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Why, you might ask, would Wes Craven direct a conventional biopic about Roberta Guaspari, a divorced mother of two who created an acclaimed music program in East Harlem's troubled school system? After all, Craven built his career on Freddy Krueger and the Scream trilogy, and you won't find razor-tipped gloves or a single drop of blood in Music of the Heart. All Craven has to do is provide a safe working environment for Meryl Streep (who earned an obligatory Oscar nomination), sublimate his deft directorial style, and surrender to the banalities of Pamela Gray's screenplay, which would've played more effectively on cable TV.

To be fair, Music of the Heart (partially inspired by the 1996 documentary Small Wonders) serves its purpose quite nicely. Streep is flawless in a non-showy role, and the story of Guaspari's celebrated violin training program provides the requisite rush of inner-city inspiration. As a fact-based companion to Mr. Holland's Opus, the film is less effective but similarly engaging; you'd have to be cold-hearted to dismiss it altogether. It's best when focusing on Guaspari's school program and the 10-year struggle to keep it alive; the drama falters when dealing half-heartedly with her tentative relationships, notably with a journalist (Aidan Quinn) who shies from commitment. And Craven? He seems content to direct by the numbers here, leaving inspiration on the screen while forfeiting his own. --Jeff Shannon ... Read more

Reviews (58)

Fascinating true story gets lackluster film treatment
Meryl Streep got her twelfth Oscar nomination for her portrayal of Roberta Guaspari in Places in the Heart. Her performance is excellent [when has she been anything but?], yet it is not enough to bring the movie completely to life. This true story, which has been filmed before as a documentary called Small Wonders, is about a teacher who created a music program in the schools of the impoverished East Harlem area of New York. A single mother of two boys, Guaspari, who was trained as a classical violinist but who had little teaching experience, was given a job as a teacher in the 1980s by Janet Williams, a principal at one of the schools. There was no real budget for a classical music program, so she was hired as a substitute. Guaspari herself supplied the first violins. Ten years later, she had taught 1,400 youngsters. When the program was in danger of being axed due to a school budget crisis, Guaspari enlisted the aid of some friends, who arranged for her to give a benefit concert with her best students at Carnegie Hall. Famous violinist like Isaac Stern participated, and the Program was saved. In 1999, money was found by the city to assure its continuation.

I don't know who was responsible for Music of the Heart's rather uninspired telling of the story. It certainly wasn't Ms. Streep. It may have been director Wes Craven, who until now has made his mark in the horror genre, with creepy teen fare such as Nightmare on Elm Street and the Scream trilogy. His choice to make a straight drama raised a few eyebrows, and perhaps he was overly cautious with the material. Some of the problem lies within the screenplay. Writer Pamela Gray concentrates on the main character almost exclusively. Ms. Streep is in nearly every scene. Except for some fairly good interaction between Roberta and her boys, most of the characters float in and out, acting almost as stage props. There is little that is memorable about them, and, as a result, we wind up not understanding Roberta Guaspari very well. We see what she does, and we understand that her work is noteworthy and inspirational. Yet the picture does not fill us with inspiration. It's not that it's a bad move, it's that it never soars, as movies about noble, dedicated people can when well done. While it is not a given, what usually provides the drama for such true tales is understanding what personal sacrifices an individual must make to fulfill a difficult goal. I feel certain that this happened to Ms. Guaspari in real life, but we see almost none of it in this movie. It is strongly hinted at a couple of times, but then the film simply glosses everything over and moves on the something else.

Music of the Heart is certainly worth watching for Ms. Streep's performance. The story is a fascinating one, but much of what makes a good story is the way in which it is told. Music of the Heart is not that much of a story teller.

Inspiring story and bravura performance by Meryl Streep
This is a powerful, moving and triumphant true story, which springs from a documentary about a music teacher and her students. This is the story of Roberta Guaspari-Tzavaras (Meryl Streep), a violin teacher who single-handedly created a program to teach violin to inner city kids in East Harlem, New York. The film follows her from the dubious inception of the program, which started as a substitute teaching job, through the ensuing 10 years where so many children wanted to be in the program that it had spread to three schools in the district and a lottery had to be held each year to limit the number of students. The last part of the film is devoted to her fight to continue the program after the board of education killed its funding. It culminates in a triumphant benefit concert supported by some of the greatest violinists in the world to raise private funds to save the program.

This film celebrates the dogged determination and courage of one woman who proved that a single individual can make a difference. Her life was not a pretty picture. Her husband left her for one of her friends, turning her into an emotional basket case. Music was her only solace and teaching was her gift. Unfortunately, her lack of experience in the education system made her unqualified to get a position. So on the recommendation of a friend she convinces an East Harlem principal to give her a chance as a substitute violin teacher. She even supplies the violins.

The story from there is an example of life often being more remarkable than fiction. The results she achieved with these children were astounding. My only criticism of the story was that it contained a little too much treatment of her personal life. Almost her entire relationship with Brian (Aiden Quinn) could have been eliminated without hurting the story. I know that director Wes Craven was trying to give us some character development on how tough her life was and how difficult a person she was, but it was superfluous and the digression only bogged the story down. The real story here was about her and the kids. He should have stuck to that. Otherwise, Craven did a fabulous job of directing, delivering an emotional story with great power and effect. I was quite impressed, especially given the fact that prior to this film, he was almost exclusively a one genre director (Horror. Think 'Scream').

The acting by Meryl Streep was nothing short of brilliant. I have read criticism of Streep's performance as too harsh, it seeming as if she didn't really LIKE the children. In actuality her performance was dead solid perfect. I was lucky enough to rent the Collector's Series DVD of this film which included a separate disk of the original documentary about the real Roberta Guaspari-Tzavaras and her students, including the actual concert at Carnegie Hall. If you watch that documentary you will be in awe of how well Streep utterly nails her character. We get to see the real Roberta teaching her students and she is like a drill sergeant barking orders, throwing kids out of practice for not having their violins, reproaching them angrily about plucking their strings while she is speaking, and generally tolerating no nonsense. She is impatient with them and completely intolerant of anything but their best.

The children who made comments about the real Roberta said things like, 'I wouldn't have the discipline I have if it weren't for Roberta. That discipline not only helps me with the violin, but with everything else.' Another child said, 'I have to pay attention to what I'm doing or Roberta will get mean. But if I do good, she is pleased and that make me feel good.' Yet another, 'I want to work really hard so Roberta will be proud of me.' Clearly, these are not the comments of children who were being negatively affected by Roberta's no nonsense style.

Streep said in the featurette included in the DVD that it is very difficult playing a real person because there is no leeway for artistic interpretation. Translation: If she was to play Roberta Guaspari-Tzavaras, she had to become Roberta. This she accomplished with stunning accuracy. Streep captures not only Roberta's irascible demeanor, but the essence of her drive and passion for drawing the students very best. Roberta is a complex and difficult character to play and Streep throws herself into the role, delivering a tour de force performance that very few actors have the range and depth to accomplish.

This film is a must see for anyone who loves the arts and anyone who can appreciate a great actress giving a career performance. I rated it a 9/10, subtracting a point for Craven's unnecessary digression into Roberta's private life. That is, however, hardly a reason to miss this bravura performance and an inspiring story.

Most unrealistic portrayal of a classroom ever on film...
Whoever wrote this screenplay had NO idea what the inside of a classroom looks like.
My goodness. I've seen more realistic depictions of school life in a few B-movies.
It's like the makers of this particular movie were SO interested in making a movie about MUSIC that they paid very little attention to making a movie about SCHOOL.
I could go on and on and on about how this movie falls flat on its face in the depiction of a contemporary classroom, particularly an inner city classroom, but let me just demonstrate but ONE ridiculous unreality this movie commits: In this movie, the school children all pretty much speak proper English. What?!!??? In the inner city???? School children not using barbaric slang in the inner city but instead speaking proper English and doing so naturally, like that's what they do all the time???
Yikes. You've got to be kidding me.
The 5 star reviewers on here ought to be ashamed of themselves for settling for such cartoony realism; better yet, they and the these out-of-touch moviemakers ought to actually go spend some time studying their subject matter, the actual daily war zone that is the contemporary American inner city classroom.

Wes Craven Shines!
Can you believe this film was directed by Wes Craven? What a moving story! Everyone should see this movie. One thing-why is Gloria Estefan on the cover???!! Don't get me wrong I love her music, but she hardly had any part AT ALL! Maybe she had 7 lines in all, so it kind of doesn't make sense. Anyway, this movie is great-so watch it, NOW! :-)

Outstanding.
Streep and Bassett are wonderful in this heart-felt drama about a music teacher who "belives" and makes a tremendous difference in the lives of young inner-city children. Funny and poignant.

Very highly recommended. ... Read more

Reviews (13)

AN OUTSTANDING MULTI-GENERATIONAL FAMILY SAGA...
I love this movie! It has a stellar cast, who give top notch performances. How can you go wrong with Jeremy Irons, Meryl Streep, Glenn Close, Antonio Banderas, Winona Ryder, Vanessa Redgrave, and Armin Muehler-Stahl? The answer is that you can't. It is a riveting piece of film making, based loosely upon Isabelle Allende's wonderful book of the same name.

The film delicately captures the mysticism of the book, rendering those scenes in which such is the focal point highly believable. This is no mean feat given the subject matter. The story takes place in South America. The saga begins in the nineteen thirties.

Vanessa Redgrave and Armin Muehler-Stahl play the wealthy and liberal parents of two daughters, Rosa and Clara Del Valle. Rosa is the beautiful, older daughter. Clara, played by Meryl Streep's real life daughter, is a lovely child with exceptional, psychic gifts. Jeremy Irons plays the part of Esteban Trueba, an impoverished young man in love with Rosa. Vowing to make his fortune in order to marry her and provide her with the comforts to which she is accustomed, he succeeds in making his fortune. He loses Rosa, however, before being able to marry her, when she drinks poisoned wine intended for her liberal party father.

Esteban, broken hearted, leaves with his fortune and buys an estancia, where he sternly rules with an iron fist over the peasants who work the land for him. They obsequiously refer to him as "Patron". He takes what he wants, even the women, with the expected result. He has a bastard son whom he does not acknowledge.

Esteban has a spinster sister, Ferla, well acted by Glenn Close, who, for the past twenty years, has lived a grim existence in the city with their ailing mother, whom she has taken care of. When their mother dies, Esteban, now a bitter and lonely man, returns to the city from his estancia to attend his mother's funeral. In doing so, he spots Clara, who is now all grown up and ethereally portrayed by the very talented Meryl Streep. Not wasting a moment, he goes to her home. She, luminous, and mystical, already knows that he is there to ask for her hand in marriage and happily accepts. After all, she has loved him ever since she first saw him all those years ago.

Clara lovingly embraces his sister, Ferla, into the bosom of her househould, when they move to her Esteban's estancia. Ferla blossoms from a bitter old maid into a companionable and pleasant woman, under Clara's warmth. Esteban and Clara eventually have a child, Blanca, who grows up playing with Pedro, the son of the estancia's indigenous indian foreperson. When Esteban discovers this, he sends Blanca away to boarding school. He does not want his daughter fraternizing with the peasants.

Clara, loving and pure of heart, is his exact opposite. When their daughter finally grows up and returns home from school, she knows that the independent Blanca, well played by Winona Ryder, has fallen in love with her childhood playmate, Pedro, passionately portrayed by Antonio Banderas. Esteban hates Pedro, as Pedro is a liberal inciting the peasants to unionize and demand their rights, whipping them into a frenzy against the "Patron", or so Esteban sees it. He drives Pedro off his land. He also drives Ferla off, as he believes her to have unatural feelings for his wife, Clara. Possessive to a fault, he is consumed by jealousy. Clara and Esteban have a fight over his cruelties, and she finally leaves him, taking Blanca with her to the Del Valle family home in the city.

Meanwhile, life goes on. Blanca, pregnant by Pedro, has his child, believing that Pedro has been killed by her father. Esteban, representing the wealthy, becomes senator. He reigns for years, until the liberals win power. When they do, however, their tenure is short lived, as a militairy coup sets up a reign of terror and his old sins come home to roost. Meanwhile, Blanca discovers that Pedro is alive, and they joyously hook up again. When Blanca is picked up as a political dissident and tortured for her political views, Esteban, old and broken, is now just a bit player in a larger arena. Too late, he tries to right some wrongs. Some of the wrongs, however, can never be righted.

This is a magnificent, multi-generational family epic, that holds the viewer in its thrall. While it only loosely follows Isabelle Allende's wonderful book of the same name, it is a winner in its own right. It has something for everyone, as it deals with human nature, as well as the complex emotions, forces, and events that shape one. The film is about a family struggling to find its place in our ever changing world, and the relationships that each member of that family forges. It is a rich and vibrant tapestry, which succeeds in capturing the viewer.

I still prefer the book
This is indeed a beautiful film, with scenic locations and a brilliant cast. I actually did like the movie a lot (though I was often surprised by their choice of actors). However, I'm left with a small dilemma. Having read the book, I find the ending and character deleting disappointing--I believe that an important commentary on love is over looked because Blanca was chosen to be the narrator and story ender, not Alba (those who have read the book should refer to Alba's lover, his sister, and her relation to Alba's uncles). However, I don't believe this would be an easy film to watch without already knowing the storyline and characters.
As mostly happens with movies made from books, I believe the book is better. However, given how difficult it is to make a movie from a magic realist text, this movie is wonderful. All the seemingly mismatched pieces fall together in a breathless poignant portrait of a family--a country--dealing with a changing world, violence, and finally, forgiveness.
On a side note: the military coup shown in this movie/book began a terrifyingly violent time period in which the bloody dictator Pinochet came into power. The resources needed for the coup were provided by the United States.

WAYLAYS THE NOVEL'S SOUL, BUT A PRETTY GOOD FILM NONETHELESS
I quite enjoyed at least 75% of this gripping movie because it tells an interesting story, however haphazardly it may be condensed from Isabel Allende's eponymous novel. About 400 pages worth is squashed into the film's lean 140 minutes, but it doesn't skip so much that it gets confusing.

The book had relied on first person narrative, which lent the sweeping generational and political tumults in a South American country the right touch of personal fervour, and more importantly, a consistent point of view.

The film on the other hand falters on this facet, a deficiency that robs the film of its conviction, its soul. The director seemed to have assumed that the pithy story would be enough to keep the audience interested, but it is not. About two-thirds of the way through the movie, I found myself counting minutes.

The terrific cast is what ultimately salvages the movie. Meryl Streep in particular is perfect in her depiction of the ethereal, psychic wife of a powerful plantation owner. Jeremy Irons, as her jealous and ruthless husband, has some fantastic moments too but hams it up somewhat when he plays himself as an old man. Yet his torn emotional battle between his family and his political ambitions is so well brought out that one actually relates to his quandary.

All in all, although the film waylays something pivotal along the way and of course skimps on being a loyal adaptation, it is surely a lot better than its average rating on Amazon would suggest. Definitely a recommended rental.

not bad, considering...
...that it's adapted from a novel. Since I haven't read the novel, I have nothing to compare it against but even then it's obvious that a lot has had to be omitted in order to make it into a film.

Overall, it's a riveting film, though parts of it were fairly predictable---mainly the circular tragedy and poetic/ironic justice parts, and of course the South American socioeconomic/political history is very familiar. Not until reading the production notes on the DVD did I know for certain that the movie is set in Chile, but that was my first guess immediately---though it is curious that the film barely mentions in passing, the vital role of our C.I.A. in setting up the military coup which overthrew the democratically elected government and installed the hideously repressive and genocidal Pinochet regime.

The ending, with Winona Ryder opining on the preciousness of life's every moment and the power of love and forgiveness, basically pops up out of nowhere but I'm sure that these themes are much better developed in the novel.

There are far worse ways to spend 2 hours; with this film, despite its subtle flaws, at least we get a little bit of modern South American history and society, even if the dirty little secrets of our C.I.A. involvement in it are just barely hinted at. In many ways it is not only a good eye-opener about social and political injustice and brutality, but also carries something of a feminist edge---showing the reckless and self-absorbed megalomania and egotism of the ambitious men who claw their way into the ruling class and then proceed to keep everyone else around them down and under their thumbs.

The DVD version has been edited and is shorter than the VHS.
I've saw this movie on VHS a long time ago. I saw it again on DVD recently and I have noticed that it has been re-edited and shortened. In the longer version, the Jeremy Irons character at the beginning of the film is in his old age. He visits his old farmhouse with his daughter and remembers the years gone past. The movie then goes into a flashback and tells the story from his youth.

In the DVD version, the entire opening scene is omitted and the story is told from the beginning. Therefore there is NO suggestion of a flashback. The edited out opening scene is quite poignant and gives more insight into the Jeremy Irons character.

Decent and interesting film none the less. Hopefully the studio will release it in it's original unedited version with extras. ... Read more

Reviews (23)

Well, Isn't This Special
Dana Carvey may have left "Saturday Night live" in 1993, but his legacy still lives on. Along with Phil Hartman, he was the most versatile actor of the show's 1986 - 94 seasons, creating a variety of classic impressions and zany characters. This dvd shows just how amazing he was in those seven years (plus the years he came back to host).

Unlike Phil Hartman's dvd, this disc I have no complaints about. If you like good, old - fashioned American comedy, then look no further here. On this dvd, Carvey's most popular comic creatiosn are here. Whether you enjoy the sarcastic Church Lady, the conceded bodybuilder Hanz or the lovable Garth from "Wayne's World", it's hard not to enjoy what's here. Also, there's a series of his amazing impressiosn. In additon to two hilarious George Bush sequences, most of Carvey's repetoire is hre: Ross Perot, Tom Brokaw (the funniest sketch on the whole dvd), Paul McCartney, Johnny Carson (in the infamous "Carsenio"), John McLaughin, George "Look At My Butt, Dennis" Michael, Robin Leach, Prince Charles and a host of others. Even "Massive Hoeadwound Harry" is funny once gget past being grossed out at Carvey's bleeding head and the dog chewing on it.

This is a great dvd honoring one of the greaetst contemporary American geniuses. Highly recommended for "SNL" fans and anybody who enjoys laughing.

An excellent sampling of one of the best SNL personalities
Dana Carvey stopped appearing as a member of the cast of Saturday Night Live in 1992, but he left behind an amazing legacy of hilarious fictional characters, while also showing himself to be one of the leading impressionists in contemporary American comedy. During a period when SNL was largely a hit-or-miss affair (as compared with its classic first five years), Carvey could always be counted on to elicit guffaws when he appeared as Garth of "Wayne's World," The Church Lady, The Grumpy Old Man, Hans the bodybuilder, or even the grossout-inducing "Massive Headwound Harry." But it is perhaps as an impressionist of political and show business personalities that Carvey showed his greatest talent. He became nationally famous for his George Bush impersonation, but he repertoire included so many others: Paul McCartney, Ross Perot, Tom Brokaw, George Michael, Keith Richard, Jimmy Stewart, Johnny Carson, Strom Thurmond, Bob Dylan, and on and on--his ability to capture every nuance of a character was nothing short of astounding.

This video presents an excellent cross-section of Carvey's work, including some hilarious Church Lady sequences, a rapid-fire series of impersonations, and a terrific combination impression of Johnny Carson and Arsenio Hall called "Carsenio." Anyone who enjoys laughing will find this video well worth the money.

It's surprising to me that in recent years Dana Carvey has not found a lot of new venues for his great talent. While his onetime partner on "Wayne's World" Mike Myers has achieved superstar status as "Austin Powers," Carvey has more or less receded into the show business background. Here's hoping that Dana finds his winning show, film, or character soon.

Portrait Of A Comedic Genius
When Dana Carvey left "Saturday Night Live" in 1993, he left behind a legacy of zany characters and hilarious (and dead - on)impressions. Since his departure, he has hosted 3 more times (in 1994, 1996 and 2000) and has made numerous guest appearances. This dvd captures the genius that Carvey was (and still is).

The opening sketch is a lively parody of Ross Perot's press conferences. When watching this sketch, it's hard to pinpoint whether you're watching Carvey or Perot of himself since he does him so exact. I loved him in "The McLaughlin Group", in which he portrays tv debate group moderator John McLaughlin as a egotistical maniac, further proof of how good "Saturday Night Live" at political satire. I loved the "Church Chat" montage, thogh I wish they had one complete sketch. The montage of his impressions is hilarious. It's amazing how well he did them, especially Robin Leach, James Stewart, George Michael and Paul McCartney, to name just a few. The Tom Brokaw sketch is better (I'm sure Crvey does him better than Chris Parnell). The Bush stuff is funny, but I wish they would ahve included the 1988 debate with the puRepublican nomiees for President, featuring one of Carvye's earliest Bush impressions.

There are many other great sketches, too many to name. I think this is a highly hilarious romp through over 10 years of classic humor.

and we liked it
Dana Carvey was one of the kings of snl and this just hightlights some of his performances from garth to grumpy old man to church lady Carvey is hystericaly funny thats why i gave it 5 stars

Well Isn't That Special?
Dana Carvey was one of the most versatile cast members in the long history of "Saturday Night Live". He stayed on for 6 years (1986 - 1992) and has wound up hosting several more times over the years.

The opening sequence features Carvey as a dead - on Ross Perot, fielding questions asked by Sandler and Schneider. The dvd mainly focuses on his unique impersonations of many famous people, including Robin Leach, Tom Brokaw (the one when he's Brokaw going over ways to announce that Gerald Ford is dead is hilarious), Jimmy Stewart, Keith Richards and, of course, George Bush. Also included are some of Carvey's quirkiest characters, including Garth from "Wayne's World", "Carsenio" (a spoof of "The Tonight Show" featuring Carvey as Johnny Carson trying to recapture his place with the public by copying Arsenio Hall), and "The Church Lady", which always has me laughing.

This one of the best discs that Broadway Video has released in their long line of "best - of" collection. "The Best Of Dana Carvey" will keep you laughing no matter how many times you watch it. ... Read more

Reviews (29)

...a bachelor party! With chicks, and guns, and firetrucks
"Let's have a bachelor party! With chicks, and guns,
and fire trucks, and hookers, and drugs, and boose!" This is one of the myriad of unforgettable quotes from, in my opinion, the best comedy ever made. To be fair, I should say it's tied for Number 1 with Fast Times at Ridgemont High. I was 14 when this movie came on the Movie Channel. Many people don't know that Tom Hanks really got his start in comedy and the tv show Bosom Buddies. The characters in this movie will live forever. Even a young Tawny Kittaen, from Whitesnake videos, is in this movie.

You'll never forget the one liners-I still use some today. "Where's the grooom?" "He's in the bedroooom." And, "Is that a foot-long?" "And then some." Buy this NOW!

Chicks and Guns and Firetrucks and Hookers !!
Man they sure don't make comedies like this anymore. This was when Tom Hanks was at the top of his game and not some bigshot Hollywood sellout actor. This flick has all you need in a movie, strippers, hookers, a donkey, a school bus crashing into a movie theatre, fist fights, drunkeness, a guy shooting a crossbow, a naked dude falling out of a hotel window, drug usage, attempted suicide, car theft, a pimp from India, a Lesbian scene, Tawny Katean (pre implants), a woman that pees standing up and not to mention one hell'uva a big Bachelor party. Buy this movie or "Milt will come for you !"

Lame rip-off comes up for air
This also-ran 80's sex comedy is getting trotted out again simply because Tom Hanks is in it.

Don't waste your time -- the National Lampoon's franchise did it earlier and better. Hanks at best can affect a half-baked Bill Murray imitation.

Yes, there are plenty of T&A shots and potty jokes, but many other movies before or since have done it much better. Try the American Pie series if you want to see authentic teenagers in adolescent hijinks. Try Animal House if you want a far funnier party movie.

Avoid this at all costs...

Tom Hanks' best work
I'm not big on hyperbole, but Bachelor Party is Tom Hank's best movie. It's all been downhill for him since 1984. Sure, Forrest Gump, Philadelphia, and Apollo 13 are good, but none of them merit watching a few hundred times like Bachelor Party (most viewings took place during the wee hours of the morning while I was in college).

Unless you're an imbecile, HIV-positive lawyer, or astronaut, there's not much you can learn from Hank's more acclaimed movies. The same can not be said for Bachelor Party, however. At some point, most guys will have a bachelor party and this movie serves as a great guide to planning one:

"Let's have a bachelor party with chicks and guns and firetrucks and hookers and drugs and booze!"
"Yeah! Yeah yeah! All the things that make life worth living for!"

There's a lot more you can learn from this movie too. For example, guys, if your in-laws are pressuring you to have kids, just respond as Hank's Rick does:

"Well, there's this 17-year-old Oriental girl I have my eye on. But don't worry, you'll have some American grand kids in no time - I know this pup's fertile."

Buy this movie (and if you do and can figure out exactly what Rick's going to do with that egg beater, please e-mail me).

The best bad comedy
"Bachelor Party" is not a great movie, but when you compare it to some lackluster attempts at sex comedies made today it's definately a stand-alone classic.

You probably have to be in the right mood to watch this, but don't take it as an excuse to throw naked bodies around (in fact, there's only one real scene of nudity). I was surprised at how funny this film was, and I was laughing more times than I was offended. A lot of the sex jokes are funny too ("So are you named Rob or...Mister Dick.") while some may be a little too vulgar to be thought funny by rational minds (yeah...donkies...).

Overall, it's a good movie. Give it a shot. Or not...whatever you want. ... Read more

Reviews (26)

Cute Movie!
Turner and Hooch is a cute movie starring Tom Hank's as a neurotic cop who likes every thing to always be neat and organized having his life changed when he has to guard a messy, slobbery but loveable dog named Hooch who is a murder witness and has to take the dog home with him and at first Hooch drives him crazy but he soon grows to like the old pooch!

Tom Hanks Best Movie....Turner And Hooch.
This movie is by far Hanks' best film to date. His awe inspiring performance is mezmorizing. His on screen releationship with Hooch is titilating. Without a doubt, one of the best movies of all time. It has a little something for everyone.....with a very, very sad ending. You'll laugh, you'll cry. But all in all you will walk away with a little Hooch in you.

I have seen this movie a hundred or so times and I keep wishing that the movie just mind end a little different. Please Mr. Director....there has to be an alternate ending. Can't wait for a sequel.

An all time favorite
There are few movies as wonderful as this (OK, being a big dog lover helps). I thought Tom Hanks did a fabulous job, and I enjoyed him much better in those days then I do now. Hootch was the best dog actor I've ever seen. No looking over at the trainer all the time, at least that we could see.

I want to buy this DVD, but I can't see if there is a commentary or any extras.

sad ending
All the humor and amusing antics of the script go completely out the window when Hooch dies at the end. Bah! Kill Hanks but not the dog!

Funniest movies of all time
This is such a good movie, I keep watching it often. Only funnier movie I ever saw was Rat Race. Buy it an d be happy. ... Read more

Amazon.com

As Roy (Tom Wilkinson, In the Bedroom) and Irma (Jessica Lange,Cape Fear, Tootsie) celebrate their 25th weddinganniversary, Roy passes out. While meeting with their pastor, Roy revealsthat he's a woman trapped in a man's body, and he wants to get a sexchange--setting in motion a complex and emotionally fraught conflictbetween husband and wife, individual and community, and parent and child.Normal explores Roy's gender dysphoria with empathy, but also hasan eye for the social and familial absurdities that come up. The humor,far from trivializing the issue, steers it away from cloying sentiment orpolitically correct sanctimony. The movie captures the confusion of Roy'sfriends and coworkers with realism and without judgment, and thestressful changes of Roy and Irma's relationship aren't sugarcoated ormade into a moral lesson. Both Lange and Wilkinson are superb, as are theskillful script and direction. --Bret Fetzer ... Read more

Reviews (19)

wow
I've never written a review before, but I was so impressed with this movie, I felt like I should write something. Even though I personally don't deal with the specific issues in this film, I was deeply touched by Jane Anderson's script and the performances by Jessica Lange and Tom Wilkinson are nothing short of incredible - definitely some of the best work either has ever done. I do have to agree that Jessica Lange steals the show. Her reactions to what is happening to her are exactly what I imagine someone in her shoes might go through. I liked the way church issues were dealt with as well, although it wasn't surprising that Roy was treated as an outcast by the members of the congregration. Sad, but often the case.

I highly recommend this movie to anyone who needs inspiration. Very powerful film.

A quiet powerhouse - Wonderful film
I caught this on cable and found myself unable to turn it off. Its the story of a husband and father living in a quiet, rural community who can no longer take living a lie. Roy is a woman living inside a man's body. He realizes he can no longer keep this to himself, confiding in his wife and turning their marriage and the community upside down. When he begins to wear earrings to the factory and singing in the women's choir, the family begins to be quietly isolated. I feel the reason he might have been left alone could have been because of respect for his wife and children. I don't know if that would be the same in real life. I seriously doubt it but even that little bit of what I believe is naive optimism doesn't detract from this film.

What is most touching is how the daughter handles it. She instantly embraces her father. Their grown son is less able to deal with it but the scene between father and son is touching. Its Jessica Lange that steals the show as Irma. Her reactions from anger to mourning are always dead on. Wilkinson is also wonderful as the tortured Roy who can see what he's doing to his family but can't stop himself in his search for personal freedom.

The scenery in this film is amazing and the music fits each scene. I was really impressed by everything about this film and would recommend it to anyone.

5 stars and then some. Normal will stay with you long after the film has ended.

Inaccurate but truthful
Contradictory though it may be, this film is simultaneously inaccurate and truthful.

In presenting the gender transition of a middle-aged man in a small, conservative farming community, this film has an odd omission. As an earlier reviewer pointed out, Roy/Ruth is able to go through hormone therapy and to get Sexual Reassignment Surgery without the film ever showing how. This is more than just a technicality. To get HRT, one needs a prescription. Most endocrinologists who work with TG people work as much on the emotional side of the issues as they do on the physical. To get SRS, one must have letters from two therapists. Roy faces some incredibly difficult issues in this film. He also makes some very dangerous choices, such as wearing perfume and earrings to work before having disclosed his transition. In real life, the therapist would be working with Ruth on all of these things. It almost feels as though a decision was made after shooting to edit out all of the scenes in which Ruth interacts with her doctor and her therapist.

This does have the effect of focusing on the real drama, the evolving relationships within the family. But it makes the film feel somehow unreal and misguided.

Other than that, as several reviewers have mentioned, the acceptance of the community as depicted is extremely optimistic.

For all that, this film nailed it. A couple I know invited me over to watch movies with them one night, and popped this one into the VCR. Halfway into the film, I broke down weeping and had to leave. As a TG woman myself, this film captured the truth of what happens, of the emotions and changes, as accurately as anything I've ever seen. The humanity of this movie, in how it depicts all of the family members, is stunning. There is no sensationalism, no embellishment, just four human beings trying to make sense of and work through a difficult transition.

I went back to see my friends three nights later and watched the rest of the film. I'm glad I did. You will be glad you saw this film too. It's a wonderful story of love.

Riveting Drama
Roy (Tom Wilkinson) and Irma (Jessica Lange) are a normal farm family with an estranged son and a teenage daughter. After their 25th wedding anniversary, Roy confesses that he is a woman trapped in a mans body. At this point, I expected things to get absurd, including the predictability that we will see Roy in drag. However, Director/Writer Jane Anderson allows all ssues to come the forefront; family, friends, religion, coworkers and community. What seems a destiny for ruination is full of surprises and Anderson can humble the viewer by showing how anyone can be easily misunderstood. The performances by Wilkinson and especially Lange are nothing short of amazing. The emotions run high, vivid and clear as each person struggles with this abrupt revelation that affects everyone's life. This is a precise study of empathy, understanding, the testing of relationships and most importantly - love.

Memorable performances from Wilkinson and Lange
"Normal" is a film where the performances by Tom Wilkinson and Jessica Lange are so much better than the script. This is not to say that the script by writer-director Jane Anderson is inadequate, but rather than Wilkinson and Lange give it a power and grace that transcends what was on the printed page. Wilkinson, a veteran character actor who suddenly seems to be in half the films coming out (Jim Broadhurst is usually in the other half), plays Roy Applewood, who has been married for 25 years to Lange's Irma and who finally reveals his deepest and darkest secret: he feels like a woman trapped in a man's body.

To say that this comes as a shock to everyone is an understatement. Roy is the foreman at a plant that manufactures tractors and a pillar of his church. He is also married to Irma, who, like the actress who plays her, has gotten sexier as she has gotten older. When the church throws an anniversary party for the couple Roy kisses his wife and faints. In a counseling session with their pastor (Randall Arney), Roy finally confesses that he is a woman. The fact that Roy says this in such a matter of fact manner, without the slightest trace of any affectation that would suggest being gay, is what makes "Normal" such an offbeat look at a somewhat offbeat subject.

This is not a sensationalistic treatment of the transgender topic (remember the lurid film "The Christina Jorgenson Story"?). The script is clearly sympathetic, but also manages to tell the story with a wry sensibility and to reach a level of depth that we usually do not find in such films, which tend to veer towards sensationalism and/or melodrama. This is because despite the fact that Roy starts taking female hormones so that he can grow breasts he still loves his wife. Underneath all the shock and dismay at Roy's transformation there is a love story going on, crystalized when Irma's pastor gives her permission to give up on her marriage and she replies with emotional elegance, "How can I? He is my life."

Perhaps it is not realistic that "Normal" has Roy treating his gender reclassification as if it were akin to getting a new haircut: he wears earrings and perfume to the tractor plant and wants to be called Ruth. But Wilkinson brings a sense of dignity to the part that helps carry it off and no doubt Anderson is trying to make a point. The only part that rings false for me is the dramatic exploitation of the Applewood's two children. Two, not just because you get to have one son and one daughter, but two because one will accept their father's change with curiosity while the other goes off the deep end. Of course it is the son (Joe Sikora) in the latter role and when he reads the letter written by his father to a bunch of drunks in a bar, I thought was going way too far (unless he was adopted?). The same holds true for Irma's awkward try at a tryst with Roy's boss (Clancy Brown).

Anderson wrote the hysterically funny "The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom" and shows much more restraint overall with "Normal" in dealing with the satirical side of her subject matter this time around. When Irma kicks Roy out of the house, she pointedly tells him he is much too selfish to be anything but a man. Still, we come back to the performances by the two stars. Wilkinson plays this role perfectly straight as if he was changing political affiliation and not gender. In contrast Lange gets to run the gamut of emotions from disbelief and anger to acceptance and love. Wilkinson is so decent and real that you have to admire him and root for him, especially when the alternative is identifying with the less tolerant and understanding members of his family and community. But you also root for Lange to keep her husband.

But in the end "Normal" is a love story. If it were about a sex change operation then we would be getting all the nuts and bolts about how that is done. Anderson is not concerned with the mechanics; she cares about the people. In the end, Ruth and Irma care about each other and it is hard for us not to care about them as well. ... Read more

Reviews (636)

EYES WIDE SHUT KEEPS YOUR EYES WIDE OPEN!
Tom Cruise plays Dr. William Harford, who plunges into an erotic foray that threatens his marriage - and may even ensnare him in a lurid murder mystery. But only this starts to happen AFTER he is told by his wife, (Nicole Kidman) of her desire for a navel officer.

I liked 'Eyes Wide Shut' from the moment I saw it! It was the first DVD I brought. I was compelled by the story. Totally absorbed from the moment I put it on. It is also the first Stanley Kubrick movie I've seen. I was very impressed. The minute it finished, I wanted to put it on again.

Time has said - "Kubrick's haunting final masterpiece, vivid, brilliant, unforgettable."

Chicago Sun-Times has said: "a worthy final chapter to a great director's career."

I agree with all of that.

Yes, this film creates a lot of controversy. There are some sex scenes but purhaps not as many as some people would like to believe, from the previews.

It is a film full of rich well defined colours. It has an opera-like feel to it, with haunting, startling piano cords, and other beautiful music.

Two years spent making it. It is worth it.

With many interesting and mysterious characters, it is worth more then one viewing.

An ultimately uplifting film
In the end, Kubrick's last film displays the most positive view of the human condition ever seen in one of his films. This is in sharp contrast to most of his other work, where Kubrick consistently portrayed the less attractive aspects of human nature. Eyes Wide Shut, on the other hand, is exhilarating in its final affirmation of the value of trust and love. Listen to Alice's closing monologue, which basically sums up what this viewer suspects what Kubrick was trying to say about living a meaningfully adult life.

Visually, the film is stunning, and SO characteristiclly Kubrick; fans will delight in the precise composition of scenes, the tracking shots, the use of saturated primary colors, the use of light and shadow.

My only quibble with this DVD edition is that it is presented in a full-screen format. The statement on the package suggests that the director intended the film to be presented in what is described as "the original aspect ratio of the film negative," or something very close, whatever that means - but I have a tough time swallowing that when the film was presented in wide-screen in theaters. Knowing Kubrick was meticulous about the elements presented in every single frame, I can't help but think we're missing something in this edition. But this shouldn't deter you from contemplating this profoundly moving film.

one of the best from Kubrick
It's no surprise to me that 'Eyes Wide Shut' was instantly rejected by mainstream audiences, who were probably expecting a soft porn movie along the same lines as 'Basic Instinct.' There is nudity and sex in the film, but it is Kubrickian nudity and sex - in other words, it's cold and vaguely off-putting, and we suspect that it is not a celebration of the procreative act. Kubrick is far to classy a director to allow a movie 12 years in the making to be a piece of erotic titillation.

This is a very rich, visually lavish, and deep film; Kubrick shows an expertise with expressive colors that we haven't seen so full-blown since his 'a Clockwork Orange.' The giant ballroom, with its bright red carpet and robed occupants, is destined to become a legendary Kubrick set piece, along the same lines as the Korova milkbar, the War Room, and the deep space victorian bedroom.

Kubrick's use of music here is unusual but compelling nonetheless. He masterfully uses Ligeti's minimalistic piano music to set the mood and heighten the tension, and the ceremonial chants of the orgy sequence are sublimely haunting.

Perhaps the only drawback is Nicole Kidman's performance; a limited actress in the first place, it doesn't help that she's required to act half asleep or stoned through most of her screen time. She pauses, draws out sentences, stammers, uses body language excessively, and in general annoys the heck out of me. Surprisingly, I have no complaints about Tom Cruise. He has proven, in Magnolia and Eyes Wide Shut, that he is a real actor.

Kubrick's final film is the work of a filmmaker who knows everything about film; watch it and be awed by his effortless command of the camera.

a real spine tingler
another gem in the bracelet that is the stanley kubrik discography.this was his 13th film.3 bad things happened.one-it was his last film because 2-he died and 3-nicole kidman and tom cruise[the stars] divorced shortly thereafter.anyhow,tom and nicole are hitched.they dont spend much time together and thier marriage is on the rocks.tom is given someone elses invitation to a very sexual and wierd party.thats when everything begins to unravel.this has way too many female parts in it for the kiddos.this movie is a psycological thriller.i was very involved in it.any guy whose staight will like it.at the party i was as confused as a baby in a topless club.it is also very emotional for the chicks if thet can get past seeing thier own parts.chicks are so silly about stuff like that!this is tom and nicoles best movie ever.hands down.bar none.it is very long but worth every second.

What A Pity
This movie calls for a review. While having brilliant ideas, it fails its potential to become an all-time classic.

Mrs. Harford (Nicole Kidman)'s dreams of sexual encounters with strangers interrupt a seemingly happy marriage with Dr. Harford (Tom Cruise). The director (Kurbrick) is successful, maybe even unintentionally successful, in creating the ambiguity of her intention: at times she seeems to be driven by the urge to confess, other times she seems to do so out of a secret desire to humiliate the husband. The ambiguity keeps the audience in suspense as Dr. Harford sets out to examine not the reason for his wife's confessions or her sexual fantasies, but his own inner demon.

Mrs. Harford's dreams haunt him as he hits the streets of New York, as if in a blurring of realities he could become the lover in her dreams. Not seeking revenge, he is simply possessed by a reality where the dark forces of sex lurk, lure and destroy. The dream world now invades the real world, not otherwise.

Dr. Harford stumbles upon a secret sex club in which masked members conduct rituals and initiations like the Eleusian Mysteries prior to an anonymous orgy. Sex is now the prince of darkness, omnipresent and omnipotent. Dr. Harford soon finds himself involved in someone's death, with his own life and his family threatened. The movie ends abruptly as he seeks reconciliation with his wife.

However, the movie leaves several subplots unanswered and underdeveloped. The identity of the dead hooker is not made clear, and if she is the same person that Dr. Harford ran into on the street, the point of her self-sacrifice is unclear. The music, a too obvious imitation of Angel Heart, gets annoying after about 10 minutes. The scene of the mask on the pillow comes straight out of the Godfather. Most importantly, The pace of the movie -- a great deal of time wasted on slow, dry, unnecessary dialogues which actors speak one. syl.la.ble at. a. time -- is slow enough to kill any suspense the viewer might have felt. It seems as though the director decided to take out the final development of the movie and therefore had to slow down all dialogues to make up for the time. ... Read more

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Scarface (1983)
This sprawling epic of bloodshed and excess, Brian De Palma's update of the classic 1932 crime drama by Howard Hawks, sparked controversy over its outrageous violence when released in 1983. Scarface is a wretched, fascinating car wreck of a movie, starring Al Pacino as a Cuban refugee who rises to the top of Miami's cocaine-driven underworld, only to fall hard into his own deadly trap of addiction and inevitable assassination. Scripted by Oliver Stone and running nearly three hours, it's the kind of film that can simultaneously disgust and amaze you (critic Pauline Kael wrote "this may be the only action picture that turns into an allegory of impotence"), with vivid supporting roles for Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, and Robert Loggia. --Jeff Shannon

Scarface (1932)
Howard Hawks's Scarface was one of the first "talkies" to reclaim the fluidity of the late-silent masterpieces, while also tapping into a feral new energy that came with talking smart and moving smarter on the motion picture screen. Outgunning such contemporaries as Little Caesar and The Public Enemy--in terms of both its ferocious death-dealing and dynamic style--the movie was interfered with by censors and kept out of circulation for decades thanks to its eccentric producer, Howard Hughes. It remains the gold standard among classic gangster pictures. Paul Muni's portrayal of Al Capone surrogate Tony Camonte etched a screen original: a merciless assassin who's not only reflexively criminal but pre-civilized, almost pre-evolutionary, a simian shadow ready to rub out the world if he can't have it for his own. This is still one of the greatest, darkest, most deeply exciting films American cinema has produced. Those demonically ubiquitous X's--starting with that titular scar gouged into Tony's cheek--rival "Rosebud" for resonance. --Richard T. Jameson ... Read more

Reviews (539)

His Name Is Tony...
Actor Al Pacino gives a powerhouse performance in 1983's SCARFACE. Paciino plays Tony Montana, a Cuban refugee hoodlum, who quickly rises to the top of Miami's cocaine industry. On his way to the top, Tony uses any means at his disposal to get there, no matter who he hurts or betrays in the process. Pacino takes hold of the character and never lets you forget that he is "Scarface". The supporting cast is wonderful too. It features Steven Bauer, as Tony's right hand man, "Manny" Ray. Michelle Pfeiffer is Tony's girl, Elvira, and Mary Elizabeth Mastrantonio, in a role early in her acting career, plays Gina, Tony's sister.

The hard-edged script for the film is written by Oliver Stone, who holds nothing back, as usual Directed by Brian De Palma, the movie doesn't flinch at all to tell its story. The film remains a favorite of mine and will leave you with quite a lasting impression. A "remake" of 1932's SCARFACE, in name only, the film is nearly flawless.

The "Collector's Edition" contains a feature length retrospective documentary, that is so well done, you almost forget that there is no commentary track. It is very comprehensive and covers all aspects of the film and its place in cinema history. There's also a number of deleted scenes and outtakes that were nice to see. These fine extras add up to one heck of a DVD for one of the best gangster movies ever made. SCARFACE should not be missed and comes highly recommended.

Nothing Succeeds Like Excess
Given the high-power talent behind the camera (Brian DePalma), in front of it (Al Pacino), and at the typewriter (Oliver Stone), SCARFACE should have quite a lot going for it. It does indeed, although I can't quite call this a GODFATHER-type masterpiece for certain reasons.

Ostensibly, this is a reworking of Howard Hawks' classic 1932 gangster pic about Al Capone. This time, the setting is Miami circa 1980, the contraband in question is cocaine, and the lead character, Pacino's Tony Montana, is a Cuban-born criminal who just came off the Mariel boat lift with 125,000 others that Castro let go, twenty percent of whom were known criminals. Pacino gets in on the ground floor with a local drug boss (Robert Loggia) and soon works his way to the top, doing just about everything to tick someone off--associates, enemies, cops, his wife (Michelle Pfeiffer), his sister (Mary Elizabeth Mastrantonio), and the Colombian drug kingpins he has to do business with.

But in his cocaine-fueled journey to achieve the so-called American Dream, he neglects to follow two rules taught to him by Loggia: (1) Don't underestimate the other guy's greed; and (2) Don't get high on your own supply. He finally crosses the line in the end by alienating a Colombian drug boss (Paul Shenar) so much that Shenar sends assassins to Pacino's Miami villa. The result is a horrific and bloody shootout in which most of the assassins are rubbed out, and so is Pacino.

Without a doubt, SCARFACE continues to generate wildly divergent opinions, both pro and con. I for one had some trouble trying to stomach Pacino's Cuban accent at first, but then his ultra-charistmatic performance kicked into high gear, four-letter words and all. The film is very true to its essentials of showing how a certain segment of the Cuban boat people, a very SMALL segment, tried to latch onto the American Dream by trafficking in illegal narcotics and thus earning millions. Probably the most interesting thing about SCARFACE is the political view that Stone espouses in his screenplay: he seems to espouse a very Reaganesque view of the world of the 1980s (virulent anti-Communism; anti-Castro), but in truth he is severely critical of those very same policies that motivated Castro to send the worst of his worst onto American soil and thus accelerate this nation's drug problem.

SCARFACE does have its faults. It requires a lot of patience to sit through with a running time approaching 170 minutes, and I am not all that sure there is enough in there to sustain it for that kind of length. The film continues to be controversial in some quarters for its extreme (as opposed to merely excessive) violence; the chainsaw scene in an apartment, the hanging from a helicopter, and the ultra-gory shootout at the end rank as some of the most violent scenes ever shown on film. Only four other films in history challenge it in this respect: THE WILD BUNCH, SOLDIER BLUE, TAXI DRIVER, and SAVING PRIVATE RYAN. Finally, this film set a record for the greatest number of times the "F" word, or variations of it, are used; I lost count at two hundred. This IS a bit much, although it probably fits the reality of the situation it depicts.

On the other hand, DePalma, whose 1976 film CARRIE remains one of the touchstone suspense/horror films of all times, does make quite a lot out of Stone's wild and crazy screenplay--though surprisingly, for the violent scenes, he doesn't use slow-motion or montage that much, which would have earned him favorable comparisons with the legendary Sam Peckinpah. Just as solid is the camera work of John Alonzo, who worked on CHINATOWN and BLACK SUNDAY, among others. Giorgio Moroder's score is pretty good, though I do admit it gets a little cheesy after a while. And Pacino's performance is also high-caliber; just get used to his Cuban accent, and it works very well.

This film comes highly recommended, but with this warning: It is definitely NOT for younger audiences, it is rated 'R' for a lot of good reasons.

Best Movie Ever!!!!!!!!!
This is the greatest movie that was ever created! I could not beleive how great this movie was when I saw it. Not only the movie was great but great actors like Al Pacino. If you have any money don't spend it on anything else than this movie!

WOULD YOU KISS ME IF I WEAR THE HAT!?
This is one of the greatest movies of all time and the AFI top 100 movies of all time refuses to acknowledge it. Al Pacino deserved an oscar for his portrayal of Tony Montana, the movie deserved an oscar for something yet this movie is constantly overlooked by all critics, but the cult following that it has amassed is by far more telling of it's popularity than sheer box office numbers. ask anyone on the street and they'll tell you Scarface is one of the best movies ever made, and if they don't think so they haven't seen it. So sit back, crack some hennessy and alize, light up a cigar, and enjoy one of the best movies ever made!

Classic Gangster Flick
No matter what anybody says, this has to be one of the ten best gangster movies ever made, if not in the top three. If you are a fan of this genre, Scarface is a gourmet banquet of acting, action, dialogue and intensity. And if you don't enjoy this, all I can say is I'm sorry that you're missing out. The only reason I don't give this movie 5 stars is that I don't know what to make of Giorgio Moroder's cheesy sythn soundtrack and disco tunes. If you think in the context of the movie, that 80's Cuban drug dealers might like listening to really bad disco music ("...Rush, rush to the yeyo") then this music works in the confines of the Babylon nightclub along with the bad hair, clothes, Belzer's lousy comedy and the mime. But these songs, if they had to stand on their own outside the movie, would be totally ignored. I wonder if Deborah Harry ( then at the height of fame with her band Blondie) knew when she laid down the vocals for Moroder's muzak that this song was designed as junk to suit the movie or if she thought this might boost her singing career. If you account for the disco muzak as necessary "set dressing" for the Babylon it still doesn't excuse Moroder's cheesy synth soundtrack. How much better this movie could have been if it was scored by an accomplished orchestral composer such as Morricone or Williams. If you want more proof of Moroder's shortcomings check out the soundtrack of Metropolis. ... Read more

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Jessica Lange gives a career performance in a role she was born to play:the talented and troubled Frances Farmer. Farmer's awful trajectory travels from bright Seattle girl to 1930s Hollywood starlet to degraded (eventually lobotomized) mental patient. Lange, who has the blond, clean look of Farmer's heyday, goes into these places with the fierce abandon of a true believer. Her performance, the lush John Barry score, and the period re-creation are all worth applauding; almost everything else fails. Everyone except Farmer is grotesquely caricatured to fit the movie's thesis, which is that if you are intelligent and nonconformist, the system will resolutely destroy you. (The medical establishment is evil incarnate.) This simple conclusion seems inadequate and disrespectful of Frances Farmer's tragic problems. For a radiant glimpse of what the real Farmer had to offer, see Howard Hawks's Come and Get It, which bristles with excitement over a new discovery. --Robert Horton ... Read more

Reviews (28)

The troubled life of Frances Farmer. Bravo to Jessica Lange
This is the story of Frances Farmer told from age 16 to 44. She became an actress but had such a troubled life and a troubled mind. Perhaps it began with her mother's insistance, or an undercover reporter, and the loss of her job from a touring play company. But what ever it was that was the constant pecking, it finally made her snap. You know the phrase, "the last straw that broke the camel's back". She ended up unwillingly in a mental institution. But still that's not all to this story. This film is raw, mature, shocking and brilliantly and masterfully dramatized by Jessica Lange who plays Frances Farmer. This film, at times, is disturbing to watch. But it was real and it did happen. I think, in my opinion, Frances Farmer's problem was not Hollywood, but her mother and being in the institution three times made Frances 200% worse. Some people can be so cruel towards another human. And never back off or make a block and totally destory the destiny of that one's life. What could have been is shattered because of that one evil person. The natural timeline has been cut. Farmer's last film was Son Of Fury (1942) until 1958. Frances Farmer had a labotomy and after a 16-year absence, returned in 1958 to do one more film, The Party Crashers (1958) which would be her last film. This DVD version has a chapter selection. No extras, no bonuses.

Jessica Lange gives a harrowing performance
This 1982 biographical film about the life of tragic 30's movie star Frances Farmer showcases brilliant Oscar nominated performances by Jessica Lange and Kim Stanley. It details Farmer's rise to stardom and her destruction by the one person on earth who is supposed to love and nurture, her mother. Uneven script is overshadowed by truly great acting.

Extraordinaria película
Frances es una de las mejores películas que he visto; dramática, emocionante, con actuaciones espectaculares.
Jessica lange hace su papel de manera extraordinaria.
La película ronda sobre la creatividad de una joven cercenada por su madre, por la sociedad y luego por la ciencia. El amor y odio entre la madre y la hija; un padre timorato, etc.

Poor Character Portrayal
Jessica Lange does not capture the personality of Frances Farmer well at all: when not hysterical, Lange portrays Farmer as somewhat simpering, rather than the bold, brassy figure that Farmer actually was; but I don't entirely blame Lange for this huge character portrayal gaffe: When viewing the extra material on the DVD, it soon become QUITE clear that the makers of this movie were more interested in themselves than their actual subject matter: The extra material included is nothing but a bunch of mutual back-slapping among a few Hollywood yuppies, and the references to Farmer are very much extraneous.

Jessica Lange simply brilliant as Frances
I originally saw this as a teenager and even then, thought that Jessica Lange was brilliant. Just the other night I had the pleasure of seeing this film again, and once again felt that Jessica Lange was marvellous in her role as Frances Farmer. The film is also very well paced and engaging.

If you think back to 1982, it was a huge year for Hollywood. So many powerful films came out and it was definitely a year for the actresses. Jessica Lange was up against Meryl Streep in "Sophie's Choice". The Academy gave the best actress to Meryl Streep, but you cannot argue that Jessical Lange was equally as good in "Frances". She won the best supporting actress that year instead for her role in Tootsie.

Frances is a film quite unknown to many, and that surprises me, because it is a gem of a film. I realise that there has been many debates over the facts, but it does say at the beginning of the film "based on a true story".

Jessica Lange is one of the greatest actresses of our time. Other Jessica films I recommend are: The Music Box, Cape Fear, Tootsie and Blue Sky. ... Read more

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You wouldn't want to spend much time with the folks from David Rabe's play Hurlyburly. Asensation when it played on stage (with marquee names Harvey Keitel and William Hurt), Rabe's tale of thecocaine-influenced days of Hollywood in the 1980s is a bitter rambling of what humans do with too much drive, power, and money. Robin Williams's joke about cocaine being God's way of telling you have too much money certainly comes into play here. A few days in the life of casting agent Eddie (Sean Penn)and his friends (separated by a year) take place in Eddie's posh L.A. bungalow. Here he and his roomie Mickey (Kevin Spacey) talk nonstop about sex and power, syntax and meaning. Into this wash comes a charitable bigwig (Gary Shandling), a street kid (Anna Paquin), and Eddie's rudderless friend, the violent Phil (Chazz Palminteri). If there is a central story to be found, it's Eddie's drive to fall in love with Darlene (Robin Wright Penn), who finds this world exciting--or at least intoxicating.

This is not the bunch to invite over to your house, and many might even want to skip the two-hour film with its talky, pathetic prose. These characters would probably be despicable even if they weren't addicted to some narcotic. And the talk is endless; conversations that finish with a door slam are taken up moments later on the cell phone (a nice updating touch by Rabe). What draws big-name actors to Rabe's work is the chance to work on one's raw acting talent. Penn and Palminteri fit their roles like gloves, and Spacey again proves he is one of the most watchable actors around. Every nuance, bad pun, and irrelevant slip of Spacey's wicked tongue has a brutal kind of poetry here in a film that can be admired but not loved. --Doug Thomas ... Read more

Reviews (69)

beautiful
What you must know going into this movie is that you will not be passive about it. You will either love this movie or you will hate it. Many people say it drags on, lacks plot, etc, but I completely disagree. It is a movie about modernism, post modernism, post post modernism, all those absurdities of modern artists, especially existentialism. This is a movie about the next lost generation, people living in a world with no comfort for those who find it goes by too fast for them to find anything to feel passionate about. These people are searching for something, anything, to crave, and we as the viewers simply are introduced to a splice of their thoughts, hopes, dreams, etc. Anna Paquin is amazing in one of her first starring roles since The Piano; her progress as an actress is nothing short of spectacular. Meg Ryan finally sheds her ever-present cuteness and dares to take a role completely unlike any of her others, and does it impeccably. The chemistry between Sean Penn and Robin Wright Penn is gripping as always, as they slip into new, absurdly off-center roles. Kevin Spacey is stunning. I love that this movie was created by many of the actors in it, I love the intelligence and creativity they gave it. This is one of my favorite movies, but it is clearly not for everyone.

One word... WOW!!!
I stumbled across this movie "by accident", flipping through the channels like many young Americans, and somehow I stopped dead in my tracks when I got to Hurlyburly. I was attracted to the movie initially by the top-notch actors, but after viewing it from start to finish at that one sitting, I found myself wanting to see it over and over again.

Sean Penn takes his "bad boy" reputation to another level in this well written screen adaptation of the play of the same name. He is so beleivable as Eddie that one might think he isn't even acting at all! That is when you realize you are truly watching one of the best actors in the business. Kevin Spacey, what can you say? He is just as impressive as ever in his role as the cynical Mickey, truly showing his great range and talent as an actor. Chazz Palminteri and Garry Shandling are also stunning in their respective roles as Phil and Artie. Cameos from Meg Ryan, Anna Paquin, and Robin Wright Penn help round out one of the absolute best acting lineups I have seen in a long, long time.

One of the true triumphs of the movie is the excellence to which it is written. The dialogue can be vulgar and lewd at times, but it remains poetic while doing so. The fact is that the world we find ourselves watching is in fact vulgar and lewd, out of control and senseless, but when you step back for a birds eye view, what you find yourself watching is a spin off of today's society. The dialogue, though drug induced in the film, speaks loud and clear to the viewer and watching these characters live their somewhat failed lives while analyzing every bit of it in an eloquent way is ironic, but breathtaking.

There is no "middle ground" with this movie, however. You will know right away whether you are going to love it or hate it, but all serious movie fans and fans of true acting in general, owe it to themselves to at least give this picture a chance.

"I can not stand this semantic insanity anymore!"
I like to find one quote from a movie to use as the header in my reviews - something that is hopefully interesting and perhaps funny, and indicates my feeling toward the movie. The quote is from Darlene (played by Robin Wright Penn) in response to boyfriend Eddie's (Sean Penn) argument about why she can not like Chinese and French restaurants equally.

In most scenes, coke-head Eddie's anger comes from nowhere, but he must try to make it sound as if he's talking about something. Long speeches and big words do not necessarily make a point. Although his room-mate, Mickey, played by Kevin Spacey dishes out speeches as well, it is less overwhelming and makes a little more sense. Perhaps it is because he does not do nearly as much drugs as Sean Penn's character. Another role played by Chazz Palminteri was offensive. It had one note to it, which was to yell, then yell some more, then get physically abusive with women. Anna Paquin's appearance as a street urchin passed off by Artie, played by Garry Shandling, was interesting and not her normal type of character.

The acting was pretty good. The point, plot, and characters were not. One interesting scene was a conversation that was started face-to-face, then continued at different locations via cell-phones over the course of the day.

DVD sound and picture were good. Has 2 OK commentaries.

As Eddie said on more than one occasion..."blah, blah, blah."

Fun yet disturbing.
I was surprised I hadn't heard of this film before, considering the box-office draw of the actors involved. I then realized after putting it on that it was more of a 'vanity' picture. A literary book rather than a 'blockbuster' novel. It's taken from a play, is of course very theatrical and allows the actors involved to flex a bit more of their acting muscle than they would have been given in a conventional Hollywood movie. It's a very masculine play and is quite satirical on the nature of men's emotional inadequeces. Whether they be childish emotions (Sean Penn, Chazz Palminteri) or just plainly non-emotional (Kevin Spacey, Garry Shandling). It also makes no disguise of the characters' blatent mysoginy, exploring the darker side of the male psyche with comedic results. The fast-paced, intelligent dialogue makes it a pleasant change from the usual mid-west subject matter.

I started to feel slightly relieved when I thought that this mightn't be an exploration of men's psychological make-up, but rather a satire on Hollywood movie executives. However concern started creeping back in when I realized these could be some of the brains behind what we consume on TV and at the movies.

One can only wonder who gets it?
Who gets it? All the critics who raved and gave this movie a 5? Or the rest of the world who gives it a 1? I mean, I could see certain people giving it a 3 for the acting...I have to disagree with those who say it's boring, though. It's not so much "boring" and "pointless" and "pretentious." You can watch it in short doses, just like you can watch a train wreck, but you catch on really quick that none of the characters have any redeeming qualities and they are headed very slowly to nowhere.

If that's what you like in a movie, this is your movie. ... Read more