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The hugely ambitious Beckett on Film project gathered together 19different directors to turn the 19 stage works written by Samuel Beckettinto films. The range is vast--from the 45-second Breath to the twohours of his most famous play, Waiting for Godot--but all the worksreflect Beckett's penetrating obsessions with memory, regret, and thesimple, excruciating experience of being. Not every film succeeds--likeall great theater, Beckett's plays demand interaction with a live audienceto express their full intent--and though scholars tout Beckett's everyword as genius, several works are slight (Catastrophe, OhioImpromptu, or What Where will leave many viewers unimpressed).But all the plays feature Beckett's uniquely distilled language; thegreatest of them--including Waiting for Godot (in which two trampspass the time while they wait for someone who may never come),Endgame (in which a blind man and his lame servant bicker and jokeas the world declines), and Play (in which a love triangle isbitterly recalled by two women and a man in urns)--are astonishing in boththeir potent humor and piercing grief.

Though Beckett's stature drew in animpressive array of directors (including Anthony Minghella, PatriciaRozema, and Neil Jordan) and actors (including Jeremy Irons, JulianneMoore, Alan Rickman, Kristin Scott-Thomas, Michael Gambon, and JohnGielgud), some of the finest work comes from relative unknowns. But thegem of the collection is Krapp's Last Tape, about an old manrevisiting his life through recordings he has made throughout his years.It's the perfect marriage of text, actor (the incomparable John Hurt), anddirector (Atom Egoyan, The Sweet Hereafter); in their hands, theplay spins from deeply funny to deeply sad, all with only the slightestdim of the light in Hurt's eyes. --Bret Fetzer ... Read more

Reviews (5)

Worth a look.
2 stars is misleading. I would recommend this to anyone interested in Becket. To see a directors interpretation of his work provided invaluable insights into both the works themselves, and the process of directing film.
That being said, I was not amazed. The potential of a four disk DVD and large booklet, exclusively Becket, was unlimited. The product was a half-dozen enjoyable plays, and not even a documentary on Becket. In their great humility, they made a documentary, about themselves, making the DVD you are about to purchase. Great.

Who Put the Film in the Beckett on Film Project?
Directors working on stage-to-screen adaptations find themselves torn between dual obligations to both the original work and the new medium. In the case of creating a collection of films meant to highlight the playwright's vision, questions raised by these obligations become even more controversial: should they remain true to the text, even if elements of the play don't work well on film? Dare they change those elements to better fit their new mode of expression? And in the case of Beckett, what percentage of the collections' earnings should go towards manic-depressive treatment centers? Of course, total objectivity in stage-to-screen adaptation remains a pipe dream. But we have to remember that even a theatric production has a director, who-while possibly faced with less decisions than a film director-invariably must makes choices leading to his own personal interpretation of the play. Ultimately, every production of a play, be it for DVD or Broadway, interprets rather than mirrors the original work. Therefore, the Beckett on Film Project should not be regarded as an unbiased representation, but rather an ambitious interpretation of one of the greatest playwrights of the twentieth century. And in this regard, with few exceptions, the Beckett on Film Project shines with commendable effectiveness.

I wish to illustrate a few interpretive anomalies in the collection, to give you an idea of both the kinds of adaptive problems these directors had to face and some of their solutions. Consider "Act Without Words II," a short and dialogue-free play in which two characters mime their different daily routines against a narrow backdrop "violently lit in its entire length, [with] the rest of the stage in darkness." Director Edna Hughes chose to divide this backdrop into three film frames and to add a movie reel-like quality to the video. This constant reminder that we are watching a film is the same sort of self-referential metatextuality we find in many of Beckett's plays. Hughes' interpretive decision regarding the background also reinforces the repetitive theme of the play. That is to say, these characters' routines will go on and on, day after day, just as this very movie is being filmed-one frame after another. Hughes' use of a freeze-frame effect also highlights the technological superiority that film holds over its older cousin, theatre. The play calls for a "Frieze effect," but only on film can this be accomplished literally; in theatre it must be acted out. These changes by Hughes show intelligence in both his reading and adapting of the play to screen. Now, for something of a contrary example, consider one of Beckett's most famous short plays, "Play," in which three characters, trapped in urns, are forced to perpetually retell the story of the love triangle between them. The inquisitor: a lone spotlight that dictates which one of the three urns speaks, when, and for how long. But director Anthony Minghella's version gets rid of the light altogether, in favor of a loud and sometimes shaky camera, whose stronger presence is meant to take the light's place as these characters' inquisitor. Minghella's technique here ultimately falls somewhere between failure and success. The audible clicks and zooms of the camera do, for a time, give the viewer a feeling of submersion within the scene; since the camera now questions these characters, and we as viewers share the camera's gaze, the film achieves an interesting effect that draws us into the world of the story. But the camera cuts between the three urns so many times that the sense of a "unique inquisitor," as Beckett requests, soon dissipates. Not that the adaptation adds nothing to the play; once or twice, the camera pans around to give a broad scene of the background, a dark, foggy, and graveyard-like field littered with many more people in urns. While this background reduces the ambiguity of setting present in the original play, it does so perhaps necessarily, and in addition, clearly suggests that these characters' situations are in fact meant to be symbolic of some greater human condition. Ultimately, we recognize a tradeoff for every one of these questions of adaptation, but by and large, as these two examples illustrate, the gain outweighs the loss in the Beckett on Film Project. Or, put simply: the directors and actors earn their paychecks.

Now keep in mind that despite the interpretive decisions I just described, the main thrust of this collection remains Beckett's. What does that mean? It means that these plays glimmer and shine with a bleak despair. The most dramatic moments are often the most comedic, and the only happy characters-well, forget about happy characters (after all, "Nothing is funnier than unhappiness," as Nell from Endgame tells us). But, dismal as they can be, Beckett's plays always manage to match their gloom in originality, creativity, and importance. They pose critical questions about what it means to exist as a human being. Do we simply spend our days idly, waiting-for Godot or anything else? Do we bury ourselves in the desert when we say "I do"? Can our condition be reduced to the emblem of a solitary finch, living in a draped cage with a dead mate and only a cuttle-bone to eat, in a darkened room stalked by a black cat whose own life depends on a suicidal man standing at a window? Whether or not you agree, you cannot help but ask, once Beckett has shown you the shadowy corners of his imagination. And keep in mind his influence on theatre and even art in general. Often touted as odd and sometimes inaccessible, but always brilliant, Beckett's plays deserve our attention, whether or not we choose to buy the Beckett on Film collection. What these productions add to Beckett's vision is an important sense of a modern moment. How have the technological advances made since Beckett's death affected what it means to be Beckettian? And how do the questions his work poses affect you? It's worth your time to find out.

Mixed bag
Those who are familiar with the original productions will find this collection both exhilarating and frustrating. The more faithful the directors are to Beckett's vision, the more successful the adaptation to film. Come and Go is perhaps the purest of them, and also the most chilling. Other effective adaptations include Krapp's Last Tape, Rough for Theatre II, Act Without Words II, A Piece of Monologue, and Play (Minghella's truly -cinematic- adaptation probably deserves the highest marks). I'm ambivalent about many others, not least Ohio Impromptu and Catastrophe.

Unfortunately the longer plays (Godot, Happy Days, and Endgame) suffer from the directors' mistaken impression that Beckett's characters must be decrepit, disgusting, and/or humorless. Quite the contrary, there is levity and compassion to be found in Beckett's work, and without it his meditations become intolerable rather than incisive. Godot has its moments, but it's not nearly as effective (or funny) as any number of previous productions.

Pacing is also a significant issue here. Beckett's plays (excepting Not I and Play) demand a very slow reading, with an abundance of silence. Many of these adaptations simply plow through the texts with no apparent consideration of heft or nuance; Rockaby is probably the most egregious example. Other directorial liberties make Not I and What Where wholly unacceptable; these simply cannot be considered Beckett's work.

Happily, more Beckett productions are becoming available on DVD. You can purchase Happy Days with Irene Worth's excellent performance on this very site, three plays (Eh Joe, Footfalls, Rockaby) starring Beckett's favorite actress Billie Whitelaw, and a DVD of Beckett Directs Beckett (the three long plays) hopefully in the near future.

Excellent, with one exception.
First let me say I've been waiting my whole adult life for this collection. I've spent 30 years trying to collect audio and video recordings of Beckett's work, and suddenly here are all the theatre peices in one beautiful package. The chance that you will ever find another film version of most of these works, or ever have a chance to see them on stage, is almost nil. If you love Waiting for Godot and Endgame, you will not regret the money spent on this. Unlike most plays and almost all movies, these are peices to be seen again and again, over a lifetime, letting the beauty and subtlety of Beckett's language slowly soak into your being.

That being said, I was disappointed with only one peice: Endgame. With Michael Gambon as one of the leads, I expected the most from this play. But I'm afraid he was badly misdirected in this. He simply enjoys his dispair too much. He enjoys being a selfish, cruel master and his "Perhaps I could go on..." speech (one of Beckett's greatest)loses all its power. Gambon delivers this with hardly a pause, rambling on with the same puckish tone as the rest of his performance. (I thought maybe I was just too used to an earlier film version directed by Beckett, so I went back to the script to check this. After almost every phrase in the speech, Beckett has written (Pause). Without these pauses to let the anguish of the words sink into our minds, the speech carries no more weight than the rest of the text. Well, probably much more than you wanted to know.)

Short Review: BUY THIS NOW! You'll be watching these films again and again as long as you own a DVD player.

The Artist of the Century
Curious that DVD Basen, the wonderful Danish web-compendium of dvd reviews from all over the world, has yet to register a word on BECKETT ON FILM, by any measure the dvd release of the year. These film renditions of Samuel Beckett's nineteen works for the stage (which is not the same as his "complete dramatic works," which would include radio plays and scripts for television), are, for the most part, thrillingly successful. The plays fall into two types. WAITING FOR GODOT, ENDGAME, KRAPP'S LAST TAPE, and HAPPY DAYS, however revolutionary in their time, still more or less conform to the conventional understanding of what a play is, ie: they contain recognizable characters and the shortest is an hour long. Despite the filmmakers' protests to make true movies of these plays, as opposed to "filmed plays," each of their single-locale settings make the theatrical origins of each work inescapable. Having said that, they are the best "filmed plays" this viewer has ever seen. Most of the remaining plays, particularly the late plays, are very short (under 15 minutes), and as Alan Rickman remarks, seem more like installations or "performance art," then full-fledged plays. What makes these works among the greatest plays ever written is precisely their inability to be transfered to another medium. With one exception, each of these little films, even the most brilliant of them (I'm thinking of the mind-blowing PLAY), must somehow compromise itself as a play in order to make the transition to film. The exception is OHIO IMPROMPTU. The intensity of this two character, ten minute piece perhaps reaches the full measure of its power as a film. Beckett's stage directions specify that its two actors be as alike as possible. On film, they can be exactly alike, by virtue of being played by the same actor, namely Jeremy Irons, who has famously played twins before. Despite the actor's disavowal, the characters of Reader and Listener can't help but conjure the image of DEAD RINGERS' Elliot commiserating with his twin brother Beverly aeons from hence in their own personal purgatory. Irons' performance is impeccable and affecting, although the Beckett purist might wish there were a little less of it. The performances throughout the plays are deliriously good, with the sad exception of the beautiful FOOTFALLS, which suffers from an overly mannered delivery on the part of its two actresess. One can only feel sorry for the director saddled with the relentlessly uncinematic THAT TIME. But BECKETT ON FILM is mostly a box of treasure, and a gift to the world. ... Read more

Reviews (598)

An incredible animated movie
"Spirited Away" won the Oscar for 2002's Best Animated Film. It richly deserved this award, for it is by far the best movie of its type in years. It may not be funny like 'Monsters Inc." or entertaining like "Shrek", but for sheer beauty and artistic integrity, it's almost impossible to top. Since words, like any other medium, have built-in limits, you will have to experience it for yourself to see what I am saying.

Imagine this: A little girl is riding in a car with her parents. They are headed to their new house. Dad makes a wrong turn, and they wind up traveling along a dirt road which ends at what appears to be a deserted train station. Dad decides that it's really the entrance to a failed amusement park. He and Mom decide to go exploring, and the little girl, filled with trepidation, has no choice but to go along. After awhile, the little family discovers a restaurant that is still operating. The parents gorge themselves until they are turned into pigs. Suddenly alone, the child finds herself in a place full of witches, ghosts, goblins and other assorted spirits. Aided only by an unearthly boy, she must now save her parents and find her way out of this surreal place.

The movie was made in Japan by animation master Hayao Miyazaki and his crew. It became the highest grossing movie of all time in that country. The people at Disney bought the American rights and lovingly added an excellent English soundtrack. The company's marketing department apparently was at a loss as to how to sell such an unusual animated movie. It was seen by relatively few Americans in theaters. I suspect that this masterpiece will find its audience here via video and DVD.

Hayao Miyazaki's Latest Masterpiece
From the legendary Studio Ghibli and anime director Hayao Miyazaki (of "Princess Mononoke," "Castle in the Sky," and "Kiki's Delivery Service," among others) comes a new favorite among otaku (anime fans) world-wide. "Spirited Away" is the story of a young Japanese girl named Chihiro (literally, "heroine") who is, as the title implies, taken from her normal life and deposited reluctantly in a small town built around a bathhouse for spirits. Chihiro overcomes fear and other obstacles, including a large, faceless monster and a black-hearted witch named Yubaba (literally, "old hag") to save her parents from a rather unpleasant fate. The story is exciting, well-paced, and thoughtful, with a good mix of humor, symbolism, emotion, traditional Japanese legend, and moral.

From an animation standpoint, "Spirited Away" is astounding. The sheer amount of movement and energy in Hayao Miyazaki's most recent work is quite impressive. Combined with the beautiful scenery (including several awe-inspiring and detailed shots of the bathhouse that can by themselves be regarded as masterpieces), and the realistic textures of the grass blowing in the wind, the flower gardens around the bathhouse, and the interior of the bathhouse, "Spirited Away" is truly a work of art.

The only flaw in the otherwise near-perfect film is the dialogue. A few lines sound a little forced, and some intended to be funny simply aren't. Fortunately, these slip-ups are few and far between.

Already, "Spirited Away" has earned several prestigous distinctions, including the 2003 Oscar award for Best Animated Feature. Also, "Spirited Away" was anime released in movie theaters, which is rare in the United States. Ever rarer, it became the top-grossing film in America for several weekends in a row. Not surprisingly, it was also popular in Japan, where it became the top-grossing film in that nation's history.

Most people I have talked to have been very impressed with the quality of "Spirited Away." Many of these have been adults, mislead by the films "Disney" tag. When they sat down to watch it with their kids, they simply expected another children's movie, but instead found a film they could enjoy and appreciate as well. On the face, the plot is simple enough for younger kids to understand, but the symbolism and artwork is so complicated and intricate that it can be enjoyed by adults and older kids as well. In other words, however cliché those words may be, this film really does have something for everyone, and is well worth your time and your twenty-five dollars.

A work of art!
First of all,don't listen to people who give this masterpiece bad reviews... they probably think disney movies are the only animations worth watching!
This anime is fantastic... Miyazaki is truly a genius. Everything about it blew me away, from the animation and characters to its storyline! The characters have depth, and they show real emotion, and unlike disney movies, there are no annoying sidekicks or crappy songs... in fact, the music is very beautiful and heightens the feel of the movie.Even the dub is pretty good(at least in my opinion), but of course the original japanese with subtitles is best(as always)!
I HIGHLY recommend this one to everyone, anime fan or not!This is definitely worth your money! Don't hesitate!

Simply Amazing
I must admit that if it weren't for my friends, I probably would have never even given this title a second look, but after I watched it, I was amazed. Miyazaki has managed to create one of the most beautiful, not to mention entertaining, movies I have ever seen. The characters (especially Chihiro) are very true to life. I highly recommend "Spirited Away" even if you aren't an anime fan or, like me, are an otaku (you know who you are). I also encourage you to check out Miyazaki's other works, two of my favorites being "Princess Mononoke" and "The Castle of Cagliostro."

6 stars
This movie feels like a dream. There are not many works of art that can do this, but with this one I distinctively got the feeling that watching this film was the same as a really sweet dream. I love it. ... Read more

Reviews (10)

Wonderful to have this great series on DVD at last!
I was absolutely thrilled when I discovered due South was on DVD. I got season one as soon as I could (I'm saving up for 2 and 3!). I didnt have any problems with the discs and their packaging. I would like to have seen some bonus features and the pilot included but the DVDs are still great without them.

*NOT* complete! No pilot! Buy, but be warned.
Terrible. Awful. Horrible. LIARS! Everything in the first season EXCEPT *THE* single most important episode!! The Pilot?! What a bunch of @#$%^&*! Besides that, it's okay. The rest of the eps are there, & it *is* due South. Some special features would have been nice, but are hardly requisite.
The episides rate a 5, but lousing up but not including the premiere & especially after billing it as the complete 1st season rates a two. Let's hope they did better with season 2 & will do better with season 3!

Good show. Okay packaging.
I bought the DVD of vol. 1 as a gift for my husband because he was so crazy for the show during its production and reruns. Then I found out what a gem Due South really is.

It's great to follow the evolution of the characters from the beginning, though it would have been ideal to have the pilot included. Even so, the show is thoroughly enjoyable. The sly satire of a Canadian-produced show presenting Americans' view of Canadians is really very funny. And it's a showcase of all those fine actors (and musicians) you didn't realize are Canadian.

For anyone who has never seen Due South, know that it's really a "buddy" show, a mismatch of 2 personalities who are more complete together than apart. One is innocent and naive, the other worldly and jaded. Definitely makes for some funny stuff!

Alliance Atlantis didn't seem to take a lot of care with this release. In spite of the box being labeled the "complete first season," it excludes the pilot. Very odd. Also, some extras, i.e. commentary (from somebody - ANYbody), would have been appreciated. The packaging of the discs is lame, allowing them to come loose and rattle around the box during shipping.

In short, the show is GOOD. The packaging and extras are cheap.

Loved this series, but it's cheaper at Canada's Amazon store
These DVDs are overpriced in the states. I bought mine a lot cheaper at Amazon.ca, the Canadian Amazon store. They're listed for $80 CDN, which makes them about $65 in US dollars, INCLUDING the international shipping. And they got here just as quickly.
Curator, AfroAmericanHeritage dot com

Due South Season 1
Will NOT (would not) purchase without the Pilot episode! What were they thinking? Apparently they weren't. ... Read more

Reviews (24)

Overlong, but worth seeing
Original little gem about love, hypnosis, and reincarnation all queezed into the package of a bright, colorful musical. Yves Montand plays a college professor who begins hypnosis treatment on Daisy (Barbra Streisand) in order to help her stop smoking. While under, he discovers she lived a former life as a 19th century vixen who was stood up by her husband and beheaded for treason. The doctor slowly falls in love with the woman of the past, while, in the present, Daisy (unaware of her former exsistance) falls in love with him.

Big-budgeted film was a box office flop when first released, but it's actually pretty enjoyable. The offbeat story line and the public's sudden lack of interest in musicals are the probably the main reason for the film's failure.

As a Barbra Streisand fan I must say that she is great even though this film is far from her best. She is adorable as Daisy and divinely sensual as the gold digger from England that she ecomes once hypnotized. Montand is a little too stuffy and mechanical as Dr. Charbot, but he and Streisand do share some chemistry.

Streisand's good, Montand is acceptale, but on the whole the movie is was too long and even a bit forced at times. Still, it worth seeing. The costumes and sets are beautiful, the ending is sweet, and there are some great songs.

Bottom line: the movie's cute, often funny, occasionally silly and sometimes moving.

Wonderful Movie the Whole Family Can Enjoy!
This has always been one of my favorite Barbra movies. ESP and reincarnation might be old hat now, but back in 1970 they were hot topics and you could count on controversy when they were discussed. I don't care much for Yves Montand, but the guy that plays Robert is very fine, even as a fine young dandy from 200 years ago! I've heard all about this movie from different sources over the years, and I think it's wonderful that Barbra was pregnant during the filming (you'd never know), that she was allowed to keep the clothes, that she played the part at cost instead of an increased fee (just after Funny Girl), and that she wasn't even the person the film was written for, but Audrey Hepburn. Again, this is an enjoyable film--remember it's a musical and the songs are very catching, don't be surprised if you find yourself humming one of the songs after you've seen the movie!

WIDESCREEN DVD PLEEEEESE !!!!!
This beautiful little gem needs to be on DVD period. The color is absolutely fabulous, the costumes beautiful. It's a colorfull cleaned up snip-et of 60's style. My favorite Barbra Striesand musical. And for those of who believe in re-incarnation or even just like to toy with the concept it is enjoyable fun.

Barbara is simply Marvy! Damn the pretentious Frenchman!
A great movie directed by a fantastic director. All this and more made in spite of Paramount's choice for one of the century's most horrid leading actors. Two words..."Yves Montand" I would certainly like to know who was responsible for telling Yves that he could act. Luckily for us, Barbara's comedic timimg and on screen presence distracts us from Yves witty droll and cardboard persona. Much of the films salvation has to be given to the credit of Vincente Minnelli, who has directed many wonderful & memorable movies such as "Meet me in St Louis" It is also a wonderful treat to see a young and handsome (yes I said handsome.. if you can believe that) Jack Nicholson who plays one of Daisy's neighbors. What's most intresting about Jack's character, is that there was a sense of ambiguity about his sexual orientation. A definite first for the Jackster! I give this movie 5 stars even though Yves is in it. The story, art direction and musical numbers are just fabulous. Besides we all know that anyone who buys this movie, certainly isn't purchasing it on account of the leading man. Now when is Paramount going to release this on DVD? Hello? Paramount? Are you listening? Hello? Is anyone awake over there?....

"Is anything else comin' off?"
This was one of the very last of the lavish screen musicals to be made in the classic mode, and, by the time of it's early 1970 theatrical release, it already seemed tired and dated. This is why it is somewhat shocking that, when viewed today, ON A CLEAR DAY is not only tremendously entertaining, but that it's also possibly the most underrated film of both director Vincent Minnelli and star Barbra Streisand. The film's reincarnation theme was pretty cutting-edge back in the early-seventies, and it still feels unique even today. The film received fair-to-negative reviews from critics at the time, and even though it proved to be a modest hit at the box office, it has been long forgotten by the general public, and it even goes unlisted on many of Streisand's selected filmographies. This is a shame, for Streisand's highly impressive dual performance may prove to be a revelation for some of her admirers and critics alike.

Like the film itself, Streisand is at her very best in the film's frequent flashbacks. Not only does she look absolutely beautiful as Melinda in Cecil DeVille's many elaborate costumes, but her Regency- era poise and accent are completely flawless. However, the film isn't absolutely perfect. Though Streisand's gives one of her most likable performances as kooky Daisy (her character's present-day incarnation), her "modern-day" wardrobe is a little too extreme. I realize that the costume designers wanted to draw a sharp contrast between Daisy and Melinda, but they went a little too far and ended up making Daisy look too buffoonish. They didn't need to go to such lengths with her garish "contemporary" wardrobe - Streisand's convincing performance alone is enough to make the contrast believable. Yves Montad is acceptable in his role - I don't believe he really deserved all of the criticism that he's received over the years, yet I do find his performance to rather stiff, and am convinced that many other actors could have done more with the part. Jack Nicholson, Bob Newhart, and John Richardson appear in small supporting roles, but they all feel rather underused.

However, there's something about the Streisand-Minnelli pairing that seems to have brought out the best in the two legendary talents. The flashback segments in particular provide the perfect showcase for Minnelli's imaginative visuals, and these are also the very scenes that allow Streisand to stretch the most as an actress. In particular, the "Love And All The Trimmings" sequence is easily one of the best moments that Minnelli ever captured on film, and Streisand has rarely been more intensely seductive than in this one sequence. Score-wise, the soaring title song is the only real classic of the eight Lenner-Lowe compositions, but a few of the others (the comic "Go To Sleep," the gorgeous "He Isn't You") are nearly as great. Bottom line: ON A CLEAR DAY is a film that's usually funny, sometimes touching, and always inventive and enjoyable. It's undervalued gem if there ever was one. ... Read more

Reviews (22)

SM arthouse style
Radley METZGER's THE IMAGE (also known under the more exploitative title THE PUNISHMENT OF ANNE) is without doubt not everybody's cup of tea. Based on an infamous French bestseller this movie is shocking in its relentless depiction of a weird triangle relationship between a mature woman, her submissive young girl friend and a curious author.
Please note: If you feel uneasy when you see graphic sex, humiliation, degradation, bondage, whipping and urination, then do not watch this film. On the other hand, this is no raincoat brigade movie. Instead it is a masterly crafted piece of art with outstanding cinematography, a beautiful score and fine actors (Yes, everybody here can act better than most mainstream academy award winners.)
Regrettably the rough SM scenes could easily distract from or obscure the motivation of the characters.
THE IMAGE has an unusual book-like structure with chapters (no, I'm not refering to the DVD chapters). According to the liner notes the film is very faithful to its literary source. I liked the social setting of the film - it takes places among educated, eloquent and wealthy jet set people. And the film makes good use of its nice Paris locations. I found THE IMAGE very compelling viewing. I just didn't like the fitting room scene too much, because it seemed like a rather cliche porn situation to me.
Some words about the DVD: SYNAPSE did a real great job with the transfer. One can't praise the picture quality high enough. The uncut film is presented widescreen.
Unfortunately there aren't too many extras: the director's filmography, an isolated score and five trailers of Radley METZGER movies: SCORE, THE LICKERISH QUARTET, CAMILLE 2000, THERESE AND ISABELLE and CARMEN BABY. Kudos to Stephen R. BISSETTE for his insightful liner notes. I recommend to read it before you watch the movie, because it really enhances your understanding of the film despite some spoilers.

Classic Erotica at its Best
What a great DVD! I've had this film on tape in as many incarnations as I could find it but none have ever looked this good. Considering the other erotic DVD releases I've seen, nothing comes close. This is simply a disc that any collector should have. Metzger (Henry Paris, whatever) was truly one of the real bright lights in a business that generally cares little for acting and/or dialogue. For this genre, one of the very few films that even aspire to actually be one. Major credit to Synapse Films for the work to get this totally right. BRAVO!

oh please...
I watched this film as I didn't think a western director could possibly shoot an erotic film that's both artsy and arousing, on par with the best works of Wakamatsu, Kumashiro or Konuma. Watching "The Image" hasn't caused me to change my mind I'm afraid, although I have since enjoyed a very nice little Franco film called "Venus In Furs". Corny as hell, trying to be literate and refined when it's only dull and clichéd, The Image has everything, from excessive acting to uninspired casting choices. No offence but the girl that's supposed to be attractive is just insipid, and that's one problem getting into the film in the first place, when it relies so much on you sympathising with the fantasies of the male character. But even if you get past that point, what you're left with ultimately amounts to nothing more than your average euro softcore flick, with shoddy effects, dull lightnings, worn-out decorum and fantasies about as arousing as a rhubarb-flavoured candom or a glowing dildo in an erotic shop. And please leave S&M to the Japanese. European directors only make it offensively tasteless.

Incredible restoration job
The difference between this DVD and the old VHS version I had is like night and day. The people who restored this film did an amazing job! On the tape, everything was a pale washed-out yellow. On the DVD, the colors are gorgeous and the Paris scenery is marvelous.

Potential buyers should be warned that this is a pretty harsh and realistic version of BDSM. This ain't "Exit to Eden," and viewers should know that going in.

not my cup of tea
The only thing about this film that I really liked was the Paris locations.

Although I enjoy erotic films (e.g., "The Emmanuelle Collection") and can handle a little softcore S&M ("L'Histoire d'O"), I dislike porn. "The Image" is arguably not pornographic, and it has garnered mostly positive reviews here, but it is too explicit for my taste. There is a fine line in explicitness that, when crossed, destroys the erotic intent of a film. Sorry, S&M fans, but a lingering close-up of female urination is not my cup of tea...

As for the quality of the film, it is light years ahead of embarrassingly amateurish (e.g., "The Erotic Ghost"), but does not compare favorably to the classic erotic films in my modest collection ("The Image" was an attempt to expand this collection; I cannot yet comment on my newest acquisition, "Delta of Venus"). The characters are not very appealing, the acting is just so-so, and there is no plot to speak of. I will allow that "The Image" is well lensed. While not on a par with say, "The Red Shoe Diaries," the director does have an eye for artistic direction.

I am giving this film two stars because it failed to meet my criteria for erotica. As a straight S&M film, perhaps it is one of the best, as others have opined. In my mind, that merely suggests that the genre has not produced good films.

An 'erotic film' can include a bit of S&M (if tastefully done), but I'm having serious doubts, after viewing this highly praised entry, that an 'S&M film' can be truly erotic. Maybe that film exists, and I just haven't found it yet...

I would like to mention that I viewed "The Image" immediately after watching "Roman Holiday" for the first time. I thought the delicate sexual dialogue between Audrey Hepburn and Gregory Peck was a lot more erotic! A lot more fun, too.

To be honest, I'm a bit embarrassed to have "The Image" on my shelf. If it weren't for those great shots of Paris... ... Read more

Reviews (59)

COOL, ELEGANT FILM NOIR....
Although toned down from Vera Caspary's novel, "Laura" is a classic example of sexual obssession in 40's film noir. Otto Preminger (with help from Rouben Mamoulian) created a masterpiece of a mystery film loaded with decadence and sexual tension. Tough streetwise police detective Mark McPherson (Dana Andrews) investigates the violent society murder of beautiful, enigmatic ad exec Laura Hunt (Gene Tierney) and enters the cold, calculating world of high society where everyone has dark secrets. He encounters a list of suspects including ascerbic Waldo Lydecker (superb Clifton Webb) as Laura's "benefactor" and companion who introduced her to the high end of advertising and her gigolo fiance' Shelby (Vincent Price) who is more or less kept by Laura's aunt (Judith Anderson). It is Lydecker who matches wits with Mark every step of the way. Mark has become obssessed with Laura's portrait, her perfume and letters and has obviously fallen in love with the "dead" Laura. The sexual obssession theme lies underneath the complicated relationships including Mark's fascination with Laura's relationships and her personal things and in the flashback sequences, it is clear that Lydecker fancied himself more than just Laura's "companion". He sought to possess her. But it gets stickier as it goes along when Laura turns up very much alive. There is so much to savor in this film along with the performances (especially Webb's) like the beautiful b&w photography that gives the film a dream like quality and the lovely "Laura" them by David Raskin that haunts the film and emphasizes the romantic longing Mark has for Laura and Laura's mysterious, paradoxical personality. Any way you slice it, "Laura" is a classic film heads up above the rest and needs to be available on DVD. It is not to be missed.

A MUST SEE
I saw this movie at least ten times. First time was in my early teens, when it was shown on local TV. I never heard of Gene Tierney before, but after seeing this film, I knew I would never forget her. She was the most beautiful actress I ever saw and her mannerisms reveal a classy keen intelligence. Everything about this movie will haunt you--Tierney's beauty, the musical score by David Raksin, the portrait, and the ending.

The film is about a woman who seemed to have everything--a successful career, beauty, brains, wealth--who is discovered murdered in her apartment. A detective, Mark McPherson, played by Dana Andrews investigates the case and starts questioning possible suspects. One is the Svengali-like Waldo Lydecker (Clifton Webb), a syndicated columnist and radio personality. Another is Shelby Carpenter, a smooth Southern gigolo played by Vincent Price (yes Vincent Price!). And there's Laura's middle-aged socialite aunt, Ann Treadwell, who was using Carpenter as her boy-toy until Carpenter meets Laura. Other possible suspect is Laura's maid, a feisty loyal Irishwoman.

The film shows narrated flashbacks by Lydecker. He idolizes her and intercepts Laura's suitors, all of whom he considers beneath her. He couldn't intercept Carpenter who attracts Laura, and who Laura was supposed to marry the week she was found murdered. The first twist of the film is when McPherson falls in love with Laura, who's presumed dead. From reading her diary and letters and continuously seeing her portrait, he discovers she's the woman of his dreams, an unattainable goddess whose physical presence he can only imagine. So when twist number two happens, the murder investigation understandably becomes secondary to this gumshoe detective.

This is the best film directed by Otto Preminger. I believe it's the first American film he directed, and his following films pale by comparison. Ironically, this is a film full of second choices. The lead was written with Jennifer Jones in mind, but she turned it down. It was then offered to Heddy Lamarr who also turned it down. Tierney claimed in her autobiography that she didn't want the role either and thought the film was going to bomb, due to the fact that many aspects of it were not prepared (the final script, the music) and that Dana Andrews (also a second choice) prior to this film never had a role as a leading man. The portrait that was originally intended for the film was painted by the wife of director Rouben Mamoulian, who was initially hired for the film but was fired by Preminger who was producing it. Paintings don't transcribe well to film so a touched-up photograph of Tierney was used as the portrait. Preminger took the directing himself. He wanted to use the song "Sophisticated Lady" by Duke Ellington as the musical score, but David Raksin made a deal with him, in which he would write a score Preminger would approve of in one weekend. Raksin claimed he kept looking at a photo of Tierney during the composition of the score and that she was his inspiration. Thus second choices made this movie a classic.

The dialogue is witty and biting, particularly that of Lydecker. The film was nominated for Best Adapted Screenplay, Best Supporting Actor (Webb), Best Black and White Cinematography and Best Musical Score. It only won for Best Cinematography, and I'd like to learn what films aced it in the other categories. Although awards are not considered important by many film connoisserus, the winners are the ones recognized by the next generation. Thus "Laura" remains one of the most underrated films of all time.

Revised Release Date
Fox now says Laura will be out November 04. We can just hope this is not just another tease after first announcing Sept 03. Are lawyers involved in this delay?

Release date
The review from Utica is correct: Laura was supposed to be out 9/03. It's been on my wish list for almost a year. Maybe Fox should get Eisner to oversee releases (he must be looking for something to do).

Wasn't this supposed to be out on DVD last November?
I ordered this DVD early LAST YEAR, and it is yet to be released. There are so many mediocre if not downright awful films that are always being released onto video and DVD, yet this film, which is truly one of the best classics of all time, is still not available. What is Fox doing? ... Read more

Reviews (10)

A story of a legend told by the legend
This is the movie that started it all. Without this, Hayao Miyazaki wouldn't be where he is today. There would be no "Princess Mononoke" or "Sprited Away".
(ok , maybe that's wrong. But wouldn't be as big as they are)
"Nausicaa" has all the ingredients a Miyazaki movie needs. Beautiful pictures, rich human characters, complex but highly relatable and understandable themes, amazing imaginations made into reality (almost.. But you likely will forget that you are watching a "CARTOON") , great music by legendary Joe Hisaishi, and above all this, the flying sequences! There's no good or bad in this story. There are people just like us trying to survive on the edge of collapse. Even though it takes place in distant future (2000 years later), you can see the same is happening in today's world.
This was made 20 years ago, so that the graphics maybe a little primitive compareing to his later work. But I know you will be totally sucked into it once the openning credits starts. ( Be aware of the openning theme tune, too. It's hauntingly beautiful )
Mr. Miyazaki reportedly isn't as fond of this movie as his fans are, because of the religious imagery in the end. But If you liked his other work, This movie is a MUST SEE! I'm very happy that It's finally going to be released in the states, and the rest of the world (I assume?), because this movie carries a very important message, especially since the state of the world now is more alarming than ever. Also because I get to see it again!

Thank you Disney. Can't wait 'til August. But I wish this would be released in the theatres.

Important information about the DVD
The DVD release of "Nausicaa of the Valley of Wind" will replace the 21 minutes of footage that were cut out in the VHS version that was released in the U.S. and U.K. (which was titled "Warriors of the Wind"). So please be careful when reading the above reviews, as they refer to the VHS version, not the DVD.
As for the release date, the DVD was supposed to be brought out on August 31, 2004 (along with two other Miyazaki movies: "My Neighbor Totoro", which will feature a new voice cast, and "Porco Rosso"). No word yet on when this batch of DVD's will actually be released; hopefully sometime in the next few months!
On a final note, I have not seen this movie, so please disregard the rating (I gave it 3 stars to be neutral). However, I have read the comic series (or "manga" as it is properly called) and I highly recommend it (there are four volumes all together). In fact, all of Miyazaki's work has been fabulous; check out "Princess Mononoke", "Spirited Away", "Castle in the Sky", "The Castle of Cagliostro", and "Kiki's Delivery Service", all wonderful films.

based on other disney experiences
When Myazaki came to an arrangement to release Ghibli films through disney, he had strict guidelines for such release. In exchange for exclusive rights to rerelease Studio Ghibli films, Disney agreed not to alter the films' content. Thus, all Buena Vista rereleases of studio Ghibli films have been true to the originals.
Miyazaki's films have a far reaching social impact and often touch on topics of environmentalism and the human impact. His mastery of making the viewer relate intimately is amazing.
if you are a fan of any of his work (princess mononoke, Spirited away, etc.) then you will not be disapointed in this movie. My faith in this statement is so strong that although the Buena vista release has not arrived, I am assured that it will be of the utmost quality.

A masterpiece among masterpieces
This movie is a must see for all fans of anime, and for people who love exceptional movies in general (even those who don't generally like anime). In the early 80s some friends of mine from Toronto, Ontario had great connections with anime fans in Japan and were able to get a copy of the original on videotape. It was purely in Japanese... no subtitles... I wandered in about 15 minutes into the movie and was utterly captured. It was one of the most moving and beautiful films I had (and have) ever seen, and every animated feature I have seen since has been judged against it. I have read the graphic novels, but I've been longing to see the movie again in its original form, and August 31st can't come soon enough for me!

Wonderful
I've seen the R2 version, and was blown away. Sure, we're talking a 20 year old animation here, but the story and characters are marvellous. We may not have state of the art CG dodads flying at us, but the quality, and the creators involved are first rate all the way.
The R2 disc featured comments by Kazuyoshi Katayama, a production assistant, later responsible for "The Big O", "Appleseed", and "Argento-soma." It also features the legendary Hideaki Anno. A Key Animator, who designed the Giant Robots for Miyazaki. Anno is, of course, famous for directing "Nadia, Secret of Blue Water", "Wings of Honneamise" and his claim to fame, "Neon Genesis Evangelion."
The music is by Joe Hisaishi, and it has touches that bring to mind things he does later in "Castle in the Sky", "Princess Mononoke" and "Spirited Away." The music was done under tight budget constraints, so they seem to have used a lot of synthesizers. But hey, it's the 80's, so it's understandable. Overall, a must have DVD by one of the great artists of our time, with a veritable who's who of anime supporting him. "Nausicaa" is a wonderful look at Hayao Miyazaki's genius, so obvious in this, his first original film. I would also suggest the Graphic Novels. It took Miyazaki 12 years complete the tale he touches on in "Nausicaa". His true masterpiece. ... Read more

Reviews (5)

Spot on!....A Brilliant Serious/Story Tale.
Spot On! This BRILLIANT serious indicates exactly what gay life is about and the difference amongst us all within the gay community. Well done and congratulations to the writers of Queer as Folk. I am totally hooked to this serious.

EXCELLENT TV SHOW!!
I absolutely love the show!!
It's so cool that the show presents a different world to me!
I enjoy involving the relationship between those charaters! They are adroable and memorable!! Especially the affection between Brian and Justin! It would be precious to you if you decided to buy those series!! I promise!!

Best Series Ever For Our Gay Community!
ITs about time that Queer life is celebrated! I own "Queer As Folk Seasons 1-3" and its the best showtime series I have ever seen! All 3 seasons so far have drama, romance, lust; and each season makes you want more! I became hooked instantly; having watched every season atleast five times!

At first, I was worried, seeing that I never watched the series before buying them. I jumped with both feet and bought all three at once. I Definitely, 100% not disappointed! The drama and the complications in the series between queer friendship, love, devotion, pride and honor is the best I have ever seen in any gay portrayed series!

Queer as folk shows all aspects of Queer life! The love between Justin and Brian, Mikey and Ben, Ted and Emmett, Lindsay and Melanie; and many other characters brings this series to a new level. Showing the honest view of gay life. I feel for every character, and care for each person and their lives, as it unfolds. Words can't express this series other than its a must see and definitely MUST OWN collection!

At times, this series will show sex and nudity, so its not for the faint at heart. But thats what makes this series even more special. The fact that nothings held back; in your face truthfulness of gay relationships! Its awesome!

If you never watched Queer as folk, I recommend to everyone they should! I cant wait to own Season four!

The Entire Collection From a Great TV Show
When "Queer As Folk" debuted on Showtime in 2000, it immediately sparked controversy, raising many eyebrows. Its unique graphic visionaries of sexuality has kept many talking. Not because of the sexual theme itself; it's the sexuality between two members of the same sex. The "in-your-face" effect earns the brave cast and crew tremendous respect for doing what no other has successfully done before. Before its debut, only two sitcoms have explored sexual orientation extensively: "Ellen" and "Will And Grace". The brilliance and the success of "Queer As Folk" has since earned rave reviews by many critics and still is today. Since its debut, the show has won and been nominated for several awards, including three, and counting, consecutive GLAAD Award nominations for Outstanding TV Drama.

The variey of character personalities offers great plot variety. Brian's frequent sexual activity, Michael's homelike presence, Emmitt's flamboyance, and Ted's shyness are only some traits that offer such joy to audiences. Justin, Debbie, Mel, Lindsay, and Ben also offer their own unique presence. The acting offers more great additional entertainment value. New and interesting ideas always keep audiences awaiting for the next episode. The combination of realism, drama, and slight comedy offers issues that some viewers can relate, including the straight/ ally community. Besides GLBT issues and struggles, it explores drug use, HIV/ AIDS, hate crimes, pornography, and many others. The shock value offers a great unforgettable experience. As the seasons progress, the plot and the characters follow.

Season one, the season always to be watched first, explores the coming out process, struggles in high school, struggles in the workplace, same sex couples raising a child, and others. Those who haven't watched the show will witness Justin meeting Brian for the first time, Lindsay giving birth to Gus (Brian is the father), Justin coming out for the first time, and of course Brian being Brian. Such deep chain of events and many others lead to a surprising and shocking season finale that keeps audiences awaiting for the second season premiere episode.

Season two starts with the result of the traumatic event on last season's finale. The characters begin evolving more throughout this season. Some surprising turn of events keep audiences interested in every detail. New viewers will witness Michael and Ted beginning their dream jobs, Michael meeting Ben who is HIV-positive, the birth of "Rage", Justin beginning college, Brian admitting more of his love for Justin, and of course Brian still being Brian. Viewers will be shocked when they learn Debbie's weak spot, despite being a strong GLBT ally. Robert Gant makes a wonderful debut as Ben. The acting from everyong shows great improvement throughout this season. Everyone creates their own tactics to keep audience watching. The chain of events, and many others, lead to a great season finale, leading to season three.

Season three answers questions that were cliffhanged in the second season finale. This season shows a greater variey of expressed issues, some which have not been expressed before, including politics, hustling, drug abuse, and others. This shows a greater emphasis on HIV/ AIDS issues, especially when Ben and Michael help a young hustler and when Ben's ex-boyfriend/friend dies of AIDS. This season shows surprising revolutions of some characters: an unlikely town hero arises to prevent a town from being run by a homophobic mayor candidate, an unlikely person becomes a crystal meth addict, and others. The chain of events and others lead to a shocking season finale that keeps audiences awaiting for season four.

This "Queer As Folk" set is a great collecion item for fans. This is sure to keep audiences entertained for a long time. First time viewers must watch this edition in order. Otherwise, the chain of events will be confusing.

Cast: Gale Howard (Brian), Hal Sparks (Michael), Randy Harrison (Justin), Peter Paige (Emmitt), Scott Lowell (Ted), Robert Gant (Ben), Michelle Clunie (Mel), Thea Gill (Lindsay), and Sharon Gless (Debbie).

Queer As Folk The Complete Seasons 1, 2, and 3 are wonderful
Queer As Folk is one of the most amazing TV Shows ever and is a landmark as the show for the new millennium. This amazing Box Set has Season 1,2, and 3. After three seasons I am still amazed at how honest this show is on dealing with gay life. Not every gay person lives a life like these guys, but that is not what this show is about. Queer As Folk ia about the life of a group of gay guys and a lesbian couple living in Pittsburgh. Queer As Folk makes no apologies and thats what is so great about this series. From the graphic sex scenes to the drama of dealing with the prejudice that still haunts America, this show is so brave and I give Showtime a big thumbs up for having the balls to take on such a big risk as Queer As Folk. This show is as close as it gets to real life. This is not a show just for gay people, but for ALL people. It deals with human emotion and thats something that we can all relate to whether we be straight, gay, bisexual, black, white, brown or in between. I encourage anyone who has a open mind and a open heart to BUY this amazing DVD collection as it will inspire you and if nothing else open your mind to a lifestyle not as uncommon as you may think. Watch more than one episode before you judge this amazing series. With season 1, 2, and 3 you will be entertained with this awesome show for more than a few days!

Queer As Folk The Complete First Season - The first Queer As Folk DVD Box Set has all 22 episodes of the first season of the most controversial and bravest series in the history of television. The total running time of all 6 DVD's is approx: 1,205 minutes which includes Bonus features such as: behind the scenes outtakes, deleted scenes, special edition episodes, a Photo Gallery, DVD rom extras, A 6 minute Season 2 Sneek Peek, and much more. Queer As Folk shows the life of a group of gay guys and a lesbian couple living in Pittsburgh and all the dramas that go on in each of their lives.

Queer As Folk The Complete Second Season - The DVD Box Set is over 900 minutes and has all 20 episodes of the second season of one of the most controversial television shows today. The BOX SET includes over 3 hours of Bonus features such as: behind the scenes outtakes, deleted scenes, special edition episodes, a Photo Gallery, DVD rom extras, and much more. Queer As Folk shows the life of a group of gay guys and a lesbian couple living in Pittsburgh. I feel the first season of QUEER AS FOLK is better, but this second season is very good as well and shows the growth of the characters. I have seen all 20 episodes of Season 2 and it is slower paced than the first season, and I sometimes find myself looking at my watch which rarely ever happened with season 1.

Queer As Folk The Complete Third Season - This New Queer As Folk Season 3 DVD Box Set is over 673 minutes and has all 14 episodes of the third season, which is still one of the most controversial and bravest series on television today. This BOX SET like the seasons before include over 3 hours of Bonus features such as: Behind-the-camera, Hot Summer Days, Wrap Party Reel, Enter Babylon LA, Meet the Folks, Animated Photo Gallery, Season Four Sneak Preview, Weblink, Music Videos, and a few other surprises. I have seen all 14 episodes of Season 3 and it is another great season with some major twists. Season 3 is also a step above season 2 which was a little drawn out when compared to season 1. I do have to say I am a little upset that this season is very short when compared to season 1 and 2, which both had about 7 or 8 more episodes, but either way it is still a good season. Can't wait till the new Season 4 starts on Showtime soon. ... Read more

Amazon.com

One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theater owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast, and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance--he's married and she's set to marry the slimy Lord Wessex (Colin Firth) in the near future.

The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant--it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will, and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed, and lovestruck--it's a performance worthy of Shakespeare in more ways than one. By the film's end, you'll be thoroughly won over--and brushing up your Shakespeare with newfound ardor. --Mark Englehart ... Read more

Reviews (456)

Not of an age, but for all time. And better on DVD
Purists who turn up their noses at Shakespeare in Love don't know what they're talking about - or rather, don't know what they're missing. This was, after all, written by Tom Stoppard, author of some of the very best plays of modern times (Arcadia, Rosencrantz and Guildenstern are Dead - the latter filmed with Gary Oldman and Tim Roth). He's done a splendid job of balancing accessibility with genuine wit. The screenplay is littered with allusions to the bard's works, and gives some great - albeit hypothetical - insights into how and why he wrote.

Beyond that, in true Shakespearean style, we are offered the "play within the play" - in this case Romeo and Juliet. Excellent editing gives us just enough to convey the mood of an Elizabethan performance, leaving us wanting more. This film does a great job of broadening the appeal of the most popular writer.

And don't miss the topical in-jokes - the "cabby" rowing the boat, and especially Glenda Jackson saying she knows what it's like to do a man's job (she plays "M" in the Bond movies). Bill S. would have approved. High praise indeed.

Top-Ten Romance, and One of the Most Clever Screenplays!
"Shakespeare in Love" is a triumph, pure and simple. With screenwriters Tom Stoppard and Marc Norman at the top of their game and feeding immortal lines to a top-notch cast, "Shakespeare in Love" could not fail to succeed.

The film opens with young Will Shakespeare (Joseph Fiennes) struggling with writer's block . . . he is clearly not yet the magnificent WILLIAM SHAKESPEARE (insert trumpets here), the world's most famous writer. Indeed, the top playwright of the age is Kit Marlowe (Rupert Everett), as Shakespeare is reminded several times. And young Will is also hopelessly infatuated with Rosaline, a woman completely unworthy of his affections.

After some psychotherapy that anticipates Freud, Will is no better. Still, heavily in debt, Will attempts to stage his next opus, "Romeo and Ethel, the Pirate's Daughter." Working with Henslowe (Geoffrey Rush, who would have stolen a lesser film with his perfect performance), who's also heavily in debt, Will seems headed for disaster.

That is, until he sees his muse, young Viola de Lesseps (Gwyneth Paltrow, never better). Smitten, young Will begins to write the romantic poetry that becomes "Romeo and Juliet." Viola, who recognizes Will's genius, meets Will through some classic Shakespearean disguises and mistaken identities. Of course, Viola is betrothed to a true slug, Lord Wessex (a plump Colin Firth), who plans to take her to Virginia in seek his fortune across the sea -- essentially sending her into exile.

Despite the roadblocks, Will and Viola are soon hopelessly in love. Viola, daring to breach the silly rule that only men can play parts on stage, has taken the role of Romeo by day. By night, Will and Viola write Will's most romantic play together.

"SIL" keeps the wheels turning mighty fast, and one of the joys of watching this movie over and over is catching a quick joke that you didn't get the first time around.

It's also a pleasure to watch this stellar cast go through its paces. While Judi Dench won her Oscar for her surprisingly brief performance as Queen Elizabeth, other actors turn in equally entertaining performances. Tom Wilkinson, Simon Callow, Martin Clunes, and Imelda Staunton each bring amazing proficiency to the supporting cast, and even the much-maligned appearance of Ben Affleck elevates the movie -- he is perfectly cast as a self-absorbed theater star (first line -- "What is the play, and what is my part?"). Affleck's comeuppance, when he realizes that he, as Mercutio, doesn't have the title role, is handled wonderfully well.

This is simply a movie that doesn't miss a trick. The film is shot beautifully, the extravagent costuming gets at the ridiculous conformity that we associate with jolly old England (and makes the torrid romance of Will and Viola that much more intimate), and the music is uplifting.

The film's final shot, as Viola walks along the beach and we realize that we've just seen the birth of arguably Shakespeare's greatest heroine, Viola of "Twelfth Night," is a masterpiece of powerful understatement.

This movie is simply a must for the film library!

A GOOFY YET DELICIOUSLY SEDUCTIVE ROMANTIC COMEDY!
The DVD casing claimed in big bold letters "Best Screenplay" Academy Award winner. I can surely see why! Must have been some deviously creative team that crafted this crisp comic period-piece.

The film is really two love stories: one a bawdy romance between two smitten humans, and the other an ode to the art of theatre. The writers'/director's love for showmanship is loud and evident throughout the brilliant screenplay, and if you're a fan of wordplay in any way, well then this is a surefire delight.

Both Paltrow and Fienners turn in lusciously romantic performances in their respective roles -- she pulls off the formidable order of gender-switching without a hitch, and he has just the right pitches and patterns for a young, struggling Shakespeare. Geoffrey Rush is magnetic as usual.

Don't be fooled by the Elizabethan accoutrements, this film and its arsenal of laconic quips could easily shoot several contemporary romances to dust. Buy this one in fact, don't just rent, it quite comfortably stands the test of more than one viewing..

Rush in an unforgettable role
Although Geoffrey Rush is not the star of the film, he delivers a memorable performance, as usual. Fiennes does, also. The costuming is very beautiful, and the humour is delightful. Highly reccommended.

Emotionally Fraudulent and Morally Offensive NON-Love Story
Before I start out, I should say that I am NOT one of those people who think they have to deride "Shakespeare in Love" because it's a "chick flick" and therefore unworthy(?!) of Oscars. Nor do I feel the need to condemn it for winning Best Picture over "Saving Private Ryan," as so many have done. I certainly do have a beef in that regard -- and it's that my own favorite film of 1998, "The Truman Show," wasn't even nominated for Best Picture! But none of these things have anything to do with my loathing for "Shakespeare in Love." My beef is solely with the offensive nature of the film itself. It's advertised as a love story, but is emotionally and morally empty when it comes to any notion of love.

You could see the writers straining to convince us that those two awesomely idiotic characters, Will and Viola, were really deserving to be the inspiration for "Romeo and Juliet." The film wanted to show that "the truth and nature of love" so magnificently expressed in Shakespeare's play resulted from this casual (and to my mind very unromantic) affair between a lying weasel of a married man, and an apparently dimwitted girl who can't be bothered to decide whether she wants to marry him or not, though she's being forced into marriage with a man she hates.

Starting out by having a man needing to fall in love for a mercenary reason -- so he can finish his play -- and then conveniently having him decide that the first pretty girl who comes along is the love of his life, doesn't strike me as a convincing way to start a love story. Did writers Marc Norman and Tom Stoppard really stop to think this out? From the beginning we know he's using this girl, and they never find a convincing way to show us that this ever changes.

The worst line in the film, to my mind, comes right after their first soft-core sex scene. Viola murmurs: "I never would have believed that there could be something better than a play -- even your play!" Will: "Huh?" Well, there goes any possible higher emotional or spiritual aspect to their relationship.

This is the deepest flaw in the movie (which was otherwise well acted, gorgeously shot and beautifully costumed). I could not enjoy it or buy into it in the slightest because the fundamental conception of the filmmakers was based on modern notions of love that don't go beyond the purely physical. Descriptions of love in Western literature have at least on occasion gone much deeper than that. The Will in "Shakespeare in Love" not only couldn't have written "Romeo and Juliet"'s dramatic sonnet "If I profane with my unworthiest hand this holy shrine. . ." he wouldn't even have been able to understand it.

Not to mention the glamorization of a man's adultery, and the strenuous attempts to avoid all the real-life emotional ramifications of such an action, in favor of a feel-good justification of it, in spite of the obvious harm to the young virginal woman who was used by a cad. But it's excused and made to seem no real harm, by having her anger abated by thinking Will is dead, then readily going back to him when she discovers he's alive (a cheap dramatic trick if I ever saw one). Above all, no matter what a real Elizabethan girl's attitude miught have been, Viola is made to adopt the "modern" attitude (love is just a "stolen season").

I think there actually could have been a believable story in the idea of Shakespeare falling in love while writing "Romeo and Juliet." Why not start with the historical fact that Shakespeare didn't even make up the plot of the play at all, much less make it up out of his own love life? In fact, "Romeo and Juliet" was an Italian novella that had gone the rounds of Europe, had been turned into a French play, an English poem and at least one preceding English play. What if Shakespeare finds himself adapting this love story, not believing in love, then actually falls in love in a way that resembles the plot of "Romeo and Juliet"? I think it would have been nice if he had fallen in love with a virgin like Viola, realized in all conscience he couldn't take advantage of her, and wrote his play out of his frustrated love, which he turns into art. I think it would have been more convincing. But of course then it wouldn't have been a Miramax film . . . ... Read more

Amazon.com

One hopes that at the annual HBO characters Christmas party, Larry Sanders, Carrie Bradshaw, and Tony Soprano make a point to raise a toast to Martin Tupper, the hapless hero of Dream On.This groundbreaking 1990 sitcom from future Friends creators David Crane and Marta Kaufman ushered in a bold new era of original cable programming not bound by broadcast network content restrictions. Hence, the profanity and nudity (you didn't see that on Knott's Landing!), which distinguished the series and helped put HBO on the pop culture map. Brian Benben stars as Martin, a New York book editor still reeling from the breakup of his marriage. The show's gimmick is that baby boomer Martin, a member of the first television generation, flashes on vintage TV clips that express his innermost feelings and desires. When his wife, Judith (Wendie Malick), visits Martin in "The First Episode," he fantasizes reconciliation, but she wants him to sign the divorce papers so she can remarry. The scene is punctuated by clips (from an old Twilight Zone episode, perhaps?) in which boxer Lee Marvin is pummeled in the ring and knocked out. But the clips and the language and the sex would get old fast if we didn't like the characters. Benben has the Everyman charm of a young George Segal, and he wears his anxiety to hilarious effect. He is devoted to his young teenage son, and still loves Judith, who is marrying a paragon, never seen, but described at one point as a "Ghandi for our times." His dating relationships spectacularly crash and burn (cue clip of disabled aircraft). In one episode, he comes undone when he discovers his new lover was a porn star. At the office, he is at the mercy of his caustic secretary (Denny Dillon). Dream On is of more than prurient interest. This was one of those lightning-in-a-bottle series blessed with a fresh vision, a seamless ensemble, and smart writing. To finally have it on DVD is a Dream come true. --Donald Liebenson ... Read more

Reviews (2)

Why did it take so long to release this series?!!
Just buy this - buy it now. Somewhen in the early 90s this series appeared. Completely funny & totally original, this series of pure pure entertainment was the highlight of mine and a million friends week. I have crawled the internet and have never ever found a video, download or anything... until now, I live in anticipation of seeing this great series again.

The show was genius - Martin Tupper's (Brian Benben)thoughts were shown via clips of old b/w B movies. The supporting cast is excellent and they always had cameos from big stars like David Bowie.

How or why this series was forgotten until now is a mystery. Its a masterpiece, far superior to the dross that's around today.

It's About Time!!!
I'm very pleased to see that "Dream On" is finally making it to DVD! I used to love this show when I watched it first-run on HBO years ago. Brian Benben was PERFECT as the hapless Martin Tupper, divorced from his wife Judith and trying to raise his teenage son Jeremy while re-entering the dating scene in the 1990's. The show contained many clips of old black & white TV shows and movies where appropriate in the story, and they were hilarious! One of my favorite such moments was in the episode where Jeremy went to a makeout party and told both Martin and Judith he would be staying with the OTHER parent. They found out they had been duped when Judith phoned Martin and found out he had a woman with him. She chastised him for doing so because Jeremy was there, but Martin was quick to defend himself and inform Judith that Jeremy was with HER. She said, "No, he's..." and slowly a look of realization comes to both of their faces. Then, it immediately cuts to a B&W shot of two small boys saying to each other "We fell for it! Boy are we dumb!" Hilarious!

I hope that there are some special features present on this set, but even if there aren't it will still be worth owning. It's about time that this classic HBO Original Series gets the DVD treatment. Hats off to Universal! Now let's hope that another excellent but overlooked HBO Original, "Tales From the Crypt", gets the same treatment! Everyone please support this release so the rest of the seasons will be released as well! You will not be sorry! ... Read more

Amazon.com

A summit meeting of great Italian directors of the era, Boccaccio '70 is an antipasto platter of vintage sex symbols and naughty material. Cooked up and bankrolled by Carlo Ponti and American producer Joseph E. Levine, the four-part film was meant to tap the international smash of Federico Fellini's La Dolce Vita, which gave audiences some refreshingly, you know, "mature" subject matter. Four directors were hired to create segments ostensibly based on the tales of Boccaccio:Fellini himself (in the lull between La Dolce Vita and 8-1/2), Luchino Visconti, Vittorio De Sica, and Mario Monicelli.

Monicelli's story, Renzo and Luciana, is an agreeable tale, full of everyday Roman life:an office worker (Marisa Solinas) must marry her boyfriend when she gets pregnant--although marriage is against company rules. Fellini's segment, The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of a censorious bluenose (Peppino de Filippo) who becomes incensed at the presence of a billboardfeaturing a sexy portrait of Anita Ekberg (selling milk)--a portrait that comes to life. For this bizarre escapade, Nino Rota composed an advertising jingle that will stick in your mind whether you want it to or not.

Visconti's The Job is the best segment, tracking the emotional chess game between a playboy (Thomas Milian) and his wife (Romy Schneider at her most gorgeous) after he is publicly exposed in a sex scandal. Finally, the De Sica piece (The Raffle) is a fairly broad romp that uses Sophia Loren as the reward in a raffle. Sophia's delicious, needless to say.

The finished product weighed in at a whopping 208 minutes, and Monicelli's segment was lopped off before the film showed at the Cannes Film Festival. It has never been restored, until this DVD release. All the segments are frankly too long, and none qualifies as an essential gem, but they do give the flavor of Italy's best at an especially exciting cinematic moment. --Robert Horton ... Read more

Reviews (2)

A must for fans of the directors
BOCCACCIO 70 is made up of four short films, each around 45 minutes long.The DVD set is broken up into two DVDS, with two of the shorts on each, and the second DVD containing a few extras.

The transfer for all the shorts is absolutely stunning.I don't think it could have looked this good when it played in theatres.

Disc 1

The first segment, directed by Mario Monicelli, had long been unseen, at least in the US.It was removed from the US release of the film.It is the least of the four, but still quite watchable, about a newly married couple, dealing with their family and work.Not much to it, but an interesting view of everyday life.

The second is probably the strongest, by Fellini.I would argue that this is one of Fellini's most focused works (although I would admit that I find him to be overrated to some extent).It is a very funny film about a moral crusader who objects to a large billboard for milk, with Anita Ekberg on it.

Disc 2

The third segment is directed by Visconti starring Romy Schneider.A wealthy man is caught in a scandal, having to do damage control with his business associates and his wife.It is one of Visconti's lightest works, and also quite fun.

The final segment is De Sica's THE RAFFLE.A group of men enter a raffle, the prize being Sophia Loren.

The extras on the disc include the original US credits, trailers, and some brief interviews made at the time of the films release, as well as a photo gallery.

The film is a must watch for all fans of the directors.

Drink your meelk!
This film I picked up more out of curiousity and because Fellini directs one of the viginettes. I had never seen any of the 4 mini films before, nor did I know of the controversy surrounding its universal release. Each film deals with sexuality in different ways. All of the films have impressive looking anamorphic transfers for being almost 45yrs old. There is English dubbed audio tracks though my copy kept switching back to Italian on its own.. English subtitles looked fine.
All of the films looked great and are restored anamorphic transfers. The Fellini film was my favorite by far. This is his first feature using color as well as featuring dreams/fantasy in his films. I couldn't help think of Attack of the 50ft Woman seeing thecharming Anita come to life off a billboard. This is as close to comedy as Fellini got , too bad he didn't explore this more often. Fellini's segment is almost an hour.

The Visconti piece was lavishly produced and feautured a troubled wife trying to rekindle that spark. This takes place in a high class French styled mansion. Romy is nice to look at even if she is rather pathetic. This mini drama was the most serious of the 4 and rather depressing as it unfolded.

The last two were rather light and forgetful even if Sophia Loren looked fabulous, and was omni present in her role as a carnival spinster with a change of heart.

The extras are fun. Lots of on set pics and lobby cards , plus a large fold out booklet with press clippings and news reviews.The U.S. and Italian trailers are intresting to compare.

If your a Fellini fan, you would do well to see this for his giantess fantasy alone!





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