Reviews (16)

Brilliant Film
This movie is an excellent example of why many European films are so superior to American movies! This brilliantly realized and at times haunting story is hard to forget. After the death of his wife, Lasse and his young son Pelle migrate from Sweden to Denmark in search of a better life for themselves. However, things don't go quite according to plan. I highly advise viewing this film to find out just what does happen to them. The cinematography is beautiful, the music evocative, and the acting is flawless. Add this to your film library - you won't be sorry!

5-star movie, 4-star DVD
Pelle the Conqueror is an utterly flawless film with regards to acting, cinematography, score, storytelling, etc. It won Best Foreign Film honors at the Academy Awards and was even nominated for Best Picture. Of course, the politics of Hollywood could never have allowed it to claim that honor, otherwise a precedence would have been set of acknowledging that foreign films might be (gasp!) better than a lot of the [stuff] Tinseltown shovels out.

Personally, I watched the Oscars that year exclusively to cheer for Pelle the Conqueror and even more specifically for Max Von Sydow, who turned in the performance of a lifetime. From the moment I began watching the film to the moment it ended, I never lost my sense of absolute immersion. It was, in truth, a grueling experience... because like so many Scandinavian films, Pelle is not a "feel good" story and doesn't have a happy ending. It doesn't have a happy beginning or middle, either. I'm straining my memory to remember a full happy minute, actually. Max Von Sydow is so thoroughly convincing as the widower father of 12-year-old Pelle Hvenegaard that I couldn't help but bear his anguish as all his hopes for a better life for his son get trampled. Even though I was fairly young when the film came out, Von Sydow led me to understand a poor father's burden. When I saw this movie in the theater in 1988, I was told by a friend it was "part one" and that the subsequent film would give viewers a little more resolution as young Pelle escapes to try to reach America... I waited and waited for that sequel, because I believed in these characters and wanted a better life for them; that's how powerful the film was to me.

So why only 4 stars? Because the DVD (to date -- these things sometimes change) does not contain the whole film. 22 minutes were hacked from the original to fit into American time slots, and they were inexplicably not restored when the film went to DVD. The DVD also lacks special features such as "making of," background story, director's comments, etc. that would have been fascinating, especially considering this is such an epic foreign film from a country American viewers know so little about.

Elend, elend, elend,...
Max von Sydow magnificently plays a certain type of Scandinavian man, maybe his best film of the ones I've seen. I saw the movie when it came out, remembered it as fantastic but forgot the details, then watched the video again recently. Tried to watch it with my 7 and 12 year old sons, but the older one couldn't take it: too much sadness. The theme of the movie: unfathomable human cruelty, that 'happiness' is only an illusion. How to know that the movie was filmed on Bornholm? The Rundkirk in a burial scene.

Moving
The story behind this movie was very touching. My Great-Great Grandfather went AWOL and came to America about the time this movie is set. The movie helped reveal to me why my family carries some of the attitudes it has and why he stopped speaking Danish or speaking of Denmark the day he stepped on American soil. This movie is a must for anyone of Scandinavian ancestry.

Child is Father to Man
A poignant film -- lending credit to the expression that "child is father to man." With so many films being produced that explore the negative violence in mankind, it is refreshing to see a splendid film that relishes the wisdom in youth. Pelle allowed us to see the hope and strength that a new generation can bring to life. Although Pelle's father fell prey to his desires, Pelle struggled to keep his wits -- striving for something truly better. Pelle chose the hard road instead of always giving in to indugences.

This film would be an excellent choice as an initial exposure for young people to another genre of film. Yes -- there is more to life than the overly violent monters created for the big screen. Reality is much more compelling. ... Read more

Reviews (41)

"The greatest thrill is not to kill, but to let live"
Truer words were never spoken. This movie deftly illustrates both the inate similarities and disturbing rifts between mankind and the animals with which we share this planet. A sincere, moving, and thought provoking drama that paints a vivid cinematic picture of compassion for all living things.

What makes this movie so great is the way all of its characters are portrayed. There is no clear villian or hero, but rather simple creatures following their basic instincts, including the humans. Our first impulse is to judge the humans (played wonderfully by Jack Wallace and Tcheky Karyo) as evil, but really pay attention and you'll find they are quite, well, human. The bear characters, Youk (cub) and Bart (grizzly) portray emotions and feelings stronger than any other animal in any movie I've ever seen. They truly steal the show here.

But the obvious difference in the sides is that while the bears kill only for survival, humans kill for recreation, which, as this movie clearly intended to say, is wrong. ... Maybe they'd benefit from watching this movie, from experiencing the change and lesson Karyo's character goes through, and discovering that indeed, the greatest thrill is not to kill, but to let live.

Bambi, only hairier.
I KNOW what you're thinking... How could all these freaky people feel so strongly about a movie about a BEAR ??, and with almost no dialogue. Well, this is a FABULOUS movie, for adults as well as children.(Maybe more so.) It shows that, with a beautiful, simple story, and no computerization, that a terriffic movie can still be made. This movie is not only beautifully filmed amongst breath-taking natural locations, but has wonderful and true lessons about man and animals, and our supposed superiority over them. You will fall in love with the little orphaned bear cub as he struggles to survive the assaults of hunters, elements, and other beasts. As you're watching it, those tears are welling up in your eyes because you realize the little fellow is only searching for what we're all searching for, someone to love and protect us in this harsh world. (You ARE, so don't deny it!) The little bear who played "the bear" deserved at least the same academy award that Judy Garland received for "The Wizard Of Oz", best actor in a juvenile role. When I first saw this film, which was by accident, I was surprised at how moved I was by it. And, amazed at what the film makers got the animals to so realistically do. Well, on viewing it again recently, I was just as impressed, and just as overwhelmed. By the last five climactic minutes, I was blubbering right on schedule. You will be too.(I'm crying now thinking of it, I need to get a life!) I don't own it, but I've decided I have to buy it, it's just too good not to be re-watched every so often. You don't have to be an animal lover (I am,... you should be), to love this movie. A pure, wonderful, heart-tugging, simple but powerful film, definatley a classic. Watch it with those you love.

Excellent nature film
Wonderful film with the animal's point of view. This has funny moments,tender moments,goofy moments and some very tense moments.
This also includes some beautiful scenery.

Definitely get this one!

How did they do it?!
During whole movie I couldn't stop wonder how did they film all this amazing actions with bears. You really start to believe that bears 'act'. The scenery where the action takes place (British Columbia) is gorgeous. The main character, the bear cub, is unbelievably cute. The main message of the movie is very straighforward: let them live. I had some issues with the way the message was delivered, which annoyed me just a little. It was to simplified, too cliche. I would understand if this movie was for children but it's really not and PG-13 rating is right. Still, amazing beautiful movie.

RUN LITTLE GUY, RUN!
An uplifting, intelligent movie that does not portray hunters in the usual stereotypical way. This film teaches the lessons of compassion, partnership and honor in the actions of both the bears and the hunters.

That little cub will grab your heart and never let go. At the end I was shouting, "Run! Run!" ... Read more

Amazon.com

Only die-hard Bill Murray fans will likely consider this movie for their home-video library, but it's not without its rewards. You can see why someone as comically astute as Murray would agree to play a dimwitted American who can't tell the difference between improvised theater and a real-life espionage plot. There's certainly plenty of potential for belly laughs, and Murray milks the opportunities like the old pro that he is.Here he plays an American tourist in London who thinks he's been recruited into a street-theater act called "Theater of Life"; actually, he's stepped into a complicated spy scheme that plays like a cross between Hitchcock and the Marx Brothers. Joanne Whalley costars as the femme fatale who may or may not be a double agent, and along the way there's enough comical confusion to foil any number of idiotic villains. The movie stretches its one-joke premise to desperate extremes (Murray thinks he's in a play, so he's oblivious to genuine danger), and 95 minutes is more than enough time to exhaust the comedic possibilities. But, as always, Murray finds a way to mine gold from a few clever bits, and he cuts loose with some inspired lunacy during a climactic scene involving a hidden bomb and a troupe of dancing Cossacks. It's not Murray's finest hour, but give him credit for making the best out of a challenging situation. --Jeff Shannon ... Read more

Reviews (60)

Well written story, entertaining
A very clever script with some very well written situation comedy. I tried getting my teenage daughter to watch this, she thought it was extremely stupid, so the audience has to be right. I thought she'd enjoy it. I've watched it a couple of times and still found it entertaining and funny.
Murray plays a hapless American caught up in a ring of international espionage while thinking that he is just playing the part in an audience participation stage play in London. A lessor actor in this film and it would have a a complete dud, but Murray's talent shines and there aren't any dull moments. A scene near the end has him dancing with Russians while unknowingly stopping a time bomb, it is very well choreographed and lots of fun to watch. This movie is a strong recommendation to any that like Murray and his talent of being funny while seemingly not trying to be. It is a good recommendation to any that enjoy clever situation comedy and aren't expecting "What about Bob?" or "Groundhog Day" which this film is not.

A laugh out loud video!!
The first time i saw this movie i was in a movie theater and i couldn't stop laughing! I knew that i had to get the tape so i did. It is a little confusing in the very begining but once you see it a second time it makes a lot more sense. It's about Bill Murray's character who is brother's with Peter Gallagher's character. Bill goes to England(where his brother lives)for Bill's birthday. Peter gives him a ticket to "the theater of life"- a performance you play as the main character. In the performance, it takes you around town acting as if it were real life only there are actors everywhere to help you along the way. It sounds confusing but you'll understand when you see it. Anyway, Bill loves the present but somethng goes wrong. Bill get's mixed up with the wrong people who think he's a killer but Bill thinks it's all part of "the theater of life". but it's not the performance, it's real life! Bill get's close to dying so many times but he doesn't even realize how much danger he's in. All throughout the movie Bill thinks it's just a performance. In the end everything turns out fine and he even get's the girl! The only thing i didn't like was that Peter Gallagher was Bill Murray's brother, they don't look anything alike and Peter's really ugly! But other than that it was a hilarious movie and you're really missing out if you haven't seen it! go see it now before it's too late!

What a hoot!! Too many great scenes to list them all..
Confusion is often funny, but sometimes it can lead to danger. In this film, confusion and danger, coupled with a marvelous cast and excellent comedic script, take us on a heckuva fun trip to London. The whole of the underbelly of the world of duplicitous spies and sneaky secret agents is cut to shreds by a simple, unsuspecting video store clerk from Iowa. Absolutely hilarious, and Bill Murray is his zany best. Joanne Whalley is the cat's meow, and is perfect as Murray's cohort. Just the mix-up of the real and pretend torture doctors is worth the purchase. You will laugh until you can't cry any more tears.

Lori Wants Her Letters........
This movie was a real surprise for me and my wife. We rent a lot of comedy movies and have passed this one up a couple of times thankfully having picked it out just recently and now intending to buy it.

Murray plays a very funny underachiever who just so happens to get involved with international intrigue, yet he thinks he is involved in a one night reality TV program. His straight side kick in the movie is Joanne Whalley playing Lori.

Murray is a crack up throughout the film thinking he is in a movie and thinking that all of the spies and diplomats are actors staying in character.....he is the funniest since Groundhog Day in this. I feel he is better than 'What About Bob.'

Peter Gallagher plays his brother and the funniest interaction he has is with an actual police officer where Gallagher, who funded Murray's intended movie romp, thinks he is talking with an actor and as he gets angrier he just gets funnier.

The movie has a lot of funny scenes that I laughed throughout. I thought the first part of the movie was little slow in developing but as soon as he got the call for what he thought was the reality show, things really took off.

I laughed and laughed as he got chased, shot at, tortured and then all through it he thinks he is in a show.

If there is a movie you want to share with friends for a nice fun evening this it.

Delicious Desert for Bill Murray Fans
This is an enjoyable, lightweight Blake Edwards-style farce that gave me plenty of belly laughs. Bill Murray is such a good comic actor that he takes what ought to be a one-joke pastiche and milks it for every last drop of comedy. I've seen bumbling detectives and secret agent spoofs before, but Murray turns this into something special. I wouldn't rate it as highly as "Ghostbusters" or "Groundhog Day" but "The Man Who Knew Too Little" is enough of an overlooked gem for me to recommend it. ... Read more

Amazon.com

A wicked satirical fable about corporate backstabbing--and actual murder--in the movie business, The Player benefits from director Robert Altman's long and bitter experience working within, and without, the Hollywood studio system. Rising young executive Griffin Mill (Tim Robbins) is tormented by threats from an anonymous writer.The pressure and paranoia build until Griffin loses control one night and semi-accidentally kills screenwriter David Kahane (Vincent D'Onofrio), who may or may not be the source of the threats. From that point, Griffin's life and career begin to fall apart. In keeping with the ironic spirit of the film itself, Altman's scathingly funny attack on the moral bankruptcy of Hollywood was embraced by many of the same people it was intended to savage, and restored the director to commercial and critical favor. Michael Tolkin adapted the screenplay from his own novel, and the movie is studded with cameos by famous faces, many of whom appear as themselves. The digital video disc includes a commentary track with Altman and Tolkin, some deleted scenes, a documentary about Altman, and a key to help identify more than 50 of the picture's big-name cameos. --Jim Emerson ... Read more

Reviews (64)

Very Intelligent and Entertaining Thriller
"The Player" is one of those fascinating comedic thrillers with one defined dramatic plot, and various subplots dealing with the movie industry. Player is not a fast paced thriller, but rather an intelligent and laid back story surrounded by Hollywood and the business of film making. Tim Robbins plays Griffin Mill, a studio executive whose main job is to decide which scripts make it to the big screen. When he starts receiving threatening postcards, he suspects they come from a writer whose script was turned down. Hence, he tries to identify the writer in order to pay him off and stop the blackmail. Apparently he found the writer , apparently not. Murder. Whoopi Goldberg's performance as detective Avery, investigating the murder, is simply wonderful and provides humor with her spicy language. For the rest of the plot, you must see the movie. Directed by Robert Altman (Gosford Park), Player's cast include Greta Scacchi, Peter Gallagher, Fred Ward, Lyle Lovett and numerous cameo appearances by familiar faces such as Lily Tomlin, Bruce Willis, Robert Wagner, Susan Sarandon, Julia Roberts, Nick Nolte, Andie McDowell, John Cusack, to name a few. Besides the main plot, this is certainly a good perspective of how decisions are made in Hollywood, and the dynamics and politics of movie making . Player views the "film noir" and independent film making alternatives, and flirts with the concepts of dissociation of the big studios with the artistic ("Ars Gratia Artis") philosophies of the old days, those being replaced with the "money-making-happy-ending" driving forces of modern day Hollywood. DVD version.

Hectic Life of Hollywood Wheeling & Dealing
This film has the most unique opening scene (which lasts about 8 or 9 minutes in a single frame!) I have ever seen in a movie! Tim Robbins plays the role of a producer who "just does his job", which includes brushing off hopeful screen writers and being nasty to his assistants. Little does he know, that others are good at back-stabbing too, and that his name is about to be dropped. All depends on his next project; if it stinks, he sinks! -- A few clever twists, including black-mail and manslaughter, keep the viewer interested, right up to the surprise ending. Watch for Whoopi Goldberg and Lyle Lovitt as police detectives (I couldn't picture either of them in such a role, but they did surprisingly well!). This is a very good film, but I still have a problem with how everything turns out (which I can't dwell on, or I'd spoil it for those who haven't seen it). See for yourself!

Gripping & Hilarious!
Only Robert Altman could make a movie like this. With its huge, sprawling cast of talented actors and famous people dropping by for cameos, Altman has created one of the best Hollywood satires ever made. I think the only other movies gunning for this title would be "The Day of the Locust" and Steve Martin's "Bowfinger."

Recent Academy Award winner Tim Robbins plays a sleazy movie exec who deals with the writing talent. A bunch of mysterious and threatening postcards show up at Robbins's office, and a tense thriller unfolds. Interspersed between the classic thriller elements, Altman stuffs a making-the-movie subplot in there which pokes fun at Hollywood producers and actors, as well as developing a convincing and warm love story. How does he do it? He's Robert Altman, for Christ's sakes. And he does it seamlessly - by the time the movie is over, you're wishing it had just begun.

Altman uses text messages to get points across to the viewer, and the background becomes almost as important and pertinent to the plot as the physical action unfolding before you. Perhaps this is a comment on our celluloid-dampened minds and our inability to see, as it were, the "writing on the wall." For if the characters in this film stopped for a moment and saw where they were, what they were doing, and why, perhaps none of those people would be in trouble. It's a nice jab at our MTV attention spans, and hilarious when foreign films are mentioned Hollywood Types, who immediately clam up and say, "Haven't seen it."

Good times, indeed. You'll have tons of fun just pointing out the celebrity cameos in "The Player." Altman probably did this to give the audience the same awe-struck sensation they would get if they were amongst those power players. You find yourself pointing at the screen and saying, "Hey, that's Susan Sarandon!" or "That's Jack Lemmon playing the piano there!"

So not only is "The Player" an excellent and biting comedy, it's a convincing thriller as well. And nobody could've guessed the ending, which leaves you ... well ... it's difficult to describe how "The Player" ends without giving too much away. So rent it, buy it, spin it on your finger and give props to one of the greatest living American directors.

"IF THE PRICE IS RIGHT, GRIFF..."
This is one of my all-time favorite films, a scathing, paced look at inside Hollywood that deciphers the netherworld of studio execs, producers, directors, actors and, most importantly, those over-abused prostitutes of the industry, screenwriters. Tim Robbins is Griffin Mill - smarmy, corporate and slick as cat manure on a vinyl floor. Robert Altman brought in an array of big names to lend this film their aura. Everybody was in it. Buck Henry pitches the best film idea that never happened, "The Post-Graduate", which is the sequel to "The Graduate".

Grif is getting poison pen mail and he explores it a little too much, leading him to an art house in Pasadena where he accidentally kills a teed-off scribe, then into the man's ice queen girlfriend. Plot twists and studio politics intersect, and Whoopi Goldberg is insane as the cop who knows Grif got away with murder, which he does.

There is no morality, just cold-hearted realpolitik. Do not miss Altman's interview at the end. Like "Sunset Boulevard", this one captivated and irritated this closed industry which still believes its press releases. Robbins is as good as it gets. This is sex and power, the ultimate aphrodisiac.

The plot twist that ends it is one of the best ever devised, with Grif and his blackmailer suddenly co-producers "if the price is right..."

As Matthew says in the Bible, "what does a man profit if he has the world but loses his soul?"

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
...

A Keeper!
This is a great movie! I usually shy away from Tim Robbins' work, ever since "Bull Durham" anyway. His politics are the reason, I cannot stand the sanctimonious "message" movies he and others such as Oliver Stone repeatedly assault the general public with from their pulpits of privelege. All that aside, Mr. Robbins is quite great in this movie, treading the line of being a typical Hollywood ahole yet still evoking sympathy from the audience for his tenuous hold on his studio position. At least that's what I felt. I was glad when he "got away with it". All in all this is a really good movie and it really gives one the sense of being "in the scene" much like a documentary does. My one fault is the way the crowd scenes, such as in restaurants were handled, from a sound standpoint. I'm sure the overlapping dialogue was intentional but it was distracting more than anything. Great Movie...did I say that enough times? And where has Greta Scacchi gone? She is sexy as heck here. ... Read more

Amazon.com

One of the high points of Woody Allen's career. Cecilia (Mia Farrow), a depression-era waitress married to a brutish husband (Danny Aiello), finds her only escape at the movies, her current favorite being a light comedy about an explorer among socialites, called The Purple Rose of Cairo. She sees it so many times that the main character, Tom Baxter (Jeff Daniels), falls in love with her and steps off the screen to woo her. When news of this gets back to the movie studio, the producers send the actor who played Baxter (also Daniels) to convince Baxter to get back on the screen. The script is one of Allen's funniest, but underlying the whole story is a current of sadness that gives the movie's ending a surprising impact. Allen himself considers The Purple Rose of Cairo to be his personal favorite of his own films. A gem. --Bret Fetzer ... Read more

Reviews (16)

Extra! Character walks off screen for love struck waitress!
During the Great Depression Cecilia (Mia Farrow) is trapped in a dreary life with a soulless husband (Danny Aiello), so she escapes to the movies. There she becomes hook on "The Purple Rose of Cairo," which she watches so many times that Tom Baxter (Jeff Daniels), the dashing archaeologist of the film becomes so distracted he decides to leave the film and walks off the screen into Cecilia's life. Suddenly Cecilia is happy, even if Tom is just a fictional character. Meanwhile, Hollywood is in an uproar as other Tom Baxters are threatening to walk out of the picture as well, leaving it to actor Gil Shepherd to try and reign in the character he created.

Some critics dismissed this Woody Allen film as a flip on Buster Keaton's silent classic "Sherlock Jr.," a surreal fantasy about a film projectionist and amateur detective who climbs into a movie. But so what if the idea is not new? The chief charm here is what Allen does with the idea. The romantic triangle between Cecilia, Tom and Gil is pleasant enough, but for me what is hysterical is what is going on back at the theater with the characters in the movie who are waiting to find out what happens. Henry (Edward Herrmann) is worried they will turn off the projector and make everything dark, while Jason (John Wood) insists the movie is really about him so they do not need Tom to come back. Rita (Deborah Rush) points out she is rich and does not have to put up with this nonsense while the maid, Delilah (Annie Joe Edwards) objects to people being in the wrong reel. Of course the time comes for Cecilia to go through the looking glass to join Larry (Van Johnson) and the Countess (Zoe Caldwell) at the swank nightclub, where Kitty Haynes (Karen Akers) is quite upset to find Tom with another woman. The idea that movies are truly "screen plays" that the actors play out several times a day is carried off marvelously. Meanwhile, the audiences are staying at the theater to see what happens next. The non-movie is as interesting as the real thing.

Mia Farrow actually has the Woody Allen part in this Woody Allen movie in which Woody Allen does not appear. The accent is a bit much (not as grating as her comic turn in "Radio Days"), but Cecilia is clearly a sweet soul and there is something about the way the light of the movies plays with her eyes that captures her happiness at finding the escape. Of course, reality, not to mention the Hollywood studio system, are out for money and not happiness, so that there cannot be a storybook ending. "The Purple Rose of Cairo" is more than a one-joke film, although certainly it is more streamlined that your average Allen film. Besides, despite the enticing impulse to do so, I do not see this as an indictment of Hollywood or the para-social interaction of real audiences with fictional characters. This is a charming little fantasy with enough of an element of reality to keep the dream from staying alive.

Extra! Movie character actually leaves screen for waitress!
During the Great Depression Cecilia (Mia Farrow) is trapped in a dreary life with a soulless husband (Danny Aiello), so she escapes to the movies. There she becomes hook on "The Purple Rose of Cairo," which she watches so many times that Tom Baxter (Jeff Daniels), the dashing archaeologist of the film becomes so distracted he decides to leave the film and walks off the screen into Cecilia's life. Suddenly Cecilia is happy, even if Tom is just a fictional character. Meanwhile, Hollywood is in an uproar as other Tom Baxters are threatening to walk out of the picture as well, leaving it to actor Gil Shepherd to try and reign in the character he created.

Some critics dismissed this Woody Allen film as a flip on Buster Keaton's silent classic "Sherlock Jr.," a surreal fantasy about a film projectionist and amateur detective who climbs into a movie. But so what if the idea is not new? The chief charm here is what Allen does with the idea. The romantic triangle between Cecilia, Tom and Gil is pleasant enough, but for me what is hysterical is what is going on back at the theater with the characters in the movie who are waiting to find out what happens. Henry (Edward Herrmann) is worried they will turn off the projector and make everything dark, while Jason (John Wood) insists the movie is really about him so they do not need Tom to come back. Rita (Deborah Rush) points out she is rich and does not have to put up with this nonsense while the maid, Delilah (Annie Joe Edwards) objects to people being in the wrong reel. Of course the time comes for Cecilia to go through the looking glass to join Larry (Van Johnson) and the Countess (Zoe Caldwell) at the swank nightclub, where Kitty Haynes (Karen Akers) is quite upset to find Tom with another woman. The idea that movies are truly "screen plays" that the actors play out several times a day is carried off marvelously. Meanwhile, the audiences are staying at the theater to see what happens next. The non-movie is as interesting as the real thing.

Mia Farrow actually has the Woody Allen part in this Woody Allen movie in which Woody Allen does not appear. The accent is a bit much (not as grating as her comic turn in "Radio Days"), but Cecilia is clearly a sweet soul and there is something about the way the light of the movies plays with her eyes that captures her happiness at finding the escape. Of course, reality, not to mention the Hollywood studio system, are out for money and not happiness, so that there cannot be a storybook ending. "The Purple Rose of Cairo" is more than a one-joke film, although certainly it is more streamlined that your average Allen film. Besides, despite the enticing impulse to do so, I do not see this as an indictment of Hollywood or the para-social interaction of real audiences with fictional characters. This is a charming little fantasy with enough of an element of reality to keep the dream from staying alive.

A Miniature Masterpiece
If Woody Allen thinks this is his finest film, I'm not surprised. It's flawless. Brilliantly written, brilliantly acted, superbly plotted. Faultless. Daniels and Farrow are perfectly stunning in their parts. Whatever happended to Jeff Daniels? Why is this the only film I've seen him in? He plays this part with the lightest of touches: it's like whipped cream. Farrow is incredible, retaining always the slight reserve of suspicion that things can't be quite what they seem, which just about makes the ending bearable. The real mastery of the writing and direction is that what threatens to be a one-joke plot never topples over and falls flat. The juggling keeps the balls in the air with such delicate skill that the only possible reaction is one of pure admiration.

A Most Enduring Myth
Not only is this an essential add to any Woody Allen collection, it's probably one of the stories written by Mr. Yi that will far outlast any of his others, with the exception of Zelig. Please buy a copy and watch it every Valentine's Day, as it's the best flick to commemorate found love, lost love and the bitter denial of love ever filmed.

It Was Pretty Good!
I'm not a Woody Allen fan but I did like this movie, I liked the premise and I liked the acting of Mia Farrow, Jeff Daniels and Danny Aiello and I thought the fantasy of a movie character stepping out of the screen and interacting with the real world was pretty charming and I have to say that as amusing as this movie is there are also scenes that are actually pretty sad. Like I said I'm not a Woody Allen fan but I do have to reccomend this movie! ... Read more

Amazon.com essential video

Mira Sorvino won an Oscar for her performance as a bubbleheaded hooker and porn star who happens to be the mother of a bright young boy adopted by a Manhattan couple (Woody Allen and Helena Bonham Carter). The story finds Allen's sportswriter character becoming curious about the identity of his son's biological mom, and he strikes up a relationship with her without revealing why. This 27th feature written and directed by Allen is a nice combination of smart comedy and some of the wackier energy of his earliest movies. (Between scenes, there's a running gag involving a Greek chorus--actually filmed among some real Greek ruins--who do song-and-dance interpretations of the script's events.) This isn't Allen at his best, but it is a fine minor work graced by Sorvino's spin on the cinema's archetypal dumb blonde. --Tom Keogh ... Read more

Reviews (36)

Damn what a good film
There seem to be three camps when it comes to Woody Allen. (1) People who love his earlier works and villify his most recent films (2)People who love all of his films (3) People who hate Woody Allen, his films, and anything else related to him. I belong to the second group, and like most of his films. Mighty Aphrodite is a great movie, featuring the performance that put Mira Sorvino on the map. This film also contains a great performance by Michael Rappaport, who has gone on to do more stellar work with Allen. Every time I watch this movie I laugh. If anything, see this film for the Greek chorus led by F. Murray Abraham. Like most of Allens more recent works this film is funny and wacky, while at the same time you don't leave the movie feeling as if you've lost brain cells by watching it.

Aristophanes would be proud!
This is one gem of a romantic comedy. With all of the delicious allusions to Greek mythology & the props for Greek theatre, one would not be going too far to call it a "cultured" romantic comedy. What really stands out is how the references to archetypal Greek images are tied in so nicely with the storyline.

I must concede I've not seen many Woody Allen films, but he was terrific as a coy and eccentric sportswriter. Likewise, Mira Sorvino is beyond charming as a naive but good natured harlot.

If you're looking for a feel good movie, you can't do much better than this. If you want an RC movie that is funny and yet has more substance than most others, you can't go wrong with MIGHTY APRHODITE. Somewhere above the clouds, I can't help but think that Aristophanes is watching this film over & over again.....and he's loving every minute of it!

Mighty Awful
It has all the subtlety of a train wreck. Woody Allen is a clever man, and indeed there are several good zingers, but each one is repeated in such a juvenile manner that I fear Mr. Allen doesn't give his audience enough credit for getting it the first time.

For example, there is a scene where Woody is matchmaking two idiots. He declines their invitation to join them by saying, "No, thank you. I'm superfluous." To which one idiot replies, "Oh, you're not feeling well?" What a great zinger! But then he belabors the joke by going on: "No, SUPERFLUOUS. Uh... superfluous means unneccessary... I'd only get in the way..." This sort of audience-coddling continues throughout the movie, right up to the end, where even the final scene is amended with a clumsy explanation for the dim-witted. The movie ends with the same gag (a Broadway-Greek chorus) that has already been done 3 times in the last 95 minutes. We got it the first time, Woody.

Acting? You'll hardly notice. The characters are such obvious, stereotypical caricatures that they become entirely boring and predictable--if not offensive to Jews, women, boxers, hairdressers, husbands, wives and barkeeps. I was embarrassed for the lot of them.

Unless you, too, are stuck in the sixties, you might do yourself a favor by skipping this one. Woody even managed to waste the incredible talent of F. Murray Abraham!

Etu Woody!
Woody Allen at his funniest (and *raunchiest*--not for the prudish), particularly during his scenes with Mira Sorvino, who walks off with the film as a ditzy porn starlet. The only thing that prevents this from a full-out four-star rating is a baffling framing device in which characters from Greek mythology drop into the story from time to time to comment on the action. It's annoying and rarely funny.

Greek Tragedy...A La Woody...Not So Tragic
Whenever I need a smile or a good laugh I always turn to Woody Allen. I know he will never let me down, and "The Mighty Aphrodite" is no exception. As always he has gathered a fabulous ensemble that seem to be just perfect for the wonderful characters he creates. This one stars Woody(of course), as sportswriter Lenny Weinrib, who after being convinced by his wife to adopt baby Max, becomes obsessed(who can do obsessed better then he?) with finding the real mother.

The laughs are non stop as Lenny gets a little help on his quest from a very funny Greek Chorus, led by the great F. Murray Abraham. Lenny finds the mother who is not only a prostitute but an adult movie actress as well. "Linda" is not exactly the brightest person on earth, but you can't help loving her, and is played brillantly by Mira Sorvino. Lenny doesn't stop with finding her though, he is now out to change her life!

Meanwhile back at the Weinrib ranch, Lenny's wife Amanda(Helena Bonham Carter), is having thoughts of an extra-martial affair. Could this spell doom for Weinrib family? Can our Greek philosphers say the right words to save this marriage? It's a lot of fun finding out!

Woody takes love, prostitution, adultry combined with greek mythology and the great setting of New York, and gives us an hour and a half of pure delight. Mira Sorvino by the way, won several awards for her outstanding performance including Best Supporting Actress from the Academy Awards and the Golden Globes as well.She's the funniest pro since "Irma La Douce". This great cast includes the likes of Olympia Dukakis,Claire Bloom,Peter Weller,and the wonderful Jack Warden as the blind man(Tiresias) who sees all.

If you have missed this gem,it's a must see. If it's been a while since you've seen it, watch it again and remember why you loved it so much the first time around.

"Of all human weaknesses, obsession is the most dangerous, and the silliest!"(The Greek Chorus)...enjoy...Laurie ... Read more

Description

An evil mastermind with an addiction to egg salad! Sadistic, torture- hungry double crossers! Gorgeous girls hungry for lovin'! A weird marriage between acobra and a chicken! Only one man is daring, clever and sexy enough to take on this kindof mission: superspy Phil Moscowitz! Woody Allen spoofs the spy thriller in one of hisfunniest films, a nonstop frenzy of skewed wit, hilarious parody and sidesplittingwackiness. With dialogue rewritten and redubbed for a Japanese James Bond-stylemovie, What's Up, Tiger Lily? turns the sex-and-danger world of filmdom's spy gameupside down! ... Read more

Reviews (36)

excellent concept, average execution
A Film by Woody Allen

I've seen several Woody Allen films, but I can't say that I'm a big fan. What interested me most was the concept of this movie: Woody Allen takes a Japanese "B" spy film, removes the language track, dubs his own and changes the entire movie into a comedy. It was a daring idea then, and it remains a daring idea today. It is similar to Mystery Science Theater, only instead of having a group of people outside the film mocking it; the characters do the job themselves.

Whatever the original source material was about, What's Up, Tiger Lily? is a comedic quest to retrieve a stole recipe for Egg Salad. That's right...egg salad. There are several funny moments throughout the movie (the best is when Woody introduces the film and claims that "Gone With the Wind" was actually a redubbed Japanese film), but as a whole I felt let down. The concept was fantastic, and I know that the action and the dialogue were intentionally absurd, but the movie didn't work for me. I appreciate how well the dubbed dialogue fits into the movie, so well that I considered the fact that Woody might actually have shot the movie using Japanese actors in order to better fit the dialogue and action. The dub fits the movie that well. While it is occasionally funny and interesting, it wasn't interesting enough for me to give the movie a positive review. I just didn't care for the movie.

The world can always use a great recipe for egg salad
Once upon a time there was a 1964 Japanese spy movie called "Kokusai himitsu keisatsu: Kagi no kagi" ("International Secret Police: Key of Keys." Then Woody Allen decided that if the Japanese could dub their monster movies into English, he could dub "Kagi no kagi" into English. The key difference, of course, is that Woody is trying to be funny on purpose. Whatever Interpol Agent Tatsuya Mihashi was up to in the original, he is now trying to track down a secret egg salad recipe. As somebody who actually remembers seeing this film in a movie theater, I still recall my roommate and I insulting each other and total strangers for several weeks with comments about "Roman dogs" and "Spartan pigs." I cannot really imagine committing this entire film to memory, but whether you are a fan of Woody Allen, badly dubbed Japanese movies, or James Bond spy movies, then you owe it to yourself to see this film once in your life. The most amazing thing is that this has not been done more often; after all, what bad movie could you not improve by totally redoing the dialogue and how much fun could you have doing something like this to a classic film like "Casablanca"? The Japanese original was actually followed by a 1967 sequel "Kokusai himitsu keisatsu: Zettai zetsumi" ("International Secret Police: Driven to the Wall") starring Nick Adams a year before his death from a drug overdose. That film had something to do with killer foam (no, I am not making that up).

A profound and inquisitive documentary
Along with the fictional "Interiors" this has to be Allen's most introspective, auto biographical work: a realistic portrait of the man behind the comedian, everything's here: starting from a difficult upbringing in Tijuana, México (where he met absurdist mexican painter Mateo Valdés Gutiérrez), the amazingly strange story of how Woody wears glasses just for the fun of it and up to his anonymous contributions to the Lingüistic Circle of Prague (where he started his stand up routine, not very succesfully).
Maybe the most powerful image from this production is the moment when Allen breaks into tears listening to an old Ramones 8 track, driving his Porsche back to California or maybe when he transforms himself into a black jazz musician while listening to Coltrane in a bath tub, full of desire.

a wilted, faded flower...
Grafting new dialog onto an existing movie wasn't new when Woody Allen did it to an inept Japanese spy thriller. Jay Ward had already done it with "Fractured Flickers." Firesign Theater trashed Saturday-matinee serials in "Hot Shorts." And Spike network's "MXC" twists and tweaks a goofy Japanese game show.

"Tiger Lily" is showing her age -- what was novel 30 years ago no longer is. We've seen better movie send-ups ("Airplane!", MST3K). And Woody chose a film that doesn't have enough dialog to smother with jokes, so we're too-often stuck with watching a boring, derivative film.

Not in any way bad (there are a few great lines), but not funny enough to watch more than once or twice.

More Reasons Why You'll Never Get Away In A Moment...
Whether or not you're a Woody Allen fan - and in my moviegoing experience it's a pretty divisive issue, you either love him or hate him - 'What's Up, Tiger Lily?' is a comic curveball of zingers, one-liners, puns, gags, and all-out innuendo all cleverly sneaking through the side door and turning an otherwise run-of-the-mill spy movie (back then, they were everywhere...EVERYBODY wanted to make the next James Bond) into a giddy treat.
The opening shot - featuring a scene from the film with its original audio track, followed by an introduction/confession by Woody Allen himself - doesn't really have a whole lot to do with the madness that ensues, except perhaps to provide a hilarious contrast. The story goes as thus: Fresh from wrapping up one caper, self-proclaimed lovable rogue Phil Moskowitz is enlisted by the leader of a fictional country to retrieve its most priceless treasure - the recipe for the world's greatest egg salad - before it comes their turn to be put on the map. With his two lovely lady-friends, Moskowitz becomes caught in a power struggle between Shepherd Wong, who has a thing for women's football and a passion for mayonnaise, and Wing-Fat, who carries a rather unique camera and whose henchmen officiate the wedding of a snake and a chicken. Yep, that's pretty much the plot of the movie.
Any question of where the Spike Network came up with the idea for 'Most Extreme Elimination Challenge' seems answered to a tee with this flick, and again, you don't have to be a Woody Allen fan to enjoy this mindlessly-funny romp, particularly if you get a kick out of all those old dubbed Japanese monster movies. As a bonus, we get the Lovin' Spoonful making an appearance here and there in the flick, and even a few more comical cameos by Woody in the middle and at the end.
If you're an afficionado of the classic movie spoof - a genre that includes early Mel Brooks and Zucker/Abrahams works like 'Young Frankenstein' and 'Airplane!' - you'd get a kick out of 'What's Up, Tiger Lily?'. ... Read more

Reviews (5)

Good, but pales in comparison to "The Best of Will Ferrell"!
Will Ferrell and Molly Shannon were like two peas in a pod on "Saturday Night Live." They had good chemistry and when they combined forces they could induce plenty of laughs. Of course, Will Ferrell is equally funny without Molly Shannon. "The Best of Molly Shannon" proves it is exactly the opposite for her.

Yeah, she's a funny lady, but she pales in comparison to such "SNL" comediennes as Gilda Radner, Jane Curtain, and even Chery Oteri, who is very goofy. Molly Shannon's "Best Of" collection is fine, I suppose, but I didn't laugh that much -- and not nearly as often as I did with Will Ferrell's "Best Of" DVD.

Here she plays her most famous (and mostly original) characters: Salley O'Malley, Mary Katherine Gallagher, Courtney Love and Anna Nicole Smith (in a disgusting but funny segment with Ben Affleck), among others. But they're never exactly laugh-out-loud funny; I smiled a few times. I enjoyed some of the gags. But I was only really laughing when Will Ferrell was interacting with Molly.

Whether or not they are good films is definitely arguable, but there's a reason that Will Ferrell has been cast in virtually every mainstream Molly Shannon film. They go together. She cameos in his movies, he cameos and/or stars in hers. Remember "Superstar"? Remember "A Night at the Roxbury"? Maybe they're not good, but at least Lorne Michaels was smart enough to realize that the two have some sort of chemistry.

I noticed that Molly Shannon likes to move around a lot. I watched the Conan O'Brian interview with her (included on the DVD), and she absolutely could not sit still at all, just like her "Joyologist" character, who, in the DVD's outtakes, flipped over her chair from moving around so much.

She's good as Courtney Love, and Molly Shannon is undoubtedly a good comedic actress, but to say that she deserves her own collection of best moments at this point in time is a bit presumptuous, especially considering the fact that classic "SNL" actors have yet to appear in any sort of "Best Of" DVD collections. (Or am I just not finding them on Amazon and in the stores?) Besides, most of the compiles sketches aren't even that great -- or is it just that Molly Shannon herself isn't that great? I hope it's the former.

If you're a fan of Molly Shannon and/or "Saturday Night Live," I would definitely pick up this DVD. I bought it for fourteen dollars, and I've got to say that I'll probably return to it once and a while for some good grins. But not nearly as often as I am already returning to "The Best of Will Ferrell," which still stands as the best "Saturday Night Live" DVD I own at the current time (only three, but I'm getting there).

"Saturday Night Live: The Best of Molly Shannon" runs 76 minutes. It contains outtakes, a deleted dress rehearsal scene, a picture gallery, two TV interviews with Conan, and so on. It is not rated, but contains some language and sexual content/partial nudity. The feature's guest stars include, among others: Val Kilmer, Matthew Broderick, Gabriel Byrne, Tina Turner, Alex Baldwin, et al. It is now available on video and DVD.

Molly: One of the all time GREAT TV ladies of comedy!
Molly Shannon's presence is sorely missed on "Saturday Night Live" but not you can relive some of her finest moments with this DVD. Although I personally would have chosen some different sketches , this DVD is sure to put a big smile on even the grumpiest of faces.

Included are:

"Mary Katherine Gallagher"- Mary auditions for the school variety show and sings "Sometimes When We Touch" and does a Meredith Baxter Birney tv movie monologue. (with Gabriel Byrne)

"Helen Madden, Licensed Joyologist"- "I love it! I love it!" Helen appears on "Pretty Living", hosted by Ana Gasteyer. (with Matthew Broderick)

"The Courtney Love Show"- Courtney's got a talk show, and she interviews Julie Andrews (played by Christine Baranski)

"Elizabeth Taylor"- Elizabeth picks the winning lottery numbers on Weekend Update ("Gladiator!")

"Jeanne Darcy"- the very unspontaneous and over rehearsed comedienne makes an inappropriate appearance at a nursing home.

"Monica Lewinsky"- Monica addresses court, with Hillary watching.

"Sally O'Malley"- Sally auditions to be a Rockette! "I'm 50 years old! And I like to kick! Stretch! And kick!" (with Danny DeVito).

"Veronica & Co."- The European supermodel has a talk show whose set is located in the middle of a fashion show runway (with Val Kilmer).

"Delicious Dish On NPR"- Molly & Ana Gasteyer as the very low-key hosts of a radio cooking show. This is the famous "Schweaty Balls" episode (with Alec Baldwin).

"Leg Up!"- Molly as Ann Miller, and Cheri Oteri as Debbie Reynolds. (with Phil Hartman as a very cranky Frank Sinatra)

"MTV FANatic"- Molly as Anna Nicole Smith (with Ben Affleck as an obsessed fan who looks to Anna Nicole for a mother figure).

"Mary Katherine Gallagher"- Mary meets the real Tina Turner by hiding in her dressing room. (with Alec Baldwin)

"Rae Murphy"- an awkward blind date at an airport bar goes horribly wrong (with Will Ferrel and Chris Kattan).

"Dress Rehearsal Sketch"- that was cut from the final broadcast features Molly as an odd, accent loving girl who brings home date Bill Paxton to meet her parents (with Ana Gasteyer and Horatio Sanz).

Also features a photo gallery of Molly in different costumes, outtakes: Molly as Xena, Princess Warrior (with Brendan Frasier), as Helen Madden (with Ben Stiller), NPR's Delicious Dish (with Alec Baldwin), 70's Ladies In Bar (with Calista Flockhart), Dog Show! (with Will Ferrell- it's just a teeny blooper clip), and Jeanne Darcy on Weekend Update.

Two more goodies: two appearances on Conan O'Brien. On the first one she discusses how Courtney Love didn't seem pleased to be parodied and how Gary Coleman once trapped her in his hotel bathroom and tried to put the moves on her; the other appearance is with Will Ferrell and she talks about dating and a new sketch she was working on called "Hot Cocoa Girls."

Great collection! I would have given it five stars had it included some "Goth Talk" and "Dog Show" sketches on it. My absolute favorite Mary Katherine Gallagher sketch isn't here either (Gwenyth Paltrow was the host that week)- but it'd be nearly impossible to include everyone's favorites. I'd say that Molly Shannon definitely deserves a second "Best Of" DVD!

Good, but brief.
I believe that most people buy a "Best of" title mainly to see some of their favorite skits. Don't set your expectations too high here. This is just 76 minutes long, which includes outtakes, tv interviews, a dress rehearsal, and some recognizable skits. One can always argue about what should be on a "Best of", but this is so limited as to leave one convinced that this was made short to allow for other "Favorites" to be bundled up by producers for other DVD's to be released later. Disappointing.

Query about review
What happened to the review I wrote two weeks ago?

Molly Shannon at her most hilarious!
Out of all the Saturday Night Live collections that I have viewed, this one is the most consistently funny. Like some of her fellow SNL alumni, she may not have carved out a film career for herself, but she still does some of the most side-splitting routines. This DVD contains two Mary Katherine Gallagher sketches, her Betty Broderick monologue and her meeting Tina Turner; her Sally O'Malley "I'm 50 years old" bit with Danny De Vito; her spot-on impression of Courtney Love; the giddily over-the-top sketch about "joyologist" Helen Madden; her impression of a spaced-out Elizabeth Taylor randomly spewing out lottery numbers; her Jeannie Darcy bit in the elderly ward ("Don't get me started"); and the "Schweaty Balls" sketch with Alec Baldwin. Some of the other routines, such as the Veronica & Co. clip, the Anna Nicole Smith scene (poorly developed) and the airport bar scene with Will Ferrell, are less consistently funny. However, the first 45 minutes or so of this DVD more than compensate for the last 20 minutes. If I wanted to cheer up a friend, I would give him or her this DVD. In fact, I know that I will give it to some of my colleagues in the future. This DVD is heads above my Dana Carvey, Steve Martin, and Will Ferrell DVDs. How much do I like this Molly Shannon? Don't get me started! ... Read more

Amazon.com

One of Woody Allen's best films of the '90s, Bullets over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent, and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh ... Read more

Reviews (26)

Don't speak, just laugh!
Oh Woody, Woody, Woody. When he is funny, he is one of the best comic writers around, and in this movie his writing is hilarious. What other auteur in the cinema today can poke fun at those little idiosyncracies that we all see in ourselves, and get away with it?
Our hero, in a rare departure is not played by Woody Allen but rather, John Cusack, who gives a subtle performance, rather than the over-the-top pisstake by Kenneth Branagh in "Celebrity". He is trying to get his latest play staged, and can only do so by accepting money from the Mob and having a mobster's girlfriend, with no talent, take one of his lead roles. The humour that ensues centres around each of the plays characters, from the fading diva played by Dianne Wiest to the compulsive eater played by the magnificent Jim Broadbent, as they prepare for the play's debut on Broadway. All the performances are spot on and the only criticism comes in the ham-fisted fashion that the film concludes with a mobsters shootout and its all too happy ending.
Nevertheless this is well worth watching to hear great comic lines and the splendid cast who deliver them.

Pure hilarity
As a die hard Woody Allen fan, I can honestly state that this is one of his best efforts. The characters are so incredibly good (dare I say delicious?) and the actors who bring them to life are equally exquisite. From Dianne Wiest ("Don't speak...Don't speak") to Jennifer Tilly ("Hey, Venus, where's that hooch?") to Chaz Palmentieri("You don't write the way people talk")to John Cusack ("I think I'll go now and get the psychiatric help I need"). The rest of the cast is equally marvelous, especially Tracey Ullman. She really is nothing short of brilliant in everything she does. This movie is just a delight throughout. It is truly droll and clever, never once loosing it's intelligence. The attention to detail is admirable, so much so that the film seemingly leaps out at you from the screen. I've seen this film more times than I care to mention and each time I find myself enjoying it more. Only Woody Allen could have devised such an ironic plot twist. He is, without question, the O. Henry of the cinema. One final note: No one, and I mean no one, can make New York seem more fabulous and intoxicating than Mr. Allen. All his films are love letters to this the greatest of American cities. This is to the person who accused Woody Allen of preaching through the Rob Reiner character: Give me a major break. He was spoofing the tendency of some over-indulgent artists to dramatize and take himself too seriously. Sometimes a cigar, my friend, is just a cigar. Don't read so much into things. It can sometimes get you into trouble.

Funny, funny, funny!!
And funny. Great casting, great script, funny dialogue and good directing. The wonderful thing about this whole flick -- Woody Allen decided NOT to be in it. One of his better decisions he's made in years. (Thanks for giving us a break and breather from your repeatible and stale roles Woody!) Don't miss this little-known gem.

Were they trying to make a movie that makes no sense?
I'm not stupid, but this movie made no sense whatsoever. I didn't understand one bit of the boring, mindless conversations, characters, their purpose, etc. And a plot..? Don't even ask. This "sophisticated" comedy (where they got comedy I'll never know as this wasn't the least bit funny) was dull, shallow entertainment. The theme I got out of this movie was "You're not always who you think you are." A theme that could have easily been told in half the time it took this long, dragged out film. Don't believe what the critics say about this. Siskel and Ebert rated it two thumbs up but what do they know? They gave Gosford Park (warning: stay away) the same rating (Actually, that last one was Ebert and Roeper, but they're basically the same). Take my advice and rent something that wasn't directed by Woody Allen. Every one of his movies I've had the nerve to sit through entirely (without falling asleep or turning it off), have been a complete waste of my time. I kept waiting for the ending thinking (and hoping) it would make the movie. It didn't. Those who enjoyed this movie obviously classify it as a work of art much like Shakespeare: boring, but a masterpiece nonetheless. The only reason to watch this movie (by renting it, NOT buying it) is to see the always brilliant Diane Weist in her Oscar-winning performance.

decent
this movie was enjoyable, but not the best woody allen i've seen. ... Read more

Reviews (38)

Oh Nelly!
Nell is an earnest and slightly soporific drama about a doctor's inadvertant discovery of a wild child in the remote hills of North Carolina. Jerry Lovell (Liam Neeson), a rural MD is dispatched to confirm the death of a hermit-like mountain lady and is quick to discover a cantankerous, violent, and unintelligible young woman, obviously the old woman's unacknowledged daughter,hiding in the cabin rafters. Lovell is immediately captivated by Nell (Jodie Foster) and is soon joined by career-climbing psychologist Paula Olsen (Natasha Richardson) in attempting to decode the mysterious woman's gibberish-filled rages. Before you can say "Wapner at 5:30," this hillbilly rain woman's past becomes brutally clear: her mother, a victim of rape in her youth, had given birth to the child but kept her a secret from the the world for thirty years; Nell has been taught that men and daylight are harmful, and her language is the product of imitation after her mother's stroke.

The sentiment here is laid on thick. Nell is harrassed by those stereotypical movie rejects, scientists and red necks. The scientists want her brought in for study; the red necks want to play a little doctor (Can you say Deliverance?) There are a number of nice scenes portraying the bonding between the three leads, and the direction by the talented Michael Apted is sensitive and well-intentioned, but Nell suffers by asking us to shed too many unearned tears. In this regard, most damaging is the lack of key exposition. We never really get to know Nell. Her mystery, while at first quite interesting, loses its novelty by the time they take the wide-eyed country girl to the big bad city.

The biggest roadblock has to be Jodie Foster. Her pagan-like emoting as she dances naked through the woods is two stations short of hamville. It's like she wants us to believe so desperately in Nell's tragic story that she has to use a few neon signs to show us the way. Thanks, but I think we can handle it ourselves. Neeson is more effective, and he and real-life wife Richardson do a nice job of counterbalancing Foster's excess in the role of Nell's surrogate ma and pa.

Painfully cliche; unintentionally hilarious
Nell is a clunky drama about two psychologists (Liam Neeson and Natasha Richardson) who study and befriend a young woman Nell (Jodie Foster) at her lakeside log cabin. A product of potentially disturbing family circumstance that this film promptly glosses over, Nell speaks her own language and was raised basically without civilization. Of course, Nell proves to everyone in a bombastic climactic courtroom scene that she is in fact more civilized than so-called modern society. She frankly states in 'nellish' that modern men and women don't look each other in the eye, avoid genuine communication, and possibly every other unoriginal complaint about contemporary society. Yet, it all seems a bit absurd since Nell is clearly an ideal product of such a society- she's compliant, fun-loving, clean with Aryan good-looks, and can even play matchmaker! When she hooks up her doctors, the movie officially becomes about Neeson and Richardson gettin-it-awwwn and loses any facade of insight into the human condition. Whatever it had was facile to say the least though as it ignores the scary, violent, sexual, and basically id-centric depths of human nature. Time and time again, Nell comes across like a domesticated pet- one that desperately needs to be put down.

This is a great movie for women, men and parents!
This is a wonderful, wonderful movie. And it is a great test of a relationship. Women, if your boyfriend or fiance is unwilling to watch this movie, or is not moved by it, dump him immediately and save yourself years and years of pain. If you are already married, get marriage counseling.

Guys, this is a great movie. Even if you prefer action movies to chick flicks, the woman you are with will be totally moved by the movie and that you watched it with her.

Parents, this is also a great movie for teenagers. Nell, played by Jodie Foster, has had no contact with anyone other than her now dead mother, so she has no sense of shame about her body. She is as free as a three year old in taking off her clothes to go swimming at night. Therefore, while there is nudity, there is no sexuality. And the nudity is not exploitive. (This is like the nudity you used to find on the pages of old National Geographics on articles about Africa.) On the balance, the sensitivity outweighs concerns about nudity, this may even be a way to spark conversation with your kids about puberty, etc.

intellectual viewers please
If you are one who only likes movies that are geared to viewers with a 13 minute attention span or if you don't like to think at all, please don't watch this movie.
But if not....this movie is a great! I love movies that show people who haven't experienced normal life because it allows us to take a deeper look at things and appreciate things that we overlook. Like standing in the breeze, or the colors of fruits.
Jodie Foster played this part perfectly.

Different And Great
Jodie Foster, Liam Neeson, and Natasha Richardson star in the drama "Nell". The screenplay was wonderfully written. They take the audience into another world, which may seem unusual to many. Exploring a language and a lifestyle lived by only one person, everything stays heartfelt. That touch is never lost for a single second. Such feelings intensify as the courts try to take this life away from Nell. Everything said and done keeps the audience watching closely. Jodie Foster, who also produced, was rightfully nominated for an Oscar for Best Actress for her role as Nell. Every drop of energy poured onto the character. This gives the movie the added emotion. Liam Neeson and Natasha Richardson wonderfully play their roles as doctors protecting Nell from the hospital and the press. Their roles intensify greatly as Nell begins changing their lives forever. The great creativity of "Nell" makes this experience unforgettable. This is great viewing for all audiences. ... Read more

Amazon.com

Winner of the prestigious Golden Lion award at the 1998 Venice Film Festival, The Way We Laughed is another richly layered drama from Gianni Amelio, the acclaimed director of the multiple-award-winning 1995 arthouse hit Lamerica.A tragic tale of brotherhood, Amelio's ambitiously structured film spans six years (1958-64) in the lives of an illiterate Sicilian named Giovanni (Enrico Lo Verso, from Lamerica) and his younger, enigmatic brother Pietro (Francesco Guiffrida) as they seek a new life in the class-divided city of Turin. Divided into six novel-like chapters that cover one pivotal day in each passing year, this emotionally resonant drama reveals how the gradually successful Giovanni desperately wants Pietro to achieve respectability as a schoolteacher. But when a sudden murder forces each brother into moral compromise, Amelio's film evolves into a mysterious study of dysfunctional loyalty, charting the growth of postwar Italy as it charts the love and sacrifice that will change the brothers' lives forever. While it demands the viewer's rapt attention, The Way We Laughed is a satisfying film that offers no easy answers to its complex human equation. --Jeff Shannon ... Read more

Reviews (2)

A Stunningly Masterful Telling of an Intimate Story
THE WAY WE LAUGHED is clearly one of the finest films ever made about the intensity of familial connections in general, and brotherly love in particular. Gianni Amelio is a sensitive director not only to storyline, but to character development, scenic atmosphere, capturing monumental conversations in the mere lingering of the camera on the eyes of the characters, pacing, and in inspiring his actors.

The story is about two brothers from Sicily - Pietro, the younger brother has left home for Turin, Italy creating a life style and appearance of an upper class lad, and the older brother Giovanni who is illiterate, real, warm and a laborer whose life is focused on the pride he feels for his younger brother's intellectual achievements: Giovanni is just arriving in Turin as the film opens in 1958. The story spans 6 years, is divided into six chapters - one day in each of the 6 years - and it is from these short glimpses that we are asked to follow the interaction of the two brothers.

For all of Giovanni's warmth and open love for his younger brother Pietro, the Younger Pietro appears secretive, has odd habits, is quietly deceitful, yet accepts the hospitable and financial love and assistance from his brother. There are long stretches of silence between the brothers about which we are not informed, and events transpire that lead Pietro to become a successful student and Giovanni to become a Padron for immigrants, gradually raising himself to be a married landowner.
In the 5th chapter we see a conflict that involves both brothers and a third 'victim' and it is this unfortunate crime that forever alters the lives of both brothers. This turning point is magnified in the last chapter as the successful Giovanni has just had a son named for his brother and the brother is summoned to his large home in the Po River Valley to stand as Godfather to his nephew. But the change in the once proud Pietro shows a role reversal and while some may consider he has been in an institution for drugs or something else, he actually has been in Reform School, having lost all his joy for life, and now will proceed to prison. Though the reason for his downfall is not clear, it appears in retrospect that he has taken the blame for Giovanni's crime - perhaps the more compassionate standard of brotherly love imaginable. At any rate, the film leaves us with the concept that there is no way to measure the depth of love in familial bonds between two brothers. There is no right, there is no wrong, there is only love.

This is visually a dramatic epic that manages to capture the grit and grime of the living conditions of the poor working class in Turin, the wondrous plays of light in the deserted streets of Turin at night, and the redemptive beauty of the sun-drenched Po River Valley where the films comes to an end. Enrico Lo Verso is amazingly fine as Giovanni, walking with all the pride of Sicily and the humility of the uneducated. As Pietro, Francesco Guiffrida captures every facet of this enigmatic character and slowly wins our compassion for the road he has elected to take. THE WAY WE LAUGHED is a brilliant achievement and another example of the extraordinary work of Italian cinematic talent.

One of the Most Remarkable Films of Any Decade
This film is one of the most remarkable and touching movies to come along in decades and deserves to be seen by anyone who appreciates the craft of movie making.

The film, directed by Gianni Amelio, and set in the late 1950s and early 1960s, centers on the relationship between two Sicilian brothers in Turin: the older brother Giovanni (Enrico Lo Verso) and his younger sibling Pietro (Francesco Guiffrida). Pietro is too slick for his own good; he's an operator who has clearly been raised to believe he's smarter than everyone else around him. He lies, cuts class and takes care only of himself. At the beginning of the film, when he ducks out of meeting his brother at the train depot, we learn that Pietro is embarrassed by his older brother, Giovanni, an illiterate laborer who has traveled up from Sicily to be with his brother.

Pietro's motivations are lost entirely on Giovanni, who loves his younger brother unconditionally. Giovanni takes a series of dead end jobs to help support Pietro's schooling, not knowing that his younger brother is the worst student in class, cuts class constantly, and has no regard for the opportunities he's been given. Giovanni is motivated entirely by providing for his younger brother's success, and indeed, he tells all of his co-workers at his various backbreaking jobs about his brother the student, and what a tremendous success he is.

"The Way We Laughed" doesn't deal with time in a straight linear fashion, and it moves ahead by years at a time. By the film's conclusion, Giovanni has become through his hard work a successful landowner with a large spread in the Po River Valley. His brother, Pietro, has had some kind of a breakdown, or maybe has become a drug addict (it's not entirely clear), but nonetheless, Giovanni still takes care of him and seeks to provide for him. In the touching final scenes of the film, Giovanni brings his dazed, mute younger brother to his estate to meet his wife and children.

The themes of "The Way We Laughed" have been around for centuries, but they have seldom been handled with such beauty or evocation. The exultation of the hard working and illiterate, but ultimately good-hearted and honest older brother over the shifty, selfish and, in the end, self-destructive younger brother, could easily have come off as preachy and abrasively conservative; that is decidedly not the case with this film. Indeed, in seeing this film again and thinking about it, the movie reminds me very much of Flannery O'Connor's short story, "Everything That Rises Must Converge," not only in the juxtaposition of its themes, but also in the deftness with which those themes are handled. It's no easy thing to handle the millennia-old prodigal son theme, and still wring something fresh out of it, but that's what Gianni Amelio does with this film.

One other aspect of "The Way We Laughed" that deserves special mention is the cinematography, which is lush and beautiful, and which sets a perfect tone for the various acts of the movie: Turin is dark, wet and foreboding, the Po River Valley is colorful, rich and sunny. etc...

In sum, "The Way We Laughed" is a movie that any cineaste must see and will most certainly enjoy. ... Read more

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The Hardy Boys Mysteries and The Nancy Drew Mysteries began in 1977 as separate series alternating in the same time slot on ABC. Early the following year, the casts combined, and in the fall of 1978 the Nancy Drew thread was dropped and The Hardy Boys Mysteries continued on alone. This Season One boxed set captures the twin-series idea at its most ambitious, with adolescent brothers Frank and Joe Hardy, created by author Franklin W. Dixon, sleuthing for clues one week and Carolyn Keene's Nancy Drew investigating crimes the next.

Actually, as fans of the books know, Dixon and Keene were both pen names used by Edward Stratemeyer when he created those characters in 1927. Just as the young detectives have been updated in print every so often to accommodate successive generations of readers, so too did the TV show present Joe (Shaun Cassidy, brother of David Cassidy of The Partridge Family), Frank (Parker Stevenson), and Nancy (Pamela Sue Martin) as thoroughly 1970s kids. The boys are outfitted with motorcycles, Joe enjoys a retro-pop singing career, and Nancy has a certain freedom of movement only the hippest of dads in a permissive age would allow. Hardy Boys finds the always-amicable siblings following in the footsteps of their father, Fenton (Edmund Gilbert), a private detective, as they untangle capers that take them from haunted houses to Hawaii. The Hardy episodes make for brisk, family viewing, much better than the bubblegum reputation that built up, undeservedly, around the series. Slightly less interesting are the Nancy Drew programs (despite a more entertaining supporting cast), but only because the heroine is less focused and distractingly man-crazy, and the storylines are less exotic. An emphasis on the supernatural and science-fiction themes lends a Scooby-Doo vibe to several programs in both series, though the best stories are the ones with straightforward, meat-and-potatoes detective work. Among the directors on either series are Jack Arnold (The Creature from the Black Lagoon), Winrich Kolbe (Star Trek: The Next Generation, and actors Vince Edwards and Stuart Margolin. --Tom Keogh ... Read more