Description

Four Academy Awards(R) including Best Picture! The funny, tender story of a feisty Southern lady and her chauffeur, fueled by the starpower of Jessica Tandy, Morgan Freeman and Dan Aykroyd. ... Read more

Reviews (48)

An Unlikely Pair
This Academy Award winning drama is a touching story about the coexistence of an aging southern woman and her chauffer. Miss Daisy played by Jessica Tandy (Academy Award for Best Actress) is a feisty Jewish woman forced to endure the tragedy of growing older. Her son played by Dan Aykroyd is faced with the dilemma of playing parent to his parent. Morgan Freeman plays Hoke, the black chauffer hired by her son. Set in Atlanta, GA beginning in the late 1940's this film spans 25 years of an unlikely friendship before and during the fight for Civil Rights. A must see classic, this story keeps the audience wondering what will she think of next, and how will he handle it. Skillfully done with everyday events and situations it is certainly deserving of the Best Picture Academy Award.

A Great Tale of an Unlikely Friendship
"Driving Miss Daisy" is one of the best films released in 1989, rightfully winning four Oscars: Best Picture, Best Actress, Best Adapted Screenplay, and Best Makeup. This adaptation of the play version is brilliant. It tells the story, set between 1940's-1960's, of a fiesty elderly woman who's unhappy of growing old. As she meets a man who becomes her driver, the story develops into something special. The combination of stories become increasingly interesting as the two develop a close friendship. Their relationship beats the racist society and the painful past that the man has endured. Through everything, their lives change forever. Her son's frequent visits to her house offer the added entertainment value as it adds to the emotional value. Despite the twenty-five year plot span, the storyline flows smoothly. The warm, loving story offers an unforgettable viewing experience.

Jessica Tandy performs her role as the unhappy elderly woman splendidly. Her every expressed emotion is felt upon audiences. She became the oldest person to win an Oscar, at age 80. Morgan Freeman and Dan Ackroyd's Oscar nominated roles (Best Actor/ Best Supporting Actor) offer the added unique theme to this great film. All other actors also performed wonderfully.

The quality of "Driving Miss Daisy" proves that it's destined to become a classic in the following years. It's sure to continue pleasing audiences for many years to come. Most viewers will have to watch it multiple times to fully understand the movie because of its deep storyline. Afterwards, those who do will be glad they did.

Old Friends.
Lovely is such an old fashioned word, I know. But that's the word that describes this film, for me. The story of the developing friendship over many years between the black chaueffeur and the older Jewish woman is very heartwarming in its simplicity. Jessica Tandy is marvelous as "Miss Daisy" the fiercely independant, irascible widow, whose advancing age requires her son to employ, against her wishes, a driver/companion for her. Miss Tandy, who originated the role of Blanche DuBois on Broadway in "A Streetcar Named Desire", was a wonderful actress. This was one of her last films, and all the skill, sublety, and experience of her life-long craft come together to create a living, breathing "Miss Daisy." Morgan Freeman meets her skill in his portrayal of "Hoag", the accomodating chaueffeur. He has the manner of a certain resignation that an older black man may have felt in the turbulent, prejudiced south in which he lived, yet exudes dignity. He has the manner of "Hoag" down pat, right down to the closed mouth laugh that I have seen in the old black men who hang out on the corner. This is not a caricature, he IS "Hoag." His relationship with Miss Daisy starts out very rocky, to say the least, but, as time passes, their places in each others lives develope into almost a "marriage", with a quiet understanding of, and dependence on, each other. And though Miss Daisy insists she was not prejudiced, and inherently wasn't, it is touching to see her slowly let go of her last universally accepted beliefs of peoples place in society, where the "colored" help were always servants of some sort, and the line was just never crossed. Scenes such as the one where she and "Hoag" are both eating their dinner in the house, she in the dining room, he , alone in the kitchen, express this. The very thought of them dining together, it just wasn't done. As time goes on, and she becomes quietly aware of the similarities of the prejudices against her religion and the prejudices and injustice against Hoags race, the differences that seperate them become insignicant. Dan Akroyd and Patti Lupone are fine as Miss Daisy's son and his typically '50s wife, who admonishes her black maid for the unforgivable sin of forgetting to tell her she was out of coconut for the ambrosia she was serving to her guests... a '50s hostess' nightmare. There are a few moments when their performances threaten to lapse into parody, but one is only aware of this because this is basically a two person play, and the skill and realism of Tandys and Freemans performances just eclipse the others, they are basically props compared to the skill and, yes, sublety of the leads . The exception is Esther Rolle as "Idella" , Miss Daisys black maid. Though her part is small, and her lines few, she manages to convey a resigned dignity also, and her dead-pan delivery of several one liners is very humorous. Miss Daisys affection and respect for Idella is clearly etched upon her face, however, at Idella's funeral. This is just a wonderfully simple, beautiful film. It never treads into being overly sentimental, thanks to the casting of two very special stars. This film took many by surprise by winning the Oscar for best film of the year, proving that a movie with no special effects, and, that actually tells a story, can still move audiences. The final scene, where their years-long friendship comes full circle, will have tears in your eyes, as Miss Daisy conveys the sweet sad wisdom of the old, who know that "all shall soon pass...."

Fascinating, Memorable, Perfect
Not much can be added to the praise of others here, or to the film's enthusiastic reception by the public. I feel that this is one of those rare films that is simply perfect from beginning to end. Even if you don't develop an affection for the characters, and even if you don't care for the story line, it's a stretch to fault this movie in any way. The Special Edition DVD is preferred (not many extras, but those included are worth the effort). After watching my copy 7 times and trying to get really picky with it, I juist can't find anything amiss with Beresford's beautiful production. SO why didn't he win a Director Oscar? Must've been the competition that year, but he certainly deserved to win. Only other disappointment: Freeman nominated, but didn't win. And to think this film was made for less than $6 million, and racked in a fortune and a handful of Oscars!

Freeman and Tandy What a Combo!!
Freeman and Tandy are quite a combo!!

This is a sensitive film that says a lot about humanity.
Compassionate humanism oozes from this movie.
It certainly deserved the Picture of the Year in 1989. ... Read more

Reviews (20)

Don't Miss This One!
This is an excellent video that accurately depicts the highlights of the Biblical story of King David! Although it is a wonderful pleasure just to sit and watch, we have also used it for Bible study classes and found it an extremely valuable tool in understanding the many events that surrounded the life this man "after God's own heart". ENJOY!

Forget the Negative Reviews! It really is 1000BC!
Fantastic Art Direction, High Production Values, and a Superb Cast and Crew make this film the most visually accurate Old Testament Story ever given the Big Screen Treatment. Whoever was the technical advisor for this film did an excellent job in recreating the period. Edward Woodward is Outstanding as Saul (most of the cast is British, which lends a certain archaic dignity to the dialogue). Richard Gere also does a great job as King David.
If you have a passion for Biblical or Historical Epics - this one delivers! The battle scenes (which are very well choreographed), chariot charges, and of course the duel between David and Goliath are all 'edge of the seat', 'toe curling action'
I really cannot praise this film too much!

"a lamp unto his people"
When this film was released in 1985, the critics were not kind, but I love this film, and think it's a good telling of the story of David, based on I and II Samuel, I Chronicles, and the Psalms. Though much of it has been compressed (David's relationship with Bathsheba is limited mostly to the consequences of it for instance) and some creative license used for plot continuity, it has a tremendous amount of Biblical accuracy.
Taking place from 1000 to 961 B.C., the costuming, sets, and artifacts are fabulous; filmed in Pinewood Studios, U.K., and on location in Italy, the cinematography by Donald McAlpine is wonderful. The score is also lovely, by Carl Davis.

The brief nudity in the wedding chamber sequence has in my tape, been darkened so as to be imperceptible; either this is a flaw in the tape, or an effort not to offend and capture a wider audience, which would be silly, as this is a very mature drama. It contains much brutal violence making it unsuitable for children, and the confrontation with Goliath for example (which is exceptionally well done), is one of four beheadings.
Richard Gere is a marvelous David, and stands up well against an excellent international cast. He was thirty-five when this was filmed, and is about as handsome as a human has a right to be. The actor who shines above all though is Edward Woodward as Saul. He is riveting, and it's a brilliant character study of courage mixed with jealousy, revenge, and madness.

This is far from being a "Big Bible Epic" with lots of well known stars, instead it's serious and beautifully acted, and perhaps arrived on the scene at the wrong time, that it was so unappreciated two decades ago. Total running time is 114 minutes.
"It is through the heart, the heart alone, that God speaks to man".

Excellent and accurate biblical portrayal!
This biblical story recount of the lives of King Saul and King David were very true to what I have read in the Old Testament stories in the books of "Samuel" and Kings". Having Richard Gere portray the adult King David didn't hurt either!!! This is one of the better "bible" story movies I have seen to date. Thoroughly enjoyed seeing this biblical story "come to life" and Richard Gere is terrific in it! Lot's of action and well done!

Sucked!
This movie sucked! Everything about it was terrible. Some may also find it offensive for straying far from the biblical narrative. Although this movie is called "King David", the story bares little resemblance to the story of King David found in the books of Samuel and Chronicles. ... Read more

Reviews (181)

Good Acting - Predictable Ending
Tommy Lee Jones and Ashley Judd are two phenominal actors, and anything that either one of them is in is usually good. Double Jeopardy is merely okay.

Judd plays a woman, named Libby Parsons, who lives a fairly nice life, until one day, her husband goes missing while on a sailing expedition. Libby is found covered in his blood, and he is declared dead, after searches turn up nothing. All evidence points towards her, and she is sent to prison for his murder. While incarcerated, she finds out that he faked his death, and is living abroad with their young child. Upon release, she meets Jones, who plays the caretaker of the halfway house she now lives in. The rest of the movie deals with her trying to find her husband and, more importantly, her son.

Judd and Jones are truly exceptional in the film. The role seemed to be made for Jones, and Ashley Judd did a wonderful job as always, and she was said to have performed all of her own stunts.

The real problem with the film is that it is extremely predictable. This is Hollywood, and about twenty-five minutes into the movie, when her so-called "great awakening" takes place in prison, it is so obvious as to how the film will end. There were some very minor twists throughout the film, but the ending still remained crystal clear.

Overall, the film was okay. Besides the good acting, there were some nice action scenes. Unfortunately, the plot was too predictable, as it tried to uplhold the typical Hollywood standards way too much. If you're a fan of Jones or Judd, you will probably enjoy it from an acting standpoint, but don't expect much else.

Tommy Lee Jones fan
"Double Jeopardy" is one of the best action films i've seen in a long time, by far. If you decide to purchase this film, I guarantee you won't be disapointed. I highly recommend it!

Great Premise...
...Terrible movie. Ashley Judd holds your attention but the script has a lot of holes, Jones is playing his "Fugitive" role again as he has too many times before. There are a few well done action scenes, but that is about it...Otherwise this is one of the worst of its kind. Do not buy this film. There are too many other better films in this genre.

No surprises, but fast-paced script and good photography
This 1999 film stars Ashley Judd as a woman who is convicted of killing her husband. His body is never found and the audience knows she's been framed. While she's in prison she finds out she can never be tried for the same crime twice, so when she gets out she goes hunting for him. Naturally there is a darling little child involved and naturally our heart goes out to the woman who's been terribly wronged. Tommy Lee Jones is cast as her parole officer who runs a half-way house. She spends a lot of time running away from him and this leads to some wonderful chase scenes. At one point they are both underwater after she's been handcuffed inside a car.

There are no real surprises in the film, just some fine acting, good photography and a fast-paced script that throws Ashley Judd and Tommy Lee Jones into conflict. In spite of the formula however, I thoroughly enjoyed it. Therefore, I suggest it as a escape film to keep you mind involved in the perils of the people on the screen instead of focusing on your own day-to-day issues. Recommended.

JUDD AND JONES SAVE THE DAY
We all can tend to be a little too critical at times..I've had that problem for years. Sure this movie is predictable and has a lot of those old cliches we've seen dozens of times before. So the real issue is did I still enjoy it? Yes, very much so. Bruce Beresford's direction brought out splendid performances from Ashley Judd, Tommy Lee Jones and Bruce Greenwood. Even though Ashley's Libby does some incredibly stupid and dangerous things, I jumped right in and rooted her on. Greenwood's Nicholas/Simon/Jonathan is a lesson in sociopathic sleeze. Not only does he let his wife go to prison for his murder, he tells their son that his mother is dead, marries his wife's best friend, and then kills her in a gas explosion. One of the vilest creatures to hit film in some time. Tommy Lee is once again the Fugitive Hunter, but he's cool. Some of the action scenes are great and the ending serves up what you wanted..revenge and reunion.
I liked it. ... Read more

Reviews (21)

SIMPLE GENIUS
ROBERT DUVALL WON THE BEST ACTOR OSCAR FOR HIS ROLE IN THIS LITTLE FILM AND RIGHTFULLY SO.
HORTON FOOTES SIMPLE SCRIPT ALONG WITH NORTH TEXAS FLATLANDS FRAME THIS POIGNANT TALE OF AN ON THE SKIDS ONE TIME SOMEBODY IN THE WORLD OF COUNTRY MUSIC. ENTER MAC SLEDGE, DOWN AND OUT DRUNKARD WHO CANT EVEN PAY HIS MOTEL BILL.
HE ELECTS TO WORK IT OFF AND FALLS IN LOVE WITH THE WIDOWED MOTHER/OWNER OF THE RAMSHAKLE ROADSIDE INN.
TESS HARPER PLAYS THE CONSERVATIVE TEMPERANT CHRISTIAN WOMAN WHO HELPS MAC FIND HIS WAY AND MARRIES HIM IN THE PROCESS.
HE SLOWLY LICKS THE BOTTLE WHILE WARRING WITH HIS EX WIFE WHO IS CURRENTLY SUCCESSFUL IN HER OWN MUSIC CAREER.
THE EX COUPLE BATTLE OVER MACS RIGHTS TO SEE HIS ESTRANGED DAUGHTER PLAYED BY ELLEN BARKIN.
MAC RECORDS A SINGLE AND BEGINS PLAYING WITH A LOCAL BAND. SLEDGE GETS SAVED AND BAPTISED AT THE SPURRING OF HIS NEW WIFE AND WE BEGIN TO SEE THE LIGHT AT THE END OF THE TUNNEL FOR OUR PROTAGONIST.THIS IS NOT AN ACTION FLICK, A SCI FI FLUFF FILM OR A SLAP YOUR KNEE COMEDY. THIS IS A SIMPLE MOVIE WITH CHARACTERS AS RICH AS MILK CHOCALATE AND A STORY CRAFTED FROM QUALITY.

IT IS DOUBTFUL THIS FILM MADE MUCH MONEY AT THE BOX OFFICE. BUT THAT IN ITSELF SHOULD TELL YOU IT IS A THINKING PERSONS FILM

As close to perfection as movies ever get.
"Tender Mercies" proves beyond doubt that Americans can make movies the way Europeans do, and still make them unmistakably American. Sure, the director, Bruce Beresford, is Australian, but screenwriter Horton Foote and star Robert Duvall--both of whom won richly deserved Oscars--root this movie firmly in Texas soil. As Mac Sledge, an alcoholic country singer trying to rebuild his life and career, Duvall gives a performance of astounding complexity and emotional impact, all the more astounding because of its laconic spareness. It ranks as one of the greatest performances ever given by an American actor. He is nearly matched by Tess Harper as his new wife and Ellen Barkin as his daughter from his first marriage, and Russell Boyd's photography captures the Texas prairie in all its stark, lonesome beauty. Two other performances that deserve praise are those of Betty Buckley as Mac's country-star first wife--a woman who has let paranoia and resentment take over her life--and Allan Hubbard as Mac's stepson, a resoundingly normal, likable kid. Don't come to this movie looking for slam-bang action--it's a quiet, gentle slice of life, brimming with poignant emotion, filled with love and respect for its characters and their way of life.

QUIET PERFECTION
Box office wise, TENDER MERCIES, sounded like a pebble dropped in the ocean, but this is a cherished film among those who appreciate quiet perfection. The simplicity of this film is its lasting fame. But this was also Duvall's hour of glory and the Academy rightfully gave him his Best Actor Oscar (1983) in what had to be a runaway vote. Best Song nominee, "Over You" still launches my heart into my throat.

a must see!
I agree with the fact that this film was not a box-office blockbuster but it was just as well because when I saw it the theater was not filled which is the way I like it. In any case, I bought the DVD and watch it over and over. Duvall's singing was a surprise, not as good as Sissy Spacek's in Coal Miner's Daughter, but good enough for a small Texas bar. Another movie that I compare this to was Murphy's Romance with Sally Field and James Garner (Garner was nominated for an Oscar, I believe, the same year as Harrison Ford in Witness and William Hurt in Kiss of the Spider Woman.) This film has a sort of switched-roll theme on Tender Mercies with Sally Field as the down-on-her-luck woman who meets a stable, older man. Also a fantastic film as far as it's character study. See both if you can.

Almost...but....
It feels almost criminal not to give the obligatory five stars and effusive accolades to this film. But, expecting a prototype of The Apostle, I was a little let down by Tender Mercies. Both films deal with the similar theme of redemption, of getting a second chance in life, but The Apostle hits you much harder. In that film, Duvall takes you on a rollercoaster ride from hell to heaven. Tender Mercies does not. It takes a quieter road and this doesn't always help it. As one reviewer said, it has a 'laconic sparseness,' much like its high plains backdrop. And sometimes this skeleton would have done better with a bit more meat on its bones.

Duvall can't be faulted though. His performance as Mac Sledge, down and out ex-country legend, tormented by alcohol and the debris of divorce, is first class. Mac is taut and restrained. None of the explosive volatility of Sonny from the Apostle. By holding back, Duvall can still say everything and does, but I would have liked to have seen more tears, more rages.

Having hit rock bottom in some podunk Texas motel room, salvation arrives in the form of Tess Harper's character. A Vietnam widow, she eeks out a living for herself and for her son by managing a rundown motel. She decides to give her boozy tenant a chance to start over in life. Seeing what he was and what he could still be, her faith in Mac inspires him to change.

The only problem is that Tess's character doesn't really work. She doesn't have any depth. We never know why she opens her heart to this stranger. Ok, love...but their relationship is pretty passionless. At least from her side. With her simple wholesomeness and quiet piety, she seems a mere foil to Mac's worn-out worldliness.

The characters of Mac's ex and daughter are far more fleshed out. And better acted as well. Mac's ex seethes with the bitterness of their divorce and thus gives the film a jolt of life with her high strung antics. Jealous of Mac both professionally and personally, she can't accept his new life, his new happiness. Their daughter, played by Ellen Barkin, is the surprise of the film. Without a doubt, the best female character of the film, she subtly plays out the pains of a girl in search of her daddy. Whom she nevers really finds. Again, the complexities of the father-daughter relationship are poignantly hinted at, but taken no further.....

As is the spiritual change that inspires Mac to become baptized in the local church. What's the motivation behind it? Merely love for Tess's character or did he himself feel the need for it? Unexplored territory. Such unanswered questions often times increase the suspense of things, but here, too little was just too little.

The ending though makes up for these grey areas. Tragedy stikes as one door of life is closed and another opens. Mac dies to his past so he can start again. But at a tremendous cost. With the ending, Beresford does a truly masterful job of mixing pain with hope, as the ultimate message of the film is revealed. The Lord does indeed shower us with His 'tender mercies.' As He taketh, He giveth.

Tender Mercies, despite its flaws, is indeed a powerful story. Well worth the watch and for Duvall fans, a must. A taste treat, it gives a hint of even better things to come. ... Read more

Description

New hi def color transfer made from 35 mm interpositive - picture: 16x9 Anamorphic 1.85:1 presentation, 5.1 surround sound, subtitled in English, French and Spanish, commentary with director Bruce Beresford, 20 minute interview with actor Edward Woodward, in-depth character breakdown, photo gallery and original theatrical trailer. Synopsis: Based on a true story, Breaker Morant is the tale of three soldiers who are court-martialed at the end of the Boer War. When one of their comrades is ambushed and killed, three soldiers (Edward Woodward, Brian Brown and Lewis Fitz-Gerald) seek revenge and kill a Boer Solider. The act of murder and the mysterious disappearance of a German missionary leads to the arrest of the three men. In one of the most controversial court-martials in military history, they are defended by Major Thomas (Jack Thompson), small town Australian solicitor who has only been given one day to prepare the case. ... Read more

Reviews (36)

Horrifying realism, but profound in picturing culture clash.
Quebec 1634. Jesuit missionaries from France venture bravely into New France (Canada) to convert the Indian savages from their paganism. That's the historical background of "Black Robe", a movie based on the book by Brian Moore. It portrays the story of a fictional black robe Father Laforgue, who undertakes an arduous 1500 mile journey at the onset of a harsh winter. Guided by Algonquin Indians, threatened by Iroquois Indians, his destination is the Huron Indians. He is threatened by the elements, but most of all by the Indian paganism which construes him as a demon. The plot, however, is neither memorable nor outstanding - it is merely the background for a careful contemplation of characterization and complex questions about culture clash.

Laforgue's companion is the young Frenchman Daniel, and it is largely through his eyes that we see the clash between cultures and religions. The contrast between the faiths and cultures of the Western Christians and the native Indians is presented from the outset, with alternating shots portraying the "chiefs" of both sides preparing for a meeting. Both cultures fail to understand each other, and believe the other to be stupid and demon-possessed. At first, with Daniel, we are led to believe that the Jesuit's missionary endeavours are little else than misplaced colonialism and cultural arrogance. Laforgue is presented as rather arrogant and ignorant, his vocabulary of "poor barbarians" and "savage people", and his patronizing showing off of Western skills in reading and music and technology (an alarm clock) appears to confirm this impression. When Daniel suggests that the Indians are essentially Christian in their love for each other, and that with regard to their view of the afterlife the Indian beliefs are no harder to believe "than a Paradise where we all sit on clouds and look at God", Daniel seems to be a symbol of modern enlightened man who has realized it was wrong for Western man to force his beliefs on the natives. Daniel's romance with the Indian chief's daughter seems to be an unnecessary artificial intrusion of an unbelievable story of love at first sight, and appeared to be a concession to Hollywood's need to include sappy romance and sex. At this point I seriously wondered whether the movie was an apology for white supremacy and colonialism, a defence of multiculturalism, and another example of historical revisionism which romanticizes the Indians as saints and condemns the white imperialists as unforgivable criminals.

But as the movie progresses, it becomes clear that although Jesuit priests such as Laforgue were sometimes guilty of peddling colonialism rather than the gospel, their simple assessment is not simplistic but accurate: the Indians truly are savages who live in darkness. Daniel's multiculturalism is naïve, and Laforgue's view that it is a clash between two religions turns out to be correct, for he perceives the Indian religions to be work of the devil, while they in turn perceive him to be a demon. In the end, Laforgue is proven to be right, for the Indians show themselves to be true savages, engaged in brutal animalistic behaviour. Their hostility is not just due to the priest's rejection of their beliefs, but is rooted in their very nature. These scenes are not pleasant to see: the movie portrays their primitive behaviour with all its brutality and passion - unrestrained sex, torture, murder. The gruesome blood and gore is not for the faint-hearted and will at times make you want to close your eyes. But these fruits confirm that the apparently simplistic assessment of the black robe is right: "The savages are living in darkness. We must convert them." They need the light of the gospel and renewal of the Holy Spirit, to become like Laforgue, who despite his misplaced colonialism, is sincere in his love to reach out to the lost. The ending, however, is ambiguous on this point, with Laforgue apparently being converted to some of the Indian superstitions as he makes his final trek to the village of the Hurons. The tragic conclusion about the annihilation of the Hurons after they were converted is ambiguous in attributing blame for this horror: is it with the Christians who converted them, or is it with the darkness of their own kind who remained unconverted? Would the indigenous Indians have been better off if they had been untouched by European imperialism? If the movie has weaknesses aside from his dark portrait of brutality, it would be the ambiguity of the ending, for surely although the Jesuit mission work was at times misguided by colonialism, its identification of the kingdom of darkness was never truer.

Although it features wonderful cinematography of breathtaking Canadian scenery, this is not a pleasant movie to watch. Unlike most modern movies, the portrayal of violence and explicit sex is never entertaining, but always brutal, dark and representative of primitive barbarianism. On that point I personally found it rather too graphic and disturbing, and even the depth of the themes doesn't justify being exposed to this kind of darkness. But in the process it raises very complex and thought-provoking questions. The action is not fast and furious, but arranged at just the right places to stimulate contemplation. This is not typical Hollywood, because it gives the subject matter the realism, contemplation and seriousness it deserves. The blood and gore is all the more horrifying, because it is accurate. While this distinguishes it from the usual Hollywood cotton-candy, "Black Robe" is not surprisingly less popular because it requires an audience that can think. The movie is highly introspective, as Laforgue deals with his own struggles against lust and faith. But above all, it raises important questions about culture clash. While it portrays the truth about Jesuit missionaries being somewhat misplaced in their colonialism, it also portrays the truth about the barbarians that they sought to convert. Despite the weaknesses of the missionaries, in the end it becomes clear that as ambassadors of the kingdom of light, the black robes were truly symbols of light in battling against the powers of darkness. This is not an enjoyable movie to see, but it its treatment of colonialism and religion it raises profound questions - even if it doesn't answer them all.

If You Liked Last of the Mohicans, Do Not Miss This Film!
Few movies of recent memory arrived with such little fanfare but had such enormous impact on the viewer as did Black Robe. As powerful a tribute to good film making as Dances With Wolves or Last of the Mohicans [1992], this film transports you back to the North American wilderness of the seventeenth century, and gives the viewer a dose of realism that will live in your consciousness for days on end. Epic in it's scope and historically accurate in it's story, this movie captures on film what few others have accomplished for this period of history. If your idea of good cinema is an opportunity to be educated as well as to be entertained, and to relive a time in history long since past, then DO NOT miss this fine film! It is a must see movie for all history buffs... Excellent!

An antidote for the neo-romanticism of the AmerIndian
"Black Robe" is based on a novel of the same title written by the late Brian Moore, who also wrote the film's screenplay. Moore's idea for the plot of his novel and most of the details he used within it came from the Jesuit Relations- a 17th century chronicle of the day to day events of the North American mission of the Society of Jesus. While the Relations' main purpose was to describe successful conversions, miracles, and battles fought against Satan, they are also one of the most important historical records of the lives and customs of many American Indian tribes.

The Jesuits presented a wonderful depiction of the people they were trying to convert. Some of the stories are very funny- one Algonquin hired by the Jesuits to be a translator was asked by his employers for the Algonquin words relating to spiritual and religious topics. The translator instructed them and the Jesuits rushed off to preach to the Algonquins. It was only upon being greeted by the peeling laughter of their would-be converts did the Jesuits realize that their translator had instead instructed them on Algonquin foul language.

However, the Relations also depict a very grim picture of life in the mid 17th century wilderness. Contrary to what another reviewer has written here- adoption was not guaranteed for anyone! Yes, mass adoption later become something the Iroquois practiced, but only after their numbers had been so badly dwindled in their wars of conquest in the 1650-1670's. Women, children, and the elderly could be hideously tortured to death as well as men. The movie, in fact, was edited to avoid showing the Indians practicing ritual cannibalism on that slain boy- a custom that was common among the tribes of Eastern woodlands. To devour an enemy's flesh was to devour his power. The heart of a particularly brave enemy (such as the Jesuit martyr St. Jean Brebeuf) would be eaten by chiefs.

Also in the 17th century, the gauntlet was not the only ordeal for a male prisoner captured alive. If captured a male prisoner would usually have his hands mutiliated in some way- finger joints cut off by either cutting (sometimes with sea shells as shown in the movie) or by biting. Why? A warrior without the use of his fingers was useless- could not pull a bowstring or grasp a knife.

One could say that the Jesuits were biased in their desire to portray the Indians as savages and thus justify their conversion. However, the Relations are reknowned for their candor and there are too many other sources that describe women and children captives being summarily executed for little or no reason. (The famed voyageur and explorer Pierre Esprit Radisson in his autobiography "Voyages" saw with his own eyes- children and women being tortured to death by the Mohawks.)

The Algonquin bands of hunter/gatherers, with whom the French Jesuits made first contact, lived a mean existence by any standard. Theirs was a society that was utterly "christian" in that they shared everything, but also one that could not tolerate those who fell sick or lame. These unfortunates would just be abandoned. Life was hard enough for those healthy and fit. Also, living in a birchbark tent with almost no ventilation for smoke, zero privacy, a bunch of dogs, and lots of unwashed bodies was probably a much, much nastier place than what was shown in the film. (The meanness of these living conditions must have have been very tough on many members of the Society of Jesus because a lot of them came from families of great wealth and privilege.)

"Black Robe," the novel and the film, were meant to be an antidote to the current romancization of the AmerIndians. In recent decades we've taken one myth about the AmerIndians, that of the blood thirsty savage, and replaced it with another, the new age Eagle scout with a bent for ecology. "Black Robe" attempts to hit a middle ground- showing these people as humans who lived in a culture that was governed by different values than our own. They are shown as intelligent and brave, but also as greedy and very cruel. That Europe was awash with blood at the same time is beside the point. Brian Moore was trying to show that North America was never a Garden of Eden- people here still treated people different from themselves very cruelly.

As mentioned above, Moore actually held back in the screenplay certain elements of Algonquin life that could be found in his novel. Their everyday language was peppered by words that we would call vulgar- but to them it them it was just talking. They allowed promiscuity among unmarried young men and women- a fact that was found very enticing by French laymen, but scandalized the priests.

I don't think this movie is some sort of "propaganda" to perpetuate negative stereotypes on AmerIndians. I do think it is an honest attempt to show that these people were human beings whose lives were governed by the harshness of their surroundings. For an Algonquin band of hunter/gatherers living along the St. Lawrence, life truly was a survival of the fittest. Brian Moore simply held up a picture of the cruelty and difficulty of this existence, if some neo-romanticists don't like what they see then so be it.

Clash of Culture
Black Robe

The Black Robe reminds me of those classics during the 1960's of Daniel Boone and Davy Crockett. Another recent image for me is that of the movie the Last of the Mohicans (1992), based on the book of the same title by James Fenimore Cooper. Not to mention Dances with Wolves with Kevin Costner (1990) and directed by Kevin Costner. I happen to love most movies where that Native Americas are depicted in story that is uplifting about their lives. Black Robe was directed by Bruce Beresford, and is based on the novel written by Brian Moore. I found similarities in both Dances with Wolves and Black Robe.

The use of the natural settings of woods and rivers were fantastic and beautiful. The use of rivers as means of transportation is very realistic in Native American culture, especially since water is seen as the source of all life. This film at times seems to be more about the inner spiritual life of Chief Chomina (August Schellenberg) and his quest to follow his vision than about the journey of Father Laforgue (Lothaire Bluteau) to minister to the Indians in Quebec. While the Father did not show much spirituality, he did however have his memories which seemed very stark compared to the chief's visions. The differences of their cultures really did stand out in this movie. The Hurons were used to sharing their resources amongst themselves while Father Laforgue tried to keep things back for later use. Another culture shock for the Father was that of the Natives procreating at night. This bothered him greatly, so much so that he was tormented by it and had to leave his bed. This scene also took place in Dances with Wolves, here again was a white guy (Lt. John Dunbar) sleeping by a Native fire. Yet his reaction to what was happening brought him into a relationship where he married a member of the tribe and became one of them. Whereas Father Laforgue cut himself off from relationship and went off alone to do penance.

One phrase at the end of both films caught my attention: 15 years later. In the case of Dances with Wolves the phrase dealt with the fact that the expansion of white men into Native American territory meant the demise of their way of life. In Black Robe the Native Indians in Quebec who converted to Christianity became too docile and therefore were killed by other warring tribes after Father Laforgue's arrival. Interestingly spiritually they knew that this was going to happen. This film was great, but sadly since it came out not too long after Dances with Wolves, I believe that it was overshadowed by the former film.

For those who want to add to the Native American story collection, it is a great film that could be watched and compared to two other Native American epics: Last of the Mohicans, and Dances with Wolves.

Neo-Colonial Propaganda at its best
To begin with, I think this film is a true cineastic masterpiece. From its hauntingly beautiful score through the breathtaking landscape shots to the meticulous detail observed with any buildings, item of clothing and other equipment down to the last little piece of Native jewellery used, this film let's you immerse into a powerful image of 17th century eastern Canada "as it really was". The film is at its best when it illustrates mutual misunderstandings in the encounter of two completely different cultures.

The film endeavours to illustrate how the French "penetrated" Indian societies as opposed to the Spanish model of total exploitation or the English model of sheer destruction. It centers on the religious activities of French missionaries and decides to filter French military and economic engagements in the raging "Beaver Wars" out of the picture.

The clash of cultures is often illustrated by sharp cuts between Native and European worlds. These are always interesting, sometimes quite amusing. Often they amount to sheer propaganda of "savagery" vs. "civilisation". Indians huddle together, fart and copulate in dark, dirty and stinking wigwams while Europeans walk across beautiful Old World city squares conspiciously devoid of beggars, cripples and the omipresent garbage and sewage of the time. Indians practice primitive shamanism in forests while Europeans stride through light-flooded cathedrals and vow to relinquish the amenities of western Civilisation to salvage the infidels (even if "they" already cut of one of your ears in the process). Europeans do well-mannered house music in aristocratic mansions. Indians do it doggy-style in the dirt. Always, anywhere and with anyone, as the film will teach us through relentless repetition.

The clash of belief systems is personalised in an encounter of the dignified Jesuit priest with an Indian shaman - impersonalised by a ridiculously behaving and profounfly vicious yellow painted dwarf. What could have been an interesting example of Indian attitudes towards disabled and retarded people - worshipping people who are different as a manifestation of the divine instead of confining them to the margins of society - is turned into just another example of the film's leitmotif - the savagery of the barbaric Indian.

When the film was released a New York Times critic lauded the fact that this historical film got by with portraying American colonial history"without villains". Without white villains that is, of course. Set in a time when the Thirty Years War was raging through central Europe where entire populations of large cities were laughtered to the last woman and infant while seeking refuge in churches and when one third of Germany's population was slaughtered by armies of fellow Christians, the film centers entirely on what it presents as a realistic portray of "Indian savagery". When the Algonquin party with its European guests is captured by Iroquoians (the Algonquians speak neither Algonquian nor do the Iroquois speak Iroquoian but all happen to speak Cree here in fact but who would notice anyway) the male captives are forced to run the gauntlet in their captor's village. Once, badly battered, of course, they had survived this indeed pretty brutal initiation procedure, I , having at least a superficial knowledge of Iroquois culture, prepared myself for wittnessing the usual next step, the adoption of all captives into the tribe. I soon learned that the makers of the film seemed to have an agenda which would not permit such a less than traumatic ending.

It is towards the end that an ambitious yet heavily slanted portrayal of culture clash tilts into point-blank atrocity propaganda. Portraying matriarchic Iroqois societiy with its democratic decision making processes as a male-commandeered dictatorship is in itself a surprising failure given Beresford's claim to show everything "the way it really was". One wonders if this distortive rendering of Iroquois social life occurred unintentionally. How could they get such basic things so wrong? However, this appears like a lesser evil compared to the what we are supposed to learn of the treatment of captives by Iroqois. Captured women and children were regularly adopted into the tribe. In fact the Iroqois waged numerous wars on neighbours and absorbed their vanquished foes through something that amounted to genocide by hostile takeover, if you like. There was a time when 25,000 out of 35,000 Iroquois were adopted former enemies. The biggest indian killers of the time were disease, not war. Tribes replenished their thinned-out ranks with captured enemies and could hardly afford to kill them "unnecessarily". Male captives were in for a tougher ride and were only adopted after having endured the gauntlet.

The film shows none of this. Instead, the captured boy has his throat cut before his father's eyes for no apparent reason - exept "Indian savagery" which is, by definition, beyond any rationality. The captured woman is announced to be tortured to death the next day. The same fate awaits the male captives - although they just passed the initiation rite. One previous commentator hoped that the research done for the scenes in the Iroquois village was profound. Well, it was not. In fact, the makers of the film got everything beyond mere outfits wrong here. This is certainly not "a sensitive and earnest portrayal of Indians" as one previous reviewer reasoned.

At the end the film raises "the profound question" if it was right to bring the light of Christianity to the Hurons since they were later on "annihilated" by their heathen Iroquois enemies (in reality parts of the survivors were adopted into the tribe, others formed the influental Wiandot nation). What the film fails to mention is that it was hardly a Christian "turn the other cheek" attitude that brought about the demise of the Hurons but the fact that only partial conversion of the Hurons occurred which split the disease-stricken nation at a time of war when unity was most needed and that the French had chosen the Hurons as their allies and prime proxy fighters in the Beaver Wars against their Iroquois enemies - and finally let them down militarily when the Hurons needed their support (For some reading check out http://www.tolatsga.org/hur.html).

How to rate such a film? Five stars for its technical merits. One star for its often distortive, elaborate defamation of Native culture. I think that the latter weighs more heavily than the former. Two stars. See it. Carefully. I rented it. I wouldn't buy it. ... Read more

Amazon.com

Before coming to America to make such acclaimed films as Tender Mercies and Driving Miss Daisy, Australian director Bruce Beresford made a lasting impression with this compelling courtroom drama, considered one the finest films of the Australian new wave of the late 1970s and early 1980s. Based on a true story about three soldiers in the Boer War who are served up as political scapegoats of the British Empire, the film uses a flashback structure to dramatize the courtroom testimony.It begins when the three Australian soldiers are railroaded for the justified killing of a German missionary and placed on trial for court-martial not as a matter of justice, but to mollify the German government for the sake of political expediency. Burdened with a competent but inexperienced and hopelessly disadvantaged lawyer, the soldiers realize that their fate has been sealed and the outcome of their trial is a fait accompli. Unfolding with urgent precision and a riveting focus on its well-drawn characters, Breaker Morant was the all-time box-office hit in Australia at the time of its release in 1980, and it remains one of the very best historical dramas ever made. --Jeff Shannon ... Read more

Reviews (47)

One of the best Australian films every made
A subtle masterwork by Australian film maker Bruce Beresford (Driving Miss Daisy), BREAKER MORANT tells the true story (with some historical liberties) of three Australian soldiers put on trial for shooting prisoners during the Boer War in South Africa. The trial revolves around Cpt. Harry Morant (Edward Woodward in a fantastic performance), a soldier and poet who claimed his shooting of Boer prisoners was done under orders from above. It is both a court room drama and a story of the role of ethics in war. Told through the trial with flash backs to the past, Beresford never looses sight of the very human story he is telling. BREAKER MORANT is a jewel of a movie.

"And a man's foes shall be thay of his own household....."
Skillful director Brian Beresford, a brilliant ensemble of Australian actors, and the very talented English actor, Edward Woodward, came together in South Australia in 1979 to shoot one of Australia's finest films...a war time courtroom drama that excels in acting, narrative, script and cinematography.

Released at a time when the Australian film industry was on the verge of a world wide surge of interest with many other fine films (Mad Max 1979, Gallipoli 1981 etc.)...."Breaker Morant" set a benchmark for quality drama.

In the midst of the Boer War, three members of the Bushveldt Carboniers...Harry Morant, Peter Handcock & George Witton stand accused of the murder of Boer prisoners and a German missionary.

The men become the subject of a British court martial and it soon becomes clearly evident that they are mere pawns in a far greater diplomatic agenda between warring nations. The film closely tackles the issues of trialling soldiers for murder in times of war...and the differing interpretations of the orders recieved from senior officers.

Jack Thompson is outstanding as defence attorney, Major J.F. Thomas, attempting to save the lives of the trio. A youthful Bryan Brown is very memorable as the wild, simple larrikan, Peter Handcock...and Edward Woodward, in a moving and remarkable performance plays the role of the horse breaker-cum-soldier, Harry Hardboard Morant. Add a wonderful support cast including noted Australian actors Charles 'Bud' Tingwell, Alan Cassell, John Waters and Chris Haywood...and it's easy to see why this film garnished several key AFI awards upon it's release, and remains so highly regarded amongst critics and fans alike.

An intelligent, moving and thought provoking film "Breaker Morant" will be savoured by those who enjoy intense, challenging historical drama's. Highly Recommended !!

"Breaker" Morant, Outstanding Examplar of "Australian" Wave
I remember seeing this riveting film with my father in Westbury, LI, roughly after the period (due to shifting economics) cinemas became duplex. True, "Breaker Morant" is a smaller-scale film in one sense, but it is much greater than many of "epic" dimensions. The performances are uniformly (no pun intended) outstanding, Mr. Beresford's direction so skillfull it is arguably the finest filmed adaptation of a stage play I've ever seen. (In fact, in my first lapse of critical acuity, I didn't discover this until long afterwards!)

The films begins as a fact-based courtroom drama yet ends with a truly rare, poignant (not mawkish) poeticism. The script is fully realized: for example, it shows the title character as a refined, cultured man of the world. Late in the story, when in prison and offered the opportunity to escape, a visitor says: "You can see the world." So powerful is the portrayal of Morant, his devastatingly simple reply was interpreted prima facie by my accursed literal mind! (Hence, my second, and more serious critical lapse.) Australia should be proud of this contribution to world cinema, for it is a great, rara avis: a memorable film.

One of the Best Films Ever Made. Period.
This is quite simply one of the best films I have seen. Every person I have recommended this film to has said the same, and every person who has asked me what are the best films I have seen ( I am a true student and fan of film )- I immediately answer "Breaker Morant" either first or second. It brings the British Empire to it`s knees, at least ethically. Interestingly, some scholars have done research in the last decade or so and think that Morant was a cold-blooded killer ( doubtful, I think ). Director Beresford himself, when presented with this evidence said the same.

As far as this film is concerned- this "evidence" doesn`t detract from the greatness of " Breaker Morant" at all.(...)

Highly recommended
Along with Kubrick's Paths of Glory, this film ranks tops among its genre. During the Boer wars in Austrailia, Morant and his associates are prisoners to be executed for something stupid. While in custody, the Boers attack and Morant and his men are given rifles and fight valiently to stave off the attack. What does this act of bravery earn them! The answer is a big resounding nothing. Like the previously mentioned movie, it shows you how egos in the military get in the way of justice! Great acting and directing along with a story that is compelling to the last scene! ... Read more

Amazon.com essential video

Three Oscar-winning actresses have a go at one of playwright Beth Henley's southern-fried comedies, and cook up an agreeable gumbo. In the town of Hazelhurst, Mississippi, Diane Keaton dithers her birthday away as one sister (Jessica Lange) returns from a flopped attempt at a singing career in Hollywood, and the other sister (Sissy Spacek) languishes in jail after shooting her abusive hubby. Truth be told, all three have been a little touched in the head ever since the long-past day when their mother hanged herself along with the family cat. Bruce Beresford provides the workmanlike direction, and Sam Shepard and Tess Harper contribute supporting turns. But this one's all about the three skillful stars, who eschew showboating and defer to each other with real grace--they have the rhythms of family conversation down pat, and they embody the glances and sighs of sisterhood, rather than acting them. --Robert Horton ... Read more

Description

Ten of the world's greatest directors produce one unforgettable film in this sumptuous visual and musical feast based on the most famous arias in the history of opera. Erotic, violent, thought-provoking, funny, and moving, this critically-hailed milestone features the electrifyingly erotic film debut of Briget Fonda, a revealing appearance by supermodel Elizabeth Hurley (Austin Powers), and unforgettable performances from John Hurt (Harry Potter and the Sorcerer's Stone), Tilda Swinton (The Deep End), Beverly D'Angelo (Vacation), Theresa Russell (Wild Things), and many more! Segments directed by Robert Altman (Gosford Park), Bruce Beresford (Double Jeopardy), Bill Bryden, Jean-Luc Godard (Contempt), Derek Jarman (Edward II), Franc Roddam (Quadrophenia), Nicolas Roeg (Performance), Ken Russell (Tommy), Charles Sturridge (Longitude), Julien Temple (The Filth and the Fury). ... Read more

Reviews (10)

Liz Hurley's first important role in a movie
This movie provided Liz Hurley with her big break. Soon after this, Dennis Potter snapped her up for the lead role in the BBC adaptation of Christabel Bielenberg's 'The Past is Myself'. She became Hugh Grant's girlfriend and the rest is history. She transformed herself physically during her twenties, which is why some viewers have had problems identifying the occasionally nude actress that appears here as the very slim Liz Hurley they now know.

For me, 'Aria' was the classical music community's response to the rise of MTV and the pop video. Directors like Ken Russell and Nick Roeg wanted to show us that opera could be equally colourful and sexy, even if you couldn't dance to it. And they proved their case, to my mind.

But like a pop video, you wouldn't want to watch this too often. There's no substantive connection between each of the videos, so you end up feeling much the same as you would after a 90-minute immersion in MTV.

A Visual and audial smorgasbord
I have loved this movie for years. Granted, it may be for deep film buffs, but it is powerful.

Each vignette offers a top director's interpretation of a provocative aria. Opera lovers know how emotionally provocative the music can be; and that raw emotion is shown by each director.

The love story is one of the most romantic and tragic stories I have ever seen--the images are still in my mind 10 years after first seeing it. I had enjoyed a light introduction to opera before this movie, but after feeling the raw emotions this film created in me, I bought a few opera CDs based simply on first hearing the arias in this movie. There is even some VERY funny stuff is one scene.

So, in summary, the music, images, and emotions from this movies were all so intense, they've stayed with me for years. If you can take the intensity, do not miss out on this powerful movie that can be both sublime and intense at the same time.

The movie that started me on opera
I first saw Aria in the theater back in high school (about 3 million years ago) and only because I wanted to impress a girl way more artistic than myself.

It worked, but not in a way I'd expected. The movie, a series of vignettes, runs the whole emotional spectrum. In my younger days, we were blown away by the Wagner/Roddam piece starring a young Fonda, so loving and jarring at the same time. These days I find all the music beautiful, but one or two of the vignettes boring. The entire movie is beautifully shot and all deserves to be watched at least once.

After having done that you'll find continual enjoyment watching Sturridge, Beresford, Roddam, Jarman, and Bryden's interpretations.

Who knows, you might fall in love with opera too.

Great the first time, tends average, not for everyone
This movie was great the first time, on the big screen. The music and the images shock you, and make you squirm and react to this movie. It's an artistic roller coaster ride.

I've found since, however, that this shocking quality doesn't preserve especially well. My favorite way of watching this movie these days, is to turn the music on, while I'm doing stuff around the house, occassionally looking at the images.

It's artistry, it doesn't hold up under critical thinking.

Who will like this movie? Despite (or perhaps because of) the billing of mature content, I think that this is a good film for teenage viewers with a liking for art films. One must be able to appreciate both the variety and intensity of the images, and be able to forgive the story. Not a problem in an action movie, but for an "art film", it shows it's high concept roots.

Maybe a gift for an opera lover, or an "art film" buff.

A Most Incredible Experience
Aria is 90 minutes of pure wonderment -- I'm not certain what demographic this project was aimed at, but I definitely fall into it. You have to love opera style music yet not be so attached to the operas themselves that the re-presentation of the music offends. You have to enjoy video that your average couch potato won't get, no matter how many mind altering drugs he takes.

To really enjoy Aria, you have to check your expectations at the door and accept it for what it is -- a set of brilliant visual explorations fueled by some of the most incredible music ever written. With any other attitude, you're far more likely to find this a miserable experience. Too vulgar, too highbrow, too bizarre, too surreal, too whatever.

Some pieces tell a solid story, ranging from humorous to tragic. Others lack story line and speak to a different level of consciousness. Pathos. Humor. Death. Life. Celebration. Brilliance. Aria cleanses windows of perception, like a good wine between courses of a meal. On the other hand, it's a main course, in and of itself.

This is not fodder for young children, and most teens won't have the patience for it either. If you thought "Dude, Where's My Car?" was a brilliant movie, perhaps you'd better pass on this one as well. I only wish that more Wagner had been included ... perhaps an Aria II consisting solely of Wagner arias?

(If you'd like to discuss this movie or review in more depth, click on the "about me" link above and drop me an email. Thanks!) ... Read more

Reviews (27)

At Best This Is a Once in a Lifetime Movie, A True Must See
This in my estimate is one of the best movies ever-made. I highly recommend it to anyone male or female. I don't watch R-rated movies... This is one of those you can't figure out why it's rated R... Other than minor war violence. As a Christian, I found that the story-line is rich, hopeful, faith building and lively. This movie will stay with you for a very long time. There are so many different facets... The missionary character is my favorite. But each person that I have recommended the movie to, relates to a different character. This is not just a movie for women... Trust me on that! Paradise Road tells the story of many different European women held prisoners of War, by the Japenese, by exploring each character in a very simple way. The symphony that is created is spectacular. Glenn Close was flawless. I'm a guy who likes truely well thought, written, produced, and acted movies... Paradise Road is all that and then some. I can't say enough... Watch it and write your own review!

Paradise Road - Song of Survival
This is one of my all-time favourite films.

The moving tale of women POWs who form a chorus and use vocal music to help cope with the harsh reality of Japanese internment.

Paradise Road is a wonderful movie, a true story wonderfully told. It never fails to move me everytime I watch it and I have watched it a few times! ;-)

AMAZING
This movie was awesome!!! At first I was reluctant to watch it but my girlfriend forced me to. If it wasn't for her I never would have seen it.

Scenes Missing
I just watched Paradise Road on DVD and was very disappointed. I didn't see scenes I remember in the VHS version. I like the movie very much, but would not have purchased a version that was shortened. There are two scenes I remember from renting the movie previously. Those being where Jennifer Ehle meets her husband while he is attempting to escape the men's camp, and also the scene where Miss Drummond is buried and Glenn Close's character begins to hum and tap the Bolero piece the orchestra did. I have no idea why Fox would delete those scenes. The cover of the DVD indicates the movie is 132 minutes long, however my counter stopped at 110 or so. So please be forwarned, if you purchase the DVD you will not get the whole movie. Other than that, I would say the movie is worth having in a home collection.

Moving, Magnificent, Mesmerizing!
Paradise Road, has got to be the most moving War Time movie I have seen (the Patriot coming in at close second).
It is of a POW camp of woman in Sumatra who undergo terrible conditions where their own friends drop - one by one from disease, or perhaps execution. In spite of all this they still manage to show the barbarious Japanese that they still had some spirit left by forming their own vocal orchestra.
Cate Blanchett's performance is to be noted as in it she faces death were it left me in tears to watch her demise in the Pacific sun. She moved me incredibly and when I watched it I was sure she was my favourite actress.
Paradise Road is a must-see! If you have to see two films in your whole life-time watch this.... then watch it again! ;-) ... Read more

Reviews (28)

An Interesting True Story and an Excellent Movie
Director Bruce Beresford does an excellent job of translating this true story into an understated yet moving and ultimately heartwarming story of perserverance, love, human frailty, and faith. Pierce Brosman is both the coproducer and central character Desmond Doyle (although only one of the stars). The attraction for Brosnan of both the story and the role are obvious; he and Beresford deserve praise for their belief in the power of the story and their choice to tell it in a straightforward way with minimal embellishments or sentimentality.

Doyle is an Irish tradesman whose wife tires of their struggles and leaves him and their two boys and daughter Emily on the day after Christmas,1953. Given Doyle's unemployment and limited prospects and under the dictates of Irish family law at that time, the government places the brothers and Emily in separate Catholic orphanages. The film traces Desmond's efforts to both gain employment and eventually reform his heavy drinking habits, followed by his subsequent frustration with the government bureaucratic and court decisions that prohibit him from reuniting his family. He eventually enlists the support of two lawyers (Steven Rhea, Aidan Quinn) who consult a retired well known law professor (Alan Bates, coincidently Desmond's childhood idol as a famous rugby player) who reluctantly agrees to aid in the preparation of their case and eventually devises a strategy to challenge the law as unconstitutional. But this is not presented as a David vs. Goliath battle, but simply as an imperfect but devoted father determined to explore all possible means to be reunited with his children.

All the performaces were excellent and true to the story. Frank Kelly had an essential role as Desmond's father, and helped provide some of the infectious Irish music which was a key element in Desmond's transformation. Juliana Margulies played the barmaid and love interest to whom his lawyer was also attracted (in one of the few devices utilized to enliven the plot). Alan Bates role was wonderful and his performance was superb; however, the story rang true because of the acting of Sophie Vavasseur in the title role of Evelyn, Desmond's smart, loving, principled daughter whose love for her father and religious conviction in the truth and belief in goodness and God's love allowed her to maintain her faith that their family would eventually be reunited and helped provide her father with the strength that he needed.

I strongly recommend this movie for those theater goers who want to see excellent performances and an interesting and powerful story. It is relatively short (just over an hour and a half), and is in direct contrast to most modern films which attempt to overwhelm you with some combination of special effects, action, comedy, extreme emotional impact, excruciating detail or vulgarity. I was tempted to rate it five stars, and while in the end I decided that it did not quite rise to the top rating it is definitely a four star plus.

A Tender Story, This
EVELYN is one of those quiet films that doesn't get a lot of brouhaha when released but becomes a classic when it is widely available in the video stores. Based on an actual incident in Ireland in 1953 when a father deprived of his children by quirky twists of the courts perseveres in the name of fatherly love to achieve a challenge at the highest Supreme Court level to achieve a modification fo the Irish Constitution. Pierce Brosnan portrays the lovable father in question and his legal support comes from some the finest actors avialable today - Stephen Rea, Aidan Quinn, Alan Bates, and a bench full of sedate curmudgeons. Love interest is ably provided by the as usual superb Julianna Marguiles and a terrific cast of children. The atmosphere of the film is wholly Irish, from the views of the countryside, to Dublin skylines, to the interiors of the Catholic schools for girls and those for boys. Though the outcome of the movie is never in doubt, it is the getting there that provides a wholly satisfying glimpse of a bit of social reform history lovingly re-enacted.

Heartstrings & Clover
This little jewel of a film is as potent as it has been unheralded. Australian Director Bruce Beresford who was nominated for a Best Director Oscar for "Tender Mercies" and has also done "Driving Miss Daisy" and "Double Jeopardy" does a marvelous job with the small independent feature. From the informative featurette on the DVD, he was instrumental in pruning screenwriter Paul Pender's screenplay and insisting on Pierce Brosnan's final courtroom speech.

This film is one that touches your heartstrings. The theme of love a parent has for their children is universal and allows this to be a movie that is important to us. With the Irish setting and plot that centers on the Irish judicial system, it seems like heartstrings & clover.

Pierce Brosnan was the moving force behind putting the picture together; and it is an admirable project. Brosnan turns in one of his best performances as the father who fights to get his children back. His voice cracks with emotion as he tells how much he loves them and that he wants to bring them up surrounded by love. It's not corny or overly sentimental; it's what makes the world go round!

Sophie Vavasseur is wonderful as the title character Evelyn. She has the pureness and faith of a child's heart and nails the sweetness of the character. The scene where she watches her mother run off with another man is heartbreaking as the audience understands more than the child who watches with puzzlement. If there were more to wish for, additional time for the two boys to show their father's connection to them would have focused on the whole family.

ER's Julianna Margulies does a nice job as the supportive Bernadette who tends bar. She refers Brosnan's Desmond Doyle character to her brother lawyer Michael Beattie played by Stephen Rea. Rea's subdued solicitor character leads Doyle to yet another lawyer, barrister Nick Barron played by Aidan Quinn. They get Thomas Connolly on the team played by Alan Bates, recently from "Gosford Park" and "The Mothman Prophecy." Bates passed away from cancer in December 2003, but is full of feisty spirit as he shepherds the case to Irish Supreme Court. As Charlotte Doyle, Mairead Devlin gives a brief but memorable performance as the restless wife.

"Evelyn" was a small film, but it works wonderfully. It tugs at the heartstrings and is a great family film to help us recall how much our families mean in our lives. The shooting on the film started shortly after 9/11 and seems to draw inspiration from the time in which it was shot. The fact that this is based on a true story makes it poignant. This is essential viewing! Enjoy!

A Must See for Fathers (and Mothers and, especially, Judges)
Pierce Brosnan delivers a great performance in a serious role--a true story of Desmond Doyle, a man who changed Irish custody law. Doyle, whose wife left him with two small children, gave the children up temporarily (he thought) to the care of the Catholic church. He fought the Church and the state courts to the Irish Supreme Court to get his children back. Those who believe in a parent's constitutional right to be a parent to his children should buy this movie and watch it. It is a story of encouragement for fathers everywhere who are fighting for their children.

Don Hubin

Perfectly charming family film.
This is one of those rare films in which you will find a quality plot, good dialogue, and fine performances. Also I appreciate that it is such a clean movie that I can watch it with my mother without her being shocked or offended. ... Read more

Reviews (14)

An Artist's Opinion
I was lucky enough to see this movie during the one week it spent here in New Orleans, and I knew to look for it because six months earlier a fellow art/music/film/eccentric lifestyles maven had alerted me to it.

What I know about the life of Alma, I know from the film, so I cannot judge its veracity with historical accuracy-- although I am familiar with all of her lovers and husbands' work. I thought it was thoroughly enchanting-- here is why:

It is set in one of my favorite periods of European history, the fin-du-siecle up to post WWI, and the costumes and settings alone are truly gorgeous. Gustave Klimt makes an extended supporting appearance here; the immersion of the intelligentsia and high society in the aesthetic and cultural ideas of each period are ubiquitous. The art direction and research were masterfully undertaken; the light that appears in this film, both outdoor and indoor, contributes effectively in every scene. It is rare indeed that I am so aware of the light itself in a film as a primary "actor". From scenes set in elegant halls, to a sanatorium, to boulevards, to Oscar Kokoschka's wonderful studio, the sets alone inspire my admiration.

But of course that is not enough to sustain a movie-- the story here is a basic one: Alma Mahler was a woman of intelligence and artistic gifts who was continually put in the position of aesthetic concubinage because of her beauty and skill at the "feminine" role. The notion of a woman being needed to be "The Muse', the inspiratrix of Art, has not only been historically popular with (male) artists but has by definition precluded the active expression of said woman's talents.

There are women (and men) who even today suborn their inner "genius" in order to serve as the helpmeet to someone else's ability and career, while the inner creator within them becomes stifled from lack of expression. Alma did this with three men in succession, all of whom, while acknowledging her abilities, felt that her talents were only in evidence to be of service to them. Only her fourth husband, Franz Werfel, appears to have been secure enough both in his masculinity and his position as an artist to have encouraged her to revive her efforts on her own behalf. The movie closes with one of Alma's pieces debuting (soprano Renee Fleming sings) for the first time.

A brief summary of her love life
This is a very enjoyable movie. It doesn't delve deeply into Alma's life and there are a few historical inaccuracies. For example, the movie shows Gustav Mahler conducting his Symphony No. 8 and inserts text saying it was in 1910 at Carnegie Hall in New York City -- that is incorrect; Mahler gave the premier performance of his Symphony No. 8 in Munich, not New York City. So, the historical research behind this movie, while generally okay, is superficial. But it is a movie and much of what it says about her relatioships with these geniuses is accurate. I would have preferred the sound track to more accurately convey Mahler's music rather than the serious editing and watering down that was done here to supposedly fit more as background sound. But I did very much like the way Mahler's Adagietto from his 5th Symphony was used as background to the Mahler/Gropius/Alma scene where Alma was forced to choose between Gustav and Gropius -- very poignant. I recommend this movie, though keeping in mind that some of what is presented is not that accurate.

Ordinary People?
Filmmakers who attempt biopics -- lives of the great and near-great -- face a daunting task. Great creative souls are not like you and me. Their lives are usually filled with the kind of ambition, arrogance, dedication to art (and themselves), and personal tics that make them poor dinner companions. But anyone setting out to make a movie -- an inherently popular medium -- will soon feel pressured to fashion characters with whom we can sympathize, even identify. Hence the weaknesses in "Bride of the Wind."

Alma Mahler Gropius Werfel either married, or had affairs with, half the great creative men of early 20c. Vienna (thank you, Tom Lehrer!) What did she have that they all wanted? To find out, you'll have to look elsewhere. This film's Alma never reveals the passion, intelligence, and wit that got her Gustav and Walter and Franz. Instead, the movie implies that she gets Mahler interested in her by making a few insulting (and shallow) remarks about his music. When their relationship begins to cool, it's because, among other things, he's been forgetting her birthday.

Mahler himself comes off as an odd combination of diffidence and arrogance; onscreen he displays little of the legendary manic energy and hyperemotive behavior that made his performances at the Court Opera seem revolutionary. I guess the director wanted to stress, in conventional screenplay terms, that he was an Older Man. Even the music he conducts onscreen is taken at a geriatric pace, slower than any of the great recordings of those scores.

Things pick up once Alma moves on to Gropius, and especially when she takes up with Kokoschka and Werfel. Yet a kind of dusty solemnity continues to hang over the proceedings, aided by the beautiful but underlit settings and some very pedestrian dialogue. Renee Fleming fans will enjoy the last scene, and so will folks who enjoy parodies of "American Graffiti."

For music aficionados only: The guy with the bald head in several scenes is Arnold Schoenberg, a genius whose wildly unconventional music helped form the basis of 20c. classical style. Unless I fell asleep (and I may have), he doesn't get to utter a single word. I consider that symptomatic of the whole movie's effort to turn these tortured souls into Ordinary People.

Untitled
I stumbled upon this film knowing that it was based on Alma Mahler, the woman who was married to classical composer Gustav Mahler. Since Mahler is a huge fascination of mine, I was compelled to watch this film. While Gustav Mahler seemed to be the central focus of the story in the first half, Alma Mahler gets more of the spotlight during the second, which makes this seem like two different films.

Like another reviewer stated, if you're a history/research buff, you may notice some loopholes or inaccuracies within the story. However, I'm guessing that this wasn't really intended to be epic material. Other than that, the film is quite artistic, beautiful and seductive. In the first half of the movie, it was nice to see Mahler (played by Jonathan Pryce) conducting parts of his 5th symphony, and some of his other pieces, while gaining a little bit of insight into the personality and thought-processes of the composer, however accurate they were. Some of those scenes were painful to watch (especially when Mahler found out he had heart problems, and he was going to die.) Elsewhere, like the critic said on the page, Sarah Wynter as Alma, had a seductive air about her, as she portrays a woman with talent, lust, passion and heartache. Some of the love scenes in here were quite steamy as well.

Overall, if you have interest in Gustav Mahler, Alma Mahler or any of the other historical figures involved in the story, I'd recommend that you view this. Despite not being the most serious or epic of documentaries, there's more than enough ear and eye candy to keep you fascinated.

Bruce Beresford triumphs one again!
I must admit, I did rent this specifically to see Renée Fleming (in her very first film role!). My plan was to drudge through a boring movie so Fleming's appearance would make sense to me. However, I was pleasantly surprised to abandon my plan when I found myself not falling asleep, but heavily engrossed in this fascinating and compelling story! First off, Sarah Wynter, an unfairly neglected talent! What a committed and involved actress! She was totally dedicated to this woman. You could tell that she researched this woman's life and throughout the filming, really BECAME Alma in the process. Simple mature sophistication in her acting all the way -- a class act. Gregor Seberg, who plays Franz Werfel gives a convincing portrayl of his wonderful funny charming character. Big kudos to Vincent Perez who plays Oskar Kokoschka. Oskar has a lot of depth and Perez captures this extremely convincingly!

The story kinda drags in the beginning but eventually creates a compelling plot. I thought Alma was written so so well. She was such a developed character and person. I grew to really like her.

And of course, Renée Fleming was spectacular. Such a round, rich, velvety cream chocolate of a voice. Too bad there's less than 10 minutes of her. However, I'm such the movie's soundtrack has more.

I thought this movie was good. It didn't change my life or anything, but it was very good. Out of a 5.0, I give it at 4.0. ... Read more