Reviews (291)

'The Rocky Horror Show' Movie
There is one reason why everyone should see "The Rocky Horror Picture Show": it is the best cult film ever made. There are also three reasons why everyone should want to watch it: 1) It is one of the only 'R' rated musicals in existence. 2) It has strong science-fiction overtones. 3) It is very funny. The movie starts Barry Bostwick and Susan Sarandon (before they were stars) as the recently engaged Brad and Janet. However, they are upstaged in nearly every scene by Tim Curry who plays Frank N. Furter, the mad doctor. The cast delightfully performs many memorable songs including "Over at the Frankenstein Place" and, of course, the "Time Warp". To fully enjoy RHPS, one must not be closed minded or the picture could prove to be quite offensive. Don't think it's gratuitously violent- it isn't. Merely, the situations the characters find themselves in could shock or appall overly sensitive viewers. If you think you won't enjoy RHPS, going to a midnight screening might be your best bet. The live audience participation will guarantee you a good time, despite your opinion of the actual film. So overall, RHPS is quite a good adaptation of Richard O'Brien's original concept, which always honors its roots on the stage.

DVD = Perfect format to truly experience "Rocky" at home
I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.

For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.

Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"

So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.

The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."

The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.

What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

Mesmerizing film.
This is a very outrageous movie. The rock is the background to tell us a horror movie but also spiced with sex , ransvestism and above all a splendid tribute to the movies specially King Kong .
One couple strands in an old house full of weirdos . This movie (here between you and me)could have inspired for Tim Burton in Beetle juice .
In this decade there were great visuals films too . Sherman built a magnificent story absolutely free , intelligent and sarcastic, irreverent and bitter . You might state that Fellini's influence (dressed of english manners and clothes) is present all along the film .
Inmediatly after its release this one acquired the status of cult movie.

The original is still the best!
Don't bother with the play, or the music from the play. The original is still the best. Nobody can fill the shoes of Sarandon, Curry, etc. They originated the roles and have been associated with them for far too long for anyone else to come in try to change them so many years later and attempt to redo them. Stay with the best.

Those Gold Shorts!
Ahhhhh...Rocky had such a lovely outline showing in his gold lame shorts. ... Read more

Description

With the galaxy's best-selling tour guide and a good towel, earthling Arthur Dent and Ford Prefect (actually from planet Betelgeuse) are transported, among other places, to the Restaurant at the End of the Universe and back to the beginning of time. ... Read more

Amazon.com

This sweeping miniseries from 1986 captures the rise and fall of an African emperor. Shaka Zulu begins following a British expedition sent to bargain with the fearsome Zulu army assembling on the outer edges of the British colonies in South Africa. Led by Lt. Francis Farewell (The Day of the Jackal, A Bridge Too Far), the expedition hopes to bamboozle a superstitious primitive, but their arrogance gets taken down a notch by a cunning and ruthless warlord who has unified vast territories through a combination of political charisma and military discipline. At this point, the focus shifts to how Shaka (the riveting Henry Cele), king of the Zulus, rose from a brutal childhood to royal grandeur--a semi-mythological tale filled with family strife, political intrigue, witchcraft, and bloody warfare. Powerful performances by Cele and Dudu Mikhize (as Shaka's iron-willed mother, Nandi) give this sprawling epic the drive and emotional scope of a Shakespearean drama. Shaka Zulu also draws sneaky parallels between the Zulu and British empires, often to sharp satirical effect. Full of richly conceived characters and compelling political maneuvering, this eight-hour series brings faraway history to living, breathing life. Also featuring Christopher Lee (whose always-steady career exploded at age 79 with juicy roles in The Lord of the Rings and Star Wars: Episode II, Attack of the Clones). --Bret Fetzer ... Read more

Reviews (7)

Amazing
This is a Brave heart movie wayyyyy ahead of time, great plot, landscapes, action, and is a real history that is a "wanna see movie"

S P E C T A C U L A R !!!!!!!!
AN "EXTRAORDINARY" FILM IN EVERY ASPECT OF THE WORD ! A 4 DVD SET UNLIKE NOTHING I EVER SEEN BEFORE, IT'S WORTH EVERY PENNY. GET THIS MOVIE WHILE IT CAN STILL BE FOUND.

Something to remember.
I saw this mini series when I was 13 - ten years ago. Even then it had a major impact on me. I've been trying to find it at rental stores for the last five years, but unfortunately, I'd been living in a small town and the movie rental stores were less than impressive in regards to selection. Only recently did I find out that Amazon sells movies as well as books (and lots of other merchandise) and so I immediately searched for it.

And Voila! I found it.

I can't in good conscience put five stars here, since I haven't actually seen the DVD version - but I KNOW that the mini series merited at least four stars. I highly recommend this set to anyone interested in history, Africa, or even just an excellent epic story of adventure, adversity, and triumph over the life-sucking blood-spattered desert sands.

I honestly don't think cutting 3 hours of film out of this does the film creator's vision justice. I suggest you at least rent the mini-series, even if you decide to buy the 5-hour version.

Turning The Tides of Warfare
Empires rise for the sole purpose of cresting in the valleys of time, destined to always find a stumbling block and fall into the sea. From those that never see the setting of the sun to those rapidly built on the dreams and conquests of one man, this is the legacy of anything that rises to power. So has it been with many, and so it was with the birth of the Zulu nation and their prophetically foretold figurehead, Shaka, as they moved forward and conquered all.

The validity of this tale, well, that would remain something of a speculative tale since there are so many elements of witchcraft and prediction riddling it. Here, things that might have been mentioned briefly are accented to play out the 220 minutes of production, birthing a legacy of darkness and shadows. Still, as far as a tale adapted for television goes, it was brilliant and enjoyable to watch. Many of the elements that led to the myths of this man and the growth of his empire are included herein, from tales of a son that would one day slay his father and propel his people into power to those that spoke of how he would succumb. It covers the boy himself, his relationship with his mother and how they were outcast, and it shows him grow into something that was propelled only by the need for vengeance. Here, turns that could have prevented this from happening are showcased and the markers making him are defined, helping one understand his accent from nothing to a soldier to a feared ruler.
And it also introduces many people that know nothing of history to a name they should all know; that of Shaka Zulu.

Presented alongside this is the European side of the coin and what Shaka Zulu meant to it. It shows the overestimation of how expansionism into areas fueled by "savages" were, and how the cultures of those neighbors shared were actually more than the occupiers bargained for.
Seeing the Zulus as nothing more than barbarians, the British Cape Town establishes itself and survives with little to know interruptions. Then, out of the blue, the Zulus begin taking over everything. Tribesmen could be found running to the hands of the slavers, trying to avoid Zulu spears.
And that makes the British apprehensive.
Then it one day finds itself looking at a situation of enormous proportions, the Zulu close at hand and the white men knowing nothing about them. Added to this was the fact that the garrisons therein weren't equipped to deal with a force of that size, the journey for reinforcement is a four-month journey by sea, and they could find themselves overrun by then. So, an alternative solution is rendered, sending a crew of men out to negotiate and to showcase fear in order to provide a solution.
And thus begins a tale of gunpowder and magic, of chess and tactics, with groups of men from different worlds playing mental games of chess.

In the rendering of this tale I personally liked how both sides were shown as players trying to outmaneuver the other. More impressive than that, however, was the fact that Shaka Zulu was portrayed as a powerfully intellectual leader and not as an insignificant threat. Instead of falsely delivering a savage into our midst, the viewer is shown a world outside of the world that the Europeans knew, introduced to its continental customs the people that conquered it with shields and spears. Within those showings, the game of cat and mouse is played and the outcomes, they have more to do with internal afflictions than anything delivered by the white man.
It also covers the effects Shaka had on the way wars were fought, on the way people were encouraged, and on the impressive way that one man's mind functioned.
And then there's all the lovely impalings that begin to fall like rain, too.

Shaka Zulu an Exceptional Production
Shaka Zulu was by any standard an exceptional production. The cinematography, script, actors and setting were all superb. Henry Cele was extraordinary as Shaka and I can't imagine that there is an actor anywhere in the world who could have portrayed him any better.

The native settings and attire added greatly to the production.

The characters and performances were all top notch and the relationship between Edward Fox (as Farewell) and Henry Cele (as Shaka) was portrayed beautifully and powerfully. Drama at its very best.

This production is without doubt as good as anything I've ever seen on television or in the movies.

The DVD would have been greatly enhanced if post production interviews could have included Henry Cele. He was truly the star of this series, and that's saying a great deal given the quality of all of the other performances. ... Read more

Description

In 1964, the Beatles had just recently exploded onto the American scene with their debut on "The Ed Sullivan Show." The group's first feature, the Academy Award-nominated "A Hard Day's Night," offered fans their first peek into a day in the life of the Beatles and served to establish the Fab Four on the silver screen, as well as to inspire the music video format.Songs: I'll Cry Instead, A Hard Day's Night, I Should've Known Better, Can't Buy Me Love, If I Fell, And I Love Her, I'm Happy Just to Dance with You, Ringo's Theme (This Boy), Tell Me Why, Don't Bother Me, I Wanna Be Your Man, All My Lovin', She Loves You. ... Read more

Reviews (264)

Wonderful Film with FABulous Extras
This is one of the great films from the 1960s and should be seen by everyone at least once during their lifetime.

The film has held up very well and the editing still looks innovative nearly 40 years later. One thing that is very noticeable with this set is that the music has been digitally remastered and the sonic quality of the songs is markedly different from the dialogue in the rest of the movie.

The extra disc provides a lot of insight into the making of the film and the whole Beatles scene. Everyone from Richard Lester to the tailor and hairdresser on the film talk about their memories. Klaus Voorman gives an interesting interview where he shows drawings that he made during the early years of Beatlemania. There is also a documentary on the first disc that repeats clips from some of the interviews on disc 2 but most of the insights are unique to this special.

Despite the fact that there is a lot of bonus content, even more would have been appreciated. While there is an interview with the man who designed the film's movie poster, an actual gallery of posters and lobby cards would have been appreciated. It would have also been appropriate to include theatrical trailers for the film. This set does include DVD-ROM content but I did not have access to it so perhaps these things are located there.

Other things that could've been added to disc 2 include deleted scenes shown in "You Can't Do That! The Making of 'A Hard Day's Night'" and the "I'll Cry Instead" intro that was added to the film when it was re-released in the 1980s. Richard Lester's "Running Jumping Standing Still" film should have also been included since it's mentioned so much on the DVD.

For fans of 1960s cinema or the Beatles, this set is a keeper. Here's hoping "Help!" gets similar treatment someday.

Fab -- A very clean old movie
"A Hard Day's Night" makes most critics' best-ever lists. It's widely considered an electrifying mix of great music and hip comedy, both a time capsule of the swinging '60s and a timeless entertainment. Roger Ebert calls it "one of the great life-affirming landmarks of the movies."

Respect hasn't led to respectful treatment. Legal wrangling followed "A Hard Day's Night" throughout its home video life, resulting in oddities like the "tribute to John Lennon" musical prologue tacked on for VHS. The first DVD version, from MPI in 1997, disappeared after a few months of distribution.

Here, finally, is an up-to-date rendition worthy of the film.

"A Hard Day's Night" looks and sounds about as good as could be expected. The carefully lit black-and-white images should please most viewers -- even though they're on the flat side, with persistent minor speckling. The stereophonic songs swing as they must, smoking the tracks on Capitol's (shamefully outdated) soundtrack CD. (The MPI video had significantly worse sound but deeper contrasts.) Try this: Put on the Capitol version of "Tell Me Why" and then play the movie version. Perhaps Capitol can tell us why they continue to sell 15 year old Beatles CDs.

The film, shot in 35mm, is presented in widescreen, letterboxed with a ratio of about 1.66:1, enhanced for 16x9 televisions. The spiffed-up audio comes via Dolby Digital, with the musical numbers in stereo.

The first disc contains the movie as well as "Things They Said Today," a new promo film that gives the big picture. The second disc is all interviews, arranged by category (cast, crew, etc.).

Martin Lewis, a Beatles historian and pal to most of the filmmakers, conducted 30 video interviews for the package. They include key players -- Martin, director Richard Lester, United Artists exec David Picker, cinematographer Gilbert Taylor ("Star Wars") and Beatles publicist Tony Barrow -- as well as those who were just lucky to find themselves working on a film project "at the center of the universe."

The reminiscences get infusions of energy from upbeat clips, some amplifying the talkers' points and others making Beatle-esque visual jokes. The production was extensively filmed and photographed, with hours of that material first seen in this collection. The interviews are tightly edited, surprisingly focused and often a great deal of fun. It becomes clear that contributing to the film profoundly changed the lives of most of these people.

Seriously Lacks Originality
An overrated band starring in an overrated documentary. I was under the impression that the goal of a film such as this was to convey a sense of time and place, and realism, but apparently the cliched "flop tops" couldn't be bothered for that. In 90 minutes, these third-rate musicians skip a television rehearsal almost ruining the entire program, neglect responding to fan mail, harass their manager, harass young women, harass old women, harass the police, encourage school drop-out, endanger the elderly, and let's not forget play horrible generic pop music (which is obviously lip-synched, completely destroying any realism the director might have been going for). I'm surprised they weren't arrested, seeing as how all of their deeds were caught on film. If anyone had a Hard Day's Night from this film, it was me from the nightmares I had after seeing it. God bless Aaron Carter - now there's a candidate for a documentary!

An Original
This could have been a "B" movie exploitation film of a short lived pop group. Instead, it turned out to be the precursor to MTV and music videos, shows what made the Beatles so much fun and manages to play a few of their great tunes at the same time. The plot is minimal, consisting of the Beatles entourage getting the Beatles to a live television show on which the Beatles are to perform. Nearly from the beginning to the end, the Beatles are chased by pimple faced young teens, the police, their handlers, and everyone else. And throughout the film, Paul's grandfather, played by William Brambell (a very clean old man), keeps stirring up problems.

The nominal plot allows the Beatles natural likeability to shine. This film established the personas of the individual Beatles (as portrayed to the media) -- Paul -- straightforward and good natured, John -- incessantly sarcastic, George -- subtle with a dry sense of humor, and Ringo -- quiet, shy and introspective. The movie is irreverent, inventive, funny, droll, deadpan, filled with non-stop movement, and some great, if dated, rock-n-roll! A wonderful film showing the exuberance of youth, the innocence of an earlier time, and Beatlemania in all its glory!

The DVD's extras include interviews with about everyone still living who participated in the film except the surviving Beatles. While it is nice to have all of the insiders reminiscing about the film, it would have been nice to hear from some of the Fab Four.

Movie is great but extra features aren't that spectacular
A Hard Day's Night is a GREAT movie and the DVD does help with the quality of the film. However when i bought this i thought possibly some of the extra features would contain interviews with the Beatles and so on. THERE WERE NONE..But since the movie is great and so is the quality i would still recommend buying it. ... Read more

Amazon.com essential video

"Blessed are the cheesemakers," a wise man once said. Or maybe not. But the point is Monty Python's Life of Brian is a religious satire that does not target specific religions or religious leaders (like, say, Jesus of Nazareth). Instead, it pokes fun at the mindless and fanatical among their followers--it's an attack on religious zealotry and hypocrisy--things that that fellow from Nazareth didn't particularly care for either. Nevertheless, at the time of its release in 1979, those who hadn't seen it considered it to be quite "controversial."

Life of Brian, you see, is about a chap named Brian (Graham Chapman) born December 25 in a hovel not far from a soon-to-be-famous Bethlehem manger. Brian is mistaken for the messiah and, therefore, manipulated, abused, and exploited by various religious and political factions. And it's really, really funny. Particularly memorable bits include the brassy Shirley Bassey/James Bond-like title song; the bitter rivalry between the anti-Roman resistance groups, the Judean People's Front and the People's Front of Judea; Michael Palin's turn as a lisping, risible Pontius Pilate; Brian urging a throng of false-idol worshippers to think for themselves--to which they reply en masse "Yes, we must think for ourselves!"; the fact that everything Brian does, including losing his sandal in an attempt to flee these wackos, is interpreted as "a sign." Life of Brian is not only one of Monty Python's funniest achievements, it's also the group's sharpest and smartest sustained satire. Blessed are the Pythons. --Jim Emerson ... Read more

Reviews (186)

Holy Hilarity!
Life of Brian is not as well known by the movie going public as Monty Python?s classic "Monty Python and the Holy Grail", but it is definitely is as, or maybe even funnier than Holy Grail. This is especially true for people who are familiar with the Biblical stories it pokes fun at. It is perfect satire, for nothing is sacred and everything is a joke.

The story revolves around Brian, a very unlucky resident of Judea who just happened to be born the same day the Christ child was born. Missing his chance at glory, Brian lives his life selling animal parts at the Coliseum, dominated by a violent mother who is very "friendly" to the Roman occupiers. The rest of Brian's environment is inhabited by a very wild bunch. The neo- or archo-Marxist group, the People's Front of Judea, battles the Romans daily by holding meeting after violent meeting, plotting against the legions and their arch rivals, the Judean People's Front. The Romans, on the other hand, are led by the Pontius Pilate, who, contrary to Biblical reports, has quite a lisp and an endearing sense of stupidity. When Brian rebels against his mother and joins up with the wild band of revolutionaries, his life is changed forever. Quite by accident, Brian is then thought to be the messiah, although he is quite reluctant in his leadership.

Satirically, this movie is absolutely ruthless. Everything is skewered, everything. The performances are all fantastic, especially that of John Cleese, who is just the man in this movie, playing about six separate characters. Joke after joke hits the viewer, which results in just non-stop humor. It's just a wonderful movie by the Python pioneers who really revolutionized comedy. The Criterion DVD edition is great, with tons of hilarious extras that are worth the price on their own. To the people that use this to either justify their atheism or believe it to be an attack on their religion, calm down. It's a comedy for God's sake, why do the opinions of some British comedians affect your outlook on life? Just laugh damn it!

Great extras on this Python DVD
THE LIFE OF BRIAN has remained one of my favorite Python flicks after the glow of the Holy Grail began to wear thin from overuse. If you're considering purchasing this movie, you've probably seen the movie already and are a Monty Python fan. If not, get ready for one of Python's most sacrilegious and hilarious movies of their collection! If you are easily offended, you might think twice. However, the satire here is equally distributed and is not aimed so much at religion itself but moreso at the amusing ways in which people can behave "under the influence" of zealotry.

I thoroughly enjoyed rewatching the movie, but it was a great surprise to find that this DVD comes packed with some great bonus materials. Several full-length, revealing interviews with the cast go into more Python history than just that surrounding this flick. And a rather large collection of scenes cut from the final release are also quite interesting.

The video and audio quality seem to be on par with most of the other DVD movies I've seen so far, despite the film's age.

All in all, a great addition to any Python collection.

Is nothing sacred? NO! And that's why this is a riot!
Irreverent, brilliant, ingenius... I'm getting all these words out of the way now before I forget them! Even though I'll probably use them a dozen times!

The funniest thing to come from England since The Stamp Act, Monty Python's Flying Circus could always be depended upon to provide the world with brilliantly twisted humor. The LIFE OF BRIAN is no less a comic masterpiece than anything else these boys have done. Ostensibly a parody of the life of Jesus, LIFE OF BRIAN is a hilarious attack on liberalism, conservatism, colonialism, individualism, communalism, organized religion, disorganized religion, fanaticism, feminism... take your pick of any of a hundred topics. It doesn't matter, it's still brilliant. And the script and direction holds it perfectly all together, even if there's a space ship chase sequence thrown in for the hell of it.

Once again, the members of MPFC each play several roles and every viewer has his or her favorites, so what the hell, I'll mention mine. Michael Palin, while playing a wonderfully foppy Pontius Pilate, is equally hilarious as a twitchy, hyperactive leper that Jesus had cured. Instead of being grateful, he complains that his rehabilitation has ruined his livelihood as a beggar. (Speaking of rehabilitation, Palin plays the part like a junkie in need of a fix.) John Cleese has several great moments, but his role as a Centurion turned sadistic Latin teacher is nothing short of genius. Everyone who has studied Latin will be beside themselves during this scene. And Terry Jones as Brian's mom still stuns me 25 years later. "My Brian is not the messiah! He's a very naughty, naughty boy."

Monty Python's LIFE OF BRIAN is irreverent, brilliant, and ingenius and this edition, complete with outtakes, behind-the-scenes footage, and interviews make this package worth the price. Whether you are an individual or not, "Monty Python's Life of Brian - Criterion Collection" will save your comic soul.

a review of a movie
A brilliant movie with a brilliant finale.

funny but wheres Bodge?
This is a very funny movie. It takes place int he Stone Age. About a guy named Brian and this is his life. Most of the humor is because his name is brian and people confuse him for somebody else. "I'm not so anso I'm Brian." Also there is a very funny moment when a man says his wife is called Continual Buttocks (a butocks is a bottom) or soemthing. Some of the humor is called toilet humor that I'm not a fan of. My friends and I only thought that Bodge would have looked great in this film with his beard and BRITISH accent!!! Where was he? He would have been perfect! ... Read more

Amazon.com

Fill a bowl with alpine strawberries, break out the Château Lafite (1899, of course), and bask in this benchmark 1981 British miniseries based on Evelyn Waugh's classic novel. Adapted for the screen by John Mortimer (Rumpole of the Bailey), this impeccable, nearly 11-hour production mesmerized American viewers during the course of its PBS run in 1982. In his breakthrough role, Jeremy Irons stars as Charles Ryder, a disillusioned Army captain who is moved to reflect on his "languid days" in the "enchanted castle" that was Brideshead, home of the aristocratic Marchmain family, whose acquaintance Charles made in the company of an Oxford classmate, the charming wild child Sebastian. Anthony Andrews costars as the doomed Sebastian, whose beauty is "arresting" and "whose eccentricities and behavior seemed to know no bounds." The "entitled and enchanted" Sebastian takes Charles under his wing ("Charles, what a lot you have to learn"), but vows early on that he is "not going to let [Charles] get mixed up with [his] family." But mixed up Charles gets. He becomes a friend and confidante, not to mention a lover, to Sebastian's sister Julia (Diana Quick). Meanwhile, the self-destructive Sebastian's life spirals out of control. Brideshead Revisited boasts a distinguished ensemble, including Laurence Olivier in his Emmy Award-winning role as the exiled Lord Marchmain, Claire Bloom as Lady Marchmain, and the magnificent John Gielgud as Charles's estranged father. Grand locations and a haunting musical score make this a memorable revisit of an irretrievable bygone era. For those who scheduled their weeks around the original Monday-night broadcasts or those visiting Brideshead for the first time, this boxed set release will be, as Charles rhapsodizes at one point while strolling the castle grounds, "very near to heaven." --Donald Liebenson ... Read more

Reviews (41)

Great TV drama
This is a beautiful television production. Nothing I have seen captures so well the manners, dress, language and attitudes of upper and upper-middle class Britain in the twenties and thirties.

The acting is superb, the script even better. Based on the novel by Evelyn Waugh, John Mortimer's dialogue wastes not a word and uses pauses and silences to extraordinary effect.

As a portrayal of a family and its entourage this 11-part series bears comparison with the very best, even perhaps the Godfathers I and II, and with top notch photography to portray the stunning sets - on an art deco-drenched QEII, at Oxford, Castle Howard and at a Venice Palazzo - this could be the ultimate TV production of all time.

But perfect as it is technically, Brideshead has, for me at least, a couple of problems. The first is, the sheer improbability of the main plot. Essentially, the central figure and narrator, initially rather boring Charles, makes friends with dashing Lord Sebastien Flyte at Oxford (after the latter vomits through Charles' window), and finds himself immediately taken into the bosum of Flyte's highly aristocratic family; ultimately Sebastien's ravishing sister Julia falls in love with him and he comes very near to inheriting the family estate. The Flyte/Marchmain family is portrayed as charming, but also deeply and somewhat offensively dismissive of anyone they consider beneath them: Julia becomes quite vicious about her husband Rex, once she has tired of him. Lord Marchmain, a rather feckless former alcoholic and wife-hater, at one point muses on Neville Chamberlain who at that moment was doing his best to avoid world war "knew him. Mediocre fellow". I just can't believe that this family would have given tuppence for Charles, a mere middle-class architectural painter, far less virtually adopted him.

The second problem is that Charles is not even very likeable. He drifts through the film looking bored or worried and acting self-righteously. He cheats on his wife and generally bad mouths her, prefers to consort with his lover than go see his two year-old child who he's never actually seen due to a long trip abroad, and does little to actually help his dear friend Sebastien (who has descended into alcoholism) except frequently tell us morosely and self-indulgently how much he loved him and what a sacred love it was.

The cause of these problems surely goes back to Waugh himself and the original novel, which was part autobiography, part wish-fulfilment. Waugh was partly Charles, and like Charles, Waugh wasn't always lovable. The upper classes were Waugh's favorite subject, his bread and butter, and his vice. He was irresistibly drawn to them and wanted them to love him and confide in him too. Sometimes they did, because he was a brilliant society novelist, not just a good architectural painter. But not quite as much as everybody, from servants to Lord and Lady Marchmain, appears to love Charles.

However, I think this only makes the whole production more interesting. And such is the charm of the brilliant cast, which includes Jeremy Irons in the lead along with Olivier and Gielgud in majestic supporting roles, I suspect many people will consider my low opinion of the characters quite misplaced.

Well, it's about time!
Well, it's about time. One of the best (in my opinion, the best) of the British mini-series has finally made it to DVD. Although not perfect, the transfer is very good indeed, and a vast improvement over my ancient tapes.

My only (minor) complaints involve the sound, which is occasionally a little muddy; and now and again the dialogue seems ever so slightly out of sync with the actors. Also, there is no close captioning or English subtitles.

But forget that and think of what we're getting: an excellent adaptation of Waugh's fine novel; first-rate performances (keep a special eye out for John Gielgud, who gives what must be one of the funniest performances ever put on screen); glorious location sets and period costumes which can be appreciated fully now that their colors can be seen.

There are a few extras on the disc, and a small booklet with some interesting information. But it's the show that's the thing here, and it gets the treatment it deserves. Highly recommended.

British drama at its best
This must be one of the alltime classics of British drama. Saw it on TV when it was aired, bought the VHS and when released on DVD, bought it on DVD. Well, that must be saying something. It is one of my favourites. I think this must be one of those productions where you can say in hindsight that you would have done it in exactly the same way. I do not have higher praise to give. Shame the DVD release does not give extras and is really badly done. One would have thought that a high profile production like this deserved a better fate.

Et In Arcadia Ego
Brideshead revisited, Evelyn Waugh's portrait of a world trying to come to terms with the obliteration of what for its inhabitants were absolute certainties, by war and its aftermath represents a mountain of almost Himalayan proportions for any would-be adaptor, so much so that it's surprising that anyone was ever mad enough to try. Luckily for us though John Mortimer (more widely celebrated for "Rumpole of the Bailey") was indeed mad enough to give it a go. What he came up with has over the intervening years come to be seen as one of the finest adapted screen plays ever set before the viewing public.

Remaining remarkably faithful to the spirit of the book, Brideshead Revisited is told from the prospective of the painter Charles Ryder (Jeremy Irons). From a decidedly upper middle class background, when we first meet our narrator, Charles is an officer in the British army at the outbreak of World War 2 whose general disillusionment is exceeded only by his distaste for army life. From this present we are taken back twenty years by Charles' reminisces to his first term at Oxford University at the beginning of the 1920's and to his developing relationship with the aristocratic and charmingly dissolute Sebastian Flyte (Anthony Andrews). Supported by a truly superb cast of characters including, Jane Asher, Diana Quick, Clair Bloom, Nikolas Grace, Sir John Gielgud and in what was to be his final performance Sir Laurence Olivier. The acting is just what you would expect from such an accomplished bunch, as close to perfection as can ever be obtained.

As absorbing as the story is, it is almost overshadowed by other aspects of this production. Shot on location at Castle Howard, Yorkshire (the home of the then chairman of the BBC George Howard, even though this production was made by the BBC's rival Granada Television), Oxford, Venice and aboard the cruise ship the Queen Elizabeth II. The location filming has a beauty that at times can be truly breathtaking, with a lushness and sensuality that is a perfect foil for the decadence of the Sebastian and his circle.

Just as in Waugh's original text, the whole atmosphere of the piece is redolent with nostalgia. This takes two forms, the most prominent from the beginning is Charles' nostalgia for his youth and idealism, his feeling that his life could be what he wanted it to be, the friends he knew, his time with the Flyte family and his love for Lady Julia. Secondly and perhaps most importantly is nostalgia for the world of the Victorian and Edwardian upper classes with its certainties and its view of Britain as the centre of the greatest Empire that the world had ever known. Post World War 1, it was rare to find an aristocratic British family who had not suffered the loss of a Father, Son or Brother in the trenches and this longing for a world which was as "irrecoverable as Lyonnesse" was all too real for many people of all classes and backgrounds.

In this story of the rise and to a certain extent destruction of a single man, Waugh has given us a metaphor not only for the British aristocracy, but for the wealthy and socially mobile wherever and whenever they may be. I remember once discussing the novel with my Father and he expressed the opinion that while Waugh may not have loved the aristocracy as such, he certainly loved the life of an aristocrat. In many way's Brideshead Revisited reminds me of Edward Elgars' Cello Concerto, possessing the same kind of painful beauty combined with the most agonising sense of grief and heartache, but in the final analysis it is this love that colours both the book and this adaptation, rendering it as sublime as the memory of a summers afternoon and just as unattainable.

An intriguing mini-series
I came across this mini-series completely by accident. The episode descriptions sounded interesting, and I am a fan of British period drama, so I decided to give it a try. I was really suprised at how much effort went into it--after taking a peek at a few chapters of the novel, I found that it's an almost word for word adaptation. The characters are all well developed and fascinating, but none is more intriguing than the tragic Sebastian. In addition to the story, the scenery and the performances given by all involved make this mini-series one to remember. ... Read more

Amazon.com

When local wag Jackie O'Shea (Ian Bannen) discovers that one of his neighbors in the village of Tulaigh Mohr is a lottery winner he sees a chance to share in the wealth. Things get complicated when Jackie and his pal Michael O'Sullivan (David Kelly) discover that the winner, Ned Devine, died of shock at the very moment he learned of becoming a millionaire. Undaunted, Jackie and Michael dispose of the lucky stiff and hatch a plot to impersonate him and claim the prize. Soon the whole village is involved and the plot rapidly thickens.

This film has been compared to The Full Monty, but it lacks the vein of desperation that added depth to that film. Instead, Waking Ned Devine is closer in tone to classic British comedies like Whisky Galore!, with its cast of eccentrics gleefully conspiring to outwit the authorities. Those with a low tolerance for twinkly eyed Irish charm might be tempted to steer clear, although the movie is saved, for the most part, by its central performances. Bannen is superb as an old man who is clearly hungry for any excitement he can drum up and David Kelly is remarkable as his scrawny sidekick. Kelly has had a long career as a character actor in film and television, but here he has a chance to really let loose.His naked motorcycle ride is a marvelous set piece and in all of his other scenes his twitchy, perfectly timed performance quite simply steals the movie. --Simon Leake ... Read more

Reviews (137)

ROFLMAO funny!
A not-to-be-missed movie about the collusion of the residents of a remote Irish village into getting the national lottery money to divide among themselves. Trouble is that the holder of the winning ticket died of shock with the winning ticket in his hand when he heard his numbers called off, so someone must pose in his place when the detective comes to verify the ID of the winner. Things get stickier and more problematic as layer upon layer of inventive Irish complications are added to the stew. The most memorable scene is probably the skinny old guy who plays the imposter, stark naked except for a helmet and boots, racing into town on a motorcycle to meet up with the lottery man to verify his bogus identity.
My favorite story about this movie has passed into family lore. I told my somewhat deaf mother she would surely enjoy it, and she persisted in mis-hearing me when I gave her the title. Ever since, in our family, it's Making God Divine or, her next best guess, Waking Teddy Klein. I finally told her to go to the video store and ask for either of those, that surely the guy behind the information desk would know what she was talking about...and he did.

Jackie and Michael try to cash in a winning lottery ticket
A charming comedy about a pair of lifelong friends, Jackie O'Shea (Ian Bannen) and Michael O'Sullivan (David Kelly), who are presented with the opportunity of a lifetime when they discover Ned Devine has died, clutching the winning ticket frm the Irish lottery in his hand. This means enlisting everybody in town to join the grand conspiracy and to share in the pot of gold. Meanwhile, in what we think is an unrelated subplot, Pig Finn (James Nesbitt) is trying to convince Maggie (Susan Lynch) to marry him and to learn if her son is his own. "Waking Ned Devine" ends up being more about friendship than greed, with the high point coming when Jackie eulogizes his friend Michael when they bury old Ned under Michael's name to fool the Lottery Official. Yes, there is a bit of fantasy here since the Lottery Office could not be so easily fooled, but what is wrong with a harmless suspension of disbelief? Filmed in beautiful locations on the Isle of Man, "Waking Ned Devine" is a gentle reminder than you can have a nice little film with good actors and a fine script that does not cost a whole lot of money.

Bit O' Irish Fun
Waking Ned Devine is a wonderful, hilarious movie that focuses on the antics of two old (but not down) men who hatch a brilliant but very risky scheme that if it works, will bring wealth to their small Irish town, but if it fails will land them in jail for fraud. The performances by all are so good, you are drawn into the movie and in love with all the characters from the start.

A subplot of romance between a beautiful single mother and an earnest (but smelly) pig farmer adds to the general warmth of the movie. The end scene is one of the most well-executed ones I have ever seen. It is a real show stopper. My brother and mother watch this movie over and over.

A PLEASANT SURPRISE
MY BROTHER HAD MENTIONED THIS MOVIE SEVERAL TIMES, AND AS I SOMEWHAT DEPEND ON RECOMMENDATIONS OF OTHERS BEFORE SITTING DOWN LONG ENOUGH TO BE ENTERTAINED, I DECIDED TO RENT "WAKING NED DEVINE" AT FIRST, IT WAS A CHUCKLE, THEN AT SOME POINT IT TURNED INTO FULL BLOWN LAUGHTER. A SWEET MOVIE, GREAT ACTORS!!
I LOVE IT ENOUGH TO BUY IT...

It's a Sleeper but it won't make You Sleepy
If hope you see this without knowing ANYthing about the movie except what I write here. Because I won't tell you anything about it. YOU are fortunate, more so than I, because you haven't seen this yet.

This is a sleeper movie, one that is far better than the public generally knows.

Be ready to enjoy a symphony of acting. If you don't like foreign films (I didn't) this may very well be the first you enjoy (and then see Run Lola Run, one that is 100% different from this but another foreign movie for people who don't think they like foreign movies). ... Read more

Reviews (630)

one of the best comedies ever and dvd extras to rave about!
This is what dvds were invented for -- there are so many great features here! So in addition to seeing one of the funniest movies ever made, you can be entertained for hours with the extras, and the extras are terrific: subtitles in English, French or Spanish; audio track choices -- English (the original mono or a brand new full stereo version), French, a directors' (Gilliam and Jones) track or a commentary track with Cleese, Idle and Palin; a copy of the script overlaid on the film; a painstaking, hilarious Henry the IV-ish subtitle for those who don't like the film; a hard-of-hearing feature; killer rabbit easter eggs; animated menus using Gilliam's original animation; karaoke renditions of 'Knights of the Round Table', 'Sir Robin' and the 'Monks Chant'; a delightful 45 minute visit to the locations with Jones and Palin; an educational film about the 'other' uses of coconuts; Japanese versions of the French Castle and Knights Who Say Ni scenes, including references to the 'holy sake cup'; a 1974 BBC Film Night visit to a location site during filming; photos of tickets, press releases, reviews, posters, production stills and original artwork; trailers; cast credits (Palin played over a dozen parts!) with pictures of each character; a Lego knights version of the Camelot scene; pictures of sketches that were never used (a killer snail?!); a web link.

A lot of effort went into this special edition dvd, and it shows. I particularly enjoyed seeing Jones and Palin visit locations. They were in a jolly mood, their comments are interspersed with film footage, and they meet affectionate and funny fans along the way.

If you like this film you will love this dvd version; if you love the film, you wil adore this two-dvd set. An essential item for your collection.

Highest recommendation.

I Never Thought Looking For A Shrubbery Would Be This Fun!!
In the early 1970's the Monty Python troop (Michael Palin, Graham Chapman, Eric Idle, John Cleese, Terry Gilliam, and Terry Jones) stars from the immensely popular television series Monty Python's Flying Circus began producing, with the help of a fundraising concert headlined by Led Zeppelin and Pink Floyd (You lie!! No, I didn't!), initial photography on what would later become (from all my extensive years of movie watching) the single most unforgivably sidesplitting, enormously irreverent, shrewdly perceptive, unremittingly uproariously aggressive, gruesomely hysterical, and endlessly quotable comedies EVER. Not even Mel Brooks's Best Efforts (The Producers, Blazing Saddles, Young Frankenstein) comes very close to the revolutionary medieval merriment sustained in this royal purebred of cult classics. BAR NONE. No contest here.

Endlessly stockpiled with hauntingly hysterical sketches that will probably never leave your mind (no matter how hard you try) including, The Knights Who Say Nei, The Self-Abusing Monks (Eah aay ess eay dom eay nay), The Black Knight, The Trojan Rabbit, the Ever-Appearing Verbally Abusing French (I don't want to talk to you no more!!!), The Enchanter Named Tim, The Killer Bunny, The Bridge of Death (What is the capital of Hysteria?), The Old Woman Named Dennis, and so many countless more great sketches to include here that I'd die trying. Monty and Python and the Holy Grail remains an ever-enriching mirthful cult-classic that just seems to improve with age. Since Columbia has a bountifully hefty new special edition of the Holy Grail out now there should be no excuse, if you've never seen it (I think I'll go for a walk!!), just drop everything your doing (including Bringing Out Your Dead) and go experience this life changing movie today. You won't be disappointed, just tell them the Knight Not Appearing In This Film sent you, and they'll know what to do.

As for the options on the special edition here's a run-down:

Disc One: -"21st Anniversary" cut of the film running an extra 24 seconds; -Anamorphic Widescreen; -Dolby 5.1 track; -Original Mono Track; -Audio commentary with Terry Gilliam, Terry Jones, John Cleese, Eric Idle and Michael Palin; -subtitles "for people who don't like the film" (you get the text from Shakespeare's Henry IV instead); -an "on-screen screenplay" feature which lets you read the screenplay as you watch the film; -"Follow the Killer Rabbit" feature;

Disc Two: "Three Mindless Sing-Alongs"; -"The Quest for the Holy Grail Locations" featurette; -"How to Use Your Coconuts" educational film; -"Monty Python and the Holy Grail in Japanese" (with English subtitles); -the BBC Film Night special "On Location with the Pythons; -an interactive cast directory; -still galleries with Terry Gilliam's original sketches and behind-the-scenes photos; -"A Load Of Rubbish" with mystery items; -unused ideas and other material; -two trailers
and web-links.

Both discs represent the absolute final word resource for EVERYTHING and I do mean everything you'd need to know about the Python's greatest film. An Absolute Necessity for any Python Fan!!

P.S. You can't base a system of government just because some watery tart threw a sword at you.

What are you going to do, bleed on me?
excellent. Possibly the funniest movie ever made. Who could forget such a line as "I fart in your general direction. Your mother was a hamster and your father smelt of eldeberries." This is a great movie and a great dvd edition that gives it justice. This is completely worth the money. A comedy Classic.

This movie didn't make me Run Away! (or) Run away FASTER!!!
Monty Python and the Quest for the Holy Grail is, by far, my favorite movie -and I'm sure it always will be! Being a truly hilariously-random film, this DVD does an awesome job of showcasing this fact to the highest extent. The killer white "rrrrabit" will live on in my heart forever, and I will always be knowledgeable that African swallows are non-migratory. What other movie has a group of knights requesting shrubberies -from King Arthur, no less- to create a 'two-level effect with a path through the middle'? Only Monty Python and the Holy Grail.
The movie might sound strange as I mention these things out of context, but I assure you it is much stranger when Monty Python says it!
So, to conclude this review, I definitely give "Monty Python and the Quest for the Holy Grail" DVD a 5 star rating, as I know it will entertain millions for years to come. Enjoy!

The Lego Camelot Number Alone is Worth the Price
Who would have thought that, after nearly 30 years, the world's goofiest movie could be made even moreso? Not only is this DVD a comedy triumph (it would be simply if it were the DVD version of the classic film, in which a crew too broke to afford horses for King Arthur and his Knights changed history and college kids' banter forever by introducing coconuts as migrating props). Oh, no, this DVD is one that may become a standard for other DVDs. Just look at this list of extras above! To be sure, some of them are fluff. The "load of rubbish" selection is simply some receipts and a few odd notes. But most of it is stupendous.

The first disc contains the movie itself, along with some choices of how to watch it.... subtitles, commentary by directors Terry Jones & Terry Gilliam or by John Cleese & Eric Idle & Michael Palin. Then "for people who don't like the film", there's subtitles from Shakespeare's "Henry IV, Part II". Now, these do not faithfully follow Henry IV verse by verse, but they do come from the play, and it's hilarious how the phrases Shakespeare wrote do actually match up with the action on the screen.

Disc Two contains several mementoes: a film of John Cleese, Terry Jones, and "Grail" production manager John Young (who also played the hapless "Historian" towards the end of the film, and the "I'm not dead!" guy) paying a return visit to Castle Doune , in 2000. At first it's fun to hear them reminisce at the filming site, but since it's a very small spot with nothing but a wall and a bit of ground, they appear uncomfortable and that quickly gets old. More interesting is the home movie made by the two Terries when they looked for prospective film locations in the seventies. Their excitement is palpable.

A somewhat painful scene (except for the chance it gives us to watch Terry Jones in action as a director) is the BBC documentary made during filming. The interviewer seems more interested in trying to be funny himself than in the Pythons. But there are several great comic extras, including words to some songs, a coconut skit, two scenes dubbed in Japanese, and best of all, an animated feature of the "Camelot" scene and song done entirely in Lego...must be seen to be believed.

Finally, someone has made good use of the storage space on a DVD. ... Read more

Reviews (142)

A sumptuous Renaissance feast!
Franco Zefirrelli's 1967 film was revolutionary in using teenaged actors to play the two most famous lovers of all literature. Olivia Hussey is heartbreakingly beautiful, a vulnerable and courageous Juliet, while Leonard Whiting's poetic good looks make him a sensitive and appealing Romeo. Zefirrelli's career as an opera director is put to spectacular use here--each scene is meticulously crafted to be an exact replica of the Renaissance. Stunningly beautiful clothing, jewels, furniture, food, glass, sculpture--it is an overwhelming feast for the eyes. The preserved medieval towns of Tuscany, and the lovely Borghese palace where the balcony scene is set, give the film the look of an animated Renaissance painting. Zefirrelli took some liberties with Shakespeare's original script for the sake of brevity, but unless you are a die-hard purist, this is a minor flaw. I saw this film a dozen times in the theater, and never without the sound of girls weeping by the end--I was often one of them. Leslie Howard was a better actor, and Leonardo DiCaprio/Clare Danes more modern, but if you love beauty, this is THE quintessential Romeo and Juliet on film. END

Zeffirelli's Quintessential Version! Every Aspect Excellent!
This is THE must see version of Romeo and Juliet. Zeffirelli's 1968 masterpiece stars 17-year-old Leonard Whiting and 15-year-old Olivia Hussey with great music by Nino Rota. Filmed "on location" in Italy this version also has the fingerprints of the 1960s all over it, from moddish long hair, the debut of Michael York as Tybalt, John McEnery as Mercutio, the lush balcony scenes, the nude scene, and an emotional intensity throughout. McEnery brings just the right comic touch to the comi-tragedy and screenwriters Franco Brusati, Maestro D'Amico, and Zeffirelli keep true to Shakespeare with a take on the story that's easily accessible to a wide audience, thereby making this one of the most popular films of the '60s.

Especially effective is the ambiguity of intent of the Tybalt-Mercutio duel, and the overall editing of dialogue just enough to keep it succinct and believable yet retain the poetic and philosophical virtuosity of the playwright's playwright. The music is used effectively and as it rises during the love scenes it's a manipulation that's an enhancement to rather than distraction from the emotion--a rare successful pull-off of this. And that balcony scene is extraordinary, the lush dark atmosphere, Romeo's giddiness, Juliet's beauty...I believed it.

Milo O'Shea (who later played the Judge in "The Verdict") does a believable Friar Laurence and Robert Stephens (I)(with a long list of Shakespearian roles to his name) an intensely serious Prince of Verona. It's hard not to fall in love with Olivia (watch for her new film role as Mother Theresa).

Some bits of trivia: Before 1968 Romeo and Juliet was not generally taught in US high schools and this film's popularity changed all that as most of you reading this had it in high school. Michael York turned down the role of Oliver in Love Story--one may read into this he felt it was a poor man's Romeo and Juliet...just a thought. Also Olivia Hussey briefly dated Prince Charles. And here's the clincher: Paul McCartney got the original offer to play Romeo. I'm glad he turned it down, as Whiting is perfect here. And for those who wonder, the story did not originate in historical fact, though one may wish it so. The story came from mythical legend starting in 5th century Greece, later evolving into "The Tragical History of Romeus and Juliet" translated into English in 1562 by Arthur Brooke and originally written about 1530 by Luigi da Porto., 'til Shakespeare got a hold of it (circa 1594) and breathed into it the life that will last as long as humanity does most probably.

This towers over the 1st film version with a 34-year-old Norma Shearer and a 43-year-old Leslie Howard, and as for the 1996 mess sorry guys; American accents, present day gang violence, over-the-top overacting, LA locales, and Leonard DiCaprio do not great Shakespearean tragedy make. This 1968 one is the one to see over and over.

Excellent movie...Great actors
Watching this as part of a highschool assignment, the teacher only allowed us to watch about 15 minutes of it. When I saw it playing on cable, I sat down to finish it. This, I must say, is the best version of Romeo and Juliet. In the '68 version The actors are young and even though it was made in '68, you can relate to them in this day. The acting is superb, no one better could have been picked for the parts. It was a real tearjerker. Not to mention the soundtrack...the songs were just amazing to hear. Just watch the movie once, you'll fall in love with it.

The Defintive R & J
I could watch this version of Romeo and Juliet over, and over, and over. The performances are dead on, especially John McEnry's turn as Mercutio (you understand the reason why he's killed off: people would have cared more about him than about the tragic heroes if he'd been around too much longer!). I would advise teachers, however, that this is not the first version they show students of the show. While most ninth graders read this play, the giggling that can abound in a classroom watching Romeo in tights often distracts from the meaning of the film.
So, for with the exception of ninth graders, this is the Romeo and Juliet to see.

Zeffirelli and Shakespeare: A Perfect Match
There is nothing worse than bad Shakespeare but not to worry here-- Franco Zeffirelli and Shakespeare come together here in a lavish, opulent production of ROMEO AND JULIET, just when we thought there was nothing fresh to say about them. Zeffirelli has broken new ground by casting Leonard Whiting, who is 17, and Olivia Hussey, who is all of 15 but looks even younger, in this timeless classic story about "star-crossed" lovers. With the possible exception of some parts of the musical score-- although much of it soars-- this film is as good today as it was when first released in 1968. (The musical theme was beautiful the first 50 times I heard it on the radio. Then it became trite.)

There are no bad actors here. In addition to the two lovers, Michael York as Tybalt and Pat Heywood as the nurse give outstanding performances, just to name two. My only negative comment about the acting is that Romeo always seems to run to and from an event or meeting; he never walks. Perhaps that is what a seventeen-year-old, testosterone-laden lad does, however. On the other hand, Romeo and Juliet's tragic story is completely believable and will put chills on your spine. Additionally, the dance scenes and duel scenes are quite wonderful. The wardrobe department got everything right as well.

A word about the language-- it goes without saying that Mr. Shakespeare is and ever shall be the greatest writer in English. Hearing his words again is a transcendent experience. ... Read more

Amazon.com essential video

If Franz Kafka had been an animator and film director--oh, and a member of Monty Python's Flying Circus--this is the sort of outrageously dystopian satire one could easily imagine him making. However, Brazil was made by Terry Gilliam, who is all of the above except, of course, Franz Kafka. Be that as it may, Gilliam sure captures the paranoid-subversive spirit of Kafka's The Trial (along with his own Python animation) in this bureaucratic nightmare-comedy about a meek governmental clerk named Sam Lowry (Jonathan Pryce) whose life is destroyed by a simple bug. Not a software bug, a real bug (no doubt related to Kafka's famous Metamorphosis insect) that gets smooshed in a printer and causes a typographical error unjustly identifying an innocent citizen, one Mr. Buttle, as suspected terrorist Harry Tuttle (Robert De Niro).When Sam becomes enmeshed in unraveling this bureaucratic glitch, he himself winds up labeled as a miscreant.

The movie presents such an unrelentingly imaginative and savage vision of 20th-century bureaucracy that it almost became a victim of small-minded studio management itself--until Gilliam surreptitiously screened his cut for the Los Angeles Film Critics Association, who named it the best movie of 1985 and virtually embarrassed Universal into releasing it. This DVD version of Brazil is the special director's cut that first appeared in Criterion's comprehensive (andexpensive) six-disc laser package in 1996. --Jim Emerson ... Read more

Reviews (302)

the definitive look at this masterpiece
Brazil is, arguably, Terry Gilliam's crowning achievement. Originally called 1984 1/2, this film was embroiled in an infamous battle to be distributed. The studio didn't like Gilliam's version and cut together one of their own. Gilliam went to the press and got the L.A. critics behind his movie and finally shamed the studio into releasing his version.

Criterion's 3-DVD set documents the struggle Gilliam went through to get his film shown. Disc One contains his cut of the film with an informative and entertaining commentary by the director. The second DVD contains the bulk of the extra material. Not only is Gilliam's struggle documented but also various aspects of the production are examined -- including the screenplay, costumes, art direction, etc. The final disc contains the studio's ....py cut with a film historian's audio commentary documenting why this version sucks.

Once again, Criterion comes through with an exhaustive look at an important film of modern cinema. Brazil is a brilliant satire of a dystopian society run amok by pointless bureaucracy. Anyone who has worked a souless job in an office will immediately empathise with the protagonist's plight. Like any great work of science fiction, Brazil offers more questions than answers -- not everything is wrapped up neatly, instead the viewer is left questioning certain aspects of our modern society. Great stuff.

Great movie about dreams and hope
Brazil, despite the science fiction, social commentary and surrealism, is at it's core a film about a man who trapped by the mundanity of life, imagines himself in a more fantastic world.

Jonathan Pryce stars as a tiny unimportant member of a vast hyper-capitalistic society. Life is cold and dreary for everyone. All his spare time is spent dreaming of magical romantic worlds and the beautiful woman who lives there. One day, a simple beaucratic mistake causes a monumental disaster. Not that anyone cares... they just don't want to be blamed. Sent to solve the problem, or maybe to be a scapegoat, Pryce accidentally meets the literal woman of his dreams. As he pursues her, he brings suspicion on himself of being a terrorist (the scourge of the government), and his dreams begin to invade his waking thoughts.

A suprising list of talent lend themselves to the film and is written, minus Kafka and Orwell themes, by Monty Python's Terry Gilliam so expect some obvious humor and much biting satire throughout. Depressing and magical without losing it's hope, any person who can identify with the main character should find themselves entranced.

Despite being made in 1985 the special effects prove to be suprisingly effective (although easily noticed). I personally think this movie is the second best Science Fiction film, 2001 being first, and the best 1984 type movie ever made.

Much loved, but I never got it ...
This is a cult classic, but I find it over-rated. It delivers the zaniness, surreality and crazy camera work, but the film has no interest in its characters -- you'll feel nothing for them, and for me that leaves a big hole in the center of the movie.

For a movie with a similar feel but considerably more heart, try Barton Fink instead. Or even Amelie.

Boring
This movie is really disappointing and boring.

a bizzare and frightening film
If you enjoy futuristic Sci-Films then I would heartily reccomend this, as it presents a number of interesting and imaginative concepts.
The setting is the far future.The world is a polluted wasteland. A strange network of wires covers the ceiling of every room.
A corporation-government, Central Services, controls all trade enterprises. Any who indulge in the businesses they control (which are almost everything) without the proper paperwork are labeled terrorists. So, unfortunately, are those who criticize Central Services' inane policies.
Their Cops, clad in spacesuits that look like they came straight out of David Lynch's adapatation of "DUNE", frequently capture these "terrorists" to be interrogated, tortured, and/or executed with bizarre devices.
The "food" eaten by the characters in this film is premasticated garbage, into which are stuck pictures of what the characters believe they are eating.
The rich and powerful under Central Services rule get daily facelifts and parties,
and they strike the viewer as stupid and frightening.
The plot of the film concerns a daydreaming young paper-pusher (Jonathan Pryce) for Central Services' Ministry of Information who discovers a glitch in some paperwork that led to the wrongful arrest and unfortunate execution of Archibald Tuttle, who was mistaken for Archibald "Harry" Tuttle (Robert DeNiro), who has fallen out with the law because of his entrepeneurial fix-it man services.
Soon, a truck-drivin' gal(Kim Greist) who witnessed Archibald Buttle's wrongful arrest pleads for his release to the Ministry of Information, who label her a terrorist.
Later, The young MOI employee notices her picture in the lobby of his workplace, and decides to pursue her. He saves her from being arrested, and, in doing so, is labeled an enemy of society, which eventually leads to his tragic end at the hands of his friends(Ian Holm and John Palin).
This frightening look at the evils of technology, corporations,wrongful arrests, and totalitarian governments is not to be missed by any except the very young(if it gave ME nightmares, imagine the effect it would have on a seven-year old boy!) . ... Read more

Reviews (264)

Absolutely Brilliant, Yet Creepy Satire
Splendidly acted and brilliantly directed, Dr. Strangelove is Kubrick's satiric masterpiece about the insanity of the Cold War Era and the silliness of the infamous military-industrial complex--i.e., militaristic war machine-- that seems hell-bent on destroying the world with its overblown paranoia and jingoism. After rumors of a supposed Doomsday Machine that the "Commie Rats" are developing, a general, Jack D. Ripper (Sterling Hayden), tricks 34 U.S. Air Force bombers into nuking the U.S.S.R. without asking the President's permission (played by Peter Sellers in one of three roles). Not surprisingly, he's a little touched in the head, as he decides to bomb Russia not only because of this device, but because he's obsessed with the idea of preserving America's "precious bodily fluids." (It's a long story, folks.) Adding to the mess is Joint Chief of Staff, Turgidson (George C.Scott, in a brilliant performance), who's as paranoid as they come and wouldn't mind helping Ripper take out half of civilization to save America from the evil Russians. (One hilarious scene has Turgidson confronted with the possiblity of killing millions of people because of Ripper's stunt. "So what if we get our hair a little mussed?" he says.) Also mired in the madness is another military man, the veddy British Mandrake (Sellers) who works under Ripper and tries desperately to get the insane man to give him the code needed to turn the planes back, but alas to no avail. The star of the movie, however, is the weapons scientist, Dr. Strangelove (Sellers again), a very bizarre wheelchair-bound ex-Nazi with a "trick arm" that can't stop doing the Seig Heil salute. (For trivia buffs out there, this character may have been an allusion to the very real Wernher von Braun, the rocket scientist for Nazi Germany who was recruited by the U.S. after the war.) Also doing a wonderful turn is Slim Pickens, the tough-talking cowboy and man in charge of the only bomber that fails to get the recall from Washington; the scene in which he rides a falling nuke to its destination is a cinematic classic.

What makes Dr. Strangelove so brilliant is that is able to straddle that line between reality and absurdity without having each side cancel the other out. On one hand, the performances are so over the top that you not only laugh, you sigh with the relief that this is, after all, *just* a movie. (A weird cat like Dr. Strangelove could never exist in real life.) On the other hand, there's something about the way the film is directed where there's an eery and creepy feeling that something like this *could* happen-- not with these zany characters, of course, but with saner people in similar circumstances. In the end, no matter how crazy people like Turgidson and Ripper may act, the bottom line is that their underlying beliefs are shockingly similar to what a lot of U.S. military personnel in a position of power to push the button feel like. But then again, that was the point of the film-- on one hand to make people laugh, but on the other hand, to wake them up to the dangers of the Cold War and an entity like the military-industrial complex, that-- if not kept in check-- could one day feel itself powerful enough to perform certain reckless acts without consulting Congress or even the President himself. All in all, a terrific film, and a complete thumbs up from me.

A Kubrick Classic.
U.S. Air Force General Jack D. Ripper (Sterling Heyden) goes entire and Utterly Crazy and Sends his Bomber Wing to Destory the U.S.S.R. He distrust that the Communists are Noted to Contaminate the Expensive Carnal Liquids of the American People. The U.S. President (Peter Sellers) meets with his Advisors, where the Soviet Ambassador tells him if the U.S.S.R. is hit by Nuclear Weapons, it will trigger a Doomsday Decive. Which will Annihilate all Plant and Animal Life on Earth. British Captain Lionel Mandrake (Also Sellers), the only person with access to the Demented General Ripper. U.S. President Merkin Muffley, whose Best Effort to Avert Disaster depend on Placating a High Soviet Permier and the former Nazi genious Dr. Strangelove (Also Sellers), who concludes that such a decive would not be a Cognizant Deterrent for Reasons which at this moment must be all too obvious. Will the Bombers be Stopped in Time or will General Jack D. Ripper succeed in destroying the world?

Directed by Stanley Kubrick (Lolita, 2001:A Space Odyssey, A Clockwork Orange) filmed a well made Black Comedy, feature an Impressive Cast including-George C. Scott, Slim Pickens and James Earl Jones. This film is Unique and It's gets better, every year. Oscar Nominated for Best Actor:Peter Sellers, Best Picture and Best Director:Stanley Kubrick and Best Adapted Screenplay by Peter George, Stanley Kubrick and Terry Southern. DVD has an clear Pan & Scan format and an Dolby Digital 1.0 Mono Sound. A well made that become a Classic. The Newest Edition from Columbia Home Video DVD has Many Extras. Grade:B+.

Oh for the days of the Cold War!
Every ideology that seems terribly important to one generation usually ends up seeming idiotic and even disturbingly naive to the following generation.

Think about it. The ideologies of the 18th century - dying for one's prince, duke or loot - seemed insane during the Napoleonic Wars, when nationalism became THE primary motivating factor.

"Pure" nationalism - like the extreme gung-ho attitudes at the beginning of World War I - seemed rather distasteful to the Allied forces in World War II, who fought to liberate peoples from Fascism.

The idea that Fascism would always endure, and was seriously in danger of taking over the world, seemed laughable during the Cold War.

How does the Cold War look to us today? The McCarthy era; Americans truly believing the USSR and the Communists were veritable Antichrists; truly believing that DESTROYING ALL LIFE ON THE PLANET was a feasible prediction about life in the near future; that the world was, always had been, and always would be, characterised by a fight between Communists and Capitalists.

*Sigh*

Dr Strangelove (or: how I learned to stop worrying and love the bomb) is actually MORE funny - and disturbing - in some ways now than it was before. Admittedly I can sort of understand the immense impact of this film - could ANY politial satire have been more timely - but the fact that the "better red than dead" ideology nowadays seems as ridiculous as fighting for your Duke, means that this film can be seen in a new light.

People actually believed that is was better to be dead than Red? (Yes they did). People actually believed fluoridation of water was a communist conspiracy??? (Yes, they did). The Russians actually contemplated building a Doomsday device? (Yes they did!!! Josef Stalin actually started research on such a device, which would have EXTERMINATED ALL LIFE ON THE PLANET for the sake of a politial dispute between Communist and capitalist that today seems absolutely laughable!)

The passing of the Cold War era means that this movie is seriously disturbing. To a new generation, the all-annihilating power of the superpowers of the 1960s appears to have been based on disputes that appear petty in the extreme. Truly this movie makes us wonder what future generations will think of our fixation on modern ideologies; in an era that began three years ago with the late unpleasantness - and which is already making Francis Fukuyama's ideas, from the happy days of the 1990s, seem obsolete. He claimed that history was over; that free market ideology was the ULTIMATE ideology that would finally bring about an end to all future historical events by making us all live in peace.
That is SO 1995...

History is not over. Each generation seriously believes its own era is the ultimate era - that their own era is THE era whose disputes TRULY matter.

Well, history changes, as Strangelove shows us. I seriously hope that this movie makes us moderns think a little further before considering annihilating the world again! At least over something like fluoridation of water...

Satire at its best!
There are excellent reviews here about this movie, most of them rate it highly, and rightly so. It is no accident that this DVD is on average (at the time of writing) around 4.5 stars.
I must confess I did not know about Peter Sellers before watching this movie. I was recommended the movie by an 'artsy' friend - you know, the type of guy that thinks Citizen Kane is the greatest movie ever made - so I wasn't expecting too much, knowing how these types prefer style over substance.

I was pleasantly surprised. This is the type of film anybody can enjoy, it's seriously funny. It will probably have more meaning if you are familiar with the Cold War and the arms race, but if you don't know too much about that, the extras are a great help. There is one extra that deals with the making of the film, and how at the time of its production there was some subtle opposition to its release. Subtle in that the Air force was unwilling to lend it's expertise in the design of the B-52 bomber used in the film, and there was fear that its release at the time of J.F.K's death might have been seen as unpatriotic.

Well that's all behind us now, and we don't have to worry about the bomb so we can enjoy it more as a comedy than as a political message presented as satire. I must say that Peter Sellers is a genius; I couldn't tell when I first watched it that he was playing three roles! There are so many funny parts in the film and I don't want to spoil it for you by mentioning any. George C. Scott is also excellent and has some very memorable lines.

A bonus for me was that there was a language soundtrack in five languages; German, Italian, French, Spanish and English (off course) plus there were subtitles in more languages which is great for anyone trying to learn a new language.

I would highly recommend this film to anyone who loves satire and who appreciates jokes that aren't always below the belt.

"I think you're some kind of deviated pre-vert."
Some films have a timeless quality intrinsically inherent with the story, allowing for them to maintain a certain amount of relevance, despite the subject matter, or when they were made. This aspect holds true for many of Stanley Kubrick's films, in my opinion, and is true with this film, Dr. Stra