Ellis Island - all based upon the the experiences of the director's uncle. What is also tragic is the fact that I can think of no other film which portrays the cruel persecution and genocide inflicted upon the Armenian minority by the Ottoman Turks in the early 20th century (which Hitler correctly pointed to as proof that the world would look the other way at the genocide he had planned in Europe in the 1930s). Every period detail in the film is perfect, from the Oscar-winning costume design to the set design, Greek folk music score, veteran Haskell Wexler's cinematography, and acting - especially lead actor Giallelis, whose intensity brings to mind some of Brando's early work.It is obvious that this film was a very personal piece of film-making for Kazan. And though I don't want to dwell as others do on Kazan's checkered past in his naming of communist colleagues for HUAC in the 1950s, it is interesting to note a parallel in the main character Stavros' personal anguish in making the choice to leave his wealthy wife and use her money to immigrate to the United States; both men made the conscious decision to drive a wedge between them and their past relationships. This is truly a film for all Americans to treasure, and if I had my way, I would make sure it was broadcast every 4th of July just as "It's a Wonderful Life" is broadcast every Christmas. As a nation of immigrants and descendants of immigrants, this is a film virtually every American can relate to. I can't figure out why it is so obscure.