Description

Roman history comes alive in this magnificent 13-part series. "I, Claudius" (1976, 668 min.) ranks among the most acclaimed productions in BBC history. Tracing the lives of the last of the Roman emperors, it's an epic of ruthless ambition, shocking debauchery and murderous intrigue set in one of history's most fascinating eras. Bearing witness to the saga is Claudius, whose stutter and limp have marked him a fool--yet whom prophesies have foretold will one day rule Rome. This collector's edition set includes a unique documentary feature, "The Epic That Never Was" (1965, 71 min.), a remarkable behind-the-scenes look at Alexander Korda's ill-fated 1937 screen adaptation of "I, Claudius." Starring Merle Oberon and Charles Laughton, the chronicle of this uncompleted masterpieces is an unforgettable coda to one of the greatest stories ever told. ... Read more

Reviews (129)

A true masterpiece
This is quite an ambitious project taken on by the BBC. It covers the reigns of Caesar Augustus, Tiberius, Caligula and Claudius. It is more or less the memoirs of the sagacious Claudius (based on the book by Peter Graves). The series features Derek Jacoby as Claudius, Brian Blessed as the eccentric but magnanimous Augustus and Patrick Stewart as the conspiring Sejanus, head of the Praetorian Guard. We also get some cameos of Livy and Horace to boot!

The film starts before Claudius was born - about 20 years post-Actium. It traces thru enough conspiracies, scandals and debauchery to make modern day soap-operas look tame by comparison. It has its share of femme fatales, between the insidious Livia, the selfish Messalina and the gregarious (to say the least) Julia. It details the ruthless nature of those close to the top, all wanting to wear the purple themselves, or conniving to get their next-of-kin to assume the throne.

The film has the "feel" of a play. The sets are static, there is no incidental music and the movie lacks panoramic views of the architecture of ancient Rome. This is not to say that there is anything wrong with this approach, just that it is not the same type of movie as, say, "Gladiator" or "Spartacus" in this respect.

This is a wonderful, must-see production for any fan or historian of antiquity. The film covers a whole lot of ground (to say the least), but still fits in allusions to numerous historical nuances (such as the defeat of Varrus by Armenius of Germany, as well as the horse that Caligula made into a senator). I would suggest that anyone who wishes to watch this film first read Michael Grant's "The Roman Emperors" thru the reign of Nero to get a backdrop on what is going on. Also, the DVD "Cleopatra," starring Timothy Dalton as Julius Caesar, was an ambitious project which leaves off about 20 years before the beginning of "I, Cladius."

Brilliant, Fearsome; A Great Work of Art
Based on Robert Graves' famous novel, I, CLAUDIUS is the ultimate soap opera, vicious, cruel, manipulative--and this famous English miniseries grabs the attention and holds fast throughout the entire length of its complex tale of ancient intrigue.

The great strengths of I, CLAUDIUS are in the driving pace, sharp wit, and ferocity of Jack Pulman's script and the host of brilliant performers who play it out. Chief among these are Sian Phillips as the calculating, murderous, and unspeakably cold Livia, wife of Augustus; although Derek Jacobi gives a justly famous performance in the title role, it is Phillips who dominates and drives the story with this, the most brilliant performance of her career. But this is not to disparrage the overall cast, which is remarkably fine and includes such noted artists as Brian Blessed, John Hurt, Patricia Quinn, Patrick Stewart, and a host of others.

Like the serpent that appears in the open credits, the story twists and winds--and covers several generations of the ruling family as Rome slips from the republic to royal rule, largely due to the manipulations of Livia, who has few if any scruples in her determination to rule first through her husband and then through her son. Although the look of the film is somewhat dated, it in no way impairs the power of the piece, and I, CLAUDIUS remains one of the handful of miniseries that actually improves upon repeated viewings. Strongly, strongly recommended.

Not Enough Stars in a 5-Star Scale to Give Praise!
"I, Claudius" is, quite simply, a masterpiece of acting, of writing, and of what television can do like no other medium.

Clocking in at eleven hours, "I, Claudius" rips the curtain back from Imperial Rome and shows the savagery, the venality, the evil, and yes, the goodness at work in the court during the early days of Imperial Rome. Tracking a story over several decades, "I, Claudius" tells an epic story of murder, deceit, seduction, and justice that is simultaneously grand and intimate -- the story is simply too grand a scale to be made into a feature film (well, with the caveat that if Peter Jackson can film the "Lord of the Rings" trilogy, he can film any epic out there).

Narrated by an aged Emperor Claudius (Derek Jacobi, in a career-making performance), "I, Claudius" starts with the reign of Caesar Augustus (Brian Blessed, delightfully Machiavellian) and his vicious wife, Livia (Sian Phillips, almost stealing the show). Augustus, reluctant to drive a stake through the heart of the Roman Republic, nevertheless seeks to consolidate his power; Livia is fully committed to burying the Republic forever and seating her reluctant son, Tiberius (George Baker) on the throne. Through seduction, wily craft, and generous doses of poison, Livia gets her way. Her parting scene with Augustus is a masterpiece of acting on both sides.

As an aside, the acting in "I, Claudius" more than makes up for an obviously limited budget and virtually no special effects . . . it's like watching a televised play. On-screen violence is nevertheless convincing, and the entire cast hits each precious note with skill. Watch for a young, bewigged(!) Patrick Stewart as the ambitious Sejanus, John Hurt as the deranged Caligula, and John Rhys-Davies as Marcro, Sejanus' second-in-command.

Claudius, born lame with both a twitch and a stutter ("That boy could destroy the Empire just by strolling through it!"), is nevertheless prophesied to save Rome from her bloody fate. As his older, wiser friends repeatedly tell him (usually just before their own murder), Claudius should play up his disabilities in order to stay alive. Which Claudius does, and as an amateur historian he chronicles the lives (and deaths) of so many noble Romans.

Tiberius succeeds Augustus (thanks in large part to Livia's gift with poisons), and as he falls into depths of depravity, Sejanus makes his play for the throne. Caligula inherits the throne from Tiberius, although not as smoothly as he would have liked, and he shows the truth in the absolute corruption brought about by absolute power. Claudius, staunch Republican that he is, nevertheless finds himself on the Imperial throne, a captive of the Praetorian Guard, following Caligula's untimely end. He works to restore the Republic, but such is not to be, and ultimately Nero ascends to the throne.

But on the way, Claudius spins one heck of a tale. Far from the magisterial views of Imperial Rome so often shown in films, "I, Claudius" thrusts us into the courtrooms and bedrooms of the Roman nobility, and it's a captivating, but often ugly, sight.

tedious and boring
first i must explain that i am a longtime student of roman history and the julio-claudinians in particular. my expectations were very high in regard to this series and i was very disappointed. i knew i wasn't going to be seeing a visual spectacle like gladiator, but i expected something to happen. i don't mind the historical inaccuracies for the sake of drama too much. what bothers me is that the characters are nothing like the real people that are recorded in the history books. brian blessed's portrayal (or should i say betrayal) of augustus could not have missed the point any further. he was in fact a stern serious minded man devoted to his work, not the joking buffoon presented here. the pacing reminded me of dark shadows and it was almost as campy. this series is far too english for the subject matter. i give it 2 stars for the handful of good actors who couldn't save this flawed project. watch caligula to get a closer look at what rome was about during this time period.

Great drama
I remember seeing this series on TV many, many years ago when I was still in high school. And was very happy to find it on DVD now. The DVD transfer is very good too. But enough said about that.

If you like British historical drama of outstanding quality or just Roman history, this is a set you ought to buy. The acting and script are spellbinding. I have watched all of the 5 DVD's in three days, which was sth of a marathon watch. There are no weak spots in the acting and it is fun watching a young 'captain Picard' (yes I also love to watch Star trek). The sets are old-fashioned and nothing like the sets of, for instance, productions like Elizabeth.

But who cares about sets and the like if the acting is so good. The whole series breathes 'theatre' and I love it. It brings back the stories from Latin classes in High school. The Gods, Augustus, the Roman empire and all the Roman stories come to life, as seen through the eyes of Claudius. They are living and breathing (and very fascinating) people. No computer tricks and such needed. The script and the acting speak for itselves.

Just buy, borrow or hire the set. Pretend you are not at home in the weekend, do not answer the door or the phone (better still, get it off the hook). And enjoy. ... Read more

Description

One of the most influential films in the history of political cinema, Gillo Pontecorvo’s The Battle of Algiers focuses on the harrowing events of 1957, a key year in Algeria’s struggle for independence from France. Shot in the streets of Algiers in documentary style, the film vividly recreates the tumultuous Algerian uprising against the occupying French in the 1950s. As violence escalates on both sides, the French torture prisoners for information and the Algerians resort to terrorism in their quest for independence. Children shoot soldiers at point-blank range, women plant bombs in cafés. The French win the battle, but ultimately lose the war as the Algerian people demonstrate that they will no longer be suppressed. The Criterion Collection is proud present Gillo Pontecorvo’s tour de force—a film with astonishing relevance today. ... Read more

Reviews (40)

VERY POWERFUL CAUTIONARY TALE
I finally got around to seeing this 1967 film, depicting the French occupation of colonial Algiers in the 1950s, which eventually led to the independence of this Muslim nation. It is well worth watching in order to learn lessons about the Iraq aftermath, although one should not make too many connections. The biggest difference is that the French wanted to stay and maintain the country as a colony, whereas the U.S. cannot wait to get the heck out of Iraq as soon as it is semi-secure. This film is black-and-white with sub-titles. It is very revealing in its descriptions of how terrorists (or freedom fighters) fight guerrilla war, and it is the last straw (after Diem bien Phu) for French militarism. Read Camus to get a perspective on their mindset at the time. The film ends with the French having destroyed the cell responsible for a series of bombings, but in its denoument shows that a few years later an uprising occurred, out of nowhere really, that finally left the French with the conclusion that they did not have the stomach for colonialization. This story should be studied in light of French failures in Syria, Lebanon, its Foreign Legion's wars (plus Belgium's failure in the Congo), and the determination of this study is that the French have contributed mightily to destabilization of the Middle East, a little known fact in today's discourse.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
...

Realisitc reenactment of a time and place steeped in blood
This is the story of the Algerian struggle for independence from the French between 1954 and 1957. As the Algerians finally achieved independence in 1962, the government was quite willing to allow the Italian filmmakers to shoot the film in 1965 in the very areas of former battle, especially since it is sympathetic to the fight for freedom. Released in the U.S. in 1967, it has the look and feel of documentary, scenes shot with hand-held cameras, the black and white film purposefully scratchy. It looks so real that there is a disclaimer at the beginning asserting that it is not a documentary and there was absolutely no newsreel footage used.

All the actors are unknowns, chosen for their authenticity. There are a lot of close-ups of faces, and the fact that these were real Algerians, with recent memories of the turmoil in their country, certainly comes through. This is not simply a patriotic paean to the freedom fighters however. There is terror and loss of life on both sides. There is one scene where three Algerian women, disguised as French, place bombs around the city. Innocent lives are lost and the tragedy is not lessened because the women are fighting for a cause. Wisely, the filmmakers are willing to look at the tragedy without sparing the horror on both sides of the equation.

The characters were only developed in relation to the battle. I therefore identified with them as a general principle and did not get to experience them as individuals. This was the screenwriter's intent of course. But it didn't keep my mind glued to the story and I found myself fighting off the desire to doze off as I had to be engaged in reading the English subtitles for the French and Arabic dialogue. There was one incident after another of bombing, retaliation and torture. This was certainly not a fun film to watch, which I viewed at Lillian Vernon Center for International Studies in New York where the room was overheated and the hard metal chair uncomfortable. It lasted for 117 minutes, which seemed just a little too long to make its point.

"The Battle of Algiers" is the story of the bloody beginnings of the birth of a nation. Unfortunately, though, the blood bath has continued. Algeria has been engaged in civil wars almost from its inception. And there is still no peace there today.

Ground-breaking film is a must-see
I'll review the actual film instead of rambling on about the politics. The Battle of Algiers is a ground-breaking, must-see film. If you have seen recent films like "Traffic" and "City of God (Cidade de Deus)", then you must see this film, for it pioneered the documentary-style utilized by those other films that puts the grit and gravel under your feet while you watch it. The film does not purport to be a documentary, but rather than the clean, sweeping, over-directed camera shots you may be used to, the camera is usually on the ground, following the characters from their point of view. The action is brutally realistic (for its time). And the film-maker is certainly sympathetic with the plight of the Algerians in their struggle against the French; you will be too, if you do not share the naive view that colonialism is somehow there to "protect" the colonized population. Nevertheless, the filmmaker shows some of the atrocities committed in the name of Algerian independence, such as cafe bombings that killed dozens of innocent people. He doesn't sugarcoat these scenes, and he leaves it up to the audience to decide whether this kind of action can ever be justified (I certainly don't think so).

This film is even more relevent today, as another Arab nation undergoes colonization once again by the West. Watch this film, and you will understand a lot more about the contemporary situation in the Middle East.

Excellent documentary-like...
...about a FEW Algerians making believe they were fighting for independence, since the state of slavery in which they reduced ALL Algerians: slavery being both religious and communist -not so many people did find it strange neither wondered why- that Moscow, although very much opposed to religions, was ALWAYS very sympathetic towards islamism, provided it didn't show itself in USSR). Most of the Algerian people were not really conscious they were victims of colonialism: lot of them got into fight during 1st & 2nd World War, and "Les Tirailleurs Algériens" (Algerian Shooters Corps) were some of the most famous Corps, sharing renown with Senegalese for their bravery and dedication. But, of course, as everyone (with open eyes) have seen during the second half of 20th century in the biggest part of Africa, and some places around the world, it so much better to be slaughtered, martyred (and, for the survivors, to be driven back to the dark ages) by people the same skin-color, than to be protected and educated by people with a fairer skin. As well, a little known fact was, that de Gaulle, who got elected in 1958 (part of the reason being he was pro-French Algeria), had to give up in 1962 (at this time, the few remaining members of FLN could only operate from Tunisia and Morocco). That was not so long after oil was discovered in Sahara: since US oil companies did consider any newly discovered oil wells should be their own to operate, de Gaulle got an ultimatum from US government: either to give up, either to see the US adding their support to the one by USSR, which was not effective enough. Which was the main reason why de Gaulle got rid of the SHAPE and US bases in France (those who were the most sorry were the French people getting work from that presence), and maybe that was one of the reasons why Giscard d'Estaing (10 years later) gave support to Ayatollah Khomeiny (although he was not very much thanked for this by the beneficiary) against the Shah of Iran, who was, until he got in hospital, the US favorite.
I'd like very much to see a sequel to this movie, prefaced by Pontecorvo presenting his apologies for the somewhat biased making of this one (all the way more dangerous, since a very well-made one and apparently sincere: but when you know that apparent sincerity was -and still is- one of the communists' weapon of choice.....). Maybe at the time of this film release, it was fashionable to present the fight initiated by a few thugs making believe it was the legitimate fight by a nation for it's freedom, but, after half a century, when you look at what happened (and is still happening) in this country, there is only one thing anyone can be sure of : Gillio Pontecorvo's moral integrity and intellectual honesty is very much to be doubted; if not, he would have to be one of the most gullible and dumb fools to be put in the Guiness' Book of Records (which I don't think he is).

Emotionally revolutionizing
This documentary style film captures the strife and struggle that took place during this heartbreaking war. The film profoundly displays the malicious persecution and torture they succumbed to. The Algerians want independance and the french supremacists want to control. This documentary follows the uprising of the F.L.P. showing hard truths about war and terrorism. I applaud the making of this movie (Gillo Pontecorvo), standing up for freedom and liberation during such a dangerous and destructive era. Watching this movie made me cherish my freedom and reminds me to feel passionate about the things I care about the most. ... Read more

Amazon.com

The Adventures of Antoine Doinel captures François Truffaut'salter ego (played by Jean-Pierre Léaud) over the span of five films and 20years. Truffaut's first feature was The 400 Blows (1959), in which Doinelis a boy who turns to petty crime in the face of neglect at home and hard timesat a reform school. The film helped usher in the heady spirit of the French newwave and introduced the Doinel character. Poignant, exhilarating, and fun(there's a parade of cameo appearances from some of the essential icons anddirectors from the movement), this film is an important classic.

The second film to feature Doinel, "Antoine and Collette" (1962) was originallymade for the omnibus film Love at Twenty but has outlived its companionshorts. As romantic and gently ironic as The 400 Blows is harsh andhaunting, this modest 20-minute lark finds a teenage Antoine pursuing thelovely, lithe 20-year-old Colette (Marie-France Pisier) like a lovesick puppy.The comic sweetness of this episode sets the tone for all future Doinel films,and Léaud, who matured into the poster boy for the French new wave, displays thelanky charm and self-effacing egotism that propelled him through some of thegreatest films of the next two decades.

Stolen Kisses (1968) opens with the now-grown Doinel sprung from militaryprison with a dishonorable discharge. He woos the perky but unresponsive objectof his affections, Christine (Claude Jade), while he engages in a series ofprofessions--hotel night watchman, private investigator, TV repairman--withmixed success and comic entanglements. But when he falls in love with theelegant wife of his client (Delphine Seyrig), Christine realizes she missesAntoine's persistence and clumsy passes, so she embarks on a seductive plan ofher own.

Bed and Board (1970) finds Doinel married to Christine and still pluggingaway at odd jobs. He learns of his impending fatherhood, but then throws amonkey wrench into his new happiness when he becomes obsessed with a beautifulyoung Japanese woman (Hiroku Berghauer). Truffaut enlivens Doinel's courtyardapartment with the bustle and business of neighbors and pays homage to comicauteur Jacques Tati. However, he tempers the giddy screwball kookiness with aless forgiving disposition toward Antoine's passionate irresponsibility andemotional impulsiveness.

Love on the Run (1979) was Truffaut's last film in the series. Here, ourcompulsive liar and general scamp is found out time and time again, but, as thewomen of the film find, it's impossible to blame him entirely. The film standson its own as a light comedy but carries much more resonance if watched in its proper place in the series. ... Read more

Reviews (7)

Antoine et Colette great for French classrooms
OK, so I've only seen Antoine et Colette, the second (& shortest) of the films on this collection, but I thought it was great. At 30 minutes and with nothing scandalous or taboo, it is perfect for a French high school or college classroom. The story is timeless - boy falls in love with girl, girl says "lets be friends" - and charmingly understated. I think today's students will relate. In addition to being a well-told story, the 60s experimental music interest Antoine & Colette share & the classic Paris setting make for intersting sub-fodder.

Looks like a treasure chest, and it is one indeed.
I am very partial to all of Truffaut's movies, and I am very partial to all the DVDs released by Criterion Collection. To write a review about both of them is bound to be a praise over and over. These movies, masterfully transferred by Criterion, are some of the most memorable treasures of all time. Truffaut has that rare gift of storytelling, and these are some of the finest examples. Lucid and honest, yet never so obvious, the stories are told as if an intimate secret from a friend. Stolen Kisses, in particular, will make you rethink about the much loved-or-despised genre called romantic comedy. The previous previewers have done an excellent job, so I shouldn't even go further to explain every one in the series. The only thing I can add is that whether you watch movies analytically or for pure pleasure, these movies will not betray you.

Perfect Truffaut Package.
All of the Antoine Doinel films are here in this excellent dvd box set. The films are packaged in their best possible presentation thanks to Criterion, and the special features are all one could ask for including Truffaut's first short film. Not only a great collection of films (THE 400 BLOWS and STOLEN KISSES are among the best) but one of the best titles in the Criterion Collection. A Must own.

Thank You Criterion
There isn't much I can say about Truffaut that hasn't been stated already. The man is a genius. You can sense his love of life in every frame of his films.

I never thought I'd have much interest in French film or culture. Hitchcock was and still is my favorite director of them all. Once I learned how much Truffaut respected Hitch I became more interested in his works. What a happy accident that at the exact same time Criterion released this set. I think The 400 Blows was nearly impossible to find. Before this collection, all Criterion editions had sold out.

As for plot, amazon has already provided all that you need to know. What is important is the character of Doinel; a charming, infuriating, idealistic, romantic, ridiculous manchild. How many movies document most of a character's life? Especially one that outwardly leads a somewhat ordinary life.

You can't really categorize any of these movies as sequels since not that much is repeated. The consistencies among the movies ring true to real life. (ex. recurring characters like the tall longhaired guy, Antoine ogling his latest 'apparition'.)

The only let down was Love On The Run. The character of Sabine wasn't that fascinating, and you cared more about Claude Jade's character than her. There were way too many flashbacks too. But much of that is forgiven due to the 'discovery' Antoine makes.

If you tend to overdose on life, then you must see this series. The only other Truffaut film I've managed to see otherwise is Day For Night, but I wholeheartedly encourage you to see that too.

Essential French New Wave
When Criterion decided to release this Antoine Doinel set, I was ecstatic. Truffaut, being my favorite French New Wave director, displays his marvelous talent in these movies. Most film buffs know The 400 Blows well. It is at this point where the adventure begins. This major film displays, honestly, what most of us felt as young teenagers. I don't think I have to go into this one much more. The 400 Blows is remarkable effort for a first feature film. It didn't use studios and Truffaut decided to simply take the camera outside on the streets.

Antoine & Collette is one of the favorite in the series. It is a short from the bigger work, Love at Twenty. Antoine has his first love and it is absolutely charming in its execution.

Stolen Kisses happens to be my favorite feature-length film of the group. It is so brutally honest and true to human emotions that we empasize for Antoine greatly. We go through all the trials of a young man, trying to get through life. He can't find the right job and is unsure about love. This whitty and funny film is one I'll be revisiting the most.

Bed and Board did not hit the high chord of the others. It was nonetheless entertaining and worth my while. Antoine gets a mistress and we deal with the troubles of that through his marriage.

Love On the Run is the flop of the group, told through mostly a series of flashbacks to the other movies. I really didn't enjoy it that much and found it boring. Basically what this film captured though, was a conclusion to the story. It wrapped up some of the ends, which I'm not sure needed to be.

The DVD package altogether is a very great deal. All the movies are excellent, with the exception of maybe Love on the Run. The transfers are also superb. If you found this set on here, you probably deserve to purchase it. All the films are funny, whitty, and deal with the troubles of youth, with someone who doesn't really want to grow up. There are also some very nice extras including a immensely charming early short that would somewhat inspire Truffaut to make The 400 Blows. I would recommend a purchase of this if you can afford it. These are some of the best films to come out of the French New Wave, made by someone who is incredibly passionate about his work. ... Read more

Amazon.com

Even though one can view each segment of Krzysztof Kieslowski's Three Colors trilogy on its own, it seems absurd to do so; why buy the slacks instead of the entire suit? Created by Kieslowski and his writing partner Krzysztof Piesiewicz for France's bicentennial, the titles--and the themes of the films--come from the three colors of the French flag representing liberty, equality, and fraternity. Blue examines liberation through the eyes of a woman (Juliette Binoche) who loses her husband and daughter in an auto accident, and solemnly starts anew. White is an ironic comedy about a befuddled Polish husband (Zbigniew Zamachowski) who takes an odd path of revenge against his ex-wife (Julie Delpy). A Swiss model (Irène Jacob) strikes up a friendship with a retired judge (Jean-Louis Trintignant) who eavesdrops on his neighbors in Red. The trilogy is a snapshot of European life at a time of reconstruction after the Cold War, reflected through Kieslowski's moralist view of human nature and illumined by each title's palate color.

The DVD set has numerous extras spread throughout the three discs; the end result is a superior collection. Each disc has a short retrospective, culled together from new interviews with Kieslowski's crew, plus film critic Geoff Andrew, biographer Annette Insdorf (who also does the commentaries), and fellow Polish director Ageniska Holland. Producer Marin Karmitz also reminisces about the experience. There's an exceptional effort to show the magic of Kieslowski (who died two years after the trilogy) through a discussion of his various career phases, interviews with the three lead actresses, four student films, and archival materials including simple--and wonderful--glimpses of the director at work. Excellent insight is also provided by Dominique Rabourdin's filmed "cinema lessons" with Kieslowski. Without viewing any of his other films, this set illustrates the uniqueness of Kieslowski. --Doug Thomas ... Read more

Reviews (45)

One of the GREATEST trilogy ever made!!!
This is just beautiful, beautiful master film making from one of the best director of films of any country (Kieslowski). The movies are rightly understated, smart and well crafted. I highly suggest watching them in order BLUE, WHITE, and RED and watch how things just comes perfectly together in RED. Kieslowski excellent use of music in BLUE is nothing short of amazing and is also acts and an unseen character. Plus Juliette Binoche is amazing to watch. She is extremely convincing as a woman in real grief. White starring another well known French actress, Julie Delpy and polish actor Zbigniew Zamachowski is more comedic and the actor plots his revenge on his French ex-wife and then there is the magnificent of Red starring Irene Jacob, as a young model who discovers an ex-judge has been listening on the conversation of those around him. I don't speak a lick of french and the films are in French with English subtitle, but after awhile, you will forget you are reading and become engrossed in just good story tellling. It is not for those who are looking for the type of drama, we here in America are use to, but this is CLEARLY the best foreign films ever made. I recommend this only for older audiences (over 25) probably over 30. There may be a few younger folks who may get into this, but this film is for people who appreciate a nicely even, perhaps slow paced film. I am not trying to be an elitist, far from it. I wish that everyone would view these films for themselves because they are crafted so well and the filming is so smart. The colors represent the color AND meaning of the colors of the French flag. I was sooooo excited when they FINALLY realeased these films on DVD. For you true film fans out there, this is a must own collection.

Visually engaging
The RED, WHITE and BLUE trilogy refers to the colors of the French flag. This must be a declaration of patriotism or admiration from the films' director, Krzysztof Kieslowski, since the various storylines mostly take place outside France. Go figure.

In BLUE, Julie (Juliette Binoche) mentally recuperates from the loss of her family in an auto accident, of which she was the only survivor. In WHITE, Karol (Zbigniew Zamachowski) emotionally recovers from a humiliating divorce and shabby treatment by his ex. In RED, Valentine (Irene Jacob) copes after injuring a dog with her car.

Though each film is a complete story in itself, BLUE and WHITE must be viewed before RED. At RED's conclusion, a most improbable happenstance brings together the major characters of all three films. The trilogy's lesson appears to be that life is a series of coincidences, and the potential for personal growth from any connection between one or more individuals is a mine of great richness if one cares to work it. Humans are reputed to be a social species. However, the set is perhaps best appreciated by a "people person", who relishes the interaction of daily encounters whether random or not. I'm not that sort (much to my wife's perpetual disgust), so my regard for the series is somewhat muted.

RED, WHITE and BLUE also make the point that there's commonality in the experiences of varied individuals. In each film, the major character observes an old person struggling to insert an empty bottle into the elevated aperture of a large, curbside container for recyclables. Only in RED does the protagonist (Valentine) give assistance. Perhaps the director had more in mind here, but it only indicated to me that Valentine was the more generous and less self-absorbed of the three, and, on a larger scale, that reaction to a set stimulus is not uniform among individuals.

I recognize the ability of the trilogy to inspire opinionated discussion, which, as long as it doesn't degenerate into name-calling and fisticuffs, is a swell thing, especially over pizza and beer. I liked the series for its visuals - it continually held my interest - but I'm not such a deep thinker as to regard it as the Greatest Cinematic Achievement Ever. Sometimes, I think, symbology can be overwrought to the point of detriment. And, as I'm beginning to sound pretentious, I'll stop here.

A work of art
to correct a correction in the review from the lady in texas, Juliette Binoche loses her daughter in Blue, not Red.

A must have.
Do you study at USC, NYU or AFI?

Save your tuition and watch these movies.

Filmschool for only 30 $.

And watch them again, and again, and again...

Enthralling
It's amazing that the editorial review from amazon.com should have a mistake, albeit small, regarding the first film of the trilogy. In Red, Juliette Binoche loses her daughter Anna..not her son according to the review. I emphasize this because detail is very important in Bleu, Blanc, Rouge. If you pay attention and put all three movies together, you will understand something about the trilogy that you most probably didn't catch the first time watching it.

I highly recommend this collection in particular because firstly, it's complete. Secondly, the quality is amazing. And thirdly, all three movies can be seen separately but in watching and rewatching the three together, I keep rediscovering the beauty of Kieslowski's work and appreciate it far more than when I first fell in love with it 7 years ago. I highly recommend it to any aficionado of true cinema. ... Read more

Amazon.com

The Paul Verhoeven Collection consists of five films the Dutch director made in Europe before graduating to the Hollywood mainstream with such films as Total Recall and Basic Instinct. A bawdy though sympathetic look at the lives of two Amsterdam prostitutes, 1971's Business Is Business was Verhoeven's film debut. Ronnie Biermann stars as Greet, a worldly wise prostitute who is decently protective of her neighbor and friend in the trade, the busty, younger Nell (Sylvia de Leur). Finally, she decides they must both break out of their decreasingly fulfilling lives and seek out matrimonial stability. Business Is Business probably seemed like an authentic depiction of the Amsterdam demi-monde in its day, but today its kinky peccadilloes look rather quaint. However, both Biermann and Sylvia De Leur forcefully resist any of the clichés of the era in their strong characters.

When Turkish Delight (1973) opens on a brutal attack and then a succession of one-night stands, it seems that bohemian artist Eric Vonk (Rutger Hauer, collaborating for the first time with Verhoeven) is a complete jerk. Then a sudden flashback reveals the motivations for both his dreams and behavior, as well as the subject of the photos he spends his time pining for. He meets Olga (a fantastic Monique van de Ven), but their tempestuous relationship is shaken by many peculiar events: a surreal wedding ceremony, unveiling a statue to the Queen, and the death of Olga's father. The real problem is Olga herself, however, which leads to a shock ending many have compared to Love Story. Somewhat dated now, Turkish Delight is nonetheless unmistakably a product of the now-familiar Verhoeven style.

Katie Tippel (1975) is a handsome period drama set in 19th-century Holland, based on a true story. The second eldest daughter in a poor family, Katie (Monique van de Ven) must find whatever work is going to make ends meet. As she enters a succession of jobs in which she experiences both exploitation and sexual harassment, she learns that men want her for only one thing and so she enters prostitution. However, she is finally able to escape the poverty trap and ascend the social ladder, particularly when banker Hugo (Rutger Hauer) takes her as his lover. All this is set against a backdrop of social foment as the workers' impatience at poor social conditions increases.

Based on real events, Soldier of Orange (1977) tells the story of Dutchman Erik Lanshof (a star-making performance by Rutger Hauer) and a small group of students as they struggle to survive the Nazi occupation to the end of the Second World War. Across a canvas lasting almost three hours, Verhoeven unfolds a saga of friendship, espionage, and romance with almost documentary realism, crafting a deeply affecting film widely regarded as the greatest ever made in Holland.

Only two years separate The Fourth Man (1983), Verhoeven's final Dutch language movie, and the explosive commencement of his Hollywood career. This savage comedy shocker could well be seen as a trial run for Basic Instinct, since it features an ice-cold seductress (Renée Soutendijk) with mysterious motivations and sexual preferences. The hallucinatory tale follows a novelist (Jeroen Krabbé) first falling for her, and then feverishly investigating whether she's a serial husband killer. The film is full of what would soon be recognized as Verhoeven trademarks: a little blasphemy, a lot of nudity, dispassionate characters, and hidden agendas. ... Read more

Reviews (3)

Five dutch movies for one great price
The Paul Verhoeven is one of the best DVD collections that I have seen. These movies were very different from his movies made in Hollywood. They were made in his native country The Nederlands, before he went to Hollywood. Since I am originally from Belgium and Dutch is my native language, I was very exited that these movies were available on DVD in the United States. I was also satisfied that the English Subtitles were optional, so I turn them off. Soldaat van Oranje (Soldier of Orange) was one of my favorite movies. It is a WW2 war movie and one of the best war movies ever made. Wat zien ik (Business Is Business) is a good comedy about the Red Light District. Keetje Tippel (Katie Tippel), Turks fruit (Turkish Delight), and De Vierde man (The Forth Man) were also good movies. I also would like to warn parents that these movies are not appropriate for children because they contain some nudity. Business Is Business

5 movies for a great price
Five of the movies that dr. Paul Verhoeven (Ph.D. in math & physics) made in the Netherlands before moving to the US, in a pretty, stylish box (rather like the box sets for the extended "Lord of the rings" movies). Each movie has Paul's always interesting commentary (in English). As a Dutchman, I grew up having watched "Soldier of Orange" and "Turkish Delight" quite a number of times, so I figured that while living in the States, this box was an essential thing for me to have. Fortunately for me, the English subtitles are optional so I can turn them off! :)

For fans of Verhoeven's American work, these films will certainly be interesting as we can see significant similarities and differences between his Dutch and American works. Obviously, the Dutch movies are older, and some things are now outdated (notably "Business is business" feels so terribly outdated it's almost embarassing to watch, and I imagine it's included primarily for historical interest). On the other hand, whereas his American films are mostly Sci-fi-based, a few of these films are period pieces based on autobiographical writings, and as such the Dutch films are more based on realism (for instance, the excellent WW2-drama "Soldier of Orange", and the 19th-century period piece "Katie Tippel"). Nevertheless, we clearly see the themes that always run through Verhoeven's work: moral ambiguity, sexuality, violence, religion, plot ambiguity, etc.).

I should mention the two gripes I have with this box set. First, although the films are old, many older films these days are rereleased on DVD with a remastered 5.1 soundtrack. Although the mono soundtrack here is adequate, it's just too bad we get to miss the surround sound. Second, the omission of "Spetters", which is strange because that's such an interesting movie, and it would have been a better inclusion than "Business is Business".

I guess you can look up descriptions of the individual films by looking up their single-disk versions. Just a brief summary for each:
"Business is Business", his first movie based on a book of short stories written by Albert Mol (who has a cameo appearance), is a comedy about two prostitutes.
To a degree, "Turkish Delight", based on the classic novel by Dutch author Jan Wolkers, also feels somewhat dated, although it's less bothersome here, the story feels like a period piece stuck in the '60s or '70. It's rated as one of the best Dutch films of all time, and it's a drama about an almost-obsessive, intensely sexual relationship.
"Katie Tippel" is a "rags-to-riches" period piece based on the memoires of Neel Doff (1858-1942), set against the background of the rise of socialism in the 19th century. Although this story is also about a prostitute, it's a very dark story.
"Soldier of Orange" is a WW2 drama based on the autobiography of war hero Erik Hazelhoff. If I'm not mistaken, it was rated by critics as the best Dutch film ever. Very interesting, very good movie.
Finally, the best one, "The Fourth Man" is a surreal movie based on the novel by Gerard Reve. In essence, it's both an art film and a "parody" on artsy movies. Large parts of it were "re-used" in "Basic Instinct". Although this one is much better.

Thanks for taking the time to read this.

Great Movies! Great Price!
Anchor Bay has come through again with this wonderful set of Paul Verhoeven's early films. All of the transfers are top-notch and the subtitles are very clear and concise. As the individual titles have already been reviewed seperately, the big draw to this collection is being able to collect all of these brilliant films for much less than their retail price. The collectible booklet that's included provides plot summaries and quotes from the director and/or cast member(s). Overall, I highly recommend this collection for even the casual filmgoer who is looking for that unique film experience. ... Read more

Description

This four-movie collectible set includes widescreen versions of AMELIE, CHOCOLAT, IL POSTINO, and LIKE WATER FOR CHOCOLATE. CLICK ON INDIVIDUAL TITLES BELOW FOR PRODUCT DETAILS. ... Read more

Reviews (2)

Amelie
An amazingly refreshing work of art. This creature is not only tintillating due to her own sneaky intentions, however she is quite jovial in her pursuits of happiness for herself and others. An amazing movie, please send more over to America!

Eclectic collection of "Inspired Romance"
Romantic movies somehow seem a lot sweeter when they don't fit the usual boy-meets-girl mold. Four such movies make up the Miramax Inspired Romance Collection, four romantic movies that will make you want to cuddle up under a blanket (even the somewhat silly "Chocolat").

"Amelie" is the charming tale of a young French woman (Audrey Tautou), secluded and shy. But when she returns a childhood toy to a man, changing his lonely life, Amelie decides to keep doing good for others to improve their lives. But one of her deeds leads her to a handsome young man who may be her soulmate.... if Amelie can learn to help herself out too.

Sensuous, passionate "Like Water For Chocolate" introduces us to Tita (Lumi Cavazos) and Pedro (Marco Leonardi), young Mexican lovers who desperately want to get married. But Tita's domineering mother is determined to keep Tita single because of a mindless tradition. Pedro ends up marrying Tita's sister, and the heartbroken Tita is lost in her grief... only to have some very unpredictable things happen.

"Il Postino" is the way to love, when an exiled Chilean poet (Philippe Noiret) settles on a small Italian island. He befriends a poorly-educated young fisherman, Mario (Massimo Troisi), who is given the duty of delivering the newly-enlarged mail inflow. When Mario falls in love with the beautiful Beatrice, he needs the poet's help -- and the power of poetry -- to win her heart.

"Chocolat" celebrates joie de vivre, with big sides of chocolate (warning: Do not watch on an empty stomach). Vianne (Juliette Binoche) and her young daughter move into a small French town and set up a chocolate shop just at the start of Lent. What's more, Vianne strikes up a romance with a local drifter (Johnny Depp). The mayor is deeply ticked off by this, but as Vianne starts to improve their lives, the townspeople start warming up to her.

This collection is a pretty wide-ranging one. Some have the happy endings you'd expect, some turn out in ways you would never dream of. Okay, "Chocolat" is a bit silly even for magical realism; what keeps it from being absurd are the wonderful performances of Depp and Binoche. But these films have all kinds of romance -- the sparkling surrealism of "Amelie," the stomach-tingling heaps of chocolate, the sweet lyricism of poetry, and the sexy, sensuous "Like Water."

Basically, the "Inspired Romance Collection" is a must-have for movie-loving romantics. Sweet, sexy, sparkling and may leave you feeling hungry for candy. A solid, beautiful collection. ... Read more

Amazon.com

The Blood of a Poet
"A realistic documentary of unreal situations" reads the introductory card of Jean Cocteau's debut film, which recalls the work of the silent surrealists (notably Luis Buñuel and Salvador Dalí's Un Chien Andalou and L'Âge d'Or). Cocteau uses dream imagery to explore poetry, artistic creation, memory, death, and rebirth in four separate fantasy sequences. In the first scene, an artist confronts his creations when they take on a life of their own. In the second, he dives through a mirror (a primitive but startling effect Cocteau refines for Orpheus) and into a skewed hall where every door reveals a fantastic dream scene. The third sequence finds a gang of boys turning a snowball fight into a cruel war, and in the last an audience gathers to witness a dead boy's resurrection amidst a strange card game. These descriptions do little to communicate the poetry of each segment, which rely on creative imagery to create meaning not in stories but in symbols and metaphors. Cocteau's realization is often stiff and stilted, the work of a visual artist transforming still images into an medium that moves through time, but it's never less than beautiful and evocative. Cocteau returned to many of the same themes in Orpheus and The Testament of Orpheus. --Sean Axmaker

Orpheus
A Parisian poet becomes seduced by the prospect of eternal fame in Jean Cocteau's jazzy 1949 update of the ancient Greek myth of Orpheus. The café set won't give successful Orpheus (Jean Marais) the time of day, so he obliges when the Princess of Death (Maria Casarés) orders him into her Rolls Royce with her injured young protégé. It isn't long before the poet realizes the commanding Princess is no ordinary benefactor of the arts; for one thing, she can travel through mirrors. The next day, Orpheus returns to his frantic wife Eurydice (Marie Déa) with the kindly chauffeur Heurtibise (François Périer), but remains distracted by the Princess and the cryptic messages from her car radio. The equally smitten Princess eventually takes Eurydice before her time, which results in an underworld trial about her actions. To get his wife back, Orpheus must promise to never to look at his wife, but his heart's not in it. This black-and-white film slyly explores the dark side of the creative urge with panache. Dreamy and mesmerizing, it depicts an underworld not too different from everyday life. With subtitles. --Diane Garrett

The Testament of Orpheus
It is the unique power of the cinema to allow a great many people to dream the same dream together and to present illusion to us as if it were strict reality. It is, in short, an admirable vehicle for poetry." Jean Cocteau, at age 70, thus ruminates on the life and purpose of the creative artist in a poetic essay. Cocteau himself stars as a time-traveling poet bopping helplessly through the ages until an experimental scientist grounds him in a kind of never-never land where he defends himself to the judges of Orpheus, dies, and is resurrected to complete his sentence: "condemned to live." Though the film opens with scenes from Orpheus, the series of symbolic encounters and surreal images more resembles The Blood of a Poet. What's different is his cinematic assurance and sly sense of humor: shot through with jokey gags and playful imagery, the film is less philosophical treatise than career summation by way of farewell party. He's invited fictional characters (most of the cast of Orpheus) and real-life friends (cameos range from Brigitte Bardot to Yul Brynner to Pablo Picasso) from his past and present to send him off to an uncertain future. The new Home Vision video and Criterion DVD releases feature the restored color sequence. Cocteau died in 1963, three years after completing the film. --Sean Axmaker ... Read more

Reviews (8)

a great trilogy. Criterion's first box set also
This is the first box set released by the Criterion Collection. "Brazil" was on three discs but was only one movie so I don't think it counts.

In this 3 disc box set there are 3 feature films by Jean Cocteau.

The Blood of a Poet (Le Sang d'un poète)
Orpheus (Orphée)
The Testament of Orpheus (Le Testament d'Orphée)

Blood of a Poet is a surreal film which is about a painter who ends up having a set of lips growing on his hand.

Orpheus is based on the famous myth depicted in then-modern times. It has some great scenes and was very popular.

Testament of Orpheus is about a poet whotravels through time and visits a post apoctalyptic wasteland.

The set has special features on each disc. There is one hour biography on Jean Cocteau, transcripts of lectures Cocteau gave before screenings of the films, behind the scenes photos of Blood of a Poet, bibliography and filmography of Cocteau, and the 36 minute film La Villa Santo-Sospir.

The films also have some cool reverse-motion effects which show actions in reverse, some of the reverse scenes are of a man jumping into a lake, a flower being crumbled in someone's hand and a few others. This box set is a great release and is a MUST for Cocteau fans.

Thank You Criterion
I love this box set. The condition of 'Blood of a Poet' is amazing; it, and the other movies, are compelling. The DVD extras are superb. Criterion could have charged a lot more for this box.

Orphic, but not a Trilogy
Criterion notwithstanding, this collection of three movies directed by Jean Cocteau is no trilogy. Rather the three works represent three quite different views of the Poet-the prototypic artistic creator for Cocteau--at three different moments in his career. The first, Blood of a Poet (1930) released at the same time as L'Age d'Or of Luis Bunuel and Salvador Dali-both pictures were financed by the wealthy patron of the arts, the Vicomte de Noailles-is the most "Orphic" of three, and like L'Age d'Or very much in the vein of French experimental films of the 1920s, with an abundance of symbolism and rejection of conventional narrative syntax. Less radically innovative than L'Age d'Or, Blood of a Poet is like a brilliant book of sketches, some of which work, some of which don't.
Cocteau made no films for over a decade, and only returned to the cinema during the Occupation with The Eternal Return, for which he wrote the screenplay. Although directed by Jean Delannoy, the film was clearly Cocteau's own creation, and marked both the beginning of a period of fertile cinematic collaboration with Jean Marais and a new phase in Cocteau's contributions to film. The masterpiece of this period is, of course, Orpheus (1949). Cocteau had begun in Blood of a Poet by radically breaking with realism. Now he set about showing how the images of modern life could be invested with a mythic power of their own.
In The Eternal Return, Cocteau had put the story of Tristan and Yseult into a modern setting, but without the least hint of irony. In updating the myth of Orpheus to post-World War II Paris, however, he adopted a very different strategy. The Thracian singer becomes a rich and famous writer (Jean Marais) who supplies exactly what the public looks for in literature. At the beginning of the film, Orpheus boasts to an older retired writer, "The public loves me!" And the latter tartly retorts, "The public is alone. But as a result of the unforeseen adventure he lives through in the film, an adventure in which he confronts and falls in love with his own Death (Maria Casares), Orpheus momentarily becomes the Poet he never has been.
Cocteau had placed the myth of the sacrifice of the Poet at the center of Blood of a Poet, and he explicitly articulates it in Orpheus: "The death of a poet requires a sacrifice to make him immortal." However, the "real" Poet, from this point of view, is not Orpheus-who goes back to happily settle down in bourgeois bliss with his expectant wife-but Cegeste (Edouard Dermithe), who becomes the servant of Death, and unquestioningly transmits the messages from the underworld (read: the unconscious). The Poet has to sacrifice himself in order to be more than a writer-"A writer without being a writer," is how he defines the poetic vocation before the Judges of the Underworld-but Orpheus will never have the courage to make that choice by himself.
Not the least astounding thing about Orpheus is the assurance with which Cocteau handles the machinery of commercial film production. Orpheus is hardly a mainstream production by American standards, but it has no ragged edges, technically speaking. The film was strikingly photographed by Nicolas Hayer and it makes a highly adroit use of special effects shots, whose primitive magic Cocteau understood and employed quite effectively. The musical score is by Georges Auric, a member of Les Six who has to rank with Bernard Herrman as one of the major composers of film music in the history of motion pictures. Last but not least, Orpheus has a formidable cast, including-in addition to Jean Marais-François Perier as Heurtebise, Maria Dea as Eurydice, Juliette Greco as her friend Aglaonice, Roger Blin as the older poet, and the sublime Maria Casares as the most glamorous personification of Death ever to appear on the screen.
Viewers will likely have the most difficulty getting into the third movie, The Testament of Orpheus. Cocteau's adieu to the screen is a work filled with spontaneity and invention, so impulsively unstructured as to make Blood of a Poet look like Racinian tragedy. Cocteau plays a traveler lost in time who goes in search of Pallas Athene, but this is a mere pretext for stringing together a series of adventures, like the narrative premise of a picaresque novel. Testament of Orpheus was a movie ahead of its time when it came out 1959, and it remains so today. Possibly its release in DVD may serve to make it known to a wider audience.

Criterion has done itself proud with this set. Anyone inclined to balk might consider that three DVDs of this quality at the price are already a bargain. The picture and sound quality of all three movies, each of which has been digitally remastered, is superb. Blood of a Poet was especially impressive in this respect, and I felt as if I were seeing it for the first time. In addition, The Orphic Trilogy includes a wealth of supplementary material such as essays and pronouncements by Cocteau.

The set also contains two other films en marge of a non-fictional variety. One of these is Villa Santo Sospir, a 16mm picture about the home of Cocteau's neighbor on the Riviera, Mme. Alec Weisweiller, which he had extensively decorated. Mainly a record of art works, Villa Santo Sospir is his only extended work in color. The other, far more interesting, is a documentary about Cocteau's life entitled Autobiography of an Unknown by Edoardo Cozarinsky. Unfortunately, the picture quality is often dupey and unsatisfactory, but the film provides a number of invaluable interviews from the later phase of Cocteau's career.
Anyone who enjoys The Orphic Trilogy should definitely consider purchasing the Criterion DVD of Beauty and the Beast, and the videotapes of The Eternal Return, The Storm Within (Les Parents terribles), and The Strange Ones (Les Enfants terribles), all available from Amazon.com.

Orpheus
Let me start off by saying that the trilogy itself is a treasure, well worth the price to have these three spectaculary surreal masterpieces in one set and having Criterion give it their famous treatment (even though we reeeeally need to include more extras). My review at the moment is regarding the midle film, 'Orpheus'. You might all be a little familiar with the greek myth by now as I was, but Cocteau's treatment and interpretation are simply stunning. The film by itself is fascinating, I think it has that kind of quality that some foreign films have that whether or not you're used to subtitles you will enjoy the film. Jean Marris (Cocteau's real life lover) is fascinating in the role of Orpheus. Even though the role doesn't seem that complicated and I see him more as a medium with which Cocteau comunicates all that he wants to say about beauty, death, love and above all art. I think that is the basic question the movie brings up: what exactly is art? what makes good art? and how big a role does love play in the artistic process? But those are just hidden treats throughout the movie, and those who pay most attention are the ones who will notice that the movie is indeed deep and fascinating in its own respect. The sequences where Orpheus descends into death's underworld are simply fascinating to experience. Cocteau seems to retry some of the cinematic 'tricks' from his 'Blood of a Poet' and manages to invent some new ones in the process, this aspect is also fun to watch and adds a level of technical wizardry to an already beautiful and stunningly surreal masterpiece. The cinematography is at times also very good, some of the shots are composed in a very difficult way it may seem, and we wonder what exactly is behind the decisions to film in that particular way. All the other actors are also spectacular in their parts, but I think that the actress who played death could have had a lot more impact, maybe with another actress (Cocteau wanted Greta Garbo at first, imagine that!). The costumes and the sets are fantastic. But I think that this film is most valuable becuase it is the perfect way to introduce yourself to surreal cinema and it might also be a good way to get into french cinema, the film is an undoubted masterpiece, it has stood the test of time and it keeps raising deep questions in the viewer's minds to this day. I highly recommend 'Orpheus' and the Orphic Trilogy, if you like Cocteau I'd also check out 'Beauty and The Beast', and if you're a fan of the surreal I recommend trying out Buñuel. Thanks for reading, hope this helps. All in all, I'd rate this film a 9 out of 10!

Regarding "Blood Of a Poet"
Jean Cocteau, who would later go on to direct such classics as "Orpheus" and "Beauty and the Beast" began with this short (50min.) non-narrative film. "Blood of a Poet" (included in Criterion's "Orphic Trilogy" in a solid print) explores the figurative and literal blood and sweat that goes into creating a work of art. The film starts with an image of a tall chimney as it starts collapsing (an image that will now probably be impossible to separate from the World Trade Center collapsing) and then shifts to an artist that is painting a portrait. The film then follows this artist as he literally becomes one with his art (the portrait's mouth attaches itself to his hand), as he falls into the world on the other side of the mirror (where he sees such things as an opium den and a child being whipped and implored to take flight), and as he eventually shoots himself in the head to receive "eternal glory", and is immortalized in the form of a statue.

The film the shifts to a schoolyard where the statue of the artist is sitting, as a snowball fight erupts. One young child is knocked out and left bloody after the fight. Then the schoolyard reveals itself as a stage with noble spectators. A poet and a woman begin to play cards. The woman tells the poet "If you do not have the Ace of Hearts, then you are lost." The poet, realizing he doesn't have it, pickpockets it from the unconscious boy. Then the boy's guardian angel appears, covers the boy, and takes back his Ace. The poet, without the Ace, kills himself. The crowd applauds. The woman reveals herself to be Death, and wanders off talking of the mortal desire for immortality. We then see the chimney from the film's start collapse completely, suggesting the artist's dilemma lasted only a few seconds.

The film is exceptionally vivid. The imagery used here is still stunning despite its low-tech nature. The film's implication that the artist must ... his childhood for inspiration (signified as the Ace of Hearts is stolen), that the artist must view the world as a distortion (viewable through all the bizarre images on display), and that both artistic integrity and fame come at a great price (signified by the multiple suicides in the name of "glory") are all never explicitly stated, but are deeply felt through the images. The film is exceptional in its evocation of the artist's dilemma, and anyone with an analytical mind would find plenty to digest here. ... Read more

Reviews (42)

Bravo's COUNT OF MONTE CRISTO is a solid adaptation
This French mini-series, co-produced by the Bravo network and starring Gerard Depardieu, is probably the most complete version of the Dumas tale to date. Of course, this is the classic yarn of Edmond Dantes, the sailor sent to prison unjustly, and who escapes to avenge himself on those who put him there. With solid production values and a good cast, this classic tale of romance and revenge is given a performance that is both involving and moving, with a literate screenplay that does justice to the original source.
Despite being a bit too beefy for the role, Depardieu (in his first television role) turns in a stalwart and stern performance in the title role. It's a mannered performance that contrasts to some of the more bombastic roles that he has done in American films like THE MAN IN THE IRON MASK. It might not be the definitive performance of the role, but Depardieu does justice to it.
Because of the length of the series, many of the plotlines of the original are left untouched. Of course, if you're not used to foreign films with their subtitles and the long mini-series format (this series runs almost 400 minutes), you might find yourself getting impatient with this production. However, this is a fine production that I heartily recommend.

The best adaptation of Dumas' classic novel of revenge.
"The Count of Monte Cristo" has been treated better by the movies than Dumas' other classic swashbuckler, "The Three Musketeers". Both the Donat and Chamberlain versions are nice, feature length adaptations of Dumas' long, convoluted novel. This mini-series, however, is just plain magnificent. The care taken with details and sub-plots, the haunting performance of Depardieu as Edmond Dantes, the authentic look of the sets do justice to Dumas' classic. If only the producers would give us a 3 Musketeers adaptation! My only complaint? Alas, as most other adaptations, the ending is changed to, perhaps, lighten the very dark story or romantize it more. Still, one of the greatest mini-series ever produced. Do not miss it!

Watch everything except last half hour.
It's a superb production in many ways. The detail, the acting (it really doesn't matter that Depardieu is large as some other reviewers mention; he still owns the part), fidelity to the novel. Until the last half hour when the director for some reason decided that it needed a happy (!!!) ending. Mr. and Mrs. Romeo and Juliet are alive and well and living on the beach somewhere...

Surprisingly Good!
As a big fan of the novel, I did not know what to expect with this adaptation, but I was pleasantly surprised. Gerard Depardieu would not be my first choice for Dantes, but he does a fine job, and the supporting cast is excellent. Overall, the movie remains fairly true to the book. A great viewing experience if you are a Monte Cristo fan!

the best monte cristo
i've been a fan of the book for years now and i read it over and over again. but all of the films that i have seen about this book have not been really true to the book. but when i saw this on tv i had to own it. it's the best adaptation i have seen of this book. although the characters of the most recent count of monte cristo film with jim caviezel have been what i imagined the first time i read the book. but if you're a fan of the book like me its a must buy. ... Read more

Description

Includes Ten Days' Wonder, The Unfaithful Wife (La Femme Infidele), Les Biches (Bad Girls), Innocents With Dirty Hands, The Butcher (Le Boucher), This Man Must Die, La Rupture (The Breach), and Nada. ... Read more

Description

It's terror times three with these bloodsucking classics from Jean Rollin,France's maestro of the macabre. Enter a world filled with gothic castles, nubile beautiesin various stages of undress, and predatory vampires, with haunting music and imagesbound to linger in your nightmares. Bet you can't take just one bite! These adult fairytales of the monstrous and mysterious represent three of Rollin's finest achievements.Includes his controversial first "banned" film, "Rape of the Vampire," the outrageouslycolorful "Shiver of the Vampires," and his biggest box office hit, "Requiem for aVampire," also known as "Caged Virgins" and "Virgins and Vampires." ... Read more

Reviews (2)

Disappointed
I decided to get this collection as it sounded interesting enough. I was hoping for at least something exciting.
Sadly, I found these movies boring for the most part.

The first half hour of the rape of the vampires was perhaps the best for myself/ downhill from there. Redemptions Logo at the start of the dvd's is better then the movies !@#

Anyone know of some good vampire movies !@#

introduction to rollin: lesson 1
OH YEAH! it's great & redemption has made this collection available with an amazingly low cost. yes, that's 3 great films of rollin at a small price. for those of us who've wanted to study the maestro's classics or just indulge in some fantastic eurotrash, this is an absolute dream come true. infact, this was my introduction or 1st lesson in my education of jean rollin. of all three films, i'd have to say i love rape of the vampire best. as strange as this might sound, i was initially very confused when i saw this film & wouldn't have rated it so highly had i not given it a second viewing. having said that, i loved the images which are macabre & beautiful almost all at once. needless to say, that 2nd viewing really stole my attention & gave me a deeper appreciation of the film altogether. i was able to piece together the events & characters the 2nd time around & i realized what a genius jean rollin truly is. rape of the vmapire is to jean rollin as eraserhead is to david lynch. a rare landmark film that should be talked about for years & could be deemed an instant cult classic. the next film was equally enjoyable but not as confusing. shiver of the vampire is campy, macabre, and ironically funny. you'll find yourself shivering with delight at the hilarious but philosophical dialogue & shuddering with some of the images of erotic & vampiric activity. i could see this film would probably be more embraced by the mainstream than perhaps some of his earlier. not exceptionally graphic but there is a great deal of implied homoeroticism here. the next film was perhaps one of his most mainstream films (or should i say popular) of all time. released under various names through the years, requiem for a vampire is presented here in all of it's uncut glory. not my favorite of the three but it does have a surreal, child-like fairytale quality to it as many have mentioned. strangely enough, this film is by far the most sexually explicit or graphic film out of the three by far. the dungeon scene alone merits an NC-17 rating easily. had the film's dialogue been 30 lines shorter, this could have been a silent film. if you enjoy these films, thne you might go on to try living dead girl or night of the hunted which are also terrific films. although they are far more depressing than either requiem or shiver, they are indeed undisputed rollin classics. in fact, amazon.com has listed a a zombie collection which should have those titles included & will be released early october. this should save you some money & still provide the same entertaining quality you've come(or will come to expect) with redemption's wonderful catalog. ... Read more

Description

Krzysztof Kieslowski has fashioned a cinematic masterpiece. This collection of ten films is a work of supreme daring, imagination, and sheer brilliance, riveting and profound. Each of the films uses one of The Ten Commandments as a thematic springboard. As the films in "The Decalogue" were completed, they awed audiences at film festivals worldwide. The best actors, cinematographers and film technicians joined Kieslowski and his co writer and long time collaborator Krzysztof Piesiewicz in these extraordinary stories. The experience of watching "The Decalogue" is so compelling and powerful that film critic Kenneth Turan wrote that to see it was "nothing less than a privilege." ... Read more

Reviews (45)

So excited this is out
I'm so glad the Decalogue was finally released! I saw the series at a film festival in NYC about 7 years ago, and then (cough) acquired a video copy. But I'm so glad it's out on DVD - the quality is amazing.

The stories are touching and poignant (a word I thought I'd never use!) - and relevant to this day. Each is based on one of the ten commandments, and each story intertwines with the others in subtle ways (characters from one film appear in others, there's a mysterious character who watches all but 2 of the films from the outside).

So well done - Kieslowski was a phenomenal director (see the Blue, White and Red trilogy for more examples).

See what the fuss over Kieslowski is about
"The Decalogue" is a series of 10 films based roughly on the Ten Commandments and is directed by the renowned Polish director Krzysztof Kieslowski. Each film or part of "The Decalogue" is about one hour in length and is independent of the other parts, but have some of the same characters in the background or in passing from other episodes.

Although the films of "The Decalogue" are supposed to be, to some extent, based on the Ten Commandments -- there is not a direct commandment to episode relationship. Several of the episodes deal with adultery and some episodes deal with more than one commandment. Overall, I would say the stories themselves are depressing. Nevertheless, the plots are captivating and the way the stories are put together is intriguing. While watching these 10 films of "The Decalogue," you know are watching something great and know why Kieslowski is attributed with being clever at his craft.

"The Decalogue" was originally aired on Polish television, but two episodes were expanded into the films "A Short Film About Love" and "A Short Film About Killing" (both about 1.5 hours long) and received a larger audience.

"The Decalogue" includes many of Poland's most famous actors, including Boguslaw Linda, Zbigniew Zamachowski, Mirislaw Baka, and Krystana Janda.

This new release of "The Decalogue" contains 3 disks, which include:

* "Roger Ebert on The Decalogue"
* The 10 parts (or episodes) of The Decalogue series
* "On the Set of The Decalogue" (1988)
* "Kieslowski Meets the Press" (1988)
* "Kieslowski Known and Unknown" (1998)

Furthermore, a small booklet is included that has information on the actors and information on "The Decalogue." As a set, this series will provide a lot of entertainment with a total running time of about 584 minutes. "The Decalogue" is in Polish with English subtitles.

Patience is a requirement.
I bought this DVD set because I was such a huge fan of Blue, White & Red. I also enjoyed the Double Life of Veronique. I found the premise intrigue with the Decalogue. I mean, 10 one hour stories base on each different commandment. First of all, let me say it isn't obvious, which makes it very very good indeed. It doesn't hit you on the head with "HAVE NO OTHER GOD OTHER THAN ME". But the patience required in viewing these is to view all ten because it is truly a remarkable achievement in story telling AND in conveying the 10 commandments in a way no other filmmaker can do, except for this wonderful director. I can tell you now, that it will not be for everyone. The story is in Polish with english subtitles, but it's best to watch it that way because, just like in american films, people's subtle way of talking and stresses ads as much to the film itself than mere dialogue. Kieslowski intended the story to be told in that way and dubbed dialogue would, perhaps, ruin those little subtle nuances. But the key to the decalogue is not the film itself, but the lesson and honesty it protrays in the story and in the film making process. It let us know that a story that has been read millions of time and told thousands of times and probably film in dozens of ways, can be shown in a refreshing, wonderful light that one can never hope to imagine and inspire us to look at the bible again. There is no glitz here, no CGI, in fact the set takes a backseat. It is the story that matters and the wondeful thing about these stories is that the people act normal. No overly dramatic characters is what makes this film a worthwhile see. If you are a film student, it is a must see. This is the type of work that leads to discussions and that is a good thing. The one drawback that I have with this is that the video is rather dark. But then again, it was filmed quite awhile ago. Another note, you have to be in somewhat and openminded and serious mood to watch this film.

A creative triumph!
Kielowski made a glorious work. This set talks about the relativeness you may approach every one of these ten commandments.
In a miserable building Kielowski shows us with no mercy sight the close space in which the polish citizen live. All the story are a serious ehic conflict and the resolution usually goes on the opposite side of the real spirit of the commadment itself.
Specially remarkable are the Chapters 1, 2, 4, 5, 6, 7, 8 and 10.
Kielowski made his own script for the polish TV.
An unforgettable masterpiece ; a must for any serious lover of the cinema.

Thou shalt not...
Krzysztof Kieslowski obviously had a thing about "theme" series -- the Color trilogy, the unfinished "Heaven" project... and of course, the Decalogue, a wonderful collection of made-for-TV movies that focuses on the Ten Commandments. Kieslowski's style is not at its most polished here, but unpolished Kieslowski is still magnificent.

Kieslowski ran the full range of emotions in the Decalogue -- he'll make you laugh, then cry, then stare in disbelief. In one, he presents a man and his son "playing God" with a computer; in another, a murder is followed by execution ("thou shalt not kill"); a woman lures her lover away from his family on Christmas Eve ("keep holy the Sabbath"); and the delicious black comedy where two brothers inherit their dad's valuable stamp collection ("thou shalt not covet thy neighbor's goods").

By Hollywood standards, the Decalogue probably shouldn't exist. Not only is it religiously-themed, but was made on a very small budget and written in under two years. But Kieslowski proved his mastery by creating the one-hour short movies (two were screened in longer form), and loosely stringing them together.

Don't expect the obvious in Kiewslowski's movies. This is no Sund