Reviews (270)

A true cinematic masterpiece
Anthony Minghella's adaption of the novel by Michael Ondaggte, is proof that directors nowadays can still produce beautiful epic romances. This has everything a great movie can ask for and it deserved every single Oscar it was nominated for (sadly no Best Actor win for Ralph Fiennes). It's a quite complicated, yet simple, story about an English archaeologist (Fiennes) and his recollections as his memory and life are leaving him over War World II under the care of an emotionally-challenged nurse (Juliette Binoche, who won the Best Supporting Actress Oscar for this subtle, yet superb thought provoking performance).He remembers the desert, his love for a married woman (Kristen Scott Thomas) and of course, his wrong doings while he was alive. The movie is made up of flashbacks or shots of beautiful cinematography set up against even more gorgeous music. The performances are all top-notch. Juliette Binoche and Willem Dafoe (as a thumbless thief) are the stand-outs. The only bicker I have about the film is Kristen Scott Thomas's character. She was supposed to be overwhelmingly sensual and deep and if you ignore the acting of Thomas and instead listen to her lines it will prove more effective, but she just seemed shallow and unsexy. She nearly destroyed many of the scenes with Fiennes, but thankfully he covered up her flawed character (that for the most part, was well-written- just the wrong actress.) I would have also liked to see more of the relationship between the nurse and her lover who undoes dangerous bombs. Anyway, the movie in itself is like a sunrise beautiful and slow and meaningful. A true cinematic achievement and hopefully a classic to be remembered... Anthony Minghella is definitely a promising director although I think this magnificent accompolishment will be hard to out do.

An Affair in the Desert
Well, so much for the days of "if you can't say anything nice....". I don't mind people disagreeing with me, (as one reviewer wisely said, "Your review reveals a lot about your tastes") but when one needs to lambaste a film that is, by all accounts, well produced, I simply must Re-act. Trying to compare this film (or any other film for that matter) to others is like trying to compare animal species. Some may look similar but they ARE vastly different.

This movie on its own should be commended for its lush cinematography, brilliant actors, sweeping muscial score and fine war-era costumes. Since this film was publicly unpopular, it of course won 9 Academy Awards, just like in years past. I believe the Academy got it Right.

To those who (or know how to) care, give this near 3 hour movie a try. True, the main love story is adulterous,(I enjoyed far more the story of Hana and Kip), but the entire cast, including the desert, kept me involved. Lastly, I have yet to read the novel, since being a former drama student, you learn that different mediums require different approaches, so to compare book and film, for me, is without merit. The English Patient, the movie, however, is worth while and worth seeing.

PASSION SWEPT UNDER BY THE CHANGING WINDS OF WAR
Based on Michael Ondaatje's sweeping WWII novel, "The English Patient" is the story of a young Allied nurse, Hana (Juliette Binoche) who finds herself alone in an abandoned Italian monastery and tending to a mysterious burn victim (Ralph Fiennes). Like David Lean's Dr. Zhivago, this mystical and epic film is told through a series of flash backs integrated with a subplot that is supposedly taking place in the present. During the flash backs we learn of the tragic circumstances that have led to the current state of the stranger. Fiennes is Count Laszlo, an archaeologist - and assumed Nazi sympathizer - who is in love with Katherine Clifton (Kristin Scott Thomas). She, unfortunately, is married to the long suffering, dispassionate, Geoffrey (Colin Firth). The two are off gallivanting through the dessert in search of artifacts when the passionate relationship between the Count and Kate ignites. The resulting, all consuming, lust that overtakes these lovers is intricately balanced and compared to Hana's burgeoning romance with an East Indian soldier who defuses bombs, Lt. Kip Singh (Naveen Andrews). Willem Dafoe is brilliantly cast as Caravaggio - a man whose association with the allies (in a flash back) was exposed to the Nazis, the result being that Caravaggio had his thumbs brutally amputated with a switch blade. Caravaggio is determined to brutalize the man he believe is responsible for exposing his secret, the man he suspects is the burn victim lying helpless and dying in the monastery. Winner of nine Academy Awards "The English Patient" is a bittersweet love story between four people (two couples) who meet with untimely and destructive forces that ultimately alter the course of their lives forever.

THE TRANSFER:This disc was previously released as a flipper from Miramax in a non-anamorphic and somewhat grainy transfer. The previous disc suffered greatly from the intrusion of pixelization and edge enhancement. It also lacked anything in the way of extras. For the most part, these oversights have been corrected on this newly remastered 2-disc special edtion. The picture quality exhibits marginal improvements in both clarity and fidelity, due in large part to the fact that this time around the disc has been enhanced for widescreen televisions. Colors are rich, bold, vibrant but at times tend to be garishly unbalanced. Occasionally flesh tones may appear slightly on the pasty side. Otherwise, there is a deep, textured look to the visual presentation that is thoroughly in keeping with the subject matter. Contrast and black levels are bang on. Fine details are nicely realized. Pixelization still exists and sometimes breaks up finer background information. Also, certain scenes tend to look as though some edge effects have been added. Again, all these shortcomings are relatively minor for a picture that will surely not disappoint! The audio has been remastered to 5.1 and exhibits a very visceral and thrilling sonic experience. The sound of Count Laszlo's plane flying over the dunes is both aggressive and stirring and the musical score is wonderfully spread across all 5 channels.

EXTRAS: include a very comprehensive commentary by writer-director Anthony Minghella, producer Saul Zaentz and author, Michael Ondaatje. Minghella has more to say than the other two but all contribute fascinating tidbits to the production of the film and the inspiration for the novel. The deleted scenes segment is presented in a unique way - I won't ruin it for anyone but needless to say it's more refreshing than the treatment usually afforded deleted scenes. The CBC's documentary on the making of the film is somewhat of a disappointment, relying heavily on trailer junkets and very little but sound bytes from cast and crew. A series of featurettes round out the involvement of Zaentz, Minghella and production designer Stuart Craig. There's also a nice series of interviews with the cast and crew and a great featurette on Phil Brady, the stills photographer.

BOTTOM LINE:The culmination of all this extra material and the rather impressive quality of the film transfer lead me to recommend "The English Patient" to all who love a good story and a thoroughly engrossing, great film.

My favorite movie.
I can watch this movie over and over again. It is the best.

Tragically Passionate
I can't even count how many times I have seen this movie. Each time I watch it I cry for days. A visually beautiful film with a tragic story line that involves war, political conspiracy, a haunting love story and wonderful characters of great depth.

This is one of my all time favorite films and top five love stories. It is breathtakingly beautiful and powerfully tragic at the same time. Worth every moment!! ... Read more

Amazon.com

Winner of nine Academy Awards and almost every critic's heart, The English Patient (based on Michael Ondaatje's prizewinning novel of love and loss during World War II) is one of the most acclaimed films of modern times. Hana, a nurse, (Juliette Binoche) tends to an archaeologist (Ralph Fiennes) who has been burnt to a crisp in a plane crash. As their relationship intensifies, he flashes back to his overwhelming passion for a married woman (Kristin Scott Thomas). Meanwhile, Hana begins a new romance with a man who defuses bombs (Naveen Andrews) and Willem Dafoe almost steals the show as the thumbless thief Caravaggio. The intricately layered flashback narrative, sounding the depths of the lovers' hearts, improves with repeated viewings--especially with the sharp picture and digital sound of the digital video disc. ... Read more

Reviews (270)

A true cinematic masterpiece
Anthony Minghella's adaption of the novel by Michael Ondaggte, is proof that directors nowadays can still produce beautiful epic romances. This has everything a great movie can ask for and it deserved every single Oscar it was nominated for (sadly no Best Actor win for Ralph Fiennes). It's a quite complicated, yet simple, story about an English archaeologist (Fiennes) and his recollections as his memory and life are leaving him over War World II under the care of an emotionally-challenged nurse (Juliette Binoche, who won the Best Supporting Actress Oscar for this subtle, yet superb thought provoking performance).He remembers the desert, his love for a married woman (Kristen Scott Thomas) and of course, his wrong doings while he was alive. The movie is made up of flashbacks or shots of beautiful cinematography set up against even more gorgeous music. The performances are all top-notch. Juliette Binoche and Willem Dafoe (as a thumbless thief) are the stand-outs. The only bicker I have about the film is Kristen Scott Thomas's character. She was supposed to be overwhelmingly sensual and deep and if you ignore the acting of Thomas and instead listen to her lines it will prove more effective, but she just seemed shallow and unsexy. She nearly destroyed many of the scenes with Fiennes, but thankfully he covered up her flawed character (that for the most part, was well-written- just the wrong actress.) I would have also liked to see more of the relationship between the nurse and her lover who undoes dangerous bombs. Anyway, the movie in itself is like a sunrise beautiful and slow and meaningful. A true cinematic achievement and hopefully a classic to be remembered... Anthony Minghella is definitely a promising director although I think this magnificent accompolishment will be hard to out do.

An Affair in the Desert
Well, so much for the days of "if you can't say anything nice....". I don't mind people disagreeing with me, (as one reviewer wisely said, "Your review reveals a lot about your tastes") but when one needs to lambaste a film that is, by all accounts, well produced, I simply must Re-act. Trying to compare this film (or any other film for that matter) to others is like trying to compare animal species. Some may look similar but they ARE vastly different.

This movie on its own should be commended for its lush cinematography, brilliant actors, sweeping muscial score and fine war-era costumes. Since this film was publicly unpopular, it of course won 9 Academy Awards, just like in years past. I believe the Academy got it Right.

To those who (or know how to) care, give this near 3 hour movie a try. True, the main love story is adulterous,(I enjoyed far more the story of Hana and Kip), but the entire cast, including the desert, kept me involved. Lastly, I have yet to read the novel, since being a former drama student, you learn that different mediums require different approaches, so to compare book and film, for me, is without merit. The English Patient, the movie, however, is worth while and worth seeing.

PASSION SWEPT UNDER BY THE CHANGING WINDS OF WAR
Based on Michael Ondaatje's sweeping WWII novel, "The English Patient" is the story of a young Allied nurse, Hana (Juliette Binoche) who finds herself alone in an abandoned Italian monastery and tending to a mysterious burn victim (Ralph Fiennes). Like David Lean's Dr. Zhivago, this mystical and epic film is told through a series of flash backs integrated with a subplot that is supposedly taking place in the present. During the flash backs we learn of the tragic circumstances that have led to the current state of the stranger. Fiennes is Count Laszlo, an archaeologist - and assumed Nazi sympathizer - who is in love with Katherine Clifton (Kristin Scott Thomas). She, unfortunately, is married to the long suffering, dispassionate, Geoffrey (Colin Firth). The two are off gallivanting through the dessert in search of artifacts when the passionate relationship between the Count and Kate ignites. The resulting, all consuming, lust that overtakes these lovers is intricately balanced and compared to Hana's burgeoning romance with an East Indian soldier who defuses bombs, Lt. Kip Singh (Naveen Andrews). Willem Dafoe is brilliantly cast as Caravaggio - a man whose association with the allies (in a flash back) was exposed to the Nazis, the result being that Caravaggio had his thumbs brutally amputated with a switch blade. Caravaggio is determined to brutalize the man he believe is responsible for exposing his secret, the man he suspects is the burn victim lying helpless and dying in the monastery. Winner of nine Academy Awards "The English Patient" is a bittersweet love story between four people (two couples) who meet with untimely and destructive forces that ultimately alter the course of their lives forever.

THE TRANSFER:This disc was previously released as a flipper from Miramax in a non-anamorphic and somewhat grainy transfer. The previous disc suffered greatly from the intrusion of pixelization and edge enhancement. It also lacked anything in the way of extras. For the most part, these oversights have been corrected on this newly remastered 2-disc special edtion. The picture quality exhibits marginal improvements in both clarity and fidelity, due in large part to the fact that this time around the disc has been enhanced for widescreen televisions. Colors are rich, bold, vibrant but at times tend to be garishly unbalanced. Occasionally flesh tones may appear slightly on the pasty side. Otherwise, there is a deep, textured look to the visual presentation that is thoroughly in keeping with the subject matter. Contrast and black levels are bang on. Fine details are nicely realized. Pixelization still exists and sometimes breaks up finer background information. Also, certain scenes tend to look as though some edge effects have been added. Again, all these shortcomings are relatively minor for a picture that will surely not disappoint! The audio has been remastered to 5.1 and exhibits a very visceral and thrilling sonic experience. The sound of Count Laszlo's plane flying over the dunes is both aggressive and stirring and the musical score is wonderfully spread across all 5 channels.

EXTRAS: include a very comprehensive commentary by writer-director Anthony Minghella, producer Saul Zaentz and author, Michael Ondaatje. Minghella has more to say than the other two but all contribute fascinating tidbits to the production of the film and the inspiration for the novel. The deleted scenes segment is presented in a unique way - I won't ruin it for anyone but needless to say it's more refreshing than the treatment usually afforded deleted scenes. The CBC's documentary on the making of the film is somewhat of a disappointment, relying heavily on trailer junkets and very little but sound bytes from cast and crew. A series of featurettes round out the involvement of Zaentz, Minghella and production designer Stuart Craig. There's also a nice series of interviews with the cast and crew and a great featurette on Phil Brady, the stills photographer.

BOTTOM LINE:The culmination of all this extra material and the rather impressive quality of the film transfer lead me to recommend "The English Patient" to all who love a good story and a thoroughly engrossing, great film.

My favorite movie.
I can watch this movie over and over again. It is the best.

Tragically Passionate
I can't even count how many times I have seen this movie. Each time I watch it I cry for days. A visually beautiful film with a tragic story line that involves war, political conspiracy, a haunting love story and wonderful characters of great depth.

This is one of my all time favorite films and top five love stories. It is breathtakingly beautiful and powerfully tragic at the same time. Worth every moment!! ... Read more

Reviews (26)

Funny, poignant, exhilarating: A test on your emotions
The Madness of King George is simply the best movie I have seen in many years. The first thing that attracted me to the movie was the costumes: they are impeccable. The set, costume, and makeup: there is no cause for complaints there and many, many reasons for praise. But the most remarkable thing about this movie is how well each actor fits his or her part, and the pace of this drama. First of all, the acting is wonderful, but this movie was also wonderfully casted. Nigel Hawthorne blew me away with his hilarious, deep and believable portrayal of George III. His madness was heartbreaking and painful for the audience and his sane George the Third was funny in such a way that you couldn't help but root for him. Rupert Everett was simply so detestable that by the end of the movie I couldn't watch any movie with him in it without feeling a little hostile. Helen Mirren is, as always, pitch perfect in her portrayal and absolutely beautiful as Queen Charlotte. The environment created by this wonderful ensemble cast makes the movie exciting and the kind of film that elicits a real emotional response. Who knew that you could feel suspense, pain, happiness and exhilaration from a costume drama about a dead king? As soon as you put this movie in your DVD player you will be hooked, entranced and entertained. If you are even a mild fan of historical dramas, give this movie a chance. It'll only take a few moments for you to love it.

Funny, educational, entertaining.
"The Madness of King George" is a fairly accurate portrayal of George III's battle with insanity and his son. George is sent to an institute where a Dr. Willis hopes to cure him by using discipline. As the mental state of King George seems unfit for a king, his son,the Prince of Wales, tries to pass a bill that will let him replace his father as king. But George prevails in the end and remains King of England. I thought this was an excellent movie. I have always found English history extremely fascinating, and I have always been interested in the rulers of England. I thought this movie did an excellent job of portraying the time and characters. Though there were a few anachronisms (an incorrect map of America; the year 1892 carved on a door even though the movie took place in the 1780's) I thought it was very accurate and very well-researched. And the costumes were very attractive and made the movie fun to watch. I also thought the actors did a wonderful job. Nigel Hawthorne did an excellent job, and he truly deserved his Oscar nomination. Hawthorne provided most of the comic relief in this movie, and he made King George quite an endearing character. Ian Holm did equally as well as Nigel Hawthorne. He has always been a master of facial expressions, and this added to his amusing portrayal of Dr. Willis. And though I'm not much of a fan of Rupert Everett, in fact, I quite dislike him, I must admit he was very good as the Prince of Wales, and he had the right attitude and personality in the movie to pull that role off. I did not care of Helen Mirren, and I feel that an Oscar nomination was wasted on her. Her "German" accent was not consistent, and her acting was good, but not great. I think this was a great movie. It was funny, educational, and most of all - entertaining. This is a movie that I could watch again, and still enjoy just as much as the first time.

Witty and Comical, Sad and Poignant
This marvelous film, THE MADNESS OF KING GEORGE, was adapted from the stage play, THE MADNESS OF GEORGE III and takes place in 1788. It centers around King George III (of course) and his battle with, what doctors thought at the time, was insanity. (Today, it is generally thought that George was suffering from porphyria, a physical, rather than an emotional, illness.)

As the film opens, George, who's been ruling for thirty years (and lost the American colonies, by the way), is beginning to show sings of definite irritability, belligerence and instability as well as gastric distress. Although his wife, Queen Charlotte, is concerned (she is the mother of his fifteen children, after all), the Prince of Wales looks upon his father's seeming insanity as a chance to finally emerge from limbo and take over as regent.

Although THE MADNESS OF KING GEORGE is often satirical and comic, it's also a sad film as almost everyone at court does everything they can to exploit poor George during his darkest hour.

George is a comic, but, at the same time, a very sad figure. He may seem to be leading everyone on a merry chase but in reality, he's miserable. He's losing control of both his body and his mind and the "cure," in this case, seems to be every bit as bad as is the disease.

THE MADNESS OF KING GEORGE is a film that works on many levels. On one hand, it's an exploration of King George's descent into madness (whatever the cause) and on the other it's a witty and satirical study of court politics and intrigue. The tragedy of George's illness and the satire of court intrigue work wonderfully well together.

The acting in THE MADNESS OF KING GEORGE is flawless. Nigel Hawthorne as George, gives a superb and demanding performance that must cover a wide range of emotions from competent king to incorrigible patient. The fact that he's so very unlikable, yet still manages to evoke sympathy from the audience is a tribute to Hawthorne's powers. Helen Mirren as Queen Charlotte is also wonderful and she portrays the deep love and devotion between George and Charlotte very convincingly. Ian Holm as the rigid Dr. Willis and Rupert Everett as the Prince of Wales are also excellent.

Sometimes pathos, and even tragedy, can best be portrayed with wit and comedy and this is the case in THE MADNESS OF KING GEORGE. Despite its dark subject matter, it's not a film that delves deeply into any of the many topics it explores. And, that's definitely not a criticism.

The period costumes and the locations shots add much to this film and are perfectly chosen. And, I don't think one can properly comment on THE MADNESS OF KING GEORGE without commenting on its score. Rather than composing something entirely original for this film, period selections, such as Handel's "Water Music" have been used, adding to the film's authentic feel.

THE MADNESS OF KING GEORGE is, in my opinion, a flawless film, but, although everyone in it (and behind it) shines, the film really belongs to Nigel Hawthorne. He's so good, his performance alone is worth the price of the DVD.

a Fantastic Bittersweet film!
This is a triumph of acting. Nigel Hawthorne and Helen Mirren shine in this movie. While it has been criticised that Helen's German accent comes and goes, I think it was acceptable. Accents are just funny that way. And Mirren's acting makes up for it, especially in the "Do you think you are mad" scene after the Handel concert.
Ian Holm gives a superb performance as the determined little "mad doctor".
The costumes are stunning, the music (all Handel, George's favorite) gorgeous and brilliantly adapted, the story is bittersweet, at times painful, other times painfully funny! This movie is an underrated little gem.
Wish the DVD held more features such as behind the scenes or actors bios or something! It's seriously lacking in that department, but doesn't detract from a wonderful film!
Recommended for all Anglophiles.

The king is tortured by bumbling doctors¿ and its fun!!!
I saw this movie on a business trip in London when it first showed in the theaters and again recently on DVD. I enjoyed it very much both times and I recommend this DVD.

While I read a great deal of history, I don't read enough on this period to comment on the accuracy, but this book certainly FELT accurate. The costumes, scenery, bumbling doctors, scheming politicians and scrambling servants set a historical mood that's half the fun in this very enjoyable movie.

Of course, the screenplay is written for a modern audience, so we would, naturally, see irony in the bumbling doctors. Particularly ironic is one doctor's protestation that a doctor's work is of careful observation and should not be swayed by the color of the King's urine.

The scenes of Prime Minister Pitt in Parliament defending his king certainly reminded me of watching Tony Blair in action on CSPAN. I was also left with the impression that it's a lot more fun to be in British Parliament than in U.S. Congress.

One may expect to dislike the King, but in the end, one can't help but feel great sympathy for the man and not just because of the maltreatment he receives from his doctor's.

Overall, the movie was as enjoyable as I remembered it. Unfortunately, other than the trailer, the DVD did not give us any extras to enjoy. ... Read more

Description

A young infiltrator named Peter is dispatched by moral crusaders, led by Member of Parliament Henry Harding, to gather evidence for a private prosecution against fetish and S&M clubs in Britain, where many activities are still illegal. Peter is thrust into the sex-glamour shock of these big clubs and parties. He soon becomes infatuated with a sex goddess from New York, Tanya Cheex. Her outrageous show and lifestyle at the House of Thwax theatens to send her straight to jail. ... Read more

Reviews (5)

Would you like an extra pillow?
Finally on DVD. Love it. I first saw this mistresspiece about the same time as the equally wacky, sex-drenched Tromeo and Juliet (What? You didn't know Juliet had a lesbian lover?), and it has lost none of its magic.

Other reviewers have described it well, so I won't overkill the story line. While this is a lightweight look at the S & M industry/subculture, it is genuinely entertaining, with Chris Anholt (Tia Carrere's sidekick in Relic Hunter) perfectly cast opposite the Divine Guin Turner - check out Go Fish and Chasing Amy.

Apart from being sheer entertainment with a great soundtrack, the movie captures the madness by which corrupt and perverse Government officials presume to judge a subculture in which the genderless, non-hierarchical role-playing is actually very sane and healing.

Hilarious, sexy, exciting. I hope they make a sequel with the same cast.

Introduction to diverse lifestyle
This is a fun movie for fetishists and non fetishists alike. Fetishists will find it amusing and will consider it light entertainment. Non fetishists will find an introductory view point on the BDSM scene without being drawn in to close.
The strong point of this movie is the atmosphere and scene creation using authentic costumes and realistic sets.
The lead and her supportive actress are enticing and play their parts with an engaging style. Enjoyable on the easy side of entertainment.

Who ever said Love wasn't Painful??
Preaching To The Perverted is a visually stunning foray into the bondage nightclub scene, with a surprisingly gentle and heart-warming love story behind it.

The photography, costumes, cast, settings, effect, and music all combine into an exquisitely beautiful and erotic film. If you want dirty "spank me till I bleed" cinema, this is *not* your film. PTTP is a gorgeous visual delight with an industrial/club soundtrack and a lot of eye candy.

There is beauty, love, humor, and yes...a bit of "strapped down" stimulation. Rather like a more risque Exit To Eden, with the stage beauty of All That Jazz.

The Story? Young Peter, played by Christien Anholt (Marcellus in Mel Gibson's Hamlet and a bit part in Power of One) is recruited by Henry Harding (Tom Bell), member of Parliament who heads the United Front Opposing Filth.

They send Peter into the heart of the sex and fetish clubs in order to gather evidence for prosecution in his campaign to shut down the industry. Peter is a fresh innocent, who surprisingly holds himself rather open-minded in his investigation.

In the House of Thwax, he meets Dominatrix Tanya Cheex (played superbly by Guinevere Turner) who begins to gently introduce him into her world.

Along the way, Peter finds himself attracted to Tanya, and realizes that he does not want for her to go to jail in Harding's prosecution. He must make a choice now, not only about the prosecution, but whether the clubs actually cause any harm to anyone.

What I really liked about Peter was that in all he went through, he never lost his innocence, or his inner strength. He manages to stay steadfast in his beliefs and uncorrupted, while at the same time accepting the diversity of others.

And while Tanya is the ultimate beauty with her own convictions; sassy and spirited and free, she learns that sometimes soft does not mean weak.

This really is a great film. I laughed my butt off at the "horse and carriage" scene, I almost cried at the ending, and throughout the entirety of it, I gasped in pleasure at the overall beauty of it. This is human nature at its best, not its worst, and as long as you are not repelled by a many "northern orbital body" scenes and a few spankings, I think that you will agree that Preaching To The Perverted is a beautifully done masterpiece. Enjoy!

Stylish and Funny
This is a marvelous movie (not five star since I save that for things that stand the test of time) -- funny, stylish, delighting in itself. The background players, many of them actual members of the London Fetish scene, seem to be having a marvelous time and are definitely eye candy. The story is simple and the humor somewhat predictable, but the sets and costumes make it worth watching.

Immerse in the perverse!
Not for nothing has the rep of this cult movie from Britain grown and grown, until now it is finally striking out in the States after a little grappling/groping with MPAA over its, er, saucier elements such as the infamous Relaxicisor scene (applied between Guin Turner's legs). It's more cartoonish and stylish than Secretary, but you really do get immersed into a world that most hardly know is there. A blasting dance music sound track and brilliant design, photography, costumes and direction make this a must for anyone interested in the offbeat. Girls especially love it because they stay on top throughout the film. ... Read more

Amazon.com

"This movie is cursed!" exclaimed movie-magazine headlines regarding Exorcist: The Beginning, but those dire warnings turned out to be exaggerated. Considering a tumultuous production history that actually did seem cursed, Renny Harlin's much-maligned prequel to The Exorcist is a surprisingly competent, serious-minded shocker filled with the same anxious foreboding that made the 1973 original so phenomenally effective. The story lacks focus and feels cobbled together (perhaps the result of its tortured development, which included the untimely death of original director John Frankenheimer), but Stellan Skarsgård is well-cast as Father (now Mr.) Merrin, a lapsed Catholic priest summoned to East Africa in 1949 to retrieve a demonic idol. He discovers a buried church, a vast underground cavern, demonic possession, and a legacy of carnage that preys upon guilt-ridden memories from his parish in Nazi-occupied Holland. Harlin delivers the gross-out moments that Warner Brothers demanded, but otherwise shows remarkable restraint while cinematographer Vittorio Storaro delivers doom-laden visual atmosphere. It's not the classic many were hoping for--not even close--but it's still a win-win scenario for horror fans, since it's rumored the unreleased and "abandoned" version directed by Paul Schrader will be paired with this film for its DVD release. Comparisons will no doubt prove interesting. --Jeff Shannon ... Read more

Reviews (121)

Skip this crappy film
Genre: Horror

Genre Grade: B-

Final Grade: C-

This prequel ain't got nothing on the original, but it still offered a few thrills to get me interested. It seemed like it was incredibly long, and in the end it tries to shock you with a surprise but you really don't even care enough to notice. The characters were weak (unlike the original) and the plot was too reliant on traditional "suspense" moments of the horror genre. This movie could have been a lot better I think, especially when it's focused on the (fictional) spot where Lucifer fell from Heaven. The few moments of demonic possession did hold true to the original, which I give the director some credit for, though not much. Skip this one unless you really love the Exorcist franchise.

A surprisingly worthy prequel to The Exorcist
I was quite prepared to be less than enthusiastic about this prequel to one of the truly immortal films of all time.The unfortunate death of John Frankenheimer, the original director, fanned rumors that the whole production was cursed, there's a lot of talk about the original version of this prequel being abandoned by yet another director (Paul Schrader), and I heard almost no one in my circle of acquaintances discussing this film at all after its release.The whole idea of prequels is also pretty tricky in and of itself, as even the great George Lucas has learned.I really didn't bring too many expectations of any kind with me into Exorcist: The Beginning, and maybe that's why I was actually quite impressed by what I saw.Stellan Skarsgard, it must be said, turns in an excellent performance as Father Merrin.This really is an excellent film and, in my opinion, a worthy prequel to The Exorcist.

Don't go in looking for projectile vomiting and head-spinning; this is not The Exorcist.There is a surprising amount of depth here for those willing to immerse themselves in the story.There will be demonic special effects for all those who care only about that kind of thing, but you will have to wait a little longer than you might like to see them.Exorcist: The Beginning is not really about Lucifer or demonic possession or even exorcism per se; this story is really about Father Merrin and how this great man of the cloth lost and then regained the faith that would later transform him into the man we all know as The Exorcist.Humanity and faith are always more powerful themes than evil and doubt - less exciting, perhaps, but much more meaningful.

The action here takes place in 1949 in eastern Africa, where a Christian church has recently been unearthed by archaeologists - a Christian church that dates back to a time long before Christianity made its way to that part of the world.Merrin, then an ex-priest, is charged with aiding the dig and locating an iconic sculpture of a demon's head.The situation on the ground (which is said to be the spot where Lucifer originally fell after he was cast down from heaven) is less than ideal: local tribesmen are afraid that a great evil will emerge from the buried structure, the British army is wary of a tribal rebellion there, and decay and misery (not to mention flies and less savory insects) seem to engulf everything in the humid atmosphere.The original leader of the expedition has been consumed by madness, a number of men have disappeared, and Merrin finds scenes of desecration inside the ancient walls of the church (including the proverbial upside-down cross of Jesus). Soon, a local boy is taken ill after witnessing a traumatic event, begins showing signs of possible demonic possession - and then everything really starts to fall apart around Merrin.The film may move too slowly for some viewers for the first hour, but I think the director did a wonderful job of building suspense for the showdown we all know is yet to come.The ancient, remarkably preserved church hides many secrets of a most unsavory nature, and it is here that Merrin's lack of faith in the God he once served is eventually challenged by a manifestation of evil powerful enough to break down the formidable barriers he has placed around his tortured soul.

The reasons for Father Merrin turning his back on God and the church serve as the emotional centerpiece for all that is to come.It is hard to imagine the Father Merrin we know from The Exorcist having ever abandoned his faith or entertained unholy thoughts, but this prequel makes clear, in the most poignant ways possible, how such a tragedy transpired.Merrin is a man truly and justifiably haunted by his memories.It takes a face-to-face meeting with evil incarnate for Merrin to find what he has lost in himself and in his God.The final confrontation, which comes with something of a twist, is almost anti-climactic, largely because the job is much easier than it should be (very little of the battle is waged on psychological grounds).The special effects are well-done, but a lot of the R rated material here seems contrived, actually taking something away from the power of the film's story of redemption lost and regained.

This is really quite a dark film, as you might expect, but more so for the psychological and human aspects of the story than for the outwardly demonic manifestations of evil.There is a significant amount of gore and demonic symbolism in the film, but my reactions to the film were much more internal than external.Obviously, Exorcist: The Beginning didn't deliver what many Exorcist fans expected of it but that does not make it a bad movie.In my opinion, this film is vastly underrated.

pretty good
it wasn't as good as the first one, there were some cool scenes that were pretty freaky, you know, like possessed people saying crazy stuff and dogs eating people. but there was a little romance tossed in so i had to fast forward through that stuff.

Wish I could give it 0 stars...
Exorcist: The Beginning is one of the worst movies I have ever seen. I don't see how anyone could possibly enjoy this movie. The original Exorcist is a very terrible film too. I was so dissapointed when I saw it for the first time. I was expecting a 4 star horror film, but all I got was a new, quick way to fall asleep. I haven't seen II or III, but I definetly don't recommend The Exorcist or Exorcist: the Beginning.

Pleasantly surprised...
I'm not the biggest horror film fan. Partially because my wife hates them, so I never get to see them. So if I am going to see something, it's more likely to be an action movie or possibly a comedy.

Every once in a while, the wife is out of the house and I get in the mood for a horror movie. Recently I decided to pick up Exorcist: The Beginning. Having not seen the original Exorcist, I didn't really know what to expect. I was a little bit apprehensive, because sequels often stink, and prequels are even worse.

Fortunately, I was pleasantly surprised with this prequel. It's not going to win any awards or anything, but it was actually pretty good. It was a bit predictible in places, but I, for one, didn't see the ending coming at all.

The extent of the special features, aside from the director's commentary, is an eight minute behind the scenes featurette and the original trailer. It would have been nicer if the behind the scenes featurette had been longer. It would also have been nice to see how some of the make-up effects and special effects were done. Unfortunately, they skimped a bit on that.

If you're in the mood for a movie with a few scenes that will make you jump, pick up the Exorcist. ... Read more

Amazon.com

Supremely silly and entirely entertaining, High Heels and Low Lifesbegins with a high-tech bank robbery--into the middle of which stumbleShannon (Minnie Driver) and Frances (Mary McCormack), who have gone outand gotten drunk because Shannon's boyfriend forgot her birthday. Thanksto this same boyfriend's surveillance equipment (on which he was creatinghis "urban noise symphony installation"), they end up with a cell phonenumber belonging to one of the thieves and decide to experiment withblackmail--an experiment that soon gets them into deep trouble. None ofthis is remotely plausible, but the breezy script keeps taking surprisingtwists, Driver and McCormack are an engaging duo (and they run to and froin tight, stylish outfits), and the movie is directed with flair. Fun,frivolous, and unexpected. --Bret Fetzer ... Read more

Reviews (7)

Double the action and twice the fun
Minnie Driver and Mary McCormack shine in this fast paced British comedy about two friends who get caught up in a
robbery thanks to her unemployed boyfriend, Ray and his electronic
eavesdropping equipment.Enter Shannon,(Driver) a sensible, lovely, nurse in her early 30's who has come home for what she thought was her birthday celebration. Unbeknownst to her, the boyfriend is too involved with his scanners listening in on half of London's phone calls and wants nothing to do with any festivities. A fight ensues and mister not-so-wonderful is tossed out next morning, gadgets and all.

Shannon calls on her friend Francis (McCormack) a fiesty, 30-ish, voice over actress, for support. Together, they overhear a robbery in progress. Just so happens, the thief's cell phone number is displayed for all to see on the computer. Now that's caller ID LOL. The girls get to talking and decide they want in on the on the multi million pound take.

The script is frothy and doesn't give you a chance to think about what else you could have rented at the video store. Laughs
abound from beginning to end.

Be sure to get the DVD version for some extra features well worth the price of rental. Parents, keep in mind, "High Heels and Low Lifes" comes with an R rating and lives up to it quite well. Not suggested for kids under 15.

Enjoy :)

Who says movies need to be realistic?
Many of the other reviews have criticized this movie for being unrealistic, but cripes, it's a comedy, it's not supposed to be a documentary! Anyway, this is a great movie for cheering yourself up when you are sick, or watching with your best friend. This is for all intents and purposes, a buddy movie for girls. Are any of the Lethal Weapons plausible? No, but that's what makes them fun. I thought I'd add my two cents since all the reviews I saw were from guys. My girlfriends and I laughed our asses off. And that's what a good comedy is for.

A medium-good date movie
This is one of the most "medium" movies I've seen. No real controversy (good girls versus bad guys), no nudity (a real missed opportunity there), no comedic bits that are either really funny or really stupid (there's one scene where Minnie tries to hide a gun in her bra, but the metal's so cold she drops it).
You could watch this with a new date and just relax, talk some, watch some, no pressure.
Two young women, a nurse and an actress, overhear a robbery in progress and, deciding that their lives could use some new spice (and new money), try to blackmail the crooks into sharing the loot.
The characters (nurse-actress-bad guys) are all easily recognized "types," the setting is England but doesn't really have to be (except it's kind of funny listening to the American "actress" do her British accent).
Keep your expectations low, and this movie is fine.

A silly but entertaining "crime caper comedy"
Two attractive, slightly daffy women overhear a phone call about a heist and decide (unwisely) to blackmail the perpetrators. The story isn't even remotely plausible, but if you're willing to suspend disbelief and go along for the ride, there are some funny bits along the way. If you enjoyed movies like Swordfish, Snatch, True Romance and Nurse Betty you'll probably like this one too.

Two Good Leading Ladies Raise This Caper Comedy a Bit Higher
Very light-hearted caper comedy of which quality is enhansed by enchanting two leading ladies, "High Heels and Low Lifes" is perfectly made for Minnie Driver and Mary MaCormack. Even though the film met a commercial and critical failure, and it certainly deserves partly its not so good reputauion, the film is fairly agreeable largely owing to these ladies.

The story is admittedly silly and implausible. Driver (hard-working nurse) and McCormack (unemployed actress) accidentally overhear the conversations of bank robbers, and get the number of one of the gangsters' cell phone (!). The girls, being so unhappy with love and job, decide to blackmail those gangsters to get some money for the hospital, first making an uninvited phone call to unlucky Danny (Danny Dyer, "Human Traffic"). Danny, not so clever as to tell every detail of robbery over cell phone, handles the case on his own, trying to hush up those unwelcome guests, and thus making things more complicated.

With many twists in the plot, the film attempts to entertain us, but what it succedds most is not that part, because for many of us, the film looks made by the number, reminding us of many similar situations we have seen before, including "Life Less Ordinary" and any Guy Ritchie films.

It is clear that the director Mel Smith is not suitable for the job if you just remember his works in the past -- "Bean: the Movie" and "Tall Guy" both comedy without crimes, and I must say, not particularly an original one as comedy either. The former one is helped by the presence of Rowan Atkinson, and the latter by the script of Richard "Four Weddings" Curtis and Emma Thompson (it washer film debut). And "High Heels," made by family-oriented Touchstone Pictures, seems often trying not to offend us, showing its tame version of violence. In short, as a caper comedy, it lacks energy, being too luckwarm.

However, those leading ladies save the entire work from forgettableness, though not completely. The acting of them is both very good, making us smile with their down-to-earth characters. Special mention goes also to their fashionable costume designs, which are always colorful and fantastic.

One of the better roles for Minnie Driver, "High Heels and Low Lifes" will amuse her fans, making them confiedent again in her talent and career, which seem a bit declining with misfires like "Slow Burn" and "Beautiful." This one is flawed, but much better. ... Read more

Description

A quiet English shopkeeper, a secret spy for the Russian Embassy, is ordered to plant a bomb that will wreak havoc on the British public. Starring Bob Hoskins, Patricia Arquette and Gerald Depardieu. ... Read more

Reviews (9)

Heavy-Handed and Sluggish Conrad Adaptaion (See 'Sabotage')
'Secret Agent' (1996) stars very strong cast -- Bob Hoskins (also ex-producer), Patricia Arquatte, Christian Bale, Gerard Depardieu, Jim Broadbent, Eddie Izzard, and uncredited Robin Williams.The music score is Philip Glass, and the director is Christopher Hampton, who made 'Carrington' before this one.So the film should be better than average classic novel adaptaions, which it isn't.This Conrad adaptation is sluggish, not knowing what it really wants to show.

One great disadventage is that we have seen the adaptation of this Joseph Conrad novel before -- Hitchcock's 'Sabotage' (1936) starring Sylvia Sydney.(Not to be confused with the same director's film named 'Secret Agent.')This version, not perfect to be sure, knows what it is doing, for the master of suspence turned it into a spy story with a thrilling sequence about a bomb hidden in a bag carried by an innocent boy.

However, the new version, though it is more faithful to the original novel, and proud of its great cast, has no sense of what it really is doing.The film opens quite promisingly, with Bob Hoskins' Verloc, a shopkeeper in 1890s London, who actually is a spy in the pay of Russian embassy.He is summoned by the Russain ambassador (very good Eddie Izzard), who tells Verloc to demolish one symbolic building in Britain with a bomb, the building which represents 'time' (you know where).

So far, interesting.But as if to imitate the original novelist's slow moving narrative, the film unwisely introduces many flashbacks that tell us the outcomes of the botched plans.Yes, Conrad uses (intentionally or not, I do not know) the confused narrative that seems to have lost the sense of coherent chronological order (read 'Nostromo').Hampton not only employs this flashback method once, but twice (!) to show how Mrs. Verloc (miscast Arquatte) meets her fate.So irritating.

The production designs are excellent, the acting is good all in all -- Jim Broadbent as police inspector and Robin Williams as The Professor around whose body a bomb is strapped are memorable among them -- and Philip Glass provides good socre.However, all is wasted or misused, and even Glass's music starts to sound repetitious.The film uses it when there is no need, and that is really annoying.

I like the atmosphere, and I don't think Joseph Conrad is a difficult material to make a film out of it (see 'Victory' made the year before).But Christopher Hampton as director, though good as screenwriter, seems to have killed the material with heavy-handed direction.And its characters that should be more interesting with a smooth story, too.

Bomb's the word
I actually made it to the end of Christopher Hampton's disastrous adaptation of Conrad's atypical novel, but I envy the wisdom of those who gave up halfway. It's yet another in the long line of failed Joseph Conrad adaptations, and quite possibly the very worst. This German-British co-production was an infamously troubled picture that spent a long time on the shelf before being barely released, and it's easy to speculate that much of that time was spent in re-editing. If that was the case, it certainly didn't improve the end product.

Conrad is an incredibly cinematic writer at times, but for some reason the film adaptations have all too often been staid, lifeless and overly verbose, and this is certainly a classic example. Where Ridley Scott gave a visual feast to represent the failure of the Napoleonic dream in The Duellists and Richard Brooks managed an relatively intimate epic adventure with Lord Jim, Hampton merely manages a way below average Masterpiece Theater TV adaptation that is short on real cinematic flourish, opening and closing shots aside. The script never comes to grips with the web of daily betrayals on the domestic front that are mirrored by political and official ones, nor does it ever reflect the self-loathing with which Conrad filled the novel (the Verloc family is a grotesque parody of his own). In fact, all it does is hit story points while leaving character and subtext barely touched.

Hampton's direction is even worse. Despite paring down the narrative and losing whole characters, he never builds up a sense of momentum. Shots seem awkwardly timed - not disastrously so, but just never quite right - and his handling of what should have been an impressive cast (bar the typically disastrous Patricia Arquette) extremely poor. The three lead performances are particularly anodyne. Hoskins is invisible in all the wrong ways as Verloc in an utterly inconsequential performance, Christian Bale never once convinces as the retarded Stevie and the bafflingly prolific Arquette once again proves that while she may have worked with some of the top directors in the business, she's managed to learn absolutely nothing from the experience. To be fair, the performance is not her usually utterly inept zombie impersonation: she has actually risen to the level of merely being very bad, her passable cockney accent almost giving the vague illusion that there might be vague signs of life somewhere under her clumsy line readings. But as a tragic heroine, she is indeed pitiful in all the wrong ways.

Robin Williams is almost successful in his dialog scenes as the Professor, the one part of the film where Conrad's nihilistic vision of the impossibility of combating political violence remains. His scenes in the restaurant with a gaunt Gerard Depardieu (a long way from his best here) have real power, but this is dissipated by those scenes that require more that stillness. When he moves through the streets of Soho with his hand on a bomb trigger, his stern demeanor frankly looks comical. Nor is he helped by his alleyway encounter with Inspector Heat, played all too broadly by Jim Broadbent in full "'allo, 'allo, 'allo, and what do we 'ave 'ere?" mode. Comparisons with his corrupt copper Slater in the Britcom Only Fools and Horses are sadly unavoidable. Nor does Hampton's obsession for casting comedians end there, with Eddie Izzard's naturally hesitant demeanor making him an awkward presence as the ambassador who triggers the plot (Germanic in the novel, Russian here). He almost manages, but menacing bureaucracy is beyond him.

Making matters worse is a typical Phillip Glass score. On its own musical terms, it is fine, but allied to the images it does the picture no end of damage. It smothers the performances, draws constant attention to itself and doesn't fit the milieu at all. Only in the impressive opening and closing themes does it add anything: elsewhere it just adds the final nail to the coffin.

A complete misfire on every level.

Great any way you slice it.
This follows the 1904 (I think) Joseph Conrad novel fairly closely. (There is also, by the bye, a bowdlerized, squeamish, and ineffectual 1937 Alfred Hitchcock version called "Sabotage".) It can be enjoyed as a psychological character study, as a political critique, or as a thriller. Each way it is thoroughly satisfying.

Although it was released in 1996, its political premise closely parallels the situation the United States has been in since September 11, 2001. The ethically dubious "anti-terrorist" tactics of the foreign embassy that protagonist Verloc works for are essentially the "anti-terrorist" tactics of a certain 21st-century un-elected American president.

Bob Hoskins and whoever it is who plays Inspector Heat are brilliant. Patrica Arquette, Gerard Depardieu, and Robin Williams are in fine form. I love the Philip Glass score.

Bleak but powerful.A tour de force.
Not for everyone.Powerful and true to the spirit of the book.A lot of it is from Conrad's own life, an alienation in a world of academic ideas set against the harsh world of everyday economics in bleak London.Robin Williams is excellent as the professor, a rebel without a cause except rebellion for its own sake.And Phillip Glass's soundtrack is perfect, a haunting cello.I watched this before reading Michael Mello's THE UNITED STATES OF AMERICA VERSUS THEODORE JOHN KACZYNSKI: ETHICS, POWER, AND THE INVENTION OF THE UNABOMBER.Powerful stuff!

The movie is bleak, it is Joseph Conrad!
The novel itself is a good play. If you have read the novel, you will find this movie a true and great visualization of it. The acting is exceptional, especially Christian Bale, Robin Williams and Bob Hoskins who plays thefat, fake anarchist. Although I think the director and actors have done agreat job, there are a lot of thoughts and political backgrounds of thecharacters very difficult to grasp for those who have not read the novel.You might want to watch the movie the second time to really appreciate it. ... Read more

Description

A young infiltrator named Peter is dispatched by moral crusaders, ledby Member of Parliament Henry Harding, to gather evidence for a private prosecutionagainst fetish and S&M clubs in Britain, where many activities are still illegal. Peter isthrust into the sex-glamour shock of these big clubs and parties. He soon becomesinfatuated with a sex goddess from New York, Tanya Cheex. Her outrageous show andlifestyle at the House of Thwax theatens to send her straight to jail. ... Read more

Reviews (5)

Would you like an extra pillow?
Finally on DVD. Love it. I first saw this mistresspiece about the same time as the equally wacky, sex-drenched Tromeo and Juliet (What? You didn't know Juliet had a lesbian lover?), and it has lost none of its magic.

Other reviewers have described it well, so I won't overkill the story line. While this is a lightweight look at the S & M industry/subculture, it is genuinely entertaining, with Chris Anholt (Tia Carrere's sidekick in Relic Hunter) perfectly cast opposite the Divine Guin Turner - check out Go Fish and Chasing Amy.

Apart from being sheer entertainment with a great soundtrack, the movie captures the madness by which corrupt and perverse Government officials presume to judge a subculture in which the genderless, non-hierarchical role-playing is actually very sane and healing.

Hilarious, sexy, exciting. I hope they make a sequel with the same cast.

Introduction to diverse lifestyle
This is a fun movie for fetishists and non fetishists alike. Fetishists will find it amusing and will consider it light entertainment. Non fetishists will find an introductory view point on the BDSM scene without being drawn in to close.
The strong point of this movie is the atmosphere and scene creation using authentic costumes and realistic sets.
The lead and her supportive actress are enticing and play their parts with an engaging style. Enjoyable on the easy side of entertainment.

Who ever said Love wasn't Painful??
Preaching To The Perverted is a visually stunning foray into the bondage nightclub scene, with a surprisingly gentle and heart-warming love story behind it.

The photography, costumes, cast, settings, effect, and music all combine into an exquisitely beautiful and erotic film. If you want dirty "spank me till I bleed" cinema, this is *not* your film. PTTP is a gorgeous visual delight with an industrial/club soundtrack and a lot of eye candy.

There is beauty, love, humor, and yes...a bit of "strapped down" stimulation. Rather like a more risque Exit To Eden, with the stage beauty of All That Jazz.

The Story? Young Peter, played by Christien Anholt (Marcellus in Mel Gibson's Hamlet and a bit part in Power of One) is recruited by Henry Harding (Tom Bell), member of Parliament who heads the United Front Opposing Filth.

They send Peter into the heart of the sex and fetish clubs in order to gather evidence for prosecution in his campaign to shut down the industry. Peter is a fresh innocent, who surprisingly holds himself rather open-minded in his investigation.

In the House of Thwax, he meets Dominatrix Tanya Cheex (played superbly by Guinevere Turner) who begins to gently introduce him into her world.

Along the way, Peter finds himself attracted to Tanya, and realizes that he does not want for her to go to jail in Harding's prosecution. He must make a choice now, not only about the prosecution, but whether the clubs actually cause any harm to anyone.

What I really liked about Peter was that in all he went through, he never lost his innocence, or his inner strength. He manages to stay steadfast in his beliefs and uncorrupted, while at the same time accepting the diversity of others.

And while Tanya is the ultimate beauty with her own convictions; sassy and spirited and free, she learns that sometimes soft does not mean weak.

This really is a great film. I laughed my butt off at the "horse and carriage" scene, I almost cried at the ending, and throughout the entirety of it, I gasped in pleasure at the overall beauty of it. This is human nature at its best, not its worst, and as long as you are not repelled by a many "northern orbital body" scenes and a few spankings, I think that you will agree that Preaching To The Perverted is a beautifully done masterpiece. Enjoy!

Stylish and Funny
This is a marvelous movie (not five star since I save that for things that stand the test of time) -- funny, stylish, delighting in itself. The background players, many of them actual members of the London Fetish scene, seem to be having a marvelous time and are definitely eye candy. The story is simple and the humor somewhat predictable, but the sets and costumes make it worth watching.

Immerse in the perverse!
Not for nothing has the rep of this cult movie from Britain grown and grown, until now it is finally striking out in the States after a little grappling/groping with MPAA over its, er, saucier elements such as the infamous Relaxicisor scene (applied between Guin Turner's legs). It's more cartoonish and stylish than Secretary, but you really do get immersed into a world that most hardly know is there. A blasting dance music sound track and brilliant design, photography, costumes and direction make this a must for anyone interested in the offbeat. Girls especially love it because they stay on top throughout the film. ... Read more

Reviews (2)

ENGLISH PATIENT
Movie was very well made. It has excellent cast. Ralph Fiennes should have won an Oscar for best actor as he is as deserving as the winners best supporting acrtess J. Binoche and director A. Mighella. Ralph Fiennes is perfect for the role of Almazy, who did a truly fantastic acting. He is outstanding when he was ailing and almost ready to die upon recalling the death of his lover insde the cave. The scenes at the desert --- awesome, especially the sandstorm. I did not see the other 2 DVDs inthis package so I can't rate it.

Package incorrectly identifies all movies as anamorphic
I purchased both this volume and Volume I from a local bricks and mortar store after I saw the labels indicating that the packaged DVDs contained widescreen anamorphic (a.k.a. "Enhanced for 16x9 televisions") and Dolby Digital 5.1 versions of The English Patient, Il Postino, and Shakespeare in Love. Sadly, 'tis not true. I don't know whether the false labeling on the packaging was accidental or intentional but it appears that Miramax has simply packaged the same crappy widescreen (non anamorphic) DVD versions of these movies that I've been refusing to buy for several years now. Needless to say, all of the movies are going back tomorrow. As far as I know, Il Postino and The English Patient are STILL only available in a matted widescreen format. Only Shakespeare in Love is available in an anamorphic widescreen format. If you only own a 4x3 format T.V. you probably won't notice a difference - until you upgrade to a 16x9 set. Then, like me, you'll never buy a "fullscreen" or matted/widescreen DVD again. ... Read more

Reviews (14)

"You promised me a Thursday afternoon of prolonged ecstasy"
In London in the 1930s, Gordon Comstock (Richard Grant) is a copywriter for the New Albion advertising company, but he's also a poet with one book of published poetry. Comstock would much rather be a poet than a copywriter, so when he's offered a pay increase, he hands in his notice on the spot and announces that he's "leaving to write poetry." He plans to devote himself to his poetry now that he's a "free man." Fiancee and co-worker Rosemary (Helena Bonham Carter) sticks by Comstock through adversity, but there are some painful lessons in store for the poet.

The film "A Merry War" is a faithful and delightful adaptation of George Orwell's autobiographical book "Keep the Aspidistras Flying." Orwell's socialist beliefs are never far from this film. Comstock--who lacks a university education--longs for the privilege and leisure of the upper classes while he also envies and despises them. The Aspidistra is, Comstock comes to realise, a sign of middle class conformity and respectability. Being a member of the middle classes is a precarious and precious thing, and Comstock achieves it solely by his labor at the advertising company. Once he gives up his job, he also gives up his foothold into the middle class. This action sends Comstock on a downward spiral into society. When Comstock lives among the poverty of Lambeth where "even the tomcats walk in twos" he experiences freedom from the moral expectations of the middle class. Unfortunately, this has unexpected consequences.

The success of this film is due to the clever script and the tremendous acting delivered by Bonham Carter and Richard Grant. Helena Bonham Carter has a very respectable history of these sort of period dramas, and she's simply marvelous here as the long-suffering Rosemary. Richard Grant is a truly gifted actor who remains sadly underrated. He does an outstanding job as Comstock--the poet who longs to be respected for his craft. A very talented supporting cast provide many wonderful characters--including--two vastly different landladies and Hermione--the upper-class lover of Comstock's publisher. While the film includes many brilliantly funny scenes and lines, there's a serious undercurrent here. "A Merry War" explores the idea of abandoning all to go off in search of the dream of being a poet. In the wickedly amusing tale of Comstock's misadventures, we have the options for humanity in a nutshell--displacedhuman.

Sadly Neglected Small Gem from Lovely Bonahm Carter
Originally called "Keep the Aspidistra Flying," which is also the title of George Orwell's 1936 original novel, "A Merry War" showcases the following two charming things: Richard E Grant as a poet by profession (so he thinks) and Helena Bonham Carter as a dedicated lover. Those fans of them, who are dismayed to see them in Hollywood made products like "Hudson Hawk" or the remake "The Planet of Apes" respectively would be infinitely delighted to see them shining in this charming little drama. And you will see cute Ms. Bonham Carter wearing glasses (a rare thing) and look so brilliant. No more ape make-up, please.

The story, which is semi-autobiographical of Eric Arthur Blair (known as George Orwell), follows the hero Gordon Comstock, who suddenly leaves the office "New Albion" an ad agency in order to be a poet and a free man. No more slaves to money, he vows, but naturally, as we all know from the beginning, he starts to stumble gradually into the financial troubles. His friends -- rich publisher Ravelston, his sister Julia, and most of all his love and former co-worker and illustrator Rosemary -- try to support him and persuade him into the original course of life, "respectable" life of copywriter, but Gordon stubbornly refuses. Gordon goes -- How can they say such things when his first book of poems "Mice" was praised by The Times Literary Supplement" with the comment "exceptional promise"? But promose was just promise, and he slowly realizes that his happiness lies only in the life with Rosemary, who is always faithful, caring, and around him.

The film is perfectly crafted around the leading characters, and they are played by those splendid actors. Grant utters his witty, acid remarks as if spitting out, turning his wickedly satrical lines into instant charm of language, and though sometimes his character is shown in a very negative light, Grant manages to maintain our sympathy with Gordon, who is obviously no talent. Like Johnny Depp in "Ed Wood" we know he is not going to make it. Still, we care about him and his too naive, crazy, sensitive side of Gordon. Also Helena Bonham Carter is a pure delight to watch, and without familiar costume of Victorian or Edwardian middle-class society (her clothes are here very ordinary ones) she establishes with a slight comic touch a lovely character of Rosemary whom every man with level-headed brain would crave for. Unfortunately, Gordon takes a long time to see that.

The director Robert Bierman, like he did in excellent adaptation of Wilkie Collins' "The Moonstone," shows pretty faithful version of the original book, which contains many satires on British middle-class mentality. "Aspidistra" of the title is used in the book as a symbol of middle-class respectability, but the film wisely avoids going deeply in for utilizing the motif. Instead, the film set its forcus upon the romance side of the book, and turned out a great success.

Though you many feel the film lacks in more substance, or too light, little seen "The Merry War" deserves to be seen more, because of the charm of the two leads exude. If nothing more it can offer to you, the delightful couple only would justify your paying money for the enjoyable 100 minutes.

The film's newer title phrase "A Merry War" appears in the middle of the original book when Gordon & Rosemary go hiking in Chater 6, which I quote: "Each laughed with delight at the other's absurdities. There was a merry war between them. Even as they disputed, arm in arm, they pressed their bodies delightfully together." Very appropriate to describe the relations of this lovely couple, as you will see in the film.

A War of Words
A MERRY WAR is, upon limited thought, one of the most inappropriate titles in recent history. But, the film is a pleasant, quaint one with a couple nice performances. It plays like a an extremely light MERCHANT/IVORY film and so it is appropriate that the stunning HELENA BONHAM CARTER (Room With a View, Planet of the Apes) and RICHARD E GRANT (The Player) give such great performances. The scene where they get slightly drunk together is rather clever. But, this shold never be considered a 'comedy' by the modern definition. It focuses on a struggling writer as he tries to find his place in society. And in his quest for the upper class, he finds and embraces the lowest class. The nice widescreen picture is well transferred and the surprisingly large musical score by Mike Batt sonds great.

"imitation", the sincerest form of flattery:
Chop Off the trailers! And Bring on The RIG! This kiddy's a viddie We dig-dig, DIG!

Notes: The poem exclaims we fast forward through this video's trailers, a substance of sometimes dubiously worthy advertisement, excepting Junior's Groove, in which we can delightedly pause for fulfilling enticement! "And Bring on the Rig',or, "let's get down to business", spoken with rolling 'r's sometimes subsistence to orated speech, flourished with Scottish influence particularly if by a prominent figure of letters reciting before an assembled hall to musically enhance the cadence, tambour and sostengonos of prose. Slang metaphors occlude the final two lines in a wonderful trick, surprising us when we "dig" into the often self referential, nonstandard grammatical highlighting of the author's intentions trying to tell us something precisely, the way they felt and meant the words to carry forth true meaning. We are to overlook the noun "viddie" quite obviously-- true slang borne of the technical term video--and delve into the peculiar introduction of the word "kiddy", properly a babe or a child. The double digging entendre is obviated by the awkward hyphenated supplanting of the comma; it implies that we read this reference to youth as both "kid" and "kidding", respectively America's love for George Orwell and the comedic scandal omnipresent in the film. Most remarkably is that the film builds toward the building of new lives by the conception of a child and redemption of wayward poet Comstock. Thus pure poetry and purest beauty adds a third level to the meaning, the third "DIG!"...a magic number... "3 6 9...12 15 18...21 24 27 30... A man and a woman had a little baby..." --School House Rock.

To this wink's last final reach; The British! What lashing speech!

Supply your own notes for ^those^ last two lines.

Stunning
This movie is a brilliant look at social classes in the 1920's in England. It is a smart, taught film, that will interest and engulf the viewer; when I saw this movie I was given great insights into the meaning of happiness and how thoose who are truly passionate can not succumb to conformity. This movie is a beautiful little piece of art, and it is the best film I've seen all year. ... Read more