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 of Jim Henson's finest hours was the Storyteller series that aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. Half of the eight-part series was adapted from Greek myths by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (a sturdy and wonderful Michael Gambon, accompanied by a scene-stealing dog) with dialogue from the stories to beguiling effect.

By nature, the Greek myth episodes are a bit more mature and downbeat (ages 8 and older) than the rest of the series, yet give the audience lasting impressions of oft-quoted tales. In "Perseus and the Gorgon," King Argos locks away his wife when it is foretold his future son will kill him. Soon mother and son (Perseus, fathered by none other than Zeus) are washed ashore and another angry king looks to take away Perseus's mother. How can Perseus win the day? By killing the evil Gorgon whose snake-covered head includes eyes that turn humans into statues. Derek Jacobi stars as the brilliant Greek designer in the second tale, "Daedalus and Icarus." The father goes through many hardships, including the famous episode of his son flying too close to the sun. All is not well and does not end well. John Madden (Shakespeare in Love) directs the tale of "Theseus and the Minotaur." A young man reunites with his father, King Aegeus, but is cursed by his witch of a stepmother (literally). When Theseus tries to stop the regular sacrifice to the half-bull, half-man Minotaur, a new curse awaits the young prince. The magical musician Orpheus (Art Malik) finds his muse in "Orpheus and Eurydice." Unfortunately, she soon dies and goes to Hades where Orpheus follows, attempting to win her soul from the devil himself. --Doug Thomas ... Read more

Reviews (2)

Immerse Yourself In Ancient Mythos...
Whether you are a Mythology major in a university or one who has become so familar in the subject that you consider yourself an expert, you are sure to love these myths-come-to-life retellings brought to the screen. Kept in the same vein as Jim Henson's The Storyteller series featuring John Hurt, this series is also told by a teller of stories represented by Michael Gambon and with as much ability to mesmerise the listener as his predecessor.

The music (which is a crowning point, in my opinion) is weaved by Rachel Portman who, as always, delivers a lovely score marred fittingly with dark, forboding - yet bittersweet tones. In many instances such as in the tale of 'Orpheus & Eurydice', the climatic storytelling is accompanied by the score which successfully heightens the intensity of what will happen next. Everything set to music from Eurydice's 'birth' to Ariadne's furious curse when she realises Theseus has abandoned her is rapturously beautiful, chillingly haunting.

The acting performances are also well worth mentioning, most notably that of Gina Bellman [Eurydice], Jesse Birdsall [Aristaeus] and Maggie O'Neill [Ariadne]. Whether it be the wonder found in new life, mischief or the sting of being betrayed, these things prove small feats to bring across by such seasoned performers as these.

Having waited what seems forever for this program to come to DVD, I am ecstatic that it finally has. Remaining true to the original Grecian myths, this series will be cherished for ages to come in the homes of fantasy and mythology lovers alike.

Complete your Jim Henson's The Storyteller Collection
Last year, fans were thrilled to find Jim Henson's The Storyteller Collection on DVD for the first time featuring the fairy tales crafted for the series. Thanks to the success of that DVD, the Greek Myths are also being released this year. While the effects of the series are somewhat dated, the series is still spectacular, incorporating the genius of Jim Henson and those he gathered around him. Also note that the storyteller in this series is Michael Gambon, the new Dumbledore in the third Harry Potter movie.

And to let you know what is on the DVD, here is the episode info provided by Columbia Tristar Home Entertainment:

DAEDALUS AND ICARUS: Daedalus, one of the greatest inventors of ancient Greece, and his son Icarus are betrayed by cruel King Minos and must flee for their lives. To escape Daedalus creates wings to they can fly to safety but will the young Icarus heed his father's instructions or will their dreams melt away.

ORPHEUS AND EURYDICE: The great musician Orpheus vows to bring back the soul of his beloved Eurydice from the depths of Hades. But the task he must complete to reunite with his love turns out to be as tortuous as the fate he will have to endure.

PERSEUS AND THE GORGON: When the evil king threatens Perseus' mother, he must bring back the head of Medussa - who's stare will turn anyone who looks upon her to stone. Will the help of the gods be enough to aid in this seemingly impossible task?

THESEUS AND THE MINATAUR: With the help of a beautiful princess, Theseus tracks down the man-eating Minotaur, half-man, half-bull to prove his courage and loyalty. A fight to the death ensues, and a shocking secret emerges. ... Read more

Reviews (104)

Cage was not believable
I was disappointed in this movie overall. Cage did not work as an italian. The scenes of him playing the mandolin showed him "acting." The characters were not developed in the movie. You know nothing about them and are expected to be moved by their love for each other? The best part of the movie is the breathtaking beauty of the island. The characters and the story were flat.

Read the book... miss the flick!
The movie, while rich in cinematography with a beautiful score, disppoints endlessly. The characters are thrown at you, with no introduction. The acting is pathetic at times, with Penelope Cruz yet to master speaking english, Nicolas Cage lacking the charm of the book's character, and Mandras (Bale) taking on a role that is so different from the book the story is completely changed, and only for the worse. The movie begins half way through the original story, and differs so dramatically, one can only be disappointed. Read the book, you will LOVE it, skip the movie... 100% let down!

One of the years best film
I had the privelidge to watch the entire film at AMC theatre in Amherst NY. It was a special screening of the film before it will be release.

The film is primarily a love story, set in a Greece island during World War 2.

The story is a bit complicated but it carried a message. Live your life to the fullest. Even during the worst of times.

Well done John Madden, Nicolas Cage, Penelope Cruze and the rest of the cast for making this marvolous film

Crow'd Pleasing Entertainment
I can guarantee that there's always someone reading the novel Captain Corelli's Mandolin. I'd also bet that everyone who's read it would not believe they could make it into a film. I also thought that, but wasn't dissapointed in the least bit. Set on the island of Cephalonia, Mandolan tells the love story between Pelagia (Penny Cruz) and Captain Antonio Corelli (Cage), set against the unfolding story of WW2. It changes elements of the book (as it had to), but for the good and is shot intelligently, sympathetically and beautifully, with some marvellous performances - John Hurt being a notable. OK, so it doesn't tell the book word for word and it distorts some of the original history, but it looks wonderful, is engaging and very emotional. Go see, even if you do think, 'They'll never make it as well as the book.'

I doubt it will be an Oscar winner, but it is definately one of the best film's I've seen this summer (which is not saying much actually).

Early release in France
I saw this film in Paris since it opened there June 20th and I loved it. I have been urged to read the book, which I have yet to do, but my aunt who has read the book and saw the movie with me said it followed the book closely until the end which they were forced to cut short. Pelagia's father is so wise and I think all the main actors were very good. My aunt said she couldn't see Nicolas Cage as Captain Corelli after reading the book, but she was very pleased with his performance. I really did like this film, so go and see it! lol ... Read more

Reviews (1)

Morse at his best, part two
The Inspector Morse series is one of the greatest in detective drama. While Colin Dexter's books are marvels of intricate (and occasionally bizarre) plot twists, the movies focus more on the characters involved...and in this movie (and "Who Killed Harry Field") especially so. The mystery is good, but the kinship between Morse and chief suspect Michael Steppings is best thing about this particular episode. It's one of those great films where the bad guys and good guys seem to have reversed roles, and the whole mystery hinges on one small slip...#2 on the list of the five greatest Morses! ... Read more

Amazon.com

An unsolved murder case is reopened after a suspect is released from jail, but when he and two of his associates are found dead, detectives Inspector Morse and Sergeant Lewis face one of their most difficult investigations, and Morse's involvement may be more personal than he is willing to admit.

The final case for British television's best-loved detective is suffused with melancholy. Years of stress and far too much beer have taken their toll, and Morse is a sick man. Popping pills, wincing with pain, and drinking in spite of doctor's orders, Morse keeps going because he is obsessed with bringing criminals to justice. It's impossible to imagine him in retirement, but his vocation has ruined his health and now threatens his life.

The complex relationship between Morse and his partner has always been at the heart of the show's success, and at the beginning of "The Remorseful Day," that relationship is even more strained than usual.Lewis is furious when Morse takes over his investigation into the multiple murders, and the ailing Morse is more irritable than ever. But in spite of all their differences the two men complement one another and they are soon working together again. When this final episode moves into its final act Kevin Whately's performance as the faithful, underappreciated Lewis is deeply moving, providing a fitting coda to their enduring partnership.

The accompanying documentary includes behind-the-scenes footage, interviews with many of the distinguished actors who have appeared in the show over the years, and comments from Morse's creator, Colin Dexter. --Simon Leake ... Read more

Reviews (9)

A REMORSEFUL ADAPTATION
There's been a murder here, but it's not the one you think. The adaptation of Colin Dexter's "The Remorseful Day" has left a stinking corpse of what was a masterful story, an exquisite exposition of the "Parsifal" like heart of Endeavour Morse. The culprits? Rebecca Eaton and her doltish cadre of American PBS writers who have distinguished themselves in missing the entire point of the book.
Mind you, if you have not read the book, you'll enjoy this video. All the great elements are there: John Thaw essays Morse brilliantly, Kevin Whately turns in a terrific performance as Lewis, although he is compelled to deliver a totally ridiculous and melodramatic "Morse is dead!" proclamation. He acquits himself and moves on. All the supporting players, the family intrigues, the score, the filmwork - all executed brilliantly. So, you'd have little reason to suspect something is awry.

But there is and it is as great a disservice to a book as I can ever remember. Now, that argument can be made about a lot of transfers from book to film, but in this case, and with this series, which has been so faithful to Dexter's works, it is just incomprehensible. I can only conclude that it is due to the American fascination with smoothing out any sense of nuance in order to champion the easily digestible. I should tell you where the crime lies, but that's not fair to anyone who really would enjoy what actually happened in the story. Suffice it to say that much of the story turns on the Parsifal legend, and how in fact the pure of heart are vindicated with vision of the grail, whatever form that grail may take. So, Endeavour Morse is vindicated in a coda that lingers with you long, long after you put the book down. Throughout the film, there are efforts made to quote not only Wagner's theme for "Parsifal", but Han Knappertsbusch's direction of it in the 1962 score. Why? Well, Morse makes reference to it in discussion with Lewis, and it fits with the T.S Elliott quote that includes the title of the story, plus Knappertsbusch was himself the most Morse like of conductors in every way imaginable, and in 1962 was well aware that he was dying. So with all of the main clues in tact, why on earth Eaton and her merry band of nitwits elected to miss the point is not only unimaginable but unforgiveable.

Certainly, enjoy this DVD for what it is. I assure you that if you read the book, you will want, as I want, to grab the murderous crutch and shove it where PBS don't broadcast. The most heinous murder in Oxford was committed in Boston. Shame on Eaton. Perhaps one day Dexter will insist on a reshoot, although Thaw is not well, and Whately may have no interest in any further casting as Lewis. Somehow, the record, as it is in the book, needs to be set straight.

Morse's End Predates John Thaw's by Only a Few Years
Sad to see that the great actor, John Thaw has passed away from esophageal cancer.

This episode is on par with all of the other great episodes of this outstanding series. Thaw's portrayal of an intellectual, world-weary British detective who confronts often complex and involved cases of murder and other crimes.

Now episode to this point really brought home to me how much I loved Inspector Morse. I was actually quite angry to see the great Inspector face such health problems (an understatement), but in light of John Thaw's actual illness, I guess it is to be expected.

My only regret is that there are not 100 more episodes hidden away somewhere. Inspector Morse and John Thaw will be sorely missed.

Relish the Well-done Remorseful Day
This is probably one of the best (if not *the* best) Inspector Morse television episode. I admit to alot of that bias *not* going toward it for being the final installment of the series, but more for it being such a WELL-DONE final installment of the series.

The obligatory murder plot/premise has to do with the re-opening of a case involving the death of a middle-aged temptress/nurse named Yvonne Harrison. Lewis and Morse tackle the case, with the latter acting particularly strange concerning many aspects of the matter. There are a plethora of suspects, one of whom is Morse's own doctor, which conveniently leads to scenes showing how the great Chief Inspector's health is deteriorating rapidly. The Harrison case, while definitely being worked-through carefully, isn't the real focus of the story.

Morse's plight is the prime meaning behind "The Remorseful Day". Never before has the character been rendered so human, and so pathetic. His lady-friend (appearing in recent TV adaptations) has apparently left him, and so Morse is utterly alone. There are poignant scenes between he and Lewis, of him making final preparations, and of him sitting alone in his home listening to profoundly sad classical music. John Thaw as Morse gives a veritable tour-de-force, in the most subtle and gracious way possible, of the great detective in his declining days.

Special note should be given to all involved in the television adaptation, for they have, in my opinion, surpassed the novel. Colin Dexter's book was fine, but it dealt more heavily with the actual murder case, and the illness of Morse was left for small parts, usually at the end of each day. Here, with the version made for the small screen, we have the situation of Morse's closing life brought to the forefront. It is done well, and an experience to watch.

The last scene is terribly moving. I always make it a point to realize that when I sit down to watch a movie or television show, NOT to get too emotional, because there are only actors upon the screen - nothing is real. I thought I would be able to hold forth with said beliefs while watching "The Remorseful Day". But the very last scene, involving just Lewis and Morse, brought tears to my eyes. The swelling music and the starkness of the scene was a wonderful way to end the series.

The impression left is one not easily forgotten.

Please Endeavour to Read this Review!
As a final good-bye to a wonderful series, I was disappointed in "The Remorseful Day." It is a sad and touching film where Chief Inspector Morse bids a fond farewell; however, the film is somewhat disjointed. Morse, more ill than ever -- due to his lack of caring for his health -- exits via a simple myocardial infarction! Couldn't it have been more dramatic or move moving than this?!!! One scene, however, prior to the last touching scene in the mortuary is excellent. It is the night before Morse's death (unbeknownst to him, of course) where he is sitting on his sofa. The look on his face is pathetic and tells the viewer everything. It is without doubt (to me) one of the best scenes in the film -- almost like the blind girl discovering that Chaplin was her benefactor in "City Lights." It is done without words -- only facial expressions.

Alas, our hero has to die and he exits rather pitifully telling Strange to "thank Lewis." I wanted something much more dramatic and much more moving; I suspect Mr. Dexter really does want to retire. The last scene -- when Lewis views Morse's body on a slab and leans over to kiss him -- is very moving and will bring a tear to the eyes of every Morse fan. Although he may have had a rich and rewarding life in his own way with his work, music, poetry and knowledge, I wanted him to go out differently, to have had a woman who really loved him, to have had something in life so very meaningful.... We will miss a very good fictional character and the actors who portrayed the detectives so well. However, thanks to the magic of the movies, we can enjoy the Inspector for years to come!

Goodbye old friend
The loss of "Chief Inspector Morse" hit me just as hard in this, Thaw's, last appearance as this fictional character as the real loss of Jeremy Bret ending the greatest rendition of Sherlock Holmes since the death of Basil Rathbone. Even watching the videos of all the other "cases" is bittersweet as the memory of Lewis kissing Morses' head goodbye in the closing scene now overshadows them all. The true sign of an actors actor making a written character live so vividly. A must see for any Morse fan- just be sure to have the hanky handy and see all the other Morses- first. ... Read more

Reviews (11)

Are you a Born Romantic ?
If you love Romance, you simply must have this video! Yes, Ethan and Mattie are what we call "star crossed lovers" in a way, so all the more reason why their courtship escalates so far beyond the mundane.

I promise you this: there are at least two love scenes in this film that are so amorous and seductive that you will most certainly rewind the tape just to reassure yourself that it was accomplished completely without nudity.

Liam Neeson (Ethan) is at his expected best, portraying a character who is astonishingly sexy and lovable regardless of his physical deformity or intensely tragic circumstances. And Patricia Arquette (Mattie) exquisitely personifies a beautiful and kind young woman approaching her first peak of sexuality.

All of the actors are wonderful and the film follows the book very closely. Buy the video, read the book, and then if you are a true Romantic you will watch the video again and again.

Do read the previous reviews from other customers, I enjoyed reading all of them.

It could've been a great movie...
...If only Patricia Arquette weren't in it. I never had anything against her before I saw this movie, but boy, does she know how to ruin a good movie. Liam Neeson was brilliant, and Joan Allen's performance was good, too, but Arquette's "acting" (I use the term loosely) was so overblown, so limp and clumsy and unbelievable, that it ruined the whole film for me; I've seen sixth-graders with better acting skills than I saw out of Arquette in this movie. It's a shame, because the scenes without her in them are brilliant, and the other actors turn in commendable performances. If only they'd hired a more competent actress or paid for some lessons for Arquette.

It was a good book
Ethan Fromme is a great romance book, however as books to movies go, this is one of the worst. Most of the facts were there, but there were added details, and a few missing things which just destroyed the message portrayed in the book.

In the book, Ethan's crippled condition is only barely highlited, yet in the movie, it is dragged out to almost hillarious proportions. This reduces the novels intended effect on viewers of the movie, as the fact that it is supposed to seem almost a punishment on Ethan is lost almost completely. Zeena, the lifeless doll which we see with a certain sense of dread at her introduction in the novel, is a beautiful young woman when she appears in the movie, with only a little less charm later on, when, in the events of the novel, she is supposed to seem almost like death itself. Zeena in the movie is constantly portrayed as being not as bad as we are led to see in the book, therefore making us care for her and almost wonder why Ethan would want to have an affair when he has such a 'good' wife. Also, the character of Mattie, an innocent, vivacious character in the novel, is portrayed as a flirtatious... and almost instigates the affair more than Ethan. In the novel, Ethan is the one who truely begins everything, secretly longing for her, but never able to express his feelings to her until he fears she will be gone.

All these changes destroy the tone with which the author of the book adressed Ethan, and ruined the message that we were supposed to get out of her work. Instead of feeling for the characters of Ethan and Mattie as the evil Zeena destroys Ethan, we feel a sense of disgust at Mattie and Ethan's affair. While the movie was true to the book in many ways, it was the ways in which it wasn't that make this movie sub-par, and almost disgraceful to the book.

Interesting Movie
I really enjoyed the VHS version of this film and I'm looking forward to watching the DVD. I purchased the video a few years ago for a relative and I recently tried to buy one for myself. I was disappointed to find out that it was no longer for sale on VHS format. Fortunately, they are now going to offer it on DVD...I'm placing my order today!

AWESOME CHEMISTRY!!!
If you LOVE Romantic movies with chemistry, especially between the actor and actress, you will LOVE this movie. The chemistry between Liam Neeson and Patricia Arquette is breath taking!!!
I get butterflies in my stomach on a couple of scenes. I wouldn't change a thing in this movie it is absolutely superb!!! ... Read more

Reviews (1)

This was a very funny Morse!
It was very fuuny and sad. Poor Morse he had to learn the hard way . And I love the music and where the flimed it! ... Read more

Amazon.com

One of the most winning and intelligent romantic comedies of the '90s, Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. At the 1999 Academy Awards, this dark-horse costume comedy sneaked off with sevenOscars, besting the highly favored Saving Private Ryan for Best Picture. 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. Most of the jokes in the first one-third of the film are along these lines: Will's anachronistic therapist session, a mug inscribed "A Souvenir from Stratford-Upon-Avon," Henslowe's battles to pay off his debts, and the backstage high jinks of pre-production. However, once Will sets his eyes on the beautiful Viola De Lesseps (Gwyneth Paltrow), joking takes a backseat to ravishing romance. Well, almost--turns out Viola wants to break into the world of male-only theater, and disguises herself as a young man to wangle herself an audition. She wins the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes a beautiful, tragic romance, and Ethel is shoved aside for a woman named Juliet. Will and Viola's romance, however, is equal parts comedy and tragedy--he's married, and she's betrothed to the slimy Lord Wessex (Colin Firth), and it doesn't take an English major to figure out that it's not all's well that ends well.

Like Shakespeare's work itself, the film is instantly accessible to everyone, from the raucous groundlings looking for low comedy to the aesthetes hankering for some intellectual bite behind their entertainment. 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. Director John Madden(Mrs. Brown) reigns in his huge ensemble with a rollicking energythat keeps the film's momentum going at top speed for its entire two hours. Along the way there are small gems to be found: Ben Affleck's riotous egotistical actor, Imelda Staunton's nimble nurse, and of course Judi Dench's eight-minute,Oscar-winning turn as a truly regal Queen Elizabeth. However, 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 Will as we might expect him at the early stage of his career, bundled full of comedy and tragedy but unsure of how to harness his talent. 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. Bythe 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

Reviews (1)

At last -- Inspector Morse's first novel comes to video!
Inspector Morse is cerebral, almost an armchair decetcive in the Sherlock Holmes tradition. This video is based on the first Morse novel, but came about halfway through the series' run on ITV. John Thaw is notable in his performance because he almost underplays the role of Morse, and Kevin Whatley as Sergeant Lewis makes a good Watson, trying to understand Morse's thought process, and providing a lens through which us viewers of merely average intellect can comprehend how Morse's mind works. This will never appeal to a general audience, but it's very enjoyable to those at whom it's targeted. ... Read more

Amazon.com

John Thaw brought one of Britain's best-loved TV detectives to life in this telefilm that started the long-running Inspector Morseseries, based on the novels by Colin Dexter. The brilliant, somewhat elitist police inspector who loves crosswords, classical music, and more than the occasional pint of ale clumsily romances a woman (Gemma Jones) from his choir. When he finds her hanged in her apartment on the eve of their big recital, he suspects murder and muscles his way in on the investigation. All the assigned investigators are convinced it's suicide except for the eager Sergeant Lewis (Kevin Whately), and Morse and Lewis reluctantly team up to sort out a mystery tangled in blackmail, adultery, peeping neighbors (former Doctor Who Patrick Troughton), and mistaken identities.

With his snooty temperament and lone-wolf lifestyle, the white-haired,Oxford educated bachelor is a wonderful mismatch with the younger Lewis, a married man with a family and a rather less classical background. There's a quiet undercurrent of affection and respect that builds with each continuing Inspector Morse mystery, as well as an air of melancholia and loneliness beautifully developed in the script by future Oscar®-winning writer-director Anthony Minghella (The English Patient). Morse's initial theories may be washouts (a series hallmark), but his relentless sleuthing, eye for clues, and mind for puzzles dredges up the answer in the end, even as he loses the girl.

The DVD also features the 50-minute documentary The Mystery of Morse, a kind of character study built around a tour of Morse series shooting locations. It features interviews with the stars, the producer, the composer, and author Colin Dexter. --Sean Axmaker ... Read more

Reviews (2)

Very good title to own, great story
If you've ever watched an Inspector Morse story this, the first one, is as good as any of them. For those who haven't seen Morse on PBS or A&E this is a good start because the story has all that a police story needs and does it well. It is English which will turn just a few people off but do try it, so much better than most of the stuff on television.

A Different Kettle of Fish...
THE DEAD OF JERICO was the first Inspector Morse tale broadcast in the U.S. on 'Mystery Theatre', the series developed by the Corporation for Public Broadcasting (PBS). For those with an intellectual bent, this series was "heady" stuff. Morse is the hard drinking, Wagnerian loving, Jaguar driving, crossword-puzzle working, police officer created by the Oxford writer and acrostics maestro Sir Colin Dexter. Played by the wonderful actor John Thaw, Morse is known only by his last name. His first--Endeavor, for the famous Nelson ship--remains a secret to most. Morse code buried in the theme music by Phelong Barrington spells out M-O-R-S-E.

In THE DEAD OF JERICO, Morse acquires his trusty sidekick, the loveable Lewis played by Kevin Whately, whom, by way of introduction he informs, "I'm a different kettle of fish." An intellectual loner, Morse has a less than sucessful way with women, and in THE DEAD OF JERICO his bad luck is evident. His love interest a woman named Anne, played by Gemma Jones (the mother in SENSE AND SENSIBILITY and THE WINSLOW BOY, which she also co-produced). Anne is a piano teacher and member of the the Oxford Community Choir along with Morse.

Anne lives in a newly refurbished town house in Jerico, a gentrified neighborhood in the city of Oxford. After choir practice, Morse walks her home, and occasionally they have a drink in the local pub or she makes him a cup of tea at her place. One day, Anne fails to appear for a scheduled choir performance. When Morse goes to check on her after the concert, he discovers the police have found her dead. Who killed her and why? Or, did she die by her own hand? At the beginning, Morse is viewed as an intruder by the officer assigned to the case due to his involvement with the deceased, but soon Morse is placed in charge of the investigation.

This is not a run-of-the-mill mystery. THE DEAD OF JERICO is a wonderful adaptation of one of Colin Dexter's fine books. Anthony Minghella directed this tale, and then went on to direct THE ENGLISH PATIENT, for which he won an Oscar. Kevin Whately (Sergeant Lewis) also had a role in THE ENGLISH PATIENT--as one of the two sappers who defused bombs left by the Nazis.

The DVD version of THE DEAD OF JERICO is outstanding. The cinematograpy is excellent, the color is clear and bright. The film is filled with footage showing the City of Oxford and the University, and if you're an Anglophile you will love this film for these shots alone. Inspector Morse's red Jaguar never looked better--in between repair jobs. I love the Morse series and recommend this DVD for your collection. You will watch it more than once. ... Read more

Reviews (2)

Time Capsule Morse
If there was any program that got the closest to reflecting correctly life in Britain during the 80s and 90s, it was Inspector Morse.

While "Masonic Mysteries" and "Last Seen Wearing" are probably the best of the mysteries, "Cherubim and Seraphim" is the one that captures the British 80s/90s Zeitgeist best. The direction of this program is as good as any well-done British thriller.

It was end of an era. Now you'll understand Peter Hitchens.

A Mystery Which Hits [Morse] Close to Home
"Cherubim & Seraphim", the second Inspector Morse episode to be directed by Danny Boyle (the other was "Masonic Mysteries"; an episode which literally hits Morse close to home!), who's the well-renowned director behind such feature-films as Trainspotting and The Beach, and features his trademark directorial style, deviates from the norm in terms of the way in which the plot unfolds: unlike other Morse episodes, instead of being a conventional - or not-so, in some cases - whodunit, all along the audience knows who the guilty party is, à la Columbo. The culprit in this case is the procurer of ecstasy-like drugs, played by Jason Isaacs [The Patriot], in yet another evil role. The script centers around the fact three youths have died by suicidal means and, as we find out, had all been partaking, days anterior to their deaths, in the aforementioned drug. The youths' walls were adorned posters in their rooms containing computer-generated patterns which represent the "Chaos Theory" (e.g. if a butterfly is beating its wings somewhere, there will be a hurricane somewhere else, and these two seemingly unrelated events are in fact interrelate), which Sgt. Lewis is more that happy to explain to Morse; and they were all in the same type of eclectic dance music. It's one of the more personal Inspector Morse episodes, as one of the deceased youths happens to be Morse's step-niece; it also shows how out of touch Morse is with contemporary youth culture (drugs/sex/music) and children in general. For instance, when Morse stops by the school to interview his step-niece's best friend who was the last person to see her alive, he unwittingly stumbles in to her euphemistically-titled "Personal & Social Development" class just when the teacher is asking a student if he knows what the contraceptive device she's holding in her hand is. He's taken aback by the mere fact that they're having a teacher-student discussion, no less a class, about sex in school. In this episode, Morse reveals some of his past secrets to Lewis, whom he addresses, in a rarely captured televised moment, by his first name ("Robbie"). Three of the revelations include how his parents frequently fought and their subsequent brake-up, one of his low points as a morose 15-year-old, and the roots of the acrimonious relationship he continues to have with his step-mother. Definitely one of the best Morse films for catching a glimpse into his upbringing. Even the dance-oriented music in this episode, which incorporates classical music into its medley, is really well done. Overall it's another superlative self-contained film featuring Chief Inspector Morse. ... Read more

Reviews (6)

Fair episode, poorly designed DVD
As others have pointed out, Sgt. Lewis does not appear in this, the penultimate Morse. Apparently, it was because of a contract dispute between the studio/producers and actor Kevin Whately. Despite his absence, and Morse being bound to a hospital bed for most of the program, it's a decent and entertaining episode.

My real complaint is with the quality of the DVD. As with others in this series, the makers of this disk have done a poor job packaging Morse. It's almost comical that this is the only disk in the series for which they've included a photo of Lewis, yet it's the only episode he's not in! I gave up on buying these Region 1 disks long ago. Instead, I bought the complete series from the UK (an elegant package of the whole set is available through Amazon.co.uk) and picked up a multi-regional DVD player on which to watch them. The series and the player together cost about the same as the series would cost if you bought all of the U.S. editions.

A few comments on this episode
As others have pointed out, no lewis in this particular episode. But that's ok really, if you like the rest of the series. If you are a fan of the series, you are aware that the 33 total episodes are either loosely based on or slightly related to Colin Dexter's handful of novels, and are not meant to replace or represent fundamentally his work in anyway. Besides, in the book Lewis is an unimportant character, so his absence is no gaping a hole. At the time Kevin Whatley was working on other television programs and films. John Thaw was as well (Kavannagh QC) but you really really really can't have Morse without Morse. So, disregarding the absence of Lewis and the plot changes, this is still a great episode. Not the best, but its still better than watching Murder She Wrote or Diagnosis Murder.

Morse the Time Traveler
As junior XXX pointed out in his/her review, this episode features no Sergeant Lewis. He's nowhere to be found for whatever reason. But even in the novel, the character of Lewis is less than integral to the plot.

While you (we) can only guess at the film adaptation's dumping of Lewis, I found this a most enjoyable episode of Inspector Morse, as we flashback to the year 1859, complete with haunting period music. It's an interesting combination of Morse and "period piece." It not only foreshadows "what's to come" in "The Remorseful Day", it virtually sets up the "last Morse."

Lastly, I have not read all of the Dexter novels, but of the few I have read, this film adaptation strays farthest from the original novel. It ain't just Sergeant Lewis missing. There are other fundamental plot and character changes. Once you get over the substantial changes, you may find, like me, that this is one of the more enjoyable episodes of Morse.

the weakest Morse of all....where Lewis?
instead of sergeant lewis helping an ill Morse solve a case that is 140 years old, there is a new copper name kershaw. i forgot the name of the actor who played kershaw yet i don't care because he is so bloody awful. once kershaw enters the picture, THE WENCH IS DEAD goes downhill. as always, john thaw is fine as morse. hey, sgt lewis is in the novel. he is mentioned once in the tv movie but nowhere to be seen. perhaps kevin whately (as lewis) was too busy making another popular UK tv series "Peak Practice" where he plays a doctor. thankfully whately and john thaw reunite for the final Morse film THE REMORSEFUL DAY. see it instead and forget THE WENCH IS DEAD.

Wierdly wonderfull.
A wonderfull piece of work.His last ? Do not panic, do not fret,he's just gone down "The Trout" for a quick half. In England,we've already seen the next concocksion of murder,dry hummour,pubs and the ever present American tourists !!!! ... Read more

Reviews (2)

Not one of the better films....
THE SETTLING OF THE SUN is not one of the better Morse films. The acting is stagy and overdone. The camera shots are bizarre and awkward. The hotch-potch use of elements from other more successful filmed versions of Colin Dexter's books, such as "Last Seen Wearing", "Last Bus to Woodstock" and "The Dead of Jericho" is insulting to the knowing fan.

I am not sure this film is based on a book. I don't remember reading a book with this title, nor did I find the plot familiar. (I thought I had read all of Colin Dexter's 'Morse' books.) If it is based on a book, the plot is certainly far inferior to those found other tales.

The tortured and unbelievable plot is overlaid with repetitious use of "Morse-isms" which are supposed to "wow" American audiences such as: Morse thinking over a pint in a friendly tavern; Morse driving his little red jaguar all over Oxford; Morse playing music and drinking at home; Morse unwilling to look at a body (three times with the same body). Morse's interest in the female "lead" is far from enthusiastic. It's almost as if he is going through the motions. Also, it's a bit hard to believe that this ditsy overwrought female has the least bit of attractiveness for Morse.

Don't get me wrong. I love the little "English" touches a much as the next Anglophile. I just hate being taken for a sucker. However,if you are devoted Morse fan you will probably want to buy it. Just can't get enough of the late John Thaw.

Possiby the Darkest of All the Inspector Morse Films
The undertones in "Setting of the Sun" deal with war and the moral repercussions thereof. Its direction is, along with "Service of All the Dead," among the most bleak and atmospheric of the Morse films. Another commonality which this film shares with the aforementioned film is its convoluted-yet-plausible plot, consisting of a rather intricate conspiracy theory. It may take a couple viewings for you to comprehend, it certainly did for me. Inspector Morse is asked to present a prize for a crossword competition at a summer school in Londsdale college for a group of overseas students. A murder conducted in a gruesome manner takes place while Morse is dining with the group. It turns out his presence was not incidental; he was meant to be a witness. Jane Robson's, Morse's love interest and the person who invited him to present the prize, feelings for Morse are not mutual in this episode. The uncertain long-term implications of war are beautifully presented at the end with the innocent view of Morse's love interest's daughter, when asked about her grandfather, whose suffering during the war was the impetus behind the conspiracy. ... Read more

Reviews (4)

An excellent introduction to the Inspector Morse series.
An Amazon.com reviewer of July 10th has written a superb review of this episode of the extensive series of Morse mysteries and I won't go over ground that he or she has ably covered. For those viewers who are convinced by his/her review to begin watching the Morse mysteries with The Silent World of Nicholas Quinn, I would like to add that the mystery begins with the opening credits.

We are introduced to the deaf Nicholas Quinn, an examiner at a Board based in Oxford, England. He is standing by himself reading the lips of the various people talking with one another at a wine party. We see the obvious concern on his face that something is desperately wrong, but, like him, we can't hear what many of the guests are saying. He does not need to hear; his facility reading lips is evident. He tells another reviewer that the examinations conducted by the Board are compromised and he walks out of the party in distress.

In the next scene, still while the credits are playing, we watch a fire drill at the Examining Board. We don't see Nicholas Quinn leave the building even though we are told that everyone is accounted for. If you watch this scene a second time carefully, many of the clues to unlock the mystery are contained in this first few minutes of the program.

My guess is that most people who view this mystery like solving complicated puzzles and will enjoy watching each clue that Morse uncovers right to the last scene.

John Thaw, unfortunately now dead, was a superb English actor and he found an ideal character to play in the crusty Chief Inspector Morse. Kevin Whately is almost equally as good as his long suffering sidekick, Sergeant Lewis. Viewers who like this early installment will have a chance to watch Morse and Lewis in action many more times in this outstanding and long running series.

exquisite!
This has grown to be my favourite Inspector Morse of the entire Morse series! The more I watch this the more enchanted I become with it uncovering little pieces each time. Exquisite indeed!

The murder is set in the arcane world of examiantion boards which were affiliated to some of England's major universities as arbiters of the academic development of students at ages 16 and 18. This obscure branch of academia is nonetheless an ivory tower existance disguising basic human failings of jealousy, greed etc.

When a relatively new examiner is found dead at home the detectives seem to be looking beyond the workplace but in the course of the investigation the examination board becomes the centre of attention.

Essential Morse has three main interests, his love of opera, his appreciation of real ale (microbrews in American parlance), and his fascination of crosswords. It is in the last of these that we find the core to this story. As always the story is composed like a crossword such that the clues must be solved before completing the case. Here, however, the crossword assumes a much greater role. One of the other examiners, and as such a suspect, turns out to be an intellectual hero of Morse, Daedalus, who sets a particu;arly challenging crossword which gives Morse great pleasure. The two men share similar interests and it becomes apparent that they have a similar view of the world. They become competitors in trying to resolve the case but only until Daedalus (played superbly by Michael Gough) is also murdered although he leaves some difficult clues behind.

Another dimension to this story is the love interest of examiner Monica. Again there is a crossword perspective. Morse is intrigued by the physical and intellectual beauty of this woman, but as usual he cannot solve the clues to understanding her. He is torn between his feelings for her as a person and the growing suspicion that she is somehow involved in the murders. Ultimately this conflict is only resolved when it is too late.

The plot twists and turns and has several blind allies but it is compulsive viweing and by the device of Daedelus we get to see a mirror image of Morse the man. Kevin Whately puts in another superb performance as the long suffering Lewis who we perceive as the apprentice of the master but also the master's concience.

An excellent vintage and quite excellent indeed.

The DVD version is a little disappointing in that it delivers a full-screen format with a cleaner sound. Moreover Barrington Phelong's incidental music does not benefit from the transfer. It would certainly benefit from a remastering. The other additional features are minimal but did make me replay the Jeremy Brett version of Arthur Conan Doyle's "Sign of Four" shortly afterwards to find John Thaw in fine form. I am sure that Inspector Morse fans would appreciate the show even more if it was available in the widescreen format but I am afraid that that is unlikely.

Still, this remains an exceptional introduction to the Morse series and an absolute must have for one's fledling DVD collection.

Vintage Morse...
THE SILENT WORLD OF NICOLAS QUINN is about a man who works for a syndicate in Oxford England. The bu