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

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

Reviews (5)

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (206)

Enjoyable!
Don't listen to all the bashers of this film who criticize it because it isn't 100% accurate to the book. This is an elitist view from a bunch of purists who don't have a grasp of what film making is supposed to be about. In the beggining titles the movie blatantly states that the movie is based on the book "Mansfield Park" by Jane Austen as well as her own life.

Mansfield Park is a story about a young girl Fanny Price who goes to live with her rich relatives. But instead of being accepted by her relatives as one of their own. She is mostly used as domestic help especially by her Aunt Norris (a character which JK Rowling borrowed in Harry Potter)whose only esteem in the entire movie comes from bullying poor Fanny. The only person who is kind to Fanny is her cousin Edmund. Fanny grows actually to fall in love with Edmond but can do nothing about it because they are out of each others social circle. During the course of the movie a diletante brother and sister moves into the neighborhood and have wide spread reprocussions on Fanny and Edmond. There is also a bit of social commentary on slavery and how the family supports iself. Tom's drawing of the treatment of the slaves are horrifying, but true to form. African slaves who were brought to the Americas were treated worse than animals, and it is remarkable how this has not been addressed yet.

I really enjoyed this movie very much. Not so much from the story itself but from the solid acting and the feelings that are shown. I especially loved Francis O'Connor (Fanny) and Alexandro Nivola (Henry) I think that they had very strong chemistry and played well to each other. The only problem I had was tha the ending was way too contrived, The makers seemed to give Henry a blatant flaw simply to throw Fanny and Edmond together.

If are looking for a dissertation on Mansfield Park then perhaps this movie is not for you. You might do much better taking an English Litterature class. But on the other hand if you are looking for a good costume Drama with solid acting, then don't miss Mansfield Park.

Dare I say better than the book?
When I first saw this film, it bothered me a bit that it wasn't faithful to Jane Austen's original. But upon reflection and a few more viewings, I fell completely in love with it. Rozema has made a remarkable achievement, seamlessly blending Austen's novel, letters and journals into a more compelling story, while also adapting it for modern sensibilities. While I love the novel, the film Mansfield Park tackles so much more than the "manuevering business" of marriage and societal mores that Austen's novels are singularly concerned with. It harshly examines the strict limitations that women, especially poor women must endure and takes a rare look at how slavery benefitted the British Empire. All this serious stuff aside, the film also has plenty of comedic moments. The dim Mr. Rushworth and his bouffant provide some laughs, as does Fanny's attitude toward courtship, balls and her money-grubbing cousins. And don't miss the doped-up Lady Bertram. The entire cast is excellent, and Frances O'Connor and Jonny Lee Miller make a sweet and aesthetically pleasing couple. For all us girls, Miller and Alessandro Nivola make an already great film even more of a pleasure to watch. The only Austen film to which this measures up is Sense and Sensibility (though I adore all the films, of course, being an Austen buff). The costumes, the cinematography, the breathtaking shots of the English countryside and of course the beautiful soundtrack round out this rich confection of a movie. Watch it now!

Emotion in Neon, Austen style
I just saw Mansfield Park on DVD (which is average in terms of DVDs. Not extensive at all, but does really well with what it gives you). I think it's becoming my favorite Jane Austen movie, even over the beloved Sense and Sensibility and Pride & Prejudice. It's not as finely crafted as others, but I think what I love so much about it is how VIVID it is, emotionally, visually, thematically. It's very passionate and alive. It's more colorful, darker, deeper than most period films, just because it takes off a top layer of gloss and polish, and it doesn't lose that definite delightful Austen humor and bite. It's more at ease with itself, lacks some reverence, and even brings some techniques more associated with modern movies, and all this, although used carefully and even minimally, serves the film well.

I love how they tell a lot of it visually, I just fell into the film during some scenes, it's mezmerizing; and some shots and scenes are just bursting off the screen. But this is one of those movies where the cinematography really works for the story as opposed to being something to stare at as a separate entity. The film being a character drama, over and over in scene after scene it works to enhance the story of these characters.

And the best thing is how you FEEL these characters, the tension and heartache etc. is so palpable, more than most period films, probably because this strips away a very fine layer of "preciousness" and lets the characters really breath and be realistic people, in fact there are points where the film tries to show us some of the grittier realities of the time, but all this done without ever losing the FAMILIAR historical context and setting. Now, some films go hog wild in the other direction, which can also be alienating if not done correctly because it makes it feel too much like we are watching a modern people in old clothes and that doesn't do justice to the people of the period. We have to understand them at their own level, but often the expanse of time can cause a communication gap, if you will. In this film, the vividness of the inner world of these characters is what counters the "period" setting of the film. It's a perfect balance. We are always firmly within the era, the historical setting, but completely taken with these characters and their feelings and the sparks in the air, we are all on a level where we can relate to each other clearly. This is thanks to fine, emotionally lucid acting from the cast (Frances O'Connor, gasp! I bow down to thee m'lady) an amazing writing and directing job by Patricia Rozema, and I have to say the brilliant, brilliant cinematography by Michael Coulter. Wow. And I have to rave about the gorgeous score which I didn't actually realize how great it was until the end credits.

The only problems I think there are in this is that it could have done to have been longer in order to flesh out some parts and to just use the great vehicle they created to carry the story even further. And I think it would have done to have slight fine tuning in terms of some of the writing and some specific shots (some of which kind of earmark it as "Indie! Indie!"). And I'm no expert on regency, but I don't think the costumes looked entirely right. But all in all, undoubtedly one of the best movies I've seen.

I guess I'm no Austin purist.
Besides the heavy splits from Jane Austin's novel, I think this movie is absolutely wonderful. The characters are some of my favorites. I love Jane Austin novels, but I also believe that some license can be taken without offending anyone. I really don't think Alexandre Dumas would sue the recent movie portrayal of THE COUNT OF MONTE CRISTO (starring Jim Caviezel) which was almost completely opposite of his novel. If movies were exactly like books, then I wouldn't really have a desire to see them. It's much more fun for me when I've read the book and I sit down to watch the movie and it throws me a curveball. It puts the book in a different light and I see things from a different perspective. THEN I choose which one I like. It was the same for GIRL WITH A PEARL EARRING and I like both versions of the story. Life's too short to nit-pick about this kind of stuff. Live it up! Love the book AND the movie!

Mansfield Park (1999)
This was not my favorite Austen book. Fanny Price is a
pretty dull, overly moralistic character. The movie jazzes up
up this little family scene with issues like the dubious
origins of the family fortune but takes away from Austen's
story. ... Read more

Reviews (23)

She's Not Your Everyday Girl Friday...
Voted one of the ten best Canadian films of all time, "I've Heard the Mermaids Singing" is an offbeat and gentle comedy that goes for the heart more than the funnybone.

Patricia Rozema's stunning 1987 directoral debut is clever and brings a level of visionary design to the work that so many "pro" directors have long abandoned in their quest not to look too "artsy" for Hollywood.

"Organizationally impaired" temp secretary Polly Vandersma gives a video diary confessional about her interactions with her newest employer, a woman Polly quickly comes to worship. Polly's video frames the flashback narrative that includes Polly's daydreams. Polly's daydreams lend an air of fantasy to her somewhat bittersweet story, and elements of fantasy, such as the illuminated paintings (so beautiful they appear only as a canvas made of light), creep into the "real" segments.

This is a film that will stay with you a long time. It's quirky, loveable, has an artistic flair, and the characters come alive with a surprising effectiveness and realism. Polly's observations ("Isn't life the strangest thing you've ever seen?"), further provide us with a look into her particular (and peculiar), point of view.

Released in full frame on VHS about 10-15 years ago, the film has been long out of print. "I've Heard the Mermaids Singing" was also a long time in coming to DVD, so enjoy it in all of its widescreen splendor. Although rated "R" in 1987 for "strong language," the language is actually tame by today's standards.

This is still one of the best foreign films out there, but not so foreign as to prevent all understanding. One viewing will have you hooked.

At last!
I have waited years for this to come out on DVD. One of my favourite films of all time (if not my favourite), I've only had a very poor copy I taped from the television years ago. When it was first shown at the Cannes film festival, the critics gave it a standing ovation (totally unheard of). A beautiful story, wonderfully acted and filmed. A truly magical experience, so why did we have to wait for so long? - second hand tapes have been changing hands for quite large sums, so its obvious there was a demand for it.
Slightly mysterious, but very grounded, the story is touching in many ways. The basics are spelt out in the other reviews below, so I won't repeat them. But I will repeat my praises for it- this is a MUST HAVE independant Canadian film, rarely seen at the Cinema anywhere, and surely one of the best films missed by most people.

BUY IT NOW.

Timeless
I first saw this movie on VHS 'way back in the 80's when it was on VHS. Finally out on DVD!

I've watched so many thousands of movies. Some are hated, some are loved, some just stab right through you. This is one of those.

After watching it the first time I had to have it, bought it from the rental store.

Can someone be defined as a 'loser' if they don't know or acknowledge it? The character of Polly Vandersma defines this. In today's PC environment she is might be defined as completely lacking the self-awareness we grasped in the 70's. Polly doesn't fit in, in the way we all want to. She doesn't fit in the working world at all, working as a clerical temp yet lacking the essential skills. Yet, here she is working for a small gallery selling abstract art. "A cute awareness" indeed!

The woman who owns the gallery appears to possess the qualities that Polly would want to admire and emulate. She is beautiful, graceful, educated and oh, so articulate. Trouble is, Polly discovers a past lesbian relationship when a young artist appears. The larcenous collaboration between these two becomes pivotal when Polly, in her childlike honey, confronts this.

Polly's hobby is photography, a form of self-expression for her, and again, she lacks the sophistication to realize the artistic value of her work. It has never appeared to her that her photos might be worth showing to others. This work appears as a revelation to her employer and her employer's lover in the end.

After seeing this movie dozens of times, the kind condescending attitude of her employer has changed my attitude toward her. I've come to find her a quite sad character. She knows enough to appreciate art, yet also is aware that she hasn't the talent to create what she appreciates. There is such a shock when she sees the body of Polly's work, when Polly doesn't grasp their signficance!

The character of Polly appeals to all of us in her awkwardness, in her lack of 'sophistication' by society's standards. She has an inherent honesty and goodness that are childlike, a frank admiration for her employer that is tragically destroyed. I think we all enjoy seeing the pomposity of others exposed, the 'emperor having no clothes'.

I wore out three VHS copies of this, loaning it out to people. I don't watch this movie too often, though I know every scene. One has to be in the right mood for it. It is perfect on a rainy day, for someone in a dreary mood. To describe it as unique seems inadequate. There truly is nothing else like it--it's an event. I've enjoyed watching people watching this movie, seeing their reactions. The character of Polly has so many universal traits; some people will laugh awkwardly, some will nod in recognition.

I am so very delighted that this movie has finally made it DVD where it will receive the permanence it deserves. There is a running commentary in the special features by Rozema that I wish I'd seen years before. Though this film is set in the late 80's it is contemporary enough that it doesn't seem dated. The performances are amazing, the casting flawless. This was Rozema's first film, and I still feel is her best. A keeper.

At Last!!!
I've been waiting years for this beautiful, charming, but sadly out-of-print film to be released on DVD. A small, intimate, delicate story, both quirky & poignant, it transports the viewer to the inner landscape of someone the rest of the world would quickly dismiss, if it notices her at all in the first place. And it reminds us of the riches that exist within the most ordinary looking, seemingly uninteresting people we pass by each day. Highly recommended!

FINALLY!!!!!!!!!!!!!!!!!!!!!
Wow, I've waited for years for this to come out on DVD, and it's finally happening. One of my all time faves!! Absolutely love it! Let's hope they're going to make a good transfer.

This is one of the most under-rated film that I've seen! See it, you won't be disappointed! ... Read more

Reviews (7)

Pornographic Garbage
I'd rather get my story ideas from sixth graders than from the sorry bunch that wrote these tasteless, unimaginative episodes. This is the industry at its average -- slightly better than reality plant shows.

If this is the kind of stuff that turns you on, you should up your dosage of Prozac.

I could have written better stuff. And chances are, you could too.

Four Vampire Shorts
This is a collection of episodes from the Showtime show "The Hunger" by Ridley Scott. Each of these episodes about vampires is introduced by Terrence Stamp. They are based on stories by horror writers such as Brian Lumley and Ron Dee.

In Fly By Night we see an unusual vampire. The vampire and a woman suffering shell-shock are locked up in a hospital's padded room. She recognizes the vampire for what he is and tries to help him, hoping he can help her. A little confusing (how did everyone die in the flashback?).

A Matter of Style has a young man discover that he is a vampire. He is assigned a mentor who tries to teach him the ropes (shape-changing, killing and even sex). A fun story.

Necros is another different type of vampire. A man falls for a beautiful woman who is in the company of an old man that some call Necros. Some say his is a vampire while others claim he is the devil himself. A strange tale but with a major hole (what happened to the earlier disappearances?).

Footsteps is an arty tale of a woman plagued by her nature to kill and those who always seem to track her down (it is not clear if she is vampire, werewolf, or something else). But in Paris she meets a strange man who may be able to redirect her future.

As this is a Showtime show, there is plenty of nudity and sex so these tales are not suitable for all.

Stylish, erotic horror
This is not the vampire movie with David Bowie, Susan Sarandon and Catherine Deneuve, but rather a collection of 4 episodes from the 1997-1998 and 1999-2000 Showtime series "The Hunger".

Produced by Ridley Scott (of "Blade Runner" and "Alien" fame) and his brother Tony, and hosted by Terence Stamp in the 1st season and David Bowie in the 2nd, the series was always well-filmed and produced but somewhat hit-or-miss in its scripts and acting. Nudity is a staple.

The Vampires DVD is the best of the four I own. It features the following episodes:

1) Fly By Night - wild man black vampire helps a woman trapped in a padded cell in his own demonic way

2) A Matter of Style - stars Chad Lowe as a virgin vampire whose mentor, Carmilla, teaches him the ropes

3) Necros - William Cobb is on vacation when he catches a glimpse of Helma, a breathtaking creature who captures his imagination. She has a companion, a frail old man who, according to folk law, is Necros, a dead thing that feeds upon the living. Should Cobb pursues his desires or heed the warnings of the town folk? A night of unbridled passion reveals the terrifing truth. Directed by "Highlander"s Russell Mulcahy from a story by Brian Lumley.

4) Footsteps - Claire is a beautiful woman who travels the world attempting to save her voracious appetite for gourmet food and the men to dine with her. She devours food and lovers all over Europe until in Paris, she meets Patrick, a vegetarian, who challenges her to her very core. How can the ultimate carnivore build a relationship with a quintessential vegetarian? From a story by Harlan Ellison.

A mixed bag
I'm a big fan of the genre and so bought this DVD on the strength of the title.

A collection of short 'vampire' stories I thought the first very erotic, until it's untimely end.

One of the stories deals with a vampire who in the throes of passion developes not only a tail, but a very long tongue which she uses to drain her lover's life-force. Very strange, but still rather sexy - but pointless - she is collecting near mummified men for her partner's bridge games !?! (I kid you not!)

A mixed bag of some interesting some erotic, but still all over I think this is worth missing.

The Hunger series is a lot of fun - serious rewatch value!
Ok - no Bowie here, this is not the movie! This disc is a collection of four 25 min episodes of first season of The Hunger. Terence Stamp is the host this season, with short cameos at the start and end to frame the story, same format as Twilight Zone/Hitchcock presents/Outer Limits etc.

As well as Stamp being *wonderful* to watch, the stories are a lot of fun - more ... than horror & fangs, but tightly told and some very fine performances from the actors. The production (from "Scott Free Productions", that would be Ridley & Tony to you) is classy - very easy on the eye throughout. Bon appetite! ... Read more