Reviews (303)

Landmark in US filmmaking
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Don't be fooled. "Big Fish" is not the classic want-to-be "surreal" tale with random psychedelic elements. "Big Fish" is not a movie that "tries to hard" to be different or bizarre. "Big Fish" is *real*. It embodies much more than what it may seem at first glance.

After a somewhat decline during his last movies (since his masterpieces "Edward..." and "Ed Wood"), Tim Burton finally decided to explore two more realistic subjects: first; a father-son relationship and second; the story of ones life. "Big Fish" is left to the viewer to be understood, analyzed, and interpreted. Like any other film, the final interpretation lays on the viewer. However many directors are often biased and leave little room for personal interpretation making their own. Burton, on the contrary, leaves a universe for multiple interpretations. One can wonder how he managed with such a solid plot. Nonetheless, he succeeded.

The beauty of the profound subject, the imaging, the style, and the meaning and purpose of "Big Fish", makes it a film to be remembered by many generations to follow. Tim Burton has delivered a masterpiece like never before: a landmark in US filmmaking.

5/5 - "Big Fish" is huge.

Wow
I've been a big Tim Burton fan for years, so when the combination of his imagination with the heavenly creature that is Ewan McGregor are combined - it's a match made in movie heaven.
The story revolves around a man who feels disconnected from his father and all of his "tall tales" of growing up. When his father falls ill, he returns home with his pregnant wife and tries to get to the truth of the matter when it comes to his father's life.
I loved how the story kept going back and forth between the present day and the past. Burton's imagination is one of the things I love about his films and he didn't cease to amaze me with this project. Plus, all of the interesting characters brought into the story made the movie even more enjoyable. (My particular favorite was Karl the Giant.)
Albert Finney and Ewan McGregor's performances were amazing. I'm surprised and a bit disappointed that this movie didn't get as much credit as it deserves. Another aspect I loved was the relationship between Bloom and his wife. That scene where he is in the tub in his pajamas and his wife joins him just about brought me to tears. You could still feel the love between the two characters.
Go see this movie. It may just be a movie about tall tales, but it you'll leave feeling better about life.

Greatest Movie Ever
This is the greatest movie I have ever seen. And for all of you people that thought it was terrible, you are either one of three things: mentally handicapped, void of any emotion, or just plain stupid.

Just Plain Awful
After seeing the movie, I was without words to describe my disappointment with the movie. Seeing the comments and reviews on Amazon, I am without words as to how people could be giving such an awful movie 5, 4 or even 3 stars. It is phony from start to finish, with a terrible plastic feeling throughout. It has the most stupid script ever, jokes that are simply not funny, and the bottom line is the I just could not believe someone actually released this movie to the theaters. I simply cannot put into words how deep my disappointment is.

Something's missing...
There are things worth seeing in Tim Burton's Big Fish. Some of the scenes are visually stunning. There are some colorful minor characters (especially the poet/bank robber played by the wonderful Steve Buscemi). And the ending is pretty moving.

Other than that, there seems to be something aimless to the film. It was difficult for me to get interested in what was happening to the characters; I never felt that I truly got to know them, and though perhaps this is part of the point, it was frustrating. Also, Ewan MacGregor's insistently upbeat performance would occasionally get on my nerves. ... Read more

Album Description

1995 reissue of the soundtrack to director Bob Fosse's acclaimed 1979 musical co-starring Roy Scheider and Jessica Lange. Ralph Burns arranged & conducted all 14 tracks, whichinclude performances by George Benson, Sandahl Bergman and Ben Vereen with Scheider. A Spectrum/ Karussell release. ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

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One of the most invigorating period adventures to hit the big screen in decades, this lavish, brilliantly directed film drew critical and audience raves when it was released in 1995. Inspired by historical fact and larger-than-life legend, the intelligently scripted story takes place in Scotland in 1713, when Highland farmer and clan leader Rob Roy MacGregor (Liam Neeson) is forced to borrow money from the duplicitous aristocrat Marquis of Montrose (John Hurt) to help his clan survive a harsh winter.When Montrose's vile henchman (Tim Roth) schemes to dishonor MacGregor and his wife (Jessica Lange) and take the money for himself, the rugged Highlander must take courageous action to preserve his integrity. What follows--along with some of the finest sword-fighting ever filmed--is a tale of courage and valor destined to become an enduring movie classic. Tim Roth received a well-deserved Oscar nomination (for Best Supporting Actor) for his indelible performance as the foppish but deadly villain Cunningham, and both Neeson and Lange bring an earthy, sensual quality to their passionate roles. Boasting a wealth of breathtaking scenery and high-intensity action, Rob Roy is further blessed by a splendid supporting cast (including Brian Cox and Eric Stoltz), and the lush soundtrack by Carter Burwell strikes a perfect balance of romanticism and vigorous dramatic energy. --Jeff Shannon ... Read more

Reviews (66)

Scottish Western.
Directed by Michael Caton-Jones, written by the superb screenwriter Alan Sharp. Compared to other Hollywood productions, especially adventure pictures, the I.Q. of *Rob Roy* seems very high. And compared to Mel Gibson's *Braveheart*, to which this movie will be eternally and unfairly linked (both being treatments of legendary Scottish heroes that were each released in 1995), the dialogue in *Rob Roy* sounds like poetry: not merely intelligent, but downright metaphoric, even when vulgar (listen for Tim Roth's little speech about love being like a dunghill). But the intelligent writing and meticulous realism should come as no surprise to those conversant with 1972's *Ulzana Raid*, which was also scripted by Scotsman Alan Sharp, based on his novel. That was one of the greatest and most rigorously realistic Westerns ever made . . . and so is *Rob Roy*, despite its setting in early 1700's Scotland. All the traditional elements of the classic Western are here: good vs. evil, rich vs. poor, one man pitted heroically against the world, played against a backdrop of majestic beauty that puts it all in context. Those expecting an adaptation of Sir Walter Scott's beloved novel about Rob Roy MacGregor will be disappointed on that score. Instead, the movie is an imaginative prequel of sorts that takes place before the serious Jacobite uprisings depicted in the novel. It shows the impetus for the hero's later actions. And boy, does he get some impetus! Pitted against a triumvirate of scoundrels -- John Hurt as the Earl of Montrose, Brian Cox as Montrose's henchman Killearn, and most notably Tim Roth as the vile fop Archibald Cunningham, who's Montrose's deadly bodyguard -- Liam Neeson's Rob Roy doesn't stand a chance of remaining unscathed while treading the moral high ground. The worst of the depredations that come home to him is the perfunctory, brutal rape of his wife (Jessica Lange, sans make-up) by Cunningham. Those who are more than commonly sensitive to such scenes are well advised to look the other way -- this is one of the worst rape scenes in all of cinema. Ugly, but viscerally effecive. Other great scenes include the hero's last-second, desperate escape from Montrose's hangmen, followed by his hiding from them in the bloated carcass of a cow. The mandatory climactic sword-duel between Roth and Neeson is justly famous, and not to be missed. Perhaps the only thing lacking in *Rob Roy* is a great action sequence, a la *Braveheart* (which has at least one too many!). Somehow, the duel at the end, great as it is, doesn't seem quite hearty enough to whet the appetite for action that the movie inspires. While this is a genuine failing, it doesn't mar the movie's many virtues.

A good movie ' but it's just a story, not history
Rob Roy McGregor actually lived, an eighteenth-century Scottish clan chief who followed the traditional life of such men - leading his people, raising cattle, rustling other clans' cattle, engaging in feuds, killing his enemies, and so on. Historical novelisation has romanticised him and his activities, and this film continues the process.
It's a good movie: strong and noble-spirited leads, goodies struggling against the odds and the system, evil baddies, fights, sex, a climactic duel, and ultimate victory for the goodies, all against gorgeous Scottish scenery, what more could one want? But it's not a history lesson. And this is where so many reviewers have gone wrong. The film's makers missed the chance to show the background political context that makes sense of so much of what went on at the time.
And as a Scotsman I would add that while Liam Neeson and Jessica Lange turned in good performances, their 'Scottish' accents were only slightly less cringe-making than that of Engineer Scott from 'Star Trek'.

Nice scenery, story is lacking
Based on what we've seen in the film, Rob Roy's honor is the most important thing to him. But does that mean that cunnying, intelligence, leverage, and knowledge is to be discarded? Rob Roy does everything wrong in this film from the moment he allows one man to act has his financial agent to the fact that he doesn't use his allies against those that are trying to kill him and who end up raping his wife, he acts in typical Hollywood fashion as an idiot.

The film would have been quite short if he would have done the right thing from the very beginning. But, alas, we would have no film so hence the stupidity from which we are tortured.

The film has some great scenery and the acting is enjoyable except for the brutal rape scene of Roy's wife. Other than the scenery and acting, there's not much to see let alone giving cause to buying the DVD.

What's not to like?
A wonderful film overshadowed by "the other" kilt movie that came out that same year, Rob Roy is stuffed with action and romance and political intrigue. Brilliant performances by Liam, Jessica, and especially Tim Roth and a then unknown Brian McCardie. Brian gives a stunning debut performance as Rob's younger brother Alistair (who, though he didn't exist in real life, sure made for great cinema!). A great story that will have you weeping and pining for the highlands!

sexual violence a turnoff
I missed this movie in the theatres and was eager to see it. The acting, scenery, snd musical score were all superb. What turned me off was the ( as also stated by another reviewer) protracted rape scene. It was about as brutal as it gets and went on far too long. I think this was really unnecessary since ( when Tim Roth forced Jessica Lange accross the table) we all knew what was going on.Having been a victim of sexual violence, I was completely turned off by the prolonging of this scene. Totally unnecessary to do this. ... Read more

Reviews (59)

What y'all really want is some gross, caricature of a woman!
In 1982, Dustin Hoffman played one of his most memorable roles as Michael Dorsey in the hilarious comedy, "Tootsie". As an out-of-work actor, Michael teaches acting classes because no director will hire him due to his somewhat peremptory attitude, or so says his agent George Fields (Sydney Pollack, who also directed the film). Frustrated with being undesirable and wanting to prove himself, Michael dons a dress and high heels so that he can apply for a female role in a television soap opera. Calling himself Dorothy Michaels, the soap opera director, Ron (Dabney Coleman), thinks that Dorothy is too ugly for the part, but Dorothy's dominance earns 'her' the right to a screen test and 'she' gets hired! As the film progresses, Michael's pretense as a woman earns him the stardom and recognition that he longed for. However, it also gets him into trouble not only with a woman that he's dating, Sandy (Teri Garr), but also with two of the regular stars from the soap opera, Julie (Jessica Lange) and John Van Horn (George Gaynes).

With an excellent script, superb acting and a hilarious story, it was completely unsurprising that "Tootsie" earned 10 Oscar nominations, including nominations for Best Picture, Best Director (Syndey Pollack), Best Cinematography and Best Screenplay. Dustin Hoffman was nominated for Best Actor and both Teri Garr and Jessica Lange were nominated for Best Supporting Actress. Of all the Oscar nominations, only Jessica Lange won the Oscar. Dustin Hoffman won the Golden Globe for Best Actor, as did Jessica Lange for Best Supporting Actress. The number of Oscar nominations that the film earned demonstrated the many strengths of the film, not to mention that the film will keep you laughing and fully engaged!

Other very memorable characters in the film include Julie's father Les (Charles Durning), Michael's roommate Jeff (Bill Murray), soap opera producer Rita (Doris Belack) and soap opera nurse April (a young Geena Davis).

If you enjoy films such as "Some Like It Hot" (1959) and "Mrs. Doubtfire" (1993), you will more than likely enjoy "Tootsie" equally as well. I rate "Tootsie" with a resounding 5 out of 5 stars and am very pleased to own it on DVD.

We Are Large...We Contain Multitudes
When I first saw this film more than 20 years, I really did not fully appreciate then what director Sydney Pollack, his cast, and his crew had achieved. To be sure, I found the humor hilarious, the cross-dressing and gender-bending clever, and all of the performances first-rate. I have the same opinion today. However, in ways and to an extent no previous film had done, Tootsie makes certain assertions which have serious implications, then and now. For example, that at least some men can more fully develop their masculinity by recognizing their femininity, as indeed Michael Dorsey/Dorothy Michaels (Dustin Hoffman) does. And the same is also true of at least some women. Moreover, this film effectively demonstrates how difficult it can often be to gain and then sustain another's complete trust. To salvage his acting career, Michael repositions himself as Dorothy so he will be hired to play a character in a soap opera. As Dorothy, he establishes an especially close relationship with another cast member, Julie (Jessica Lange), and falls in love with her while continuing to deceive her. Later, her widower father Les (Charles Durning) falls in love with Dorothy and thus becomes another unwitting victim of Michael's deceit. The eventual happy ending does not include Les.

Shakespeare never devised for his Italian comedies a plot as complicated as the one Larry Gelbart and Murray Schisgal provided for Tootsie. Under Pollack's direction, all of the cast members provide brilliant performances, notably Bill Murray as Michael's friend Jeff and George Gaynes as John Van Horn, another cast member. Jessica Lange was selected to receive an Academy Award as best actress and deserved it. Much of this film is hilarious, it is always entertaining, but as I indicated previously, having seen it again recently, I find it much bolder and more thought-provoking now than I did 21 years ago. To some, perhaps, its serious implications may even seem threatening.

A Nearly Perfect American Comedy
I heard a story that Dustin Hoffman was considering doing this movie, but that he waited until he had been made up to see if he made a convincing enough woman before agreeing. I don't know how true this story is, or even how convincing he is as a woman, but thank goodness this movie was made.

I can't think of another movie more perfectly cast except.... maybe... Casablanca? Jessica Lange is perfect as the beautiful soap actress and love interest. Charles Durning is perfect as the sweet older man who falls in love with Dustin's "Dorothy". Terri Garr is perfect as the insecure female friend who loses the role on the soap to "Dorothy". Bill Murray is great in his few scenes - this is one of the first movies where we actually got to see him "act". Dabney Coleman is perfect as the arrogant director of the soap who cheats on poor Jessica. Director Sydney Pollack wisely casts himself perfectly as Dustin's exasperated agent. (The scene early on where he informs Dustin that NO ONE will hire him because he's too "difficult" is fantastic.) Lastly, Dustin Hoffman is perfect as the actor who becomes a better man by pretending to be a woman.

The film is full of situations that turn your expectations sideways - I'd give examples, but that would ruin your enjoyment if you haven't seen it yet! Trust me - just watch this movie - but only if you want to be entertained!

FUNNY. AND MEANINGFUL.
What a tightly scripted, beautifully acted, finely paced comedy! Having seen it a long time ago, I felt it must've been very much like an older version of Mrs Doubtfire, but this marvellous film has a lot more going for it than the female impersonation angle.

When a failing actor cross dresses to get a job, he also discovers the inconveniences of being a "woman of the 80s". Throughout the film, there's always a pleasing sense of cynical humor (e.g., "I dont believe in hell. I believe in unemployment, but not in hell") and Hoffman is topnotch in his role.

The from Morricone has a somewhat grating refrain of Stephen Bishop's "It might be you" but I guess it perfectly serves its purpose, providing the touching backdrop to the actor's increasing awareness of the strength of feminine qualities -- the touch of the baby to his cheek, the poignant sight of Julie's skirt swishing in the kitchen, the offering to Dorothy of her chocolate-covered finger to suck, etc.

I can see that Hoffman must have committed to this movie bigtime, and I notice that there's a book that describes the making of this film but is currently out of print. Perhaps something to this effect would have been great to include on the DVD itself, which is incidentally quite lousy for such a classic film.

At any rate, it's a great addition to any movie collection.

Dustin Hoffman is the best!
Dustin Hoffman is a fantastic character actor, one of the all time greats. He is superb in this movie. He is an actor who can't get a job as a man but through circumstances, ends up getting a woman's part in a soap opera. The cast thinks he is a woman and it really was funny watching Hoffman try to keep them from learning he was a man. This movie was really funny and yet it had a lot of drama and humanity included.

I found his portrayal of a woman more interesting and likable than that of the male character, in fact, there were times that I would get so wrapped up in the character, Dorothy, that I would forget that he was a man acting as a woman. The cast, Jessica Lange, Teri Garr, Dabney Coleman, Bill Murray, Charles Durney, Geena Davis, were all great.

This is one of those movies that will be remembered for years to come! Enjoy! ... Read more

Reviews (220)

A Beautiful and Haunting Debut
Julie Taymor, of Broadway's "Lion King" fame, creates a dazzling surreal anachronistic fantasy world with her feature film directorial debut. "Titus" (lately, "Titus Andronicus,") though thought to be Shakespeare's worst play, is a beautiful symphony of distruction, murder, deception, seduction, rape, and cannibalism...at least it becomes so under Taymor's careful direction. The choreographed opening scene of marching soldiers weary from battle in the middle of the collesium sets the tone for a very unlikely brilliant piece of film. Alongside armored soldiers on horseback, people ride down the street in automobiles of various periods. A jazz band accompanies the new young emperor's wedding night orgy. And two young Gothic barbarians in furs trade in their furs for leather and video games. This movie is beautiful, intelligent, and above all unexpected. You can't help but like Aaron the Moor, who prides himself on his villany. Even the queens young sons you can't help but find fascinating, despite their rape of Titus' young daughter Lavinia.

Anthony Hopkins, as always, is brilliant in the title role of Titus. A man dedicated to his country and his emperor and upholds duty above all else...even willing to risk his daughter's unhappiness by consenting to her marriage to the young corrupt emperor Saturninus. Saturninus however eventually marries Titus' captive Gothic queen, played with true sinister brutality by the unrepentantly sexy Jessica Lange. One of her sons you might even recognize from the movie "Velvet Goldmine." Saturninus is played by the always talented and sexually enigmatic Alan Cumming who seems to take great pleasure in imitating more politicians than you could shake a stick at. But hands down the show is stolen by Henry Lennix, playing the evil Aaron, the queens trusted friend and consort. Aaron never apologized for all the pain he has inflicted or his evil ways...he revels in them.

The ending is not unexpected considering most Shakespearian tragedies...but I won't ruin the finer points. Suffice it to say, my personal favorite scene involves the queens two sons, Lavinia, and some twigs put to some very interesting use...this scene sticks with you long after the movie has ended...as beautiful and haunting as it is horrifying.

Titus (2000) d: Taymor, Julie
Titus Andronicus is arguably the most complicated play ever penned by the great William Shakespeare. It is also one of the darkest and most violent plays, filled with shocking scenes, and obscene human behavior. Using the original old English, this movie mixes things up a little using outrageous situations, and brilliant visual touches of ancient Rome, fascist Italy, and a coke-a-cola post everything media assault. The new emperor played by Alan Eyes Wide Shut (1999) Cumming marries a vengeful queen (played by a sometimes topless Jessica Lange) who has two vicious punk rock sons who torment Roman warrior Titus (played by Anthony Hopkins). In scenes comparable to Silence of the Lambs (1991), Titus seems to lose his mind after his two sons are decapitated and his daughter is raped, she has her tongue cut out and her hands chopped off. Revenge soon follows in a cannibalistic dinner served to the guilty, 'a la Theatre of Blood (1973) with Vincent Price. The DVD contains many extras. A excellent film with something to offer both young and old alike. Not only is it hard to believe the depths the movie delves into, but even more incredible is that this epic picture by Julie (Lion King) Taymor is a directorial debut. Impressive first try..., we can't wait to see another.

I Gave it 4 Viewings
Ms Taymor, let me say at the outset, is a highly creative director. Loved the Broadway show (The Lion King). She's innovative, imaginative, extremely adept at visual imagery, etc. What she isn't is adept at interpreting The Bard. The DVD version had her meeting with a group of NYU students discussing the production and the play, in which she showed exactly how shallow her understanding of Shakespeare actually is. Her focus was entirely on her vision, rather than his text. That shows up, rampantly in the movie. It's all about her and her imagination, never centering on the text or the innner beauty of Shakespeare's most brutal play.

I'm not saying that all the bard's plays have to focus on the grand design of the poetry, the meter, the frangrant, redolent language, but at least lip service should be paid there. In this version, we get stuffed with so many Taymor pipe dream (and I do mean a loaded hookah!) visuals, that the language is submarined into oblivion. Even so consummate an actor as Anthony Hopkins (why isn't he Sir Anthony, by now? ..get off your keister, Queenie!) can't compete with the hyperactive Ms Taymor and her busycam. She's obviously aiming for the Art House crowd (of which I am a sometime member, but not in good standing here, obviously), but she misses even that mark. Most of the "innovative" interpolations, such as the young kid who provides the framing device, are entirely superfluous, thereby losing any actually artistic force they might have achieved. It's nothing but empty window dressing.

The performances are largely execrable, including Sir Tony, I hate to report. His version of the Brando mumble is ill suited to the title role. Jessica Lange gives a nadir plumbing performance in a career that features a few of them. She was a lot more convincing in King Kong, trust me. The rest of the Mad Max rejects were even worse.

The reason I gave this film four viewings before sending the DVD on to a friend, was I thought perhaps it was just me, and I was being too reactionary or cynical about this brave new look at what is actually, in a way, one of my favorite Shakespeare plays. Then, midway through viewing #5, I thought, "nah....this thing really is as bad as originally perceived."

Last I heard, "The Lion King" was still playing on Broadway. My suggestion is, buy tickets to that, next time you are in NYC. As for this Turkey, my advice is to rent it if you must. Otherwise, don't put yourself through the torture I did.

BEK

Brilliantly stylized; unique
Every once in a while, a movie comes along which you feel was made just for you. I can understand why a lot of people might not like this film, but for certain people I think it might be just what they were looking for.

Taymor's production, instead of trying to somehow mitigate the remorseless violence and moral vacuum which characterized the much-maligned play, intentionally plays it up. The garishness of the plot is complimented by the garishness of the anachronistic costumes, the elaborate staging and the delerious, overdramatic acting. It gets right to the heart of what a revenge drama is, and what value can be found in Andronicus just as a pure visceral experience. A lot of great performances, and the images are brilliant. My only complaint is, given the pacing of a modern film, it's difficult to hear and understand all of the dialogue sometimes, since none of it was 'updated' from the original Shakespearean. Given the stylized nature of everything else, maybe some of the dialogue should have been simplified.

Writing this now, comparisons to Kill Bill are inevitable, and, while it can't quite claim to reach that pedestal, and lacks the ultimatley morally redeeming value of the complete KB, I recommend it to fans of the KB pt. 1 as a similiar experience.

Taymor adapts vengeance and its consequences...
Titus is based on Shakespeare's Titus Andronicus, which is an extremely bloody and terrifying tale of vengeance and its consequences. The cinematic adaptation that Julie Taymor wrote is set in a Roman Empire-like environment with crossings of ancient and modern as the mise-en-scene displays cars as well as tanks with soldiers in ancient armor. This creates a link between then and now, which could suggest that the displayed horror is timeless and possible even today. Taymor creates exaggerations in this cinematic environment with brilliant cinematography, grand directing, and mise-en-scene that amplify the abstract atmosphere as it elevates the unnatural doings of Titus Andronicus (Anthony Hopkins), Tamora (Jessica Lange), and Saturninus (Alan Cumming) among others. The Shakespearian violence that Taymor presents serves as the means to an end as the story plunges into a dark realm that most do not wish to visit, but must contemplate as it could have devastating effects on all.

The film opens with a scene where a young Lucius is sitting at the kitchen table, with a brown paper bag over his head, eating dinner while sadistically tearing the heads of his warrior dolls while violently smashing the items on the table and pouring ketchup over the "killed" dolls. This is followed by an explosion where Lucius dives bawling to the floor for protection. Lucius is a clear resemblance of his father Titus in the opening shot. The rest of the film is a carnival of hideous acts and morbid behavior that alll falls around Titus with a domino effect trigged by one wrong decision. Despite the distressing elements of Titus, the film offers a brilliant cinematic experience that devours the audience as it supplies several subplots and themes, which the audience should ponder under the light of human compassion and the word "consequences". ... Read more

Amazon.com

Masked and Anonymous is a mesmerizing experiment in surreal drama with lyrical content, a cinematic approximation of an epic Bob Dylan song on the order of "Desolation Row." Not coincidentally, Dylan is a co-writer and star of this 2003 film, playing an enigmatic folk-rocker named Jack Fate, a political prisoner in an unnamed, civil war-torn country. Set free to headline a benefit concert organized by an unscrupulous promoter (John Goodman) and television executive (Jessica Lange), Jack embarks on a fateful journey through a battle-scarred land. Taken literally, Masked and Anonymous proves bewildering, even exasperating, but as a feverish act of unrestrained political satire the film has a lot to offer, including some of the best recent performances by Goodman, Lange, Jeff Bridges (as a cynical journalist), Val Kilmer (a babbling prophet), Luke Wilson (a musician), and Giovanni Ribisi (a haunted soldier). Dylan himself proves a stiff cipher, but fun to watch. --Tom Keogh ... 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

Amazon.com essential video

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

Reviews (91)

Great camp trash from the '70's
As many film fans are painfully aware, the sight of producer Dino De Laurentiis' name in the credits of any project virtually guarantees the stamp of mediocrity, and this 1976 version of "King Kong", less a faithful remake than a "re-imagining", doesn't escape that fate. With its leaden tone, wooden acting and creaky special effects (even by Seventies standards), it works best as unintentional high camp, and as such, has long since been relegated to the "so bad it's good" category. Properly viewed in that spirit, though, it is undeniably entertaining, and does offer at least two redeeming qualities: a superlative (and often overlooked) musical score by longtime James Bond composer John Barry, and the staging of the finale, which occurs not atop the Empire State Building but on the World Trade Center towers, one of the few films (along with John Carpenter's 1981 hit "Escape From New York") in which the late buildings actually played a key role rather than as background scenery. Though at the time the filmmakers obviously could not have forseen the two buildings' gruesome demise, it nonetheless makes for a strangely compelling, if extremely eerie, experience watching the movie today, as several scenes were shot inside the actual towers themselves.

That being said, however, the other aspects of the film are undeniably awful, and some that have posted reviews here have wondered how such talents as Jeff Bridges and Jessica Lange could possibly been involved, obviously unaware that this was Oscar-winner Lange's very first film role, and that Bridges (who in my opinion has long been overdue for an Oscar) was at this point in his career still very much a B-list, journeyman actor. Considering the script he had to work with, he turns in a solid performance, and unlike other members of the cast, at least doesn't manage to embarrass himself (though I'm sure he's happy few people today probably recognize him under the wild unkempt hair and beard he sported at the time).

Of course, no discussion of up-and-coming talent in this film would be complete without mentioning the contributions of makeup artist Rick Baker, who would go on to become one of Hollywood's top designers of special makeup effects, winning several deserved Academy Awards for such films as "An American Werewolf in London", "Gorillas in the Mist", and "Ed Wood", among many others. Here Baker both created and wore the Kong "gorilla suit", to good effect, after plans to create a full-size, working mechanical Kong proved unattainable. (The full-size Kong does appear in two brief scenes: one late in the film and of course at the very end, looking equally dead in both.) As high camp goes, though, scenes like this (as well as the scene with the giant snake) are hard to beat, and overall the film is, for me, still a lot of good, cheesy fun. Paramount's DVD release at least allows the film to finally be seen in its original widescreen format, and includes the amusing trailer. Here's looking forward to "Lord of the Rings" maestro Peter Jackson's true-to-the-source remake of the 1933 original, set to wow us all in 2005!

Underrated 1970's Remake of 1930's Classic
1976's "King Kong" may not have the panache and legend assigned to the 1933 original, but it does have its share of moments. If a remake can be satirical, outrageous, and just plain different, then this one takes the cake. One recent criticism, but not in its time, was the unrealistic gorilla suit of Rick Baker's design. It may not be on par with the remake of "Planet of the Apes" (also by Baker), but just watch the Japanese movie "King Kong Vs. Godzilla" to see how GOOD Baker's design really is.
It is an interesting 70's time capsule, with Lange's Marilyn Monroe-esque acting, Jeff Bridge's hippie hair-do and "Greenpeace" attitude, and Charles Grodin's oil-obsessed hysteria. Remember the gas lines of the mid-70's? This movie will remind you.
Some of the special effects are dated by today's terms, but that's okay. Enjoy the 1976 version of "King Kong" on its own merits: just inoffensive good fun. After all, where else can you see King Kong blow the wet Jessica Lange dry? With puffy cheeks, no less?

Pales beside the '33 original
Like most remakes, the film exhibits good intentions and even starts off well. However, its fundamental production quality and even its special effects (!) are dwarfed by those of the 1933 original. The acting in the 1933 film is also much more convincing, in my opinion. I formerly owned the LaserDisc issue of the 1933 King Kong, and that edition was terrific, featuring the movie in its _unedited_ version as well as a director's commentary pertaining to the detailed aspects of the making of this great film.

I suggest that you _skip_ this mediocre remake and save your hard-earned bucks to purchase the upcoming DVD version of the original King Kong. If it is anything like the LaserDisc version (it actually should be more, regarding "extras"), you won't go wrong!

STICK WITH THE ORIGINAL!!
The thinking behind this remake escapes me. Why redo a nearly perfect movie, and leave out the dinosaurs? There is one encounter with a giant snake that's not bad, but that's it. The first half of this movie is an acceptable adventure story, but after Kong is captured, it goes downhill, becoming a politically correct monster movie(ie, Jeff Bridges cheers Kong as he defeats the military). Just stick with the 1933 movie, perfect in every way, almost, and keep hoping they find the lost footage of the spiders at the bottom of that ravine!!

King Kong
This is a movie that is a sit down family movie, all will enjoy.
I remember watching as a young teenager and now have purchased it to watch with my young teenagers.
After visiting Universal Studios and doing the backlot tour and seeing King Kong again it made me think about how to get hold of this wonderful movie. I rate it high on family enjoyment also prepare for the tissue boxes on the sad scene's.
Hooray I have it ... Read more

Reviews (15)

Losing Isaiah is the best
Losing Isaiah is the best movie that i've seen so what if Isaiah is african american and a white person wants to adopt him the way i see it is it shouldn't be about race it should be about the love and care that a child gets from the family that they are with no matter what race they are in my opinion Isaiah should have stayed with the family he was with before they moved him they were giving him the love and care that he needed and deserved. he shouldn't have went back with his natural mother he should have stayed where he was at in the first place.the place that he felt the most loved and secured that should have been his family.

Good story plot ;good acting by "et al"
12/04/03 The movie ends with one line on the screen Isaiah 11:6 "and a little child shall lead them"...Supense is there from the moment that the child's biological mother*(played by actress Halle Berry*)) puts him in a cardboard box behind the "beastly room she has herself & he living in"; to him being rescued from the inside of a Muncipal Trash Truck " in the nick of time;to the ER representing itself as the life saving force of hospitals once more, in rescusitating him; with a woman* (of another race and her family adopting him)played by actress Jessica Lange*) saving him from an early life of "foster homes" ,his biological mother raising from her demons,pits and dens of self destruction",the courts ruling in favor of the biological mother (so he can be raised in the culture which is the reality that he must be groomed to realize)to an ending of the adoptee's mother and the biological mother going beyond "self" to be a team in helping him reach the age of reason and beyond as a sensible human.

Who's Better at Being a Parent?
Seeing this movie for the second time, twice on television, the story is about a an African-American baby abandoned by his mother, Khaila Richars, who was strung out on crack, and his foster mother, Margaret Lewin, a social worker who raises him. The first three years of the boy's life, he is nurtured and cared for by the Lewin family while his mother goes through rehab and getting herself a job and a place to stay. She learns of the child she abandons and wants to claim custody of him.
I felt that Khaila needed more time be an adult rather than trying to claim her son back. For one thing, she abandoned a baby and got hooked on drugs. And another, she needs to know how to be a more responsible adult. Although she got rid of her married boyfriend and kicked her habit, she couldn't offer much for Isaiah who was already accustomed to his surroundings. The Lewins, who are white, raised Isaiah, despite the cultural differences. But they have to relate to a society that is colorblind. They just can't up and assume that everything is like a fairy tale. Margaret's husband cheated on her and she didn't even know it until he admitted it in court.
Unfortunately children like Isaiah are put away and await for families that reflect their background and oftentimes, they never get adopted fully. It's even more sad when people have children that they aren't prepared to care for. Government intervention has made it worse. It is argued by some people that they need to bring back group homes and orphanages and put more funding into them. But of course, that too was under fire.
I felt that Isaiah better off living with a family that was stable and nurturing and that Khaila needed to grow up and get herself together. Perhaps even form a certain bond with the family that took in Isaiah.

Cried SO hard!
I've seen this movie on Lifetime Movie Network last year, in my own home, during the Spring. All I remember is little bits and peices of it, but - at the end ... I was hystarical in TEARS! I don't want to spoil you, but - she (the birth mother) did give back her son to the one that cared for her, because the son was CRYING and not eating a THING for weeks. This is why I was CRYING because it was SUCH a happy ending! Gotta watch it... :) You'll cry, too, if you're as sensitive as I am. :)

Powerful and Emotional
For those of you that think Halle is just a pretty face...hopefully her Oscar winning performance in "Monster's Ball" showed you that she wasn't...but if you still have doubts this is a movie you should see. Halle is well deserving of an Oscar in this film as well, she plays a crack addicted homeless woman who loses it all and dumps her baby in the trash just so she can get a hit...when she comes out of her drug stooper she then realizes her mistake, but it's too late. The baby was adopted by a white family and she believes her baby to have died. The movie takes off from there, the white family raises and cares for the child. After Halle's character struggles but reforms herself she finds out that the child is still alive. Then the battle for who is rightfully the parent of the child begins. Some of the highlights here...Samuel L. Jackson's role as Halle's Lawyer and the scene in which the 2 "mothers" meet in the bathroom for the first time...that is a very powerful scene. The movie is a very powerful and moving piece of cinema. Excellent film. ... Read more

Amazon.com

In The Postman Always Rings Twice Jack Nicholson teamed up again with his Five Easy Pieces and King of Marvin Gardens director Bob Rafelson for this 1981 version of James M. Cain's hardboiled novel of lust and murder. This version takes a much grittier (and sexually explicit) approach to the material than the slick 1946 MGM version starring John Garfield and Lana Turner. Nicholson plays Frank Chambers, a drifter who happens upon a roadside diner run by Cora Papadakis (Jessica Lange) and her swarthy Greek husband, Nick (John Colicos). Sparks fly, and before you can say l'amour fou, Frank and Cora are making the beast with two backs on the kitchen table. One thing leads to another and they conspire to murder Nick. The movie is still a little too cold and distant to fully convey a hot-blooded passion that leads to murder, but it is a strangely haunting and disturbing film nevertheless. The screenplay is by David Mamet, the photography is by the great Sven Nykvist (Ingmar Bergman's cinematographer), and watch for Anjelica Huston in a supporting role. --Jim Emerson ... Read more

Reviews (20)

Underwhelming
THE POSTMAN ALWAYS RINGS TWICE (1981) serves as a cautionary lesson to anyone who's considering renting or buying a film on the strength of its starring leads, and then proceeds to plunk down dollars after asking the rhetorical question, "With that cast, how bad can it be?"

Jack Nicholson is drifter Frank Chambers, who washes up in a rural roadhouse run by Nick Papadakis (John Colicos) and his too young (for him) wife, Cora (Jessica Lange). The time is the 1930s, and the place somewhere in the coastal mountains between Los Angeles and San Francisco. After Chambers is employed by Nick as a mechanic in the outpost's garage, Frank and Cora soon ignite a spark of mutual lust that eventually spreads into a conflagration of betrayal, attempted murder, murder, violent sex, insurance company venality, blackmail, and bad driving.

There's a good story here somewhere, so how did it go so badly wrong? Most damaging, there's no likable character for the audience to champion. Nicholson's character is as sleazy and vicious as any role he's ever done. Cora, married to an unsuitable older man for reasons we never learn, initially gains some audience compassion, perhaps. But then, after she demonstrates a cold-bloodedness worthy even of Frank, I ceased sympathizing with the character. Of the lot, only Nick is blameless, but he's such an old fool that it's hard to care.

The supporting cast is no better. The award for Worst Performance In A Negligible Role (Female) has to go to Anjelica Huston as Madge, a lion tamer and manager of a traveling wild cat show, who sports a goofy accent and hairdo worthy of Natasha (of "Boris and Natasha" on the old Bullwinkle TV series). The same award for a male actor is due William Traylor as Sackett, the Los Angeles DA out to nail our heroic couple.

There are only three reasons to view this film. First, if you're a diehard Nicholson fan. I'm not. Second, if you're a diehard Lange fan. I am. But, while she's undeniably gorgeous and indulges in tempestuous sex that would make my Mom blush and fuels my personal fantasies, prurient interest isn't enough to carry the day. Lastly, the scenery surrounding the roadhouse is beautifully pastoral.

I haven't seen the 1946 release of THE POSTMAN ALWAYS RINGS TWICE, nor do I intend to because Jessica isn't in it. This 1981 version is over-acted, over-scripted, under-edited, and implausible. It's just silly in a lurid sort of way.

Underrated, but still not entirely realized
This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

All happiness demands its prize!
There we have a well remade from the James Cain's novel . It's good to remind that Visconti made a superb film in 1941 with Ossesione but without this cast and this atmosphere ; Visconti is concerned about other issues and abandons the clues of the film noir.
Nicholson is hired to work in a gas station ; the seductive Jessica Lange (who lives a ficticious live with an alcoholic and inhuman greek husband) establishes the chemical and sexual rapprot with Nicholson and become lovers.
There will be too much to watch in this sordid , nocturnal and bitter tale ; but the dazzling direction of Nichols , the ravishing acting of Lange and the cold blooded mind of Nicholson make a team hard to equal . There are smart twists about Macbeth and his wife in this one (a man without ambition is not a man) . I've always thought the film noir is the last son of the greek tragedy: any happiness is innocent ; and only under this gaze it's possible to understand and to discuss a film like this.

Excellent and fundamental in your golden collection. A cult movie and a classic sample of the purest film noir.
It's remarkable to state that the best trilogy of films noir in the eighties were with this one ; Bad timing and Body heat .

Postman is right, the second time around
Twice is nice. Hollywood had to try twice to get this story right. Lana Turner was beautiful in the 1946 version, but Jessica Lange was something to kill for opposite Jack Nicholson.

Such raw sensuality would easily persuade a man to lose his very soul. Nicholson's part is certainly unscrupulous to begin with, but in Jessica Lange he finds a confederate with even less scruples. The legal loose ends that dangled in the earlier version are avoided this time with a more plausible chain of events... and the story ends when the story ought to end, instead of being dragged on.

Wonderful character and situation development, intriguing and engaging, even when you know the story. Nice twists of the story from the Lana Turner and Italian ("Ossessione" 1943) versions.

Much closer to the book
This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book! ... Read more

Reviews (24)

excellent cast performs beautifully despite mediocre script
The dramatization of Jane Smiley's "A Thousand Acres" is dissapointing in that not only does it come from an excellent novel, but also because of the dream cast involved.
The story is loosly based on Shakespeare's "King Lear," in only that the father in the modern version is an evil villain, while the two daughters are alleged martyrs. The issues involved in the film are important and though-provoking--incest, sexual abuse, breast cancer, Alzheimer's disease, dysfunctional families--too bad the writers handled these noteworthy subjects so messily. The calamities piled upon the characters happen in an episodic way, that makes the film feel like a miniseries without commercial breaks. With each new mini-drama, you feel as if you should watch this movie in installments. The script is also full of cliched dialogue, and characters without motivation.
Despite all these flaws, the film is still worth watching if just for the cast. Jessica Lange, Michelle Pfeiffer, and Jason Robards prove themselves brilliant performers in this film--each actor gives more than the shallow script deserves.
Lange plays Ginny Cook, the shy and docile oldest daughter, who accepts her lot in life without complaint, and manages to live a relatively happy life. Her character is the most appealing, and Lange gives nuances and shadings to the character that weren't written in. Ginny described herself in the film as a "ninny" and she is written as so--Lange gives her so much more, and it is amazing to watch her create a true three-dimensional character.
Jason Robards is Larry Cook, a dragon of a father. He like Lange is given an essentially cardboard character, and his performance gives Larry a sense of pity and pathos, that the script did not allow. The writer wanted him to be simply evil, and Robards chose, wisely, to instead, elevate Larry out from the cartoonishly evil lines he was given, and make him a complex human being.
Michelle Pfeiffer gives the most provoking performance of the three main stars, because hers seems to be an mixture of Robards and Lange's. Her role is also quite underwritten, but she manages to breath life (not just fire) into her character, the angry and resentful, Rose. The part is written as dour and bitter--completely unlikable, and even as the story moves on (slowly) and you realize the sacrifices Rose has made, she is still written in a completely shrewish way. Pfeiffer gives her vulnerability sorely needed, and manages to steal the film (not an easy thing to do, considering her costars).
Jennifer Jason Leigh has a smaller role as Caroline, the youngest daughter. Her role is underwritten on the lines of Robards' and Pfeiffer's characters, yet unlike the two, she fails to bring any depth to the essentially pouty and boring person she is portraying.
All in all, a good movie to watch to witness the beautiful chemistry between two of America's finest actresses.

good performances despite some script flaws
The actors save this sparse script in this film.

"Daddy, dearest?"
A good film driven by a rather creepy performance by Robards. Memorable.

Recommended.

Shakespeare it isn't!
This film definitely has merit as well as an all-star cast. It may well be an updated version of King Lear, but I found the topic less than entertaining...and I was not thrilled with the ending. As for Colin Firth's performance as an American drifter... he successfully portrays a Mr. Wickham from his P&P days. He is charming, available, and easy to like ~ except he is definitely not going to be around for the duration. And what sort of cad sleeps with sisters of the same family...simultaneously?