Description

A gripping murder mystery. A lavish musical. An intense psychological thriller. A warped romance. Dennis Potter's legendary, award-winning mini-series is all this and more. Hailed by the Chicago Sun Times as "The greatest production in the history of television," this genre-deying masterpiece is soon to be a major motion picture starring Robert Downey Jr. and Mel Gibson. ... Read more

Reviews (72)

An Absolutely Brilliant Adaptation Of Potter's Screenplay!
I'm hesitant to call this a musical, though that's precisely what it is. Dennis Potter wrote several musicals over the years, using different eras of music. This one is, by far, the best! The music here is from the 1940s. The drama, however, is actually a contemporary one. A (failed?) mystery writer named Philip Marlowe is hospitalized with a severe case of psoriasis...more corrrectly, psoriatic arthropathy (which Potter also suffered from). He has this one great novel in his past, though..."The Singing Detective." Marlowe's illness is terribly severe, and throughout the film we join his delirium as he relives events from his childhood, falls into a fascinating fantasy based on his novel, and comes back (from time to time) to the events currently happening in the hospital. These three streams are brilliantly intertwined, and the resulting story is absolutely THE BEST THING *EVER* TO HIT TELEVISION! This is *not* hype or exaggeration! The other reviewers are completely correct in making this same claim. If you've never seen this one...well, it's your loss....

Dennis Potter died a few years ago from pancreatic cancer. He was simply a GREAT writer. He wrote *many* screenplays...dramas for both TV and film, as well as the "musicals" noted above. He also wrote novels. His best, I think, are brilliantly detailed studies of a mind either gradually breaking down, or gradually coming back from some kind of breakdown. "The Singing Detective" falls into the latter category. That alone would be enough to recommend this video...but the fact that it's *also* a "musical" is what makes it utterly remarkable! I honestly don't think I have the words to be able to say just how it transcends to the level of something almost divinely inspired. At the risk of saying it one too many times, folks, this one is TRULY GREAT!

If you're able to find it, there's an interview with Dennis Potter that was originally broadcast on the Bravo channel shortly before his death. He was quite sick at the time, and he took occasional sips from his flask of pain medication during the interview. He talks some therein of "The Singing Detective." Yes, Marlowe shares the diagnosis of psoriatic arthropathy...but, he's an entirely different personality than Potter himself. Based on truth...expanding into the realm of the literary. It's an interesting insight into the brilliance of Potter as a writer.

Meanwhile, "The Singing Detective" is something you really *must* see! *VERY* HIGHLY RECOMMENDED!!!

Heartrending - compelling - brilliant - THE BEST EVER
For some years, I've been bending my friends' ears about "The Singing Detective". I entirely concur with those other reviewers who called it the greatest television production of all time. Potter used everything he had, most notably the long running time of the series, to create a one-of-a-kind masterwork that may never be topped. I've visited London many times since first seeing TSD, and every time I'm in the Tube, I find myself looking towards the tunnel entrance and hearing, "PHILLLLLLIIPPPP!!!" Aside from that, Michael Gambon may have many years of brilliant performances left in him, but this will be his monument. Robert Downey Jr., indeed. It is to laugh.

Release this film on DVD now! Are you listening, BBC Films? Give it to Criterion and let them do the job they do best - give us a "Singing Detective" set on DVD with a ton of extra material on Dennis Potter, too!

If you haven't seen this, drop what you're doing and order it. You definitely won't regret it.

Unbelievably good.
Marred only by it's curiously rushed ending. You need to stick with this because the story and its complexity grows slowly through the first few episodes. What it becomes is a complicated psychological thriller intertwined with hallucinations, a detective story and the goings on of the hospital ward denizens around our protagonist. Philip Marlow is revealed as a highly sensitive shell-shocked man residing within the physical body of an angry severe psoriasis patient. His return to humanity is the story that is detailed. This is a film for adults in the best sense of the word, exploring the complexities of what it means to have the accumulated experiences and wisdom that only come with time.
Excellent. Highly recommended.

Well Deserved Praise - A Masterpiece
Like all great masterpieces of television and film, "The Singing Detective" is not simple, one-dimensional, or thin-plotted. It is vastly complicated and often strange with it's several interwoven stories that reach monumental heights of suspense and intrigue. I say this because I have read too many reviews from people who stopped watching after the first or second episodes.

For my part, I barely understood anything at all until nearly half way through the series when all the pieces started coming together. As you get further along more is revealed to you, and thus the more rewarding each episode becomes. It is sad that American movies and television have sapped not only the intellectual substance right out of it's audience, but apparently the patience as well. Of course it is strange and confusing...it is a detective story! You aren't supposed to understand everything from the first frame.

So, for anyone who can sit still for more than twenty minutes without computer generated monkeys attacking exploding trucks or whatever makes it's way to the theatres these days, I strongly recommend spending a few days immersed in this fascinating mini-series.

Potter and Lynch?
I often see Dennis Potter's work compared to David Lynch's, so I'll weigh in: Dennis Potter was the artist that David Lynch wants to be when he grows up. Potter knew how to bring bizarre and even grotesque elements into the service of his story in a way that Lynch tried to do in "Twin Peaks," with uneven results. In Potter's work, every jarring image and odd tangent has a job to do. When you see, for example, an entire hospital ward break into a minstrel version of "Dem Bones," you can assume it reflects the protagonist's view of the British health care system. (Plus, it's hilarious.) If Lynch meant for us to learn something from the backwards-talking midget in "Twin Peaks," well, it went over my head. Potter's screenplay for "The Singing Detective" is funny, unsettling, heartbreaking, sweet and maddening, often all at once.

"The Singing Detective" may not play well in Fort Wayne: it's true, this isn't "Touched By An Angel." (Neither is it "Irreversible," by the way: you have to be pretty thin-skinned (so to speak) to find this material genuinely offensive.) But if you believe that art can be both shocking and thrilling, can provoke as it evokes, can and should take outrageous risks in order to take us someplace completely new, then you've got to find a way to see this series. If you love words, if you appreciate originality, if you want to see acting that ranges from excellent to relevatory, then rent or borrow "The Singing Detective." Once you've seen it, you'll want to own it. ... Read more

Reviews (30)

wonderful.
This is a movie everyone should see. I know that everyone always writes that, but I really mean it. I've never seen another movie like it in my whole life. there's something hauntingly, charmingly true about it. The story is set in 1918, in a small french town that has been evacuated because there's a bomb hidden. A scottish soldier is sent in to disable it, but he doesn't know where it's hidden or when it's going to go off. Accidentally freeing all the inmates of the insane asylum who've been left (by the fleeing townspeople) in the town, the soldier finds himself stuck among them, trying to convince them to leave, but having no luck. the inmates are irresistibly lovable, carefree, full of wisdom and completely free of all societal restraints. it's impossible not to fall in love with the world they create in the evacuated town. I think the movie is only made better by being in another language: reading the subtitles, you can imagine the characters saying the lines in any way that you want. French is such a beautiful language: that, combined with the unobtrusive music, makes for a film strangely silent and beautiful. It makes me cry. Please go watch it. It's definitely one of my favorites.

Enchanting fantasy; topical allegory; classic movie
A fairy tale set in a French town caught between the opposing armies of the First World War, "King of Hearts" has lost none of its beguiling charm in the 35 years since its original release, nor has its message grown stale. Alan Bates shines as Charles Plumpick, a simple private in a Scottish regiment and perhaps the only sane man in the abandoned town. But is his world of war and brutality really any saner than the make-believe world conjured up by the escaped inmates of the town lunatic asylum, the only residents Private Plumpick encounters during his reconaissance? It is a point of view that depends entirely on one's perspective. This whimsical, gentle tale challenges the watcher to reexamine what constitutes true madness, just as the asylum characters force Pvt. Plumpick, having been to his initial discomfort acclaimed as the King of Hearts, to choose which role he prefers: king of the fools or fool for King George V? Broca directs his own screenplay with a deft touch and using a stellar cast of mostly French actors. A very young Genevieve Bujold makes one of her earliest appearances in a major picture. The English subtitles aren't the best I've seen (and unlike the VHS version, are distractingly present even during English dialogue), but far better than the awful English-dubbed version of "King of Hearts" that is sometimes broadcast or sold. (The best subtitles I have ever seen were on a print that circulated around theatres during the 1970s and 1980s, but I've never seen this version used for home video.) The score by Georges Delerue is one of his best.

Quelle Surprise! This DVD version has, without fanfare, at least two entirely new scenes in the film that I have never seen before (and I first saw this in 1977). The first is a lengthier "homily" by Monseigneur Marguerite (aka Bishop Daisy) in the church before Charles' coronation. But the real grabber is an added scene at the very end of the movie that offers a parting glance at the primary players and a final bittersweet twist. Where on earth did this footage come from, and why has it been missing from this film for so long? Does this DVD version offer a "better" ending than the familiar one? It's debateable. But it's certainly intriguing.

Best Ending Ever!
This movie has the very best ending ever. I'd like to see someone try and find a more surprising, happier, funnier ending than this one. The loonies are in town and they've found their king and my heart. This movie takes the bag. It's my father's very favorite movie and one of mine. I definitely recommend this movie.

A buck-naked skip with birdcage!
This gem should hit many different emotions for the avid viewer. A true parade of carnival characters set in an antiwar theme -- this bit of royalty of the heart brings up aTHE enigma: Is the difference between psychosis and psychic just a paper-thin line of cultural subjectivism? Is the lunacy of blowing up yet another vacant city on the path to glory any different that skipping naked down a path with a birdcage in one's hand?

This film started the boomers reading subtitles and (hopefully) brought them out of their fears of foreign film. (Don't get the dubbed version, it lacks so much charm.) Its popularity had a great deal to do with the country's mass-consciousness about the Viet Nam war; but I hope it would have found the same audience without such a catalyst.

One feels like dancing in a fountain and blowing bubbles on the back of a bus after seeing this great flick. Keep a kazoo handy; you'll want to have something to toot after the film is over and you are left to your organized sanity!

Better yet, follow it up with the 1972 release of "The Ruling Class" and have yourself a truly insane evening of jocularity.

Is there something extra on this DVD?
King of Hearts was, in my younger and more vulnerable years, one of my favorite movies, but I had not seen it in many years. In fact, I'd rather forgotten about it. Then I came across the DVD and bought it and watched it again. Still a great movie, but I was puzzled. My recollection was the final scene of the movie is Plumpick (Alan Bates) appearing at the gate of the asylum naked. Then the credits began (rather abruptly as I recollect). In the DVD, however, there is a short scene after this where Bates has joined the inmates and there is a brief exchange of dialog. I don't recall ever seeing this before, but maybe my memory is foggy. No one else seems to have mentioned this either in ... of IMDB, nor does the DVD tout a restored scene. Can anyone tell me if they recall this scene? ... Read more

Reviews (17)

A Gentle, Romantic Period Piece
This new A&E production on the lives of Queen Victoria and Prince Albert was simply told and well-acted.It does not oversentimentalize the relationship of the couple, and the major events of their lives are reenacted without much sensationalism.
Victoria Hamilton, who may well be one of the Queen's many namesakes, captures the petite size of Britain's longest reigning monarch, making her an endearing character in the eyes of the viewer, even though many of my own forebears suffered under her regime. Jonathan Firth's Albert is potrayed as a gentle, decent, thoughtful man, made to leave his homeland and struggle to find acceptance in an entirely different country. But in the scene where this devoted father of nine comforts hs wife during labor while nearby, his critics suggest that he should be at a men's club instead, we see that, by following the German tradition on dealing with childbirth, he is a man ahead of his time. One of the more delightful moments ofthe film is when, during their courtship, he and Victoria play a duet together on the piano. One of the saddest, is when the Christmas tree, a custom Albert introduced to England, arrives a few days before his death on December 14,1861. It was nice to see a grown-up
Kate Mayberly in films again. She plays the couple's second daughter, Alice, who followed her older sister into marriage in the German Nobility, became the mother of Russia's last Czarina, and died of diptheria at the age of 35.The relationships of the Queen and her cabinet members is touched upon, as is the relationship with her overbearing mother. Peter Ustinov has a certain strained charisma as the Queen's predecessor, who is still aware of his sister-in-law's antics despite ill health. Diana Rigg is understated and dignified as the young Queen's devoted Lady-in-Waiting. The whole cast did a fine job. This elegant miniseries brings the chief players of the Victorian Era down from the oil-painted canvases and resurrects them quite nicely.

The Art of Personification
One of the reasons I love so many of the BBC productions is because they can turn someone foreign in concept, like in this case the incredibly famous Queen Victoria and her almost forgotten husband Prince Albert, into characters you bond with and are sad to leave. For one of the first times in recent production history BBC has created a film about real people, and made it touching and incredibly interesting.

Authentically costumed, scripted, and filmed, this incredibly well acted film brings to life two of history's most influential characters and makes them human. Something hard to do when they lived in a different time, place, and are in that untouchable zone of fame. It's a love story of an arranged and somewhat accepted marriage between Victoria and Albert, and how they grow to love, respect, and ultimately need each other in life and politics. They shrink 20+ years of history into 4 hours quite nonchalantly and in a captivating and bright manner. It also makes for a very interesting history lesson. I daresay I never knew that much about Albert, and he really impacted our world and what is known as the Victorian era (hey, we wouldn't have Christmas trees without him!)

This story is sweet, poignant, runs smoothly, and though very different, is a worthy descendant of it's BBC predecessors. You'll be hesitant to leave it.

A royal cinematic feast
"Victoria and Albert," directed by John Erman, stars Victoria Hamilton and Jonathan Firth as Britain's Queen Victoria and her consort, Prince Albert. The superb supporting cast includes an impressive band of acting veterans, among them Peter Ustinov (as William IV) and Diana Rigg (as young Victoria's governess). The film follows the courtship and married life of this royal couple.

V&A is a visually stunning period piece, but ultimately it's the fine performances that really make the film work. There is a wonderful chemistry between the two leads, who furthermore capably rise to the challenge of portraying the pair over a long span of time. It's an onscreen relationship that is complex and tender. The supporting cast is great--Ustinov is especially entertaining as the cantankerous King William. It's a juicy role that Ustinov plays with relish.

Although it's a period piece, V&A seems remarkably timely in light of the continuing saga of the British royal family. The film raises a number of intriguing issues--the politics of royal marriage, the relationship between the royal house and the citizenry, etc. This is a classy, well-made film--a must for those interested in British royal history.

A Great Period Piece
I'm sure if I was a Queen Victoria historian, I would probably have given this a lower number for the innaccuracies presented as fact. Since I'm not, and since it seemed to cover what I do know of her fairly accurately, I'm giving this movie a high mark. First off, I happen to really enjoy period pieces that can pull the viewer in and help them to understand life from another time in history. Braveheart, Gettysburg, Three Soverigns For Sarah, Charles Dickens/Jane Austen movies, and even films about more recent times such as Enemy At The Gates and American Graffiti. If they keep them in their proper time and place (clothing, speech, sets, etc.), I'm glued. (Titanic was almost perfect except for the "Can I bum a smoke" line DiCaprio made after stopping Rose from jumping off the ship).
Victoria and Albert caught my attention right off and held it til the end. It not only brought two historical figures to life, but it made them both human, with being vulnerable to human feelings and emotions. One can imagine how Victoria felt when she angrily spoke to her mother as THE QUEEN. One can also imagine how her mother felt being spoken to in that manner by her daughter THE QUEEN. How about Albert's feelings when Victoria poo poo'd him when he would try to help her with her duties, instead giving him a frivolous task to keep him "happy."
I would have liked to have seen more of the relationship that Victoria and Albert had with their children, which was only touched upon and glossed over. Also, it would have been nice to see Victoria's affect first hand on the everyday people of England - her subjects - as she ruled for the majority of the 19th century. After all, a whole period in time was named for her. But that would have increased the time of this movie from four hours to six hours, I'm sure - not that I would have minded.
I feel this is probably the best version out there of these two larger than life figures. A&E, Masterpiece Theater, and others of this ilk always do a marvelous job when it comes to the historical period pieces, and Victoria and Albert is right up there with the best of them. It's well worth the money.

A personal look at the life of Queen Victoria
I bought this set thinking it would be just another movie to add to my growing costume drama collection. I was really wrong. From the first minutes of this movie the viewer is hooked. I was amazed to find out how Queen Victoria became Queen, how she struggled with her mother and how she picked a husband.

I must say A&E did a great job portraying the lives of these well known people. I really felt as though I was there living out her life.

The costumes are great, acting is supurb and nothing could be improved on save for the fact that it wasn't long enough and tons of time was skipped.

Good job and a great movie. I would reccomend to anyone who wants to learn more about Queen Victoria or someone who just loves good movies! ... Read more

Reviews (56)

Great Movie
Little Buddha is a wonderfully entertaining and historically accurate film. The story has two plots, making it confusing at some times. One tells of a Buddhist priest searching for the reincarnation of his dead teacher, while the other tells the story of Siddhartha Guatama, the Buddha. (Played by Keanu Reeves)

As far as the acting goes, this film gets five stars from me. Siddhartha, (Reeves) is played beautifully, along with Lisa Conrad, (Bridget Fonda) and Lama Norbu. (Ruocheng Ying) Another plus about the acting are the three children who played the candidates for the reincarnation of the teacher. I especially liked Gita, who is the only girl candidate.

I liked the costumes, too, as they are historically accurate, and stand out with the bright colors and makeup. I found it strange that the men wore makeup, but they do, and the film portrays it brilliantly.

All along I have been mentioning how historically correct this film is. I have been saying this because it is the truth. Not only is the story of Siddhartha correct, but all of the facts about Buddha and Buddhism are too. If you know nothing about the religion, watching this film will give you a basic introduction to Buddhism.

There are two things that would have made this film better. If it did not flash so much between the two plots, it would have been less confusing. Also, I did not like the music. I don't know if it just was not my type or if it didn't go with the movie, but I didn't like it. Little Buddha is a grea movie and I recommend watching it, but don't waste your money on the soundtrack.

Educational
Cast: Ying Ruocheng, Alex Wiesendanger, Keanu Reeves, Chris Isaak, Bridget Fonda

Little Buddha is both an enjoyable and educational movie. This movie has two story lines. One is about the quest of a group of monks, to seek out the reincarnated spirit of a great Buddhist teacher, Lama Dorje. And the other is a retelling of the story of Siddhartha, and how, having reached enlightenment, becomes the Buddha.

During the first plot line, Lama Norbu comes to Seattle in search of the reincarnation of his dead teacher, Lama Dorje. His search leads him to young Jesse Conrad, Raju, a boy from Katmandu, and an Indian girl. Together, they journey to Bhutan where the three children must undergo a test to prove which is the true reincarnation. After finding his teacher the monk then meditates and dies.

The second story is about Siddhartha and how he became the Buddha. It traces his spiritual journey from ignorance to true enlightenment. Young Siddhartha lived a carefree life in the palace. His father, Kind Suddhodana, is shielding him from all unpleasantness such as elderly, sick or dying people. Gradually however, Siddhartha begins to get curious about the world out there, and one day sneaks outside the palace gate. Siddhartha comes in contact with suffering, desires, and death. This movie really opens your eyes to the basic concepts of Buddhism and the theme of reincarnation.

I really liked the costumes and scenery in this movie, because they cam across well along with the theme. The music also added that extra effect needed to keep your attention throughout the movie. There was extremely good acting in this movie, especially by the children. Although this movie was well-written and well thought out, there was no emotional depth or appeal. The running time on this movie is also a little too long, which is not aided by the ragged transitions. And the characters never really connect with the audience, so the viewer's attention span is greatly tested. But overall I really enjoyed this movie and the themes it presents.

A wonderful family film
"Little Buddha" is a wonderful family film that is entertaining and educating without being educational. It provides a view on Buddhist beliefs and explains the basis of this way of life.

Embedded in the main story of the film is the story of the Buddha's journey to enlightenment. It is told in a fashion that will be enjoyable to people of every age. This work is also filmed beautifully and shares with you life in many cultures.

Please take some time and enjoy this film!

PS - Keanu Reeves as Siddhartha (Buddha) - takes some getting used to...

Little Budda, Little thought
It seems to me that this movie was rushed through production. I feel that this movie could have gone deeper into the truth of Buddism and not lingered on the top of it. I don't understand how the parents of the little boy would just leave him with perfect strangers or let him run off by himself in Bhutan. There seemed to be no point with the fact that the fathers freind died, except that it showed connection between Siddhartha and the boy. In the end of the movie, I didn't understand how the kids ended up watching Siddhartha be temtped under the Bo tree and reach enlightenment. While many of the things shown about Buddism were true, they forgot some main ideas such as the four noble truths and the eight fold path.
In all, I feel this movie could have been taken more time on in the making and resulted in a pathetic movie that stretches the reality of our lives

Excellent Film
I really love this film, it wasnt at all what I expected, and that is even more awesome.
I let my son watch this film and he enjoyed it so much he had a ton of questions regarding Buddha and the expeirences of all the children. No child is too young to develop an open mind.
I suggest this film for anyone interested in Eastern Philosophies and/or Reincarnation. Or if you have questions or uncertainities about Buddha, this film brings Buddha's teachings forward and expresses the compassion that his love had. ... Read more

Amazon.com

Assured, headstrong Joan Webster (Wendy Hiller) knows exactly what she wants and how to get it, until she's stranded in a rough, windswept Scottish village--in sight but out of reach of an island where a richfiancée, a lavish wedding, and a loveless marriage await. While a raging storm prevents her crossing, a quiet, modest, and penniless Scottish laird named Torquil (Roger Livesey) slowly wins her cheerfullymercenary heart and upsets her carefully arranged plans with messy emotions.Michael Powell and Emeric Pressburger's much-loved romantic drama is a handsome work full of vivid, offbeat characters (Pamela Brown is especially striking as an earthy villager always accompanied by a pack of bloodhounds) living in a world that's part tradition and part myth. Villagers work and celebrate with the simple spirit of common folk ("We're not poor, we just haven't any money," Torquil admonishes the materialist Joan). Powell brings his lively manner and bold visual invention to the creation of his beautiful but harsh primal paradise, culminating in the awesome spectacle of a massive whirlpool that could be the work of the "legend of Corryvreckan" or the stormy embodiment of Joan's hysterical heart. Awash in mystic power of ancient castles and chanted legends, I Know Where I'm Going is one of the most romantic visions of Britain's most magical director. --Sean Axmaker ... Read more

Reviews (31)

actually, she doesn't
This very fine romance tells the story of Joan Webster, a determined young woman at the tail end of WWII, who has always known where
she's going, which is mainly getting ahead. At the moment, she's on her way to the island of Kiloran, off the coast of Western Scotland, to
marry Sir Robert Bellinger. Sir Robert has amassed a considerable fortune during the war via his Consolidated Chemical company. He makes
sure that Joan travels in style, according to a precise schedule, with folks waiting on her every step of the way, right up until the time comes for
her to take a boat over to the isle. At that point, nature intervenes, in the form of gale force winds, and she's prevented from joining Sir Robert
for several days.

Meanwhile, she meets the colorful inhabitants of the little town, among them the handsome and dashing Torquil MacNeil, a Naval Lieutenant,
who it turns out is the real Laird of Kiloran, forced to rent out the family estate for several years at a time to get the money to maintain it the
rest of the time. The entirely predictable complications follow, but where a modern film would rely on slapstick and broad humor, Pressburger
and Powell are more subtle. The film is humorous, but the filmmakers are more intent on exploiting the natural beauty and wildness of their
setting than in getting cheap laughs and they cleverly tap in to several mythological themes. There is a castle with a curse on it and a
treacherous whirlpool lies between the town and the isle. In the end, legend and convention combine to bring the story to its necessarily
romantic conclusion.

I have to admit, I normally loathe these stories where one betrothed, or the other, or both, break off an engagement because they've found "true
love." (I guess at the time it was also considered daring to implicitly criticize war profiteering by having Joan choose the poor sailor over the
industrialist.) But the movie's so enchanting and the use of myth so effective that I eventually surrendered to it. Powell and Pressburger made
many great films and this one, though I'd not rank it with their very best, is delightful. Highly recommended for husbands who owe their wives
a chick flick.

GRADE : A-

Beautifully scripted, acted and photographed.
Bless my public library having offered this on video tape in the past, and bless the Criterion Collection for now making it available on DVD. This simple movie has not one false step. Those who have only seen Wendy Hiller in old age (e.g., in "A Man for All Seasons") will love seeing her play a modern (1940's) woman who "knows where she's going."

In this case, she is going to the Scottish Hebrides to marry one of the richest men in the world when a storm intervenes, stranding her among an eccentric mix of locals, including a (young, handsome, down-to-earth) naval officer on leave from the war.

The rest of the cast is as charming as Hiller, playing characters who are utterly believable. (A young Petula Clark endures particularly materialistic parents, who are not, of course, locals.)

A DVD edition should make the black and white photography of this film even more striking.

An excellent film with great scenery
This review is for the Criterion Collection DVD edition of the film.

This movie is one of the more interesting that I have seen. The story follows a woman on the way to her wedding to a wealthy man on an island in Scotland. Inclement weather prevents her from taking a boat to the island and she subsequently meets a naval officer and begins to have feelings for him.

The film has excellent scenery of Mull Island in Scotland.
The DVD special features include a revisit to the sites featured in the film.
There is also a theatrical trailer. There is feature length audio commentary by Ian Christie. There are several home movies made by Director Michael Powell, narrated by his widow Thelma who also narrated a slideshow of production photos on the DVD.

There area also excerpts from Michael Powell's "The Edge of The World" a documentary "Return to the Edge of the World" and another documentary "I Know Where I'm Going! Revisited" by Mark Cousins.

A haunting and treasureable film.
IKWIG (as its creative team of Powell and Pressburger dubbed it) was made on a black-and-white stock right after WWII, when technicolor film and equipment were temporarily unavailable. It was the tale of a London-based woman who has always known what she's wanted all her life, and has decided to marry a wealthy, nice, but elderly business tycoon. ("You can't marry Consolidated Chemical Industries!" sputters her father. "Can't I?" is her reply.) He has rented a sprawling castle on a distant isle of the remote, nature-claimed Hebrides Islands, off the coast of Scotland, and she's traveling to meet him for the wedding, there. Unfortunately, the weather doesn't cooperate, and she's stuck for days one island short of her goal, where she encounters endless local traditions, people, and scenery, along with the young Laird of Killoran. Her desperation to achieve her goal nearly causes the death of several people, and has a profound effect on her understanding of the culture she's dropped into from London.

I would venture to call IKWIG the uber-chick film. It has several of the qualities that succeed so well in romance novels/film making: a self-reliant, intelligent heroine; a rugged hero who is at first perceived as the antagonist; a growth in understanding about the world around her, that allows ultimately for a complete change of POV in the heroine. It is that rare creature, a romance film that isn't a romantic comedy. It has some brilliantly inventive comic moments, especially (and significantly) before the film moves leaves England--like the heroine's dream sequence as she sleeps aboard a train, climaxing in a distant shot from above that has the hills covered in tartan as the train passes into Scotland--but that isn't the focus. (If anything, it is a bit of magical theater that represents a flight *away* from reality, showing us the early values of the heroine; just as the culture she finds in the Hebrides becomes a massive section of magical theater which, less brilliant, hammers away at her preconceptions both through its human and elemental aspects.)

However, there are many things about IKWIG that lift it above the chick film genre presented by such horrific stuff as Scriptless in Seattle. Powell was in love with the Hebrides, and, unusually for a fictional film of this period, IKWIG is filled with the culture of its surroundings. There's no sense of embarassing "types" as in so many Hollywood films-on-location, but rather more than a dozen subsidiary characters, none of them models, who fit naturally into their assigned roles, with or without dialog, and contribute to the film's sense of otherness. The writing is unsentimental and never cloys, but brings out many of the local traditions, superstitions, and myths surrounding the Hebrides in a natural and seemingly impromptu fashion; so that when we attend a party given in honor of the sixtieth wedding anniversary of the Laird of the Campbells, we actually see three bagpipers playing as the floor shakes under the heels of dancers; and we witness an extremely good amateur a capella group sing a glee. IGWIG takes its time to give us the full value of these things, and we're left grateful for the sense of connection. How different it feels than Pretty Lady, with a cliched plot hitched to endless shopping sprees and "let's do lunch" dates.

The extraordinary beauty of the environment was captured live without special effects--in fact, Powell said they never used a smoke machine; all their fog, brilliant sunshine, gales, and scenery were natural. Everything save the interiors (and shots with the Laird; Livesey had a commitment that kept him in London) were made on location, near a village of several hundred inhabitants which was largest settlement on the isle. Erwin Hillier, the editor on the film, was a student of Fritz Lang, and much preferred the heavily contrasted depth photography he'd been trained in to the soft-edged, romantic tone of Hollywood, or the stolidly outlined b&w of contemporary British films.

The script is subtle, rich, and impeccably characterized, with a lot going on beneath the surface. (For example, it's a film about growing up emotionally; of coming to terms with the world around you, and determining what values are real. Yet on another level, there's an unstated three-way contrast among the heroine, an ambitious, educated, lower-class girl, the tycoon and his new money, waiting out the war safely in his island castle, and the traditional upper-middle class landowners and gentry of the Hebrides, impoverished by war deprivations but quietly, heroically making do.) The acting is flawless, without any of the "beautiful people" syndrome in evidence which has so dogged cinema over the years. A comparative failure upon its release (critics and audience weren't in the mood for mystical landscapes and romance after WWII), it's racked up numerous awards and a very large following, since. Martin Scorsese speaks of it as among his favorite films. Although a few stylistic points creak with age (notably the use of music in the background behind dialog in some sections), this is a powerful, lyrical, intimate film with enormous replay value, thanks to the great subtlety of its images and performances. If you're looking for the perfect film to see with a date, or a loved one, consider this. Even if you're not, consider it, anyway. You won't regret it.

Highland Fling !
What are the truly great, classic romances on film ? Many would think of "Casablanca", and justifiably so. However, in its own charming, subtle way, "I Know Where I'm Going" deserves a high place on any such list. My wife and I decided to watch this as our "Valentine's Day" movie--a perfect choice.

I suppose the big question is--why is a movie that is so predictable, so great ? As usual, the answer is a combination of fine ingredients--script, direction, setting and performances, both lead and support.

Dame Wendy Hiller stars as a bright, independent and arrogant young woman who "knows where she is going". Actually, she is "going" to a remote island off the west coast of Scotland to marry a much older, but incredibly wealthy man. There is never any suggestion of a relationship between these two people or that they love one another. It is presented to us as an "arranged" marriage, just as this fellow ( we never actually see him on screen ) would set up one of his business deals. Of course, fate intervenes.

Several days of bad weather prevent our heroine from leaving the coastal village to meet her intended on the island. During this time, she meets a naval officer who also happens to be the local laird, played by Roger Livesey. Even though he is attracted to Ms. Hiller, the Livesey character does not try to "sweep her off her feet"--he simply opens her eyes to the charms and rewards of a simple life where "people are not poor--they just don't have any money". Before long, she develops feelings for this man, which makes her even more anxious to reach the island and her husband-to-be, so that she can keep her word and "do the right thing". Of course, you can't fight fate--can you ?

There are various subplots involving an ancient Scottish curse, a terrifying encounter with a whirlpool, and relationships involving some of the local people. Although shot in black and white, the beauty of Scotland is definitely one of the "stars" of this film. While Hiller and Livesey are superb in the leading roles, they receive fine support from Pamela Brown and a group of Scottish actors, including Finlay Currie. Actually, were there any films involving Scotland from the 30s to 60s which did not have Finlay Currie in the cast ? He is like the patron saint of Scottish movie actors !

Criterion, as usual, gives us a beautiful image, and some nice extras to go with this Powell/Pressburger classic. When Martin Scorcese is asked if he would "remake" the film, he basically says no--why mess around with perfection ? Thank you, Mr. Scorcese--a man of taste, as well as talent !

This is a movie where you can just curl up with your partner, relax ( except for that whirlpool ! )and enjoy some unforgettable characters who learn what is really important in life. A wonderful DVD to own. Now--when is the next flight to Scotland ? ... Read more

Amazon.com

Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pickpocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship," and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist." --Jeff Shannon ... Read more

Reviews (84)

Consider it a wonderful experience
The movie musical was on its way out by the time 'Oliver!' hit theaters in 1968. Happily, this marvelously fun and entertaining film swept the Oscars and earns my vote for the best musical of the 60s (although 'The Music Man' ranks a close second). Mark Lester is adorable in the title role and Jack Wild is a kick as the mischievious Artful Dodger. Then there's Ron Moody recreating his stage role as the villainous (but still likable) Fagin. He's not exactly the same character created by Charles Dickens but he's memorable just the same. And Shani Wallis' Nancy along with Oliver Reed's Bill Sikes give the film some real dramatic punch. The production design strikingly recreates the feel and flavor of mid-19th century London. And the songs which include 'Consider Yourself' and 'Oom Pah Pah' are the icing on the cake. Do your family a great favor and add this timeless treat to your DVD collection.

I'm reviewing. . . .the situation.
I bought this movie because I had some vague, but pleasant memories of it from my childhood. I must say that the movie did not disappoint. It is a well-crafted musical with vivid characters. While they're not exactly analogous to their Dickensian counterparts, who portray a much darker, seamier side of London's underworld, the characters sparkle. Ron Moody as Fagin is unforgettable, and Wild as the Dodger was a perfect casting job. The musical numbers are memorable, hum-inducing performances, such as "Consider Yourself" "Oom Pa Pa" "You got to Pick a Pocket or Two" and "Who Will Buy". My personal favorite is "Reviewing the Situation" because I feel the lyrics to that song are so well done and so well executed by Moody. The adorable Mark Lester is the weak link in an otherwise strong chain. He plays a passable Oliver, but lacks the oomph that the others bring to their roles, and his voice is somewhat airy but sweet (according to other reviewers, too sweet). Nevertheless, he fulfills his end of the bargin, portraying a rosy cheeked cherub in the presence of villains. Oliver Reed plays Sykes to perfection, exuding such dark evil that his sinister shadow precedes him onto the screen. I handled his killing of Nancy better as a grown-up; however, young children may find that scene as distrubing as I did twenty years ago. Overall, this is a finely done musical, and for me, was time well spent.

I think I'd better think it out again.

CONSIDER THIS ONE A WINNER - OSCAR WINNER, THAT IS!
Carol Reed's "Oliver!" is the musical version of Dicken's Oliver Twist. It stars Mark Lester as the irrepressible street urchin, suckered into the lair of a vagabond by The Artful Dodger (Jack Wild) and forced into a life of crime by Fagin (Ron Moody). But when Oliver is salvaged from the slums by a benevolent philanthropist, Bill Sikes (Oliver Reed) decides to make a quick buck off of the trade. Shani Willis costars as Sikes' girlfriend, Nancy, who thwarts the kidnapping plot and pays for her betrayal with her life. This is a very stoic, stagy and rather dry musical that may capture the essence of Dickens in its settings characters and plot but seems totally out of touch with the effervescence of the traditional Hollywood musical. Even with such main staple songs as "Consider Yourself", "Boy For Sale" and "Food, Glorious Food", truly, the spoon full of sugar remains a bitter pill to swallow on this occasion.

Columbia Tri-Star has made "Oliver" available in a startlingly good looking transfer. Colors are solid, rich, vibrant and bold. Contrast levels are exactly where they should be. Blacks are incredibly deep. Fine detail is fully realized. Only occasionally do age related artifacts betray the vintage of the film. The audio is 5.1 and wonderfully spread across all five channels of the sound field. There are no extras. This film is spread across two sides of a single disc. The break comes at the point of intermission.

Moody's Fagin steals classic OLIVER!
Until CHICAGO reenergized the movie musical genre, this musical version of Charles Dickens' immortal "Oliver Twist" was widely regarded as one of the last of the great movie musicals. Indeed, with its high-energy performances, infectious music, steady direction by Sir Carol Reed and glorious sets, this movie won the 1968 Best Picture Oscar over such formidable competition as THE LION IN WINTER, CHARLEY, and FUNNY GIRL.

Of course, most people are familiar with the classic story of young Oliver Twist, whose mother dies giving him birth and is forced to be raised under the cruel supervision of the English workhouse officials. When he dares beg for more than his meager ration of gruel, the youngster is apprenticed to an undertaker and his extremely nasty family. After escaping this hostile environment, he finds himself taken in by the roguish Fagin, the Artful Dodger(Fagin's best pupil), and the rest of his band of young pickpockets. In time, however, Oliver will find his home, but not before dealing with the likes of the brutal Bill Sikes with the help of Sike's sympathetic lover, Nancy, and the kindly Mr. Brownlow.

As musical films go, it is hard to fault the wonderful casting in this film. Mark Lester makes a perfectly, if maybe overly, innocent Oliver, while Jack Wild is a delight as the rascally Artful Dodger. Shanie Wallis is heart-rending as the tragic Nancy. Oliver Reed (Sir Carol's nephew) is truly scary as the menacing Bill Sikes. Harry Secombe displays a glorious tenor in the comic role of Mr. Bumble, the beadle of the workhouse. However, it is Ron Moody's fantastic performance of the rascally Fagin that steals this movie. It is not surprising, when you consider that he created the role when the musical was first produced in London. Of course, the character itself has gone quite a change from Dickens' original, going from the debatably nasty anti-Semitic portrait of the novel to that of a lovable, if sneaky, eccentric. Indeed, Moody's excellent portrayal would set the tone for almost all future performances of the role to date, including those of such actors as George C. Scott and Richard Dreyfus, among others.

Some Dickens fans may quibble about the liberties taken with the book, from the softening of Fagin to the elimination of Oliver's evil step-brother Monks from the storyline. And it isn't a perfect film by any means. (The child singer who dubbed Mark Lester's songs sounds like she's in an echo chamber of some sort, which makes Oliver's singing a jarring contrast to the rest of the cast.) But, as a musical film, it is a wonderful entertainment and superb introduction to the classic story. As a result, this is one musical that I would DEFINITELY recommend.

Excellent
If only movies were made like this today. This film is filled with witty comedy, wonderful music, and great acting. One of the best musicals out there!! This film displays a boy's life going from the lowest of low (an orphanage) and slowely rising to a better life. The only thing is, it makes stealing look a little. .. well . . fun! But i'm sure we can all live with that right? ... Read more

Reviews (74)

Roddy Doyle's modern Irish classic
Quite simply, this is one of my all-time favorite films. Based on the first book of Roddy Doyle's Dublin trilogy, The Commitments is more than a story of a bunch of Irish kids forming a soul band. From the harsh realities of poverty to the power of the Irish spirit, this movie is a portrait of life in working class Dublin, and is true to Doyle's book in every way. It is raw and irreverant, extremely funny but also poignant. One of the remarkable aspects of this film is the cast of virtual unknowns - all actually Irish, thank goodness. Andrew Strong, who plays the lead singer, was only about 16 when the movie was filmed, and he did his own vocals. In fact, the cast is extremely musically talented and appears on two very good soundtrack volumes. The one familiar face belongs to veteran actor Colm Meaney (Miles O'Brien on Star Trek TNG/DS9). Meaney also appears in the two other films from the trilogy, The Snapper and The Van. Rent them all and have an Irish film festival! If you want to be entertained with great soul music while being magically whisked away to Dublin, by all means buy this video so you can watch it over and over again.

A MOVIE WITH SOUL
First off, I usually don't like soul music, R&B, whatever you want to call it. I can like anything but bluegrass, country, and rap. But I must admit that, even if you don't normally like soul, this movie will make you a believer. I had to watch this film in my college film class. I must say that I was VERY impressed, and even more so after I heard the following from my film teacher concerning this film: 1-The lead singer(the chubby one, can't miss 'em) was only 16! but he sang GREAT! Like a pro, even. 2-This movie is full of first-time actors, and that is because it was open-audition for all or nearly all parts. With that in mind, someone did a great job in casting this movie. This is one of those movies that keeps your eyes riveted to the screen. There's some comical moments, as well as some normal moments as well. At times you feel like you're watching a live music video. A very well done film, that reminds me in some respects of the Blues Brothers, which I also like. Apart from the language, there isn't much to the R rating. Overall an outstanding film about a bunch of Dubliners singing music that is normally associated with African-Americans. Buy it today and enjoy!

The Soul of the City
Alan Parker once again put together a previously unknown cast and has produced a fantastic movie with some stellar individual performances.

"The Commitments" is the story of the struggle to escape unemployment and poverty, set in Dublin but equally relevant in any major city this movie chronicles the efforts of a new band to achieve fame and glory. The band choose soul music as their vehicle out of the ghetto at a time when James Brown is just a memory adding spice to an already engaging tale. After a faltering start the band start to pull it together only for their lack of discipline and focus to abort their chances at the very moment when real opportunity is at their door.

The music is the star of the show with fantastic numbers such as "At the Midnight Hour", "Mustang Sally" and "Try a Little Tenderness" littered through the movie. The musical performances of Mary Doyle Kennedy (Natalie)and Andrew Strong (Deco)and the acting of Robert Arkins (Jimmy) are really superb.

This movie is enhanced by this new format on widescreen DVD, but what makes it work is the screenplay, great acting and wonderfull music regardless of format.

Say it Once, Say it Loud!
"The Commitments" is a raucous and joyful celebration of music. It's a gloriously simple and lovable tale, told with passion, profanity, and a deep understanding of how music can infect even the most despairing life with joy. About time the movie got its proper release on DVD.

If you've never seen "The Commitments" because you cringe at the notion of white Dubliners singing American soul tunes, well, I hear ya. I fully expected watered-down music along the lines of Michael Bolton butchering Percy Sledge. However, I was wrong - the music, in the context of the movie, is pure and genuine, and performed by young actors who understand that you don't have to pretend to be anything you're not to get soul. Besides, Jimmy Rabbitte, the mastermind behind the band, gives them all a thoroughly convincing speech that assures the lads and lasses from Dublin that they, too, are qualified to sing soul.

The movie - well, it's wonderful. Hilarious, free, sometimes moving, life-affirming. I almost wish the movie let the characters develop a little more before the inevitable and mythical ending, but then Joey the Lips gently reminds me (and Rabbitte), "this way, it's poetry." He's right - this is the proper ending for these guys, and the movie.

The DVD offers some great extras, including a revealing making-of doc, where we learn that director Parker combed the nightclubs of Dublin nightly, looking for fresh talent. I also love the 10-years-later feature, where we get to revisit our old friends again. These are suitable extras for a movie that just plain makes you feel glad to be alive - how much more can you ask of a movie than that?

Howzit? Deadly!
I was excited to find out they were releasing this movie again with some more behind the scenes interviews. I was surprised to see that the cast they did recently interview, looked relatively unchanged. It was like seeing a long lost friend. I remember seeing this movie the first time in the theatres being shocked at their monumental use of the f-word. This time, it just seemed to be natural. Maybe it's because I'm in my thirties now and it takes a lot to shock me or maybe it's because I've had a chance to read the short story the movie is based on. Roddy Doyle's adaptation of his story of a Dublin soul band was, for the most part, straight out from the page. There were a few parts that could have made it into the film, and a few parts in the movie that didn't need to be there, but on the whole I LOVED IT AGAIN! Seeing these actors come together as a real band was fun. I hope they re-release the last of the Barrytown Trilogy, The Van to DVD soon also. ... Read more

Reviews (43)

Great movie, not-so-great DVD
Peter Sellers was one of the most gifted comic actors of the 1960s and 1970s; Inspector Clouseau was his most beloved role. Blake Edwards, the film's director and creator, was a master of both subtle humor and slapstick. For these reasons, The Return of the Pink Panther is a true classic for many of us. It's a movie that never fails to leave me in a great mood. However, as other reviewers have noted, there are some serious issues with the DVD. I purchased it (and am glad I did) because I didn't have a VHS copy of the film. To be honest, I don't know what advantage this particular DVD can offer versus a VHS, since there are no real extras here, and no choice between widescreen and full screen (and no anamorphic widescreen!). I sincerely hope that this film is reissued in the future, complete with outtakes and remastered sound, and treated with the respect it deserves.

More Important for what it accomplished
The best thing about this film is that it returned Peter Sellers to the role of Inspector Jacques Clouseau under Blake Edwards' direction after Alan Arkin's single portrayal in 1968's INSPECTOR CLOUSEAU directed by Bud Yorkin. More importantly it did not only return Sellers but it also instituted the Pink Panther and Sellers as Inspector Clouseau in a legitimate film series instead of just a few sporadic sequels and it launched a huge cinematic rebirth and phenomenon. Unfortunately this film seems to lack the magic of 1964's THE PINK PANTHER and the sophistication of A SHOT IN THE DARK. Christopher Plummer replaced David Niven as Sir Charles Lytton in this film. Plummer is good but it seems a shame since Niven reprised his role later in 1982's TRAIL OF THE PINK PANTHER and 1983's CURSE OF THE PINK PANTHER, which were made after Sellers' death (in 1980) in an attempt to revive the series without him. Catherine Schell as Claudine Litton lacked the charisma of earlier leading ladies Capucine and Elke Sommer. On the plus side, Sellers is brilliant as Clouseau as are Herbert Lom as Chief Inspector Charles Dreyfus and Burt Kwouk as Kato back and featured prominently in the rest of all the subsequent Pink Panther films. Much needed and returning is a score composed by Henry Mancini a very integral component of this series. THE RETURN OF THE PINK PANTHER has some very good comic sketches and a very good opening jewel heist but the script just doesn't seem to be a very cohesive force. However, better things were yet to come. As for the DVD, the quality is just average. For me, the picture quality is just too soft. The MGM prints of the other Pink Panther films on DVD are much crisper.

DA DUM DA DUM, DA DUM, DA DUM DA DUM DA DUM...
Has there ever been a more catchy theme than Mancini's "Pink Panther?" I can't think of any off hand, and in this third entry in the Clouseau series, the music and the animated panther are back in fine form.
Mainly a vehicle for the superb Peter Sellers, this sequel is tired in plot, and struggles for some of its laughs, but one cannot deny the superlative hijinks of Sellers as the impossibly inept Inspector Clouseau. He has so many brilliant moments, it's hard to think of them all, but Sellers is in top form. Christopher Plummer and Catherine Schell do okay, but Herbert Lom and Burt Kwouk as Dreyfuss and Kato are outstanding in their supporting roles. Lom's slow decline into mental illness is hilarious in its cartoonish way, and Kato's fights with Sellers are priceless.
It's an entertaining if inconsequential movie, but I had lots of fun watching it!!

Fair to middlin' sequel
The movie had a few humorous moments, but I found some of it tedious. Cato and Dreyfus are still a riot. though. Cato and Clouseau have their karate fights, culminating in Cato dressing as a Japanese waitress. Clouseau finally drives Dreyfus into the nuthouse after Dreyfuss repeatedly shoots himself with a cigarette lighter.

I still prefer "A Shot in the Dark" and think it is the best of the series. I did not care for the original "Pink Panther" as I found it unfunny.

Although the picture was not razor-sharp, it is not as bad as the one-star whiners would have you believe. With minimal extras, if you don't have high expectations, then the low-priced DVD may be worth your time.

Inspector Clouseau strikes again...

Peter Sellers is great as Inspector Clouseau, with his mispronunciations and bumbling, especially when teamed up with Chief Inspector Charles Dreyfus (Herbert Lom), who hates him.

The wonderful David Niven, of course, is gone from the series, but is replaced by Christopher Plummer as Sir Charles Lytton (The Phantom).

Both Lom and Sellers are a great comedy team and provide a laugh a minute, as they try to catch a jewel thief in Lugash.

I suggest you see the whole pink panther series.

Joseph (Joe) Pierre

... Read more

Amazon.com essential video

There was a time before Lawrence of Arabia and Doctor Zhivago when David Lean made smaller, more effortlessly picturesque movies, and this splendid Venetian travelogue and love story is one of them--the last, actually, before the epic onslaught started with the Oscar-winning The Bridge on the River Kwai in 1957. "Sometimes I think a schedule in Venice is just, well, all wrong," observes a bewitched tourist to Katharine Hepburn's vacationing spinster near the beginning of Summertime, which is based on Arthur Laurents's play The Time of the Cuckoo. Before the end, however, Jane will have thrown her idealized romantic notions into the canals and embarked on a passionate affair with a married art dealer (Rossano Brazzi). More blissful than Lean's adulterous fable Brief Encounter 10 years prior, but not entirely guilt- or pain-free, this deceptively simple romance is an often-fascinating glimpse at a time when sexual revolution for Americans--and especially middle-aged women--was confined to fanciful European trysts. Plus, with all the architecture, art, Italian conversation, music, and fine cuisine around you (all richly photographed on location by Jack Hildyard), who's to pish-posh a furtive all-nighter between one repressive country and a free-loving one? The two leads are graceful and even musical in their movements and line deliveries. Hepburn's initial outrage at the idea that illicit love is part of her impossibly beautiful surroundings may at first seem outdated, but the Academy Award-winning actress is too good not to suggest as well the poignant, deep fear her character has of opening up emotionally to anybody. Ultimately, Summertime is the movie equivalent of a deep, satisfying sigh. --Robert Abele ... Read more

Reviews (29)

Venice, Katharine, Rossano, Romance; enough said!
I have watched this magical bittersweet movie at least 25 times. And it only gets better every time. Katharine Hepburn is just superb as the spinster who finally makes a much anticipated trip to Venice, Italy. 'Everything' about this delightful film creates the ultimate escape for the true romantic viewer. The scenery of Venice, filmed in 1955, is breathtaking. Katharine is at her very best and Rossano is perfect as the married Italian man she reluctantly but helplessly falls in love with. The symbolism expressed throughout the film is sweet, sad and haunting. The little boy she befriends is adorable, and the almost ever present theme song quickly becomes, "One of your favorites"... I cannot recommend this charming, captivating and heart-warming film enough!

take me to venice!
this criterion collection "sleeper" is a treasure! the film itself is a poignant love interlude for the independent but lonely jane hudson on her long-awaited trip to venice. hepburn gives a beautiful performance and is matched every step of the way by rossano brazzi as her love interest.a bitter-sweet tale of "be careful what you ask for" that doesn't sweeten the pill. the real winner(apart from you, if you purchase this disc!),is the stunning dvd transfer by criterion-simply one of the most beautiful of films and a showcase for the format venice has never looked as ravishing!a must have for any serious collection.

A thoughtful and colorful Hepburn film
Katharine Hepburn plays Jane Hudson, an unmarried woman vacationing alone in Venice. The city captivates her, though it's not long before her loneliness begins to take away her enjoyment of its sites. When she meets Renato, an Italian who owns an antique shop, she is nervous and thrilled by the near instantaneous attraction between them. Like the city itself, Renato holds out the promise of an unforgettable experience, even though he's a married man. Hepburn does a fine job as a spinster seeking a little bit of romance before she grows too old.

Summertime
My second all-time Katharinge Hepburn movies. I have seen it at least five times. It is the epitimy of romance movies. Miss Hepburn and Rosana Brazzi, with the masterful touch of David Lean, make Venice come alive on film. Watching it is the best 90-minute summer a movie lover can spend.

An really good movie for Criterion
This review is for the Criterion Collection DVD release of the film.

This is a good movie filmed entirely on location in Venice, Italy. Just getting back from a trip to Italy a week before writing this review makes it more interesting. The film stars Katherine Hepburn in one of her most memorable roles. It is also filmed in Technicolor making it more interesting.

There is also a memorable scene where she backs up and falls into a canal while attempting to photograph a certain building. This scene was filmed in the same location of the exterior shots of the "library" in Indiana Jones and the Last Crusade. This building is actually a church. Chiesa di San Barnaba. Located south of the Grand Canal in Venice.

The DVD itself only has the theatrical trailer as a special feature but it still is a nice movie to watch and very well photographed. ... Read more

Amazon.com

Fans of the testudinate pace and art-house vibe of writer-director Sally Potter's other works (Orlando, The Tango Lesson) will likely enjoy The Man Who Cried. Fegele (Christina Ricci) is a Russian Jew separated from her father as a child. Raised as "Susie" by an English family, she makes her way to Paris, where although the city's multiculturalism is vibrant, the Nazis are already on the rise and the secret of her origin becomes increasingly dangerous. The cast of The Man Who Cried is excellent; Cate Blanchett, Johnny Depp, John Turturro, and Harry Dean Stanton all do fine jobs in what could have easily degenerated into an accentfest. Depp and Ricci do very well with minimal dialogue--both go through the entire movie almost without speaking. The film moves at a leisurely pace and is beautifully shot. Not a film to show to a roomful of action movie fans, but it's well suited to people who like their films a little more European in flavor. --Ali Davis ... Read more

Reviews (50)

Actors' Showcase
This is a great "acting" movie. The stars are great, but the rest of the movie was missing something--my interest.

I'm not saying it was bad. The acting was wonderful, masterful even. The cast consists of Christina Ricci, Johnny Depp, John Turturro, and Cate Blanchett, all doing work that is equivalent to their best. Ricci, especially, as the main character, gets to run the gamut of emotions and I couldn't take my eyes off her. Blanchett does a thick accent that is hard to understand sometimes, but her performance was as good as I've seen her give. And as for Depp and Turturro, well, they don't make wrong moves. Even if they are in bad films now and again, they can always be depended upon to give superb performances.

No, the cast was not the problem. It was the story. I just didn't care what was happening. I liked watching great actors practice their craft, and I cared about them, but I couldn't get involved in the story. I know there was some subplot involving a white horse, but I couldn't tell you the significance, except to make the Johnny Depp character look sensitive, but he does that anyway.

I would definitely recommend it for fans of the actors, but I couldn't recommend it as entertainment.

A visually beautiful film in the shadow of oppression...
A Russian-Jewish man travels alone to the United States in order start a better life for his family, which he intends to send for when he has raised enough money. However, the communist rule under Stalin separates the family which leads to the death of the mother and the escape of the daughter, Suzie (Christina Ricci). Suzie's escape brings her to England where she is adopted and forced to assimilate to the British traditions and culture that eradicates her of her own past. Years later when Suzie has reached adulthood she travels to Paris with hopes to raise money that can bring her to her father in the United States. In Paris she meets love, dreams, hope, and horror as she must face anti-Semitism brought to France by the Nazi's during World War II. Man Who Cried is visually stunning as it portrays the struggles of Suzie and those around her in a time of hostility. The visual elements are also enhanced by a terrific cast such as Christina Ricci, Johnny Depp, Cate Blanchett, John Turturro and many more. In the end, Potter ties together a meaningful cinematic experience that has both historical value as well as morals.

A beautiful artistic masterpiece of a film.
No, it's not a fast-paced story. It's slow, it is subtle, and you have to savor it to really enjoy it. Performances by everyone are perfectly wonderful. Turturo & Blanchett especially, Stanton included. Very well done. I loved it. If you reflect on the film after you see it, you realize how much LIFE this girl lived. Beautiful movie. Underappreciated.

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I haven't seen this film either but I still give it 5 stars because it ... has Johnny in it.

The Holocaust goes Hollywood...literally!
From an impoverished Jewish settlement in Russie to the soundstages of Hollywood, this well intentioned but overwrought melodrama seems much longer than its nearly two hours.

In spite of the interesting, original premise, the story goes south with incessant lipsynching and an improbable melange of accents. Christina Ricci's tragic waif, "Susie," isn't a viable heroine in spite of excellent performances by the stars surrounding her. Blanchett, as usual, steals the show and captivates every moment of her screen time. ... Read more

Reviews (60)

Oscars for Wilde
There can only be one explanation for why this movie wasn't revered and esteemed world over. Society really hasn't changed that much since the times portrayed in 'Wilde.' But this isn't supposed to be a social commentary, but a grand ovation for what is, in my opinion, one of the best movies ever. To begin with, the performances of Stephen Fry and Jude Law are really quite extrordinary. Stephen Fry, in particular, manages not only to look unnervingly like Oscar Wilde, but to embody the wonderful (and complicated) character to an uncanny extent. I applaud Jude Law as well for choosing movies like this instead of (or perhaps as well as ^_^) the normal Hollywood teen fare. He really does give a frighteningly good performance, manic depressive to the core. Jennifer Ehle is also very good in the understated but understanding role of Wilde's wife. All in all, I was really blown away by this movie. Not only is it an incredible tribute to Wilde's wit, but also to his life, to the "love that dare not speak its name" and how it is as true and wonderful a love as any other. Sometimes painful, always powerful, Wilde is a rare gem.

Beautiful, you will want to visit Paris...
In WILDE, Stephen Fry (Jeeves in "Jeeves and Wooster") is the consummate Wilde. Jude Law plays his lover Bosie Douglas. Jennifer Ehle (Elizabeth Bennett in "Pride and Predjudice") plays Wilde's long suffering wife. Vanessa Redgrave and Tom Wilkinson also have important roles. What a cast.

The Belle Epoch is beautifully recreated as Wilde travels between England and France--clothes, interiors, architecture, grounds. You don't even have to understand the story to enjoy "being there" in the parks, homes, carrriages.

Oscar Wilde was a writer, best remembered perhaps for "The Portrait of Dorian Grey" although modern audiences may be more familiar with his stage play "The Ideal Husband" (recently made into a film with Jeremy Northern and Cate Blanchett) or "The Importance of Being Earnest."

Wilde was a homosexual in England in an age when one could and did go to prison for acting on instinct. (Nowadays in Saudia Arabia they take off your head.) Although the public became aware of his proclivities, Wilde remained one of Europe's most admired writers. Unfortunately, his term in prison for his sexual preferences may be remembered longer than his works which contain a wonderful drawing room humor many folks fail to grasp. This is a great film, and if you're an Anglophile you must add it to your collection. -- And Paris?? That's where Oscar is buried.

A well-made depiction of Wilde's life
Wilde is a beautifully made film, and I agree with the other customer reviews that found it an impressive portrait of the writer's life. As an expert on Wilde myself (I am writing my master's thesis on him) I would like to comment on some of the objections raised to its handling of his life by scholars and critics. Several scholars whose comments on the film I have read (they know who they are) have pointed out its factual inaccuracies, and have complained about its emphasis on Wilde's love life rather than his literary career. Admittedly, if the viewer wants a more scrupulous account of Wilde's life than is given by this film, she/he would be better off reading Ellmann's biography, on which the film is rather loosely based. Artistic liberties aside, I think we would all agree that the sight of a man making love is more dramatically interesting than the sight of him writing; the film's depiction of Wilde's intimate experiences, speculative as they are, serve to give us additional insight into who he was and the emotions that drove him. The film's greatest strength is its depiction of the neurotic relationship between Wilde and Douglas, which helps the viewer to understand how Wilde got into the jam he did.
I'm sure nobody can complain about the performances in the film, which are dead on, especially that of Stephen Fry in the title role; unlike many actors portraying famous people he not only acts as Wilde must have acted but looks quite like him, which adds to the film's feeling of verisimilitude. Unfortunately, since we don't have a DVD player yet, this review is based on my copy of the video. Hopefully, I'll be able to get the DVD later to examine the extras.

Stephen Fry's memorable performance as the tragic Oscar
My introduction to Oscar Wilde consisted of three disparate sources. First, I read "The Importance of Being Earnest," the wittiest play ever written in the English language. Second, there was Monty Python's Oscar Wilde sketch, where Wilde, James McNeil Whistler and George Bernard Shaw force each other to turn insults into compliments for the Prince of Wales. Third, there was the "Masterpiece Theater" mini-series "Lillie," in which Peter Egan played Wilde and where for the first time I heard the speech from Wilde's court case where he explains "the love that dare not speak its name." It is one of the most unforgettable declarations from the docket in human history and I think I just about have it memorized because it was really burned into my mind the first time I heard it.

When I watched "Wilde," my knowledge and understanding of Oscar Wilde was extended in several key ways. In playing the title role actor Stephen Fry makes Wilde seem less the dandy and more the kindly man he must have been to be put in the situation that caused his down fall. In contrast, Lord Alfred Douglas (Jude Law), known as "Bosie," might be beautiful of face but it is most decidedly skin deep. He is an ugly human being and when Wilde does what he does out of the goodness of his heart, the tragedy that it is for somebody who does not deserve it. I had not really thought much of Bosie before, but after watching "Wilde" I consider him a most despicable figure. Wilde was in prison within three months after the opening of "The Importance of Being Earnest," and the thought of what has been lost to literature and drama is rather sickening. It is only in the film's final scene that for the first time I found myself thinking of Oscar Wilde as a pathetic figure, and again it was because of Bosie.

I had long appreciated the irony that despite his homosexuality Wilde truly loved his wife Constance (Jennifer Ehle), but in Julian Mitchell's screenplay, based on Richard Ellmann's noted biography, I learn an even greater irony with regards to Wilde's downfall, namely that his physical relationship with Bosie had been of short duration and that they were not lovers at the time of the libel suit involving the Marquess of Queensberry (Tom Wilkinson). In that regard this 1997 film enhances the tragic aspects of the story. Of course, the essence of the tragedy is articulated by Wilde himself, who declares: "In this life there are only two tragedies. One is not getting what one wants. The other is getting it."

Beautiful looking and sounding, and heartbreaking as well
This movie is everything about why I love the courageous, crisp, brainy and brilliant British media. Stephen Fry is a gem who could recite the phone book and turn it into a soliloquy on the cruelty of human history. His voice is marvelous, and he rolls his consonants around in his mouth like Jordan almonds -- all without affectation, somehow. Wilde's many quips and epigrams drop out of his mouth without the slightest artificiality, natural and thoughtless as dew rolling off a leaf. Jude Law's Bosie is terrifyingly unstable, and his beauty serves only to throw his instability into high relief. You can't take your eyes off of him while he's on screen at the same time you want to turn away and skitter under the cabinets to stop watching.

The rest of the supporting cast is magnificent (if only the American film industry permitted its great actresses to work past the age of 40, we might boast such luminaries as Vanessa Redgrave and Zoe Wanamaker someday as well as Helen Mirren and Judi Dench!), the directing is flawless, the costumes and set design stunning but never overstated. All of it is used only to support the story, and as beautiful as it all is, it never pulls you out of the story or distracts you, only providing a seamless and textured foundation for the action.