Description

Set against the stifling conformity of pre-World War I English society, E.M. Forster’s Maurice is a story of coming to terms with one’s sexuality and identity in the face of disapproval and misunderstanding. Maurice Hall (James Wilby) and Clive Durham (Hugh Grant) find themselves in love at Cambridge.In a time when homosexuality was punishable by imprisonment, the two must keep their feelings for one another a complete secret, even though Clive refuses to allow their relationship to move beyond the boundaries of "platonic" love.After a friend is arrested and disgraced for "the unspeakable crime of the Greeks," Clive abandons his forbidden love, marries, and enters into the political arena.Maurice, however, struggles with questions of his identity and self-confidence, even seeking the help of a hypnotist to rid himself of his undeniable urges.But while staying with Clive and his shallow wife, Anne, Maurice is seduced by the affectionate and yearning servant Alec Scudder, (Rupert Graves), an event that brings about profound changes in Maurice’s life and outlook.Sparking direction by James Ivory, a distinguished performance from the ensemble cast, and a charged score by Richard Robbins all combine to create a film of undeniable power, one that is both romantic and moving, and a story of love and self-discovery for all audiences. ... Read more

Reviews (69)

Haunting, Transcendent
Merchant-Ivory have often been made fun of for being stuffy and repressed. I don't agree but I understand why they've been parodied. In Maurice, however, the team created something very special--an incredibly lyrical, heartfelt love story. This movie haunted me long after I saw it when it was released, and it's just as haunting now. The performances are simply grand. I wish Hugh Grant would do a dramatic role again to get rid of his mannerisms. Wilby is particularly fine, when you consider this was his first film. I've never seen Graves give a bad performance. I'm so glad to see this on DVD. Would this film be a bigger hit in the theaters if it were released now? I think so.

Forster would have approved!
This is the one of the most faithful novel-to-film adaptations that I have seen. American director James Ivory has a wonderfully British sensibility, and the movie vividly recreates late Edwardian England in muted autumnal colours. In particular, it gives the 21st century viewer a very real appreciation of what it must have been like to be gay in such a society.

The cast is uniformly excellent. James Wilby was not Ivory's first choice for the central role of upper-class Maurice (Daniel Day Lewis and Julian Sands were earlier contenders), but he gives an outstanding and totally plausible portrayal. Equally good is Hugh Grant, years before he found fame as the archetypal British twit. Grant's role is a difficult one; he must at first engage our sympathy and fondness, then gradually lose our respect as he seeks to enter "respectable" society. Ultimately, we come to despise his cowardice. Grant achieves all of this without descending into caricature - a considerable feat.

Rupert Graves makes a fine Alex Scudder, the lusty undergamekeeper who seduces and transforms Maurice. Apart from a slightly inconsistent accent, he, too. seems entirely plausible and fans of DH Lawrence's Lady Chatterley's Lover should note that this full-blooded lad pre-dates Lawrence's own gamekeeper by many years!

An outstanding supporting cast of seasoned pros includes the late, great Denholm Elliot and Ben Kingsley in small, but pivotal roles as, respectively, a bullying doctor and a hypnotist, both of whom Maurice unsuccessfully seeks help from.

This movie has a superb period atmosphere, a leisurely but rewarding pace, plenty of understated passion, memorable music and great script-writing. Kudos to the scenarists for being so faithful to the spirit of Forster, while at the same time adding scenes to remind viewers of the real dangers for gay men in Edwardian England.

Outstanding.

Obsessed!
I mean ME - I am truly obsessed with this film! I have fallen in love with beautiful Cambridge (so masculine and steeped in tradition), with the romantic Edwardian era, with the beauty of the story and especially with Maurice, the title character. Beware... if you're "susceptible" to romantic movies and is a highly sensitive person, chances are this movie will "get" to you in ways I can't fully describe. It doesn't matter if you are gay or straight - against your will, scenes and images from the film will replay in you mind, stay in your heart and affect your mood and feelings (for days, in my case - which is not a good thing because I have a major examination coming up and half my mind is still on "Maurice"!). At times, I wished I was born male like the characters, and have the privilege of a Cambridge education... wishful thinking really (though I've a girlfriend who went to Cambridge on a scholarship, to my eternal envy really).

This film is a faithful adaptation of Forster's novel and brilliantly brought to life by the winning team of Merchant Ivory. The stellar cast comprises James Wilby, Hugh Grant and Rupert Graves; all 3 share great screen chemistry and there is no doubt that the actors gave it their "all" for this film.

This is the story about one man's journey of self discovery about his sexuality and having to live with the prejudices of the times including class distinction (which balks at intimacy with a social inferior, in this case Maurice's desire for Alec). Many reviews have already been written about the story so I would just like to share some of my thoughts and observations of the film:

1) the DVD (R1, released Feb 2004) is beautifully packaged and is chockful of special features including more than 10 deleted scenes, one of which is a most sensual scene involving Maurice and Alec (an "extended" scene of their first night together). The production notes/booklet also provides a treasure of information on the film.

2) James Wilby plays "Maurice" most beautifully and sensitively. He is imperfectly handsome but is still very attractive-looking. The thing that strikes me most about Wilby's "Maurice" is that he has the MOST beautiful hair color - it's practically "golden" - not the usual blond. The color contracts nicely with the black suit he usually wears. In the novel, Maurice has dark hair, but I think a golden-haired Maurice is just perfect - a great contrast too to Clive's and Alec's dark locks!!

3) Clive (Hugh Grant) is older than Maurice by a year. When they get together, Maurice is around 21 years of age. By the time they break off, Maurice is nearing 24. Nothing is mentioned in the book/movie about Alec (Rupert Graves)'s age - but I gather he is the youngest of the three (although most certainly the lustiest!!).

4) Maurice's character is passionate, loving, vulnerable and super-loyal. If Clive had not rejected him, Maurice would have been "his for life". What's with Clive anyway? He's got this idea that a relationship between 2 men should be strictly platonic (no kisses or caresses, even). Thank goodness for the appearance of Alec later on, who is Clive's very opposite!

5) In the novel, Maurice is horrified by his lust for and intimacy with Alec, who is only a servant. But one reason they are perfect for each other is because (in Forster's words): "chance had mated it (i.e. Maurice's body) too perfectly". The 2 characters' growing feelings for each other are a joy to watch.

6) For those who question the ending i.e. whether it is even possible for Maurice and Alec to stay together what with all the difficulties surrounding them, well, let me write that Forster intended the ending to be a happy one (and who would know better than the author himself?). In the "Terminal Note" at the end of his novel, Forster wrote: "A happy ending is imperative. I shouldn't have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense Maurice and Alce still roam the greenwood..." Super, isn't it?

7) The final scene ("In the Boathouse") is wonderfully romantic and is alone worth the price of the whole DVD, so to speak.

I don't want to forget this beautiful movie, and I can't forget it anyway. It is quite simply the most touching film I've ever seen. It deserved an armful of Oscar awards (although in reality it didn't do that well, receiving only Art Direction and Best Costume nominations). I've seen most of Merchant Ivory productions and "Maurice" is hands-down, the BEST. Don't miss it!

"May I Ask Your Name?"--An 'Easter Egg' for MAURICE
There is no need to repeat the praise others here have heaped upon MAURICE and the DVD package. This is the way any film of quality should be treated.

For those who will surely find it entertaining, there's a very nice EASTER EGG on this DVD:

Go to Disc Two--select Deleted Scenes, page 2--select "May I ask you name?" and then right-arrow. A small icon will appear in the lower right hand corner of your screen. Click on that and enjoy a hidden deleted scene.

Exquisite Masterpiece
One common complaint of the critics of this film is that the ending is rather unrealistic - that two homosexual men in English Edwardian society wouldn't *in reality* be able to fall in love and continue their romance as depicted in this mesmerizing film because of the unfortunate obstacles of being from different social classes and being completely different in their interests and unbringing. Although I feel that these critics are correct, I overlook that detail because I recognize that this film was obviously made with love by director James Ivory, producer Ismail Merchant and the cast. Another case in point: my favorite film is Alfred Hitchcock's 1958 masterpiece, "Vertigo," which depicts a retired police detective falling in love for the first time in his life and becoming obsessed with a woman whom he only meets only because of a murder plot she had agreed to take part in. Is that plot so realistic? Not particularly, although it *could* happen, just as this romance *could* have happened. Just because the plot does not immediately strike one as "realistic" does not mean that the beauty or the power of a film like "Vertigo" or "Maurice" is diminished. The film is very well cast with the two best performances coming from James Wilby as Maurice Hall and Rupert Graves as Alec Scudder. In reality, as shown on the second disc containing lengthy interviews with the filmmakers and the lead actors of this film, the three lead actors playing the homosexual characters, James Wilby, Rupert Graves and Hugh Grant, are heterosexual. Consequently, it is admirable that they are so convincing and uninhibited in their roles. In addition, the score by Richard Robbins is very memorable: it is indeed one of the two most beautiful I have ever heard, the other score being composer Bernard Herrmann's work of art - his score for "Vertigo." 10/10. A. ... Read more

Description

Enjoy the fun of this sexy comedy winner! At a luxurious lakeside resort, an attractive red-headed guest (Vanessa Redgrave -- THE PLEDGE; GIRL, INTERRUPTED) has her eye on a handsome, well-to-do bachelor. But when he's more interested in a beautiful young flirt (Uma Thurman -- KILL BILL, VATEL), the mischievous redhead goes to outrageous lengths -- including a fling with a passionate younger man -- to reel in her wealthy catch! Filled with laughs and riotous comic confusion -- everyone's sure to love this delightfully sexy comedy! ... Read more

Reviews (8)

British Romantic Comedy in Italy
Set in gorgeous surrounding at Lake Come pre-WWII, it is tale about a British lady and major, with the triangle formed by an American girl who is a nanny to some Italians. Mix in a young Italian who falls in love with the older British lady and someone named "candlestick" and walla, a interesting film.

At times the plot droans and moans, but overall it is worth the watch. Redgraves is her exceptional fine actress, here has to carry much, with her grace and dignity and timing.

This is of another time and generation, so takes some patience and hanging in there.

Lake Como
A wonderul romantic comedy set in summer prior to WWII. Starring Vanessa Redgrave & Uma Thurman. The scenery and cinematography are simply beautiful, an Older Girlie Flick.

Nice Scenery
The acting and screen-play are poor (i could be wrong), but the scenery, and cinematography that captures it, are beautiful.

I would suggest Enchanted April.

Perfect Entertainment
Vanessa Redgrave is brilliant and absolutely gorgeous in this
fine film about spending a month in Italy. Uma Thurman comes
into the picture as a nanny for a couple of kids and she and
Vanessa vie for the attention of Edward Fox. I am basing this
review on the laserdisc which enchanced the movie considerably
and I imagine the dvd will be even better. One of those movies
that gets more enjoyable every time you watch it. And of course
I want to go back to Italy every time I see it. A perfect
companion piece to ENCHANTED APRIL (when will that be on DVD?)

VANESSA REDGRAVE TRUMPS UMA THURMAN...
This is a charming film about an older, free spirited English woman, an expatriate who in 1937 Italy is interested in an older, stuffy Englishman who is on vacation at the same lakeside resort. A young American nanny, who is at the resort with the family for whom she works, catches the same Englishman's eye. Their love triangle provides many interesting moments for the viewer.

Vanessa Redgrave, who only gets better with age, is charming as the older woman, Miss Bentley, who finds herself competing for the attentions of Major Wilshaw, curmudgeonly played by Edward Fox. Miss Beaumont, played with a certain repellent insousciance by Uma Thurman, capriciously tosses in her hat into the romance stakes. Miss Bentley finds herself playing second fiddle to Miss Beaumont. A young, attractive Italian, however, sees the charms that Major Wilshaw initially fails to appreciate, and Miss Bentley uses his interest in her to great advantage. When Major Wilshaw finally gets his wakeup call, all is well that ends well.

Miss Bentley's wardrobe and style is simplicity itself. Clearly, she is not a woman to follow fashion trends. Yet, she is clearly a woman who will follow where her heart will lead. The young and nubile Miss Beaumont is much more of a fashion maven, yet she lacks the depths of beauty that Miss Bentley naturally has, a beauty that grows from within rather than from without. This is a lovely movie that will make the viewer dream of a time long past. ... Read more

Reviews (137)

A new treat for fans of animation from the wacky French
In former days, that is to say "Once upon a time," there was a lonely little boy named Champion who ended up living with his grandmother, Madame Souza. The only thing that made the little boy happy was his bicycle, so she decided to train him to become a competitive racer, and she trained him very hard. Years later he enters the Tour de France, but during the race he is kidnapped and it is up to Madame Souza, Champion's dog Bruno, and the Triplets of Belleville to rescue Champion.

"The Triplets of Belleville" is an animated film written and directed by Sylvain Chomet and is there were other animated French films like this one I am sure I would have heard mention of it before now. This film is neither a Disney cartoon nor a Japanese anime, so trying to find a visual reference point for the animation is a bit difficult. I keep thinking of Chas. Addams characters running around in a Mobius drawn world, and both of those points are off the mark. Whatever you consider the French people to be, cute and cuddly would not be the descriptors of choice for either them or this film. You will find references to "Les Vacanes de M. Hulot" and "Gertie the Dinosaur" in posters on the wall of the Triplets' apartment, but that will not help you pigeonhole the look of this film or what is going on in it for that matter.

Still, you have to say that "The Triplets of Belleville" is a way that delights the audience in a way entirely different from "Finding Nemo," "Sen to Chihiro no kamikakushi," and Shrek, the three films that have won the Oscar for Best Animated Feature since it was created ("Triplets" was nominated but lost out to "Nemo"). Belleville is also compromised of three parts, constructed in equal measure from Paris, New York, and Montreal. This is a foreign film in which you do not need to worry about reading subtitles because the dialogue is minimalistic at best and where a newspaper is the first instrument in an inspired musical number. Chomet even throws Josephine Baker into the mix, which is certainly a treat.

"The Triplets of Belleville" is weird and quirky, with grotesque characters and disturbing images. So if that appeals to you, whether we are talking animation or other cinematic forms, then you have to check this one out. Just be forewarned that you will be tapping your toes to the Oscar nominated song "The Triplets of Belleville" for several hours after the movie is over.

would have rated a 5 but....
I would have rated TRIPLETS OF BELLEVILLE a 5 but for the fact that not being French, I'm sure there were things I didn't get. (How's that for American cultural arrogance?)
But seriously, I thoroughly enjoyed this unique and surreal animated film. The plot involves a grandmother (and a faithful dog) who travels to the city of Belleville in search of her grandson, a Tour de France cyclist who has been kidnapped in order to perform for the amusement of gangsters. When the city proves too much for her she s rescued by the titular Triplets, three elderly sisters who were singing stars of an earlier era.
The hand drawn animation tells the story here, there's almost no dialogue, only a jazzy score. This is about as close as we can come nowawdays to feeling what it must have been like to watch a silent movie.
Many reviewers have interpreted the film as somehow anti-American. The huge city of Belleville is obviously inspired by an American metropolis-- a caricature of the Statue of Liberty adorns the harbor- but the cyclists are being held in a building labeled "French Wine Center". Whatever the target of the satire, TRIPLETS obviously celebrates a pastoral, peaceful way of life, looking back to a less complicated time in French history.
Fans of animation and of inventive, joyous, world cinema will enjoy THE TRIPLETS OF BELLEVILLE. Highly recommended.

It's Own Animated Movie
"Triplets of Belleville" ("Belleville Rendez-Vous") is a highly unique modern-day animated film. It garnered two 2003 Oscar nominations: Best Animated Film and Best Original Song. This French film shows how to keep audiences entertained for eighty minutes without hearing much dialogue. The only dialogue heard is from the radio, the music, and the television. This has not often been mastered so delightfully since the days of silent movies in the 1920's. Its chain of events remain interesting throughout: the dog always barking at the train to the bike race to the kidnapping to the grandmother's rescue quest to her meeting with the Belleville triplets. The characters' facial expressions and the sound effects alone tell the story wonderfully. The different versions of the song of the same french name gives this film the added viewing pleasure. Many viewers may have this song stuck in their heads for a while due to the catchiness. The animations were drawn wonderfully, offering unique visions of the physical surroundings and the characters. The details and the use of color digs deeper into the artists' creative minds. Such overall film quality makes "Triplets of Belleville" sure to please audiences. This unique film will be remembered for a long time.

A Bomb!
This is the worst movie I have seen since "The Black Pirates." That goers back 60 years. It was dull, badly put together and pretentious in the extreme. I should have known the French never produce anything worthwhile. Any people who had a 75 year old love affair with Edith Piaf, "The Singing Waif," (lousy voice, stupid songs), could only produce something like this; that makes an "in thing" out of ugly pictures, disgusting scenes and lousy music. What a bomb!

Retro-amazing animation from France
We are big Miyazaki fans (the Japanese "Spirited Away"), so "Triplets", a French film, was a real venture into Something Completely Different. It is not anime at all, but sort of a mix of Salvador Dali meets very early Disney with incredible attention to detail and a completely whimsical style. The paper-thin plot (either based on a children's book or should be) involving a grandmother, her bicyclist grandson, the elder Triplets and the godfather's henchmen is simply a coathanger for a truly amazing visual and sensory experience.

The film opens with a tour-de-force, a mock-1920s b&w animation featuring the original Triplets doing their musical number on stage complete with the gyrating up-down-to-the beat from Max Fleisher cartoons of the period. Right off the bat, we see this movie is not for the prudish, since a anatomically-correct cartoon Josephene Baker does her famous banana dance to music, driving the cartoon males in the audience wild. (A warning to our bretheren in the vast Midwest "red" states, but really, "Family Guy" is much worse). The French take such sexuality in stride.

The movie morphs (again, a feature of early animations) to the main story of the grandmother, grandson and their dog. The film is heavy on symbolism and abstraction (the Mafia henchmen are rectangualr black blocks with heads). Many people are grotesquely fat, ugly, and some even look like dogs. The overweight dog is not cute (some may disagree).

This movie is borderline suitable for young kids, although I prefer it infinitely to the modern Disney three-jokes a second ka-pow chase plots we get nowadays. My younger son found the old Triplets kind of frightening, especialy sitting down to dinner (I won't give that away). The characters are not beautiful - the grandmother has a faint mustache and a club foot, and the son has big brown eyes, a huge nose, and well - looks French, ok?

Nontheless, for anyone over 10, I say, watch it, and appreciate an animation masterpiece. ... Read more

Amazon.com

Are you a fan of samurai films, but wish they were somehow...dirtier? Welcome to the deranged world of Hanzo the Razor, a weird blend of swordplay and sexploitation. The first Hanzo movie, Sword of Justice, came out a year after Shaft and Dirty Harry and fuses the influence of both: stout and surly Hanzo (Shintaro Katsu), a rebellious yet obsessively moral samurai, is also enormously well-endowed and provides almost unbearable pleasure to the women he "interrogates"--that is to say, rapes in the name of the law. Hanzo also tortures and blackmails without qualm as he slices through crime, uncovering corruption at higher levels in each progressive film. In Sword of Justice he overturns his own craven superiors; in The Snare, he breaks into a temple used by local magistrates for the sadistic torture of young girls; in Who's Got the Gold, the shogunate treasury is being looted by its own officials--had there been a fourth film, Hanzo would probably have confronted the shogun himself. But while the movies wallow in Hanzo's ruthless treatment of criminals and women, it also ogles the torture Hanzo inflicts upon himself! Sword of Justice will knock you sideways as you struggle to balance Hanzo's puritanical code with his masochism and brutality (as well as the funky '70s soundtrack). The Snare and Who's Got the Gold?, disappointingly repeat many of the same routines (in particular, the "net torture" of female suspects). But while the fight choreography in the first two films is often crude, Who's Got the Gold (directed by Yoshio Inoue) has more visual finesse and social commentary--not many movies combine temple orgies and geysers of blood with inflation, unemployment, and high interest rates. (There's a particularly eerie scene in which a samurai in debt is hounded by a pack of blind men.) Hanzo the Razor undoubtedly influenced the moral outrage/leering voyeurism mix of Death Wish and its ilk, but Shintaro Katsu's gleeful ferocity (in contrast with Charles Bronson's dour, repressed deadpan) makes this trilogy stranger and sleazier. Katsu was also the star of the hugely popular Zatoichi: The Blind Swordsman series. --Bret Fetzer ... Read more

Reviews (7)

Terrific Hanzo the Razor Series
After having used the Laser Disc set of these films for years it is really nice to see HVE come out with the definative DVD series in breathtaking sharp digital picture that rivals what I remember seeing in the theatre years ago, and certainly is far superior to any format available until now.The color is gorgeous, the subtitles accurate, and the sheer beauty of the transfers is wonderful indeed.This is my first Home Vision purchase, and certainly will NOT be my last.You owe it to yourself and your collection of Japanese films to purchase this set now!

Wow!
I was sorry to hear that AnimEigo wasn't releasing this series on DVD. Fortunately HVE has picked it up. And while the rather more detailed subtitles AnimEigo is known for are missed here ("Purge the unborn!"), this is still a nice package overall. Extras are pretty much limited to all three trailers - but, given the outrageous content of the films themselves, who can possibly feel cheated?

This sort of quasi-pink material is a bit unexpected for a Toho release. The first, directed by prolific 'chambara' specialist Kenji Misumi, is probably the most shocking - but all three films are definitely worth watching, in spite of slightly diminishing returns.

I won't rehash the lurid goings-on - suffice to say that your mom probably wouldn't like you watcing these. Don't listen to her, though. These films are hilarious - loaded with very un-P.C. sex and geysers of blood. There is also a bounty of imaginative visuals here, all in scope, and some great music. You might want to burn one before watching.

Incidentally, I'm not at all certain that HVE's note at the beginning of 'Sword of Justice' regarding missing elements is accurate. It could well be - but when I originally saw this the missing sound and images just seemed to be stylistic flourishes. The empty soundtrack effectively clues us in to the fact that we are seeing a flashback, and the way the music comes in to break the silence seems to bear out my suspicion that it was intentional. The jump cut near the end is a little more jarring - but it could well have been a way of eliminating some unnecessary boring action. It certainly doesn't take anything away from the story. Anyway, Japanese cinema from the sixties on is full of these kind of touches - if not outright radical manipulations of sound and image.

The second and third installments were made with the involvement of Yasuzo Masumura - a filmmaker worth checking out. For some reason Amazon's page for his great black comedy 'Manji' (based on a Tanizaki novel known here as 'Quicksand') doesn't allow for customer reviews, so I'm telling you now to see it.

He's the feudal Japanese SHAFT!
Who is the Japanese rogue Samurai that's a sex machine to all the chicks? HANZO! (Ya damn right!)

You've heard of blaxploitation--well Hanzo the Razor is Japsploitation!Crazy bloody Samurai action where Hanzo's rule is law, and he enforces it with a mighty weapon.And I'm not talking about his sword.

If you thought Abu Grab was outrageous, wait till you see how HANZO gets his suspects to talk!

The only problem is that the last movie is kind of dull.But the first two are absolutely outrageous and required viewing.

YIKES!!!



From 1975, pulpy, trashy, politically incorrect, HONZO THE RAZOR (Home Vision Entertainment) is finally on DVD in a three disc set ("Sword of Justice," "The Snare" and "Who's Got the Gold?") complete and uncut from the best original elements.

Anti-hero Honzo's an uncompromising Samurai rogue cop who will stop at nothing in the name of justice.Actually, he's a sick, twisted masochistic freak.

Based on the infamous graphic novels (manga) of Kazuo Koike, Honzo bows to no superior and pulls no punches.In fact, he welcomes pain and offers torture to get what he wants.With females, the torture is sex.This series is a mutant sub-genre of Asian crime noir.It is naughty and bawdy but done with an absolutely straight face.If you're in the right state of mind, it is both shocking and hilarious.I loved the complicated security devices the rightfully paranoid Honzo has rigged for his abode.

A must have!
I saw the series years ago on vhs and I liked it a lot. Great Action. It's great watching Shintaro Katsu doing other characters as well. Most of the people know him best for his work as the legendary Zatoichi. Hanzo the Razor is not your regular samurai movie. You'll see why they call him the Longest Arm of the Law. If HVE did a excellent job on the Zatoichi series I'm pretty sure Hanzo will be no exception. Highly Recommended!
... Read more

Reviews (239)

Subperb Movie
I consider Wolfgang Petersen as one of the most talented visionary directors in the history of the cinema. 'Das Boot' is an instant classic and one of the greatest movies I have ever had the honor of viewing. The atmosphere, characters, situations, and attention to detail make this movie a must watch...especially since the DVD has English dubbing for you non German speakers. The story is simple...but OH So powerfull. A submarine sets off from port on its dangerous voyage of seek-and-destroy. At first, the mariners are eager and youthful...but as time passes and they sink their first ship, they become aware of the horrors of war and age into old men from within. Soon after, they receive a special order to penetrate the narrow Gibraltar Strait and thus set off for what has become one of the most memorable collection of events in movie history.

'Das Boot' captures the dissilusionment that grows like the mold within the submarine, the horror of the submarine moniker 'floating coffins', and the human spirit that prevails.

If this movie does not touch you, if this movie does not move you, if this movie does not inspire you, then you must be cold- dead.

REAL, POWERFUL DESPITE CRAMPED FEEL & CHEESY DUBBING
Be warned, regardless of the paeans you've heard sung to the movie, it is very 80s. It will begin VERY slowly, and won't let up until the end. A quasi-documentary format doesn't really do much to assuage the expectations you may have from a real Movie either.

We watch like bystanders as a German crew steers a U-Boat into the war. The movie is almost entirely indoors (inside a U-Boat, i.e.) which lends it an extremely cramped feel. Filmed in steadycam, the picture moves straight across the claustrophobic hall of the submarine. There is barely enough place for one man to stand and this feeling is expertly conveyed to film thanks to Jost Vacano's excellent cinematography.

As you may imagine with any movie of this general cadre, the theme actually couches a strong anti-war message. Our protagonist Capitain may have been under the reign of Hitler, but he didn't really look up to him. Barbs at almost everything related to the Fuerer abound. The strongest message is delivered in the film's denouement when the crew of our U-Boat faces the biggest dilemma: to save the drowning enemy men because they are human beings, or to let them shrivel and die because they are enemies. Poignant!

Caveats:

(1) A lot of the miniseries look blatantly filmed in a studio, nearly like like the opening sequence of Gilligan's Island. As much as I admire the realism, these cheesy effects do bring down the movie.

(2) If you don't mind subtitles, then watch the movie in its original Deutsche with English subtitles. The English dubbing is horrendous.

(3) Like all documentaries, there isn't much place for character development. Most of the characters are basically one-note and have little to no personality.

None of this undermines the sheer power of the movie's message, and the claustrophobia conveyed on film. I wonder if the flick is as legendary as it is toted to be, but it's a must-have gem in any true war-movies collection.

Best War Movie Ever!!!
This is most definetly the best war movie I have ever seen. I have never seen anyone that has not taken interest in war after watching this movie. I have seen this movie many times and each time I learn something new. It is interesting to see how the other side was during WWII. I recommend this movie for anyone that has time to watch it.

The ultimate submarine movie
Ok. Step one, turn out all lights and isolate any external sound. Step two, crank the subwoofer UP. Step three, set the language to "german." Step four, get a couple of buckets of seawater to pour over one's head at the proper scene (this is optional).

No other submarine movie comes remotely close to depicting the claustrophobia and violence of undersea warfare as Das Boot. Before the movie, I had little sense of the suicidal missions that thousands of German seaman were subjected to even in the early years of WW2 - and for that matter, the equally ruthless way that speeding Allied convoys left the crews of sinking ships behind to freeze and drown in the North Atlantic. It was a particular act of courage and skill for the director to confine most of the action into a literal steel tube barely tall enough to stand in.

Das Boot MUST be watched in the original German, much like Pat Buchannan's "Kulturkampf" speech as the 1996 Republican Convention. For weeks after the seeing the movie the first time, I kept hearing "Alla-a-a-r-m!" and the ka-BWANG of exploding depth charges. Jurgen Prochmow has been wasted in a number of movies (e.g. "Dune"), but he beats out Connery, Gable and the rest as the best Captain around, alternatively ruthless and caring for his men.

This movie is so head and shoulders above subseqeunt films like U-571, any comparison would diminish the accolades this movie deserves.

The best epic german film ever made
Wolfang Petersen may be proud for all the eternity by this achievement. This film (just ten millions dollars in 1981)is a superb film.
You know so well when you're in front a masterpiece. That sensation which remains in your mind and your soul , a must reference and above all, it becomes an unforgettable memory in your brain.
The film is full of tension; claustrophobic, dramatic and powerfully haunting. The sequences of action are very well made; the script is very related to the book.The cast is outstanding. The handle of camera is BREATHTAKING, the camera is a sliding eye, nervous, it retains the anguish, the hopeless and that deathly taste you feel when you share the destiny of these man under that huge water pressure.
That film broke the walls of the standard market and soon became from 1982 in a classic film.
The question about if this film is anti war film is out of discussion. I don't think even if this issue is important. You must feel the evil experience of these men sent to a almost safe death in a sea surrounded by enemies forces.
Watch this movie.
And you'll understand why U-571 even his special effects is just a worthy tribute to Das Boot, the masterpiece of Wolfang Petersen. ... Read more

Amazon.com

If you've ever wanted to hear Jack Nicholson sing (or try to) or marvel at the sight of Ann-Margret drunkenly cavorting in a cascade of baked beans, Tommy is the movie you've been waiting for. As it turns out, the Who's brilliant rock opera is sublimely matched to director Ken Russell's penchant for cinematic excess, and this 1975 production finds Russell at the peak of his filmmaking audacity. It's a fever-dream of musical bombast, custom-fit to the thematic ambition of Pete Townshend's epic rock drama, revolving around the titular "deaf, dumb, and blind kid" (played by Who vocalist Roger Daltrey) who survives the childhood trauma that stole his senses to become a Pinball Wizard messiah in Townshend's grandiose attack on the hypocrisy of organized religion.

The story is remarkably coherent considering the hypnotic dream-state induced by Russell's visuals. Tommy's odyssey is rendered through wall-to-wall music, each song representing a pivotal chapter in Tommy's chronology, from the bloodstream shock of "The Acid Queen" (performed to the hilt by Tina Turner) to Nicholson's turn as a well-intentioned physician, Elton John's towering rendition of "Pinball Wizard," and Daltrey's epiphanous rendition of "I'm Free." Other performers include Eric Clapton and (most outrageously) the Who's drummer Keith Moon, and through it all Russell is almost religiously faithful to Townshend's artistic vision. Although it divided critics when first released, Tommy now looks likes a minor classic of gonzo cinema, worthy of the musical genius that fueled its creation. --Jeff Shannon ... Read more

Reviews (68)

Ann-Margret in a Rock Opera? I guess so!
A visually spectacular and colorful adaptation of The Who's 'rock opera,' Tommy features an all-star cast including some of the greatest names and performances in rock music and a score written by Pete Townshend that was released six years prior to the film's release.

he story is about a young boy named Tommy (Roger Daltrey) who sees his father (Robert Powell) killed by his stepfather (Oliver Reed) while Tommy's mother (Ann-Margret) watches in shock. After the incident, Tommy's mother and stepfather tell him in song, "You Didn't See Anything, You Didn't Hear Anything." Traumatized by witnessing this horrendous deed, he becomes psychologically blind and deaf i.e. His brain won't let him see or hear. In the course of growing up, he proceeded to become a "Pinball Wizard" of the world and had a strong following of admirers. During this time, he endured years of manipulation and abuse by his family. Eventually Tommy breaks "free" of his world of silence and darkness and becomes aware of the world around him, his mental capacity has only evolved to that of a child. At the end of the movie, Tommy's followers finally realize that they have been brainwashed by him.

'Tommy' opened with critical acclaim from virtually everyone who saw the film. The film, costing three and a half million dollars, was produced by Robert Stigwood (of 'Jesus Christ Superstar' and 'Grease' fame) who took a backseat in the publicity of the film to director Ken Russell (of 'The Boyfriend' and 'Lisztomania' fame). Russell was commended for bringing the rock opera to life by using spectacular visuals and special effects to enhance the re-recorded soundtrack. "Technically the film is astounding...Russell has fused a kaleidoscope of images that pulsate with the incredible precision of a rock drumbeat in visual counterpoint to the music." (Newsweek March 24, 1975) This is the first of two reasons for the film's appeal. The second is the fact that the film used popular rock stars in cameo appearances to attract the 20-24 year old audience, who already had an awareness of the rock opera in its original form. Those who were not aware of it were wooed via promotions on the radio using the rock stars names such as Elton John, who was at the peak of his success. The rock stars had produced more interest in the film than the already established stars such as Ann-Margret and Oliver Reed, but by using these stars it gave "...the project more legitimacy among movie fans without dulling anticipation amount rock purists significantly..." (Variety February 26, 1975)

The film utilized the two different parts of the entertainment world, rock music and established film stars and used their talents to the fullest making the film appealing to the older audience as well as the younger one.

After reading various glowing, positive reviews and watching "Tommy" I found myself neither liking nor disliking it. By using songs and no spoken dialogue is a most effective and creative way to tell a story. The characters must express in song feelings of joy ('It's a Boy'), the covering up of a crime ("You Didn't Hear It'), joyous holidays and the sadness of Tommy's problem ('Christmas'), the evilness of relatives ('Cousin Kevin' and 'Fiddle About'), a story about one of Tommy's fans ('Sally Simpson'), Tommy breaking out of his world of silence and darkness ('I'm Free'), and the realization of being brainwashed ('We're Not Gonna Take It'). The film also contained great renditions of The Who's songs such as Eric Clapton as the Preacher ('Eyesight to the Blind'), Tina Turner ('The Acid Queen'), Elton John ('Pinball Wizard') and Jack Nicholson as the doctor ('Go To the Mirror Boy'). The use of special effects and colorful visuals helped to relay the story to the audience who only had envisioned it while listening to the original record by The Who.

The one fault I found with this movie was the use of Ann-Margret. She does not fit into this rock-opera or any rock opera for that matter. Her vocal ability does not permit her to sing these songs and consequently she screams them out, for example "Do I Smash the Mirror?" Her voice is very soft and sings some of the other songs without feeling like "Christmas" and "Tommy Can You Hear Me?" Ann-Margret's voice "...works better after you've seen the film and have an image to associate with the sounds." (The New York Times March 21, 1975). After viewing this film several times, it is still difficult for me to associate her with The Who's music and I feel someone else should have been chosen for the part.

**cdk

A bizarre and wonderful film
Tommy is easily the most disturbing movie I've ever seen, and I've seen a lot of disturbing movies. It chronicles Tommy's life from birth to the death of his father to his traumatic adolescence and spirtual entry into adulthood. The scene where Tommy endures sexual abuse (at the hands of Keith Moon, no less) is a particularly unsettling one. While the cause of him being "deaf, dumb, and blind" is never really explained, along with other unanswered questions, Tommy is definitely a work of art.

The cameos by Eric Clapton, Tina Turner, Elton John, and Jack Nicholson are brilliantly done. Ann-Margaret, whom I had previously dismissed as just another singing piece of eye candy, shows incredible acting skill as Tommy's mother. The only flaws in the film (besides Tommy's miraculous change from a brown-eyed boy to blue-eyed Roger Daltrey) are the ambiguity between symbolism and reality, which can make the story hard to follow, and the last quarter of the movie, in which Tommy becomes a Christ-like figure of worship. The movie really should have ended with Tommy's final realization of himself, at least in my opinion. However, a child rock star in this sequence eerily resembles Marilyn Manson circa 1996, which should entertain music fans.

Keep in mind, though, that just because this movie is rated PG does not mean it is suitable for children.

COUSIN KEVIN IS DA BOMB!!!
Why doesn't anyone mention him? This DVD is worth the price just to see that scene!!! I love everything else too but I like to watch the Cousin Kevin scene over and over again. The movie version is WAYYYY better than the dull, slow version on the album!!! Same thing goes for many of the songs. All in all, this is one of the most entertaining and enjoyable musicals of all time!!!

Unique, but as senseless as Tommy
When I first read of Tommy, I found the premise intruiging. A "rock opera" based on music by The Who... starring Roger Daltrey? I knew that the term "cult classic" would be applicable here. And being a fan of rock music, and 60's rock/pop in particular, I knew that I had to see this film. One mediocre review in a newspaper didn't put me off: I felt the combination of The Who and 70's cinema would make for great entertainment. How wrong I was.

With the opening sequences of "It's a boy", an embarrasing and awkward singing performance by a nurse, I was left with my jaw hanging open that this material was not destroyed by a later Government order. Songs often collapse into repetitiveness (I'm Free) just as they border on the great. Potential is repeatedly wasted - and at times, you can almost feel how good Tommy's music COULD have been - but alas, each song, without exception, feels both overblown and underwritten at the same time. It's a shame.

Not that the movie is devoid of artistic talent - it isn't. There are visually stunning sequences everywhere. Set peices become gradually more and more impressive (the Marilyn Monroe idols, Tommy's religious land) and special effects, crude as they are, are used to music video effect - an impressive precursor to MTV.

But the plot is loose, very loose - and scattered. Tommy's plight, his childhood trauma, and the theme of religious exploit all earn marks for originality, and maturity. But there really is very little continuity going on - and though the theme of Tommy's degredation becomes quite dark, his exploitation becomes repetitive. And tiresome. That said, the film's most energetic peak, "Pinball Wizard", is a colourful, memorable and bizzare game of pinball featuring Tommy and Elton John playing head to head before a theatre audience. Even the music shows flashes of inspiration. Without a doubt a proud climax for any film.

But at the end of it all, Tommy cannot be saved by a single scene, and with a plot so light and music so abominably poor (sorry, but it is), the film is rightly one of the smaller cult classics. The imagrey is good, but in the end, it all seems rather pretentious. Perhaps it needs to be, to fill the huge, gaping holes in the story. Yes, I "get" the film, and no, this is not the first musical or rock movie I have seen. Tommy displays both maturity and style at times - but neither are ever subtle, and that is the film's downfall. Only through the rose-tinted view of a fanatic could Ann Margret wallowing in baked beans ever be worth watching. Yes, I know that this is slander, and 0 of 37 people will find this review helpful as a result, but I can't help my honest opinion.

It has Elton John. In 10ft platforms. But this alone is Tommy's entry into rock history.

Bring on the special collectors edition!
The five star rating is purely for the content of this marvelous and sometimes misunderstood masterpiece from director Ken Russell. But in the U.K. right now (June 2004) they are being treated to an amazing 2 disc collectors edition DVD! The Superbit DVD with DTS sound is fantastic but we want extras!!! Please, Columbia Home Video! Let us Americans have it too! ... Read more

Amazon.com

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

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

Reviews (45)

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

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

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

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

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

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

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

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

Save your tuition and watch these movies.

Filmschool for only 30 $.

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

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

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

Amazon.com

John Boorman's 1985 South American epic never quite gets all of its gears working simultaneously, but it remains an often startling work with an extraordinary performance by the director's own son, Charley Boorman. Powers Boothe plays an American engineer working on a dam project in Brazil. When his young son is seemingly absorbed one day into the dense perils and beauty of the Amazon rain forest, Boothe's character goes on a protracted, 10-year search for him. In the interim, Boorman puts his full storytelling powers to work by characteristically exploring the arcane rhythms and dangers of an indigenous world hidden from ordinary view. Specifically, Boorman leads us into the life of a forest tribe who have assimilated the missing child and who will ultimately send him back with the opposite of his father's pro-development sensibility. The movie is gorgeous to behold, and it's great fun watching Boorman find ever-novel ways of making the same film again and again. But the environmental message and the emotion of the core relationship get in each other's way a bit, preventing the film from uniting on every front. Still, this is a must for Boorman fans. --Tom Keogh ... Read more

Reviews (22)

This is my favorite movie of all time
The beauty and power of the rainforest juxtaposed to the beauty and power of "civilization," on of my favorite themes. Who is the true savage? Powers Boothe plays a construction engineer building a dam in the rainforest that is increasingly changing the structure of the most valuable real estate on earth. Not only is it effecting the plants and animals, creating desert where there was once rich vegetation, but it is affecting the indigenous tribes in horrendous ways. Charley Boorman plays the beautiful young son who is kidnapped by the leader of the "Invisible People." His father and mother (played by the beautiful Meg Foster) spent the next ten years searching for the boy as he is being raised in tribal customs.

Meanwhile, as the living space for the tribes grows increasingly smaller, the "Invisible People," who are basically good hearted, land loving indigenous people who keep to themselves and only want to survive, are increasingly threatened by the "Fierce People," a carnivorous, cannibalistic tribe who are desperately seeking space for themselves.

We watch Tomme grow up, learn from his new "father" who loves him dearly and was perhaps initially attracted to the tyke's golden blond hair and his own need for a son. We watch Tomme go through a ritual rite of passage that sends him on a dangerous quest for the special green rock that allows what are now his people to become "Invisible." It is in this quest that Tomme and his father cross paths again, and a lesson is learned about the cost of the damage civilization has brought to what is truly a beautiful and rich country better off left alone.

For a long time I couldn't find this movie anywhere. Not even at amazon.com. I cherish the copy I did finally find. I am thrilled to see that it is now available on DVD, but would like to see a DVD created with educational "special features" about the rain forest and the fight to preserve it. That's really what this movie is all about. See it now, before it gets away again.

ENTERTAINMENT'S EMERALD
A dam-builder is in the rain forest one day with his family, showing off his stuff. Suddenly his young son takes off to the woods and is never seen again. For the next few years the father leads a double life. Half the time he's building this dam, while the other half he's picking up his machine gun and running into the jungle to find his son. Pretty interesting life and a pretty interesting idea. And it's based on a true story. Some of the natives are truly weird, trying to put elongated bones into a machine gun that they find. There's a neat scene where they learn about either barbed wire or electricity. Another part I liked was where the native scales a small multi-story building with nothing but his bare hands and feet. The climax is really ironic. Very rarely do I see a movie where I watch it once and immediately want to see it again. This is one of those movies. I haven't seen it in a while, but my mind wanders back to it quite a lot. Definitely worth buying.

"Do you know my people?"
John Boorman's "The Emerald Forest" marks the director's return to nature a decade after "Deliverance" (1972). Once again, Boorman so ably captures the essence of the outdoors that it almost becomes a tangible supporting character. Nature in the cinematic world of Boorman is an entity to be revered and feared if you know what is good for you.

Bill Markham (Powers Boothe) is an American engineer who is in Brazil to help oversee the construction of a dam. While inspecting the construction site, tragedy strikes when his young son, Tommy (William Rodriguez) disappears. Haunted by his loss, Markham returns to the rainforest every year for ten years in search of his lost son. He eventually finds the adult Tommy (Charley Boorman) - now know as Tomme - living with the native "Invisible People." As Markham tries to re-establish his relationship with his son, he slowly learns of the devastating ecological and cultural consequences his industrial world has had upon the area.

"The Emerald Forest" sometimes comes across as too heavy-handed in its critique of modern society's threat towards the natural world. Yet, despite its labored message, the film's central story of Markham's searching for his son is involving on an emotional and dramatic level. Furthermore, the scenes with the natives are an insightful venture into an unfamiliar way of life that is as compelling as it is informative. Chalk up "The Emerald Forest" as another little nugget from the Eighties.

So . . . what did he say?
I have to give this film five stars for all the reasons that the other fans of this movie discuss. This commentary is on an unusual glitch that I discovered with the DVD. I'm referring to the MGM "Contemporary Classics" edition (in case there's another version out there).

I was surprised to discover that, when the native people were speaking, some of the subtitling was left off. Moments of indigenous dialogue were left un-subtitled in the VHS version (moments when a character appeared to be saying something like "Move" or "Hey, look."). However, with the DVD, there was one scene where a bit of dialogue that was significant to the development of the plot went unsubtited, and we were all left in the dark. It happened in only one significant scene, that I noticed, and eventually it was apparent what the character had said, but it was still frustrating and strange.

However, I still recommend that you get the DVD. When comparing scenes between the DVD and my old VHS copy (in order to see what had been said during the previously mentioned scene), I discovered that the old pan and scan version occasionally cut out almost 50% of the screen! With a film this beautiful, this is intolerable!

If you have this on VHS and are considering upgrading to DVD, I recommend that you do so - the visual pay-off is great! But keep your hands on the old VHS copy, unless you know the dialogue from memory.

Western ideaolgy versus indiginous values
I loved this movie in the theatre, bought the vhs in pan and scan and then the dvd in wide screen. I also have the sound track. This movie represents the values of western culture versus the indiginous culture. I have been to Las Amazonas 5 times and have seen what is happening. This movie compares the two cultures. This movie has a message about what indiginous people have and are happy with versus the destruction and modernazation of the western culture. Please, see the video and understand that western culture has something to offer but is not necessarily the panacea for the indiginous. ... Read more

Reviews (18)

Superbly-paced political thriller...
Costa Gavras presents the ruthlessness of THE STATE determined to defend itself against enemies...perceived or actual...foreign or domestic. The 1966 coup d'etat of George Pappadapolos and the Greek Colonels is the context of this film which was, perhaps, overly-regarded because of its topicality when released in 1969. The murder of The Deputy...well-played by Yves Montand...now conveys a more universal impact of menace. The Montand character is literally run over. Citizens of any bastion of democracy might reflect on the reality that a "mighty" State can (and often does) run over whatever opposes its designs. The superb pacing, and occasionaly jarring musical score of this film turn a film viewed as a manifesto against fascism into a political "thriller". But viewers might recall the words of the Investigating Magistrate...played with understatement by Jean-Louis Trintignant...when he indicts the military clique responsible for assassination and conspiracy to obstruct justice: You are charged with criminal collusion and abuse of power! (Two days later he finds himself arrested as an ememy of the state under martial law) If "Z" means that the "spirit" of freedom lives; so unfortunately does the spirit that would crush it. Thus, in this political thriller, Costa Gavras has produced a fable that restates the price freedom seems inevitably to exact...

Sharp, Fast Paced Thriller
Watching Z reminds the viewer of a train wreck. Facts, acting, storyline, plot, and intrigue are all thrown together into one strange conglomerate of film. Miraculously, when the dust settles, this wreck of a movie is one of the best political thrillers ever made.

Z chronicles the turmoil of Greek politics in the 1960's. The Cold War was at its peak, with Vietnam on Europe's mind. The communists and other assorted leftists were becoming increasingly powerful, leading to an energetic response by the military and police. The event that Z spotlights is the assassination of a leftist political dynamo, played very well by Yves Montand. The tension on the street, the simmering violence and official misconduct are all portrayed in Z. The feel and aura of a dangerously fractured Mediterranean nation are explosive and will not be ignored.

The movie reveals itself to the viewer at a rapid pace. The best role in this movie belongs to Jean-Louis Trintignant, who portrays the Examining Manistrate. It's his job to finalize the report concerning the assassination, which the Greek military police deem an "accident". The Magistrate does not except this conclusion, especially after consulting with the doctors who have examined the body. His investigation proceeds at a whip lash pace, as he ignores threats and favors thrown his way in order to assure his collusion. The trail of evidence quickly begins to trail upward, to the top of the Greek government. For that ride, we meet many dynamic characters and are treated to some real exciting police work. It doesn't exactly keep you guessing, the guilty parties are fairly obvious, but Z is a taut political thriller that delivers.

My one qualm with Z is the lack of a total picture concerning the situation. Z focuses on the crimes of the right while ignoring any responsibility on the part of the left. Glossed over is the Soviet supported communist uprising that occurred soon after World War II ended, a very brutal civil conflict that has polarized the nation ever since. Z could have been a bit more powerful if it showed that no side on the political spectrum had clean hands, that the solutions to the nations problems were a lot less cut and dry.

Metaphor for American intervention in other countries
I first saw this film in 1970 when I was a college student. In 2004, it retains its relevance to me as an Amercian. A few years after this film was released, the CIA intervened in Chile when they assisted in the overthrow of a democratically-elected Communist president. Sometime before that the U.S. government had enabled the Shah of Iran to come to power in that country. In the 1980s, the U.S. supported insurgents against another democratically-elected Communist in Central America. Now the U.S. has militarily overthrown the leader of Iraq, is maintaining an occupation force in that nation, and is seeking to establish a new government there. So this movie -- which was about a 1962 military coup in Greece -- has significant meaning for Americans. This is not a particularly well-made film technically. There are several scenes where cameras and the boom are visible. The script is not very compelling, either. The actors are European veterans and the emotional power is great, leading to an unforgettable conclusion that violates the sensibilities of people that love freedom and democracy. These are the reasons, in my opinion, that this film won an Academy Award and resonated with the American intelligentsia. "Z" is not pleasant viewing but is an antidote to airheadedness in a time when most Americans are more concerned with liposuction, botox injections and push-up bras than national intervention in other nations.

Let's set the record straight.
The "experts" commenting here advise avoiding the English "DUBBED" version.

The ENGLISH VERSION was filmed in parallel with the french version (The use of french was necessitated to have it distributed in Europe as the original Greek would have limited draw.) The incident took place here in Thessaloniki Greece, where I live).

All the performers were fluent in English and you can recognize their voices.

It was not "Dubbed" (watch their lips "expert").

Now those of you who know where the original English language version can be found, speak up.

It is an excellent film and deserves to be experienced. (Read the book.)

Z--he still lives!
The 1969 Oscar winner for best foreign film is based on the 1963 assassination of Greek communist politician and doctor Gregorio Lambrekis. The opening sequence of first the agriculture minister equating mildew with communism and the Greek chief of police advocating the indoctrination of the population to become healthy elements of society loyal to God and the crown instead of isms like socialism, anarchism, imperialism, or communism describes the stranglehold the right has in Greece.

The Campaign for Nuclear Disarmament is denied a hall for its meeting due to the hall owner threatened by right-wing elements so the peace people have no choice but to hold at the Employee Union Hall, with loudspeakers outside for the benefit of the crowd outside. The leader of the movement (Yves Montand) decides to carry on with the speech despite learning of a threat on his life. He finishes his speech and is crossing the square to demand the police quell the seething rioters when he is struck in the head from someone in the back of a lorry. He is operated on but dies. His death not only makes him a martyr among his supporters, but causes a coverup to ensue. A determined photojournalist and the inquest judge assigned to the case soon realize the extent of the conspiracy, a conspiracy that goes up to the top.

The journalist's relentless digging leads to identifying members of CROC, the Christian Royalist Organization against Communism, a secret society the cops use to keep order at parades. The leader of CROC says, "Abroad, some say make love, not war! We say, 'Make war on corruption and liberalism, and on indiscriminate liberty!'" Well, the liberty that was banned when the junta took over included pop music, intellectual books, and the letter "Z", which was the ancient Greek symbol for "he is alive."Basically, they are the counterdemonstrators, the agent provocateurs who beat up the peaceful disarmament people.

The dispassionate inquest judge is simply doing his job, wanting just the facts, but with each piece of evidence or testimony that comes, he realizes that an incident involving two drunks becomes a death due to a blow by a club, and then assassination. He is under pressure from the attorney general, who feels that a prolonged inquest gives the peace movement fuel for subversive action.

Criticized for being talky, Z is actually an effective, suspenseful political drama that is a snapshot of the times. The assassination of the senator mirrors that of JFK. Witnesses intimidated, killed, and guilty participants having doctored stories from their paymasters. One witness though, bravely tells his testimony from his hospital bed even though he has been beaten. A leading communist is chased down the streets by a car.

The Cold War paranoia and hysteria of anti-communism is presented here, taken to the extreme of equating disarmament with communism. And groups like CROC are still alive today. The CIA-sponsored KOPASSUS was behind the 1998 riots in Indonesia.

Contrast these speeches, first from the senator: "Why do our ideas provoke such violence? Why don't they like peace?... The other [groups] are nationalists used by the government and don't upset our Judas allies who betray us. We lack hospitals and doctors, [while] half the budget goes to military expenditures. ... A stockpile of A-bombs is equal to a ton of dynamite per person on Earth. They want to prevent us from reading the obvious conclusion based on the simple truths, but we will speak out. We serve the people and the people need the truth." As Greece was the father of democracy, one can only think, "Has Greece come to this?"

Director Costa-Gavras's searing indictment of the CIA-sponsored Greek military junta under the colonels from 1967 to 1973 is the prototype of political assassination thrillers, something that may have served as a model for Oliver Stone's JFK. Indeed, the opening disclaimer states that "any similarities to actual persons or events is deliberate." The bottom line is that the CIA, the extreme right, and the military-industrial complex is also blameworthy.

One of the more radical peace members says of his ailing leader "the brain's dead, but the heart's still beating. I won't quit," invoking the spirit of any movement fighting for peace and justice. ... Read more

Description

Since its publication at the end of World War II, Mervyn Peake's masterpiece, The Gormenghast Novels," has stood unchallenged as one of English literature's most extraordinary flight of imagination. Its themes of treachery, decay, madness and honor have come to be regarded as a metaphor for the fall of an empire, the passing of an age, and the rise of fascism. The glorious castle of Gormenghast is home to the ancient family of Groan, where nothing has changed for thousands of years. The dynasty is threatened by the charming and evil kitchem-boy, Steerpike. With the birth of a new heir, Titus Groan, Steerpike begins his ruthless ascent to power. As he charms, outwits and terrorizes the castle's inhabitants, only the young and timid Earl of Groan, Titus, stands in Steerpike's way. Who will ultimately rule Gormenghast? ... Read more

Reviews (79)

An Austalian Peake Fan
When watching this I found myself constantly referring back to the novels to compare the characterisations with Peake's drawings. They were astonishingly close, especially Fuchsia and Flay, and the performances brought them to life brilliantly.

Such a grand story cannot ever be done justice in a TV version, but the BBC surpassed my expectations. Jonathon Rhys Meyers was eminently hatable, and Christopher Lee dominated his scenes. Old hands such as Warren Mitchell, Stephen Fry, Ian McKellen and Zoe Wannamaker brought their characters to life very much as I expected.

The production design was breathtaking, and I particularly appreciated the way the producers played with time and place to leave you unsure in the end exactly when Gormenghast was set.

Some reviewers appear to have objected to the film as presented in this version. I recommend buying the full anamorphic widescreen version available direct from the BBC. This DVD won an award for best use of DVD technology, and is fabulous. Great sound, proper structure of the story, and interesting special features. The BBC version is worth 5 stars.

A Great Adaptation
Whenever someone decides to make a movie adaptation of a book, fans of the book cringe. The tendency of directors to "adapt" the story line for the on screen version can often leave a bad taste in people's mouths. Luckily, Andy Wilson did a fantastic job staying true to the text. With no real story line changes and only a handful of noticeable omissions for the sake of time--remember it often takes Peake 50 pages to describe a 2 minute sequence--I think Peake would have been pleased.

The cast did an excellent job and I was thrilled by the performance of the actors. Steerpike, the Countess and Prunesqualler all shine in their depiction of the characters. The immensity of Gormenghast is wonderfully portrayed through the use of special effects.

Read the books first, and this movie will compliment them well.

Extremely well-done
This is an extremely well-done and COHERENT adaptation of the novels, which are not easy reading by any stretch of the imagination. Rhys-Meyers is probably too pretty to be Steerpike, but we shouldn't hold that against him; he did an excellent job. However, Celia Imrie was my favorite. At first I thought she was a man in drag, but she certainly sounded like a woman. Then I realized she was a woman in heavy makeup. (You can see her in CALENDAR GIRLS and realize that she's actually pretty attractive.) Great production values, music, et. al. Here,I think, is the ultimate compliment. When I saw this it was about 20 years since I had read the book, and the miniseries brought it all back to me.

Not Bad
I haven't read the books either, but decided to watch the series since it was highly recommended by a friend. I immediately found the cartoony look and silliness of the first episode offputting, but the series improved with each episode. In spite of the murders, the villain Steerpike still appears to be most fit to be ruler. After all, other great monarchs have killed to rise to power and maintain it. He's also the craftiest and most intelligent of the characters, almost all of whom are mad or incompetent. Evil is too strong a description for him -- I didn't see it as the worst thing that he would want to get rid of an incapable monarchy run by a doddering old man who didn't care for the poor. And his situation is sympathetic, since he doesn't get respect even when he ascends to high-ranking positions. Jonathan Rhys Meyers does a perfect job of playing him. The only one who comes close is the countess, who could have been a good ruler if she cared a little more about the city and less about her pets. In all, I think the series could have been excellent if it were a bit more serious.

Needs a decent DVD treatment
I'd give the BBC production 5 stars, but the DVD release only gets 1 star because they chopped a widescreen production down to pan and scan. They were probably trying to make Walmart happy, but it's a shoddy way to treat a piece of art. ... Read more

Reviews (29)

Black comedy at its finest
This is the kind of dark, bleak comedy that the British excelled at in the 1950s, and seems to anticipate many of the comic trends found on both sides of the Atlantic in the decades that were to follow. The plot concerns the adventures of a group of thieves who meet in the apartment of Alec Guinness, the gang's mastermind and the tenant of the lady of the title. Although the movie has many wonderful moments, I think my favorites are those in which a wildly grinning Guinness explains to his landlady the various goings on in his flat.

The cast is absolutely first rate. Even by Guinness's chameleonic standards, this is one of his more unusual performances. He made himself up to bear a striking resemblance to the great Alastair Sim, wearing some padding to make his frame look more like Sim's, and wearing false teeth and combing his hair to more successfully mimic Sim. It is a quite successful imitation, but I would enjoy knowing a bit more about why Guinness made this decision. Anyone familiar with the Pink Panther films will be delighted to see Peter Sellers and Herbert Lom as members of Guinness's gang. Lom was one of the great heavies in 1950s British film, and his casting in a comedy film was at the time highly unusual. Sellers, of course, was a few years from the film that would first bring him fame, I'm ALRIGHT, JACK, and his role in this film is not a major one. This is very definitely the "early" Peter Seller, carrying a great deal more weight before he lost a great deal because of the illnesses that plagued him throughout most of his life (Sellers suffered from a very serious heart condition the eventually killed him).

This film isn't for everyone. It isn't a film that will illicit laughs so much as smiles. And many will find the entire tone to be very, very dark, perhaps too dark for their liking. Finally, many will not enjoy a comedy in which all the major characters are essentially unlikable cads. But for those of us for whom these are not barriers, this is one of the most unique and enjoyable comedies of the 1950s.

The Ultimate Ealing Comedy
My parents took me to see "The Ladykillers" when it first came out in England in 1955--I loved it then, and I have never changed my mind. It is my favourite Ealing comedy. I will try not to duplicate other comments, but I'm pleased to see that the other reviewers think as highly of this film as I do.

Of course Sir Alec--with those horrible teeth and hair--is marvellous, but this gem is very much an ensemble piece. The rest of the "gang"--cocky young Peter Sellers--guilt-ridden Cecil Parker--dim, thu