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"It's Pride and Prejudice with dirty bits." That's how screenwriter Andrew Davies (Bridget Jones' Diary), in an interview contained on this disc, describes his adaptation of Sarah Waters's acclaimed novel of lesbian love, betrayal, and redemption in Victorian England. This three-part BBC production chronicles with relish the story of Nan Astley (Rachael Stirling, the ravishing image of her mother, Diana Rigg), barely 18, and certain that life holds more for her than her oyster girl's existence. "You'll meet someone who'll have your head spinning and your legs turning to jelly," her sister promises. That someone surprisingly turns out to be "gay and bold"Kitty Butler (Keeley Hawes), a music-hall entertainer, with whom Nan falls instantly, and swooningly, in love. Nan follows her to London, where, as a double act, they become the toast of London, until Kitty's "marriage of convenience" breaks up the act and Nan's heart. The outcast Nan, decked out in Victor/Victoria duds, becomes a streetwalker, and then "tart" to the aptly named Diana Leatherby (Anna Chancellor). This affair, too, comes to "a bad end" as a destitute Nan is deposited back on the streets, where she insinuates herself into the lives of Florence (Jodhi May), a social worker, and her socialist brother. Is Nan "too spoiled and stained for love?" Will she risk her blossoming relationship with Florence when Kitty inevitably returns to rekindle their affair? There is enough "backbiting and bitching" to fuel several seasons of The O.C. Nan's couplings, while tastefully done, do carry what Waters, in the co-interview with Davies, calls "a queer erotic charge." They are graphic by Cinemax standards, let alone the BBC. But the sterling writing and performances will captivate even the most sensitive viewers, making this groundbreaking miniseries, to quote one character, "a delightful evening... a rare treat." --Donald Liebenson ... Read more

Reviews (36)

The Best TV Has To Offer
First of all I would like you to forget about the lesbian content in Tipping the Velvet for a minute.
As far as writing, acting and directing goes, it is an above average TV mini series (in three parts) that will truly engage you from the very start.
The attention to period detail,the sets and costumes and atmosphere is quite impressive,whereas the adventures of Nan (Rachael Streling)living in the claustrophobic Victorian age can be seen in more general terms as the struggles of a liberated and independant women trying to assert herself in a not so understanding environment.
The fact that she is a lesbian can be seen,in a way, as accidental vis a vis the larger context of a woman's self expression and identity way ahead of its time.
Why Tipping The Velvet works so well, is because it is written and filmed in such a way that Nan's sexuality and with which gender she falls in love does not really matter,as the viewer sympathizes totally with her story.
Geoffrey Sax and writer Andrew Davies (based on a bestselling novel by Sarah Waters), successfully manage to tell the story of Nan both dramatically, emotionally and visually with a consistency that never lapses for a minute.
Now to the lesbian content.
I have to say that Tipping The Velvet has the most daring lesbian scenes ever filmed for the small screen.Each of the three episodes contain Nan's sexual expressions and identity both graphically and emotionally..her passion and true love for Kitty (Keeley Hawes),her desires,her submission to a controlling woman (Anna Chancellor) who uses her younger lover as her 'sex slave' in an Victorian underground world of lesbian orgies,her affair with a maid (a rather explicit scene)and eventually finding a safe berth and the peace of mind.
Tipping The Velvet works so well on both levels, and no matter how exciting the 'lesbian' angle might be, it is at the end, the story of a free spirtied woman's journey in a world that was hostile to such manifestations of independance.A must buy!!

This is Entertainment!
I stumbled on this exquisite mini-series last year on BBC America, where it was pretty badly hacked up by the censors to conform to "American" tastes. Even so, I was immensely impressed by this show's unique perspective on one aspect of Victorian life. Now, having seen the original program as seen in the UK on DVD, all of the missing bits make for an even more satisfying and coherent whole. I won't bother to repeat what other reviewers have said regarding the writing, acting and production. At the core, this is a love story and pretty shamelessly so! Bt whether you are straight or gay, I dare you not to be entertained by the unlikely journey of Nan Astley, from Whitstable oyster girl to music hall star. And by the way, it's pretty damn funny too! Highly recommended!

Highly Recommended
I read both 'Tipping the Velvet' and 'Fingersmith' and absolutely fell in love with the rich and detailed stories the author spins. The books contain so much that I was a little unsure whether a movie would ever be able to match up to Sarah Waters' wonderful writing.

Much to my surprise, the acting, costumes, and story were as carefully and beautifully done as the books themselves. It's obvious that the screenwriter(s) and director took pains to maintain the integrity of the story, with the same amount of grace and delicacy Waters uses in her book.

I recommend the book first and foremost, but once you finish it, you will definitely want to get this DVD!

Brilliant!
I came upon the DVD by chance, bought it, not realising what to expect. As it turned out, I totally love this film! Beautiful film, wonderful cast, superb acting. I really felt for Nan, the lead character, her loneliness and how she longed for companionship. It's a common feeling. Almost 3 solid hours of film and I love every minute of it. Loved the musical score too. I totally recommend it!

A brilliant film!!
This film is a great story about a young girl nancy astling dealing with her mixed feelings for music hall actress kitty butler. Nan finds herself uncontrobly in live with kitty and they share their passion for each other many times. Nan elopes with Kitty to London and becomes part of Kitty's act. Kitty afraid to commit herself totally to nan, betrays nan and marries walter. Nan, upset and distraught runs away to the safety of a rented room and does not emerged for months. Once able to move on from her scared days, she becomes a tom, making her money to pay the rent. Unaware to her a misterious woman has been watching her. One day nan meets Florence and they hit it off, un fortunately for Nan, she is kidnapped by diana leatherby and whisked away as a sex slave. Unable to meet florence Nan regrets this but has no complaints against this unwanted kidnapping. Living with Diana for many months as her slave, Nan gets used to daily life and her role in Diana's affairs. Sick and tired of being bossed around by Diana, Nan and Zena, a servant, embrace and share their passions for each other. Unspectidly Diana and her friends walk in and catch them at it. Diana immediately chucks them out. Nan and Zena go to a boarding house for the night and Nan thinks they will live together. Nan wakes the next morning to find Zena has ran away with all their money and yet again Nan finds herself with no-one and nothing. Nan, with no-where to go, remembers Florence. She tracks Florence down only to feel unwelcomed. But over time Nan and Florence fall in love and share their passions for each other. Nan slowly regains trust and friendship and even returns to the music halls with her own act. Nan then has to make the hardest choice of her life, as Kitty comes to find her and says she wants Nan back.
Nan ponders this, but in the end makes the right choice, the girl she loves, the girl that didn't betray her, Florence. They are not afraid to commit to each other and live the rest of their lives together. ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Description

In his late color masterpiece Kagemusha (The Shadow Warrior) director Akira Kurosawa returned to the samurai film and to a primary theme of his celebrated career—the play between illusion and reality. Sumptuously reconstructing the splendor of feudal Japan and pageantry of war, Kurosawa creates a soaring historical epic that is also a somber meditation on the nature of power. The Criterion Collection is proud to present Kagemusha for the first time in its full-length version. ... Read more

Reviews (33)

Fine precursor to the classic "Ran"
Just before "Ran," Kurosawa got American funding for this movie about a "shadow warrior" who was assigned to impersonate Takeda Shingen should he die. This was to keep the Takeda clan's border secure and prevent enemies (of which Takeda had many) from invading. It is a wonderful film, and has two very strong points: the visuals, and the characters.

The strong visuals should be obvious - an Akira Kurosawa film with no strong visuals is like a Monet painting with poor use of color. The battle scenes are stunning and seem to come out of a nightmare, with rifleman shooting down on soldiers with a bright light flashing behind them. The colored armor of Takeda's men were also nicely picked and, as Kurosawa would later do with "Ran", give their presense a hauntingly beautiful yet horrifying tone. The final scene at the Battle of Nagashino (which was wrongfully nitpicked in Stephen Turnbull's Osprey book of the battle) chooses to show us only the aftermath of the battle, with shots of cavalry charging to the gunners and then cutting to the horrified expressions of those who watch the unfolding massacre of Japan's greatest army. The shot of the fields of dead is some thing that could only have come out of the nightmare of war.

I think the strongest part of the film, though, were the characters. The film has a slew of fascinating characters, from Takeda's generals (each with their own personality) right down to the rifleman who shot Takeda. Even the spies from Oda and Tokugawa interact and talk like real people, and I can't think of any one in this film I easily forget. I especially liked Oda Nobunaga, and I think this film has the best portrayal I've ever seen of him. He can be seen walking out with his army and stopping briefly to listen to a Christian priest give a prayer. There is another part where he rides around on an Arab horse, followed by a scene where he offers Tokugawa Ieyasu a glass of Western wine (poor Tokugawa chokes on it!).

The best character is, of course, the shadow warrior himself. The actor did a wonderful job of playing Takeda and the imposter, and even though being a common thief that nearly quits his job in the beginning, you find yourself growing to like him. The scene where he confesses to the concubines he is an imposter, knowing they'll take it as a joke, and then winks at a general was hilarious! Also, notice in the scene where a retainer describes to Takeda's nephew what the meaning of the clan flag is...the imposter is listening just as intently as the boy is! He also comes out strong in the second-to-last battle sequence, where he watches as men fight and die for a man they strongly admire. The final Kurosawa metaphor at the end (which I won't describe because its a serious spoiler) also gives the whole point of the story. The man tried to undertake a role that was perhaps too big for him, a role only one man could really play.

Overall, I was very impressed with this movie, and I would definately recommend it as viewing for those fans of the master of film himself. I hope soon a DVD will be released of it and I will be able to add it to my growing Akira Kurosawa DVD set. In the meantime, I happily own a video copy for viewing.

The shadow warrior
Kagemusha is another entry in Kurosawa's decades-long string of Samurai movies and is replet with rank-n-file anti-war themes: empires are fleeting, stubborn pride proves costly, and human life is cheap. Although not without its problems in pacing and stiffness, it is better than some of his more famous films, though no where near as good as Ran. The plot: The warlord Shingen is mortally wounded whilst besieging a fortress. His dying wish is that his dynasty continue. This is accomplished by using an impersonator, Kagemusha (Tatsuya Nakadai), who is a thief with humble ancestry. Kagemusha serves as Shingen's stand-in for three years, improving morale and even helping to win battles. The most impressive feature in Kagemush is the photography along with the splendid costumes. Indeed, outstanding cinematography and convincing sets are a familiar hallmark for Kurosawa. While one can hardly fault the films character development, for a war film, the pace is slow -- very slooow. Kagemusha was an expensive film by Japanese standards, and Kurosawa had alienated himself from Japanese studios with his cutting comments about their uncompromising attitude towards fimmaking. So unfortunatley (and ironically), he turned to the crass commerical master himself, George Lucas (as well as Francis Ford Coppola). Both are credited as executive producers for the "international" version of Kagemusha. Kagemusha was nominated for two Academy Awards, Best Foreign Language Film and Best Art Direction.

Better than Ran
Comparing Kagemusha with Ran is a thread that runs through many of the reviews. Both are dramas centered around warlords during Japan's feudal era, and were directed by Kurosawa late in his career. Both films are visually stunning, but there are differences in how the stories are presented. Ran seems affected by its self-conscious adaptation of King Lear, and has a more theatrical (and less cinematic) feel about it. The acting is very stylized, as if in adapting Shakespeare's play Kurosawa also wanted to reaffirm the Japanese qualities through similarities to traditional ritualistic Noh dramas.

The story of Kagemusha seems more of a natural portrayal in comparison. The loyalty of the thief to the warlord is perhaps a quintessentially Japanese story, and is beautifully evoked in many small scenes throughout the film. It is the battle scenes which are highly stylized in this film, as they serve to illustrate the changing fortunes of the clans, and are not centerpieces. They are a part of the amazing beauty of the film's images. One of my favorite images of all the films I have seen is that of the warlord's unhappy son plotting in a traditional room, while in the background we can see the blue of a lake being whipped up by a storm.

Some people will prefer Ran, and others will like best Kurosawa's earlier and more earthy films, such as Yojimbo. They are all wonderful, but for myself Kagemusha is his crowning achievement.

Great movie
I actually prefer Kagemusha to Ran. My Japanese language University teacher used to gripe that Kurosawa represented a "western" style of cinema, as opposed to Ozu, for instance. Ran is basically King Lear set in medieval Japan, whereas Kagemusha is more original in many ways, and less anachronistic. The themes of the Kagemusha's futile fight aganst destiny and his doppelganger-like identification with Shingen are also magnificently played. Finally, the very Japanese emphasis on passive control (Shingen's strategy is always to act as an umovable mountain on which to shatter his enemies) resonates in interesting ways.

I Want My DVD!!!!!!!
Why, oh why, is Kagemusha not available on DVD? I have seen probably a dozen of Kurosawa's movies, and Kagemusha is my favorite of them all. For the wonderful cinematography and score alone, it is deserving of a better format than VHS. ... Read more

Reviews (93)

IT REALLY DOES WORK ITS MAGIC!!!!!
This movie truly is a crowd pleaser. A terrific film from Majid Majidi, exploring the frank tenderness of the human heart between a brother, Ali, and his little sister, Zahra. These two charming young actors ( especially Zahra, God she's so adorable) gave a marvelous performance. It is a simple story about how Ali accidently lost Zahra's shoe's and now Ali makes a wise decision by not telling his parents and so he shares his own shoes with Zahra. She attends her day class with his shoes and when she's done with no time to kill she has to run to him to hand him over his shoes so that he can catch his afternoon class. But he kept running late for classes and in trouble for being late. When there was a school ad posted regarding a marathon race, Ali decides to go for that ultimate sacrifice for the love of his sister all beacause the prize was first place gets the cup and third place gets a pair of running shoes. But somehow he went first place and got the cup. Eventually that wasn't the end for there was a bigger surprise (I won't give anything away, see it for yourself). This formula has worked so exquisitley. What a magical film.

Ali and Zahra's World
The Children of Heaven is the second Iranian film by Majid Majidi I've seem. Like the first one, The Color of Paradise, the storyline and the images stuck in my mind for weeks.

In The Children of Heaven, Majid Majidi focuses almost exclusively on the world of children. Adults are in the film, but they are secondary. Despite their not being the focus, the adults in Children of Heaven are not cardboard figures, however. Even with their brief dialogue, their personalities are well defined.

The Children of Heaven is the story of Ali and Zahra. They live with their parents and baby (I don't know which) brother or sister in a tradtional, working class section of an unnamed Iranian city.
The movie begins at the shoe repair shop where Ali has taken Zahra's only pair of school shoes to be stitched back together. After leaving the shop, he runs other errands and loses the Zahra's shoes on the way. Without her shoes, Zahra cannot go to school. Their father doesn't not keep ready money for such an emergency. They are poor people. Too afraid to tell their father, Ali hits on a plan to help Zahra to get to school. She will wear his old worn out sneakers to class in the morning. When she gets out of school in the afternoon, she is to come straight home and give him the sneakers so he can attend his classes. The whole movie centers around the shoes. Getting back and forth to school becomes a stressful game for Ali and Zahra.

After seeing The Children of Heaven I wondered if any producer in Hollywood has the genius to pull off such a story centering around an item as simple as a shoe. It would be a nice, radical change if one did.

Children of Heaven is excellent for people of all ages. Even though the story is filmed and set in Iran, no time is given to preaching precepts about Islam. The movie is about the adventures, genius, love, and imagination of children. Please send the West more of your excellent work Mr. Majidi!

A Profoundly Honest, Simple Story
Majid Majidi is a master craftsman. In CHILDREN OF HEAVEN he has written and directed a story so delicate and so genuinely human that it has few peers as a piece of filmmaking. He is able to see, and allow us to see, the world through the eyes of children. And as if that weren't enough, he has chosen the filial relationship between a brother and a sister that demonstrates just how profound love can be. Ali and Zahra are youngsters who maintain their family duties (living in a poverty section outside the city), serving their ill mother and overworked father and their infant sibling while continuing their education in their separate schools. The family is so poor that each member has only one pair of shoes and when Ali inadvertently loses Zahra's newly 'repaired' old shoes, he makes a pact with her that the two will share Ali's sneakers to spare the grief that the father would feel should he discover the truth - that no further shoes were affordable for Zahra. The two swallow pride, make sacrifices, and depend on each other as the one pair of old sneakers plays double duty. Each child attends a unisex school and these microcosms afford the study of the interplay of the two children as a metaphor for Iran society. Ultimately Ali finds a solution to gain a new pair of shoes for his sister by attempting to place THIRD in a long distance running race. The way that race plays out offers a somewhat surprise ending. This story is simple on the surface, but the insights into the poverty of Iran against the wealth in the major cities, the ability for a family to not only survive but make a family relationship so dear - these are the portions of magic that make this beautiful movie an experience that will please almost every viewer. The 'actors' will remain with you both as characters and as spirits long after the film is over. In Farsi with English subtitles.

Beautiful and Endearing
This is the first Iranian film that I have viewed. I did not know what to expect, and I was pleasantly sursrised with this touching film. The two children, Ali and Zahra, really reach your heart. I loved this film so much, that I am purchasing it for my own collection.

A great childrens movie for all ages
I really enjoyed this movie and is the best children's movie I have ever seen in my life. I found the story spellbinding since it was a reminder of my own childhood even though I grew up in the US middle class while the story is set in the slums of Iran.
The acting is first rate and surpasses a lot of what Hollywood churns out. A definite must see for everyone. ... Read more

Amazon.com

A summit meeting of great Italian directors of the era, Boccaccio '70 is an antipasto platter of vintage sex symbols and naughty material. Cooked up and bankrolled by Carlo Ponti and American producer Joseph E. Levine, the four-part film was meant to tap the international smash of Federico Fellini's La Dolce Vita, which gave audiences some refreshingly, you know, "mature" subject matter. Four directors were hired to create segments ostensibly based on the tales of Boccaccio:Fellini himself (in the lull between La Dolce Vita and 8-1/2), Luchino Visconti, Vittorio De Sica, and Mario Monicelli.

Monicelli's story, Renzo and Luciana, is an agreeable tale, full of everyday Roman life:an office worker (Marisa Solinas) must marry her boyfriend when she gets pregnant--although marriage is against company rules. Fellini's segment, The Temptation of Dr. Antonio, is fantastical and big-scaled. It tells of a censorious bluenose (Peppino de Filippo) who becomes incensed at the presence of a billboardfeaturing a sexy portrait of Anita Ekberg (selling milk)--a portrait that comes to life. For this bizarre escapade, Nino Rota composed an advertising jingle that will stick in your mind whether you want it to or not.

Visconti's The Job is the best segment, tracking the emotional chess game between a playboy (Thomas Milian) and his wife (Romy Schneider at her most gorgeous) after he is publicly exposed in a sex scandal. Finally, the De Sica piece (The Raffle) is a fairly broad romp that uses Sophia Loren as the reward in a raffle. Sophia's delicious, needless to say.

The finished product weighed in at a whopping 208 minutes, and Monicelli's segment was lopped off before the film showed at the Cannes Film Festival. It has never been restored, until this DVD release. All the segments are frankly too long, and none qualifies as an essential gem, but they do give the flavor of Italy's best at an especially exciting cinematic moment. --Robert Horton ... Read more

Reviews (2)

A must for fans of the directors
BOCCACCIO 70 is made up of four short films, each around 45 minutes long.The DVD set is broken up into two DVDS, with two of the shorts on each, and the second DVD containing a few extras.

The transfer for all the shorts is absolutely stunning.I don't think it could have looked this good when it played in theatres.

Disc 1

The first segment, directed by Mario Monicelli, had long been unseen, at least in the US.It was removed from the US release of the film.It is the least of the four, but still quite watchable, about a newly married couple, dealing with their family and work.Not much to it, but an interesting view of everyday life.

The second is probably the strongest, by Fellini.I would argue that this is one of Fellini's most focused works (although I would admit that I find him to be overrated to some extent).It is a very funny film about a moral crusader who objects to a large billboard for milk, with Anita Ekberg on it.

Disc 2

The third segment is directed by Visconti starring Romy Schneider.A wealthy man is caught in a scandal, having to do damage control with his business associates and his wife.It is one of Visconti's lightest works, and also quite fun.

The final segment is De Sica's THE RAFFLE.A group of men enter a raffle, the prize being Sophia Loren.

The extras on the disc include the original US credits, trailers, and some brief interviews made at the time of the films release, as well as a photo gallery.

The film is a must watch for all fans of the directors.

Drink your meelk!
This film I picked up more out of curiousity and because Fellini directs one of the viginettes. I had never seen any of the 4 mini films before, nor did I know of the controversy surrounding its universal release. Each film deals with sexuality in different ways. All of the films have impressive looking anamorphic transfers for being almost 45yrs old. There is English dubbed audio tracks though my copy kept switching back to Italian on its own.. English subtitles looked fine.
All of the films looked great and are restored anamorphic transfers. The Fellini film was my favorite by far. This is his first feature using color as well as featuring dreams/fantasy in his films. I couldn't help think of Attack of the 50ft Woman seeing thecharming Anita come to life off a billboard. This is as close to comedy as Fellini got , too bad he didn't explore this more often. Fellini's segment is almost an hour.

The Visconti piece was lavishly produced and feautured a troubled wife trying to rekindle that spark. This takes place in a high class French styled mansion. Romy is nice to look at even if she is rather pathetic. This mini drama was the most serious of the 4 and rather depressing as it unfolded.

The last two were rather light and forgetful even if Sophia Loren looked fabulous, and was omni present in her role as a carnival spinster with a change of heart.

The extras are fun. Lots of on set pics and lobby cards , plus a large fold out booklet with press clippings and news reviews.The U.S. and Italian trailers are intresting to compare.

If your a Fellini fan, you would do well to see this for his giantess fantasy alone!





... Read more

Amazon.com

With its high-intensity plot about an attempt to assassinate French President Charles de Gaulle, the bestselling novel by Frederick Forsyth was a prime candidate for screen adaptation. Director Fred Zinnemann brought his veteran skills to bear on what has become a timeless classic of screen suspense. Not to be confused with the later remake The Jackal starring Bruce Willis (which shamelessly embraced all the bombast that Zinnemann so wisely avoided), this 1973 thriller opts for lethal elegance and low-key tenacity in the form of the Jackal, the suave assassin played with consummate British coolness by Edward Fox. He's a killer of the highest order, a master of disguise and international elusiveness, and this riveting film follows his path to de Gaulle with an intense, straightforward documentary style. Perhaps one of the last great films from a bygone age of pure, down-to-basics suspense (and a kind of debonair European alternative to the American grittiness of The French Connection), The Day of the Jackal is a cat-and-mouse thriller that keeps you on the edge of your seat until its brilliantly executed final scene (pardon the pun), by which time Fox has achieved cinematic immortality as one of the screen's most memorable killers. --Jeff Shannon ... Read more

Reviews (72)

Why can't they make movies like this any more?
Rarely does a movie do justice to a book, but Fred Zinneman's production of "The Day of the Jackal" is wonderful adaptation of Frederick Forsyth's novel which, I continue to believe, is one of the greatest thrillers ever written.

It's hard to put a finger on what exactly makes this film great: excellent performances by relatively unknown actors, a wonderful plot, fantastic location shooting or a complete desire to avoid the bells and whistles, special effects laden movies that are all that makes up the "suspense" genre of films these days. Like other reviewers have said, be this the first or the fiftieth time that you watch this film, you will be left on the edge of your seat with its "cat and mouse" plot of the search for a lone assassin hired to murder President De Gaulle. The young Edward Fox is brilliant in the title role and the supporting cast excellent.

If anything, this film proves that you do not need big named stars, explosions around every corner or computer generated effects to make a fantastic film. The only downside to watching this film is that you realise that the movie industry just does not make films like this any more.

Highly, highly recommended.

ONE SHOT IS NEVER ENOUGH !
Fred Zinnemann's THE DAY OF THE JACKAL is not the kind of thriller you are familiar with nowadays. For once, french actors don't look silly and have the terrible task to trace Edward "The Jackal" Fox who gives an award-deserving performance.

DAY OF THE JACKAL made me think of these cold war spy movies of the seventies. Do you remember ? We had the impression they were filmed only in green and blue, the characters didn't speak much leaving to the audience the task to understand the plot by itself. You will feel this kind of atmosphere in this film with the difference that Zinnemann worked with a solid gold screenplay.

The final scene, the day of the jackal, is about 30 minutes long and is already part of Motion picture History.

A few problems with the images ; white spots, images standing still during 1 or 2 seconds. The sound is, in my opinion, the best we can expect from a 1973 movie.

A DVD worthy of multiple viewings.

Excellent adaptation from Forsyth's novel. A winner!
Why not the jackal?
This is the answer given by the hard and cold assasin who signs the agreement to kill De Gaulle.
The story runs through a set of historical issues who are part of the story. A group of officers decides by themselves to revenge the lost honor of France due the fact about the independence of Algiers.
Edward Fox - one of the best actors of his generation - played with sublime perfection the demanding role of the Jackal.
So from the first images of the film you'll be engaged with this chess film. All the movements of this exceptional mind are guided by an amazing sense of hunter behavior. He acts like a western samurai , without blinking , he kills when the circunstances don't let him other choice. The feelings don't exist in this professional.
You are invited to presence an authentical tour de force. And since the moment an important link is arrested , your histamina and cold sweat will invade you.
The efforts of Le Surete for following any possible clue leads to an unforgettable mind game to spark the human chase since the moment the Jackal decides to go ahead with the plan and drive to France from Niza.
The rest of the story runs for you when you acquire this legendary and hair raising punch thriller. And once more you'll admire how the famous film maker Fred Zinemann could win with this story.
The locations and the sense of the drama are extraordinary made. And the words are not enough to describe the countless sequences of hard beating you'll experience.
A perfect film and believe me ; you won't feel the 140 min of the picture.
This is the first and best version!

A First Rate Spy Thriller

Not so much "spy" as "assassin," though, for Edward Fox is cast as an assassin, doing a job that will earn him his retirement. He is to kill President Charles de Gaulle, "le Grand Charles" himself, in Liberation Day, as we eventually find out--but not until much later in the film.

The killer goes through many personalities, disguises, and changes, and manages to kill a few innocents on the way to his final conquest. He is unknown to the gendarme, who are on his trail early, with the help of an informer on the inside, but eventually his appearance becomes known to them--and even then, in spite of an alert commissioner of police in Paris who is every bit his match, Inspector Lebel (Michel Lonsdale)--he almost makes his kill. Had he done so, of course history would have had to be re-written because of a movie, an unlikely event--so we knew that he would fail, but still the plot was so well played that the suspense was never lost.

Written by Frederick Forsyth and directed by Fred Zinneman, perhaps this film was predestined for greatness, but in any case it is one of the great ones.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

If only it had had a happy ending
_Day of the Jackal_ is one of the best film adaptations of a book ever done, the directors managed to keep the vital elements of the plot and the pacing of the book and successfully transfer them from one medium to another. When I read the book after seeing the movie I was amazed at how much they had managed to keep. Edward Fox was perfect as the Jackal, it's a pity that he's ended up starring in so many bad films in his career as he is truly a fantastic actor. There are some wonderful moments of irony such as when the leader of the French terrorists says that no soldier of France will ever raise a weapon against him and then is shown being shot by firing squad the next day. The only thing that would have improved this movie is if the Jackal had succeeded in blowing Charles DeGaulle's head all over the pavement in Paris, I mean really, the guy goes to all of this work and fails in the end, and come on, he's trying to shoot DeGaulle, it's not as if he was attempting to shoot a decent human being or something, heck, even Eisenhower and Churchill wanted to shoot DeGaulle because he was such a useless, vainglorious prick. ... Read more

Reviews (49)

The boldest, most ambitious film of the 1990's.
Out of the collaboration of three ingenious artists, Dusan Kovacevic, the great writer of comedy, Emir Kusturica, a master of the absurd in film-making, and Goran Bregovic, the most wonderful musician alive, arose "Underground", the most ambitious, most daring, and perhaps simply the best motion picture of the nineties. Kusturica is a supreme magical realist of cinema; he has a hold on the absurd like very few other film directors. For this reason, he was clearly the best man to try and adapt Kovacevic's novel "There Once Was a Country" for the screen. The novel is a brilliant allegory of fifty years in Yugoslav history (1941-1992), written in a multitude of styles, from fairy tale, to comic sketch, to classic tragedy. The scope of the story is enormous, and even Kusturica seems to have some trouble pulling it off, especially towards the end, as the film tends to get out of hand and become rather hard to follow. Nevertheless, on the whole Kusturica's telling of the story is successful. His wonderful direction is only enhanced by the superb cast, hilarious and mad as it is. Performances by already established actors Miki Manojlovic, Slavko Stimac and Lazar Ristovski, as well as the less well known Mirjana Jokovic, are delightfully original, and truly masterful. The film also features a phenomenal soundtrack by the forementioned Bregovic. This is a movie everyone should certainly see, though in all honesty it is only the peoples of Yugoslavia who can truly appreciate it. In fact, the movie is dedicated to those few lost generations who lived through the period in question.

Film Starts Here. Talk about this movie! Buy someone a copy.
When the patriotic Blacky, from the film, has had enough he takes matters into his own hands, with hilarious, redemptive, celebratory results. The film is universal and is very worth watching without subtitles which can be distracting to the excellent acting, but I find that the dialogue helps lend to many metaphorical musings. I plan on watching this film as many times as I've seen Morvern Callar. Too many. The comedy in Underground is fast, subtle, and frequently metaphorical. The musicians are well paid and they are integral to the film. Final thought:"Franz!"

Absolute Masterpiece
Directing, performances and music. This is a movie that you should not miss.

hard to stop analyzing this!
in this installment from kusturica's creation, the similarities between this movie on one hand and on the other {the plato's cave, the second half of the 20th century of yugoslav history, the communist history of european nations, the history of totalitarian societies} make it hard to separate tragic from comic. kusturica continues his creative journey with an updated subject (the dissolution of the yugoslav state) while still employing the same magic-realist set of tools that has made him popular ever since 'time of the gypsies,' music, actors, etc.

the only exception i would take with this movie (and this might have started with 'father is away with business') is my unease, as viewer, with kusturica's program. in other words, when confronted with the burden of kusturica's take on 50 years of communist (yugoslav) history, i cannot easily suspend my critical sense vis a vis history in order to fully enjoy the story. and critical sense and magic-realism don't go well together. yet, somehow, the ever-postponed end leaves the viewer on a good balance.

But how to see it on DVD?
I love this film. I won't mince my words. It's not the greatest film ever made, and I won't conjecture what is, but it's amongst the greatest I've seen (and yes, I have seen a fair few in my time). Those that feel it is a poor film (you'll see that very nearly everyone feels strongly one way or another) just don't get a) what the film did at home as a social commentary or b) that yes, people in that part of the world do party loudly and do practice the art of suspension of disbelief in their culture and upbringing - some people call it appreciation of art and artistry, but never mind all that. We Slavs are a passionate people, for better or worse.

This "review" is really to point out that the widescreen DVD of Underground is available from Australia. I have looked high and low for years for this. There is an Italian DVD release, a Belgian DVD release, but I've only just found (and ordered) the Australian DVD release (Croatian language, English subtitle). Of course, you'll need an appropriate DVD player, but those are easy to come by.

One doesn't have to like the film but please do bother getting your reasons right. ... Read more

Amazon.com

With this magnificent Criterion DVD release, Luchino Visconti's 1963 historical drama The Leopard will finally earn widespread recognition as one of the most beautiful epics ever produced. In adapting the popular novel by Giuseppe Tomassi di Lampedusa (an Italian equivalent to Gone with the Wind, set during the tumultuous Garibaldi revolution of 1860-62), Visconti was initially reluctant to cast Burt Lancaster as the melancholy Prince of Salina--the aging aristocrat "leopard" of the title--who accepts change as inevitable during the struggle for a unified Italy. But Lancaster (even with his voice dubbed in the fully restored Italian release) delivered one of his finest performances, modeled after Visconti himself, and reacting to political and familial upheavals with the wisdom and whimsy of a man who knows that his way of life--and all he holds dear--must change with the times. You won't find a more intimate epic, and Giusseppe Rotunno's masterful cinematography represents the pinnacle of painterly beauty, matched only by the authentic splendor of the film's impeccable production design. The climactic hourlong ballroom scene--which even the hard-to-please Pauline Kael called "one of the greatest of all passages in movies"--is utterly breathtaking. Anchored by Lancaster's performance and the romantic pairing of Alain Delon and Claudia Cardinale, The Leopard is sheer perfection, fully restored to its 185-minute glory. --Jeff Shannon ... Read more

Reviews (45)

Visconti's magnificent adaptation of the Lampedusa novel
The Leopard is one of the truly great Italian films, one of the most beautiful widescreen films ever made, and arguably Visconti's masterpiece.

The story takes place in Sicily during the 1860s and depicts the decline of the aristocracy in light of the changing social and political order during Italy's struggle for unification. Visconti's attention to period detail is nothing short of astounding, and his painterly compositions are truly inspired, and never intrude on the narrative.

Burt Lancaster gives his finest, most noble performance as Prince Don Fabrizio of Salina, and Alain Delon is charming as his nephew, Tancredi, whose character represents the transition from the old order to the new. Tancredi's marriage to Angelica (Claudia Cardinale) unites his aristocratic blood with that of the emerging bourgeoisie and thereby closes the gap between the classes. The insightful Don Fabrizio sums up the central point of the story: "If we want everything to remain as it is, it will be necessary for everything to change."

A restored special edition of this truly remarkable film is scheduled for release in 2004 by Criterion Collection as a three disc set including both the Italian and American release. The Leopard will finally get the DVD treatment it truly deserves.

Copy and paste the following link to view the details of the Criterion DVD: http://www.criterionco.com/asp/release.asp?id=235&section=synopsis

Epic filmmaking at its finest
Adapted from a novella by Giuseppe Tomasi di Lampedusa, The Leopard paints a vivid picture of the Italian aristocracy falling from grace and the middle class revolting to form a more democratic Italy on an epic canvas. Caught up in this class revolution is an affluent family led by the Prince of Salina, Don Fabrizio Corbera (Burt Lancaster). He recognizes that he is part of an obsolete generation and that his young nephew, Tancredi Falconeri (Alain Delon), and his beautiful fiancée, Angelica Sedara (Claudia Cardinale), represent the new order.

The first DVD features an audio commentary by film scholar Peter Cowie. He provides the backstory to Visconti's career leading up to The Leopard. Cowie talks at length about the film in relation to its source material. This is a strong, informative track that is an excellent introduction to the cinema of Visconti.

The second DVD starts off with a fantastic, hour-long documentary, entitled "A Dying Breed: The Making of the Leopard," that was created especially for the DVD. There are interviews with most of the surviving cast and crew, including Claudia Cardinale and the film's screenwriters.

This is an excellent look at The Leopard from the origins of the novel to the film's botched U.S. version that truncated Visconti's vision and was re-dubbed with English-speaking actors.

There is also a "Goffredo Lombardo Interview" with the producer of The Leopard.

"The History of Risorgimento" examines the real historical figures and the times they lived in with the professor of Italian Studies at the University of Pennsylvania, Millicent Marcus. This is a really good primer for anyone who is unfamiliar with this particular period of Italian history.

Finally, there is a "Promotional Materials" section with an extensive stills gallery, a vintage Italian newsreel of the film's premiere and its success at that year's Cannes Film Festival, and three trailers-one Italian and two American.

The third and final DVD features a remastered copy of the truncated U.S. version that was dubbed in English and included Lancaster's actual voice.

Criterion has pulled off quite a coup with this DVD set. This is the first time that The Leopard has ever appeared on DVD. Criterion has painstakingly restored the film to its original glory, with a flawless transfer and included both the Italian and U.S. versions. It is a fitting package for this cinematic masterpiece.

History as told by an Arsitocrat
This is a film about the end of an age -- the age of the aristocrat. It also happens to be a film made by a member of the aristocracy. Luchino Visconti, the director, comes from a long line of Italian aristocrats. Visconti's films are all in one way or another about men who are incompatible with the age in which they live. In The Leopard Lancaster plays a refined Prince who has outlived his time. In his prime the Prince was the very model of health and vitality and he was the uncontested authority to all who lived in his province but now he is starting to show his age and his own decline coincides with the decline of his class and an entire way of life. Being such a refined figure the Prince records his decline in minute detail -- he seems to age right before our very eyes. It is obvious to the filmgoer that Visconti has no real love for democracy nor the way of life that comes with it. Elections are seen as crass popularity contests and the parvenus who seek office are seen as dim and uncultivated and lacking in that fineness of spirit that was the defining trait of the aristocracy. It is the Princes misfortune to live to see all that he values vanishing minute by minute before his very eyes and that is what happens in the famous hour-long ballroom scene. The new class rising to power has no time to cultivate that fineness of spirit and range of interest required to understand men and their needs and so govern them well. Instead the class now rising to power is largely self-serving and small-minded. Though they call themselves democrats they are preoccupied with material gain and status and the kind of civilization they are making is no longer capable of producing a man like the Prince. However Visconti himself is proof that the aristocratic spirit lives on even though the aristocracy does not.

It is more than a bit likely that this portrait of an ideal aristocat is just that, an ideal. I've heard this film described as Proustian. That is true only in so much as the film is obsessed with the passage of time. Proust, unlike Visconti, is interested in a multi-faceted psychological expose of the leisurely class. Proust loves his aristocrats but he shows them for the vain creatures that they are. Proust may have had something of the romantic in him but that was balanced by a keen social awareness (ie Dreyfus affair) that is nowhere to be found in Visconti's single-minded meditation on one man's point of view. Proust can speak of highly subjective states of mind and points of view but each point of view is balanced by other points of view. This pluralism and balance is simply not to be found in the Leopard nor in any of Visconti's other works. The Leopard is Visconti's best film but it is a myopic world view we are getting - we feel trapped in the Princes(and by extension the aristocratic) point of view. This is at times a strength and at times a weakness of the film.

Grandiose epic film with political and social undertones...
Leopard is a grandiose epic film based on the Sicilian aristocrat Giuseppe Tomasi Di Lampedusa's novel that he wrote in respect to his grandfather. The director Luchino Visconti, who was born as count, knew what kind of character was needed for the main part as Prince Don Fabrizio Salina as the film displays strong aristocratic conduct and value. Burt Lancaster was chosen to perform as the Prince of Salina, which initially was met with much reluctance. However, the initial resistance to cast Lancaster was swept away as he performed with convincing brilliance, which together with Visconti's direction left cinema history with a masterpiece.

The story circulates Don Fabrizio, a dominant aristocrat with a mere presence that demands respect, as it depicts an emerging new nation and a past where inherited power was slowly slipping away. Don Fabrizio recognizes the ruling class's ignorance for the current political changes as the nation is unified under the new flag. The aristocrats continue their silly games and diversions in their immense mansions that are slowly falling apart as an emerging middle class is seeking wealth and power. This leads Don Fabrizio to form a bond between the nobility and the common by permitting a wedding between Tancredi Falconeri (Alain Delon) and Angelica (Claudia Cardinale), whose father, Don Calogero, is a middle class politician that is raising in the ranks. This leads to a subtly political loaded film as it depicts the scheming middle class's quest for power and wealth as the nobility might only keep their fancy names if they are not following the new changes within the nation.

Leopard is a marvelous film with colossal shots of the Sicilian scenery that evokes a sense of freedom for the people while underlying currents bring notions of ownership. The story deals with ownership in a most delicate manner as it deals with love, marriage, friendships, war, and social events. However, Leopard also reminds the audience about the imminent change of possession as love can change, which is brought to the audience's attention when Don Fabrizio goes to see his lover amidst a bloody revolution. In addition, the tale of Don Fabrizio displays the manner in which one must control or protect ownership. This is brilliantly depicted in the opening scene where the Salina family is having a private mass in their home that is continued under the strong influence of Don Fabrizio as an emerging revolution is underway outside their windows. Under the cooperation between Visconti and Lancaster the audience experiences the transformation of Don Fabrizio from old to new. This transformation is what helps provide for a brilliant cinematic experience as it offers eye candy, profound insights, and a tale that will not be forgotten.

DVD Masterpiece
Unbelievable DVD transfer!
Back in the sixties I saw this film on theaters, and as I remember, the overall visual impression was darkness. To my surprise this DVD brings a new light to the film with bright and wonderfully saturated colours on exteriors, and deep colours with very good detail rendition on interiors. It is as seeing this film for the first time. ... Read more

Reviews (317)

Kubrick Addresses The Complexities Of War
The dual nature of man, wherein he is able to embrace both war and peace simultaneously, is addressed by director Stanley Kubrick in the decidedly anti-war film, "Full Metal Jacket," starring Matthew Modine. Divided essentially into two parts, the first half follows raw recruits through basic training at Parris Island, where the effects of what it takes to turn a man into a Marine / killing machine is explored, predominately through the characters of Private "Joker," played by Matthew Modine, and Private Leonard Lawrence (Vincent D'Onofrio), dubbed "Gomer Pyle" by the D.I, Sergeant Hartman (Lee Ermey). It's a hard, stoic study of techniques and motivation that inherently questions the system itself, and is deftly and succinctly illustrated by the results achieved, which are not entirely those desired. It's hard stuff to swallow at times, but engrossing, and Kubrick manages to gradually build the emotional intensity that gives such impact to the climax of this first part, which is without question the strength of the entire film. The second half switches suddenly to Vietnam, where Kubrick takes up his pallet and canvass, and while attempting to paint a realistic portrait of war, instead takes more of a turn away from reality, and the film takes on a sense of the surreal; the result is more reminiscent of the visual artistry of "The Thin Red Line" than of the truly gritty realism of "Saving Private Ryan," and rather than make his statement directly through the use of the story, he uses the movie to stage sequences of events to demonstrate the contradictory nature of war and it's consequences, and man's involvement therein. And while he compares the moral and emotional conflicts with the physical, it is an acknowledgement of an inner struggle devoid of any proffered solution, though delivered quite subjectively. The pace of the film is very deliberate and much of the dialogue has a "staged" sense about it that, rather than underscore the issues being addressed, has more of an alienating effect which serves to neutralize the emotional aspects of what is being presented. The story is told from the point of view of Modine's "Joker" , but though Modine does a passable job, his is a rather unsympathetic character whose purpose it would seem is merely to act as narrator and to serve as the "eyes" of the camera. And, again, it only manages to distance the audience further, as Joker becomes a kind of buffer between the viewer and any sustained level of emotional involvement with the story or any of the characters. Instead of a stirring fulmination against the lunacy of war and man's enablement of it, Kubrick's approach creates more of a sense of rather cold ambiguity. Had Joker (as the lead) been a stronger character, and had the second half of the film been more like the first, instead of nothing more than a series of vignettes, this could have been a dynamic movie; as it is, because of Kubrick's choices, he made a good movie, but not a great one. There are two memorable performances here, one by Vincent D'Onofrio, who did an exemplary job of creating the hapless Leonard; the other by Lee Ermey, as the Gunnery Sergeant who could be the poster-boy for an anti-enlistment campaign. Also worthy of note is the work of Arliss Howard, who brought "Cowboy" so credibly to life. Rounding out the supporting cast are Adam Baldwin (Animal Mother); Dorian Harewood (Eightball); Kevyn Major Howard (Rafterman); Ed O'Ross (Lieutenant Tinoshky); and John Terry (Lieutenant Lockhart). With "Full Metal Jacket," Stanley Kubrick raises issues that are important, and makes some valid points about the causes and complexities of war, and the moral and ethical challenges of those presented with it. Obviously, this was a passionate endeavor; if only he would have allowed more of that passion to make it's way onto the screen. What a movie this could have been.

Great movie,but not my favorite on Vietnam
Stanley Kubrick's Full Metal Jacket is a very good movie,but I like others on the subject of Vietnam better.It follows a group of Marine Corps recruits from boot camp to the war in Vietnam.I thought the boot camp sequence was outstanding.Gunnery Sageant Hartman is an unforgettable character,(every time I see R.Lee Ermey in a movie I'm reminded of him)probably the best drill instructor ever in a movie.The rest of the cast was very good,as well,especially Vincent D'Onofrio as Gomer Pyle,and Matthew Modine as Joker.After boot camp the movie shifts to Vietnam,where the action is seen mostly through Joker's eyes.The movie show's some of the horrors of war,but not as well as other Vietnam films such as Platoon and Hamburger Hill.(of course that's just my opinion,you may disagree)I've read that the movie was shot entirely on soundstages in England,rather than on location,and it looks incredible.Overall,while not my favorite movie about Vietnam,it is a very good film.

Fantastic
First of all....many Marines say that the first 30 minutes of the movie about boot camp is THE most accurate depiction of Parris Island in cinematic history. And of course Lee Ermey himself being a former Marine drill instructor tops it all....his profanity laced tirades are totally outrageous.

Second of all, the latter half of the movie deals with a subject not covered in Vietnam movies, a squad getting lost and having to face a lone sniper. Its a radical departure to be sure, but Kubrick in his usual cinematic mastery makes it very gripping.

So if you like Vietnam movies that are a bit different but still as strong as Hamburger Hill and Platoon, check this one out....its fantastic.

full....metal...jacket.
one of my favorite movies kubrick and matthew modaine how better can it get.lol. i suggest this omvie to anyone who likes kubrick, war movies or both for that matter. i also read the book that its based off of "the short timers" by gustav hasford it was really good but i still liked the movie better becasue it had vincent d' onfario and and the segarent(its like blasphemy that i cant remeber his name at this moment) but this movie is great, kind of boring at parts but still its deffinalty worth a watch.

An Near Masterpiece.
When Ordinary People are all Plunged into a Boot Camp Hell Pitbulled by a Leatherlung D.I. (R.Lee Emery) to Prepare for the Vietnam War and the Dehumanizing Process that turns People into Trained Killers.

Produced and Directed by Stanley Kubrick (2001:A Space Odyssey, A Clockwork Orange, Eyes Wide Shut) made a Savage Vietnam drama with a dark sense of humour. There's terrific performances by Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R.Lee Ermey, Dorian Harewood, Arliss Howard, Kevyn Major Howard and Ed O'Ross. The first 45 minutes is a Masterpiece and then the last 71 Minutes, the movie turns into familiar territory with dark humour. The film's conculsion is Strong and Satifysing. This newly restored DVD is better than the previous DVD transfer. DVD has an sharp Pan & Scan (1.33:1) transfer and an strong newly remastered in Dolby Digital 5.1 Surround Sound. This is a Well Made film, which it might be far from some of Kubrick's best films but his elements are here. It's worth viewing. Based on the Novel "The Short-Times" by Gustav Hasford. Screenplay by Kubrick, Hasford and Micheal Herr. Grade:A-. ... 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

Description

Get ready for fun! (Leah Rozen, People) with the "feel good movie of the year!" (Clay Smith, Access Hollywood)Love Actually is the ultimate romantic comedy from the makers of Bridget Jones's Diary and Notting Hill.Funny, irresistible and heartwarming, an all-star cast (Hugh Grant, Liam Neeson, Colin Firth and Emma Thompson, to name a few!) will take you on a breathtaking tour of love's delightful twists and turns.Fall under the spell Love Actually and share the laughs and charm again and again. ... Read more

Reviews (397)

Romantic fluff, but a little romance never hurt anyone
I was only mildly interested in seeing this movie, but I really enjoyed it. Yes, there was an amazing amount of different threads to follow as this film told the story of nine or ten different people and their partners over a five week period leading up to Christmas. Nevertheless, the witty script and the first rate acting made the whole process relatively painless.

There was charm in abundance from Hugh Grant, playing Hugh Grant as usual, but he does it so well that you can't help but warm to him. Martine McCutcheon as his love interest was surprising unannoying, and not in the least bit chubby!

Plenty of laughs from Bill Nighy and Gregor Fisher as a faded rock star and his long-suffering manager. Colin Firth in pursuit of his Portuguese maid also provided a few laughs courtesy of the language barrier, and the nerdish caterer with his dreams of being a sex god based soley on the strength of the lure of his British accent would have on American women kept the humour flowing.

Acting kudos go to Alan Rickman, Liam Neeson and most notably Emma Thompson. Ms Thompson once again plays the kind of gung-ho, upper middle class woman who has contributed to my usual dislike of her chosen roles, but she outdid herself in this slight role. I was moved to tears by her brilliant acting performance in the scene where she retreats to her bedroom to adjust to the knowledge that her husband is having an affair with his secretary.

Eye candy was provided for both sexes in the shape Keira Knightley and Andrew Lincoln. I enjoyed their storyline, despite it's flaws, but that may be because I'm just a sucker for physical beauty. Laura Linney and her erstwhile Latino lover were also very attractive, but slightly less sympathetic. And what can I say about the wonderful performances given by young Thomas Sangster and Liam Neeson as his grieving stepfather? Excellent, believable acting rescuing a storyline that verged on unashamed bathos.

Overall, I would recommend this film and commend Richard Curtis for an enjoyable, feel-good movie that left me smiling with tears in my eyes.

Lovely actually
Love Actually is a wonderful movie in all respects. Its cast, script, and direction are all absolutely top-notch. Set at Christmastime, the story encompasses numerous plots, all of which are equally interesting and effective in leaving one on the edge of one's seat, waiting to see what's going to happen with each group of characters next.

One of the most wonderful aspects of the film, in my opinion, is how we eventually discover that every single one of the vignettes is interwoven. For example: one story is about Karen (Emma Thompson) and her husband (Alan Rickman). The latter, although certainly not without affection for his wife, has begun to dabble in infidelity - thanks to his attractive secretary. Working with Rickman's character is Sarah (Laura Linney) who has been desperately in love with her co-worker Karl (unfortunately, I can't recall the actor's name, but he does a nice job) for years. And then of coure there's David, the prime minister (Hugh Grant) - who just happens to be Karen's brother.

Wonderful performances are also given by Liam Neeson (as a recent widower), 13-year-old Thomas Sangster (as Neeson's young son), Rowan Atkinson (who does a hilarious job as Rufus the Jewelry Salesman), and in one of the best vignettes, my personal favorite, Colin Firth.

This is an extremely funny and extremely touching movie. As usual, I hesitate to give away too much more about it. Nothing, and I repeat, NOTHING, should deter you from seeing it.

One of the Best Current British Comedies I've Seen in Ages.
I saw this in the theater when it first came out and, despite the fact that a couple behind me kept talking through it, I fell in love and decided to own it as soon as it was released on video. Now I have it on DVD, and want to spread the word. Love Actually is a great English romantic comedy full of several different stories going on at the same time, and each engages you in its plot quickly.

1. We have a young couple who are just married, and the groom's best friend is in love with the bride. Keira Knightley plays the role of Juliet with such sweetness and innocence, that even her dialogue free acting is powerfully convincing. Watch the scene where she views Mark's video of her wedding day and realizes he's in love with her.

2. Liam Neeson is Daniel, a newly widowed father who has to bridge the communication gap between himself and his son Sam. Sam's crush on an American girl provides this link, and the story is touching to watch as it unfolds throughout the film. Thomas Sangster is a promising child actor in his role as Sam, so keep your eyes on him. He is sure to be cast in more movies down the line.

3. Emma Thompson is always exceptional in every movie she's in. This is no exception as she plays Karen, a devoted and loving housewife who must come to terms with the fact that her husband Harry (Alan Rickman) is cheating on her with the office tramp.

4. Laura Linney plays Sarah, an American office worker who is in love with another American at work, but her sick brother makes the relationship difficult to see to its fruition.

5. Hugh Grant is David, the newly appointed Prime Minister of Britain, and he falls for his staff caterer Natalie, played by Martine McCutcheon. This story line is not without charming, laugh-out-loud moments, but it's also a bit corny and Benny Hill-ish at times.

6. One of my absolute favorite stories