Amazon.com

Jane Eyre--the mother of all gothic romances--gets abundantpassion in this 11-episode BBC miniseries. Young Sian Pattenden iswonderfully willful and impetuous; viewers will immediately identify withthe child Jane as she fights against ill-treatment at the home of her auntand at boarding school. It's a shame to see her grow up into ZelahClarke--until Clarke asserts her own quiet yet fierce spirit. The plotreally starts rolling when Jane takes a position as governess atThornfield, a handsome estate owned by the imperious and tortured Mr.Rochester (Timothy Dalton, a few years before he became James Bond). Fromthere, this 1983 adaptation rips through the perilous highs anddevastating lows of Charlotte Bronte's powerful novel, in which thecourtship of these two prickly personalities gets twists and turns galore.Though the visual style is a bit pedestrian, the well-crafted script andskillful performances grow more gripping with every episode. The necessaryfeverishness springs from simple yet effective means, like macabrelaughter floating down the halls of Thornfield. The scenes between Clarkeand Dalton crackle with chemistry; Bronte fans will not be disappointed.--Bret Fetzer ... Read more

Reviews (138)

New DVD for BBC's Jane Eyre very nice
I was pleased that they finally put this definitive version of Jane Eyre on DVD. All the episodes are there, with several scenes that I had never seen before, either during PBS broadcasts or on the older videotape release. The picture quality is excellent. The only negative is that each episode is broken up by running the end and beginning credits. On the older videotapes it ran like one long movie - definitely preferable. However, all in all, it is not too distracting, since the music is pleasant and it kind of reminded me of watching this originally twenty years ago on PBS. The only two places I really minded the breaks were in the bedroom fire scene and at the wedding.

I continue to like the chemistry between the two leads in this version and the fact that the producers didn't wreck havoc with the original storyline or dialogue. This version continues to be the best out of all the releases of Jane Eyre ever made.

the definitive version!
If you cherish Bronte's novel then you must have this DVD! The 4 hour version sufficed for 20 years but this is unedited & just as it should be in all it's glory . . . . Clarke & Dalton ARE Jane & Rochester. Unquestionably. And it's BBC period drama at it's best, timeless & faithful to the author. A beautiful piece of work for us all to be proud of. Buy it!

The Format Is Fine!
I havent read the book but I have seen some Jane Eyre movies and I am completely hooked on this story.

The Timothy Dalton movie has finally been released on DVD and I'am as pleased as can be!

I have absolutely no problem with the format and I really cant understand why other reviewers are complaining about it. Since The DVD shows Jane Eyre in 30 minute installments I'am asuming that in it's original airings that it was shown as 30 minute installments in a TV show style so I really dont get why that is all of a sudden such a problem. If it was good enough that way when it first aired on TV than it should be good enough in that format now on DVD!

And the Video version was edited with scenes elimintated so I highly recommend buying the DVD which as all of Jane Eyre intact!

WHAT A LOVE STORY!
I fell in love with Jane Eyre's character, her good Christian morals would not allow her to marry Mr. Rochester who was still secretly married to an insane woman, nonetheless, Jane knew it was not right and stuck by refusing him. But at the end she could not deny that her heart belonged to Mr. Rochester. She finally goes to him finding him free but sad condition. Awesome ending you must see the 1983 version with Timothy Dalton. Best Version!

Format Stinks
I LOVE the VHS version of this movie and I agree that this is the best version of Jane Eyre ever made. I have been waiting for the DVD version to come out for a long time. Now having said that, I have to say I was very disappointed as I started watching it.It is broken down to 11 episodes with beginning and ending credits on each one.This is very distracting. Why did they not take the time to edit these out and present it as the VHS version does, as one movie.I have many mini series in my collection and none of them has handled going from one episode to another in this manner. Keep your VHS tape of Jane Eyre and hope that they will release another DVD with these problems fixed. ... Read more

Reviews (108)

BEN KINGSLEY'S FINEST HOUR ON DVD
Richard Attenborough's "Gandhi" is a masterfully told, massively mounted epic motion picture, depicting the life and times of Gandhi, a benevolant crusader for peace, whose shocking assassination rocked the world. Ben Kingsley rightfully took home the Oscar for his subtle but stunning transformation into the title role. WARNING: This is a slow paced movie but well worth the three hour plus investment of your time.
Columbia Tristar has given us a very beautiful print of the film. Colors are rich, bold and vibrant. Contrast levels are good. Although black levels are not always at their darkest, this is relatively forgivable, since most of the film takes place during the day. Shimmering, aliasing and edge enhancement are all present but in extremely minute amounts, leaving one with nothing to do but admire the visual presentation in all of its breathtaking cinematography. The soundtrack is 2.0 surround but well represented. Some of the audio has a tendancy to appear thin or strident but, again, considering its dated fidelity and the source material, it is remarkably well represented. No extras - disappointing for a big time Oscar winner like this. Perhaps we'll get a special edition eventually.

Excellent movie about a 'mover' in this world
Every once in a while this world produces an exceptional human being whose presence makes it a much better place to live in. Such a person was Mahatma Gandhi; the Indian 'radical' whose teachings about non-violent resistance lead to the eventual independence of India from British colonial rule. His teachings have inspired other such movements in the world and his life has been looked up to as a standard which others have tried to emulate.

Every once in a while those responsible for the academy awards have chosen deserving films. This is one of them. Ben Kingsley gives a grand performance as Gandhi, from his youth to his death. The impersonation is spot on; everything from the accent to the gait is so convincing that one could swear Kingsley was Gandhi.

If you are looking for a biography of this man on film, this movie is an excellent source. Condensing Gandhi's life into a few hours is such a great feat, especially when there is so much of this man that could be explored. The movie was filmed in India, with 300,000 extras, so if you like epic films you will definitely enjoy this one. The scenery is authentic and the characters have a reality about them so often lacking in 'hollywood' films. No 'eye-candy' version of a historical event, this is a real movie about a real person.

The DVD extras were ok for a film this old. There is some original newsreel footage which is quite short but still worth watching to see the real Gandhi as he was. Kingsley also gives a talk about how it was being Gandhi, there is also some of the sayings of Gandhi; great candidates for those memorable sayings we all try to memorize to motivate ourselves. All in all a great DVD, the movie is a timeless classic about a great man of the modern world.

Movie does not do justice to the person
Richard Attenborough's movie "Gandhi" was a movie of epic proportion. Mohandas Gandhi was probably the most influential person of modern day India. If one reads any of his biographies or his autobiography, one would find that he was a very complex person. The movie was well directed and showed some of the important parts of the freedom struggle starting from his initiation in South Africa. However, for the sake of marketing, the movie concentrates largely on the european angle and sidetrakes the Indian angle completely.

Gandhi was a person who started a new line of thinking that inspired people like Martin Luther King, Nelson Mandela, and Dalai Lama. He was a complex person who right from childhood was afraid of ghosts and speaking in public. He was a disaster as a lawyer initially. The transformation happened when he saw the injustice happen to him in Pietermaritzburg in South Africa. I wish that the movie had shown the transformation in the person. This was an important catalysis. Most of the people shown in the movie were not important in Gandhi's life, though they were decent actors, such as Candice Bergan and so on. The Indians who associated with him such as Patel, Nehru, Azad and so on are given minor importance.

Some of his important speeches were left out, which are thought provoking. Recently Time magazine had Salman Rushdie write a piece about Gandhi. Granted there is freedom of speech, but I had never seen a more badly written piece about Gandhi than that. Rushdie should stick to fiction - well he is losing his touch in that too. Gandhi had his faults like any human, some of his ideas may not apply in the present day world. But his positives far outweigh his negatives. The sad part is that he is largely forgotten in India itself. Most people in India do not take the trouble to read and know about the real person, what he stood for, his ideals. In fact, I am ashamed to say that South Africa remembers him more than India, even though his is the father of India. Even in the last elections in South Africa, he was used as an icon. However, in India, he is slowly ebbing away.

A soul-conquering fine work of art
Never before have I seen such a powerful work of art. It made me forget the finesse of the technological masterpiece, an advanced Macintosh computer running MacOsX, which delivered the breath-taking scenes in vibrant colors with soul-stirring sound effects. Instead all that stood in my mind was the movie and movie alone. This was a radical change in thought for a person like me who is a avid technology enthusiast. Never before have I been so involved in the scenes of a movie. Every scene and every peice of sound hits the nail right on its head with a powerful strike of the hammer. I must appreciate the dedication of the team and their quest for perfection. Years of their work has produced this masterpiece which mankind can cherish for the eons to come. This certainly is one of the best creations of collective human intellect of superlative degree. The story of the life of a great soul in a soul-conquering work of art.

gandhi-whats the point?
i mean he wasnt that great was he? there are plenty of annorexic people out there. plus its not healthy. throughout that whole movie i was yelling, " GIVE THAT MAN A SANDWICH!" he needs to eat something. I cant tell the difference between mahatma gandhi and paris hilton. in closing WHO LET THE DOGS OUT
WHO WHO WHO WHO.
who let the dogs out-good tune
gandhi-OK flick

i give it ***

GO GANDHI! he is my favorite linebacker in san diego chargers history ... Read more

Amazon.com

In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives--and blame them for squandering The World Is Not Enough's initial promise by the final reel.

By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.

Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this World is not enough despite its better intentions. --Sam Sutherland ... Read more

Reviews (447)

The best Bond film yet.
The 19th MGM James Bond-007 movie is here. It's probably the best movie yet. It has the best stunts.

Filmed in: England, France, Spain, Turkey, Azerbaijan, and the Bahamas. The name is taken from 1969 On Her Majesty's Secret Service when James takes a look at his coat of arms and is told that the family motto is: The World Is Not Enough.

Of course, Pierce Brosnan returns as the role of 007. Sophie Marceau as the murdered tycoon's daughter, Elektra King. Denise Richards as nuclear expert, Dr. Christmas Jones. Robert Carlyle as the doomed terrorist, Victor Zokas aka Renard. And John Cleese as R, Q's assistant. The movie also sees Robbie Coltrane's return as Valentin Zukovsky and Judi Dench 3rd appearance as M, the boss.

The plot involves Sir Robert King, an oil industrialist. He buys a report about the Soviet's missile department accidentally thinking it contained info about the terrorists attacking his pipeline in the East. Surprised to find out his money was wasted, a Swiss banker retrieves the money. M sends 007 to pick it up. But the banker, Lachaise, is in for a surprise. The report Sir Robert bought was stolen from an MI-6 agent who was killed for it. Knowing Lachaise knows who killed the agent, Bond threatens him. Unfortunately, Bond only escapes with his life and the money. No name. After a spectacular scene, Sir Robert is dead. Days later, his daughter Elektra takes over the construction of the pipeline. But 007 suspects there is something suspicious about terrorist Renard, the King organization, and even Elektra herself. M refuses to listen to 007's crazy instincts. Only Dr. Christmas Jones & Valentin are on Bond's side.

The movie sees Q's retirement. And a good thing too. After all, the DVD isn't dedicated to Desmond Llewelyn for nothing. However, Q has given the Q labs to R. Probably a bad choice. R will talk you through putting a shirt on!

The language features are: Languages-English and French. Subtitles-English, Spanish, and French.

Special Features. Music video performed by Garbage (the band). The Making of The World Is Not Enough. Audio Commentaries. The Secrets of 007-alternate video options. Theatrical Theater.

Well, that's about everything this DVD includes. Hope the review was helpful.

Bigger and Better!
Here's a Bond film that deserves to be ranked among the best in the series. Along with the usual Bond formula of high tech gadgets, one-liners, and of course, the Bond girl(s), this latest installment also provides a story with a different twist. Throw in a combination of mind games, an unusual villain, exotic locales, and amazing stunts and you get an explosive, testosterone driven, eye-candy, action-packed thriller with a dash of high quality performances. One sequence in particular is the high adrenaline boat chase along the Thames River that takes place very early in the movie. Cool stuff!

The story delves much deeper into the psyche of James Bond than previous 007 flicks. Pierce Brosnan plays a much darker and vulnerable 007 in his third run as the British super agent spy James Bond. The World Is Not Enough also showcases the acting talents of Dame Judi Dench (who plays M) and Sophie Marceau as well as many others. John Cleese, of Monty Python fame, also plays a role in the movie as the heir apparent to Q. Every character played a larger role in this movie, in which, there were times when I felt James Bond was a supporting character rather than a leading one. There is definitely no shortage of star power in this movie.

A few things I didn't like about this movie (just my personal opinion mind you) were the opening Bond song, the paraglider-ski sequence, and the miniature scaled models. Yuck! Still though, this latest 007 thriller gives a good ride! Humor, international intrigue, and plenty of action. This is a James Bond of the 21st Century and I hope Pierce Brosnan sticks around to do many more like this one!

Bond is the best of this time......Dry,humorous,and elegant,
Mr.Bond is ranking itself as the highest of his quality,and is back once more,but this time dry as a glass of martini,and elegant as far as he could ever get,making his job as right as Beethoven while composing his 9th.
James bond,her majesty's loyal star,is back in a very different style and story;He is involved in a complex of a villian trying to take over the world with his lover's own oil pipe line. The thing is,you see,he feels no pain.Nothing.Amazing,as it is surprising for the first time to hear it. Elektra,the new bond girl,is to my own taste one of the best bond girls ever in the series,simply because she has many sides to be related with,and sophie marseau,the actress,bringing an excellent performance in the role of Elektea.The other bond girl,christmas,portrayed by denise richards,has a small relation to a bond girl,but still interesting,though.
As well as the deep and dark plot which develops suprisingly,we also discover a more darker side inside the familiar characters,like M,for example,Which makes this movie special and wonderful.
Also,We are introduced to the the next Q(The great,humorous,and giant John Cleese,from the mighty "Fawlty towers" and "Monty Python's flying circus"),Which is,and believe in my own words,the best there is to portray the charcacter of Q.He is doing it very,very well.
You are going to see a different bond,a new bond,a complex and dark story,the best british humor ever brought to a bond film, and,of course,James Bond himself,Pierce Brosnan,is worth all of the bond touches and twists.
You think you can give me the whole world?
Well,the world is not enough,maybe,but the movie,believe me,does.

"I never miss"
This is the best film to date in the series, hands-down. It may not have the classic charm of Goldfinger, but a couple of viewings (something most people aren't willing to credit a Bond film with) reveal a film which is incredibly substantial, in an unprecedented - and unnecesary - way. It could get by on the charm of the locations, one-liners etc., but it still tries to put together a credible and interesting plot, and it succeeds.

The most obvious credit to the writers is Carlyle's brooding, existentialist villain, which reminded me of The Misfit in O'Connor's 'A Good Man is Hard to Find.' Carlyle, in surprising contrast to his turn as the psychotic Begbie in Trainspotting, plays the role with just enough subtley and understatement, making the character's evil much more believable than the cackling megalomania of earlier specimens. What I also like about the screenplay, though, and what isn't immediatley apparent, is that it casts some doubt on the role of Bond in the world. In other movies, he seems to have an absolute moral imperative, able to gun down scores of people without any consequence, simply because his enemies are abosolutley evil. In this film, though, among the ruins of the USSR (a theme already explored in Goldeneye), there's more gray than black and white, and the circumstances don't allow him to get off so blamelessly; ultimately he has to do something which he might might regret. It's far from making him human - if that were to happen, it would undermine the whole promise of the series - but it's an interesting take. Then there's the way the plot works in minor characters, like Judi Dench's M and the Russian gangster Zukovsky, both of whom provide a usually self-reliant Bond with indispensable help, while Zukovsky experiences the closest thing to character _development_ which anyone has probably ever experienced in a Bond film. As for Richards, I don't know what she's doing there, either, and probably it would have been a stronger movie without her, but at least she's hot.

What's The Point of Living If You Can't Feel Alive?
THE WORLD IS NOT ENOUGH (known to Bond fans as TWINE) may be Pierce Brosnan's finest outing as Bond to date. A more complex and nuanced story than most recent Bond films, TWINE recaptures a good part of the exotica and international intrigue of the Bond series as first conceived.

The precredits sequence sets up the story nicely: Sir Robert King, oil magnate and friend of "M" (Judi Dench) is killed by booby trapped money delivered to him by Bond. All roads lead to Rome, the roads being clues, and Rome in this case being represented by Electra King (Sophie Marceau), Sir Robert's beautiful daughter, who was the victim of a recent kidnap plot hatched by the mysterious Renard, a terrorist rendered unable to experience pain by a bullet lodged in his skull. "M" dispatches Bond to protect Electra, who has taken over her father's petroleum empire in central Asia.

From the moment he arrives in Azerbaijan, Bond is a hunted man. Although first enamored of Electra, Bond soon realizes that there is something amiss.

In TWINE, Brosnan resurrects the dark Bond of FROM RUSSIA WITH LOVE. His dual nemeses, Electra and Renard, are ably played by Marceau and Robert Carlyle, who both bring some surprising depth to their characters. Electra is particularly sympathetic, being both the brainwashed victim and willing accomplice of Renard. She is by turns sexual and ingenuous, vulnerable and implacable. Marceau is breathtakingly beautiful.

Carlyle's Renard, trapped in a body that can't feel, exudes both pathos and hatred as he plots the destruction of the democracies.

Dench's "M" plays a central role in the film, far larger than any "M" before her. The film is notable for being the last appearance as Desmond Llwellyn as "Q". Llewellyn, who played "Q" in almost every Bond film after 1964, died in a car wreck just days before the theatrical release of the picture, and John Cleese was cleverly edited into the film as his replacement, "R".

Denise Richards has the weakest major role, playing Dr. Christmas Jones, a nuclear physicist. Richards could have been left on the cutting room floor in her entirety. More's the pity, because Richards is a strikingly beautiful woman who is entirely upstaged by the exotic, erotic Marceau. Besides being a rather miscast improbable genius in cargo shorts and a tank top, Richards' character has even more of an "afterthought" feel than "R" does, as if the producers just couldn't tolerate the idea of the film ending with an unredeemed Electra King and no virtuous love interest for Bond.

Two hours and some of intelligent action-adventure, THE WORLD IS NOT ENOUGH fulfills all expectations. ... Read more

Reviews (39)

Intellectual Self-Defence
With the recent media frenzy surrounding Michael Moore's documentary, Fahrenheit 911, it is interesting to observe how the controversy currently swirling around it (Disney backed it financially but won't distribute it) has been documented in the press. It makes a film like Manufacturing Consent: Noam Chomsky and the Media all the more relevant more than ten years after its release. Chomsky is a soft-spoken professor at MIT who has become quite a vocal political activist and critic of the American media. He believes that ordinary people can comprehend and act on the issues he raises, but this is not always an easy task because of the thick web of doublespeak that the government creates to blind us from what he calls the "elementary truths" that are right in front of us.

However, people are indoctrinated to be apathetic so that they don't want to make the effort that is needed to see what is really going on. And the media doesn't help either. In fact, one might say that they promote this sense of apathy by showing redundant, repetitive sitcoms and reality shows that turn us into mindless couch potatoes. Now, you might be thinking, this sounds like a lot of conspiracy theory garbage, but Chomsky does not look, act or speak like some crazed conspiracy nut. He is an intelligent man who talks to a BBC reporter the same way he would talk to an ordinary person. Chomsky is a clear and concise speaker who backs up everything he says with an ample supply of facts and unfaltering logic. He is a man dedicated to uncovering the deception and atrocities that are committed by governments all over the world and teaching others how to become aware of and act on these acts.

With funding from the National Film Board of Canada, Peter Wintonick and Mark Achbar followed Chomsky around the globe for five years. The result was a two hour and forty-five minute documentary that explored Chomsky's view of the media and his relationship with it. The film acts as a sort of "stepping stone" to Chomsky's books, which are filled with pretty heavy concepts and a lot of information to absorb. The film doesn't water down his ideas, but rather represents them on a visual level so that they are a bit easier to grasp.

In Manufacturing Consent, Chomsky reveals that all major decisions over what happens in our society are controlled by a heavily concentrated network of corporations, conglomerates and investment firms. This network also has considerable influence over positions in the government. Just looking at the big Savings and Loans scandals that plagued the U.S. a few years ago reveals this link. Corporations also own the media and therefore decide what we watch and hear for the most part. They control the resources and as a result show only what is in their best interests. This is achieved by propaganda or the "manufacturing of consent," a term borrowed from political philosopher and journalist, Walter Lippmann. Manufacturing consent is a technique of control over the masses-in other words, propaganda or the creation of necessary illusions to marginalize the general public or reduce them to apathy in some form. The news media participates in this manufacture of consent by simplifying, selecting, and dramatizing events.

Wintonick and Achbar take a look at various forms of alternative media, from the successful independent publishers, South End Press to Alternative Radio that is dedicated to reporting events that the U.S. media conveniently ignores and giving people like Noam Chomsky more exposure. The film has certainly exposed Chomsky's ideas to a wider audience creating a sort of cult following in Canada and in Europe where he is more popular than in his native United States.

The film doesn't talk down to the viewer and brilliantly conveys Chomsky's ideas on a visual level utilizing all forms of media. The directors also dedicate time to show some of Chomsky's detractors like William F. Buckley, Jr. and Tom Wolfe who come across like pretentious bullies while Chomsky appears calm and rational in response to their vicious, snide attacks. They are ironic scenes that add more credibility to Chomsky's views.

Manufacturing Consent is a fascinating look Chomsky and his ideas that are guaranteed to provoke discussion. It also makes one want to check out some of his work and sparks a desire to wake up and realize what is going on in our society. The film is a real eye-opener to the behind the scenes mechanics of our government and the media and how little we realize what they are really up to. The film does not dip into tabloid or conspiracy depths, but presents a logical and intelligent analysis with a good sense of humour that is often missing from such material. Chomsky is a man who sincerely believes that we can identify and react to the problems in our government and media, but realizes that it cannot be done by just one man, it will take a massive grass-roots organization. First, people must be educated and this is hard because it is so easy to do nothing. Realizing that there is a problem is the first step, correcting it is the next.

A great tool for understanding
This film is a fantastic starting point for those interested in exploring the ideas of Noam Chomsky. It should function less as a typical biographical portrait and more as an overview of concepts--an overview which happens to include a bit of historical information about Mr. Chomsky's life. Those concepts, particularly those of the abolition of unwarranted power and authority should lead the viewer to take this film not as an authoritative documentary, but as a jumping block for a new means of analytical thinking. Taken as such and put into practice, I think this film's subject matter could help transform the narcotized western mind into a valuable, alert tool--a tool for healthy skepticism that could lead to a remarkable rethinking of power and domination in any guise, media or otherwise. It's length is not at all a disadvantage. The filmmakers manage to present a comprehensive body of ideas in as short a time as possible while maintaining an enjoyable pace. Well worth the time--insights like these are priceless.

A Great Introduction To Important Alternative Views
Chomsky is a man of fact, reason, and simplicity. This documentary highlights some of the basic ideas of his important books about the domination of the media by indoctrination, the elites who own them, and how this affects the average person's access to information about the world and thus his view of his community and its relationship to outsidce societies.
This is a great film if you're becoming disaffected with our current political situation and looking for a way out of the mess we're in.

Great Important Documentary on Noam Chomsky
Manufacturing Consent is the 1992 documentary directed by
Mark Achbar and Peter Wintonick about the perennial dissident lecturer Noam Chomsky. The focus is on how the media deals with both Chomsky and the issues he raises: mainly by ignoring him. Here we get clips of everything from his discussion with William F. Buckley from the 1960s to interviews in Europe to his 10 second clip on McNeil-Lehrer.

Chomsky is shown as an important force that critiques both the destructive policies of power elites as well as the media that keeps the masses ignorant by spoon feeding them non-critical propaganda. The scenes are cleverly done with some humor, showing Chomsky speaking on Times Square screens and such.

And yet this isn't a quintessential Chomsky film as it does narrow the focus to the media, and spends a lot of time on a French Holocaust denier and Chomsky defending his right to speak (though not his views). This is a bit of a side track from his true significance as an Anarchist, Human Rights, and Peace activist. But when we hear his views on Vietnam, East Timor, Central America, and Iraq we start to see the bigger picture. Namely that everything the media tells us is half-truth if not outright false.

His message is important and it comes through in this film. Is he always right? I would say no, but he always sticks to his guns, never wavers, to the point where his views get predictable. But without him the peace movement would be much worse off intellectually (we'd be stuck with the likes of Michael Parenti wining at us). Chomsky is always low key, not in your face, and this film paints a sympathetic portrait while giving him some exposure the U.S. media usually denies him.

More Depth, Please!
Avram Noam Chomsky was born in 1928, the son of Jewish parents who worked as Hebrew language teachers. Young Noam showed promise in the brains department, devouring huge stacks of books and learning languages at an extremely young age. He went to the University of Pennsylvania after high school, where he eventually earned a doctoral degree in 1955 in the field of linguistics. Quickly snapped up by the Massachusetts Institute of Technology, Chomsky went on to develop a larger theory of language that soon won him worldwide acclaim, leading some people to refer to him as the "Einstein of Linguistics." Still residing at MIT to this day, Chomsky is perhaps better known as one of the preeminent social critics of American foreign policy and the American corporate media systems. The author of literally dozens of books on linguistics and contemporary social problems, Chomsky continues to make his rounds on the lecture circuit in an effort to awaken citizens to the dangers present in the power structures of the United States.

"Manufacturing Consent: Noam Chomsky and the Media" represents the efforts of three documentary filmmakers to condense Chomsky's ideas about the media and the structures of American power into a nearly three hour visual presentation. The title of the film, according to Chomsky, comes from a phrase coined by Walter Lippmann, an early twentieth century public intellectual who feared the American public to such an extent that he argued for the implementation of specific methods to control and shape public opinion. This, says Chomsky, leads us to our present predicament, a situation where elites in American society acquire control of media through corporate institutions in order to manage the flow of information to the public. In other words, propaganda supporting elite activities is the name of the game at the New York Times, ABC, NBC, CNN, CBS, The Washington Post, and other primary forces in the news business. Secondary or tertiary news outlets simply take their cues from these trendsetters, often running stories only after the national elite media decide that they are stories.

Moreover, the media systems filter out dissident opinions through various techniques. One of these methods is "concision," or giving limited airtime or column space to a specific story in order to control the parameters of that story. Chomsky claims concision keeps people like him out of the news because only allowing a person to make comments within a two-minute period does not let new ideas get through. If a person should get on the air and claim that the government bears primary responsibility for the rise of the Khmer Rouge in Cambodia, for example, the audience would want to know a lot of facts about such an alien idea. According to Chomsky, this rarely happens. Instead, the short time allotted to guests on a news show serve only to reinforce already accepted propagandistic platitudes that ultimately support elite positions. "Concision" keeps new ideas out and stymies debate regarding accepted ideas. There are several more points to Chomsky's theory in the film, along with a test case concerning the Indonesian invasion of East Timor in the 1970s presented in an effort to prove the propaganda model. I am leaving a ton of stuff out here, but since I also believe that the media promotes elite interests, the whole thing ultimately boils down to what type of news system we should have.

The good professor supports alternative/small press media as a balance to the huge corporate news systems, and I agree with this conclusion too. For far too long, big East Coast interests have controlled what the majority of the population eats, thinks, wears, and discusses. There is simply no geographical balance. The recent blackout in New York City had absolutely no bearing on my life out here in the wilds of the Midwest, but there it was on every news channel on television and prominently displayed in my local newspaper. Chomsky argues that alternative media will lead to a greater, freer dialogue about important issues. The professor claims the alternative press might even lead to a complete overthrow of capitalism and its replacement with anarcho-syndicalism, a belief system that posits self-management, direct democracy, and working class solidarity. This political system sounds like communism, doesn't it? Well, I really don't think Chomsky is a communist, but I simply don't trust anarcho-syndicalism. At one point in the documentary, the professor avers that there are no perfect solutions to our problems and that we should all at least try his theory. One presumes that if we don't like it, all we need to do is say so, right? Wrong. Revolutions don't work that way. Replacing one political system with another tends to be quite messy, and telling the new masters that you just don't think you can go along with them always seems to lead to the behavior we saw in Stalinist Russia. Chomsky's promise that his new order will be open to different ideas doesn't satisfy this cynic. I am not ready for a cure that might be worse than the disease.

Overall, "Manufacturing Consent" left me unsatisfied. In an attempt to cover as much ground as possible, the filmmakers never provided as much depth to Chomsky's theories as I would have liked. Obviously, I could buy the book and see for myself exactly what the professor's arguments are, but you would think a nearly three hour documentary could provide a better presentation of this man's beliefs. As for the DVD, the picture and sound are good and there are several lengthy extras consisting of debates Chomsky had with Michel Foucault and William Buckley. Noam Chomsky comes across as an accessible, likeable guy who really cares about social problems, and I agree with most of what he is saying. I just disagree with his vision of a post-capitalist world. ... Read more

Reviews (312)

See this movie after you have read the book
If you are interested in the turning point of the Eastern Front in World War II, I would encourage you to see this movie after reading "Enemy at the Gates" by William Craig.

It would be very difficult to capture the full essence of the Battle of Stalingrad as detailed in the historic masterpiece by William Craig. Film director Arnaud did a great job of creating atmosphere with special effects in the introductory scenes.

Why the writers created a fictitious story about a love triangle is not quite clear. It really does not add to the story line and discredits the film by needlessly altering historical fact. The ending of the sniper duel is pure Hollywood fantasy and a bit stupid. The German Master Sniper Konig strolls out into the middle of the street, in the light of day and Vassili puts a bullet through his brain.

Hollywood Bolshevism rears its ugly head here and there in the film by downplaying the brutality of the NKVD Commissars to Soviet men, women, children and German prisoners. All one has to do is read the Gulag Archipelago by Solzhenitsyn to get the real story of the brutality of the Communists.

The bloodthirsty hero of Stalingrad, Nikita Khrushchev, later nearly plunged the world into a nuclear World War III.

Great War Film
Based on a true story, this movie attempts to bring the climatic battle of WWII to life--Stalingrad. 1942 was the make or break year for Russian resistance to Hitler. Defeatism was abundant in the Red Army, they felt they couldn't win. Being a maniac also, Stalin needed the enemy to be halted at the city bearing his name.

Jude Law plays Vassili, the Russian supersniper who claimed 242 kills at Stalingrad. Joseph Fiennes is Danilov, the political officer who makes him a star--it seems in real life Danilov really was not terribly involved. Rachel Weisz is Tani Chernova, another sharpshooter and Vassili's love. Like many other people, I too had a problem with these British Russians, particularly Weisz--I kept waiting for Brendan Fraser and a mummy to show up.

The love story between Tani and Vassili is out of place in this film. Perhaps we were shown to understand that even love can flourish in the worst of conditions. The sex scene does seem terribly out of place.

Ed Harris is Major Koning, sent from Berlin to hunt Vassili down. In many books I have never found a Major Koning, but rather an SS Colonel Heinz Thorwald who hunted him down. Take it for what it is, there was a German sniper hunting him so let's not worry about the name.

The cat and mouse game which many seem to dislike is the best part. It's a struggle between two men, told through their eyes. The backdrop is impressive, fighting among the ruins of a once great city. This was some of the most savage fighting of the war and it is accurately depicted.

Some complain about historical inaccuracies---movies will always have them. The Russians may have been outproducing the Germans, but the supplies weren't reaching the troops. Guns and ammunition were in short supply at the beginning of the battle, which in when the movie takes place.

The Russians suffered casulties of 750,000 at Stalingrad, the Germans were defeated soundly for the first time and began their march backwards. Excellent film---pick up a book on Stalingrad and get the full story.

ETMR - Enemy at the Gates
1. Humanity: Stalingrad, with its torn buildings, dismal skyscapes, and eternal battles of gunfire, is almost more important than the sniper Vassily, the main protagonist. What does the landscape of the city tell you about the passions of men?

2. Implications: This film tries to pay credence to both the Russians and the Germans, while trying to play at their faults as well. It appears, however, that the film is still in favor of the Allies, from the distasteful humor in Major Konig toward his work, the ominous rows of sleek black German battle tanks, and the hopeful dancing of the Russian soldiers who knew they were to die. How does this movie paint the German personality? Do you think it is a valid statement?

3. Evolution: Cinema has seen many, many WWII films. From the blood and dust of Saving Private Ryan, to the practical jokes and youthfulness of The Great Escape, WWII films showcase a museum of human feelings regarding the Second Great War. Where does Enemy at the Gates fit into this grand tradition? How does it compare?

4. Realism: It's obvious the film tries to be realistic. The bloody battles and lost friends and gloomy atmosphere only emphasize and accent this theme. Yet there is a certain glee in the gun-battles, as if it were a video-game being played out. This is perceived in the cycling of snarpshooters beside Vassily the inevitable conflict between Vassily and Konig, the kill count papers, and the soap-opera love triangle between Danilov, Vassily, and Tanya. Do these elements become shortcomings, or do they flourish the film in its cinematic quest?

5. Stageplay: One of the first surprises of the film is that the Russian actors have British accents, while the Germans have German accents and speak English. How does this affect the atmosphere of the film?

visuals are fine - dialogue a crime
This film should have been great. Its clear that the director has a great eye for detail such as the the realistic Children's Fountain which matches the real life documentary footage of the battle. I can even overlook the fake CGI stukas which don't look quite real as well as the soldiers standing alongside the Panzerkampfwagen IV shooting their guns in a completely un-realistic fashion. At least the tank is not a Sherman with German markings which you so often see, so I was kind of impressed with that.

In fact I was pretty well captivated with this film ... until things started to descend into Buddy-Buddy-Movie hell where I was half expecting Zaitsev the sniper & his new chum the Political Commisar to start exchanging 'High Fives' & 'Home Alone' 'YES's. And add in a Hollywoodesque ubiquitous love triangle and I found the whole concept barely tolerable.

The dialogue is not the best I have heard, but the irritation factor is magnified by the Cockney accents which halted my suspension of disbelief.

The actors certainly try their best & if this film was the 'Rats of Tobruk' I'd be pretty pleased with their performance, but hampered by an appalling script & a clueless yet earnest director, they fall way short of expectations.

Its still worth checking out but to have repeated viewings is a asking a bit too much.

Love and Bullets
Wow! Who could have guessed that plucky little Vassili would get the drop on Hitler's top gun, spork the local hottie, make headlines, win medals, and even get a hug from Kruschev? Oh yeah, all the shots and explosions are because it happened during the Battle of Stalingrad. I give it three because there is a great deal of fabulous eye candy. ... Read more

Amazon.com

It's been available on audio CD since 1985 (now in a newly-remastered edition), but the long-awaited release of the DVD version of Bring on the Night will be a cause for celebration for fans of both Sting and the Police. Directed by Michael Apted (Coal Miner's Daughter, Gorky Park, Enough), the film observes Sting and his new band as they rehearse and then perform their first concert, in Paris. The musicians, including Branford Marsalis (sax), Kenny Kirkland (keyboards), Darryl Jones (bass), Omar Hakim (drums), and two backing vocalists, are all superb, all with strong jazz backgrounds but a good feel for rock as well; and Sting's then-new material, drawn from his The Dream of the Blue Turtles album, is among the best of his solo career, especially "Consider Me Gone," "Children's Crusade," and the brilliant "Fortress Around Your Heart" (there are also several Police tunes, including "Roxanne" and "Message in a Bottle"). Equally compelling, surprisingly, are the insights, intended or otherwise, into the characters of the various participants. Sting himself is a bit of a stiff, frankly. Guarded, controlled, and not a little arrogant (he calls the pop music of the day "reactionary and racist"--except his, of course), he's in direct contrast to the others, especially the outspoken, irrepressible Marsalis, who's not at all shy about needling his basically humorless boss; Sting's manager, Miles Copeland, also has no problem saying exactly what he thinks. With a crisp digital transfer and remastered digital sound, Bring on the Night is highly recommended on every level. --Sam Graham ... Read more

Reviews (17)

This is where it all started
It is about time that this ground-breaking video finally made it to DVD, making it even more of an audio and video treasure. I can still remember the first time I saw the special on A & E almost 20 years ago.I had lost track of Sting and his wanderings after he had left the Police, and wasn't quite sure I wanted to find him anyway given the negative publicity (and my own disappointment) surrounding his departure from what is still regarded as one of the best rock groups of all time. Unsuspecting, while lounging on my back porch I flipped through the cable channels and fortuitously stumbled onto the program as it had just begun. The project was an unprecedented undertaking at the time, recording a band not only in live concert but through the whole process from inception to rehearsal to performance. The concept was as risky as it was revolutionary, especially for Sting who had everything to lose by not only gambling on a solo project, but by making this effort so accessible in such a unique manner to the viewing public. In its form and feature, it was also a prototype for what would become "reality" TV, long before there was such a category.

Beginning with location shots of the band in rehearsal at a French castle just outside Paris, we get an impressive portrait of Sting shaping a new musical ensemble: he lays out the rudimentary form of his original compositions, then brings them to life, gently but confidently directing his very talented charges, mostly accomplished African-American jazz players, through the complex arrangements, allowing for their contributions along the way. What becomes abundantly obvious, beyond his now-and-again reserve and arrogance, is Sting's finely-tuned sense of artistic expression, complemented by his technical knowledge of the medium. He knows what he wants and how to articulate it. In addition to the picture of music and musicians coming together, unpredictable and insightful interviews with Sting and other members of the band are spliced strategically into the body of the video. Apted's editing is excellent in these instances and rather spectacular overall. At times he even synthesizes the scenes from the concert performance of a song with those at practice, the two segments pieced together as one without missing a note or beat. We also are provided usually unseen glimpses of the band's manager, Miles Copeland, ensuring that peace reigns among the musicians while securing the preparations and publicity for their debut. Although we are fortunately not subjected to tantrums, petty arguments or catty exchanges, so typical of today's reality TV content, there is at least one incongruent inclusion: The camera follows Trudy, Sting's wife, to the hospital where we witness her giving birth to their son Jake. The event actually occurred while this was being made, but it's debatable whether it should have been part of the story. Criticism about it was voiced when it was first released and need not be revisted again. Suffice it to say that it is still part of the footage.

The A & E special "Bring On the Night" video culminates in the full live concert. Not surprisingly, despite playing unfamiliar music with an unorthodox mix of instrumentalists in front of an SRO French audience in Paris, Sting brings the house down. The finished songs are both well-polished and exciting as is their performance, which is near flawless. He finishes the evening (actually more than one night) and the video with an encore of a few selected Police songs, including "Message In a Bottle" which he sings alone on stage - while final credits roll. The show removed any lingering doubts in my mind, low those many years ago, that the lad from Newcastle is indeed a musical genius. Now in a modern format, it sounds and looks better than ever and is as inspiring as it was two decades before.

One of the best Music DVDs of all time
This is simply one of the best music DVDs ever made. You don't have to be a
Sting fan to be turned on by the overflowing energy, joy, and musicianship which this band exudes.The only other music DVD which comes close to this is the Talking Heads' Stop Making Sense. If you liked that, you'll love this.But Bring on the Night goes way beyond Stop Making Sense, as it is more than just a concert video.We are shown numerous rehearsal scenes which give you a feel of how this band worked together, as well as interviews with the musicians which are both insightful and hilarious (especially Marsalis). Hakim's drumming is smoking throughout.Marsalis' playing is always interesting, reinforcing the impression he often gives of being best when he plays other peoples' music. Sting's and the backup singers' vocals are piercingly beautiful.The sequence where you are taken into the delivery room for the birth of Sting's son, with "Russians" playing in the background, is truly moving.The sound and picture quality of the DVD transfer are even better than the original. It is a mystery why this movie was not a blockbuster success when it was first released 20 years ago. It is a bit pretentious, but after all, Sting IS a Brit and the pretentiousness of Sting in this movie pales in comparison with what followed in pop music, especially among Rap artists.Perhaps the DVD version will enjoy the success this remarkable film is still due.

Here it is...
...the best dvd-release of Sting (so far anyway) besides, of course, the fabolous and fan-dedicated "All This Time" from 2001. They share some similarities, the behind the stage/the performance-"mixed" footage, or easier said; we are invited to see parts of the rehearsal, parts of the show, and there are interviews with all the musicians with Sting in the lead. The main difference is; this whole consept behind the 1985-release (and tour) of the "Blue Turtles"-material was the big risk Sting was taking being a settled artist, but with this new sound, style and (not least) the musicians he'd hired things indeed could have ruined his reputation and carreer. As you very well know, it didn't! He recieved standing ovations from audiences all over, and became a hit also as a solo-artist. Me myself, well, being a Sting-fan mainly, and not of Police -let's just say that I'm not surprised. Sting is one, if not the one, of the most talented composers and performers (including the musician he has and still works with) in the world today, and this release is another proof of that. I am so happy "Bring On The Night" finally has been released in this format. The sound is superb, the picture too -so let's throw away the old tapes now and really enjoy this!

If you have a capable system, see it in DTS -the drum-opening on "If you love somebody...", it's like being there!

Sting somehow becomes, ironically, an "early" Eminem (not that I compare them at all, they far from share much of anything else, but) the fact that they were both the only white in their black groups and collegues, Eminem with rappers. Sting theming up with these talented jazz-musicians, and of course, this inspired his composings and performances. Not that it's jazz, actually it is hard to catogorize any of Stings' music. It's kind of "continental". But a lot of the improvisings naturally goes over into jazz. And in 1985 the band was facing a lot of shared opinions about their project. (like Eminem had to face until he convinced his audiences, and that's the similarity I find.) But this was before the final result. Sting convinced as well, and from here it has mostly been "going uphills" for my favorite artist.

Let me add to this that Stings' early influences take roots in jazz, and he was playing with jazz-musicians in the early days of his life. You can read about this in his biography "Broken Music". Recommended by the way!

"Bring On The Night" is very inspiring, and interesting that way. Sting is not the only reason for this, the interviews and opinions and presentation of the band is also "very new", and presents the project in a way I'd never thought of it before. You get respect for they opininons on the music business none of them see themselves as a part of, it's all about the performing and the love of the music. You realize this, and I especially enjoyed the interviews with Branford Marsalis. Also it is funny to see their unserious sides between the rehearsals, and the way they make fun of Sting in friendly ways.

This is the kind of release that makes you wish you could be the artist if just for a day, and it puts a smile on your face long before the credits start to roll.

Here's another reason why I am a fan!

Early Sting and Jazz or is it Rock
I just finished watching this DVD.This is great early Sting, taking a risk; Post Police.I really enjoyed the music, from a cast of excellent musicians.This is a documentary, so there are interviews over some (not all) of the music.Within the 25 chapters, there are maybe 12 full concert songs.The rest is rehearsal, with breaks in songs and interviews.Even a few of the concert songs, are split with rehearsal footage.There is the option in the special features to set your favorite song list that I have not tried yet.

The transfer to DVD is superior in widescreen.The .1 bass is great.The 5.1 surround sound is good, but it does not have the obvious separation of the instruments - like a Sax sound from the surround speakers only (As in the Sting DTS DVD music discs).

Overall, this is Sting in the early years and well worth the price of admission.

A true classic
Finally, those of us who have waited for the better part of a decade will have the great satisfaction of seeing and hearing one of the best inside-view videos on DVD.This is a landmark video - a reality video before the genre took off- and a very telling effort that relates the drama that unfolds behind the curtain for one of the most influencial rock musicians of the last couple of decades.An all-star line-up that features some of the jazz world's greatest young lions of the time:Omar Hakim (drums), Kenny Kirkland (piano), Darryl Jones (bass) and the venerable Branford Marsalis (sax).A truly stellar band playing some of the most progressive music of the time.The cd features different versions of the songs from the video release, which, most people who have seen the video will agree, was one of the most heinous crimes in the history of soundtrack releases.Be sure to check out the blazing solos in many of the songs; Kenny Kirkland's solo in the title track, Omar Hakim's drum solo - which seems to disrupt the fabric of time and space -in "I Burn for You," and Branford's smoldering-to-full-on-scorching solos throughout. ... Read more

Reviews (98)

Superb - One of the Great Foreign Language Films of Our Time
A thrilling, intoxicating masterpiece, "Like Water for Chocolate" will leave you hungry, happy and hung over with its surreal vision and unforgettable performances. Some of the film's charm lies in its uncompromising vision of what it must be like to be a poor, Mexican woman, surrounded by angry sisters and petty jealousies. The food is a miracle of texture and authenticity that makes the book a recipe lover's dream. But the spiritual aspects of the movie take it someplacve else altogether....by tying food and unseen forces together, the author and director have fashioned love as a cycle of human emotion coupled with betrayal and passion. Believers and non-believers alike are asked to suspend judgement and just BE with this movie, for it raises issues and themes rarely imagined or acheived on film. A few sequences are startling - such as a wedding party where every guest is gastronimically infected by a soup that is stewed with the tears of our protagonist, and they all end up regurgitating the mixture, and in the end, understanding that true love should not be gambled away for money or superiority. Another sequence, where the middle daughter Gertudis, is literally kidnapped by a horse riding gunslinger while she sits alone in an outhouse doing her business, is hysterical, yet also painful to watch, because it symbolizes the woman's need for free choice in a world where men have so much of the power. Besides, any couple who has eloped or married without their parent's blessings will quickly make the connection to their own experience. If you can keep up with the subtitles, I'd advise against a dubbed version, for in its Spanish - eloquent, funny and dramatic - the film c aptures its truest form of communication. And food as metaphor - used in other terrific fims like "Babette's Feast" - has never been presented in such an awe inspiring manner. This is a feast to be savored every step of its delectible way.

A passion for cooking and romance!!!
This has to be one of my all time favorite foreign films. I loved the book and I think the movie is equally good. The story is set around a young woman named Tita, who according to an unfair family tradition, must care for her overbearing, demanding mother. Because of this, she is unable to marry the young man she has fallen in love with and transfers her passion into the meals she prepares(with very interesting results!). Based on the book by Laura Esquivel and directed by her husband at the time (Alfonso Arau, who also directed the Keanu Reeves movie, "A Walk in the Cloud") this film is a captivating fairy tale that is sure to entertain.

a feast of the 5 senses, come to life
after you watch this movie, you will either want to eat, cook (preferably one of the mentioned recipes), make love or all three! i saw the version dubbed in spanish, and also read 3 selected chapters from the book, for spanish class. it's a work of art and genius, and it must be watched all the way through without stopping. the characters are excellently portrayed, and it combines love, feminism, drama, sensuality, lust, hope, passion, and humour, topped with cultural tradition and folklore. i don't know which one is better, the book or the movie. all of the 5 senses are provoked on a deep and perhaps even primal level, especially taste and smell, feverishly yearning for a sum greater than their overall parts (gestalt) - which brings up the sixth sense, intuition.

Like Water For Chocolate
In the novel, "Like Water for Chocolate," I found it very interesting that two young people, Tita and Pedro fell deeply in love and they could never marry each other. The best part about the book was that they had to hide their feelings from everyone but they knew they loved each other deep inside their hearts. I liked the fact that they loved each other until the day they died and they died making love to each other. I strongly recommend this book to other people.

Like water for chocolate!
This is a very sensual movie about two lovers who could not be together. I loved it and would watch it again and again. ... Read more

Amazon.com

Director Robert Aldrich had a knack for depicting outsiders with originality and authenticity. Much like The Dirty Dozen, The Longest Yard is a popular fable about integrity and group unity. It possesses a requisite toughness along with the loneliness that accompanies the outsider status. Compromise is never easy in an Aldrich film. There's always a bitter price to pay.

Burt Reynolds, in peak form, plays a former pro quarterback ostracized for shaving points. After beating up his girlfriend and resisting arrest, Reynolds winds up in prison, where he's taunted by warden Eddie Albert to help his semiprofessional team of guardsmen win a championship. Naturally, the inmates despise Reynolds, and naturally he redeems himself in one of the great movie football matches of all time. --Bill Desowitz ... Read more

Reviews (24)

A CLASSIC FROM THE 1970'S
Well on the eve of the remake being released it's time to look back at one of the classic movies of the 1970's, The Longest Yard.Burt Reynolds was at his peak in the mid-1970's with a string of hits and reigned as Hollywood's box-office king.This movie had a stellar supporting cast which helped make it one of the great sports movies of all time.

Reynolds is Paul "wrecking" Crewe, a former pro quarterback who is sent to a Georgia prison after leading police on a drunken car chase.Crewe finds himself ostracized from his fellow inmates because of his "star" status but eventually befriends Caretaker (James Hampton of F-Troop) and an elderly inmate named Pop.Eddie Arnold (of Green Acres fame) is Warden Hazen, a typical evil prison warden who has a semi-pro football team made up of the prison guards that he is very proud of.

The Warden forces Crewe to put together a football team of inmates to play his guards in a scrimmage game.Crewe is reluctant and just wants to do his time but when the Warden threatens to make his time very tough, Crewe relents and he and Caretaker begin trying to find players.At first Crewe is stuck with a bunch of stiffs, partly because the black inmates refuse to play until one named Granville breaks the ice and decides to play.Crewe then enlists the services of several "specialists" including 7' 2" tall Richard Kiel playing a weightlifter named Samson, and the baddest guy in the joint, Connie Shokner, played by one of the great screen heavies of the 1970's, Robert Tessier.One note is that the Indian inmate was played by Sonny Sixkiller who was a well known QB at the University of Washington in the early 1970's and still holds several passing records.

With Caretaker's help they manage to steal the guard's personal medical records to find out which have had previous injuries to take advantage of and also steal game uniforms.The guard team is led by Guard Captain Knauer (Ed Lauter) and former NFL great Ray Nitschke playing a guard named Bodanski.This all culminates in the big game where Crewe is forced to make a VERY big decision about how well he wants to play in the game.

The remake of The Longest Yard is going to have some very big shoes to fill.They appear to have done a great job on the supporting cast which includes wrestlers Stone Cold Steve Austin, Bill Goldberg and kevin Nash along with 7' tall Indian power lifter Dalip Singh, and Bob Sapp to go along with actual actors Chris Rock, James Cromwell and David Patrick Kelly who people may remember as the crazy gang leader in the cult film "The Warriors".

This special edition DVD was a welcome additon with it's Burt Reynolds commentary as well as the making of featurettes.Great film.Hopefully the remake does it justice.

Great fun
One of my favourite movies of all time and I don't even like football. I just can't believe they pick Adam Sandler for the leading role of the remake. Big mistake. No comparison at all. He looks like a wimp, and acts like a wimp. I agree with the other review saying to pls enjoy this one before the remake comes out.

The Mean Machine is meaner than ever
Robert Aldrich's greatest gift as a film director was his ability to show bad boys and nonconformists in such a sympathetic light. "The Longest Yard" features Reynolds before he traded on his bad boyish charm in all his film roles. Paul Crewe (Burt Reynolds) is a former bad boy football player who ends up in prison for "stealing" his girlfriend's car. His life has fallen apart since he was banned from the game for shaving points.Crewe is pressured by the Warden (Eddie Albert)to coach the guards' semi-pro team to earn a national title. When he refuses (out of preservation for his own skin) Crewe must lead the team of prisoners (called "The Mean Machine") against the guards in an exhibition game where the prisoners are expected to lose. Crewe has a couple of surprises in store for the Warden. The good news about this remake is that it prompted the studio to re-release this classic film. I have no idea if the remake is any good as of yet but we do have the classic original in top form.

An exceptionally nice transfer from Paramount, "The Longest Yard" has some minor issues with grain (that's not a flaw in the transfer I might add but it can be minimized during the transfer or made much, much worse) but that's probably due to the type of film and its age. The image quality is exceptionally good with such robust colors you can almost feel the humidity. The mono sound is a bit flat but with clear dialogue.

Three featurettes are highlights of this re-release. "Doing Time" features Reynolds and Ruddy discussing the making of the movie. The fact that Reynolds played college ball was an advantage for him in the role. Sports Illustrated writer Michael Silver discusses how nasty Paul Crewe is yet we forgive him because he's so funny and charming. The sports writers interviewed for the disc point out that watching Reynolds on the field its clear that he played college ball. "Unleashing The Mean Machine" we hear from a variety of pro players and sports writers discussing what makes "The Longest Yard" the best football movie ever made. Ruddy points out how he managed to convince Jimmy Carter (governor at the time of Georgia). Reynolds comments on his first meeting with Carter. The soon-to-be President of the United States told Reynolds that if Reynolds was taken prisoner, "if they take you hostage I will take your place gladly." Aldrich turned to Reynolds after and told him, "this man will be President some day. He's lying through his teeth beautifully".

A new and fun commentary track with producer Albert S. Ruddy ("The Godfather") and star Burt Reynolds discussing the making of the movie is a highlight of this classic 1974 film. Shot on location Reynolds in the South, Reynolds comments frequently about the difficult working conditions shooting in the swamp. He never knew when and if they might have a cottonmouth show up. Reynolds and many of the actors actually stayed at the former prison where they shot the film. Reynolds points out the various former pro and college football players that appear in the film. They discuss the prep for shooting the big game and how they pulled the illusion together for this film.

A classic film gets a classy presentation on DVD. An excellent commentary track by Reynolds and Ruddy are a highlight of this terrific reissue on DVD. Two very good featurettes on the making of the movie and one where pros and writers comment on reality of what you see in the film.

Quick!Enjoy the original before the remake comes out!
I want to make the argument that "The Longest Yard" is an important film in the history of the movies because this 1974 comedy represents the point in cinematic history where a guy getting hit between the legs was funny for the last time. To be specific it was the moment in the film where it happened for the second time, which was even funnier than the first time it had happened, which was just a minute earlier in the movie. Ever since then I have not found these scenes to be anywhere near as funny because all such efforts are just pale imitations of what happens here.

"The Longest Yard" is solid B-movie material from start to finish. Burt Reynolds is Paul Crewe, a former pro quarterback who was banned from the sport for shaving points and ended up in prison for having some fun with the cops joy riding. In a nice example of casting against type Eddie Albert is the sadistic warden who is quite proud of the football team he has put together from the prison guards. So he decides that Crewe should put together a team from the prisoners for a friendly little game of football. Crewe is inclined not to be accommodating, but the warden, no doubt sensing a failure to communicate, persuades the ex-jock to get with the game plan.

We have to go through some rather trite and tired routines as Crewe puts together his team just so we can get to the fun part of the movie, which is the big football game. Obviously the cons are playing for self-respect and if the warden is stupid enough to give them the opportunity to pay back the guards for their brutal treatment under the guise of a football game, then we should just enjoy the fun. The set up might be stupid, but the game itself is one of the better staged pigskin competitions we have seen in a movie to date. Besides, the Mean Machine uses the drop kick, which I have always wanted to see ever since I read about it in "Gil Thorp" way back when. Certainly director Robert Aldrich takes the time to play the came and he makes excellent use of the split-screen to avoid having to constantly cut between the action on the field and the drama on the sidelines.

Reynolds is certainly the star of the film (he tells his team, "The most important thing to remember is: to protect your quarterback. ME!"), and the ex-Florida State football player certainly makes for a believable jock on the field (hey, the guy was drafted by the Baltimore Colts), while Albert clearly relishes the chance to forget all about Eva Gabor and have fun with the dark side. "Iron" Mike Conrad, before he became a cult figure as Sgt. Esterhaus on "Hill Street Blues," has a memorable turn as Nate Scarboro, one of the cons whose knees are not as strong as his heart so he has to settle for being the coach of the Mean Machine. Ed Lauter is Captain Knauer, the head of the guards, who manages not to be a total jerk about what is going on in the end as the film goes for one last over the top moment at the end.

Not to be mistaken for high art, "The Longest Yard" is a party film, perfect when you are in the mood for a little football. It was actually up for an Oscar for Best Film Editing (Michael Luciano), undoubtedly for that split screen work, and even won a Golden Globe for Best Motion Picture Musical/Comedy (beating out "The Front Page," "Harry and Tonto," "The Little Prince" and "The Three Musketeers"). Having already been made as a soccer (the other "football" movie, "Mean Machine"), "The Longest Yard" is about to be released with Adam Sandler and James Cromwell squaring off (Burt Reynolds is along for the ride as Coach Nate Scarboro). I wonder if Brian Bosworth played "Kill the Star" with Sandler the way Ray Nitschke did with Reynolds in the original. There could be some very interesting outtakes on that DVD down the road.

"Mean Machine! Mean Machine! Mean Machine!"
In the 1970's, there was a small genre of movies, that the studios released, that could best be termed, football comedies. These were a series of films that sort of aped the spirit of Jim Bouton's best selling baseball book, "Ball Four" about the rowdy and scatalogical antics of modern day pro-athletes. Most movie fans consider three films to be the best of this genre. They include "North Dallas Fourty", "Semi-Tough" and of course "The Longest Yard". When it comes to "North Dallas Fourty", I have to be truthful and admit that I've never seen it. I really can't make an informed opinion about it. But,"Semi-Tough really is a very funny film comedy. But let's face it...it's not really about football. It's more of a satire of the 'self-help/feel good' movements (such as E.S.T.) that were all the rage in the 1970's. That leaves, what I like to think of as the gold standard of football movie comedies, "The Longest Yard". This hilarious film is basically M*A*S*H* on steroids. A group of people trapped in a situation trying to relieve their boredom & frustrations through off-color jokes, rowdy antics and a love for football (for those who have never seen it, the film, M*A*S*H* ends in a humourously rowdy, football game). "The Longest Yard" is about Paul Crewe (Burt Reynolds) a former superstar, pro quarterback, who is living life as a disgraced, has-been. After a drunken fight with his wealthy girlfriend and a wild police chase in a stolen Mazardi, he finds himself looking at eighteen months of hard time in a Florida correctional facility. But this isn't just any prison. Apparently both the guards, the inmates and especially the nefarious Warden (Eddie Albert) take their football, waaaayyyy to seriously! The Warden hatches a plan for Crewe to put together and play with a team of felons in a tune-up game against his own semi-pro team made up of the brutally, sadistic guards. What starts out as a supposedly, friendly (and very funny) game soon devolves into a brutal, grudge match in which the Warden attempts to humiliate the Cons and send a message to the rest of the prison population. It's up to Crewe to keep this from happening. This is a great film with a plot (and hard hitting, realistic game), that gets the viewer really involved. I mean what film do you know, where the good guys are unrepented hard core felons (refered to by the hypocritical guards as "scum of the Earth") and we want to root for them? The film is helmed by an excellent cast playing interesting characters. Burt Reynolds plays a man, who when under presure finally learns, that there is more to life than just thinking about himself. This is probably Reynold's best acting job in any of his film comedies (he only breaks himself up once). His only better work has been in dramas such as "Deliverance" & "Boogie Nights". Eddie Albert is also great as the evil Warden, who on one hand, publicly spouts speeches about the "All-American" values and virtues of the game of football, but is privately more than willing to vindictively lie and cheat, all in the name of winning. Other standouts in the cast include Robert Tessier as Shockner, a silent, Karate chopping, psychopath and 7'2" Richard Kiel (in a pre James Bond role) as a giant, violent prisoner, who hilariously dosn't seem to know his own strength. Also look for Bernadette Peters in a brief, sexy cameo (and a huge B-52 hairdo) as the Warden's amorous secretary. If you like football movies or just plain gut-busting, funny movie comedies (or both) than get "The Longest Yard"! Great movie! Highly recommended! ... Read more

Amazon.com essential video

This emotionally moving romantic drama was adapted by William Nicholson from his own acclaimed play, based upon the real-life romance (during the 1950s) between the British writer C.S. Lewis and a divorced American poet named Joy Gresham. Best known for writing TheLion, The Witch, and The Wardrobe, Lewis (Anthony Hopkins) is living comfortably as a respected Oxford don, his academic lifestyle a kind of shell protecting him from the emotional risk of love. Joy Gresham (Debra Winger) arrives at Oxford as an avid admirer of Lewis's writing, and the safety of his collegiate routine is quickly disrupted when Lewis realizes that he's fallen deeply and unexpectedly in love. Their courtship is uniquely engaging; he's shy and uncertain, she's outspoken and bold. But when Joy is diagnosed with cancer, Lewis's Christian faith is put to the test--he cannot fathom why their happiness together would be so drastically challenged. Together, they find a way to accept and honor the time they have shared together, and under the sensitive direction of Richard Attenborough, Shadowlands arrives at a conclusion that is both heartbreaking and uplifting at the same time. Hopkins and Winger are equally superb in this absorbing story of personal and spiritual transformation--a story previously filmed for British television in 1985, with Joss Ackland and Claire Bloom. --Jeff Shannon ... Read more

Reviews (85)

What Price Love?
This review refers to the DVD(HBO) edtion of "Shadowlands"...

With every viewing of this touching and true romance, I become more appreciative of what a fine film this is. Had I written a review after the first time I watched it, I probably would have gone 4 stars. The first time around, I really got to know C.S. Lewis and Joy Gresham thanks to the deep and moving performances of Anthony Hopkins and Debra Winger. After that it was joy spending more time with them, really getting to know their story, and taking in the magnificent work of Director Richard Attenborough and the photography of Roger Pratt.

The story is a bittersweet tale of a mid-life romance that is all to short. C.S. Lewis, the famous writer of children's stories, lives the quiet life of a proper gentleman. He's a professor at Oxford,devout Christian,set in his ways, never married and is repsected by all that know him.When Joy Gresham a divorced, Jewish, Communist, brash New Yorker, with a young son enters his world,things as he knows them are about to change.They develop a friendship and soon she starts to melt the icy wall he has built up around his perfect world. To the shock of all those that know him well, Lewis finally lets his emotions be a part of his life. It is only when Joy becomes terminally ill with cancer, that he realizes the full depth of his love for this woman and her son, and must learn to deal with the pain as well.

I can't think of anyone else who could be C.S. Lewis. Hopkins is a virtuoso. One look at his eyes and we know the depth of his feelings. Winger is an impressive of a match for him as Gresham was for Lewis. She knows how to grab your heart and keep it("Terms of Endearment"). I must also mention the talented young Joseph Mazzello who turns in a remarkable performance as Douglas, Joy's son. William Nicholson has turned his stageplay into a beautiful screenplay, and the music by George Fenton flows with the story.

The DVD is a nice presentation in widescreen, that takes in the splendor of the scenery and sights of England. The tech info here states that the sound is in Dolby Dig 5.1. It is not.(This appears to be the only edtion) The sound is in DD2.0 Surround, and although the dialouge is a little low, the surround sound is very good. Special features include a "Behind the Scenes Featurette" and excerpts of interviews with the stars, the filmmakers and a now grown Douglas Gresham.

The story is a true love story.Five Stars for one that reminds us that to love and to be loved is worth the price of the pain it sometimes brings......enjoy....Laurie

Anthony Hopkins is the (almost) perfect CS Lewis
This is the story of CS Lewis's life--at least, his later life. Lewis, the brilliant intellectual, the revered Christian apologist, the man who seemed to have answers to everything, was living a calm and adequate life with his brother Warren. All of that changed when an American woman named Joy came along. Suddenly, Lewis (Jack, as he's called) finds he does NOT have the answers, and that there has been something missing from his life all along. This film is a story of the love that Lewis found, lost, and found again.

This movie is well-made, and very accurate as to the period and setting. Anthony Hopkins's performance is stunning--he seems to fit Lewis perfectly. I have always had a picture in my mind of how Lewis would look and behave, and Hopkins comes about as close to my mental image as is reasonably possible.

That having been said, Debra Winger's acting is absolutely horrid. Her accent is bad, her mannerisms are annoying, and she is simply not convincing in her role as Lewis's love. Also, I did not like that the movie ignored such great friends of Lewis's as Owen Barfield and JRR Tolkien (even if these men played a less significant part in his later life).

I would have liked to see these men, as well as others, in the movie, but was disappointed. Despite these shortcomings, however, Shadowlands is a pretty good representation of Lewis's life, and you can't beat Hopkins's brilliant acting when he plays the Oxford fellow. If you're a CS Lewis fan, this movie is worth seeing.

Is it about Lewis?
The movie was done well. The cast was magnificent. The scenes of the Oxford Campus were beautiful. The story drew me in. However, it did not present Lewis very well. First, it presents Lewis as being rather naive about suffering. He kept giving the same sermon over and over and implies that did not really understand suffering. This is not so. His mother died when he was very young. He was a soldier in World War 2. His close friend, Charles Williams, died around this period of his life. Second, the movie left the viewer with the impression that Lewis left his simple Christianity and grew into a better understanding of the world. He truly suffered when Joy died as the book, "A Grief Observed" describes beautifully, but he did not leave the faith.

I like the BBC version better. It is closer to the original play.

I recommend the movie, because it well done. However, I do not recommend the movie as a way to learn more about C. S. Lewis. It is a beautiful, fictional love story.

TIMELESS, INTENSE ROMANCE WITH LOADS OF OLD-FASHIONED VIRTUE
You should certainly see Joss Ackland's version of this film, which was a BBC production and hence true to the original play etc. Come to think of it, you may also want to read the original play itself by Hanff (which is on my wishlist but I have not yet read.)

Nonetheless, the thrilling chemistry between Debra Winger and Anthony Hopkins is very, very hard to resist and I wholeheartedly recommend this supposedly "Hollywood" version. It's ranks for me in the same genre as "The Remains of the Day" and "84 Charing Cross."

To begin with, how immaculate the casting is: Debra Winger plays an uninhibited and witty American poetess, while Anthony Hopkins plays a reclusive British middle-aged scholar at Oxford.

They meet over tea. She is in a withering marriage, but in her bull-in-a-china-shop American fashion, she arrives like a fresh wind to rock his musty ivory-tower existence.

As the film progresses, her crudeness (only exacerbated by Winger's awkward NY accent) is soon peeled away to reveal a heart of gold and a life-affirming sense of humor. For instance, while escorting her around Oxford, Hopkins haughtily says, "I do not really go in for seeing the sights." In response, she says, "So what do you do, walk around with your eyes shut?"

Such sprightly but tender moments evoke the screenplay's stirring underlying message -- pain is an inevitable ingredient of love. If you are looking for a somewhat weepy but always warm and wonderful romantic film, this is one of the best you'll find.

the hollywood-ized version of an interesting love story
When I discovered this movie was being made I was so excited. Unfortunately I spent most of my viewing time thinking, it didn't happen that way and WHERE IS HER OTHER KID?!?

But, if you know absolutely nothing about CS and Joy Lewis' life together and know nothing much about CS and Joy Lewis at all, you will enjoy this movie. It is a well-made, Hollywood love story. The acting is excellent and the storyline is compellin