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Rarely has The Merchant of Venice, one of Shakespeare's most complex plays, looked as ravishingly sumptuous as in this adaptation, directed by Michael Radford (Il Postino). In a decadent version of renaissance Venice, a young nobleman named Bassanio (Joseph Fiennes, Shakespeare in Love) seeks to woo the lovely Portia (newcomer Lynn Collins), but lacks the money to travel to her estate. He seeks support from his friend, the merchant Antonio (Jeremy Irons, Reversal of Fortune); Antonio's fortune is tied up in sea ventures, so the merchant offers to borrow money from a Jewish moneylender, Shylock (Al Pacino, Dog Day Afternoon). But Shylock holds a grudge against Antonio, who has routinely treated the Jew with contempt, and demands that if the debt is not repaid in three months, the price will be a pound of Antonio's flesh.

The Merchant of Venice is famous as a "problem play"--the gritty matters of moneylending and anti-Semitism sit uncomfortably beside the fairy tale elements of Portia and Bassanio's romance, and some twists of the plot can seem arbitrary or even cruel. The strength of Radford's intelligent and passionate interpretation is that he and the excellent cast invest the play's opposing facets with full emotional weight, thus making every question the play raises acute and inescapable. Irons is particularly compelling; kindness and blind prejudice sit side by side in his breast, rendering the clashes in his character as vivid as those in the play itself. --Bret Fetzer ... Read more

Reviews (38)

"How Sweet the Moonlight Sleeps"
This is, generally, a very satisfying filming of a very problematic play.Director Radford, who also adapted the screenplay, deserves credit for his bold choices in casting and for his not shying away from some of the more troublesome aspects of the text.Is Pacino a successful Shylock?I think so, although by way of Brooklyn.He is especially powerful in the famous courtroom scene, which otherwise comes dangerously close to being exploitative on the screen.There is much to recommend here, including a stellar supporting cast.Few actors can hold their own next to Pacino, but Lynn Collins comes close.After an unfortunate entrance as the young lawyer (she looks uncomfortably like Sonny Chiba), Collins makes us forget the incongruities in her role and attend, instead, to Portia's masterful polemics.The quality of makeup is not strained!(Collins, by the way, is an actress from Texas, but this does not become an issue.She has been linked romantically with Keanu Reeves, her costar in "Il Mare."Perhaps these two will at some point treat us to a film of "Anthony and Cleopatra"?--another of Shakespeare's plays that has been criminally neglected by Hollywood.)Other actors worthy of mention are MacKenzie Crook and Ron Cook as the younger and older Gobbos, and Kris Marshall and John Sessions as Gratiano and Salerio.Heather ("Kinsey") Goldenhersh as Nerissa and Allan Corduner as Tubal are also fine.Several up-and-coming young actors appear in supporting roles, including Tony Schiena, Julian Nest, and Tom Leick, who is soon to be seen in "House of Boys," with a screenplay by J.T. LeRoy.

I have given the film 4 stars, but I would like to give the DVD itself 5. Watching the film, I had many questions for the director--for instance, why are certain scenes deleted, while others are out of sequence?--and I'm happy to say that most all of these are answered in the delightful director's commentary, for which Michael Radford is joined by Lynn Collins.I learned a lot about the rationale behind certain casting and directorial choices and came to appreciate the film itself better as a result.For example, the director has choreographed certain scenes to reflect a love triangle among Antonio, Portia, and Bassanio, something that is heavily debated in Shakespearan criticism.Radford even gives us a rationale for his having asked the actresses playing prostitutes to appear with their breasts exposed!See this film, certainly; it has many qualities to recommend it, not the least of which are a lovely soundtrack by Jocelyn Pook and location filming in both Venice and Luxemburg.But, to get the whole experience, see it on DVD and then watch the director's commentary.

Not Bad
Good sets.Good costumes.Al appears to be reading from cue cards off camera in some scenes, although I think he plays a believable part. I wish Jeremy could speak up a little. No subtitles in English, only French; kinda dumb isn't it?

Pacino and Shakespeare save this movie from itself
Shakespeare's lines will carry any movie above the waterline, and the same can be said of Pacino's acting. They both make this movie presentable and even excellent at times. However, the angle of the movie seems to be one of contradiction to the text, beginning with the introductory text prior to the film's dialogue (text from the Director NOT Shakespeare). This text attempts to excuse the very play itself for its characterization of Christians and the Jew, Shylock. If the play needed an intro, Shakespeare would have written a prologue. It certainly works to bias the audience in a way. The other attempt to do this is several scenes where the "Christian" characters are carousing in a bawdy house with a bunch of half-naked prostitutes. Clearly, the director attempts to make a martyr of Shylock and hypocrites of all the non-Jew characters: however Shakespeare's text is what it is. The nudity is utterly unnecessary and detracts from the integrity of the play--plus it cannot now be shown to young people.

Other than those detractions, I think the film is excellent. The trial scene is superb and brings the tension of the moment to life. Besides Pacino the other actors do a fine job. Unfortunately, though I am a lover of Shakespeare, I would not want to watch this again.

Author of "Shakespeare on Spirituality: Life-Changing Wisdom from Shakespeare's Plays"

gratuitous nudity
While this film is a relatively accurate and well acted version of the Shakespeare play, it has nudity in it where none is called for. This makes it unusable in the American classroom and cheapens the play itself.

Great production of a play that is hard to like!
This is an outstanding production of the one work of Shakespeare that is the most difficult to like.It is impossible to get around the anti-Semitism.This production tries very hard to put the anti-Semitism in context and I think to tone it down, but in the end it is impossible to eliminate it.To some extent Shylock is being punished for being vindictive and not showing mercy, but it is impossible to ignore that in the end the play seems to celebrate Shylock's foced conversion to Christianity.

Al Pacino's performance is disconcerting as he seems to be playing Shylock with a New Yawk accent.But Lynne Collins is truly oustanding as Portia.This version of Merchant really shines in the comic portion of the story where Portia masquerades as a man and successfully entreats Bassanio to give up his wedding ring (which he had earlier promised Portia he would never part with).This is one of the few Shakespearean productions I have seen where a woman masquerading as a man is actually credible.

The settings, costumes, and photography are all spectacular.I found I was able to focus on the positive elements and not get bogged down with the more distressing parts of the plot.But I sympathize with those who find the anti-Semitic aspects of the story too distressing. ... Read more

Reviews (66)

A Film That Will Make You Want To Write Metafore
The other day I had to watch this movie for my Italian class. The movie was fabulous. In the beginning of the film I felt bad for Mario (brilliantly acted by Massimo Troisi), he just seemed so awkward, and because he didn't like fishing, it seemed like he was a failure to his father and the rest of the village. This begins to change when Mario becomes a postman, delivering mail to the Chilean love poet Pablo Neruda. Mario and Neruda develop a great friendship + Mario becomes more confident and falls in love. I had heard very good things about this movie, but watching it was a fabulous experience + it was better than I expected.

Today in Italian, we watched an interview with the director and the TV special about Neruda that are included on the DVD. I didn't know, while watching the film, that the star Massimo Troisi was dying during filming. Learning that he was holding on to life just to complete this film, made it all the more special and sad. I also learned that the actor who played Neruda (Philippe Noiret) acted in French and was later dubbed into Italian. I thought that was a really interesting fact.

All in all this is a great film. It will make you cry. It will make you want to read Neruda's poetry, and even more so, it will make you want to write poetry of your own.

Beautiful, Enchanting, Understated...a Masterpiece
This is definitely one of my all time favorite films and one I just had to own. It's so beautifully understated and so deeply human that I don't know how anyone could fail to fall in love with it and remain in love with it, always. IL POSTINO is a film with everything: comedy, pathos, beauty, love, loss, poetry, beautifully understated performances by all the actors, gorgeous cinematography. I don't know who could ask for more.

IL POSTINO takes place in 1953 and centers around an unlikely friendship of sorts between a shy, backward postman, Mario, and the great Chilean poet, Pablo Neruda. It takes place on a little island off the coast of Italy where Mario (Massimo Troisi) has just been given the job of delivering mail to the island's newest inhabitant, Pablo Neruda (Philippe Noiret). Mario, who has the soul of a poet, though he doesn't realize it yet, can't help but notice that Neruda, a very unlikely Casanova, receives many letters that seem to be from women. In fact, there is a woman who lives with him (probably his wife) and Mario can see how deeply in love they are.

Mario knows there's something special about Neruda, even if he can't articulate exactly what it is, and he decides to get to know him better, no matter what. His first attempts are almost akin to stalking (and probably would be if he weren't Neruda's postman), but Mario perseveres and the friendship between the two men eventually flourishes. Initially, Mario wants to get to know Neruda so he can learn how to pick up girls (not a bad reason), but, as the men get to know each other, Mario learns that there is so much more to life, and so much more to his own soul, than simply "picking up girls."

One of the things that makes IL POSTINO a masterpiece is the fact that all of the actors, and especially Troisi and Noiret, give very gracefully nuanced, very understated performances. There is no glitz and glamour here, thankfully, and none is needed. This film is so "real" and so "human" that it weaves a web of magic around the viewer before the viewer is even aware of what is happening. One of the most telling, and heartbreaking, moments comes near the film's end after Neruda has departed the island. Mario is reading a newspaper clipping in which Neruda is quoted as saying of his time on the island, "I lived in complete solitude with the most simple people in the world." Although Mario doesn't comment on this, his facial expression, which barely changes, reveals just how deeply hurt (and complex) he is. Philippe Noiret's very understand performance is lovely as well, and he and Troisi play off of each other wonderfully.

IL POSTINO was Massimo Troisi's "dream project" and, sadly, he died the day the film wrapped production. With IL POSTINO, however, he left us a wonderful legacy. This film is quiet and understated, but it is also charming, endearing, beguiling and enchanting. It says more about "life" than any mega blockbuster ever could. IL POSTINO is a film made with love, about love. It is a masterpiece of life that most viewers will treasure.

Enjoyable and delightful film!
Massimo Troisi's last work as Il postino became his undesired cinema testament. His acting became in one of the most expressive performings ever given : amazing, charming, overwhelming , powerful and sincere.
Noiret is a multiple skill gifted actor ; his presence literally invades the whole screen and his performance as Neruda is top notch.
The landscapes are arresting : the plot is full inspired and the direction is towering . Radford got a sublime work : an unforgettable artistic work. Besides the music is another brilliant actor: even there is a jazz version of the Yellowjackets.
And don't forget the funny and clever statement of il postino : "The poem doesn't own to the poet but whom needs it*

"MAN HAS NO BUSINESS WITH THE SIMPLICITY OF COMPLEXITY"...
What a poignant and bittersweet Italian comedy about the friendship between exiled Chilean poet Pablo Neruda and his shy postman (played by Troisi), made so in no small measure by Troisi's quietly contained but gripping performance.

The lyrical screenplay perfectly balances the intimate story of a local postman with the social and political realties of 1950s Italy, suggesting that the backwater, impoverished Italian "Mezzogiorno" could find new potentials just like the movie's protagonist.

In weaving its leisurely unfolding tapestry (hint: the movie may feel slow to people who're used to Hollywood's wham-bam), the film works on many different levels -- a tribute to the power and beauty of poetry; a tale of brotherhood; a charmingly quirky romance (between Troisi and barmaid Maria Grazia Cucinotta).

Unfortunately, the ending of the film is somewhat mishandled with couple of unnecessary scenes, but it is this very ending that I found the most memorable because it eerily corresponds with the tragedy of real life behind cameras.

Couldn't recommend this lyrical gem highly enough.

Glorification of collaborator in mass murder
If this movie used a mythical accomplished poet to build the story around, I would find it a pleasant if light diversion. But it not only gives us Neruda, it is unabashedly enthusiastic about Neruda's remorseless support for Stalinist mass murder. He may have created interesting metaphors, but he was unable to comprehend morality. It wasn't that Soviet crimes were unknown in Neruda's time, it was that he chose to support them. His career was devoted to extolling Marxism, and he accepted the Stalin prize from the Soviet murderers.

It is impossible to imagine a film made today that glorified an artist who was a Nazi, but we are still subjected to the mythmaking that, at once, conceals and implicitely justifies communist mass slaughter. The movie does not merely place the characters in the time of Soviet brutality, and refer in passing it, it shamelessly revels in communism. It is thin and evil propaganda. ... Read more

Description

At the Blue Iguana, in the heart of LA's San Fernando Valley, the lives of five strip club dancers converge over the course of one week. Angel (Daryl Hannah), attempts to qualify as a foster mother; Jasmine (Sandra Oh), is a clandestine poet who finds love at a coffee house reading; Jo (Jennifer Tilly), faces an unplanned pregnancy; Stormy (Sheila Kelley), confronts her bewildering past and Jesse (Charlotte Ayanna) gets a tough introduction to life in LA. This glimpse into the oft-misunderstood world of the strip club bares each girl inside and out both onstage and off, providing an insight to the story behind the dance. ... Read more

Reviews (24)

A Daring Chance for All Involved..and It Works!
How refreshing to see a film that is made as a group effort, that gives as much credibility to the Director (Michael Radford) as it does to the actors (Daryl Hannah, Jennifer Tilly, Sheila Kelly, Charlotte Ayanna, Elias Kosteas, and Sandra Oh) and to the camera men, costumers, etc. This is a tough slice of life to examine - the sordid existence of the women who work the strip joints in the San Fernando Valley - and the technique of using the improvisational style greatly enhances the feeling of reality.

Each of the characters in this dark film were given enough information about their character to have an outline which they then fleshed out into the richly three dimensional characters we see on the screen. This takes great courage on the part of a director, but given the quality of talent involved, the payoff is well worth it. Sandra Oh gives a thrilling performance of a poet-by-day/stripper-by-night and finally has a venue for showing how richly talented she is. Daryl Hannah turns in a wholly believeable bravura performance as a less than bright yet tender and near delusional young woman in search of a life that makes sense. Jennifer Tilly gives an over the edge portrayal of a leather-type who perhaps holds more aching tenderness beneath her tough shell that she herself knows. Sheila Kelly's character just smolders. All of the actresses have the courage to 'bear it all' in the dance sequences and we can only applaud their commitment to Michael Radford's sense of style.

This is a much overlooked little movie that will probably surface in the art houses on a routine basis as a film ahead of its time.

Don't pass it by
Too many people (including myself) passed this by upon its release, and thankfully with the advent of Video and DVD, it may get a second shot at life.

Cast off any aspersions that this is another T&A movie. There is nudity, but it's (for the most part) tastefully done, and not always gratuitous. Unlike such moronic fare as "Striptease" or "Coyote Ugly", this film aspires to much higher ground, more along the lines of Atom Egoyan's brilliant "Exotica".

*side note* like that film, it includes a lot of Leonard Cohen and features noted Canadian character actor Elias Koteas! Coincidence?

Daryl Hannah acquits herself admirably, and Jennifer Tilly does a great job of combining pathos and comedy (the S&M scene is hysterical), but the standout here is Canadian actress Sandra Oh ("Last Night"), who plays outside of type and has you alternatively seduced and saddened along with her character.

Not to be ignored; rent it, then tell a friend. Films like this are few and far between.

Too lousy to be campy
This movie is so poorly directed and acted (Hats off to Darryl Hannah for a horse faced perfromance) that it can't even be enjoyed as a midnight movie. All the characters are underdeveloped and the story so muddled, you actually get bored when the girls are stripping. The movie is really long and horribly improvised. Sandra Oh is the only credible actress and does her best to carry all the scenes. The documentary about real strippers (on the dvd edition) and where the story was inspired, is what should have been released as a movie. It's more interesting and gritty.

just purely terrible
...in which a group of moderately talented big name movie actresses get somebody to film their improv class. Said class apparently exists to allow them to fulfill their fantasies of being strippers, a lifestyle they interpret with all the eloquence and passion you'd expect from poorly educated, not very bright in the first place young women who've skated through life on their looks.

Not what one would expect...
When I first looked at the cover and saw that the movie had Jennifer Tilly in it, I figured it was just another soft-core quasi-porn film and put it back on the shelf. Months later, out of boredom, I finally rented it. The movie turned out to be quite interesting and not at all like what the cover would lead one to believe. Jennifer Tilly is still Jennifer Tilly of course but, fortunately, she has a minor role.

I highly recommend this intelligent film. ... Read more

Reviews (102)

An outstanding rendition/interpretation of Orwell's novel.
This movie/DVD captures the spirit of Orwell's novel more perfectly than almost any movie I have ever seen that was derived from a book. The film perfectly captures the sense of dispair, the dingy physical lives of the people, the omnipresence of a malevolent Government, all of which constitute the main theme of the story.

William Hurt turns in quite literally a perfect performance as Winston Smith, the main protagonist of the story. The cinamatography of the film is brilliant, and perfectly captures the dingy, ratty existence of life in the ultimate totalitarian/socialist state. The constant background harangue of the Party via the telescreens is perfectly done. If Orwell had lived to see this film I believe that he would find little or nothing to criticize. It brilliantly captures the novel for the silver screen.

Without giving anything away, this is the story of one Winston Smith, a citizen of "Oceania" which is one of three superstates that dominate the world. (Oceania is comprised of Britain, the Americas, and Australasia; its adversaries Eurasia and Eastasia are of similar size and power). The Government dominates and controls everything through the "Party" which promotes the doctrine "Ingsoc" (derived from "English Socialism"). Everyone, even the elite, live in a ramshackle dingy world in which shortages of everything is the norm--it is a world in which "nothing is cheap and plentiful." (Basically your socialist state taken to the nth degree). Winston works in a pointless job that involves constantly re-writing old archives to conform to present "realities" as defined by the Party. Love is forbidden other than love of the Party and its leader ("Big Brother") and the "Thought Police" ruthlessly root out anyone who fails to conform to the requirement of strict orthodoxy and Party loyalty. The fact that Winston is such a one is the central theme to the story. When he falls in love with a beautiful young woman, his troubles begin in earnest.

To properly appreciate this film, the viewer should of course first read the book. I would imagine that the film would be somewhat bewildering to one who was not familiar at least with the novel's basic theme and premise--the dispair of life under the ultimate totalitarian state.

This is not a film for the whole family to enjoy together. It is intense and depressing. The final portion of the movie, involving Winston Smith and O'Brian (Richard Burton in his final role) is long, unhappy, and downright dreary. Although utterly necessary as an essential component of the story, it both drags and depresses.

1984 is essentially the story of the ultimate result of allowing Government (any Government) to run our lives, and what will happen if the people substitute trust in Big Government for the love of liberty and freedom.

Doubleplus Outstanding!!!
"April 4th, 1984 ... I think"

I picked 'Nineteen Eighty-Four' as one of the books for a high school reading assignment in my junior year. I didn't actually read it then (1975), but read it just after high school. By the time I'd finished it was near the top of my list of favorite books ' and remains so. When '1984' came out in 1984 I, naturally, rented the video and fell in love with the film. It was one of the better-done film adaptations of a book that I'd seen. I was really taken with the martial music of Dominic Muldowney so I rushed out and bought ' 'The Soundtrack' ' by the Eurythmics. Well, no martial music, no nothing; just Eurythmics. When the Muldowney soundtrack became available a few years ago I purchased it and tried to envision the film with Mr. Radford's original choice attached. I even wrote the director to ask if it was going to be different than the '84 release (I never heard back from him).

So what's all this about soundtracks and the Eurythmics and Muldowney you ask? When my copy of this DVD came in March 2003 I was more than pleasantly surprised with a number of things. First, the picture quality is plusgood. Secondly, and even though they are credited, there is not a hint of the Eurythmics on this DVD! That's doubleplus-phenomenal! The film has a different 'feel' to it, almost a nostalgic feel, that the original didn't have and that I credit to the soundtrack changes. I know there are some that think the film should have been tampered with, but having followed the history of this film and the conflict Mr. Radford encountered with Virgin, I'm very pleased that it's been released in this format. I would have liked to have seen the Eurythmics soundtrack added as an option, but it was not.

As someone said earlier; this is not the book. It is a well-written, well-adapted, film that captures (for me) the essence of Orwell's work. I highly recommend it.

*sigh* Get the VHS!
I've seen the VHS version a dozen times, and waited a LONG time to get my hands on the DVD. Well, I finally saw it two days ago.

I regret to say, I'm glad I only rented it.

In short, the DVD version of this film is completely, utterly LIFELESS. Not boring, but passionless and without the vitality of the original. I suspect it is a combination of the inappropriately bright, clear colors (not suggestively muted and washed-out as in the VHS) and the new, quietly ponderous "serious" soundtrack which is just plain...well...weak. Overall, this version is about as impressive as a good made for TV movie, if that can be called a compliment.

Please do not judge Radford's 1984 by the DVD, even if he is reported to prefer this version (something I will NEVER understand). The life has been literally SUCKED from this film. If you can find a copy of the VHS, watch it instead. It is literally a different movie - try it and see.

The only good thing about the DVD is the addition of subtitles which do clarify many scenes. That I liked.

Kudos to No Soundtrack Alternative comment
I agree with the review of this DVD concerning the lack of the Eurythmics soundtrack. Absolute blasphemy! Radford has not only made a huge miscalculation in judgment -- he's showing his true colors. His hatred of the Eurythmics soundtrack was only the beginning. He has completely taken Dave Stewart and Annie Lennox out of the film! He has somehow digitally removed them!

meaningless without the novel
A film by Michael Radford

Clever. Very clever. This movie was filmed in 1984 during the months that were specified in George Orwell's novel. It was also released in 1984. This fit perfectly with the title and gave a nice contrast between Orwell's vision of the future and what the world was like at that very time. The question, however, is: Is "1984" any good as a movie? Well, yes and no, and it has everything to do with what was included in the movie.

The year is 1984 and the setting is London. At least, the city used to be London. Now it is just a city in Oceania. Oceania is a communist style society where propaganda rules the day and history is re-written daily to reflect the views of "The Party". One day Oceania may be at war with Eurasia, and the next Oceania is at war with East Asia and has always been at war with East Asia. History is changed and officially, the past never happened if "The Party" says that it didn't happen. Winston Smith (John Hurt) is a worker. It is his job to change history's headlines. Through Winston's eyes we see "The Party" outlaw personal relationships, emotional attachment, and even thought that does not mirror the party line. The latter is called "thought crime".

Winston is a thought criminal. He secretly writes in a journal about the revisionist policies and he visits a store that sells (on the sly) items that are older than Oceania (one piece is said to be 100 years old). Winston is secretly seditious and he meets Julia (Suzanna Hamilton), who, like Winston, is defying Oceania as she can. Her method is sex. Sex for pleasure is highly illegal and this is the foundation of their relationship. We know that a movie set in a world with this sort of a society, they have to be caught because we have to no what the repercussions of their actions will be.

The main difference between this film and the novel is simply that in the film we are seeing what Orwell described, and in the book all we have is the words of George Orwell. The reason this is a difference is that in the movie we know what a thing looks like, but not what it is. One example of this is the "two minute hate". Orwell describes several scenes in which the workers are given a forum where they must vent and scream and express their hatred for the enemies of Oceania. It is a form of social control. We get a sense of what is going on, and why. In the movie, we see what happens and how it affects the workers, but the detail which makes the scene meaningful is missing. This is fairly typical of the film and is the biggest flaw. If I hadn't read the novel, the film would be confusing and meaningless. It is only because I have read the source material that I know what these scenes are and why they are important. We do get a good sense of the type of society that Orwell envisioned as a potential future, and the visualization of the characters and the world is excellent. It is just lacking the meaning that is available in Orwell's text. Film is a different medium than a novel and a movie should not be dependant on the novel to make it comprehensible and meaningful. Unfortunately, "1984" fails in this regard. It is faithful to the source material, but the film can't succeed without the novel.

-Joe Sherry ... Read more

Amazon.com

Director Michael Radford made a surprising about-face from his international hit Il Postino to this grungy British romantic crime thriller. Asia Argento (Dario's daughter and costar of Abel Ferrara's New Rose Hotel) is the title character, a street criminal whose specialty is breaking and entering: "I can get into anywhere." Jared Harris (Richard's son and Andy Warhol in I Shot Andy Warhol) is a bookish, shy schoolteacher with a yen for jazz who becomes smitten with Argento's sexy wildcat. Argento brings a vitality to the supercharged street thief trying to break with her past, but stick-in-the-mud Harris is restrained to a fault and Radford never quite finds the right chemistry to make their union any more than curious. Rupert Everett costars as a smart-mouthed, sleepy-eyed ne'er-do-well whose drug habit puts him deep in debt, and Jonathan Rhys-Meyers is Argento's volatile partner, a jittery young punk on a hair trigger. Radford has more fun with the villains than his ostensible hero; the film bubbles when they're on screen and the movie's single heist scene is a short, sharp, energized shot in the arm to a slowing story. Only Harris sticks out as an impossibly resolute saint who's dedicated his life to a passionate sinner. The conclusion reverberates with echoes of Straw Dogs, as remade by a kinder, gentler filmmaker. --Sean Axmaker ... Read more

Reviews (13)

really quite lovely
B. Monkey is a movie that has its flaws, but it's entertaining nonetheless. The director was replaced halfway through filming, and although Michael Radford (the credited replacement) does well, the movie does have the certain vague feel of, well, a film whose director was replaced halfway through filming. There are also a few scenes that go on too long, one or two shots that are inconsistent (for example, the title character walking somewhere in a red dress, only to be at work in a black dress in the next shot), and some dialogue that sounds distinctly written, rather than natural. However, I still really enjoyed this movie. The performances (not to mention the great cinematography) are what really sell it. Asia Argento as B. (Beatrice) is beautiful, charismatic, and a strong screen presence. I expect she will only get better as her career progresses. Jared Harris does a fine job, although (and this is not his fault, just an annoyance of mine) I found his character rather unfeeling in how quickly and completely he expects B. to drop her old life and friends. Those friends/partners-in-crime are played by Rupert Everett, sleazy and clearly having a high time of it as Paul, and Jonathan Rhys Meyers, very effective as temperamental, nearly desperate Bruno. The one thing this movie really left me wishing for was a more in-depth look at the relationship between these two and Beatrice. It's an unusual dynamic--Paul and Bruno are lovers, but Bruno is clearly also in love (or at least obsessed) with B., who is the only person to ever truly care about him. Overall, yes, it does have shortcomings and it's not the greatest thing I've seen, but B. Monkey is still a fine movie, plenty of fun, and worth checking out.

Love hurts
This film, directed by Michael ("Il Postino") Radford, goes to show that you can't always pick those you love. Beatrice (Asia Argento), the B Monkey of the title, falls for a mild-mannered grade school teacher (Richard Harris' son, Jared) and must choose between her new love and the "family" of criminals that have nurtured her career as a jewel thief. If you can swallow the premise, this one sits pretty sweetly on the pallet of a Eurofilm junkie. While neither as stylish as "Diva" nor as violent as "La Femme Nikita," it owes something to both, being most at home in scenes that feature its supporting cast of unsavory characters, which includes Rupert Everett, as a Fagin-esque thief with a drug habit that gets him into trouble with his suppliers; John Rhys Meyers, as his punk lover, who proves once again that love is a hurtin' thing; and Julie T. Wallace, as an abusive mom, who gets a visit from Argento and Meyers that sets her on the path to righteousness. With Peggy Lee, Portishead, Cassandra Wilson, and the above-mentioned Reinhardt along for musical atmosphere, I'd like to know where to get the soundtrack.

A moving little film from the director of Il Postino
This is actually a quite wonderful little film.
Asia Argento is radiant as a thief who chances to meet (and enchant) a nerdish, but goodhearted, teacher who completely falls head over heels in love with her (who wouldn't?). In an effort to change lifestyles and settle down, she can't quite get rid of her past and this puts a strain on her newfound boyfriend and her new existence.
All the leads are sensational (Rupert Everett a particular scene stealer) and the film is moving all the way.
Rumours are that a large portion was left on the cutting room floor and it took the film three years to get released, but it doesn't show easily. Highly recommended.

asia
To be honest with you , I only saw this film because of Asia. I have no idea what the plot is. But she looked quite pretty throughout it.

Unfortunately Titled Thriller Has Super Hot Babe.....
...I've got to put Asia Argento on my list of Much Watch Actresses: she puts to mind a combination of Angeliina Jolie and Thora Birch, but with way more fire than Jolie ever goes for...Jolie is kinda 'mellow', y'know?

But, I caught this on one of my cable stations one Sat. evening 'cause I'm a big fan of heist cine, and this *is* one, albeit wrapped in a rather odd love story. Tawk about opposites attracting! The grade school teacher trails live wire Beatrice one day and asks her out for a drink. What follows is one of the most passionate and interesting court ships I've ever seen on film. They go to Paris to find their love. I thought that was a rather nice touch. But, always, always, one muddy alley away, one warehouse loft away, one scummy tavern away are the boosters and druggies threatening to pull her back in the mire. Beatrice does one more job out of a since of obligation to her ex-partners and to help her pallie (played with greatness by Rupert) pay some drug bills.

The heist at the jewelry shoppe nearly gets botched when her companion loses nerve: they are saved when the driver slaps a man with a car lug wrench. And Beatrice comes away with a 'well, I did get a rush from this, but I can't afford this type of rush anymore. They are 'way too risky'. So she and the teacher find a way to get a house in the country side. And one day, in a break of monotony and ennui, Beatrice calls up Rupert from a road side phone...just to check up on her pallie, you know?

You can just about guess what happens next, but by the time this part of the film happens, if you are anything like me, you find yourself into the story so deeply that you let the obvious cliches run their course. That's what I did.

Also, this is one of the most attractive of the modern British gangster/heist cines I've seen. Many of them have that dark or greyness as if the directors were trying to capture years of sooty, foggy decadence on film. My overall opinion is that if you see this, it will entertain you.... ... Read more

Reviews (6)

My most unforgettable film
This tale of British decadence continues to resonate after many years and many other films. There seems to be no more impactful and arresting vehicle for viewing the nature of the end of the 'Age of Kings' and the planting of the sordid into the fresh earth of the twentieth century. Yet it is sufficient to view the film for the vision of Scacchi, as she bares herself and lures us into the African theater of the grotesque. There we meet the European supremacy practicing their many-pronged acts of desecration of the land and the social contract. There where civilization was 'cradled,' drugs, the most unredeemable cruelty in sex and human attachments is viscerally illuminated. Those bluebloods and bloody-handed occupiers; still regarded as archetypal standards for class and wealth make the Beats, the variety of 60's renegades look like the stereotypical pilgrims in a school play. Oh boy, there is every reason to sink into this film, because it doesn't leave you- and it continues to provoke. We haven't changed folks, though Gretta's beauty in this steamy, sordid African mystery is daringly one of a kind.

by the way, its a true story
this movie is based on a history of the same title. the events were, more or less, as presented in the film. of course, the real people weren't quite as beautiful, and the sordidness wasn't quite as photogenic.

africa, like australia and new zealand, was where the 'remittance' men were sent by their families, to remove the scandals from the homefront. these sometimes extremely black sheep were sent, by the families who could afford it, 'remittances' (money) to keep them in the colonies. in those days of difficult communication, they could get up to whatever mischief they wanted without embarrassing the home folks. the group in happy valley made the most of this.

the acting is superb. the sets are marvelous. the scenery is magnificent. charles dance is gorgeous. the story is gripping. what more could you ask for?

A decadent slice of colonial Africa
This is the decadent counterpoint to Out of Africa (both are good films). It's the story of British ex-pats drifting through their days in colonial Kenya. With all their money and boredom, the only thing that entertains them are parties, sex and drugs, sometimes all done together. This is the mischief these white folk get up to, while their black servants look on dispassionately but with certain disdain.
Charles Dance is wonderfully smarmy as the playboy who wins Greta Scacchi's affections. She is the young beauty who married an older man for title and money, but has no love for him. It's shameful to see how brazen Dance and Scacchi are in their affair. The old husband does what any man with pride left would do. You can almost feel the British Empire crumbling around you as you are absorbed by this movie, in much the same way as A Passage to India (another great film).
Great supporting performances by Sarah Miles and Geraldine Chaplin as part of the high society swingers.
I was fortunate to find this video on sale second hand at my local video store.

White Mischief
I loved this film~ Very excellent. I'm wondering why Charles Dance always manages to be killed off (our hero) just midway (see China Moon) into his films. He is truly a "Star" as is Greta Scachi.

I have 5 copies of this film, (not for sale). It took 5 purchases to find one in good condition. And the Sound Track is "Excellent"~

I loved the story and you will too~ A very true account. Beautifully done and well worth the $ for the film~

one of the best films I have seen in 30 years
This film has style,intelligence,panache,a passable story line and incredable filming,costuming and terrific acting -why Amazon does not offer it is beyond my 67 year old comprehension --unless of course your computers tell you the entire world is between 18 and 45.For your information we older guys have all the dough and love to spend it.Please make it available on -yes-DVD-Thank you very much. ... Read more