Description

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

Reviews (83)

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

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

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

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

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

Description

After a decade of battling in the Crusades, a knight challenges Death to a fateful game of chess. More than forty years after its initial release, Ingmar Bergman's stunning allegory of man's apocalyptic search for meaning remains a textbook on the art of filmmaking and an essential building block in any collection. Criterion is proud to present The Seventh Seal in a pristine new transfer. ... Read more

Reviews (109)

Death and a masterpiece
After ten years in the crusades, Antonius Block (Max von Sydow) returns to his homeland with his squire (Gunner Bjornstrand) to find it is blackened with plague. Upon his return he is faced with a meeting with Death and the realization of his ultimate fate. The clever knight prolonges his destiny by challenging Death to a game of chess. Through the film Antonius strives to find the meaning of life and the existence of God. The story is joined by several other intriguing characters played by many of the familier Bergman Actors and Actresses.
Truely a masterpiece by Swedish director Ingmar Bergman. This film displays the true soul of man and his ignorance and acceptance of his existance. I was particularly marveled by the contrast between the beliefs of the knight and the squire. Whenever Antonius' search for faith became too ambitous, his squire always levels him with reality. Through the charcters of the film, Bergman shows us the living fabric of man's contradicting natures and ambiguous answers to life. As an avid film viewer I strongly recommend this film to serious movie spectators. This DVD is truely a treat as all the films in the Criterion Collection. The transfers are considerably noteworthy. If you have already seen this film and found that it was enjoyable, check out other Bergman films or look into some of the other Criterion titles.

A Compelling, if Somewhat Dated, Classic of Existentialism
I recently watched the Criterion edition release of this film, The Seventh Seal, with some friends. Although the film's techniques -- innovative and startling in 1957 -- are somewhat cliche today, the film still packs a powerful message, which is that although we cannot know if God exists, it is still possible for us to perform meaningful acts in the time allotted to us.

The story focuses on the story of a Swedish knight, Antonius Block, returning to Sweden from the Crusades -- played by the ageless Max von Sydow. The knight and his squire, Jons, are on the way home through a land ravaged by the Black Plague. On a lonely beach, the knight encounters Death, played with admirable restraint, and a good dose of dry humor, by Bengt Ekerot. Before Death claims Block's life, the knight challenges him to a game of chess -- if Block wins, he goes free; otherwise, when the game is over, Death will come for him. In that Death is busy, the game is renewed throughout the movie.

The movie also focuses on a troupe of actors who are traveling along the same road as the knight. Block knows that Death plans to come for the young actor and his family, and by prolonging his game with Death and thereby distracting him, he enables the young family to escape.

The movie, although obviously shot with a very small production budget and featuring a very minimalist approach (it could well be a stage play), is haunting -- one thinks about the movie's simple lessons for days afterward.

The film has often been parodied -- by Woody Allen in Love and Death, or in the recent "Bill and Ted's Bogus Journey" where Death is forced to play games such as Twister and Battleship with the film's heroes -- but it is still well worth watching.

The Criterion edition features both a Swedish and English-dubbed soundtrack, as well as a commentary track from a noted film critic.

An amazing and thought provoking movie.
This film is absolutely amazing. It is one of the few movies I watch more than once or twice.
It is an achievment in style. The film manages to look amazing by virtue of Bergman's skill with lighting and cinematography alone. Especially compared to the big budget, color Hollywood titles of the time (such as The Ten Commandments) which look plastic despite their "special effects" and use of color (this film is black & white).
The subject of the movie is man's search for the meaning of life and the question of whether or not God exists. The film is both thought-provoking and blunt in its presentation of this subject and the answers which Bergman provides are suprisingly blunt.
The DVD quality is great, as it always is with Criterion Collection DVDs, and Peter Cowie's commentary is particularly good.

However, I will admit that this film is not for everyone. It also seems to require (for me anyway) one to be in a certain "mood" to view it. If you want to simply be entertained then this is not a film for you, but if you want to view a skillfully directed and wonderfully thought-provoking (if a bit dated) film then go for it.

The silence of God!
Ingmar Berman(1918) established a challenging premise a chess mate between a knight from the Crusaders and the Death (Bengt Ekrot). If he wins, he'll live ; otherwise the Death will claim him . And this original duel happens after Sydow has left behind the misery, the plague and an unending war. He's deeply dissapointed with God and certainly he concludes that it doesn't exist.
This game will let exchange , scrutinize several ideas concerned with the faith , the silence of God and its own existence. God is a comfortable idea for the mankind ; it keeps them warmth , besides the man can dream with the hope of a celestial Paradise after this journey through this awful and miserable world. The ending sequence with the Dance of the Death is one of the most captivating and fascinating images in all the cinema story.
Many people state this is the Masterpiece : and obviously to me it's one of the three major achievements ; Persona and Cries and Whispers would be the rest .
But I've watched almost forty films of this brilliant swedish film maker and in his particular case ; a minor film from Bergman is above the average . So my advise is try to find out and watch all you can from this outstanding director.
This film won the Special Jury Prize 1957.
A timeless cult movie.

Absolutely Brilliant
A profound, affecting movie. Excellent dialogue and performances. Stark black and white cinematography. One of Bergman's greatest films. In fact, one of the greatest films of all time. ... Read more

Amazon.com

Some movies can only be described as delicious. In Babette's Feast,a woman flees the French civil war and lands in a small seacoast villagein Denmark, where she comes to work for two spinsters, devout daughters ofa puritan minister.After many years, Babette unexpectedly wins alottery, and decides to create a real French dinner--which leads thesisters to fear for their souls. Joining them for the meal will be aDanish general who, as a young soldier, courted one of the sisters, butshe turned him away because of her religion. The village elders allresolve not to enjoy the meal, but can their moral fiber resist thesensual pleasure of Babette's cooking? Babette's Feast deservedlywon the 1987 Academy Award for Best Foreign Language Film. This lovelymovie is impeccably simple, yet its slender narrative contains a wealth ofhumor, melancholy, and hope. --Bret Fetzer ... Read more

Reviews (81)

5-Star Meal, 5-Star Cinema
The feast of the title doesn't take place until well into the film. In fact, the majority of the film is spent telling the story of 2 godly sisters and the choices they made in life. Both sisters passed up true love and the promise of success in order to remain faithful to their religious beliefs. Instead they pass their lives assisting their minister father and carry on his work after his death. They continue their quiet lives past mid-life until one of the sisters' former suitors sends them a Parisian refugee, Babette. Babette spends 14 years with the sisters as cook, her only link to her former life being a lottery ticket that a friend in Paris renews for her every year. One day she wins the lottery and decides to use the money to prepare a sumptous dinner for the sisters and their small congregation. More than just an epicurean delight the feast is an outpouring of Babette's gratitude.

If the plot sounds thin, be assured it's anything but. The story is as rich and satisfying as the feast Babette prepares. We see the delicate romances that develop for each sister and understand their reasons for turning their suitors away. We see the lives the sisters, and their men, have led after making their decision. The feast comes at a time when the sisters are asking themselves questions that they never voice: Did they make the right decision all those years ago? Was it worth it? Reassurance comes in an unexpected and exquisitely romanitc way.

This film is such a wonderful example of what happens when filmmakers are interested in telling a good story and telling it well. It doesn't follow a 'formula' or cater to a demographic and is a perfect example of why independent and foreign films are so much more satisfying than Hollywood movies.

Splendid Film Can Leave You Ravenous!
My friend Susan and I wanted to see this film when it premiered at the Cleveland International Film Festival. However, we both kept reading that everyone left the film absolutely ravenous for food after visually feasting upon sublime course after course for 2 hours. Thus, when we saw that an excellent French restaurant would serve us the entire meal just prior to our seeing the film, we decided to go for it. The food was absolutely out of this world and we showed up for the film well stuffed. We were thus able to really enjoy the quiet pleasures of the film where Babette, taken in by two elderly sisters in a small village when in dire need, shows her gratitude and love for them by preparing this feast when she wins the lottery. We, of course, learn everything we need to know about the lives of the sisters and Babette as the feast progresses. This film deservedly won the foreign film Oscar. For those who complain that foreign films are too depressing with bleak endings, you will find this a powerful life-affirming film and contrary to any bleak expectations regarding foreign filmmaking.

A beautiful story of spiritual love
This is truly a spiritually uplifting film. The woman, Babette, becomes maid and cook for two older women in a Danish village. By the time she comes into the tale, you know the story of the two women. She becomes one of the family, and then a miracle happens and she wins the lottery. Her thought then is to cook a feast in honor of their deceased minister father, a feast which these people have never dreamed of, something completely different from the plain simple cooking they're used to.

There is much more than that in the film. The two women are such that it seems sinful to have a lavish gourmet dinner. The feast sequence is a long, lovingly developed treat for the eyes. And of course, we realize that Babette is up to a bit more than just providing a sumptious feast.

Underneath, the film is telling of a joyous spirit who responds to good fortune by using it to show her love, to do something that will actually endure long after the food is gone.

Much has been said by others about this film, so I content myself with pointing out the deep spiritual feel here, the contrast of the love that Babette shows with the piety of the village, and the example she is of the love for others and for life.

This is a film not just to see, but to experience. And you will find it a glorious experience.

An eternal celebration to the friendship!
Babette is a film which inspires you to to be a better person. It's a splendid story about the last possibilities of a lonely human being as Stephane Audran is capable to do in a community.
The multiple readings you can make are countless ; the camera is a silent witeness to show us the unforgettable dinner in what Audran makes a tour de force acting. We had to expect thirteen years for finding out a similar film in its meaning: Amelie in 2001.
The question is not if you must to acquire this movie ; but how can you live without this one?
One of the ten movies from the eighties : A timeless gift from Dennmark to the whole world.

Do yourself a favor and watch this movie - then share it.
I don't know about you, but I LOVE to have experiences that just fill me with joy. Even better, if it's an experience that is easily shared, I like sharing it with my friends and loved ones. This film is one of those experiences. This DVD is an excellent transfer and you can just SMELL the feast that Babette is cooking up in the centerpiece of the story. But the story isn't about the feast any more than "Casablanca" is about a city in Morocco. The story is about sacrifice and friendship and honor. Many characters in this film make difficult choices during their lives, and although you don't necessarily see regret over and over, you can plainly see silent reflective thoughts about "what might have been".

If movies are shown in heaven, I would guess that the group of angels gathered in front of the current showing of "Babette's Feast" is a large one. ... Read more

Description

From the creators of the box office smash "Chicken Run" and "Wallace and Gromit" comes "Creature Comforts," an amazing collection of clay-animation shorts from world-famous Aardman Animations. It's a Zoo's-Who of fun! Clay animation animals comment on life at the zoological gardens in "Creature Comforts," winner of the 1990 Academy Award for Best Animated Short Film. Then meet "Wat's Pig," the 1996 Oscar-nominated tale of knights and daze involving two brothers one raised in royal splendor, the other by a kindly pig. In the darkly hilarious "Not Without My Handbag," a dear, deceased Auntie makes the ultimate fashion statement she won't stay in Hell without a proper handbag. And lastly there's the story of "Adam" (1992 Oscar-nominee for Best Animated Short Film), a whimsical in-the-beginning tale about a little clay and a lot of imagination. ... Read more

Reviews (51)

Great potatoes, but very little meat...
From Aardman Animation Studios, creators of Wallace and Gromit and Chicken Run, come four wonderful animation shorts.

The first, Creature Comforts, winner of the 1990 Oscar for Best Animated Short Film, is cute, as various zoo animals are interviewed on what it's like to live in a zoo. This one contained some of the funniest moments of the four shorts on this disc. This short runs about 6 minutes.

The second short, Wat's Pig, is a story of two brothers born into nobility and separated at a young age, one becoming the ruler of a kingdom, and the other a poor peasant, and what happens when a neighboring kingdom decides to declare war. This one runs about 11 minutes.

The third short, Not Without My Handbag, is a darkly humorous tale, which is, as other reviewers put it, in a rather different style of animation than the other three shorts. The style and story line reminded me a lot of Tim Burton's The Nightmare Before Christmas. Due to the darker humor of the subject matter here, it may not be appropriate for younger viewers. This one runs about 11 minutes.

The final short, Adam, is a funny look at the first being created, and the problems he must face in a rather limited environment. This one runs approximately 6 minutes.

In all, there is about 35 minutes of material here (no extras), and even at a seemingly lower price, one must consider if it's worth the money. I did enjoy all the shorts, but I do wish they could have included more, even if it meant a higher cost. I would have liked seen these included as extras on either a Wallace and Gromit or Chicken Run DVD, but to release so few on one DVD seems a little wasteful. I feel like I've just had the appetizer, and now I am waiting for the entree.

Good, but not in the "Wallace & Gromit"/"Chicken Run" level
This DVD includes four shorts from the company that produced the Wallace & Gromit shorts. These are:

1) Creature Comforts - directed by Nick Park, this short is only five minutes long. It is a funny concept: animals are interviewed at a zoo, and they talk about the advantages and drawbacks of captivity. This, however, gives no space to the excellent action scenes that charactherize Park's best work. It is just the animals talking in front of the microphone.

2) Wat's Pig - this one narrates the story of two brothers separated at birth: one ends as king, the other is raised by a pig. There is no payoff here at the end.

3) Not without my handbag - this one is weird, in the line of Beetlejuice. Some people say it is a little scary for small children. I don't think is scarier than other cartoons in TV. This is the funnier of the lot.

4) Adam - a small (and naked) man in a small planet, "a la The Little Prince", while his creator (God) works on him. Interesting, and more in line with the visual humor that we expect.

Somes notes regarding the price. Ten dollars sounds cheap for a DVD disc but consider that it is only 35 minutes long, it is not close captioned and lacks any extras. The transference, as noted by other reviewers, is not great (while maybe better than VHS, but that is expected).

I will recommend this disc only to the die hard fans of clay animation.

Zoo gets 5, the rest bring it down a notch!
I first saw Creature Comforts as a fill in on PBS. Many years have passed and I still recall the polar kid asking if it was ok to eat the interviewer.

The juxtaposition of the creatures of our Earth having such a clear image of human (and arn't they) lives is beautiful.

Seemingly trapped to the day and yet somewhat content in their memory of what has, might have, or may be.

Lovely! Thanks, Nick.

So-so
While "CC" and "Adam" are modern masterpieces, it seems the other, weaker shorts included on this release are merely there to pad out the DVD. Still, the price is very reasonable

Cheap Presentation
While considerable time and money were spent producing the four short films presented on this DVD, very little went into producing the DVD itself - and it shows.

Individually, the four shorts are nice, although the vocal tracks are muddy and overpowered by the musical soundtrack in places. Closed captions or subtitles would have been helpful, but they aren't included.

Unfortunately, you can't watch the features individually. Even though there is a "Play All" option on the menu screen, if you start with "Creature Comforts" all four shorts will play.

"Creature Comforts" is the best of the four, but because of the poor sound it also suffers the most. With no commentary track or making-of bonus feature the irony of the interviews (talking with kids about zoos and seniors about retirement homes) is lost.

"Wat's Pig" - with its minimal dialogue - comes across nicely, although the parallel storylines can be hard for younger viewers to follow. As with all four of the films a commentary or making-of feature would have been nice.

"Not Without My Handbag" has a good Tim Burton-esque style, but unless you're prepared to discuss the afterlife, the underworld, or the intricacies of contract law, it's not really appropriate for younger viewers. This is where the individual-play bug in the main menu is most apparent, as you have to manually stop the DVD after "Wat's Pig" (or hit the Skip button) to avoid this one.

"Adam" is my second favorite, and with its minimalist soundtrack it comes across the best of the four. Yes, there is cartoonish nudity. No, it doesn't conform to the Biblical chain of events. Nevertheless, it is a very witty story with three or four big laughs in its brief play time.

Ultimately, this DVD is worth less than the sum of its parts. Wait for something better to come along. ... Read more

Description

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

Reviews (90)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

One of the most nerve-wracking and exciting films ever made, Henri-Georges Clouzot's masterpiece won the Grand Prize at the 1953 Cannes Film Festival. An American oil company enlists four tough drifters for a high-paying suicide mission-transporting explosives across the rough terrain of Central America. Criterion is proud to present Wages of Fear in its original 148-minute version. ... Read more

Reviews (49)

Not for the weak minded...
"The Wages Of Fear" by director Henri-Georges Clouzot is a classic example of an action/suspense film for the thinking man. Filmed almost fifty years ago, the story and cinematography hold up well, much better than those of many American films that were produced during that time frame, c. 1955.

The story: Four drifters (presumably in exile from native France) are hired to drive two tanker trucks of nitro glycerine through rugged South American terrain in order to to extinguish an oil well fire. In the series of events that follows, the four encounter a variety of circumstances that threaten to end the road trip and send them to kingdom come.

"The Wages Of Fear" is not the sort of film that you'll see on "Dinner and a Movie"; The landscape, the cast and the ensuing events as portrayed in the movie typify a sort of squalid existence that most people, fortunately, never have to deal with. "The Wages Of Fear" is most definitely NOT a "date" film.

The film is french, in glorious black and white, with subtitles and some spoken english. Yves Montand and Charles Vanel give solid performances, as do Peter van Eyck and Folco Lulli. The direction of Clouzot helps to wonderfully illustrate the unfolding story of the four, and is simply outstanding.

A previous reviewer mentioned that a 1977 remake, William Friedken's "Sorcerer," is also a good film. He's absolutely correct; it is. However, "Sorcerer," was filmed in color, not black and white. And because the film's spoken language is English, the tone of the film is a little different. "Sorcerer" is a little bit softer around the edges, and not as dark.

"The Wages Of Fear" isn't a film that I'd like to watch on a regular basis - it is a rather dark film. However, it is worth seeing more than once. It's an impressive film.

Cult French production sees four men risk their lives...
Highly celebrated French film by director Henri-Georges Clouzot has achieved near cult status amongst fans of intelligent, psychological drama. Impressive black & white 1953 production excels in it's microscopic view of four personalities under intense pressure to succeed in a deadly quest.

Well known plot concerns four down & out drifters in isolated South American village accept $2,000 pay check's to transport two trucks loaded with nitro glycerine to extinguish oil well fire. Obstacles abound on their perilous quest with precarious mountain roads, dangerous landslides, burst oil pipes, ageing equipment and clash of personalities amongst motley crew. Yves Montand (Mario) & Charles Vanel (Joe) lead an engaging cast as reckless men with nothing to lose...except their lives. Marvellous support performances given by stern Peter van Eyck (Bimba) and animated Folco Lulli (Luigi) as the second crew of foolhardy truck drivers.

Seems unusual for Criterion to not accompany this release with additional materials...as is usually their style. Transfer to DVD is very good, except for occassional appearance of vertical white line at different stages of the film. Sound is crisp and clean too !

A suspenseful, perspicacious film that definitely possess's it's own distinct approach...film afficiando's will not be dissappointed by this fine production.

Unforgettable Film
"The Wages of Fear" is considered one of the truly great films. It not only delivers terrific suspense and excitement, it is also a rather telling comment on the human condition. Some drifters are trapped in a hot, bug-infested South American hell-hole. They are out of luck, out of money and seemingly doomed to remain where they are, fighting hunger, heat and each other. Suddenly, they are offered a small fortune to drive trucks through the jungle, across a mountain range to a destination 300 miles distant. The catch ? The trucks are loaded with nitroglycerine--one bump--one spark--one mistake--and the truck and any unfortunate humans on board are history.

Four men agree to drive two trucks, and their journey will have you biting your finger-nails down to your elbows ! All four actors are fine, with Yves Montand particularly memorable in the lead. I agree with the reviewer who notes that the first half hour of the film is slow, but it sets the mood. It's important to understand why these characters would volunteer for such a "mission impossible", even for a big payday.

The film has a chilling message about the lengths that people will go for money. I couldn't help but consider some of the "reality" television programs we see today like "Fear Factor". It's sad to see what indignities and dangers people will subject themselves to just to make a buck, and how easily they can be exploited.

The picture quality of the DVD is fine. I was surprised to find no extras, given that this is a Criterion release. An interview with one of our current, respected directors would have been a nice bonus. I'm sure that a film buff like Martin Scorsese would have some fascinating comments. Then again--I'm sure he's a busy guy !

Bottom line--a timeless masterpiece for serious film collectors.

A superb suspense an anthological film
Wages of fear is one of the milestones in all the cinema's story.
The lives of two men engaged in a mission that you qualify as no sense. And so that's precisely the most relevant point.
How far can the greed, the ambition generate such tension state when you accept the special condition of carrying this special delivery?
Montand an actor that grew up with la port de la nuit, years before makes an outstanding performance.
The film, far from being dated, it revalues with the years. Maybe this film is the masterpiece of Clouzot.
And it constitutes one of the eleven best french films of that ddecade, together with Rififi, Forbidden games, The four hundred blows, Elevator to the gallows, The amants, Bob le flambeur, Les cousins, Diary of a country priest, Pickpocket and le travesee de Paris.
Buy it this DVD. You'll be always rewarded.

A great film but the first part is boring.
This review is for the Criterion Collection DVD edition of the film.

This is one of the most exciting films that I have seen. The first 35 minutes I think are nonessential to the plot and knind of boring.

In the film, an oil well in South America catches fire and the only way to put it out is with nitroglycerin. There is a stockpile in a town some 300 miles away. The only problem is that they don't have refrigerated trucks. Nitro melts at 86ºF and when in liquid form, the slightest bump can cause it to go off. They hire a team of 4 to carry a couple tons of is across dangerous mountain roads in 2 trucks to where the fire is.

The film will have you on the edge of your seat as they encounter obstacles and poor road conditions. There is a scene when there is a boulder blocking the road and they use the nirto to blow it up.

There are no special features in this edition but it is still a great film that I would like to see remade. ... Read more

Amazon.com

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

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

Reviews (78)

Kama for you.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (115)

Vivid religious parable for 'youth' audience
BROTHER SUN SISTER MOON (UK/Italy 1972): The early life of St. Francis of Assisi (Graham Faulkner), the son of a wealthy merchant who underwent a spiritual conversion following his experiences in the crusades and later renounced his worldly goods before establishing a holy order separate from traditional Church teachings.

Conceived and executed in much the same visual manner as his ultra-popular ROMEO AND JULIET (1968), Franco Zeffirelli's BROTHER SUN SISTER MOON attempts to draw parallels between the work and philosophy of St. Francis and the ideology which underpinned the worldwide hippy movement throughout the 1960's and early 70's. Hence the ragged-but-lyrical cinematography (by Ennio Guarnieri), fractured editing (by Reginald Mills), and the use of contemporary - but strangely timeless - folk songs written and performed by Donovan, all of which conjures the requisite mood of spiritual awakening whilst simultaneously dating the movie quite firmly within its period. Cynics will hate it, while others will embrace Zeffirelli's defiant romanticism. Daringly, Zeffirelli's script (co-written by Suso Cecchi d'Amico and Lina Wertmuller) contrasts Francis' piety and virtue with the bloated pomp of official Church doctrine, weighed down by internal politics and social indifference, though it's difficult to gauge if this represents a veiled attack on Christian orthodoxy or is simply a reflection of Francis' dismissal of outdated customs in favor of a return to Nature.

Lovingly crafted by Lorenzo Mongiardino (art direction) and Danilo Donati (costumes), the movie is toplined by a cast of gifted newcomers and screen veterans, including Judi Bowker (one of the most beautiful actresses of her generation), Leigh Lawson, Kenneth Cranham, Valentina Cortese and Alec Guinness. But the film derives much of its visual strength from Faulkner as the young, battle-scarred nobleman laid low by his wartime experiences, who emerges from the horrors of conflict with a completely new and spiritual outlook on life. Faulkner was one of a handful of young actors (including FELLINI-SATYRICON's Hiram Keller and LISA AND THE DEVIL's Alessio Orano) who emerged from European cinema in the 1970's, handsome and talented in equal measure, to burn brightly and briefly before disappearing into relative obscurity. Here, Faulkner's intense beauty and fresh-faced innocence are illuminated by Guarnieri's worshipful camera and Zeffirelli's attentive direction, which places him center-stage throughout (there's even a generous, PG-level nude scene halfway through the movie). This was Faulkner's cinematic debut, and while Zeffirelli couldn't have made a better choice for such a crucial role, the director later described him as being slightly aloof from his fellow actors, which may explain his subsequent disappearance from the movie scene. But here, his grace and dignity are displayed in abundance, and it's hard not to fall in love with him, every time he appears on-screen.

Picture quality on Paramount's DVD is grainy in places and vivid in others, but overall, this is a huge improvement over previous video incarnations, all hideously cropped from the original hard matte widescreen version presented here. Sadly, there are no extras whatsoever, not even a trailer! It would have been nice to see footage from the Italian cut (FRATELLO SOLE SORELLA LUNA), which runs approximately 14 minutes longer and replaces Donovan's music with a fully orchestral score by Riz Ortolani. The film's editor, Reginald Mills, produced a 16mm documentary in 1973 entitled FRANCO ZEFFIRELLI A FLORENTINE ARTIST, compiled from footage shot during the making of the movie and featuring a lengthy interview with the director himself. Running a mere 51 minutes, it provided an invaluable insight into Zeffirelli's working methods and the thinking which gave rise to the finished product, and its absence from Paramount's disc is hugely disappointing. It's nice to have the film on DVD in its present form, but the lack of extras reeks of missed opportunity.

120m 56s
1.75:1 / Anamorphically enhanced
DVD soundtrack: Mono 2.0
Theatrical soundtrack: Optical mono
Optional English subtitles and closed captions
Region 1

A movie that changed my outlook on life
This film with all its historical inaccuracies and its poor account of St. Clare and Bishop Guido has however the spirit of Franciscanism at its heart and its message is a relevant today as it was in the 13th century. Faulkner is brilliant, he captures the simple, pure humility of St.Francis. What ever happened to him after the movie? Donovan's music is outstanding and fits in perfectly with the simple and humble atmosphere permeating throughout the movie. To learn a more accurate account of the life of St. Francis I must recommend a book called 'St. Francis of Assisi, The Legend and the Life' by Michael Robson OFM Conv.

Pax et Bonum, A young Irish Secular Franciscan.

Inspirational
Dated; yes, but boring? . . . Never. Maybe if you're looking for action instead of inspiration. I've watched this movie countless times and have never failed to find its anti-materialist message inspirational. If it contains historical inaccuracies; show me a movie or book about a 13th century character that doesn't. Yes, it is dated to the '70s in places, but what of it? This is a movie with an essential message told well: i.e. The glory of war and possessions can't ultimately satisfy. And while I may hesitate to recommend this movie to anyone, say, under 40; if you want to know how it feels to leave the pursuit of yet another crummy dead-end job, for inner peace, Brother Sun Sister Moon may just do the trick.

Wonderful
The editorial review by Amazon.com (Tom Keogh) should stop after the first sentence. Tom's review is "a decorous effort" to tweak his ego and impress readers who enjoy uppity reviews more than good movies. I don't know why Amazon would even allow their review to discourage sales, for one thing. More importantly, this is a beautiful movie, to a different tempo, with lovely music and spiritual significance for the gentle recipient.

Spirit of Francis
This movie was a major inspiration in my life as a Franciscan. It captures the spirit of Francis of Assisi, the joy, the freedom, the devotion to Christ. It is true that it is "ahistorical" which is NOT to say unhistorical, but rather creative fidelity to the spirit of the saint. All of Zeferelli's work has a quality of caricature, but faithful even though exaggerated. Many people have used those songs by Donavan as well, as they are quite moving and joyous. ... Read more

Description

A beautiful, simple story of a man in post-war Rome who needs his bicycle in order to work at his job. No sooner does he retrieve it from pawn, then it is stolen. The heartwrenching search teaches the man and his son much about the meaning of life and just how far we will go when pushed to the edge. Winner of a special Academy Award. ... Read more

Reviews (51)

Excellent Version of Classic Movie
A beautiful, humanistic portrayal of poverty and desperation as well as one of the most evocative documents of post-WWII European life. The sound and visual quality on the DVD are better than any other version I've seen and yet the film doesn't look "glitzed up" - no Dolby sound, no digital airbrushing - so it retains its common touch. The story simply concerns a man who's lost a bicycle that he desperately needs for his jobs and his day-long attempt to find it. Within this simple narrative framework, the director, Vittorio de Sica, and his writer, Cesare Zattavini, unfold Roman society as it existed just after the defeat of fascism - squalid, predatory, and cutthroat. De Sica astutely prevents the film from becoming maudlin through the toughness of his approach - the laborer's search for his bicycle focuses the film and seals off any intrusive melodrama. The ending, where the father shamefully faces his son after he's caught stealing a bicycle, is one of the cinema's most heartbreaking finales - right up there with Chaplin's "City Lights".

Although its status has diminished somewhat in some circles - by those who see it as a well-intentioned but programmatic Marxist fable - "The Bicycle Thief" remains, for me, a masterpiece and one of the most compassionate portrayals of poverty ever put on film. It would make an interesting double-bill with Bunuel's contemporary "Los Olivados" (1950), his pitiless masterpiece on those left out of the postwar good times. I can hardly wait for that film, as well as de Sica's "Shoeshine", to come out on DVD as well.

Neorealism at its most profound!
Imagine your family's livelihood depending on a bicycle. In post-war Italy, you compete with hundreds for a job where 25% of the work force is unemployed. The job is yours but it requires you to have a bicycle, something so simple as a bicycle and that bicycle gets stolen on the first day.

Neorealism - This wonderful Italian 1948 classic directed by Vittorio de Sica is an emotional depiction of degradation of the soul, loss of humanity and dignity. The film, one of the best in cinematic history, captures neorealism at its best.
Neorealism involves the use of location settings, non-actor roles, and conversational dialogue instead of literary dialogue, simple camerawork and editing. Neorealism offers a compassionate point of view with morality.

Here, we wish an innocent man with a family to support could find relief, satisfaction, comfort and justice. As for literary dialogue, there isn't anything great said here, it is simple conversation. No great special effects takes place, no shoot-um up bang bang, just plain old post-war Italy depicting real life, poverty, degradation and humanity. The VHS 50 year-old film is gritty and at times it is difficult to read the words.

Desperate - Antonio, a father and husband lands a job and on the first day posting movie billboard posters, the bicycle is stolen! Antonio frantically scours the streets and his little son Bruno tenderly tags along to recover the stolen bicycle. Now keep in mind that little Bruno is in the picture for one reason, and without him, we, the audience, would have a more callous attitude to the ending.

We see signs of post-war economic hard times, like the rows and rows of bicycle parts or hundreds of bedsheets that were pawned. The characters are non-actors in the real streets of Italy. You may need to see it more than once to catch everything or to understand its deeper meaning.

Neorealism Director Vittorio de Sica directed 34 feature films and won numerous international prizes. He was honored with four Academy Awards for "Shoeshine" in 1947 and "Bicycle Thief" in 1949 and other film awards for "Yesterday, Today and Tomorrow" in 1964 and "Garden of the Finzi-Continis" in 1971. He died in 1974. I believe "Bicycle Thief" is one of the best.

"The Bicycle Thief" is emotional, prodding one to think explicitly into the actions taken. ...MzRizz

Great Film, Okay DVD
The Bicycle Thief: a very simple, straightforward story, told straight, no plot-twists or fancy story tricks like false endings, etc. This is a simple story: a man who's work requires him to use his own bicycle or lose his job has his bike stolen from him. The rest of the movie is his and his son's attempt to find the thief and get the bike back.
I understand the plot, but I find it just a little hard to imagine life being so harsh as to put a man out of work for having his bike stolen. I'm not saying it's unrealistic; I didn't live in Italy after WWII. But I found it a tad extreme to be honest. It's a great movie, but I don't think it hits its point home as sharply as Rossellini's "Rome Open City".

The DVD is ok - I agree with some reviewers that it could (and indeed should) be transferred at a higher bit-rate with less compression. This film truly derserves the Criterion Treatment if any Italian classic does! It is a better transfer than "Open City", but that's not an excuse. I agree it's time for a quality restoration with more extras and a nice commentary track.

But overall, this is a wonderful classic film full of heart and is a fine product worthy of inclusion in any tasteful home movie collection.

Classic needs a re-release
Classic movie about the cruel nature of life, of inescapable fate. The dvd itself is pretty bad, with defects shown in the transfer, along with terrible audio.

Hopefully a re release will be offered, with the latest restoration software being used. The dvd came out early on, before the current restoration techniques were used.

And the audio/subtitles just suck!

I really enjoyed this movie!
I had never heard of this movie when I stumbled on it late one night right before I went to bed. Instead of turning off the TV because it was late and I needed to go to work the next day, I found myself glued to the screen. This movie was unlike any I'd ever seen. Filmed in Italy after WWII, I felt like I caught a glimpse of Italian life in the late 40's. This was not a Hollywood made movie. There was little if no music in the background to manipulate emotions from the viewer yet I was extremely moved by the silence in between the dialogue. There is no Hollywood ending. The movie just ends, but it is not the end of this father and son story. I'm not sure who to reccommend this film too, but I loved it. It was different. I really felt like I was in Rome in the late 40's. ... Read more

Amazon.com

Donkey Skin reunites Catherine Deneuve with Jacques Demy and Michel Legrand, yet it's quite unlike The Umbrellas of Cherbourg or The Young Girls of Rochefort. Those 1960s musicals were set in some semblance of the modern world, but Donkey Skin, based on a fable by Charles Perrault, takes place in a fantastical fairyland, located somewhere between The Wizard of Oz and La Belle et la Bête. Jean Marais, Jean Cocteau’s Beast, is even the king of the kingdom. Alas, he's just lost his queen (Deneuve), whose dying wish is that he marry a woman more beautiful than she. Deranged by loss, he decides on his daughter (Deneuve again). She's horrified--her fairy godmother (Delphine Seyrig), as well, so she devises a plan for the princess to flee, hidden by a donkey skin. Strange by any standards, Donkey Skin is one of the more magical musicals to emerge from the 1970s. --Kathleen C. Fennessy ... Read more

Reviews (59)

HANEKE RULES!!!!.....
o.m.g! this film is absolutely brilliant!__the intensity, the actors, music, directing...
MICHAEL HANEKE's style is a little like a combination of kubrick and gaspar noe.

i honestly don't know if haneke's adaptation is faithful to Elfriede Jelinek's novel "the piano teacher".
however, this film is so intense, so captivating..(and even funny)...

plot:
erika kohut is a middle aged piano teacher of the vienna music conservatory who is still living with her possessif mother.
she appears to be normal.
however, she is a sadomasochrist.She watches porn while sniffing used condoms,cuts herself with razor blades and..well..you get the picture.
she's a sadistic loner. she does not want to be loved,but humiliated and tortured.
Walter, is her admirant student.
he is fascinated and he adores her.
what follows next, is their strange relationship.
in short , Humiliation is part of the menu....

i think this film was rated nc17, but i'm not sure..anyway,do not bring any children with you!!
some scenes are really extreme!..apart from that,on a technical level, this film is perfect.

ISABELLE HUPPERT is not acting in this film, she's living her part.
she is incomparable.
defenitly the best actress of 2002
even the brilliant Naomi watts (of mulholland drive), is no match to huppert.

BENOIT MAGIMEL and annie girardot, are also Really, impressive!!
there are no false notes.

the conclusion of the film is sudden and imprevisible.
(like in every haneke films)

SUGGESTIONS: michael haneke's "CODE UNKNOWN" with juliette binoche._ FUNNY GAMES (made in 1997) _ BENNY'S VIDEO (made in 1992) _ and THE CASTLE (made in 1997).

THE ENEMY AT YOUR FINGERTIPS
The porn in the sex shop scene of the unrated version of this DVD didn't shock me. Typical filth. What I found startling was Huppert's response to the graphic sexuality she was viewing. I felt pity for this woman. But I didn't know that my pity would turn into disdain and utter contempt for the demon inside her.

This movie takes female sexual frustration to an extreme, and shows just how painful and cruel it can be. It depicts the moral degeneration of a middle aged woman who never achieved personal or professional gratification despite her immense potential as a pianist. She has turned her art into a weapon of remorse and sadistic cruelty. This is a very adult movie, which I didn't enjoy, yet I found compulsively watchable. Huppert makes all female villains in all of the movies put together look like vestal virgins. This is the type of movie that plays with the viewer's mind to the point where one feels the need to take a shower after watching it.

Huppert plays the-piano-teacher-from-the-bottomless-pit to near greatness. It's a cold-blooded masterpiece of a performance.

Huppert All the Way
Erika (Isabelle Huppert) is a fortyish piano teacher with deeply repressed sexual feelings. She lives with her mother (Annie Girardot), a controlling, oppressive woman, and deals with her erotic longings through voyeurism, visits to sex shops and self mutiliation. She still sleeps with her mother. The film largely takes place at the conservatory where she teaches and at the apartment she shares with her mother.

Huppert in an excellent on-disc interview says Erika longs to be loved but is frightened of seduction. She treats her students coldly but is drawn to one who is vain and handsome, and played by Benoit Magimel. The rest is the story of her creating and accepting a masochistic relationship with the young man that spirals down into her own psycho-sexual collapse.

This movie won't be everyone's choice for an evening with the kids. It's a serious, disturbing film for adults that looks grimly at repressed feelings and emotional self destruction. For the grownups, it might put you off sado-masochism for a few days. It's a first-rate film.

Isabelle Huppert is one of my favorite actors. Like Depardieu, she has no apparent screen vanity; she'll do what it takes for the role. She also has the rare ability to express deep, unsettling feelings with an absolute economy of expression. She is incredible in this film.

I'm happy to have the disc, but to tell you the truth I'm not sure how many more times I'll watch it.

The DVD transfer is excellent, the audio is first rate, and the English subtitles are easy to follow.

Poetic, powerful, and disturbing
The Piano Teacher is a beautifully acted, wonderfully cinematic, and deeply disturbing masterpiece. It is quite unlike any other motion picture experience I have ever had.

Isabelle Hubert is a brilliant actress and she absolutely shines in her role as a psychotic piano teacher who can't get what she wants, so goes out to ruin the life of others. The movie reveals this slowly and beautifully. I was impressed that there was no attempt at pop psychology or mediocre explanations that you would expect in a Hollywood melodrama with similar subject matter. The film is done in a simple, elegant, and gut-wrentching style, sure to fascinate and disturb, even if the film is hated in the end. Also worth mentioning is that Hubert's troubled but sympathetic character lives with her mother, in what has to be one of the most chilling mother/child relationships since PSYCHO.

This is an exceptional film, thought-provoking, powerful, and strangely moving. It is not for those who can't face the dark side of human nature. It's far from being a life affirming "feel good" movie; it's a movie that is difficult to watch and raises plenty of questions. If the difficult subject matter of 'Irreversible' interested you, then this is your kind of movie. I enjoyed it immensely, as uncomfortable as I was watching it, and consider it a worthwhile, rewarding experience.

The film has a haunting and disturbing finale, and is not always easy to digest, and therefore, it is not for all tastes. For fans of French or art-house cinema, this is definitely your cup of tea.

Note: Stay away from the R-rated version, which goes so far as to blur out the video images in a porn shop.

Grade A.

A Comercial Success to say the Very Least
I entirely agree with the previous reviewers. The actors and actresses are of the best choice. The characters are so well portrayed and the settings are so well depicted. The overall effects are quite convincing. It's defintely shocking and at least commercially this film is a success.

The choice of Schubert's music at least serves two points. First, Schubert's music is one of the saddest in the history of music, it's the music of the loniest pilgrim. Second, contrary to Beethoven's music, which is so clear and straight forward, the change of moods in Schubert's music is so sudden and so abundant and that it is often difficult to follow, so are the turns and twists in this story.

A general survey of the life of the pianists would making this story more convincing. An American critized Kissin for knowing nothing but playing on the piano from day to night all his life; Glenn gould shut himself up in front of the piano since or before his pre-teens; Allica de Larrocha's mother begged her daughter to "live her life" (Allica's word), instead of sacrifying it to the piano; MargaretArgerich's "fiance" (Margaret's own word) was the piano... The life of a musician destined to become a concert pianist could be very lonely ( and boring )to the point of abnormality unless you really love it, or unless you can balance it with sufficient chamber music or the like. Yet, competition is so keen that 99 concert pianists out of a hundred would advise against a cereer of a concert pianist unless he is exceptionally talented.

Obviously the heroine here, despite her sacrifice, didn't make it as a concert pianist. Her mother, so possessive and dominating, openly urged her to earn more money in order to buy a flat. Furthermore, the family has a history of mental problem; and her mother sharing the bed with her even when she was forty something... Needless to say, this case is by no means a norm yet it is not at all unconvincing.

What is controversial though is the deliberate distortion of the sound of all music, be it's piano or vocal music, so that there is NO MUSIC LEFT AT ALL. Perhaps this serves the main theme of the story better, delivering a greater impact upon the audience. And yet on the other hand, one also wonders if that is really necessary, whether a mix of bitteress & sweetness would be more impressing. ... Read more

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It's not too surprising that Shag flopped on its 1989 release butfound a devoted cult following on cable TV and home video. This featherweightcomedy looked like a waste of space on the big screen, but it plays very cozilyon the tube, where it lends itself to popcorn breaks and pajama parties. (Thelousy title must have had something to do with the movie's initial failure, aproblem worsened by the film being marketed as Shag: The Movie, a trulydumb idea.) Shag is in the tradition of Spring Break pictures, athoroughly formulaic stroll through the conventions of the minigenre:beachsideromance, a wild party, one tender deflowering, and lots of rock & roll. The timeis 1963, as three gal friends trick their soon-to-be-married pal (Phoebe Cates)into one final all-girl fling in Myrtle Beach, South Carolina. Cates is engagedto a local well-bred stick (Tyrone Power Jr.), but soon she's tempted by a beachboy (Robert Rusler) bound for Yale (mm-hmm). The so-so material is buoyed bylovely Annabeth Gish, as the supposedly pudgy one in the group, and BridgetFonda, as a prematurely sophisticated sexpot. After a while it's easy enough torelax and enjoy the girls' breezy adventures, which are served up without thesoap opera melodrama of the similarly tooled Where the Boys Are. Oh, andAustin Powers notwithstanding, the title refers to the dance, not somethingelse. --Robert Horton ... Read more

Reviews (67)

Fianlly, on DVD!! I want my own Chip!!
Like many here, I found the transfer of this movie to VHS to be awful (grainy,bad color). Thus, the DVD is a relief--crisp picture, letterbox format, just like in a theater! The music on the soundtrack is the same that I've always remembered (Stagger Lee, Alley Oop, It Will Stand, etc.), so those who say it had different music, please e-mail me and tell me what it was. The music now is so perfect for the film, I can't imagine anything else! Thew film itself is a delight, a great "summer film." If you have girlfriends, definitely gather them up to watch it on a summer night. The performances are great (esp. by Phoebe Cates and Annabeth Gish), and my first great crush was Scott Coffey as the sweet Chip. (BTW--My God, is Robert Rustler (Buzz) tan in this film, freakishly so. When Buzz goes off to Yale, he'll either have to pale out or buy some sun lamps to stay that red!) This film is a must see for anyone who enjoyed "Mystic Pizza," "Dirty Dancing" or "Footloose." Watch it soon! ("It's the most fun!")