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Hong Kong wuxia films, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. Crouching Tiger, Hidden Dragon has no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching wuxia films as a youngster and made Crouching Tiger as a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau (The Killer, The Bride with White Hair) and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on The Matrix. Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other.

The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. --Eugene Wei ... Read more

Reviews (982)

A Masterpiece
Crouching Tiger, Hidden Dragon is simply a masterpiece. A brilliant film with great performances by its stars, Michelle Yeoh, Chow yun fat, and especially Zhang Ziyi. Director Ang Lee along with his choreographer tell this epic story in a stunning and creative visual way that makes this film one of the greatest ever made. The action scenes in this film are jaw dropping, and are unmatched by any action film ever made. Along with the action, is a great story and great characters that reflect influences from Lord of the Rings, and parallel the Jedi of the Star Wars trilogy, but remain consistent with the eastern culture and philosophy which permeates throughout the story. In fact, the main characters, especially Jen, portrayed by the talented Zhang Ziyi , seem to question that philosophy and culture throughout the film, almost rebelling against it. This is foreshadowed in the beginning of the film when Yun-fat's character describes how his meditation leads him to a place of sorrow instead of enlightenment. In a later scene, Yeoh 's character questions the buddhist teaching of Fat's character in relation to their suppressed love, pointing out the touch of her hand is real,not an illusion, even though it is of this world. However it is also the discipline of this eastern spirituality that gives these knights their power. the main character Jen, abuses this power, along with the power given to her when she posesses the Green Destiny, a magical and powerful sword, owned by the wizard -like, or jedi- like, character portrayed by Chow Yun-Fat. The Green Destiny, much like the ring of power in lord of the rings, or the force in Star Wars, becomes a power that threatens to consume Jen. Throughout the film , Jen rebels against the traditions of the easten culture and philosophy. Even during the action scenes, as Chow Yun-Fat's character scolds her, she responds by telling him to stop talking like a monk and fight. Her rebellion is also reflected in her love for a barbarian that lives in the desert. Jen's rebellion is an extreme one, however, that leads to such deep despair, that it leaves the viewer to question if even the true love she found in the desert can save her. This movie has everything one wants in an epic, great story, acting, cinematography, directing, score. This film should win an Oscar for Best Picture... Crouching Tiger Hidden Dragon is truly a great film.

Deserved the Academy Award for "Best Picture"
When "Crouching Tiger, Hidden Dragon" first hit theatres in Asia in the summer of 2000, audiences were beyond pleased - because for the first time, what could be considered a kung-fu film included within itself a moving story. This film manages to be so philosophically deep that it subconsciously stirs emotion and feeling within the audience - without ever being corny. Not to mention that this is probably the best film ever that features the geography of China. Shots were absolutely stunning. Music was also beautiful, with one of the best cello performances given by Yo-Yo-Ma, and a smash hit song by Coco Lee - "A Love Before Time."

The film consists of various types of relationships - everything from forced-hidden love, children to parents, and disciple to a kung-fu master. Chow Yun-Fat, Michelle Yeoh, Chang Chen, and Zhang Zi-Yi together made the best acting performances seen for years.

Cinematography was impressing. Each shot was meticulously perfected - exactly why "Crouching Tiger, Hidden Dragon" took two years for world-famous director, Ang Lee, to shoot. One shot of the rooftops for the film's previews itself took five months. The original version is much better than the dubbed, so take the time to read subtitles - it can't be that hard.

Get ready for flying kicks, tears, and beauty. Get "Crouching Tiger, Hidden Dragon" today. (Original version.) - Priscilla

Chic flick on speed or sublime flight of the imagination?
Call it what you will--archetypal fable with a feminist twist, exquisitely choreographed martial arts movie, balletic spectacle balancing image, action, poetry and music--"Crouching Tiger" is a distinctive variation on familiar genres. The words "ballet," "choreography," "Eastern" exotic myth don't quite do justice in describing the film. For one, the action sequences are lightning swift--reminiscent of American silent comedies and more suggestive of music than of formal dance. And certainly the tempo of this music and the pace of the film seem more Western than Eastern (as does the throbbing romantic cello of YoYo Ma). Some will single out the three female leads in this rite-of-passage archetypal story as the film's most distinctive twist. But even more novel is the way the form foregrounds allegory and approaches the theme of teaching and learning. Film is a medium that is normally "relentless" in his representation of the physical world, satisfying viewers' expectations of actions that are at least humanly plausible. But by making his characters fly all over the frame, director Lee keeps reminding the spectator that if you try to respond this film as another action movie you will not only miss the point entirely but be thoroughly disappointed. Sword play, flying, and fighting are metaphors for living, learning and loving. All of the 5 principals in the story are learners--and all are failures to greater and lesser degrees. In fact, the alleged villain, Jade Fox, is in some respects the most sympathetic of all the characters. She had access to the most masterful swordsman of all but not to his teaching because of her status as a woman. At one point sword play is compared with word play, or writing (through the picture-grams of Mandarese script). Whether the instrument is a sword, a pen, or a brush, the viewer of this enchanting parable is finally enjoined to fashion a personal narrative that rejects pride and selfishness in favor of a life sufficiently disciplined to give itself over to love.

One of the best -- ever
CTHD combines an exciting story, great stunts, beautiful cinematography, lovely women, and a complex story that is by turns mysterious, suggestive, and incomprehensible. Michelle Yeoh is a good actress in addition to her physical talents as a martial artist. Zhang Zi Yi is a sexy vixen. Chow Yun Fat is an aging warrior who seems to be going through a mid-life crisis. He loves Michelle Yeoh, but can't get around to telling her, and is attracted to Zhang. The unanswered question posed by Zhang is, "Did you want me or my sword?" The two women dominate this movie; their martial arts scenes are spectacular; Yo Yo Ma's cello is sad and fetching; the scenery is spectacular; the fate of Chow and Michelle is heart-rending; the fate of Zhang is puzzling and ambiguous. Great movie!

good and classy
ive seen this movie three times.the 1st time it was spoken in chinese with no words at the bottom.the 2nd was the same deal but with the english translation at the bottom.the 3rd was in normal english.thank god!in it,a thief steals a relic and some people go to get it back.it has breathtaking backgrounds like lord of the rings.beatiful music like amadeus and martial arts effects like a pre-matrix but similar.the kids could watch it.theres only one bad part.it is definately a artsy and classy type film.ang lee is the director.he also did the hulk.the hulk is better.it is not emotional per say but more inspirational.there are some chicks but they are not portrayed in a sexual way.one guy,in the less than apropriate part gets his hand down ones pants.i dont care what anyone says,if you get this in english,it is one of the best movies youll ever see.the special effects are cool.the fighting is outstanding! ... Read more

Description

One of the most celebrated screen adaptations of Shakespeare into film, Akira Kurosawa’s Throne of Blood re-imagines Macbeth in feudal Japan. Starring Kurosawa’s longtime collaborator Toshiro Mifune and the legendary Isuzu Yamada as his ruthless wife, the film tells of a valiant warrior’s savage rise to power and his ignominious fall. With Throne of Blood, Kurosawa fuses one of Shakespeare’s greatest tragedies with the formal elements of Japanese Noh theater to make a Macbeth that is all his own—a classic tale of ambition and duplicity set against a ghostly landscape of fog and inescapable doom. ... Read more

Reviews (83)

Akira Kurosawa's Japanese version of Macbeth
I'm a student from Nagoya International School and have just seen the movie "Throne of Blood" in our unit in Shakespeare's Macbeth. By watching the movie, I saw how Kurosawa has adapted Shakespeare's Macbeth to a setting in the Japanese feudal time period. As a person who reads and speaks Japanese, I felt the Japanese title "Kumonosu jou", meaning Spider-web castle had a strong impact on the film. One of the most interesting characters in both Throne of Blood and Macbeth was the witch. The witch took a big part in the story where he/she tells Macbeth his destiny. This drives Macbeth to his tragic end. In the original version of Macbeth, there were 3 witches telling Macbeth his future which motivated Macbeth to his murders. But in Kurosawa’s Throne of Blood, when Washizu was lost in the woods, he meets an old man spinning a wheel and making thread. By seeing that, I thought Kurosawa recognized that the witches controlled the story in the original version of Macbeth. So the old man spinning symbolized that the witch had everything in control. I think that is another reason that Kurosawa named his film Spider-web Castle, with the idea of spider-web suggesting the witch was in control of everything. I recommend this film to students who have read Macbeth and studied the play carefully, as they will be are able to compare this film to the original version of the play and enjoy the differences between the two.

witches counts as 'mononokes'?
I am a student at Nagoya International School, and have recently studied Shakespeare's Macbeth in my English class. After reading the original Macbeth, we watched several versions (Polanski, BBC, and RSC) which included Kurosawa's version of Macbeth, "Throne of Blood". Each of Polanski, BBC, and RSC version reflected Shakespeare's original version of Macbeth, its rich and fluent language, and its fabulously distributed plot. Because of language difference, and difficulty to transfer Shakespearian language directly into Japanese, it seemed as though the value has been lost, but as a Japanese citizen, I was eager to understand that Kurosawa had used old fashioned Japanese language in his film, which created an harmony which can be compared to or to support the lackness of Shakespeare's language. I also enjoyed the way how Kurosawa transferred the witches of the original version, into 'evil spirits' or what is called 'mononoke' in Japanese. Kurosawa probably named the forest and the castle to match the evil spirit , or Macbeth's (Washizu) fate. The evil spirit appeared in white robe, with white messy hair, spinning a wheel in its hand, a stereotype of what a Japanese would imagine as a 'mononoke'. Cobweb or 'spider' was such a great aspect to extract the evilness of the original witches of Macbeth, because of the replacement of the witches to a 'mononoke'. The black and white film also contributed to express the 'spookiness' in the evil spirit. With some of these changes, Kurosawa perfectly fitted Macbeth itself from an English story into a brand new Japanese film, using ancient Japanese culture (ex. feudal systems, japanese chivalry). He was successful in translating the original Macbeth for the Japanese, to spread the wonderfulness of the Shakespearian plays to a new and wide ranged people.

I just read Macbeth in British Lit class
After reading Macbeth in Lit class, I wanted to watch a movie adaptation and I happened to run into this one, I had heard on amazon.com that this was a Japanese adaptation of Macbeth and I picked it up, I really enjoyed it, much more than I expected to. Akira Kurosawa did a great job in this, it is old and the technology is limited but I loved it, I showed it to my friends who had not read the book but they loved the film as well, especially the ending, if you have seen it, you'll know what I mean, I do not wish to ruin it for anyone, anyway, the DVD price is quite high but if you are thinking of buying it, I suggest trying to rent it somewhere or obtain it temporarily from somewhere or someone and then decide to buy it or not, good movie, enjoy.

Akira Kurosawa just knew how to make great movies.....
Akira Kurosawa's Throne Of Blood may very well be his best, ranking up there with Seven Samurai, Ran, Yojimbo, Rashomon, and The Hidden Fortess.
A telling of Macbeth the film takes place in the time of the samurai. Tashiro Mifune plays Washizu a worrior who betrays his master and friend on his climb to the ultimite of power.
After encountering a witch in the woods who tells Washizu that he will take the place of his master Washizu, with the not so suddle proding of his wicked wife, dose everything in his power to gain, the lose control, of everything.
Kurosawa had done Shakespear before, quite possably the best telling of King Lear was Ran, but this time he strips everything down to the bear bone and unlike some films from Japan, the acting, manic and frantic, seeems only to enhance the film. Mifune is fantastic as Washizu, the ill fated worrior.
The movie grabs you right from the beggining and never lets go. It's a very violent film for it's time but if you ever want to see a master at his craft look no further than Akira Kurosawa'a Throne Of Blood.

Macbeth around the globe
Throne of Blood is an Akira Kurosawa's rendition Shakespeare's Macbeth. The story pretty much is the same with a few minor character changes, one sprit instead of three witches for example, and some obviously included contextual changes, set in pre-modern Samurai Japan. I understand that it has historical relevance and all, but really the movie itself is nothing too special. It is just an ok movie.
Now that I have said that, I feel I need to warn the viewers out there who do not usually watch foreign films. These people must be wary of, if it bothers them, the fact that the film in black and white. I understand that some people cannot sit through black and white films. There is also lack of ongoing action, typical Shakespeare, that we are used to, and that puts some people to sleep, so be warned about that too. I feel that you should watch it for your own cultural and mental advancement, but unless you like the genres of Japanese/Samurai films or Shakespeare adaptations then you probably will not like it. In addition, it is in Japanese, so if you do not like subtitles then you should be warned once again. I recommend you watch it, but at the same time I feel that once is enough. ... Read more

Description

Brimming with action while incisively examining the nature of truth, Rashomon is perhaps the finest film ever to investigate the philosophy of justice. Through an ingenious use of camera and flashbacks, Kurosawa reveals the complexities of human nature as four people recount different versions of the story of a man's murder and the rape of his wife. Toshiro Mifune gives another commanding performance in the eloquent masterwork that revolutionized film language and introduced Japanese cinema to the world. ... Read more

Reviews (90)

Kurosawa's breakthrough film
Akira Kurosawa, known as one of the greatest directors of all time, got international attention with this film, that opened up the Japanese film market to the world. Released in 1950, this film, along with the director won many coveted awards. The story is simple, but at the same time the film is very complex. Tajomaru, a bandit, played wonderfully by the great Toshiro Mifune, is accused of raping a woman, and murdering her husband, in the woods. Tajomaru, the woman, a witness, and the man himself (speaking through a medium) tell their version of the events. The thing is each one tells a different story, with their own perspective on the events, and perception of those involved. So as each story is told we go into flashback and see the different events, and how the characters act differently.

The film from a technical standpoint is perfect, with innovative use of the camera, and editing. Acting is done superbly, with each actor, playing a slightly different version of their characters in each flashback. The script cannot get better, based on two short stories. The film is very serious, and is a meditation on the nature of truth.Its about how truth is relative, and how we each have a different viewing of events, tastes, and concepts. It is also about how each person makes up their own truth, lies, to deceive themselves. Our ego is so big we need to comfort it, and keep it safe from harsh reality. In all this film is perfect, and is even sometime called Japan's Citizen Kane, in the way it impacted Japanese filming. The two films have many similarities. If you enjoy serious films, investigating the nature of truth, and ourselves, see this film. 5 stars.

Truth is elusive, reality subjective. A tale well told.
I've heard about this 1950 Japanese film all my life and have even incorporated the word "Rashomon" into my vocabulary. It means that the truth is elusive and people will remember things with their own particular spin. When the film first came out it was nominated for an academy award and is still considered the masterpiece of the director Akira Kurosawa.

Shot in black and white, the mood is set right at the beginning, as there's a rainstorm going on and a priest and a woodcutter are seeking shelter in an ancient temple. Both of them are troubled, as they have heard witnesses to a crime explain events that they just "don't understand". When a third man joins them, they tell their stories. Eventually the audience watches the reenactment of four different versions of the same incident. At the end, there is still confusion.

The acting is done in classical Japanese style, which is more appropriate for a large auditorium than for a small screen. The actors shout, they roll their eyes, and every gesture is exaggerated. There's passion throughout and a great mythic theme. It seemed all to be set on a great stage. And the interesting part is that three out of the four people telling the story claim to be the killer. The cinematography is also special, using the rain as one realm of reality and harsh sunlight as another. The woods in which the crime takes place look hot and stifling, and the actors are all excellent.

However, once the novelty of the setting and the dramatic elements of this stylized film wore off, I found myself restless. It was only 83 minutes long but it seemed much longer. I do applaud its art and its message. I therefore recommend it. However, I just can't help the fact that it didn't engage me completely.

Classic stuff
A man travelling with his wife in feudal Japan is murdered by a bandit... or is he? As the main protagonists - the bandit, the wife, a passer-by and (I kid you not) the man himself - tell their versions of events, a series of contradictions emerge. Who, if anyone, is telling the truth?
Rashomon's Byzantine plot structure was unique at the time, and still feels fresh over half a century down the line. Presenting no easy answers (there is reason to doubt the motives, and thus the stories, of all of those involved), it leaves the audience to make up their own minds about who to trust. Fans of latterday head-spinning efforts such as The Usual Suspects and Memento will find plenty to get their teeth into here.
It all looks gorgeous, to boot (Kazuo Miyagawa's cinematography is done justice by an excellent DVD transfer here), and the performances - especially Toshiro Mifune, as the bandit Tajomaru, cackling hysterically and pausing mid-fight to swat mosquitoes on his neck - are superb. If I've got one gripe, it's the slightly pat "redemptive" ending, but that's a minor fault at best.
Otherwise, Rashomon is downright essential. It's too easy to get all rose-tinted when trying to assess a long-established "classic", but this is one that's more than stood the test of time.

The one that set the standard
When Akira Kurasawa released this film in 1950, it was not expected to do well. When it won various awards around the world, including the Academy award for best foreign film, the reaction was one of some surprise. Now, over 50 years later, Rashomon stands as a benchmark in cinema, a film that has been copied and ripped off countless times, but never duplicated. The camera work, storytelling, script, and setting are flawless, giving us the proper mood right from the start.

The start is a torrential rainstorm, where several men sit around discussing a trial they have either witnessed, or taken part in. The trial concerns the murder of a samurai and the rape of his wife, apparantly at the hands of a famous bandit (played by Toshiro Mifune, a Kurasawa favorite). The story of what actually happened is told through the point of view of the bandit, the woman, the dead man (through a spriritual medium) and a woodcutter who was there and now is standing with these men at the beginning of the film.

The interesting thing is that we as the audience are left to assume what really happened, as the film gives no definitive solution. The subject is really the nature of man, and how point of view will change the perception of a scenario to favor or in some cases, cast a negative light on events that transpire.

This was the first film to shoot directly at the sun. In fact, the beginning shot of the woodcutter traveling into the woods to cut lumber is breathtaking, the camera weaves in and out, up and down, through branches and leaves, showing just how far out of the way these things will be happening. The excellent DVD has a feature on the camera work, which you will find interesting and will help you when you go back to the film for a second viewing.

Also included with the disc is a booklet with the two short stories Kurasawa used as the premise for the film (most notably "In the Grove")along with an excerpt from Kurasawa's book about the shooting of the film and the apprehension of the Japanese film companies about the fact that the story seemed to have no good ending. Kurasawa explained that the story was not about the solution of the murder as it was about the nature of man.

Film fans need to see this movie. So many movies made in the last few years (Snake Eyes, The Usual Suspects) owe themselves to Rashomon, movies which show us points of view that are not necessarily the truth. The fact is that four people can see a situation but report it four completely different ways. What's the truth? The truth is--that's just human nature.

A milestone in the story of cinema in any age
Rashomon is a masterpiece. This film shows us a hard statement that maybe disagree to many people; the truth doesn't exist. We see always fragments of it no matter how old you are.
Aesop in his fables states: in every man always there are three ; that who he thinks he is; what other people think he is and finally that one who really is. In that sense Goethe talked about four levels of the reality; lineal, literal, methaporical and finally the cosmic.
In what level are you when you assume the judgement about a fact?
Remember his beliefs are always relative; your ethical world depends about a lot of issues; such as your social status; your religion; your birthplace; your culture and even your age; so be careful when you say are in possesion of the absolute true.
And that's what the movie shows us; a terrible murder; five persons state about the fact ; and before you five different versions are given. So, the questions is; who of these persons is lying and who is true?
All of us have a sight blind; and because of this you may agree with some of these people; and your close friend or even your couple may be perfectly disagree with you.
The reasonable doubt is a very well konwn device employed by all the lawyers in their cases . Indeed, this term inspired to Sidney Lumet for making his opera prima "Twelve angry men" in 1957.
Back to Rashomon we find to Akira Kurosawa in one of his major achievements. The handle camera is superb; and this is the first film in the story where , by the first time the camera shows us the sun; a brilliant methapor and also a challenging aaproach by this master director.
Mesmerizing ; unforgettable ; you'll be shocked every time you watch. Remember what the woman says uin a sequence: "The men lie because they are weak".
And this point is remarkable, just because the fragile human condition; the human being always will keep his dignity, pride and a set of values above all the odds; and through this process, the truth is always put in a second place, by obvious reasons.
Heissenberg established the uncertain principle in 1930 and this review is far to explain about this issue, but what it deserves to call your attention at the time you say ; I found the truth; or even worst; I represent the truth.
This procedure is typical of dictatorial regimes; the state is me and other similar statements reveal a syntom of being out of the life and even the nature, a wise mind always thinks and acts; after rethinks and reacts; but never remains quiet.
Kurosawa adapted this film from a novel from the same title Rashomon from 1927 written by Yabu no Naka.
This film is a wonderful exploraton of truth and human weakness.
In fact this film is watched and analyzed in Post Grade School of Management, for purposes related with another goals.
This film was remade in 1964 as Outrage for Martin Ritt, where Paul Newman plays the role of Toshiro Mifune in the original version.
A true landmark. Don't miss it.
A superb classic! ... Read more

Amazon.com

If you're looking for a deep, intelligently romantic movie with complex characters and a richly rewarding plot, don't bother with Kama Sutra: A Tale of Love. On the other hand, if you're feeling sexy and in the mood for a lush, seductive, and visually stunning film set in 16th-century India, this one will please you like the best foreplay you've ever experienced. Or it will relax you like a full treatment at a pampering spa--either way, you're gonna feel pretty fantastic. Okay, okay... maybe we're getting a little carried away, but there's no denying that director Mira Nair (best known for her acclaimed film Salaam Bombay!) has crafted a sumptuous film for the eyes if not the head. Its melodramatic plot is involving enough to elevate the movie high above soft-core adult fare, so you won't feel guilty after watching it.

Kama Sutra is the story of a young woman named Maya (the stunning Indira Varma) who has always been lower on the social scale than her well-born friend Tara (Sarita Choudhury), and has always lived in Tara's shadow, wearing her used clothes and being made to feel inferior. When Tara is betrothed to the handsome King Raj Singh (Naveen Andrews, from The English Patient), Tara sneaks into the king's tent on the eve of the wedding and seduces him. Later, after being trained to master the Kama Sutra's many "lessons of love," Maya will be the king's courtesan, and emotions will run high between the former best friends. But the plot is of secondary importance here (a fact that resulted in many mixed reviews), and so Kama Sutra works best as a colorful and irresistibly sexy story that is worth seeing just for the startling beauty of the film and its cast.--Jeff Shannon ... Read more

Reviews (78)

Kama for you.

KAMA SUTRA: A TALE OF LOVE
Indira Varma, Sarita Choudhury, Ramon Tikaram, Naveen Andrews 1996

Synopsis
Set in 16th Century India KAMA SUTRA is the tale of two girls, Maya - a lowly servant, and Tara - a noble princess, both raised together as children. Because of Tara's striking beauty and her skills of seduction learnt through the Kama Sutra, the Indian book of love, that Maya exacts her revenge on Tara by seducing her husband on her wedding day thus beginning a destructive struggle for power where revenge is the goal, but tragedy the outcome.

My Review
This movie really lacks any real substance. Could have been done a lot better. Disappointing.

In the best traditions of "1000 and 1 nights"!
This is, indeed, a Tale, a tale for adults... For in the East, it has always been known that adults NEED and enjoy tales no less than any child would.

This story is about LOVE (of course), true love broken by the society and its "powerful ones". In this case, the powerful one is a Prince, evil yet very sexy Naveen Andrews (Kip in "The English Patient"). The object of his desire is Maya, who is forced to become courtesan, after some unfortunate events. But, Maya was brought up as a princess...

Indeed, Maya grew up with the evil Prince's future wife-to-be, Tara, so it gets very complicated: Prince has beautiful Tara, but he desires beautiful Maya (they are both so beautiful, why not have them both?...Prince manages to do that for quite some time).

There is another amazingly beautiful woman in this film, whom I enjoyed seeing on screen once again: famous Indian actress, Rasa Devi, playing Rekha-- older courtesan and Maya's mentor, and what a wonderful mentor she is!

In short, Kama Sutra: A Tale of Love, is one of the most beautiful and most sensuous films in years. It is entertaining and at the same time philosophical!

It was nice to see "making love"-scenes, as oppose to random and mostly meaningless sex-scenes that seem to dominate today's cinema.

I only regret that there wasn't more dancing in this film. I also regret over-using the word "beautiful" in my review:)....but, in this case, it is more than appropriate.

Entertaining but Not Great
This movie, set in 16th century India, is a tragic love story. The movie actually centers around the character Maya (not played by Sarita Choudhury) who grows up as a servant and playmate of Tara (who is played by Sarita Choudhury). Both are somewhat jealous of the other - Maya because she gets Tara's hand me downs and is indeed treated like the servant she is - and Tara because Maya is more beautiful and accomplished than she is. On the night of Tara's wedding to a Raj, Maya slaps Tara during an argument, who gets revenge by sleeping with Maya's husband to be. Needless to say, Maya is driven from the house in shame. Forced into difficult circumstances she becomes the courtesan of Maya's new husband, and takes every opportunity to rub this fact in Maya's face. However, in the meantime she falls in love with a commoner and tries to re-forge a bond of friendship with Tara who quickly discovers being the wife of a Prince is not quite what she imagined it to be. As the tale unfolds, and the Prince finds out of Tara's betrayal, bad things ensue for all involved.

Overall this movie is a well-told story and the scenery is fantastic. Overall an entertaining if not great movie.

From a woman's point of view
This film's imagery is powerful and sensual...so rich and vivid that it seemed as though I could feel and smell the lush and exotic scenes. Throughout, the film is infused with light-hearted, but nevertheless heated, eroticism informed by female sensibilities. What is most surprising is that it does have a message; one might say that despite being set in 16th century India, it is a modern morality play told more than a little tongue-in-cheek.

Maya, born into a servant caste, and thereby relegated to a powerless situation in a rigid society, manages with daring, intelligence, and humor to live an authentic life. She acts boldly, at times, to shape her destiny; but she also accepts with equanimity the turns of fate that she cannot control. I think I can say without giving away anything that I love the final scene where, on the metaphorical path of life, she walks serenely out of the chaos and madness created by powerful men into the peace of her own future. Oh, that one might do as well in the madness of the 21st century.

Kama Sutra Plus more
This movie was beyond exceptional. It had beautiful people, costumes as well as scenary. I like it For this Movie and more visit us online for lingerire, kama sutra books games and online community. http://karmasutraexpress.com/enter.htm ... Read more

Description

In the wake of the Bomb, ex-soldier Shozo Hirono [Bunta Sugawara] joins a Hiroshima yakuza gang, the Japanese equivalent of the Mafia–and then the shootings, slashings, betrayals, and scheming begin.Premiering a year after The Godfather, The Yakuza Papers also broke box office records and spawned sequels, but, in contrast, took a ruthlessly de-romanticized view of the underworld. Based on an actual gang boss's memoirs, The Yakuza Papers plunges the audience into a gritty, brutal, violent newsreel of a three-decade struggle for power of Shakespearean complexity, a nihilistic epic unlike any other. ... Read more

Reviews (219)

rush hour 2
Rush Hour 2 is an unbelievably hilarious, action packed, better-than-the first sequel to Rush Hour. I strongly recommend that you rent and watch the first one before you go see Rush Hour 2 because much of the humor and jokes are based on the original one, however, this is not necessary because you will catch on quickly and only miss a couple of the related jokes. Rush Hour 2 begins exactly where the first movie leaves off. If you watch both movies in order it will just seem like one long movie. This is a nice feature because it makes the movie easier to follow and understand.
Rush Hour 2 is about two detectives, Detective Lee (Jackie Chan) and Detective Carter (Chris Tucker). While on their vacation to Hong Kong Lee and Carter are called back to duty to investigate and bust an international counterfeiting ring. This is no easy task, however, as they soon find out. Carter and Lee find themselves locations around the world such as Los Angeles, Las Vegas and even Tokyo.
Jackie Chan and Chris Tucker give a perfect and encore performance doing what they do best. Jackie Chan plays the serious logical and skilled martial artist Detective Lee. Chris Tucker portrays the never serious, ego boosted LAPD officer, Detective Carter. I don't believe that this movie would have had the same punch without these talented actors working together in this fabulous duo.
The action in this movie is spectacular. As always, Jackie Chan performs unbelievable stunts during his fighting rendezvous. At one point in the movie he jumps and dives through a very tight slot, much like one at a cashiers cage. On the other hand
Chris Tucker, let's just say... is not very good at Kung Fu, but nevertheless great comical relief.
The humor in this movie is absolutely bladder busting. Ethnic and personality differences between Carter and Lee create humorous situations. For instance: Carter speaks his own version of Chinese. Obviously, he just says a bunch of random gibberish and makes himself look like a total idiot in front of a rather large group of Chinese people. Carter is quick to the tongue and is always bashing on the Chinese culture. Lee is just simply funny while acting so serious and straight-faced: A perfect contradiction.
I recommend that you go see this movie or rent it when it comes out in January 2002 It will be worth your time and money, and because it stars Jackie Chan, you will get to watch the comical, and quite painful out-takes at the end of the film during the credits. You'll laugh your way through Rush Hour 2 with its wonderful blend of action and comedy.

Feel the Rush...
A sequel that exceeds its predecessor. That in itself is an anomaly these days, but Rush Hour 2 packs enough wallop for both movies. How about some of the best lines in an action comedy in recent years? From one liners to the chemistry that has evolved between Jackie Chan and Chris Tucker, this movie will make you pause the scenes until you finish laughing. Hit play again and you'll be slapped with more humor. Carter runs through downtown Hong Kong, where no one knows what he is saying, yelling, "Get outta the way! L.A.P.D!" There's a moment in Hong Kong where Carter meets up with a chicken vendor and the laughs keep coming. Rush Hour 2 opts for a more sexy approach with the Chinese massage parlor scene, and the 2 main female characters who are sure to boggle the eyes of the male population. As for action, there's plenty of it to support the clever dialogue. The movie is so realistic and unrealistic at the same time, you'll be bringing the first movie back out and panting for Rush Hour 3. I can't leave out the fact that a story goes with this and it's told quite well, and for what this movie is, it doesn't burden the high-jinks, but supports it. Simply put, Inspector Lee has an old vendetta with the man who killed his father and Carter is pulled along from Hong Kong to L.A. A few plates need to be found from a counterfeit ring using them to make a "Superbill," which is identical to a real bill. Not quite an original story, right? Well, it's all in the way you tell it and Rush Hour 2 pulls off a good time and that's what we wanted to see.

Robert Eldridge (...)

Funnier Then The First...
Slick, chaotic, and decently entertaining sequel picks up where the first movie left off. LAPD Detective James Carter (Chris Tucker) is on vacation in Hong Kong with his friend, Detective Inspector Lee (Jackie Chan). Carter just wants to relax, have fun, get some "mu shu", but Lee can't stop doing his job even for a minute. This time, he's hot on the trail of gangster Ricky Tan (John Lone), who may have been behind an Embassy bombing.

More-of-the-same in terms of content AND style, but still pretty engaging, with lots of action and thrills. Chan and Tucker still share the same chemistry, and overall there are some good laughs. (Worth it just to see Tucker perform Michael Jackson's "Don't Stop Til You Get Enough"...) For me, one of the perks of this sequel is watching "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi as a very fetching and lethal assassin.

Terrific High energy sequel is GREEN!
Not satisfied to just build on the personalities and chemistry created in Rush Hour -RH1, this action movie delivers an inventive script and great action. I would have given 5 stars but I down grade for language.

Chris Tucker delivers another high energy, comedic performance. Since Chris first caught my attention in the Bruce Willis vehicle, Fifth Element. He has proven himself to be a real comedy - action star. This movie might have worked with a different actor playing chans part, but jackie chan is the genious that created these incredible films and may now be our top action star.

Highly recommended, but only partially family friendly.

Better than the first, alot better!
Take peoples word for it when they tell you this is better than the first Rush Hour movie, even Chris Tucker is much funnier in this one. The movie is funny, not amazingly funny but you can expect for laughs than the first one. Though there's alot of stupid things in this movie it wasn't made to be serious, now really two guys fighting off 10 guys at once on several different occasions. The ending was not bad, it was a pretty cliche ending but it wasn't as bad as it could have been. After watching it, I am looking forward to a possibly Rush Hour 3 and I hope they make one, if you're into action/comedies this is a must watch. ... Read more

Description

In this film, considered by some critics to be Akira Kurosawa's greatest and most compassionate achievement, Takashi Shimura (Seven Samurai) portrays Kenji Watanabe, an aging bureaucrat with stomach cancer forced to strip the veneer off his existence and find meaning in his final days. ... Read more

Reviews (63)

A powerful meditation on the fragility of human life.
As a big fan of Kurosawa and the Criterion Collection, I couldn't wait to recieve this DVD in the mail.

Human life can be lost before a person dies, Kurosawa's film shows, and it is difficult for anyone to remain truly alive with all of life's challenges and setbacks. Like a thin thread, life's inspiration is easy to lose. But what happens when a man loses that thread for decades and discovers it again only months before dying?

The answer to this question is both heart-warming and heart-breaking. But ultimately this film will burn brightly in the viewer's mind.

Two years after becoming world famous for Rashomon, Kurosawa released this thematic sequal - a meditation on truth and meaning in the modern world. While Rashomon became a cinematic landmark, I think this film blows rashomon away. It, along with Ozu's Tokyo Story, are the most moving films I've ever seen.

What makes Kurosawa so great here? It is the centrality of the movie's meaning. We all die and we all struggle to find truth. Watanabe, a placid and unquestioning bureaucrat, glimpses the truth about his life when he finds that he has only months to live. He immediately sets out to live his life to the fullest - eventually granting the dearest wish of the citizens that the other bureaucrats would just rather ignore.

But like the man who emerges into the sunlight from the cave in Plato's allegory - none of the other cave dwellers understand his actions.In fact, it's worse, the grandstanding officials claim credit Watanabe's inspired actions, despite having stood in his way.

But ultimately the truth saves Watanabe before he dies. This is masterful filmaking - more on par with Kurosawa's heroes Dostoyevsky and Shakespeare than his cinematic peers. It is a must purchase for his fans and, I think, a story that will move the viewer towards greater compassion and consciousness of life passing by.

Perhaps it's no wonder Criterion chose this fim to include two feature documentaries on Kurosawa on a second disc. And the commentary track is done by the always entertaining Stephen Prince. You can't go wrong here.

Excellent movie, but terrible transfer
I should start by saying that I think Ikiru is the best movie I've ever seen, but I'll try to address some of the negatives.

The story of Ikiru is that of a bureaucrat who upon learning he has stomach cancer begins a desperate search for meaning in his life. He tries family, liquor, and women, but eventually finds purpose in a cesspool that troubles a local community, and their attempts to have a playground built on the site.

The story is absolutely compelling, and the intricate subtleties of Kurosawa's direction make this film very powerful, especially in the second half of the film, where Watanabe's (the protagonist) coworkers discuss his final few months at his wake. The acting is superb. Takashi Shimura gives a performance that is stand out.

Ikiru is not a universally liked movie, for several reasons. The movie is black and white and has subtitles. The cuts and scene changes have a very old-fashioned feel to them (quite rightly... it's old. But this gives a lot of people trouble). The pacing of this movie is deliberate, and by that I mean slow. It is not quick or action-packed. It moves subtlely.

While most all the reviews rave about it, I'd caution that this movie will not beat you over the head with its brilliance. It is a gentle story with subtle nuances, and often, the meaning is conveyed more in facial expressions and quiet moments than in anything said or done.

That being said, I thought the transfer of this movie to DVD was terrible. It is my understanding that this was the best that could be done, which is a shame. Many feel this to be Kurosawa's best work, and to know that this terrible transfer is the best it can ever get, that's sad. Specifically, the vertical lines noted in previous reviews are definitely there, and definitely problematic. There is poor contrast, and it is often difficult to see the actors defined well at all.

The bonus material on this DVD is so so. The commentary is certainly interesting, but the documentaries didn't thrill me too much. The main sell of this DVD is the movie itself.

If this movie sounds like something you can sit through, you should watch it. It's a great movie. I really do think it's the best movie I've ever seen. But it's not for everyone. If you've already seen it and want to own it, this DVD set is fine, but it comes with the caveat that the quality of the transfer is not impressive.

Occasionally quite moving but a bit too sentimental
I don't profess to be an expert on the films of acclaimed Japanese director Akira Kurosawa, but I will say that, though I haven't seen a great many of his films, I've definitely admired the ones I have seen. Films like RASHOMON, THE SEVEN SAMURAI, and THRONE OF BLOOD show a director that not only has an acute visual sense---I have never seen equalled the unforgettable images of the moving trees and then Toshiro Mifune with all the arrows launched at him at the end of THRONE OF BLOOD---but also a human sensitivity that may be more flamboyant and theatrical in style than his Japanese counterpart Yasujiro Ozu, but is no less impressive. He is a true film artist, to be sure...but, though IKIRU is often called one of Kurosawa's most human film achievements, I personally would not quite put it in the same level as those aforementioned three.

Not that it's not moving. The first half of the film actually made me shed quite a few tears, watching poor Kanji Watanabe first find out he has stomach cancer, and then try to actually have some fun with his life. His attempts to do so are quite touching, even though it does not always work out---esp. with the girl that eventually gets annoyed with him b/c he insists on hanging out with her so much. Finally, he decides to do something noble for the people he works for, and thus we get to the second half of the film: Mr. Watanabe's wake, in which colleagues reminisce about the noble act he accomplished for a town before he died. His act---he steps over bureaucratic lines and gets built a children's park in an area where there was only a dirty pool of water previously---slowly inspires the others to perhaps break out of their bureaucratic mold...and perhaps will inspire you too, in a different way.

I dunno, though...I was inspired but only sometimes moved by this film. For me, I think Kurosawa's penchant for lack of subtlety and heavy-handed sentimentality sometimes mutes its power. Kurosawa, for example, is not content to simply allow us to visually observe how lifeless our hero truly is at the beginning: no, he must give us a voiceover that drums it into our head that "this man has not truly lived." And then there is the scene in the bar in the middle of the film, in which Watanabe sings, with tears coming out of his eyes, a mushy song that expresses his feelings of hopelessness and despair. If nothing else, though, the second half of the film seems to expose this unfortunate tendency---a very long scene, intercut with flashbacks, set in Watanabe's wake in which his fellow workers first try to deny Watanabe's deep heroism, but then eventually resolve to be as noble as he was in his last months of life. It is certainly intriguing structurally, as we see the effects of his death on fellow workers and the townspeople Watanabe helped so greatly. And yet I think, could this scene not have been just as effective as simply an epilogue rather than the focus of the entire second part of the film? I'm sure Kurosawa could have made his point---he is showing how one man's heroism can deeply affect other people---without becoming as repetitious and even preachy as this portion of the film sometimes seemed.

And yet, if IKIRU is a flawed film, at least its flaws always spring from an honest desire to lift up his audience in a way that SEVEN SAMURAI and THRONE OF BLOOD do not even try to do. It may be sentimental, but it is always honestly felt, and perhaps you might be much less resistant to Kurosawa's sentimental excesses than I occasionally was. As Watanabe, Takashi Shimura gives an unforgettable performance (esp. with that hauntingly raspy voice of his); and Kurosawa does create a final moving image of Watanabe swinging on the swing in the new park, singing that same song he sang at the bar, but in a different, perhaps more joyful manner.

That image just goes to show you that Kurosawa was, above all else, a masterly visual artist in his films. If he had relied more on his sense of powerful imagery to make his point, IKIRU might have been a truly great film, instead of one that perhaps tries too hard to be deeply moving. And yet I would be lying if I said that I wasn't affected by the film. Perhaps some of you might not mind the occasional preachiness in this film and will find this a truly transcendant film experience. For me, it almost got there, but not quite. Still, IKIRU is a good film that deserves to be seen for its powerful message, if nothing else. Maybe it will really change your life. Recommended (with some reservations).

5 stars not enough...
... for rating this one. I can't but than agree it might well be the most compelling film by Kurosawa. As well Criterion have to be hailed for bundling the most interesting 'Extras' I've ever seen on DVDs. But afterwards I couldn't help thinking why, after half a century since it was released, nobody realized that giving stomach cancer to civil servants and politicians might get them doing their work: and if even for a short while, at least tax-payers won't regret the money they're usually conned of. Since the bulk of most civil servants' work is waiting retirement, and almost all politicians think (???) they've been elected so they can be paid while preparing their next campaign, it would be worth giving it a try.

Masterpiece
I'm only 19 so perhaps some may say I can't really comment or fully understand all about living life to the full, because I have barely lived. But one thing this film makes you realise is that a job, is just a job! This film was so heartful and beautiful,it can make any age group realise that life is for living and how correct it was to say that 'only when you know you are going to die do you begin to live'..we should learn to live before that moment comes! I recommend this film for everyone, I love Japanese films and this was by far one of the best films.
It's an eye-opening film and one that should not be disregarded! ... Read more

Reviews (69)

Great movie
This was my first "Ang Lee" movie and I am impressed. I like foreign movies because most of them do not follow the Hollywood standard of relying heavily on famous movie stars to make cash for the studios at the sacrifice of a good plot, skillful acting, and good storytelling.

This movie is a slice of Tawainese life. Master Chu is a renowned chef and a widower who raised three beautiful daughters. The movie observes the lives of the members of this family and the poeple around them. The storytelling is simple and sweet. Ang Lee has us observing the character's lives as forces around them change the circumstances they find each other in. The film is engrossing and satisfying as we watch the conflict of tradition and modernization affect Master Chu and his loved ones. I'm sure I would've enjoyed it ten times more if I spoke chinese, but the subtitles are better than dubbed. Never watch a dubbed foreign movie. The language will be lost.

I made the mistake of watching this movie with an empty stomach. Never do that. The cooking scenes are fantastic. The food Master Chu prepares are a feast for the eyes, and an empty stomach would only make you yearn for a taste.

Tantalizing Cuisine and Family Drama in Taiwan
Sunday dinner at master chef Chu's home resembles a spectacular banquet you would only expect at a gourmet restaurant. He works tirelessly to prepare a feast for his daughters who hardly seem to appreciate his culinary skills.

Jia-Jen (Kuei-Mei-Yang) is a chemistry teacher who has discovered Christianity, Jia-Chen (Chien-Lien Wu), is an airline executive who is in love with a man who will never marry her and Jia-Ning (Yu-Wen Wang) has her eye on a friend?s boyfriend.

The basic plot centers around a father who is not only trying to find a new life but is watching all his daughters leave and start their own lives.

Indirectly we also learn a great deal about men through the relationships the daughters pursue. We have a man who is living the bachelor lifestyle, a naive lover who is just learning about the games women play and a man who is willing to change religions to get the girl of his dreams.

This movie is deliciously dramatic with some deeply religious themes. I was pleasantly surprised with the light humor which was not at all offensive. You also see three lifestyles presented by the daughters showing how they each deal with their libidinous whims. The most unexpected twists and turns appear, making the plot entirely entertaining.

While chef Chu finds ways to show his love to his daughters, he is especially estranged from one of his daughters who only communicates with him through criticism of his food. There is a scene later in the movie which shows the father using this same tactic to communicate his love to his daughter.

Some of the comedy is all in the facial expressions. I especially loved the part where chef Chu is trying to eat the inedible lunch and where the children in his adopted granddaughter's classroom are all placing orders for lunch. As a woman, I could not help laughing when he pulls out the nylons and bras all tied up together in the washer.

I?m always complaining about the lack of chef themes in movies. If you are hungry for movies with cooking themes, add this movie to your must-see menu. You almost have to watch this movie twice. Once with the subtitles and the second time just to view all the tantalizing dishes master chef Chu (Sihung Lung) prepares.

This movie reminded me of "The Scent of Green Papaya" (1994). However, "Eat Drink Man Woman" excels in the presentation of the cuisine, while "The Scent of Green Papaya" was more poetic in its presentation. This movie is a visual feast. All I want to know now is where is the cookbook so I can learn how to make that dragon?

Playful romance, creative cuisine, deep rivers of emotional drama and original comedy are the ingredients that make this movie a satisfying feast for the heart and soul.

Three words to take Very Seriously "before" watching this movie: Order Chinese Food!

Don't say we didn't warn you. ;)

Also look for: Babette's Feast, Like Water for Chocolate, Simply Irresistible and Chocolat.

~TheRebeccaReview.com

Loved the cooking
This movie has the same story and is the basis for the film "Tortilla Soup." If you want to see the more accesible and entertaining of the two, see "Tortilla Soup" in which the Chinese culture is swapped for Hispanic-American culture. The culture differences and dry sense of humor in "Eat Drink Man Woman" kept me from identifying with the characters. It was still a wonderful movie and is worth watching for the cooking sequences alone. It was also interesting as a Chinese cultural study.

A DELICIOUS SERVING OF LIFE, LOVE AND LAUGHS
Apart from a fabulous peep into the Chinese culinary worlds and its delectable blend of touching yet hilarious screenplay (a natural, unfolding rhythm), this movie for me represents Ang Lee's peak.

A bit like a Chinese version of Woody Allen's "Hannah and her sisters", the film traverses through the lives of three sisters and their father. Lee manages to tell each character's story with care and humor. There are some hearty laughs, a number of touching dramatic moments, and towards the end even a couple of startling twists.

There are a handful of movies that employ cooking as a metaphor of life. But Lee doesn't stop there -- he uses the *preparation* of food as a motif of life's experience as a whole, to include friendship and familial devotion, as well as desire, passion and love. On occasion, food also represents a substitute to all that.

Ultimately, what makes a movie like this work is how much you care for its characters, each one wholesomely well-drawn and glibly multi-dimensional. With the possible exception of a family friend, who comes across as a bit cartooney, there are no caricature villains. Everyone is complex and human.

A terrific offering from China that I highly recommend. You may leave with a craving for some noodles soon after..

DVD Review
Eat Drink Man Woman is a joyous film that celebrates family, love, and food. Sure to evoke smiles, laughs, and tears. The film is wonderfully entertaining as the lives of three sisters and their father go through changes due to unexpected events. Throughout we are treated to breathtaking photography that caress and studies the art of food perparation. The film is sure to make anyone hungry.

Video: (1:85) A great transfer from MGM, good sharpess and shadow detail.

Sound: Clean and clear, very good audio track.

Extras: Trailers and an interview with Ang and his co-writer. Do not watch the interview if you haven't seen the film, it gives away all the pleasant surprises in the film. ... Read more

Reviews (53)

ASTOUNDING EROTICA.....
This is an amazing film to watch. Not only is it beautifully filmed but the atmosphere is quite vivid in its' depiction of a Japanese servant girl who becomes mistress of the master of the house and sexually obsessed with their relationship. She leads him deeper into the sexual realm until it becomes the focus of both their lives. Their relationship becomes so intense that it can only lead to destruction. Film is extremely sexually graphic and to be honest, I wasn't even aware that I was watching "pornography" because the acting and story were so mesmerizing. By then, I didn't care because it wasn't offensive---just honest. The two leads are wonderful actors and they made me forget I was watching a supposedly one-time controversial film. The film is supposedly based on a true incident. The ending is shocking and depressing but that's allegedly what happened. I consider this film a classic and a must see for foreign film buffs. It's one of the most beautiful erotic love stories ever made and one of the most disturbing.

An actors film, based on a true story.
Based on a true story, Nagisa Oshima's 1976 film about possession, sexual obsession and love, is still fresh in its portrayal of a woman named Matsuda who struggles to posses her husband Fuji, wholly and completely.
In what must be one of the most shocking movies to come out of Japan in decades,
Nagisa's skillful use of location builds a claustrophobic atmosphere of intimacy, with very little light, cramped space and no fresh air (minor character comments about the smell that builds in the room the couple are in). Though at times seemingly pretentious, my feeling is that this may be due to the translation.
From beginning to end the controversial and explicit nature of the film will either turn you on, or off or leave you in jaw-dropping awe. Its still amazing what the two main actors do for this film, and the levels they go to, to bring these two characters to life. Still fresh and worth a good unbiased viewing every other year.

Serious Minded Erotica......
Nagisa Oshima has achieved what few other directors have managed in dealing with the very touchy subject of sex, in this instance, with sexual obsession. If you plan to watch this movie for a cheap sexual thrill, you will be most disappointed. Oshima has drawn from a real incident reported in a 1936 Japanese newspaper. The film centers around the love between two people expressed physically, graphically, into realms of the senses where few dare to tread. And with good reason. This is a very intense film as it progresses from the attraction of two people through increasing experimentation in an effort not only to express their passion but to try to find the outer most limits of passion itself. Oshima must have had something metaphorical in mind but the journey as chronicled in the film also has retained the feel of the specifics. It's quirkey and eccentric. The backdrop of the story is as interesting as the story itself. It is an amazing spectacle to observe, giving the viewer a perspective on Japanese life not usually rendered but often alluded to in some historical accounts. One wonders what this experience must have been like for the actors. Oshima has managed what I have always believed should be done in order to treat the subject of sex fully and without shrinking from its' less savory aspects. This is serious minded erotica and quite unlike anything else on screen. The only other film I can recall that compares at all is "Taxi Zum Klo" which was autobiographical and starred a number of actual people playing themselves.Obviously a different catagory in that regard from what is going on here, but both films draw much of their power from explicitly sexual scenes without compromising the integrity of the story being told. This is a film experience that should not be missed.

Interesting movie...
I have to say that this movie is most certainly not one for everyone. That's quite obvious from it's NC-17 rating, and the fact that it was banned for quite some time.

But aside from that.... It's an interesting movie about obsession and sex. The characters don't really get too deep, and you don't necessarily feel much sympathy for them, but that's part of the point of the film. You're supposed to feel the obsession, and the fact that the two lovers really only ever have sex on their minds, that it's taken over their lives.

It's graphic, violent even, with tons of sex... But if you know what you're getting into and can look beyond just the simple act of sex, you might find it a worthwhile movie.

Not worth the time or money
After reading some of the other reviews I was expecting a film that would leave me thinking about something of significance in life, even if was an extreme reaction to sexual obsession. I also, often forlornly, hope for a cathartic experience whenever I watch drama.

Unfortunately, this film provided neither. I was left thinking that there was something left on the cutting room floor that would explain the actions of the main characters. There was little in the film that would help me understand how the two 'lovers' could end up in their final situation. It was northing more than a voyeuristic following of a couples' series of sexual experiences that were neither erotic nor enlightening of motivations.

Then there were those unexplained forays by the female lead that had nothing to do with the main theme of the movie. The only reason for them seemed to be "comic relief" to the sex. The problem is that they were not funny and did not inform the audience about the main character.

Over all, the only reason to watch this film would be to see what really bad movies are like. ... Read more

Description

Experience the dazzling story of cinematography as seen through the lenses of the world's greatest filmmakers and captured in classic scenes from over 125 immortal movies. Discover Gordon Willis's secrets of lighting Marlon Brando in "The Godfather" and Greg Toland's contributions to "Citizen Kane." Hear William Fraker on filming "Rosemary's Baby," Vittorio Storaro on his use of color and light in "Apocalypse Now" and much, much more. From black and white to Technicolor, silent to "talkie," glittering Hollywood musical to film noir and art film to blockbuster, this critically acclaimed masterpiece presents movies in a new and unforgettable light! ... Read more

Reviews (23)

Eyes Wide Open
This is a great documentary.
Across the course of the film, you may have your eyes opened as if for the first time: it comprises clips and interviews about the history of cinematography, or indeed the whole look and language of film.
While many of the clips show well-known moments in film, their compilation in this way offers one fresh and striking visual after another. The revelation is the strength of early and rarely-seen films, and the assertion that had sound films been invented a decade later, the visual language of film would have developed and intensified still further. As it is, the images are just ravishing, and it's really rather moving to watch.
This is a warm and thought-provoking look at cinematography, and is highly recommended. The only reservation is the mono sound on the DVD, but it's a small sacrifice when the visuals hold pride of place.
Be prepared -- you'll want to revisit many classics after this!

A visual primer on the art of Cinematography
Every time I teach a film class this documentary is one of the first things I screen for my students. "Visions of Light" includes clips from 125 films to graphically demonstrate how the art form of cinematography has evolved. You will also come away with a new understanding of the work of specific cinematographers such as Gregg Toland ("Citizen Kane"), Conrad Hall ("In Cold Blood"), Vilmos Zsigmond ("The Deer Hunter"), and many more. You will even get a sense of the individual styles of these great artists as well as a better appreciation of how the people behind the camera have as much of an impact on a movie as the actors we see on the silver screen. But be warned: after watching "Visions of Light" you are not going to have a whole bunch of cinematic classics you will want to track down (I am still trying to find "Great Expectations"), you are going to want to rewatch some old favorites. This 1993 documentary was directed by Arnold Glassman, Todd McCarthy and Stuart Samuels.

Very inspiring but not instructional
I loved this DVD, it shows you history and theory but it's not instructional, it doesn't talk about light set-ups or specific techniques. If your looking for an instructional video as i was look elsewhere, I still enjoyed it though and I'd still buy it.

Study of lights and shadows is visually enlightening
"Director of photography. The person in charge of lighting a set and photographing a film. Also known as 'first cameraman,' 'lighting cameraman,' or 'cinematographer,' he is responsible for transforming the screenwriter's and director's concepts into real visual images." From Ephraim Katz's Film Encyclopedia.

This collection of film clips and interviews with various DPs (director of photography) and camera operators such as Allen Daviau, William A. Frakeman, Haskell Wexler, and Nestor Almendros reveals their influences, the period during which they worked, what techniques were evolving, and anecdotes. Clips from about two hundred or so films are examined.

Yes, as Ernest Dickerson says, cinematography's the way one responds to light. Initially, there was just a director and cameraman, the director in charge of the actors, the cameraman in charge of everything else. And the stationary cameras didn't give them much to do, but of course that changed over time with the camera dollies and booms, and later, handheld cameras, made more effective by Steadicams, whose inventors won a special Oscar in 1977 in the technical field. But camera movement gave the DP greater ability to achieve his visual triumphs.

Other than the Katz quote, DPs were to tell the story visually and to make actors and actresses more handsome and prettier but to enhance special features. Actresses like Marlene Dietrich and Greta Garbo required special attention, but boy, did they sparkle! Dietrich's cheeks were made narrower with the lighting used in Shanghai Express. And small wonder Harold Rosson made Jean Harlow prettier in Red Dust--he even married her (lucky guy!) after her husband Paul Bern committed suicide.

This takes a chronological history of lighting, from the silent era up to the late 1980's, and puts it in context with the history of film. For example, the role of cinematography changed with the advent of sound. According to cinematographer John Bailey, the 1920's were the golden age of cinematography because at the time, the camera was unencumbered by sound and all devices accompanying verbal dialogue storytelling. And when anamorphic 2.35:1 widescreen came to be used, DPs had to find some way to use that extra space on either side, as they did with Lawrence Of Arabia, like the scene of Lawrence, having rescued Qaseem, who is greeted by one of the boys, riding towards him. And with the gradual independence from the studio system, previous errors such as flaring lenses were deliberately used as new techniques.

My favourite era is the film noir era, which borrowed from the German Expressionism of the 1920's. Sparse lighting, slashes of light, dark shadows, dense rarified vocabulary of visual information, low angles define the characteristics of such films as The Killers, Out Of The Past, and Touch Of Evil. It's stark black and wide, hardly any greys.

But other uses of dark or darkly lit techniques were shown with the candlelit sequence in Grapes of Wrath, a clip from Fat City, and the accurate capture of period dramas, where there was no electricity and so thus families relied on light from windows.

As for best uses of technique, the pure visual accident in In Cold Blood, where Robert Blake's character is speaking to the chaplain about his father, and the light reflecting off the pouring rain on the window shone on Blake's face, making it look as if he were crying.

This collaboration between the American Film Institute and Japan's NHK Television is ideally for film students/buffs and for moviegoers of a more intelligent and inquisitive calibre, which I hope will comprise of enough people.

Amazing!
My instructor showed my class this movie about an hour ago, it was terrific, I love how movies work even more than I did before I watched it........... if that's possible. I hope to someday be luckey enough to join this field of work. ... Read more

Description

Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move into neighboring apartments on the same day. Their encounters are polite and formal-until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-wai's In the Mood for Love is a masterful evocation of romantic longing and fleeting moments in time. ... Read more

Reviews (83)

Wong Kar-Wai's Masterpiece
If you were to find a fault in Wong's film it would be the pace: slow, methodical, but inspite and because of that pace "In the Mood for Love" is an utterly engrossing tale; a tale of a man who suspects his wife of cheating and a women who suspects her husband of the same. As they secretly share their pains and suspiscions they fall in love, a love which, due to guilt and the society they live in, cannot blossom.

"In the Mood for Love" is a period piece, taking place in 1962 Hong Kong, and it captures the period wonderfully with small details like the snippets of Shanghainese speech and Nat King Cole's melodic voice floating in an American-style diner.

In this movie Wong Kar-Wai achieved brilliance on every level. Not only does he create a perfect mood with his methodical pace, dark yet beautiful camera work, but he tops it off with excellent performances by Tony Leung and Maggie Cheung and an enthralling soundtrack that ties it all together. I have been a fan of Wong Kar-wai for some time, but in all of his films I felt something was missing. Here he has captured it all. With "In the Mood for Love" Wong leaves the label "a good director" behind and becomes "a great director".

The DVD is full of fascinating extras: interviews with the cast, Wong Kar-wai; descriptions of the music used in the film; trailers, posters, images. You can spend hours not even looking at everything but the movie!

Best movie of the year
It's only a shame that this wasn't released several months ago in the U.S. as it was in the U.K. or else it would have been nominated for some major awards. It's actually really hard to fault anything in this movie: the acting, directing, music and cinematography are all world-class.

The story centers around a woman and a man who live next to each other in a Hong Kong apartment complex in 1962. They both suspect their spouses of having an affair with each other, and begin to fall in love themselves. Being in such tight surroundings they obviously cannot show very much affection to each other in public and rely on subtle glances and very little actual physical contact: it is a testimony to the superb acting skills of the two main leads, Maggie Cheung and Tony Leung, that the relationship is believable. The director Wong Kar-Wai is also brilliant at mixing in slow-motion shots (perhaps to emphasize how slowly their relationship develops) and Spanish music, which fits the mood of the movie amazingly well.

To add to the atmosphere, the movie is almost completely shot indoors except for some shots outside at night and in the rain and the haunting last scene. You really get a sense of clautrophobia after a while, not only of the living space but how confined the characters' marriages and even lives are as well. Futhermore, the movie also has a political overtone which is, like everything else here, subtle, but suffice to say its setting in 1962 is not accidental.

Finally, the lack of a huge amount of dialogue means that those who don't like subtitles won't have to suffer through so many. For those of you like me who were disappointed with most of the junk nominated for Academy Awards this year, finally here's a movie that lives up to its reputation.

An unforgettable journey.
'In the Mood for Love' is a touching, engrossing meditation on, you guessed it, love: what it is, what creates it, what ends it, what keeps it sewn strong together. All of these aspects are collected into a clever, lovely, sometimes devastating piece of artistry directed by the fabulous Wong-Kar Wai. Those of you who love romantic comedies or grand, epic love sagas will be immensely disappointed with his latest film. It is not either. Rather, it is a gem of cinema that strives for emotional truth and absolute realism. Inside of cramped apartments and old diners, that, too, is what the main characters of 'In the Mood for Love' yearn for.

The film takes place in Hong Kong during the year 1962. Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) have just moved into neighboring apartments and have met each other rather casually. But the two progressively realize a secret about their respective spouses and a profound relationship develops almost instantly. From there, the film sets a tone that is cislunar, seeming to float in its own world situated between reality and a sense of disconnection. Kar-Wai perfectly evokes this mood with fleeting slow-motion sequences accompanied by Christopher Doyle and Mark Li Ping-bin's delicately visceral cinematography. What ensues throughout the rest of the film (both plot-wise and technically) masterfully conveys romantic yearning.

The lead performances were breathtaking, namely Maggie Cheung as Su Li-zhen. From scenes of obvious hurt to moments of hidden despair, she ceaselessly astonishes. I'm surprised she did not receive the massive encomium she deserved from 2001 year-end awards groups, let alone the Oscars. But credit must also be given to Tony Leung as Chow Mo-wan, who managed to maintain a quiet, tired loneliness throughout the film. Leung also understood that it was only with Su Li-zhen that Chow Mo-wan felt truly alive with passion.

Another character worth mentioning are the breath-taking sets by production designer William Chang Suk-ping. The claustrophobic atmosphere offered by Suk-ping's dated, tight hallways was as much a part of the emotion and story line as each lead. Collectively, each part of the movie-making process (screenwriting, directing, designing, acting) achieved an assured concinnity; and in the end, what was already a personal, accessible study is lifted by Kar-Wai to a universal level using epic shots of Mayan temples and mysterious landscapes. As the credits role, it becomes apparent that 'In the Mood for Love' is arguably a masterpiece worthy of the all-time lists.

For me personally, the constant flashbacks of wind sifting past vinaceous curtains and artful conversations about love at its core only underscore 'Love's greatness. It is an unforgettably personal journey not to be missed.

Tertiary Love Film at its Highest Form
98 minutes of excellence. I am never a big fan for romantic films. Especially with the current scene filled with countless teen-or-chick flicks, I have become very picky on this category. I watched it with skepticism. 98 mins later, I switch off the TV in great relief, and also with understanding of why a few people do not enjoy it.

Generally, people who dislike this film have the following reasons:
1. Simple plot and no plot twist
2. Repetitive scenes
3. Few and confusing dialogues
4. No significant signs of intimacy or eroticism. Can it even be categorized into "Romance"?

One thing I have learnt from "In the Mood for Love" is also the same thing I wish romantic film directors would learn for a long time: Character Study and Development are often more important than unnecessary plot twist. There are pretty much only two characters in the movie, but by middle the audience could feel as if we know them for real. Thus we do feel the characters' happiness, pain and suffering. Yes, even if the time is set in 1962, Hong Kong.

The repetitive scenes do not represent lack of creativity. In fact it is one of the hardest tricks in my opinion. Although some actions are very similar, each scene has a subtle change in intimacy and impact for future relationship. Not one of the scenes can be taken away because they're all crucial links. As for the dialogue, it is few but every line is to the point. Each word is polished to sharpest and kept to minimum. Every word is a keyword.

Intimacy and eroticism are indications and eye-candy. Audience would understand immediately two people are in love. In my opinion this is director's point of view to choose it or not. Wong Ka