Description

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

Reviews (33)

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

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

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

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

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

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

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

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

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

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

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

Reviews (225)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (138)

Brutally Honest!
City of God is certainly one of the most exceptional foreign language films in movie history! The movie excels in every level. The captivating camera shots make a truly fascinating cinematography. Editing was brilliantly done with some Pulp Fiction influence added into it. No single actor's performance particulary outshine the most, but the ensemble performance, from the street kids to the crime masterminds, is remarkably convincing! The screenwriter made the story so suspenseful, bold and daring, that you would not want to miss a single scene. And the truly best aspect of the movie is its ingenious filmmaking. Watch out for the "apartment scene" where the genius director shows how one small apartment drastically transforms as its inahabitants change through the years.

I would not recommend the film though to people with a weak stomach. I must admit that watching this film was pretty difficult to me because i have no experience of residing in the slums or what other people calls "the ghetto." Everything might come extremely shocking if you are not aware of the reality drug trades and gang wars. There are very graphic violent scenes so watch it at your own risk.

I would recommend it though to people who wants to see something honest, bold and dare. It is one of the, or probably the, most brutally honest film you will ever see! What this film achieved is boldness, directness, and honest filmmaking at its finest!

City of God will blow your mind away
After you finish viewing 'City of God' you are left wondering about the irony of the title. It is not long in the movie where you realize that the City of God is a place totally forgotten by everybody. Still, that is the name that the government of Brazil gave to the housing developments outside Rio, constructed in the early '60s to hold thousands of people. Those slums, known as "the favelas", eventually led to the isolation of poor people from the city center, becoming a place where music, life and colour can be sensed in the air, but at the same time the law is absent and the violent gangs rule the streets.

The story of 'City of God' is based on a book written in a period of 9 years by Paolo Lins, a man who grew up in the favelas and managed to escape. In it, he describes his experiences regarding the creation and the rise of the gangs that control the drug dealing business.

Fernando Meirelles, who started as a director for TV commercials, transforms this complex and demanding material (the book includes more than 200 characters), into a breathtaking, terrifying film that is visually stunning (among others, it includes extensive use of hand-held cameras, flashbacks to introduce the different characters, fast cuts and distinct colours to distinguish the '60s from the '70s, where all the action takes place) and at the same time, shockingly violent: The rate of deaths is so high while the age of the victims so small. 7-year old boys look for guns before they are even able to go to school, and to make things even worse, use them against each other without any hesitation. The gangs provide them with status, power and recognition, replacing importance social structures such as the family.

'City of God' is a film that will blow your mind away; it will certainly trouble you and probably make you feel a bit ashamed and guilty about the things that actually happen around the world, without us doing or knowing anything about. It is certainly refreshing to see occasional moments of humour intervene with its otherwise grim and serious nature. In any case, it is one of the most powerful motion pictures of the current year.

A Frightening, yet Uplifting Masterpiece
City of God is disturbing. It gave me chills seeing coked up juvenile kids putting bullets through other kids' heads, and a ghetto neighorhood which offers no hope whatsoever to any of its occupants. The cinematogrophy is lush, the story, told by a famous photogropher, "Rocket" Rodrigues, is layered and candid. The acting is frightengly excellent, and it contains many scenes which will remain sketched on your brain (unless you grew up there, maybe). An emotional rollercoaster ride, City of God succeeds in transporting the viewer to probably one of the worst areas that has ever existed on this planet, and making us not want to leave.
Bravo!

Tragic Side Of A Great People
For those who think Rio isn't any worse than the likes of LA or any other US city,watch the DVD extra.Apart from that,Rio's murder rate in 1992 according to two reliable sources was 86 per 100,000 - a massive murder rate for a city of ten million(far more striking than Washington D.C. which was 80 per 100,000 in a city of 500,000).What that says is that Rio's worst parts dwarf D.C. or anywhere else in the states.There were some misleading claims in the film and DVD though, such as organized criminality(we are clearly dealing with common criminals here)and Rio being the most dangerous gangland on earth(possibly San Pedro Sula,Honduras and early 90's Bogota,Colombia - CERTAINLY Medellin - also Colombia,have worse areas). The thing that stood out from the film for me was the harrowing scene with the main gang cornering the two little kids - shocking and realistic.Rio is really like this and people need to see the staggering levels of common gang violence in Rio and throughout Latin America(more coverage of the problem in Colombia,Honduras and El Salvador would be welcome).To end I would like to pay tribute to the Brazilian people,they have to be some of the nicest people in the world yet put up with seriously dangerous situations.I have nothing but respect for their bravery.

The Documentary Included on the DVD is just as good
This movie is excellent, in every way. What is so good about this DVD is that it comes with a documentary in the special features that is one of the best I've ever seen. Well worth the money. ... Read more

Description

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

Reviews (397)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. One of my absolute favorite stories is the one involving Colin Firth's character Jamie, a writer who leaves England for the European countryside to write after discovering his brother is cheating with his wife, and he falls in love with his Portugese housekeeper Aurelia (Lucia Moniz). Neither of them can speak the other's language, but they manage to communicate in their own way, and the plot is very sweet.

7. Chris Marshall is very funny as Colin, the ugly, rude guy who strikes out romantically with English women, so he thinks he'll have better luck in America because of his "cute" accent. He goes to Milwaukee and discovers supermodel-type girls hanging out in a bar that fall for him instantly which really makes me laugh. I live an hour away from Milwaukee, and we are NOT plentiful with thin beautiful girls hanging out in bars. This was one joke that wasn't lost on me for a moment, and I couldn't help laughing quite loudly.

8. My favorite storyline is Billy Nighy as Billy Mack, a washed up 50-something rock star who makes a comeback on the charts with a shameless revamp of the old Troggs song, "Love is All Around" for Christmas. He is absolutely hysterical with his outrageous behavior as he publicly bashes the song and pulls all kinds of defiant public stunts. Of note is his relationship with his longtime manager Joe (Gregor Fisher) who, despite all the headaches his charge gives him, is still admirably loyal and proud of him.

One small storyline I detest is the porn actors we see a few times, conversing as they shoot dirty scenes on a movie set, and I also don't like the anti-American plot of the evil lecherous US president played by Billy Bob Thornton. These are two points for my not giving this film 5 stars.

Other than my minor grievances, I couldn't recommend Love Actually more highly. This movie is rated, R so please don't expose children to it just because one of the stories involves a little boy. This is great adult entertainment, and some of the DVD extras are a bit blue as well. Moving, funny, and full of clever dialogue (A favorite line: "Ten minutes with Elton John, and you're as gay as a maple!"), Richard Curtis has directed one of his best comedy projects yet. With the exception of small children, there's something here for everyone. You shouldn't just come away liking this one; it should be Love Actually.

Quite simply the worst movie I have ever seen...
Really! This has to be one of the worst movies ever produced and speaking as a Brit, I am ashamed. The plot or lack of any plot(s) is absurd. The jokes aren't funny, the premise is farcical and it is about as entertaining as being stung by a wasp.
Really, avoid this movie at all costs - it is that bad.

Not for the kids!
My inlaws came over to visit me from England, and raved on about this movie. They were keen to take us to the movies with our 2 children, 8 and 10 yrs to see it again with them. In the end we chose something more fun for the kids, as children don't want to go to the movies to watch a love story.
Anyway, not long after it came out at Blockbusters, and we hired it out of curiosity.
After the first 5 minutes we and sent the kids off too bed, as it wasn't really the swearing /cursing but the just that it seemed a little too explicit for my kids to watch.)
I would say that some scenes are just too crass, and they could had done without them.
In the second half of the movie, I noticed that the swearing and the sexual content tended to calm down...unless I was just getting used to it by then. The story was very funny at times, but alittle confusing having so many couples to follow...hard to get into their characters, or you forget at times that someone was in the movie, until they showed up on screen 20 minutes later, and would have to remember what their life was all about.
I'm not a prude in the slightest, and love comedies like Euro Trash, Coupling (the BBC Series) and American Pie etc...but the beginning half of this movie really did make my husband and I cring at times.
I'm surprised that my inlaws, who are in their late 50's really wanted to show this to my children...especially as they are very conservative.
Anyway it does get better, if you can stick with it after the first 30 minutes.
Hugh Grant's story line was also bit too cheesy. ... Read more

Reviews (25)

bizarre metaphor for family life
wow. this movie really got to me. the first scene in the film establishes the depths of immoral and distastefulness that follows. opening with an intense scene where a man makes love to a young prostitute, then finding out who the prostitute is really strikes a nerve in you. the plot follows with almost no sense and no taste but presented with great acting and great direction. it's basically revolves around a family that each member has their own sick and twisted problems. normally in any other hollywood/american film you'd encounter only one of these problems [or some problems not at all] but all wrapped up together brings it together to produce a very interesting family. a visitor [i'm assuming 'visitor q'] enters into the situation. although i felt his actions weren't as impactful and uplifting as it should've been he still brought the whole family together in a well... less than wholesome way. with his violent and bizarre and intimate solutions, he teaches the lesson that "families should stick together under any circumstance". and trust me, some circumstances are incredibly messed up. this movie is one of those movies where you'll find yourself saying after many scenes "wow, i didn't think i'd ever see something like that in a movie" but then you'll be found laughing over it. it is disturbing, but really if you're like me and you watch a lot of these over-the-top movies it'll still shock you but not in a 'irreversible-rape-scene' kind of way.

great flick, way more enjoyable and stimulating than 'happiness of the kitakuris'. takashi miike is awesome.

The horrors of family dysfunction
When the outside world fails us, whether it's dealing with a crap job day after day or a love life that goes nowhere or rejection in various forms we often turn to our family. For many of us the family is a safety nest, a sanctuary of saneness where we can escape the pressures of every day life. That's why films dealing with the disintegration of the family unit have been so shocking and unfathomable to me. What happens when even our family nest is destroyed and all that we thought was dear is shattered to pieces? I have seen some pretty disturbing cinematic examples in the past, most notably "Cutting Moments" and "Combat Shock" that had me asking the question what if, could this ever happen to me and my family? Takashi Miike takes the concept of family dysfunction to new extremes with Visitor Q.

Visitor Q examines a Japanese family with more problems than you could shake a stick at. The movie opens up with a young prostitute and a middle-aged man engaging in intercourse in front of a home-video camera. Throughout the act, the man keeps expressing remorse and doubt about what he is doing. Remorse for what, cheating on his wife? Nope, turns out the prostitute is actually his daughter. After this disturbing act that lasts not long, the lady taunts her own father with cries of "early bird!" and charges him 100 000Yen for the act, way more then he can afford. No problem, the girl says just give the rest of the sum to mom once you have it. Incest is the first of many atrocious acts committed by this family. Throughout the course of the movie the viewer is submitted to various scenes of necrophilia and domestic violence. Most bizarre is the young teenaged boy who continuously whips and beats up his mom, a crack addict and herself a prostitute. Mom doesn't seem to mind too much though and even encourages the boy to beat her up even harder as long as it's not on her face.

Visitor Q has a cheap Snuff-film kind of look to it and I wouldn't be surprised if Miike had filmed this with an 8mm camera, it certainly looks that way. If Miike's sole intent with Visitor Q was to shock the viewer with as many outlandish images as possible than this can be considered a success. However, I found this film to be quite lacking on an emotional level. The family and their disturbing actions are presented in such a hollow way that the viewer doesn't even feel any sympathy towards them. The family members themselves seem to be quite satisfied with their current lifestyles. There is only one exception in the form of a scene where the young woman who works as a prostitute sits on her bed in her room and holds a stuffed animal in her hands. There is a glimmer in her eyes that suggests that better days used to exist for her. It would have been nice to see fragments of the family's past so that we could answer the following questions: Has this family always been this screwed up? If not then what led them to become this way? What is the purpose of them holding a video camera and wanting to tape all of their atrocities? Miike never bothers offering any answers.

Visitor Q works well as long as it's taken strictly for what it is intended to be: a piece of exploitation filmmaking. It doesn't challenge on any emotional level the way Audition does, it's just a forum to throw as many shocking scenes in the viewer's way. Or is it perhaps meant as a social commentary on the ever-increasing absurdities of reality TV? Or a portrait of the changing dynamics of a Japanese society that has over the last couple of decades increasingly become attuned to the ways of the American models of entertainment and capitalism? It's open to our own interpretation but one thing's for sure, Miike never fails to shock or to challenge.

Takashi Miike AT HIS WORST
This movie was Garbage...I though Vistor Q was going to be great but instead I got garbage...Its stupid and yet disturbing...Trash....

Very bad...THis movies plot was just as stupid as the film...DO NOT GET THIS FILM!!!

-0000000/5 stars

The Worst movie I've ever seen
I must say, Takashi Miike; the director of this film is a very disturbed individual. I feel like this was made only to shock and disgust people. other than that, there's absolutely nothing to it. From a Japanese female point of view, I was very offended and disgusted by the story. This film is SICK - I would not recommend it.

jap cult classic
Beginning scene OK but annoying. First hour, not that impressed. Then, the last 45 minutes is F***in crasy. The director seems to put necrophilia, rape, murder, drug use, incest, and lactation all in the grand finale. This is a must have for Jap Cult Classic collectors if for anything, to watch people look at you funny, when you tell them about this Import movie you saw. ... Read more

Reviews (36)

Hayley in her element
Hayley Mills stars in the Disney thriller THE MOON-SPINNERS, a sinister and menacing story set against the dramatic backdrop of the island of Crete.

Nicky Ferris (Hayley Mills) and her aunt (Joan Greenwood) are travelling through Europe. Her aunt is a music historian from the BBC and is recording folk songs from the remote villages.

They travel into Crete, staying at the Moon-Spinners Inn, run by a kindly lady (Irene Papas) and her young son. However, some shady dealings are being done, with the owner's brother (Eli Wallach) heavily into astrology and smuggling.

Nicky finds herself thrown into a world of espionage and theft, and finds the love of her life.

Also featuring Pola Negri in a rare film appearance, THE MOON-SPINNERS is one of Hayley Mill's best Disney films.

EXCELLENT MOVIE
I first read the novel "Moon Spinners" by Mary Stewart and enjoyed the book thoroughly. When I saw that there was a movie based on the novel I was a little skeptical, but Disney usually does a great job so I decided to give it a try. If you like Trixie Belden, Nancy Drew and Hardy Boys mysteries, you will definitely enjoy this movie. Hayley Mills is wonderful as usual and the movie contains great suspense and mystery with just a touch of romance. I liked it so much, that I purchased the movie so that I could watch whenever I wished.

Now I want to go to Crete and have an adventure!!!!
The Moon-Spinners has to be one of my favorite movies of all time. Hayley Mills is the all-american girl....err...except for the fact that she's English (it makes no sense, but it is completely true). She gives a genuine performance and most girls can relate to her. I will not deny that this movie is completely cheesy, but it is all in the best way. This movie has everything; adventure, romance, drama, mystery, and is set in the beautiful isle of Crete. The love story is unique and original and will make you smile all over. This movie was acclaimed for being Hayley Mill's first onscreen kiss and I have to admit that it's a good one. I love how this movie embodies the essence of crete, with the beautiful beaches and little villages. I recommend this movie to people of all ages.

I love this movie, but...
I will not buy the DVD until I can get it in a W-I-D-E-S-C-R-E-E-N Edition!!! What good is beautiful Crete if it's panned, scanned,sliced, diced, and squashed? I want the whole picture, not 2/3rds!

Great movie! Full of exitment and adventure!
I think this is a wonderful movie that can be seen again and again! The acting is very good and there are some exiting moments to add suspense.
Hayley Mills and Peter McEnerny are both exellent in their roles and the acting of Irene Papas and Eli Wallach was also very good. You should get this movie and watch it with your children, it will be a great experience! ... Read more

Amazon.com

This unpretentious, endearing film is a modest triumph. Based on interviews with more than 500 people about the one memory they would choose to take with them to heaven, Japanese director Hirokazu Kore-Eda has modeled a unique blend of documentary and fiction that addresses the vagaries of memory but also what it means to make films. After Life transpires in a sort of way station where the dead must select one memory to be re-created on film and taken on with them forever, relinquishing everything else. Over the span of a week, a dedicated group of caseworkers tease out self-deceptions as well as real epiphanies from 22 different lives. An old woman remembers reuniting with her husband on a crowded bridge after World War II; a man recollects the breeze felt on a tram ride the day before summer vacation; a successful man faces his own treachery. Remembering becomes a courageous act in the casual exposition of this lovely film. --Fionn Meade ... Read more

Reviews (45)

You don't know about life--how can you ask about death?
A masterfully humorous, compassionate, quiet and moving film by a Japanese director whose work has primarily been in documentaries. The premise is strange but thought-provoking: after death, you have to choose one memory to take with you into eternity; everything else will be forgotten. In a brilliant series of cuts the staff at a run-down, out-of-the-way establishment explain this to the weekly intake of their "clients"--people who have just died. They have three days to decide; then the staff, with summer-camp-like enthusiasm, stages tiny films that recreate the memories. On the last day of the week the films are shown, and the clients vanish, one by one, as they relive the memories that are projected.

Kore-Eda worked with actors and scripts, actors telling the camera their own memories, and non-professionals; the marvellous cast mixes all three and it's impossible to tell which is which. A young girl wants to relive Splash Mountain, only to reconsider after a worker gently tells her that thirty others had made the same choice that year. A boastful roue explains that the memory of course has to be of sex--and then chooses something quite different. An old woman remembers dancing for her older brother's friends in a red dress, and shyly coaches the little girl who will play her in the memory film. And a seventy-year-old salaryman can find nothing worth remembering, so videotapes of his life are requisitioned--touching off what plot there is.

There are no flashbacks and little overt drama, but as the clients look back at their lives the staff are drawn in, and the viewers, too, can't help but wonder what memory would be worth living with for ever. What glows from the placid surface of this extraordinary film is the wonder and mystery of everyday things, the tenuous but rich beauty of merely living. "After Life"-- the Japanese title is "Wonderful Life"--is only ostensibly about death; no film of recent years has been more life affirming.

Witty but suffers from tedious pace
Pick one memory from your entire life, and spend eternity reliving it over and over...it's the sublimely simple idea that forms both the solid foundation and quiet joys of After Life, Hirokazu Kore-eda's thoughtful meditation on spirituality, humanity, and the changing nature of both. Although the action of After Life is set in an otherworldly processing center for the souls of the recently deceased, the film is actually a gentle introspective journey for each and every viewer. Watching Hirokazu's beautifully austere work, one can only ruminate on one's own life, asking the questions the persons are asking on screen. What is your most treasured memory? Has your life had meaning? Will you be remembered, or did your life pass by without the world's notice? The cast, made up of professional and novice actors, is one of the film's greatest joys. Many of the non-actors, in fact, used their actual lives and memories in coming up with their unscripted, improvised answers to the questions. Especially memorable are an almost silent old lady who collects pretty things from the garden, the little girl who chooses Disneyland as her best memory and then changes her mind, and Iseya, a street tough who refuses to choose any memory at all. Unfortunately, despite a sometimes witty script and solid premise, After Life suffers from a tediously dull pace. As the film continues on, it becomes a series of notable moments. Further on, the moments come further apart, until finally the idea has played itself out. The ending drags on with an unnecessary after-thought that adds a spirit-killing half hour to the running time. It's a shame that such an admirable effort bogs down into a disappointing, meandering whole.

It's a wonderful life
The Japanese title of this film is "Wonderful Life," and wonderful it is.

Kore-Eda uses the premise of choosing one memory for all eternity as a compelling way to explore themes of memory, closure, loss and existential meaning. The film starts out with interesting stories of unique memories recounted by actors and non-actors. A small plot develops as the story follows the case of an older, slightly arrogant retired salaryman who believes he lived a meaningful life but is having a hard time choosing his one memory. Keep in mind that people who hated this film probably prefer plot-driven dramas. "After Life" is driven by quiet observations, with a small plot driving the film's main statement.

The thing that impressed me the most was Kore-eda's representation of heaven or the after life. Kore-eda's heaven evokes and celebrates so many aspects of Japanese daily life -- the school life of children, the driving productivity of salarymen, and the quiet, contented simplicity of the elderly population. The staff of counselors at this halfway-house to eternity scrub the floors and tidy up their office first thing in the morning the way my Japanese mother remembers doing at her school in 1950s Tokyo. Like salarymen, they discuss their increasingly heavy case load and the film follows the tense timeline of their one-week deadline to recreate and film the memories. The film also captures the beauty of falling autumn leaves and sakura (cherry blossoms) through the eyes of an elderly woman with Alzheimers.

There is no idealism in Kore-eda's heaven. The staff's building looks like an old, run-down school house and the props they use to film their staged memories have a summer camp, high school production feel to it. Some of the dead change their minds about their memories, and one chooses not to pick at all. The staff is also faced with a corporate schedule and mom-and-pop resources, but things eventually fall into palce.

Oddly enough, in Kore-Eda's heaven, there is no closure. The counselors who run the place have chosen for various reasons to not pick one memory for all eternity, and they must continue on with the daily frustrations of being human. People still experience unrequited love and loneliness in heaven. Counselors pass time by reading the encyclopedia volume by volume. There seems to be little solace, except in the closure one makes for oneself by finally choosing a memory.

Kore-eda's film doesn't make any striking or profound statements about existential meaning, God or eternity. In fact, there are no evocations of God or a higher power. By singling out one memory (true or fabricated), the film almost suggests that the experience of living is really just "content" for us to draw from in deciding what the meaning of our existence has been in the end. The film benignly suggests that meaning doesn't seem to exist in its own right, it's something illusory that people create. We aren't faulted for needing illusions, it just seems to be an accepted part of our humanity.

For such a quiet film to make such compelling and powerful observations, I give it 5 stars.

One Memory
_After Life_ was one of my numerous unopened DVDs that sat upon my one of my shelves untouched by human hands but caressed by a large amount of dust. Bored, I finally decided to view it today and I was not disappointed. The plot of the film is quite simple: Individuals who have recently passed away are asked by an after life bureaucratic bureau to select one incident from their lives to take along with them to the next world as the only thing that they will remember. However, instead of taking their memories along with them in their brains, a short film is made instead.

If one is looking for a film with even a modicrum of action, this is not the film. For the most part this film has the feel of a documentary which, in a way, it actually is. 500 people were asked to relate what memory they would like to take to the next world, and the result is this film. In fact some of the "actors" in this film are not actors at all, but individuals expressing their favorites memories which includes an old man telling of when he was given water and rice by US soldiers, an old woman's memory of the dresses her older brother purchased her, and a young girl remembering how her mother cleaned her ears. There are also other individuals who feel as if they do not have any good memories so they have to search through their lives to find a spark of goodness.

A great film that not only touches on what is important to various human beings, but on how memory and fiction mingle.

...ponder your own existence while breathing.
After Life is a thought provoking film that depicts 22 individuals who have been sent to a place between the living and the hereafter. This place functions as a reflective and meditative station where three counselors are to guide the 22 characters through questions to remember their most enjoyable moment while alive. However, there is one stipulation to this task for each individual, which limits their contemplation of their memories to three days. The following step for the three counselors is to recreate the memory of each individual through shooting a film that resembles their fond memory. After Life is shot with a grainy texture and the cinematography reminds the audience of the spontaneous camera movement of documentary styled films. This is a part of Koreeda's deliberate direction as he wants to depict his brilliant vision and persuade the audience to ponder their own existence while breathing. ... Read more

Amazon.com essential video

Very few films come close to the brilliance Kenneth Branagh achieved with his first foray into screenwriting and direction. Henry V qualifies as a masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules. Branagh plays it down and dirty, seeing the bard's play through revisionist eyes, framing it as an antiwar story. Branagh gives us harsh close-ups of muddied, bloody men, and close-ups of himself as Henry, his hardened mouth and willful eyes revealing much about this land war. Not that the director-star doesn't provide lighter moments. His scenes introducing the French Princess Katherine (Emma Thompson) are toothsome. Bubbly, funny, enhanced by lovely lighting and Thompson's pale beauty, these glimpses of a princess trying to learn English quickly from her maid are delightful.

What may be the crowning glory of Branagh's adaptation comes when the dazed, shaky leader wanders through battlefields, not even sure who has won. As King Hal carries a dead boy(Empire of the Sun's Christian Bale) over the hacked-up bodies of both the English and French, you realize it is the first time Branagh has opened up the scenes: a panorama of blood and mud and death. It is as strong a statement against warmongering as could ever be made. --Rochelle O'Gorman ... Read more

Reviews (107)

Stunning
This may be the best Shakespeare film ever made. In 1942, Laurence Olivier delivered a jingoistic, stylized wartime production of "Henry V" that nonetheless stood as the standard interpretation. Nearly fifty years later, Kenneth Branagh's film appeared not only as a powerful and amazingly accessible recasting of the text, but a serious examination of the nature and the costs of the war that was Henry the Fifth's only real achievement.

Although studded with a fine array of subsidiary characters, "Henry V" is essentially a one-man play, and Branagh's performance informs and naturally influences all of the rest. His character has most of the lines, and he delivers them with a refreshing naturalism and candor that re-infuses the humor into the funny bits and cuts a lot of the potential for stilted jingoism out of the patriotic and warlike ones. If the real Henry's delivery of the St. Crispin speech was anything like Branagh's, it's no wonder the English won.

Slogging through the mud and rain of Harfleur and Agincourt with Branagh is a masterful supporting cast, including the incomparable Judi Dench as Mistress Quickly, Brian Blessed as a marvelously solid Exeter, and Ian Holm, wonderful as the irreverent and sarcastic Fluellen. On the French side, Paul Scofield's King is weary and indecisive rather than weak and mad; Michael Maloney's Dauphin is entertainingly arrogant, and Emma Thompson delivers a small but charming performance in playwright-broken English and much better French than Shakespeare likely spoke. Tying it all together is Christopher Ravenscroft, who invests the herald Mountjoy with a sympathy that extends to both sides, and a phenomenal showing by Derek Jacobi as the earnest, mocking and informative Chorus.

"Henry V" was released and went to video before the heyday of production for DVD, and as such, a "deluxe edition" has not been produced- this disc contains no making-of documentaries, no in-depth interviews with the cast, no online screenplay. But at least in this case, that's all for the best. The film is stunning enough on its own to need no such accompaniment, and its magic is thereby undiminished.

Oh, for a muse of fire...
For a first effort at feature-film direction, now-veteran director/writer/actor Kenneth Branagh provided an astonishing introduction to his many talents in filmmaking with his 1989 production, 'Henry V'. There is a gritty realism brought to the screen in this production that combines in dynamic and interesting ways with the Shakespearean dialogue and situations. The battle scenes are some of the best in cinema for depicting the kind of royal and knightly battles. A special commendation goes to cinematographer Kenneth MacMillan, art directors Martin Childs, Norman Dorme, John King, and costume designer Phyllis Dalton for combining elements of stage and screen together to complement the story perfectly without overpowering it. Indeed, the picture won the Oscar for Best Costumes; Branagh was nominated for Best Leading Actor and Best Director. The film and crew were nominated for and won many other awards as well.

One of the problems of Shakespeare on the silver screen is that the situations, settings, and acting often ends up somewhat contrived. That rarely happens here, because of this remarkable team.

The principle writing credit of course goes to William Shakespeare, but as is always the case, the play is recast to make the film medium more natural for the story. Kenneth Branagh is the one credited here, and has shown himself several times after this film as a master of adapting Shakespeare faithfully to the screen.

The play itself is one of Shakespeare's history plays -- remember the broad three categories of Shakespeare: history, drama (some say tragedy), and comedy. Like most of the history plays, there is creative license taken with the actual history, as it is invariably adapted to make the present regime look good, credible and more legitimate. This explains why Richard III in Shakespeare is far more villainous than in actual life; in Henry V, the country had a great and (for the period) uncontroversial hero - the last king of England to be acknowledged the dominant power in Britain and in France, succeeding in unwinnable situations, and, as befits a good historical hero, dies young before he has the chance to destroy his image. The play has always been popular in times of national crisis - see Olivier's production of Henry V during World War II depicting the king as a national saviour against continental foes.

The action of the play and film turns on the legitimacy of Henry's rule in France (an issue still for Elizabethan audiences, as Elizabeth was crowned with supposed rights to France). The French are depicted as haughty and disdainful of the young king (interesting how some things don't change), and the battle lines are drawn. The film here sets the stage for a far more ambiguous justification for war than is often depicted in the play, leaving the viewer wondering if, for all the glory of the battles, was there a real point, or was it legalistic/diplomatic trickery?

There is also the interesting scene with the conspirators against the king, unmasked as the forces are about to depart for France. Cambridge, Scrope and Grey are exposed, but the dialogue and acting hints as a more intimate relationship with Henry V - possibly this references obliquely the rumours of homosexuality, or at least bisexuality, in the historical Henry.

The players are excellent here, from Branagh himself as Henry V, and Brian Blessed his strong right arm Exeter. Paul Scofield (Thomas More in 'A Man for All Seasons') plays the ancient French king, Charles VI, and his son the Dauphin is played by Michael Maloney. This is, on the whole, a rather 'young' film, as Branagh himself was not yet 30 at the time of production, and most of his aides and friends in the play are similarly young, save for a few senior advisors. Emma Thompson, a staple in Branagh's films, plays the only significant female role, the princess Katherine, to whom Henry will be wed. Her part is almost entirely in French. Her maid, Alice, is played by Geraldine McEwan (perhaps best known from 'Mapp & Lucia').

The famous speeches here are preserved; Branagh does a fantastic job with his spirit-raising monologue for the troops prior to the battle of Agincourt, on Crispin Crispian day. The speech on horseback in the early seige of Harfleur, 'once more into the breech!' is also remarkable. The lines delivered by all the actors are done with care and precision - Exeter's report to Henry at the opening ('tennis balls', said with great sneer) and to the French party ('scorn', said with so much scorn the word need not be spoken) are but a few examples of this.

The film expands upon the play's use of Falstaff's companions as a comic relief, by incorporating what would be flash-back scenes from events in the Henry IV play cycle, premonitions of events currently in the play. Robbie Coltrane turns in a good performance as Falstaff; look for Judi Dench in a minor role as the Mistress, and a very young Christian Bale as the boy.

The music for the film is triumphant, foreboding and dark. This is a wonderful score produced by Patrick Doyle, known for work on other Branagh films such as 'Dead Again' and 'Much Ado about Nothing', as well as other films such as 'Indochine' and literature-based films like 'Gosford Park' and 'Great Expectations'.

Derek Jacobi, veteran Shakespearean, portrays 'Chorus', the narrator of the action, one who casts the right spirit from beginning to end, and appears throughout. There are few Shakespearean asides done by the actors here (a few under-the-breath comments that might qualify), but Jacobi's role is always directly to camera, directly to us as the spectators. The ending portrayed by Chorus is both victorious and tragic, much as the cycle of history must be.

This is a glorious film.

Great Film, Less than Great Transfer
Kenneth Branagh's splendid Henry V is the best Shakespeare film of the last forty years. Unfortunately, the picture quality of this DVD is only so-so. MGM really needs to do a better job than this.

"Cry Harry! England! And Saint George!!!"
Kenneth Branagh is truly inspired. As both the director and lead actor he is simply superb. Of all the Oscars this was nominated for, including Best Actor and Best Director for Branagh, all it walked away with was Best Costume Design. The costumes are great, by the way. But what makes this film work is the authentic emotional element that all the actors bring to their roles. Tears fall, hearts soar, and blood flows! This is easily my favorite film from director/actor Kenneth Branagh. There is a huge cast of name actors, such as Ian Holm, Judi Dench, and Emma Thompson, and all acquit themselves with honorable performances worthy of singular recognition. There are complex tracking shots and finely tuned film editing, all adding to the immense grandeur that envelopes this film. It is easy for me to recommend this outstanding Shakespearean adventure. If you love Shakespear, this film is an absolute necessity for your collection. Thank you.

This blessed plot, this earth, this realm, this England....
From various reference sources, in brief, here's the historical background both to Shakespeare's play and to this film. Henry V, the eldest son of Henry IV and Mary Bohun, was born in 1387. An accomplished and experienced soldier, at age fourteen he fought the Welsh forces of Owen Glendower; at age sixteen he commanded his father's forces at the battle of Shrewsbury; and shortly after his accession he put down a major Lollard uprising and an assassination plot by nobles still loyal to Richard II . He proposed to marry Catherine in 1415, demanding the old Plantagenet lands of Normandy and Anjou as his dowry. Charles VI refused and Henry declared war, opening yet another chapter in the Hundred Years' War. His invasion of France served two purposes: to regain lands lost in previous battles and to focus attention away from any of his cousins' royal ambitions. Henry possessed a brilliant, strategic military mind and defeated the French at the Battle of Agincourt in October of 1415. By 1419 he had captured Normandy, Picardy, and much of the Capetian stronghold of the Ile-de-France.

By the time the Treaty of Troyes was signed in 1420, Charles VI not only accepted Henry as his son-in-law but passed over his own son to name Henry heir to the French crown. Had Henry lived a mere two months longer, he would have been king of both England and France. However, he had prematurely aged because of having lived the hard life of a soldier, became seriously ill, and died after returning from yet another French campaign. Catherine had given birth to his only son while he was away but Henry died without ever seeing the child.

The historian Rafael Holinshed, in Chronicles of England, summed up Henry V's reign as follows: "This Henry was a king, of life without spot, a prince whom all men loved, and of none disdained, e captain against whom fortune never frowned, nor mischance once spurned, whose people him so severe a justicer both loved and obeyed (and so humane withal) that he left no offence unpunished, nor friendship unrewarded; a terror to rebels, and suppressor of sedition, his virtues notable, his qualities most praiseworthy."

It would be a disservice to compare and contrast this film with the version which Laurence Olivier directed 45 years earlier. Each has its own unique strengths and both are worthy of high regard. When Shakespeare's play and this film begin, newly crowned Henry V (Branagh) attempts to resolve animosities between England and France. When those efforts fail, he and a small army invade France and defeat the French troops at Agincourt. Branagh brings to the role exceptional energy and dramatic impact, most evident in two scenes: when he delivers his St. Crispin's Day speech just before heading into battle and then afterward as he rides amidst the carnage, carrying a dead boy across one shoulder. The resources and technologies for special effects available to Branagh were far more abundant than those available to Olivier. Branagh makes the most of them, recreating the gore and grime of Agincourt with a series of indelible images. (I suspect that Mel Gibson carefully studied the tracking sequence when preparing to film Braveheart.) The acting throughout is first-rate, notably Paul Scofield (King Charles VI), Judi Dench (Mistress Quickly), and Ian Holm (Captain Fluellyn). Sir John Falstaff does not appear in this film version (as he does in Olivier's) and scant attention is paid to the "corrupting influences" in Prince Hal's "decadent" youth. Branagh focuses primarily on the human dimensions prior to and following the magnificent military victory at Agincourt. It is also a pleasure to observe Branagh's interaction with Emma Thompson in her role as Katherine. The "word games" courtship scene is delightful.

This is a visually stunning and emotionally stimulating tribute to Henry V and his warriors, of course, but also to the country which produced such men:

This royal throne of kings, this sceptred isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall
Or as a moat defensive to a house,
Against the envy of less happier lands,-
This blessed plot, this earth, this realm, this England.

(Richard II, Act II, scene 1) ... Read more

Reviews (339)

One of the greatest films ever.
I think this film is a masterpiece. Luc Besson has beautifully directed this achievement and it is probably his best film (Fifth Element aside). The best thing about this film is the different emotions you feel. You feel hatred, happiness, worry, and sadness all for one character. Leon is a professional (hence the title) cleaner, or hitman. He is a very alone person who has no friends. He does have a soft spot for the 12 year old girl Mathilda(wonderfully portrayed by Natalie Portman). When Mathilda's family is killed, she stays with Leon, but she wants revenge. Leon begins teaching her the tricks of the trade which provides some very funny moments. They begin to get very close, and he feels love for the girl. I will not ruin the whoile story for you but it really is a must see.Jean Reno was born for this part and Gary Oldman plays the eccentric bad guy very well. This movie does have some explosive action scenes, but it is really more of a drama. Yes there is a directors cut which in my opinion isn't much better than the regular and the regular is 10 bucks cheaper. Buy this film either way and you will be wonderfully happy with your purchase.

Best Film Ever Made. Natalie Portman is Perfect.
This movie has, what I beleive, the best performance from a child actor ever, from a 12-year-old Natalie Portman. Her character Mathilda shows the innocence of a kid, and the depth of a person out for revenge. Why she didn't get an Oscar is beyond me. And this was her first movie.

The story is really good. A hitman named Leon (Jean Reno) helps a girl named Mathilda after her family is shot down by corrupt DEA officers led by Norman Stansfield (Gary Oldman). When she finds out about Leon's job as a "cleaner" she asks to be trained as a hitman to avenge her little brother's death. Despite Leon's concerns he teaches her anyway, but over the course of his teachings, Mathilda develops feelings for him. This is something the uncut version explores a little deeper.

I suppose some of the scenes were taken from the American release for their subject matter. A scene where Mathilda wants to take her love for Leon to the next level really gives a good insight into Leon's past. It dosen't lead to anything between the two, so I don't see why they cut it. Other scenes included are Leon giving Mathilda some on the job training when he goes on his hits. I can see where some groups in America could have protested that, but it makes their relationship more deeper and complex.

An outstanding film, you really should see this version to get the whole story. I highly recommend it, it is my favorite of all time. Luc Besson's masterpiece can be fully appreciated on this release. I've been hearing rumors about a sequel in the works. I can only pray it's true, but this film is a tough act to follow.

Natalie Portman in her best role!
I don't usually like to watch movies about hit men or cops and robbers. I remember I got interested in this movie because of two things: Luc Besson's movie the Fifth Element, which was so wildly different and fascinating that I wanted to see what else this French director had done; and secondly, seeing Natalie Portman for the first time in the Star Wars: Phantom Menace movie.

Behind all of the dense make up and bad script and horribly non-existent directing from George Lucas in Phantom Menace, I sensed in Natalie Portman one heck of a terrific young actress struggling to come up with a meaningful performance. In "Leon - The Professional", working with a superb director, her acting talent is on full display.

When one thinks of modern day child actors, Anna Paquin comes to mind, in "The Piano", because she aced out some terrific adult actresses in 1993 to win the Oscar. Well, Natalie Portman, at age 12, had Anna Paquin beat by a mile in this movie, since her character takes up about half of the movie. If not for the truly unusual and off-beat story line of this movie, Portman would have gotten a lot more attention for her role in this movie, I think.

If you just focus on Portman's facial expressions and the way she carries herself in this movie, she goes through an amazing acting range in this movie, from hurt, terrified, bored, stuck up, cool and calculating, manipulative, sweet, child-like, and pubescent sexual allure.

As mentioned by other reviewers, the uncut version restores scenes that basically give a harder edge to Natalie Portman's character. The additional scenes of her assassin training with Leon and her efforts to attract and get closer to Leon definitely put her character in a harsher light. I remember from my first viewing of the cut U.S. version that Mathilda came across as a much more sweet and innocent child. The uncut version shows her more to be a hardened child of the mean streets of New York. Given the usual Hollywood propensities, it's not that surprising that these scenes got cut for the U.S. release. The uncut version does show the fullest acting range of Natalie Portman, even if they make her character less sympathetic.

Basically, the movie skates close to, but avoids the pedophilia controversies of the "Lolita" movies by having the character of Leon adhere to a strict code of ethics that firmly blocks all of Mathilda's advances. Even at the end, when he kisses her good-by and says that he loves her, it is clearly in the vein of being her protector and a big brother/father surrogate figure.

All in all, this was a great movie. Jean Reno was just so hauntingly sad as the loner-assassin Leon. Gary Oldman was definitely over the top in his portrayal of the crazed DEA agent - you almost expected his Dracula fangs to come out and his eyes to glow red when he popped those pills into his mouth.

So all of you Natalie Portman fans, this movie is a definite must-see. All of you Phantom Menace/Attack of the Clones haters who think that Natalie Portman can't act, you've got to see this movie to understand that no, Natalie Portman is a terrific actress. It's just really, really tough to play opposite total stiffs like Hayden Christiansen and Jake Lloyd, working with an idiot director like George Lucas.

Got Milk?
There's hardly anything I can say that will do justice to the splendor of 'Leon - The Professional'. The insanity of both the action sequences and Gary Oldman's performance... the touching love story of 2 lonely outcasts... the fantastic cinematography... the heart-breaking tragedy... the pulsing score... the violent life of a shy, milk-drinking, plant-loving hitman... the soul of an innocent little girl... the blistering, chaotic, blood-drenched fury that lives in all 3 of these characters...

...Wow...

...It's just a vortex of beautiful destruction. All these things crammed into one amazing film. A remarkable cast giving remarkable performances, and a very visual director shoving this seething powerhouse of a film right in our faces...

Like I said, there's nothing I can say. So, just believe me when I tell you that this is a very great film.

Great cinematic masterpiece
REALLY GREAT! IT WAS DONE LIKE A FOREIGN FILM, BUT I REALLY LOVED THE WAY IT WAS DONE. AND THE ACTING WAS GREAT! ... Read more

Reviews (73)

An Awesome, Mind-Blowing Film!
Wim Wender's best film is a glorious cinematic experience, a film that dazzles the eye, challenges your mind and touches your heart. In other words, a rarity. No other film that I can think of (save perhaps Woody Allen's Manhattan)better captures the spirit and feel of city than this one's portrait of Berlin does. The film follows two angels who roam around Berlin listening to the thoughts of people and observing, only observing. Except for young children who can sense thier presence, the angels remain invisible to everyone and cannot intervene in earthly matters. When one of the angels (Bruno Ganz) sees a trapeze artist(Solveig Dommartain) in a small circus he becomes entranced and eventually falls in love with her. So much that he yearns to give up the eternal life and become mortal to be with her. Oh, but there's so much more to this film than this sketchy summary. This is also a film about a city, the once divided Berlin and its past. Its about loneliness and alienation, about what it means to be human and so much more. This is just a wonderful film, the best movie released in the 1980's. I've seen this countless times and I never tire of watching it. There are moments in this film that will always stay with me: Ganz's angel perched on the shoulder of a statue, the angels congregating in the Berlin Library, the angels comforting a suicide victim, the brief flashes of color as Ganz becomes more and more human, Peter Falk, Nick Cave and The Bad Seeds, and so much more. This needs to be released on DVD now. A GREAT film.

Poetry In Motion Picture Fairy tale Dream a Rant
This is a beautiful film by Wunderkind directer Wim Wenders... The leading Angel in this film is nothing short of the face of Kindess. And the beautiful cinematography blended with the poetic narrations make this flowing story one of the most beautiful glimpses into film magic you will ever witness. The story almost feels like Hans Christian Anderson's the Little Mermaid only with Angels instead of Fish-Tail Folk. The American Remake of this film is an excellent movie to watch side by side so one can see the difference betwen what film should be and what Hollywood does to poetry... it makes it commerce. Witness the addition of hundreds of Angels instead of two - add flowing trenchcoats, sunglasses , and set it in Los Angeles instead of Berlin... also make your leading lady a Doctor instead of a Circus Carnie(must be politically correct) I have nothing against the strong performances of Meg Ryan and Nicholas Cage... but come on Hollywood - you aint got nothin on Wim Wenders - You'll probably read reviews of WINGS OF DESIRE that mention this Magic Phrase from the ...Critics' box 'o magnetic words... Well it's an "art" film ... and what may I ask is film but anything else? Film is an artform - but Witness City of Angels in comparison to Wings of Desire - We are HOLLYWOOD we have come to turn your German Uber Art into ...COMMERCE - yes that is the true meaning of an ART FILM a film that is true to the beatuty of the media... but alas couldn't possible be understood by the average American spoon-fed Consumer...amen to the Holy Roman Empire - take us Out if you can...and that's all I have to say aboot that.

EXISTENTIALISM MEETS EMOTIONS IN THIS GORGEOUS ROMANCE
What an absolutely haunting delight. With its introspective pacing, which some may find slower than their cinematic taste allows, the film takes its own sweet time setting things up but it is one of the most mind-boggling romantic tropes you will see in cinema.

In the end it's not just about requited loves and hopes, it also carries a heady undercurrent of other notions: displacement and the natural yearning for emotional connections that transcends humans; the unification of a divided Germany and of a divided race; and, probably above all, about the universality of cinema and its ability to allow people to live multiple lives (from multiple cultures) at the movies.

When I first saw this, I thought the film's fatal flaw was its anti-climactic conclusion. Now I realise that it may be the best part of my favourite film of all time.

One caution to buyers about the DVD. Many bits of the film are in German, but my DVD had no subtitles. All the gorgeous imagery (in noir-ish black and white) was thus somewhat frittered away.

But it surely did make me want to see what Berlin must really be like. If you like your movies laid-back and reflective, this comes highly recommended from me.

The ultimate art film
One of the most touching films created by Wim Wenders, Wings of Desire follows two angels, one of whom decides that his love of a woman is worth more than his heavenly life watching over the recently reunified Berlin. Wenders takes you from the black-and-white world of the angels to the multi-colored world of the inhabitants of earth and challenges you to think about life and love and the important things in life. Touching cameo by Peter Falk. A moving film.

The Sky Over Berlin.
It's ironic that so soon after Wenders shot this film in Berlin (a film about seperation and the search for unity), the wall would come tumbling down. The only entities who can transcend the wall in this movie are the angels, who are nothing but pure consciousness. The original German title for this film translates as 'The Sky Over Berlin' and I certainly think it is more apt than the English one that was chosen. For it is only the sky above their city that unites Berliners each side of the wall. The angels imprisonment in the spiritual world is undoubtedly in my mind, a metaphor for the political set-up in Berlin at that time. Whether it be West Berliners imprisoned on all sides by the communist East or the East Berliners imprsioned from the decadent freedoms of West Berlin.

The angels themselves were banished to Berlin in 1945 for questioning God's intentions. As a city at the apex of 2 world wars and a cold war, there is probably no better choice in choosing it as a symbol of our century. Wenders use of documentary footage from the end of the 2nd world war is frightening in its portrayal of a city's damaged past. A past of confusion and despair that still marks the city's people through their ongoing frustrated desires.

In order to retain some sense of his original 'poetic' vision, Wenders refused to finalize a shooting script before he started filming. As a result he relied on a mostly spontaneous film shoot as well as a lot of improvising from his actors. ... Read more

Reviews (67)

Beautiful! You'll love it!
This could be the most beautiful, unique, romantic movie ever made. Every bit of dialogue is sung (but there are no "musical" numbers), and it's filmed in VIVID pastels, beautifully restored in this print (the film was originally released in 1964, and was the Cannes Film Festival Grand Prize winner). In French, with English subtitles, Letterbox (1.66:1, so it looks fine even on a small TV). Young girl (Catherine Deneuve, radiant in her first film) who works for her mother in an umbrella shop, "Les Parapluies de Cherbourg" - hence the title - and young garage mechanic (Nino Castelnuovo) swear their undying love for one another, he goes off to war, she finds herself pregnant, and she must make some decisions which will forever affect the lives of at least four people. Underneath its beautiful and lighthearted look and feel is a very serious and moving story. The entire word-for-word/song-for-song soundtrack/dialogue is also available on 2 audio