Reviews (48)

Very Endearing
The sad life of Tracy Turnblad is explored in this biting satire set in pre-intergrated Baltimore.

Tracy (Ricki Lake) and her best friend Penny Pingleton (Lesley Ann Powers) spend each afternoon watching the homegrown hit 'The Corny Collins Show' on television,dreaming of one day dancing the Mash Potato or the Frug there.

Tracy's mother (Divine) does not really think her child will amount to anything,and Penny is constantly being punished (her parents make her wear a big 'P' on her blouse).

However,the charmed life of Amber von Tussle,the most popular dancer on the Show,seems too good to be true,despite commemts by Tracy and Penny (''Stuck-up little spastic'' and ''She is such a queer''). Amber also has the brass ring,that of teen heart-throb Link,who also appears on the Show.

Amber's parents are power-mad and drive Amber to ridiculous lenghs to be popular.They are played by Debbie Harry and Sonny Bono.

Soon,Tracy does get to appear on the show,and lands her dream-hunk Link.

A great comedy,with a yummy soundtrack and a real edge to it that does not marr the overall story.

Also featuring Mink Stole as the cue-card holder on the Show (''Falsies! '') and Pia Zadora as a way-out beatnik chick.

Soon,Tracy

'Hairspray' full of tawdry, tacky fun
John Waters' first real attempt at "mainstream" fun is a trashy and critically-acclaimed delight. Set in (where else?) Baltimore during the Civil Rights era, Hairspray is chock-full of stars, mini-stars, and people who just wanna give it a go at being a star.

The story follows young Tracy Turnblad (pre-talk show Ricki Lake) on her rise to being "big, blonde, and beautiful" on a popular teenage dance show. Along the way, however, she runs into some friction from high school brat Amber Von Tussle (Colleen Fitzpatrick, also known as pop star Vitamin C) and her parents, a racial obscenity-spouting mother (Debbie Harry) and a slick politician papa (Sonny Bono). Add in growing discontentment among the city's black populace over whites-only establishments, and you have an explosive mix made even more explosive by how off-the-wall it becomes.

Dance enthusiasts will appreciate the film for its selection of early 60s fad dances like the Mashed Potato and the Madison. Offbeat and fun, Hairspray also has an excellent soundtrack with some obscure songs you'll be hard-pressed to find in another compilation.

Forever Quotable!
Tracy Turnblad is described by her contempories as "a fat trash can," "teenage Jezebel hair hopper," "a whore, (who *I heard* made out in a car - naked!)," "adopted," "white trash or maybe high yellow" or even "mulatto!"... with "roaches in her hair!".... But they're all just hatin', because Tracy is also "the best white dancer in Baltimore" and "a modern teen" that believes in integration! Tracy competes for the dancing queen crown - and also for the leading man - against none other than Amber von Tussle, a "stuck up spastic" who is "*such* a queer," that she makes Tracy's mom ashamed to be white! There's a lot of (funny) trash talkin' goin' on, because a lot is on the line....

The competition between Tracy and Amber, and by extension integrationists and segregationists, will make you feel good, tap your toes, laugh out loud a lot, and cheer. Hairspray's "bad taste" moments are funny as heck, and piece together for a movie that epitomizes good taste -- kind, empathetic, and with a wonderful heart! The music and dancing are just *amazing*! And the fashions and bright colored sets are life-affirming perfect! (Is it just me, or did these early 60's fashions *strongly* influence the early 80's styles?.... Debbie Harry, Ric Ocasek, and Pia Zadora fit in perfect). In the excellent dvd commentary, director John Waters says the sets and styles are realistic for the times. What a bright, bold, fun, cool (when "cool" was cool), forward-looking time! Tracy's mom has a picture of Jackie Kennedy framed on the wall :-). Mom says, "It's the times. They are a-changin'. There's something blowing in the wind. Fetch me my diet pills, would you hun?"

If Hairspray ended with "Where are they now?", Tracy might be a Senator from Maryland, or the Governor, ... or more!! 5 stars as I stand in my chair applauding. Hairspray's bright fun is worth watching many times.

Very Good
The movie Hairspray is Very good. I watched it when I was about 10 and I loved it. My dad keeped telling me to move so he could watch tv and I didn't so I got grounded and after that I have looked for it but I haven't been able to find it until about two months ago now I have it and watch it everyday. I also went to see it live. It was great.

A campy, feel-good film carrying an important message
I think it's safe to say that Hairspray is a unique motion picture. The film, while providing nonstop fun and laughs throughout, also manages to not only confront but to roll right over prejudice in several of its nefarious guises. I was a teenager when this film came out, and sadly, it was the death of Divine (just before the movie was released) that made me aware of this film. I don't know if that publicity helped or hurt ticket sales - Divine, for those who have never heard of him, was famous for playing female roles, and Hairspray had begun to rejuvenate his whole career. As for the film, it's extremely campy in the best of ways, overflowing with great singing and dancing from the early 1960s, and it is the type of film that makes you feel good after you watch it.

Ricki Lake plays Tracy Turnblad, a big, bold, and beautiful teenager who dreams of dancing on the exceedingly popular Corny Collins dance show. Her mother, played by Divine, isn't too crazy about modern music and dancing - until Tracy auditions and gets a spot on the show. Strutting her stuff in front of the cameras, she quickly becomes Baltimore's newest sensation. This does not sit well with Amber von Tussle (Colleen Fitzpatrick), as Tracy steals her man and then threatens to win the coveted title of Miss Auto Show 1963. Tracy is overweight, but she likes herself just as she is and easily dismisses the fat jokes thrown her way early on. The big issue in this film, though, is segregation. Tracy and her best friend Penny Pingleton (Joann Havrilla) soon become friends with some of the black kids in town and begin working toward integrating the Corny Collins show. Collins is all for the idea himself, as currently the Negro show runs only once each month under the controls of sassy Motormouth Mabel (Ruth Brown). The station manager will not hear of integration, though, and Penny's mother is aghast to find out that her daughter is in love with an African-American. This is 1962, of course. The whole segregation issue becomes the basic foundation of the movie as it dances its way to the end, making Hairspray a wonderfully entertaining film with a serious message behind it.

The film is blessed with many interesting cast members. Divine plays not only Mrs. Turnblad but also the station manager, Jerry Stiller plays Mr. Turnblad, Sonny Bono and Debbie Harry (and Debbie Harry's increasingly interesting hair) come together to play Amber von Tussle's parents, and Ric Ocasek and Pia Zadora show up as Beatniks in a strange little cameo appearance. Of course, Ricki Lake pretty much steals the show as the big girl with big dreams, although I found Joann Havrilla's performance as Penny Pingleton quite captivating in a weird sort of way.

It is very difficult to describe Hairspray; you pretty much have to watch it to get a true feel for its entertainment assets and social commentary underpinnings. It does have its silly moments, but this is not entertainment for the sake of entertainment, nor is this a film you will soon forget after watching it. ... Read more

Reviews (63)

Fun Kurosawa classic
Somehow Kurosawa always manages to imbue his films with an artistry that surpasses the often straightforward (but not simplistic) plots. The Hidden Fortress is no exception. Apparently an inspiration for George Lucas in his Star Wars film (though the similarities are slight), this sees Toshiro Mifune in another heroic role as he attempts to smuggle a princess across the border with the aid of two squabbling peasants (memorably played by Kamatari Fujiawara and Minoru Chiaki).

It's an entertaining, engrossing adventure, with Toshiro Mifune's stoic general butting heads against the peasants (and the princess) at every turn. Fujiawara and Chiaki pretty much steal every scene they're in, with their bickering and squabbling and amazing amount of greediness shining through at every opportunity. The black and white cinematography is gorgeous, there's ample doses of humour, a standout fight scene - what else could you ask for? Sure, it doesn't have the majesty of Seven Samurai, the depth of Throne Of Blood or the black humour of Yojimbo, but The Hidden Fortress is nonetheless another example of why Kurosawa remains one of the greatest directors in history.

It's Kurosawa so you've got to see it
Most people have only heard of The Hidden Fortress through association with Star Wars. It is quite common for reviewers to say that Lucas owed The Hidden Fortress a great debt. However, you should not go into this movie thinking you are going to see some martial arts version of America's most sucessful trilogy (if you want that take a look at Crouching Tiger Hidden Dragon). The Hidden Fortress is all Kurosawa and you are better off anticipating something like Yojimbo or 7 Samurai. The main similarity to Star Wars is that the tale is told from the two most insignifigant characters. The film follows two useless pesants around (much like Star wars follows around R2-D2 and C-3P0) while the action happens surrounding them. There are other similarities, but this is the most striking. As always in Kurosawa movies, there are shots that are angled a certain way to provoke a certain effect that you will probably recognize as having seen a thousand times in modern movies, but the thing that is remarkable here is that chances are this is the first time they were used. Mifune gives a typically great performance so this movie is definately worth checking out, just don't take the Star Wars comparisons too seriously. The influence is there, but if you bend over backward trying to make connections you'll miss the best that both movies have to offer.

Mediocre, for Kurosawa
Granted, Kurosawa's mediocre is any other director's masterpiece, but still, I thought this 1958 effort fell somewhat short. It doesn't have that incredible narrative crispness that the best Kurosawa has--"Seven Samurai," which is nearly an hour longer, feels about half the length of this film. No, the major point of interest in "The Hidden Fortress" for me was its inspiration of "Star Wars." This won't go down as one of my Kurosawa favorites.

Grade: B-

A change of pace from Kurosawa
A number of people, when they discuss this Kurosawa film along with The Seven Samurai and his other films, treat it like a bastard at a family reunion. Apparently, they were expecting a "HIGH DRAMA" or "BADASS" movie. If they were, then they deserve to be disappointed.

The Hidden Fortress is NOT an epic that gives great insight into the code of the samurai or other such nonsense. It's a fun romp through the misadventures of several bungling "heroes": Two greedy, cowardly peasants, a knight very similar to the young Obi-Wan Kenobi, and a bitchy, aloof Princess Yuki of Akizuki (a name that sounds like something from Dr. Seuss). They are trying to smuggle the Akizuki treasury (gold bars hidden in firewood) and the princess to safety. But greed, lust and stupidity keep getting in the way.

This movie is more of an old-style caper film than a samurai epic. The dumb, double-dealing characters are more from The Lavender Hill Mob than MacBeth. What makes the characters more interesting is that the two peasants don't hold a monopoly on greed and harebrained "cunning plans" that would make Baldric from The Black Adder proud, and the knight and the princess don't hold all the courage and nobility cards, either. In fact, the two peasants come up with a plan that literally saves their necks.

The way the film is told from the point of view of the two lowliest characters was quite novel and an obvious influence on George Lucas when he made the first Star Wars. The Hidden Fortress is a great movie in its own right, though.

To people with open minds without preconceived notions of what should and should not be in a Kurosawa film, The Hidden Fortress is a great movie.

Hidden Gem
I enjoyed this movie immensely...simply because I judged it on its own merit. While its an adventure with a bit of action and drama it is mostly comedy Kurosawa style. Its in a different category and can't be compared to Ran or Rashomon. Those were social commentaries and powerful in their own ways. However this was pure fun and adventure even though Kurosawa sneaked in a little lesson or two in it. I particularly enjoyed the song and dance routine around the the fire Once you get into the story you'll laugh so much that you won't realize its in black & white. As usual Toshiro Mifune delivered. ... Read more

Description

Ingmar Bergman puts his indelible stamp on Mozart's exquisite opera in this sublime rendering of one of the composer's best-loved works: a celebration of love, forgiveness, and the brotherhood of man. The Magic Flute (Trollflöjten) stars Josef Köstlinger as Tamino, the young man determined to rescue a beautiful princess from the clutches of parental evil. Criterion's edition features the film's glorious soundtrack in the original stereo format. ... Read more

Reviews (39)

a magnificent adaptation
As the film opens with the overture, it focuses on the face of a beautiful child in the audience, and it is as if we see this fantastic production through her innocent eyes; it's an adaptation that captures all the playfulness and enchantment of Mozart's glorious last opera, and brings it to life with renewed vigor.
The attractive cast, though occasionally vocally uneven, is a total delight; Josef Kostlinger is superb as Tamino, Hakan Hagegard shines as Papageno, Ulrik Cold impressive as Sarastro, and Elisabeth Erikson is adorable as Papagena.

The sets, which sometimes seem to shift like smoke, as well as the costumes, are masterful, and include everything from lovable fuzzy creatures, to a brilliant vision of the "dark regions", with dancers writhing and wrestling as its tortured inhabitants.
I also enjoyed the backstage views during intermission; Tamino and Pamina playing chess, Sarastro looking over a score of Parsifal while a chorus member reads Kalle Ankas (a Donald Duck comic book), and especially the formerly fire-spewing dragon trudging past a doorway.

I never fully appreciated "The Magic Flute" until I watched this film; it's strange that Ingmar Bergman, more known for his somber films, should bring out so much light and joy from this magnificent opera.
It would make a perfect introduction for young people to opera, and the singing in Swedish seems quite natural and enjoyable (especially for us older folks who have listened to the great Jussi Bjorling for decades), and the subtitles are excellent and easily to read.
Those who like filmed opera, will surely find this to be an imaginative, wonderful production. Total running time is 135 minutes.

The Drama Of Mozart's Magic Flute
The Magic Flute, Wolfgang Amadeus Mozart's last opera, is a multi-layered Singspiel opera that is accessible to children as well as adults. It is an allegory of good versus evil, layed with Freemason ideals, and scored by Mozart's most sublime music. Ingmar Bergman filmed a live performance in a Stockholm theater in Sweden. The singers are singing in Swedish, not its original German, and the camera provides glimpses of going ons backstage and shots of the audience, focusing especially on a red-haired girl who is deeply engaged in the opera. This way, Bergman makes opera a dramatic experience. At times, it feels as if we are not watching an opera at all, but a play. The Swedish cast is fresh, energetic and engages the audience in the fabulous story. The story should be familiar to opera buffs. Tamino, a lost prince, finds he has been commissioned to save a beautiful princess, Pamina, from the clutches of a supposed evil wizard, Sarastro, and return her to her mother the Queen of the Night. As the opera progresses, we discover that Tamino has been deceived and he is, in essence, "shown the light" of truth through the aid of the enlightened religious order of Sarastro's men. The Queen, Pamina's mother, is the villain, bent on dominating the earth, and Sarastro, Pamina's father, is a benevolent holy man who intendes to foil the dark queen's plans. The custody battle over Pamina is true to the Mozart allegory. He had Pamina represent Austria, Sarastro, the "father", was the wise ideals of Freemasonry, while the "mother" Queen of the Night is the suppression and censorship of Freemasonry by imperialist autocrats like the Empress Teresa, whom the Queen is modeled after.

Superb singing. The arias "Dies Bildnis", in which Tamino looks at a portrait of Pamina and falls in love, is well made. Papageno's character is sharply defined as comic, earthy and human. In this film, he wears no feathery costume or plumage, and is instead an actual human man with earthy appetites for food and lovemaking. The Queen of the Night's two arias "O Zittre Nicht" and "Der Holle Rache" are full of dramatic prowess and coloratura technique, both escalate to high F's. Pamina's "Ach Ich fuhls" which she sings in a backdrop of utter darkness, is melancholic and moving. Finally, Sarastro's character is divine, with a sonorous bass-baritone voice, and a final scene almost likens him to Jesus or God. As a bonus, this film presents us a view of the going-ons backstage during intermission. Tamino and Pamina play chess, the Queen of the Night puffs away on her cigar and Sarastro reads the manuscript to Wagner's opera Parsifal, all the while the interlude "March Of The Priests" plays in the background. This is superb performance, quality drama and on DVD, this is a must have for all opera fans who put opera DVDs on their collection.

a major classic
This review is for the Criterion Collection DVD edition of the film.

This film which can best described as an operetta, is based on the opera of the same name by Mozart. The only difference is that the libretto is in Swedish. The origianl Swedish title of the film is Trollflöjten. The movie is well known and has remained popular to this day.

Disappointingly, the Criterion DVD has no special features on it.

Sublime
No other director is the history of the medium had the balls to something like that.And no other director in the history of medium broke all the rules,so often,like Ingmar Bergman.In a time of his life that he did everything that someone could do with film ,(The Seventh seal,Wild Strawberries,Persona etc etc)this very pleasent work was born.The rest is history...

Worst Magic Flute Ever
I have watched several live Magic Flute productions and a few other video productions. And this is THE WORST EVER. First, I would like to mention that I love imaginative interpretation. But this one tries to be different and look avant-garde, but yet lacks imagination and artistic quality.
Musical performance. Very bad. Pick up any Magic Flute CD randomly. It cannot be worse than this. Technical sound quality. It sounds very archaic. So bad. It is worse than the good quality LP mono recording that I have. Besides, why should I
watch Magic Flute in Sweedish ? If it's not original German, I would rather choose English. And I am sure that if there is an another Magic Flute produced in China and sung in Chinese, that DVD will get billions of 5 star rating. This Amazon rating system is simply ridiculous.
In the beginning of the opera, while Overture is being performed, it shows the face of a girl in audience for a long time. What is this ? Why should I watch this girl's face so long time ? Why ? If her expression, harmony with back ground, different angle, etc.. create artistic quality, I would understand. But it's not like that. ... Read more

Reviews (90)

Immaculate, Quiet Comedy.
Although it's not a popular opinion I actually prefer Yojimbo to Kurosawa's epic Seven Samurai. It is funnier, it is smaller scale, and the music is some of the best you will hear - one part John Barry James Bond, to one part Japanese. The plot is so good, they remade it twice. Once as Fistful of Dollars, and once as Last Man Standing, but neither of those later films capture the story as well as Kurosawa.

With gentle humour and a gradual building of tension, Kurosawa really gets you into the movie. Mifune (a regular in Kurosawa films) is wonderful, very understated, very comical and quietly moving.

Although not as widely known as Seven Samurai, or Rashomon, this represents some of Kurosawa's greatest work. The attention to detail is incredible.

It is entirely accessible to Western audiences. Kurosawa's films travel extremely well. The picture on the DVD could be better, but that's a minor quibble. This film is immaculate. You need this.

Stunning
Oh, in the first 3 minutes I knew this was going to be great. From the gloomy intro with the wonderful music playing, to the suspenseful finale, this film never lets up. Masterful directing and a clever plot is what this piece of cinema offers you. This type of film is known as a Jidaigeki western. Oh, and the swordfights don't happen until the last 45 minutes of the movie, just so you know. I recommend watching this before watching Seven Samurai. This film is known as "The Bodyguard" in Japan.

The movie Fistful of Dollars was a good remake of this film, so you might want to check that out after you've watched Yojimbo. But be warned - Last Man Standing was a very bad remake of Yojimbo so stay away from it. Unosuke has got to be one of the coolest villains ever. This was much better than Crouching Tiger, Hidden Dragon. Toshiro Mifune and Tatsuya Nakadai's performances are unforgettable. And in case you're wondering, Ryo means "Gold coin" in Japanese. And so, with a mix of action, suspense and dark comedy, Yojimbo is hands down, the best film of the '60's.

save for a few scratches in the print, this is a great DVD
I myself am one with those who wonder how on earth this Criterion version of Yojimbo ended up having that huge, ugly scratch mark on the print. It just stops me from giving it a full 5-star mark.

But that aside, this DVD is still a great DVD. It's actually my favorite among the Kurosawa-Mifune movies, simply because it is so much fun. the Mifune swagger, perfectly timed with the catchy beat of the soundtrack, is unforgettable. his huge confidence, his arms still drawn in, his shirt sleeves hanging limp and empty while his enemies menacingly surround him, is almost too funny. The lines I like the most come from the "coffins" chapter, where Mifune tells the wannabes "you have such cute faces", then proceeds to tear through them with ease, then with typical panache, tells the cooper (coffin maker) to make two coffins, no, make that three. I don't think I have seen any Hollywood actor, except perhaps the young Paul Newman, act so cool under stress. Even Clint Eastwood's turn in "A Fistful of Dollars" pales in comparison.

Then of course, the twists and turns as he manipulates both gangs. Even the way he mocks the boss' wife by calling himself a "nobody", taking the name of some vegetable he saw in the garden through the window.

Then his low moments. The way he recovers his strength, the way he prepares to neutralize the enemy's pistol by mastering knife-throwing. You'd think he doesn't stand a chance, until it happens. Those harrowing death scenes. And finally, the sight of Yojimbo leaving town, arms drawn in, sleeves empty and limp on his sides, swaggering to the beat of the soundtrack as the movie ends.

It's worth it. And you can always trade-in that crappy "Last Man Standing" to pay off some of the cost of "Yojimbo". It's a trade I would make anytime.

Criterion does it again!
This edition of Yojimbo is the best out there. Just as they do with all digital transfers, Criterion takes only the best transfers from the original films and polishes them to make them look much much better. For a single layered DVD, though, this disc should've been a little cheaper. Great disk!

Do You Feel Lucky Kurosawa?
Toshiro Mifune's silk clothes must stink, but don't mess with this guy. He's a killer with a bad hair-do. I loved the hired killers of the village with their brag and weird swordplay stances. There's a 19th Century Japan feel to a village that might as well have been Dodge City in the American West. Kurosawa is a funny guy. How he adapted Dashel Hammet's California gangster story of waring gangs is Asian alchemy. ... Read more

Reviews (6)

I love john sayles
There I said it I love John Sayles...of course plutonically lol

This is a great lesbian film that understands emotions, though older and low budget the theme is timeless and so are the emotions...see this film it is a turning point in films about lesbians yes it is made by a guy but someone should make him an honorary lesbian...he "sees" us.

A classic treat
John Sayles understands women more than some women understand themselves...I do not know what it is..but he gets us...

This is an older movie dated but the emotions are fresh....see where lesbian themed films began ...Lianna is a treat...ranks up there with older classics like Killing of Sister George, Theresa and Isabelle...through Desert Hearts to modern classics like A Family Affair, Aimee and Jaguar and now The L Word

Top Notch Sayles Flick
Sayles understands women better than many women understand themselves. This is a classic lesbian flick at a time when lesbian films were rare or non- existent...sure it is dated a bit, but it is well worth the watching. This is a great film capturing emotions and a womens journey into her own sexuality. A Classic film, see it!

Putting in my 2 cents
I recently began to collect lesbian films and the truth is that it's not easy to find good ones. I ordered this film because the reviews that I read on it seemed very good, but honestly I was a little dissapointed (again). I felt that the characters in this film had very little chemistry between them. The kissing was terrible, and the sex scene was definately not very hot...a little believable chemistry would have been good. The films was made in the 80's which is another negative. The bar scene was terrible, I thought it would never end. Any way I'm no expert on films put I do know when a film moves me and this one certainly did not. Please be your own judge.

My favorite John Sayles film
This is my favorite John Sayles film (which, considering how i feel about Lone Star, says a lot). This has much to do with Linda Griffith's wonderful performance as the title character. Sayles says his intention was to explore a situation where husband and wife divorce and the husband gets custody of the kids. This, of course, means something has to be "wrong" with the wife. At the same time, he didn't want her problem to be too impairing. Alcoholism and heroin addiction were out, so he made her a lesbian. When you consider the 1983 this is way ahead of its time and holds up well, especially against current films like But I'm a cheerleader. Good stuff. ... Read more

Reviews (39)

Wonderfully flavored baseball movie
What a fun movie! This film is a depiction of the 1919 Chicago WhiteSox who are alleged to have "fixed" the World Series that year against the Reds.

Here's what I loved about the film. The portrayal of Charlie Comisky, the White Sox owner is outstanding. I found myself quickly siding with the players from the outset and bristling at his obviously unethical and cheap approach. The time period depicted has a great "feel" to it. The baseball scenes are excellent and have a realistic feel as well. John Cusak and DB Sweeney are excellent as Buck Weaver and "Shoeless" Joe Jackson.

The portrayal of the newly appointed commisioner Kennisaw Mountain Landis is also excellent. After watching this film you will better understand the current situation with Pete Rose, and where his expulsion from baseball originates. If you are at all a baseball fan you will enjoy the film.

My only criticism is that too much film time is spent of the gangsters and the announcers. That was a little tedious, and limited the further character development of the players, the depiction of the game, the owners, and the era.

I recommend this film though easily to any baseball fan.

Great look into the White Sox world series of 1919
This movie examines the role of the Chicago White Sox in the famous White Sox world series scandal of 1919. I thought it was one of the most appreiciated baseball movies of all time. It deals with the corruption of gambling in sports and the temptations that this particular group of athletes had in throwing the world series. Watching this movie helped me understand why sports betting, for the most part, is the major corporation it is today.

John Cusak is wonderful as Shoeless Joe, one of the White Sox who does not want to go along with the scheme. This movie is very detailed: we get an inside point-of-view from the audience, mob, player and player's wife's perspective. It is a look at the conscience of the White Sox players who must either "sell out" and throw the World Series to make the extra buck and keep the sports sharks off their backs, or keep the integrity of the game intact by giving their all on the field and denying the prospects of more money.

I recommend this movie not only for baseball fans, but all movie junkies. It examines many of the sports issues that we deal with today, such as corruption, integrity of the sport, and gambling.

Sayles' masterpiece
It's difficult not to get your personal feelings called into play when watching an obviously slanted film like EIGHT MEN OUT. John Sayles, like Oliver Stone, is an obvious agit-prop master for the left or at least for labor in its battle against owners. But so are several others movie-makers. However, those others do not get the responses that Sayles has evoked because they don't have half the talent that Sayles possesses. There is no fence-sitting when watching his films, and that's because his visions and messages are clear, uncompromising and passionate. EIGHT MEN OUT is one of his highest achievements in those regards.

In his analysis of the rigging of the World Series of 1919, Sayles targets White Sox owner Comiskey as the true villain. And I believe this is accurate, if not justifiable, at the very least. The Black Sox scandal, as it came to be known, was undoubtedly the lowest point in baseball history, but it could have been avoided. Had Comiskey treated his players as they merited, it is doubtful any of it would have come about. This is not to say that these athletes were angelic: Sayles goes to great lengths to show that several of them would be easily corruptible, such as Chick Gandil (played by the underrated Michael Rooker). Other players seem to want to do the right thing, but are pushed too far by Comiskey--specifically, Eddie Cicotte, as portrayed by Sayles' favorite, David Strathairn. The enigmatic Shoeless Joe Jackson (subtly played by D.B. Sweeney) is just plain too dumb to understand the implications of his involvement. As others have noted, Jackson wound up the series' batting leader.

The real moral compass of EIGHT MEN OUT is Buck Weaver, played by John Cusack in what may have been the performance of his career. Sayles' Weaver is portrayed as the victim of the ultimate betrayal for not participating in the scheme. His teammates don't back him up. The courts do not defend him. The press lumps him together with the guilty. His only crime was not being a snitch. And for that, Weaver has basically been relegated to baseball history's limbo, in spite of an above-par career. Sayles does an admirable job in evoking a justified sympathy for Buck Weaver, and Cusack captures it beautifully.

EIGHT MEN OUT is not a mere baseball movie. Like much of Sayles' work, it's a film about greed, and the desire of American owners to extract as much from labor as possible, without giving anything in return.

P.S. -- Sayles does a great job of portraying writer Ring Lardner. I just wish he didn't sing!

How about a movie called...
How about if the film industry makes a movie called 'The Hammer'? Gee, they made 'Cobb, 'The Babe', 'Eight Men Out', 'Field of Dreams', 'The Pride of the Yankees', 'The Natural', and '61*'. Well, how about making a movie about Henry Aaron, Josh Gibson, Roberto Clemente, Willie Mays, or even Jackie Robinson? Oh, I forgot, baseball will never allow it...

I WANTED to love it!
I love baseball and I love baseball movies. So I was ready to love this movie, yet it somehow failed to please. Great actors, great period setting, yet we are not let inside the minds of the characters. Aside from John Cusak's Buck Weaver, none of the characters are even that appealing, so we don't really care what happens to them. We know nothing about their background, why they play baseball, or what drives them. In summary, the movie just wasn't that engaging. Since most of us know the rough outline of the story already, there are no surprises. The characters were so 2-dimensional, that I almost expected them to disappear when they turned sideways! Also, the DVD has no special features at all except for a movie trailer which is just a summary of the movie.

If you want a baseball movie with heart, get Field of Dreams. ... Read more

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Once upon a time--1967, to be precise--Danish director Jørgen Leth released The Perfect Human. In The Five Obstructions, fellow countryman Lars von Trier (Breaking the Waves) challenges his "hero" to remake the short five times and provides a different set of "obstructions" for each. Because Leth likes cigars, von Trier suggests the first be made in Cuba. For the second, however, he sends Leth to "the worst place on earth"--Bombay's red light district. The obstructions keep coming, interspersed with conversation and clips from the original film, in which actors engage in a variety of activities, like eating and dancing, while the narrator posits oblique questions like "Why is joy so whimsical?" (Von Trier claims to have watched it "at least 20 times.") In the end, the two Danes have whipped up an unclassifiable concoction that plays less like documentary and more like a duel between friendly adversaries. --Kathleen C. Fennessy ... Read more

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Jane Campion's The Piano struck a deep chord (if you'll excuse the expression) with audiences in 1993, who were mesmerized by the film's rich, dreamlike imagery. It is the story of a Scottish woman named Ada (Holly Hunter), who has been mute since age 6 because she simply chose not to speak. Ada travels with her daughter Flora (Anna Paquin) and her beloved piano to a remote spot on the coast of New Zealand for an arranged marriage to a farmer (Sam Neill).She gives piano lessons to a gruff neighbor (Harvey Keitel) who has Maori tattoos on his face, and, well, things develop from there.The picture takes on a powerful dream logic that simply defies synopsis. It's a breathtakingly beautiful and original achievement from Campion, a unique stylist.The Piano won the Palme d'Or at the Cannes Film Festival and Oscars for Hunt, Paquin, and Campion's screenplay. --Jim Emerson ... Read more

Reviews (137)

Exquisite erotic classic
Jane Campion's "The Piano" does what many truly great films do: It inspires fascinating discussion and provokes mixed reactions. The male friend with whom I saw it back in 1993 and I were so enthralled that we kept our significant others waiting to leave for our respective Christmas vacations because we kept phoning each other to discuss symbolism and interesting themes in the movie. While I continue to absolutely love the film, I also recognize why some viewers have not shared my reaction. Perhaps you have to have at least considered a forbidden love affair or perhaps you have to have found yourself trapped in a relationship where you feel you have lost your voice to appreciate what Campion explores.

The story centers around Ada (Holly Hunter in an Oscar-winning performance) and her daughter, Flora (Anna Paquin--who also won an Oscar for her extraordinary performance). They leave their upper-class home in Scotland after Ada's father (apparently) arranges her marriage. Ada, who has willed herself not to speak since age 6, expresses herself through her beloved piano.

The true story of who fathered Flora is never revealed in the movie, but the context suggests that she is Ada's illegimate child born from an illicit affair. The hinted-at story of Flora's conception provides a key to understanding both why Ada later begins an affair with her New Zealand neighbor Baines (Harvey Keitel) and why she makes a mail-order marriage in the first place. I suspect that Ada's aging father may have wanted to see her settled--preferably far away so that her unconventional behavior would no longer be a source of social embarassment--and given Ada's muteness and out-of-wedlock child, her father probably couldn't find a suitable suitor in mid-Victorian Scotland.

Stewart (Sam Neill) first encounters his future wife on a lonesome gray beach surrounded by her crated belongings. His Maori porters begin carrying many household items up the muddy path to his dreary homestead. But Stewart refuses to bring the piano along, despite Ada's apparent distress and Flora's pleas that her mother MUST have her piano.

Ada's piano, abandoned on the barren New Zealand beach, captures the sense of what 19th century colonial life might have been like for too many women--treasured possessions, the last ties to "civilization" left behind.

Rendered voiceless without her piano, Ada begs Stewart to return for her instrument through notes and more pleas from Flora. Finally she persuades Baines--a colonist whose tattoed face evidences the extent to which he has "gone native" and who is considered less civilized by his neighbors--to guide her back to the beach. Ada comes to life again as she, at last, gets to play. Drawn by her passion for the piano, Baines arranges with Stewart to trade land for the piano. Without consulting his wife, Stewart assures him that Ada will provide lessons too.

During first of these lessons, Ada strikes her own bargain with Baines, whom she still considers a boor: She will trade sexual favors to earn back her piano, one key at a time. Ultimately, her reluctant bargain grows into full-blown love and passion. The dark, brooding tone of "The Piano," however, suggests that something in this situation will go tragically, and probably violently, wrong.

Campion has filled her movie with haunting piano music (actually played by Hunter) and intriguing imagery. The metaphor of piano as voice and losing and regaining one's voice, Flora's role in changing her mother's fate, the question of whether Ada's bargain reflects a woman taking control of her life or just being victimized in a different way, and many other complexities make this a movie worth watching again and again and again.

Words cannot convey...
Words cannot convey...and this is one of the things this incredible movie teaches us. The Piano is one of my favorite movies of all time. The scenery is breathtaking. Holly Hunter is brilliant as Ada, the mute (by choice) "victim" of an arranged marriage. Her facial expressions and physical movements express more than words could ever say. In fact, I found that once I become aware of watching her gestures, I began watching the expressions of other characters in the movie also. Harvey Kietel is cast in a very different role for him and the result is impressive and shows a much larger range of his acting ability. The music in the film is beautiful and is Ada's true "voice".

This movie must not be watched in the ordinary way one would watch any other movie. If you're just going to watch it in a literal way, this isn't the movie for you. The Piano is a wonderous combination of music, scenery and symbolism. It's like a dream sequence. The movie feels almost enchanted. The filming of 2 major scenes of violence is exquisite. I didn't notice the violence itself so much as I felt the pain of the characters.

I highly recommend this film...no matter how many times I watch it, it never fails to move me.

A moody drama that was very bittersweet.
This is the first film I have seen with Holly Hunter and Harvey Keitel. They both gave good performances, and the movie itself was strange but likeable. Anna Pacquin and Sam Neil also gave great performances. The movie did have a lot of nudity that was really un-neccesary. The cinematography was good and the setting was a cool, dark, but beautiful place. The film was very different and really surprised me, like most films do. I recommend this for romantic buffs, and people who love to watch great performances.

A Different Look At Romance
All the things that characterize a Hollywood romance are turned upside down and changed about in this film. The usual fare is the interactions between two urbanites with huge polished smiles stuck to their faces. They enter a relationship which is loud, giddy, and giggly.
In The Piano, the woman doesn't speak at all and both men are stoic sorts who have lived in a hard land. A lot happens under the surface where we can only guess at it. In mainstream films, the emphasis for the man is rushing in and grabbing the woman of his dreams with all possible speed.
But here, just once, the quiet, patient, and tender man emerges with the lady. And what's more, when we first see him, we fail to see through his hard exterior. Even the viewer comes to know this man's virtue only over time.
I found this to be an incredibly beautiful story and as if that alone wasn't good enough, I also greatly enjoyed the cinematography and the music. This is one of those films that I find guilty of being incredibly good on all counts.

And a final note about male nudity: Yes it is in this film. Both male and female are seen completely nude. And there's nothing wrong with the male part. We men have beautiful bodies too. Art of the past has had no compunctions about showing nude males and correctly so. I'm not sure I can understand this modern prudery.

BREATHTAKING!
I haven't seen this movie for a long time, but saw it again the other day. I forgot how powerful it was and how breathtaking all the actors are as well as the scenery. Strong performances and beautiful music (I bought the soundtrack long ago and had to dust it off after seeing this movie again!). As for some of the negative comments of seeing Harvey Keitel naked (full frontal, too), and found him disgusting looking, well, folks, that's how most people look in real life! ... Read more

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Even more than most of David Lynch's deliberately bizarre and idiosyncratic movies, Dune is a "love-it-or-hate-it" affair. An ambitious, epic, utterly mind-boggling--and, let's admit it, all-out weird--adaptation of Frank Herbert's classic science fiction novel, Dune remains one of the most controversial films in the director's exceedingly provocative career. The story (if Dune can be said to have just one story) is complex and convoluted in the epic tradition; it has something to do with political intrigue and a planet that is home to a precious spice and gigantic sand worms. Think Shakespeare's Henry IV with a dash of Tremors, and set in another galaxy. But despite plenty of strangely whispered voice-overs that explain the characters' thoughts (and endlessly detailed exposition), storytelling is not really among the film's strong points. There are, however, a lot of memorably fantastic/grotesque images, an extraordinary cast, and a soundtrack featuring Toto. I told you it was weird. Among the stars are Kyle MacLachlan, José Ferrer, Dean Stockwell, Brad Dourif, Sting, Kenneth McMillan, Patrick Stewart, Sean Young, and Linda Hunt. The DVD contains the original release version; a shorter version cut for television has been disowned by Lynch, who insisted his name be replaced by that famous Hollywood pseudonym "Alan Smithee." --Jim Emerson ... Read more

Reviews (435)

Dune: the sleeper has awaken.
David Lynch's (Eraserhead, Twin Peaks) adaptation of Frank Herbert's defining saga 'DUNE' may very well be, if truth be told, the most epic enterprise, and in many ways the most rewarding, of Lynch's work thus far.

Dune is a difficult movie to review, if only because there is no easy (or maybe I should say simple) way to look at it. At its core though DUNE tells the story of Paul Atreides, a young man whose destiny as a Messiah of worlds echoes that of such classics like Brazil or Spartacus, where seemingly ordinary men become extraordinary beings. This however is an over-simplification, DUNE is built from a collection of stories and legends that form a unique whole -perfectly captured by Lynch.

Make no mistake, this movies begs to be seen in its original 2,35:1 widescreen format. Freddie Francis' photography of the barren Dune world is simply amazing, and even though some of the special effects may seem old when compared to today's standards, the amazing designs by Anthony Masters will simply take your breath away. The DVD edition, while not anamorphic, is very well presented, sporting a very high quality video transfer and excellent sound. A brief, if yet interesting, collection of production notes are also included, as well as cast and crew bios and the original theatrical trailer in widescreen format.

DUNE seems slow at times and it may not be for everyone -but then that's always been the trademark of Lynch's work, I think. Still, DUNE is an excellent example of how a complex story can make a Sci-Fi movie be truly epic. Couple that with the amazing designs and the beautiful photography and you got a winner here. Highly recommended.

Lynch's Dune leaves lasting impressions
Oil planets, rubber suits, flying Buicks and lots of industrial images and soot...
Who else could come up with a vision like this for the Frank Herbert novel other than David Lynch?
This so-called box office disaster has to be one of the most controversial sci-fi films to ever grace the silver screen, and though it has been repeatedly bashed by sci-fi buffs and Dune purists, the two-hour-plus feature always manages to surface either on television (in a hastily- and carelessly-edited extended cut), in conversations among admirers of sci-fi or cinema, as well as in personal movie collections worldwide.
So why was it scorned during its initial release?
Expectations of the film adaptation were high. The film hardly captured every facet of the novel. But how could it?
Also, many theatergoers and sci-fi fans were expecting, well, more of a futuristic approach to Dune as opposed to Lynch's industrial vision. A spaceship with plush leather interior lacking any flashy computers just didn't do it for the Star Trek/Star Wars crowd.
However, Lynch's script remains faithful to the story and its characters. The first-rate casting, combined with (undeniably) Lynch direction, pack enough flair to make the film more than worthwhile viewing and certainly worthy to own on DVD.
The entire cast give first-rate performances, most notably Kenneth McMillan, Jose Ferrer, Sian Phillips, Francessca Annis and, of course, Patrick Stewart.
Toto, the 80s rock band that proved to everyone that musicianship isn't everything, contribute a worthy score, though it steers toward a Flash Gordon-esque style in the film's finale.
In sum, Lynch - like a true visionary - leaves us with more fantastic impressions of the enigmatic Dune world than he does comprehensive storytelling. The impressions, however, are lasting. They are the key to why this sci-fi flop survived the relentless criticism and has proved, repeatedly, to be in demand among consumers.
Note: Lynch withdrew his screenwriting and director's credit from the extended TV version of the film, and for good reason.

Duned
Woh! I didn't know what to expect when I first sat down to watch 'Dune'. Not having read the novel, the first hour of the movie made me think I had Attention Deficit Disorder, I didn't know what was going on. After that first hour, I gradually left my efforts at understanding behind and just revelled in its sheer spectacle.

Poor David Lynch was driven to the brink of suicide while making this picture. The success of 'The Elephant Man' must have made him believe that adapting other people's work would be a much more successful venture than trying to develop anything on his own at this stage of his career. 'Dune' is full of Lynchian touches even if his commanding vision is sadly missing. The Emperor's court looks like something out of pre-industrial Europe in contrast to the Harkonnen culture of brutal industry and festering disease (Lynch would have been in his element here). Indeed the Baron Harkonnen's face bears some resemblance to John Merrick's in 'The Elephant Man', biological explosions bursting through the skin.

'Dune' would have made a pretty good T.V. series if it had been directed by Lynch, there certainly would have been wider scope for plot and character development. As it was left in it's 137 minute version Lynch had to cut entire scenes and have them explained in one line of voice-over dialogue instead. This makes much more of the profound elements of the film seem like excerpts from a daytime soap opera, the slow zoom into the static face as the voice-over speaks the thoughts of the actor.

Locked into producer Dino De Laurentiis's and writer Frank Herbert's vision, it's not surprising that Lynch returned to small-time film making as a way of retaining artistic control.

Generally, I liked it
Yes, the movie is weird; yes, they changed a lot from the book, like another movie which shall remain nameless (*cough*"Harry Potter and the Prisoner of Azkaban"*coughcough*), and yes, it borders on the incomprehensible at times. Still, IMHO, it beats the hell out of the later remake, which is twice as long and half as interesting. The actors in this movie have great charisma, and besides, who can beat Patrick Stewart as Gurney Halleck? I ask you!

The main flaw (again, IMHO) is that the "long version" has yet to be released on video or DVD, although it can be seen about once a year on the Sci-Fi Channel. The shorter version is just not enough; write your congressman and DEMAND the full-length extended cut of "Dune". 'Nuff said.

Oh Lordy
Well. Time to write a review of this on Amazon. So many things to say. A beginning is a delicate time. Well, lets state the obvious first and foremost.

This movie was a flop. A bomb. A disaster. It cost a great deal of money to make and it made almost nothing at the box office. This was due to a number of reasons. One, in the early eighties, science fiction was considered very uncool. So that any young dude in the early eighties worth his salt wouldn't be caught dead going to this movie. The other matter is that any of those young dudes who DID happen to wander into this movie probably had to wonder just what the hell was going on.

Dune is very challenging science fiction that almost might be considered the work of a genius. It is far more complex and interweaving than the plot for something like "Star Wars" for example. By that, I'm not saying that Star Wars was a bad movie, indeed, it was a very profitable one (unlike Dune). It is just that from my viewpoint, it is incredible that this movie was even created at all, considering the usual attitude of movie studios toward complex plots of any kind whatsoever. In fact, I would go so far as to venture the guess that this movie being a flop set a standard for one dimensional movie plot lines for years to come. A movie must make a profit, the dumber the movie, the bigger the profit.

Anyway, the point is this movie somehow, against all odds, WAS made. And the director, to add to the weirdness, was that master of weirdness (the weirding way?) himself, David Lynch. Lordy, this movie is a miracle against all odds.

The thing to keep in mind is that this movie didn't have an immediate impact when it was first released. However, slowly, over the years, it gained a massive cult following. It has become known as that "other" sci fi movie, alongside Star Wars and Star Trek. And indeed, I believe Frank Herbert wouldn't have had it any other way. On the video shelf, Dune has become the "underground" sci fi epic loved by a select few - who rent it very often.

The movie has had a sweeping impact upon culture, regardless of who hates it or loves it. If you have seen it, you will never forget it. Some scenes remain breathtakingly modern with incredible special effects, others are rough edged with some editing that could use something to be desired. Yet despite it all, it remains powerful today (especially when compared to the awful tv miniseries version). ... Read more

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At the start of the most recent film from Chinese director Zhang Yimou (Raise the Red Lantern, Ju Dou, Shanghai Triad), a young man returns to his native village after the death of his father, the village's schoolteacher, who died while trying to raise money for a new schoolhouse. His body is in a neighboring town; the young man's mother insists that it be brought back on foot, lest his spirit not find his way home. From this starting point, the young man recounts the tale of his parents' courtship, which involved a red banner, mushroom dumplings, a colorful barrette, and a broken bowl. The Road Home is beautifully filmed, particularly the luminous face of Zhang Ziyi (from Crouching Tiger, Hidden Dragon), whose performance is a heartrending portrait of hope and yearning. A simple but deeply emotional film. --Bret Fetzer ... Read more

Reviews (92)

A simple, yet wholly moving and beautiful film.
Eclipsing any romantic comedy or drama from Hollywood in the last 30 years, The Road Home achieves so much by doing very little. Master filmmaker Zhang Yimou successfully captures what it's really like to fall in love for the first time through his use of cinematography (sumptuous as always), unparalleled attention to detail, and, as always, a super strong cast (spearheaded by relative newcomer, the beautiful Zhang Ziyi). Unlike most romance movies, there is no love-making in this film. There is no kissing. The characters show their love through little things that we often take for granted: preparing food, giving small yet meaningful gifts, and other gestures. Like most of Zhang Yimou's films, there is relatively little music, however, the music that is there is perfect. It rises to the occasion when needed and dies down when not.
All of the elements of this film work together like clockwork...better than clockwork. It manages to get its message across more than western romances through uncomparable use of setting and shot framing, costume and make-up, lighting (with some brilliantly-back lit shots of the actors), and figure behavior.
Now about the DVD. This is a film whose setting was meant to be seen only in widescreen. The picture holds up well both in sun-lit outdoor conditions and slightly darker indoor scenes. The voices are set at a nice level and when the score hits its high note, the sound is heavenly...even through a plain Dolby Surround system.
Plain and simple, this is a film which should not be passed up.

A romantic fantasy with a universal theme
This 1999 Chinese movie is directed by Zhang Yimou, who also brought us "Raise the Red Lantern". It stars Zhang Ziyi, the beautiful young actress who, the following year , received international fame in the well received "Crouching Tiger, Hidden Dragon". "The Road Home" is a beautiful film, a romantic fantasy with a universal theme.

The first fifteen minutes and the last fifteen minutes are shot in black and white, bookending the story within the story. It is set in a remote village in China, where the land is beautiful and it always seems to be winter. The schoolteacher has died in a distant city. And his widow wants to follow tradition and have his body carried home for burial. At first her son, an engineer in the city who has rushed home, is reluctant to make arrangement for this, but later agrees and her wishes are carried out.

This is not the main story though. Between these two black and white segments, there is another story, filmed in vivid color. It is the story of the mother and father's romance. It is sweet and touching and beautiful. The schoolteacher is only 20 years old. The girl is only 18. We watch them fall in love, suffer a separation, and then come back to each other. And this is all told without any physical contact between the two. It's a "feel good" story all the way.

I enjoyed the film and the simple story. And I also enjoyed the view of life in China and the fine cinematography. Recommended.

A gorgeous, sweet love story
This is one of the most deeply moving films I have seen in a very long while. The story is sweet and meaningful, and the acting is absolutely exquisite. This film is lovely and quiet, beautifully filmed, and restrained.

One of the things that impressed me about the movie is the obvious acting talents of Zhang Ziyi, the actress who played Jen in Crouching Tiger. If you think you'll even recognize her in this role, I challenge you to see the movie to find even one remnant of Jen in her character. She is an excellent actress and conveys realms of thought and feeling without saying a single word.

If you're hoping for a fast-paced, run-of-the-mill movie you won't absorb, see something else. See 'The Road Home' if you want gorgeous and rich cinema.

spiritual
Zhang Ziyi's performance in "Crouching Tiger, Hidden Dragon" had me wondering, out of all the stellar cast involved, who this was who had me the most impressed. I researched her filmography and came across "THE ROAD HOME". Mind you, I'm mostly a fight-it-out, special-effects, action movie fan who had my reservations about getting it once I finally found someplace to buy it. I rented first and I had no regrets afterwards.
Great films done properly can tell a simple story and hold the attention of the audience if one chooses to do so. This is a great example. Scenic vistas, compelling acting and a moving story has made this a favorite of my movie collection. Without saying too much (as the previous reviews have already done so), I will recommend at least everyone rent this. It doesn't have a huge budget, no CGI, no gun-toting and no foul language. What does that leave? A movie like they used to make 'em.

OH MY GOD
OH OH OH OH OH OH OH,MY GOD ,WHAT IS THIS ,I LOVE THIS MOVIE,VERY BEAUTIFUL,THIS IS MY FAVOR,YIMOU ZHANG THE BEST FILM MAKER IN THE WORLD.HE DID A GREAT WORK ... Read more

Description

Marianne (Liv Ullman) and Johan (Erland Josephson) always seemed like the perfect couple. But when Johan suddenly leaves Marianne for another woman, they are forced to confront the disintegration of their marriage. Shot in intense, intimate close-ups by master cinematographer Sven Nykvist, the film chronicles ten years of turmoil and love that bind the couple despite their divorce and subsequent marriages. Flawless acting and dialogue portray the brutal pain and uplifting peace that accompany a lifetime of loving. Originally conceived as a six-part miniseries for Swedish television, The Criterion Collection is proud to presentnot only the U.S. theatrical version, but also, for the first time on video in the U.S., Ingmar Bergman’s original five-hour television version of Scenes From a Marriage. ... Read more

Reviews (14)

Challenging, truthful, utterly rewarding look at marriage
Ingmar Bergman's 1974 chamber-drama masterpiece was originally made as a six part mini-series for Swedish television--hence the divided tableau and emphasis on close-ups. Of course Bergman is the greatest purveyor of the close-up, and here he uses it to accentuate the psychological torment and strain that a marriage propagates on its victims (after this movie you'll view marriage as a war, if you already don't). Josephson and Ulmann shine as the dissenting couple, who first put up facades to deny the inevitable, eventually divorce, dive to relationship hell, and ultimately find a happy medium with a burgeoning love that could have never flourished if they stayed married. Interestingly, Bergman chooses to never show the couple's children (that would simply add another tumult to an already tumultuous puzzle). And, if it needs to be said, Sven Nykvist's photography is strikingly beautiful. "Scenes from a Marriage" suffers slightly from too much dialogue and being a bit lengthy--the poignancy is nullified after 170 minutes of relationship vicissitudes--but deserves to be cherished by any fan of "good" cinema or of Ingmar Bergman.

Love & Marriage
Ingmar Bergman to me is one of cinema's most powerful directors. And, "Scenes From A Marriage" is the most powerful, and haunting film I've ever seen about love and marriage.
There's just something about Bergman's vision as a director and the camera of Sven Nykvist that brings this film to life. Bergman just throws these characters right into our faces, and we are truly mesmerize by them and their actions.
For those who have never seen this film, it is basically just as it's title may suggest, a look into the life of one couple's marriage. Marianne (Liv Ullman) and Johan (Erland Josephson) are our couple in question. They have been married for a while now, and seem to have a good solid marriage. One wouldn't think anything was wrong, especially when compared to their friends like Katarina (Bibi Andersson) and Peter (Jan Malmsjo) a couple whom act like their about to kill each other at any given moment. The scene is involving them, is one of many sterling moments in this masterpiece.
If I were to go on and talk about more scenes in this film, I would clearly be ruining the entire experience for you. Just rent this movie or even better buy this movie and be prepared to see the power that cinema can convey.
"Scenes From A Marriage" is one of Bergman's best films. And, while yes, there is talk of a sequel, I can only hope, that it all remains a rumor. To make a sequel out of this masterpiece would surely be a mistake. Here's a film that is perfect as it is. Just leave it alone and don't add anything to it. Though, Bergman did make a sequel out of the Katarina and Peter characters and made "From the Life of the Marionettes", which does have it's powerful moments, but doesn't quite build up to what this film has become.
For those who have never seen a Bergman film, I'd suggest watching "Wild Strawberries" first, then "The Seventh Seal", "Cries & Whispers" and then build yourself up to this one.
Bottom-line: Truly one of Bergman's most powerful films. The single greatest film I've seen as of yet on the subject of marriage. This movie hits an intensity few have have ever achieved!

13 now 41
How I was allowed to watch this series on ?PBS? when it first came out...I'll never know. But at around 13 y/o its haunting images of a marriage "gone bad" has stayed with me for nearly 2 decades. I literally fell in love with Liv Ullman and her acting (which at the time I was not far from believing that I was watching a documentary of a real couple falling apart at the seams) It was an intense and captivating series that had me literally "willing" the week to go by faster so I could watch the next installment. Through the years I had always searched for a way to watch it again and now (BIG difference in the "disposable income" of a child vs. an adult :), I will be purchasing this as part of my collection of memories from my youth. Thanks to Criterion for taking the time in putting this together for us.

Beautiful Brutality (A TRUE depiction of Marriage)
This film is incredible. It is, however, a brutal one to watch (the intense arguments are too intense to watch at times, there is so much PAIN in this film). Its basic plot, as ridiculous as this sounds, is "husband and wife argue, then make up, then argue, then make up, then argue, then make up, and so on and so forth" or "husband and wife love eachother, then hate eachother, then love eachother, then hate eachother, then love eachother, etc." Yet in this back and forth plot, progress is made all the time. A couple who seemed SO perfect in the film's famous and brilliantly forboding opening interview sequence, begin to realize that they cannot go through life being a perfect married couple and still love eachother in the process. The incredibly well rounded characters we know at the beginning of the film, Johan and Marianne, are NOT the same characters we know at the end. The incredibly cocky and self-assured ("it would be too much to say that im bright, handsome, and sexy") Johan becomes the incredibly weak and humble Johan as the the film progresses, while the woman Marianne, who believed that she was put on this earth to be a good wife and mother, nothing more, becomes the confident Marianne, who realizes it is not at all a sin to have your own personality. In essence, the film chronicles the immense change of two people as they become farther from eachother.

Basically, the point of the film, in my view anyway, is to show that Marianne and Johan love eachother SO MUCH that marriage only restricts this love. They get along BEAUTIFULLY (they really do, unlike while they were married, when they just SAID that they get along tremendously) in the last Scene, when they are finally divorced and remarried to different people. Bergman's point surely was to show that marriage can be a bad idea. Two people who love eachother a great deal just do not work well together when married. Love becomes second to the other obligations that come with marriage. Too much time is spent discussing finance, the children, work, and looking like the happy married couple than time spent actually loving one another. Indeed Bergman laugably blamed the film for an increase in divorce rates. It seems wrong, but he may well be right. Marriage is bad for love.

There were some things I enjoyed a great deal about the film. Firstly, the dialogue. It was brilliant, as one would expect from Bergman. Witty, clever, and powerful words (the film is based around conversations) prevail. Secondly, much has been said of Sven Nykvist's camera work, and I must agree it is wonderful. His camera captures so much emotion from the actors, he often keeps his camera fixed on Liv Ullman's face as she, for example, hears of her husband's infidelity. reaction is more important in Scenes from a Marriage than action is. Thirdly, the ACTING was nothing short of astonishing. Bergman regular Liv Ullman's performance is the performance of a lifetime. There is a scene where she is in bed with her husband, who had just told her about his desire to leave her for another woman, Paula. As he says "I've always hated you, for several years, I've HATED you", Ullman's reaction is INTENSE. It's as if every word he says is like a knife that sticks in her side. It's a thing that comes on all too suddenly, a man who she thought loved her sits there saying it was a lie all along. She carries the performance beautifully. Erland Josephson is also VERY good in an obviously more difficult role. He plays a man who loses his self confidence, and he plays it well. Lastly, I loved Bergman's use of forshadowing. On your initial viewing, Johan's addmitance about Paula comes off as extremely shocking, however, if you go back, everything really forshadows the end of their marriage. We know something's up from the very beginning. There is this sense of tension and uncomfortableness, its as if, at times, they dont even love one another, they are just playing the parts of the perfect husband and wife.

This is my favorite Bergman film of those which I have seen thusfar (others are Persona, Wild Strawberries, The Seventh Seal, Cries and Whispers, Hour of the Wolf, Through a Glass Darkly, Winter Light, and the Silence.) It is a very realistic approach to the concept of marriage, and shows the fact that married life is not all as good as it seems.

This film will leave you breathless, if not lifeless. I recommend the SERIES rather than the film, there is even more intensity, and more characters and character developement. Arguments become intense. ONE WORD, and i am not joking, can strike your heart like a sword, just as it does to the characters in the film. It's always that one last thing someone said that they shouldn't have. It is INTENSE.

I cannot reccomend this DVD enough! BANG UP JOB CRITERION!!!!!!!!! I love the inclusion of Both the series and the film, particularly the series, and the extras, though small in numbers, are GREAT in quality. The three interviews included arre very informative, and i could ask for nothing more. The insert booklet is very nice and very attractive, as is the entire package. The entire package, down to the menus, was very nicely designed. the menus are animated and fit the mood of the film very well. The image, though it could not be helped (it was shot for television), is kind of bad, So.........

FILM: 10 STARS/ 10 STARS
DVD: 9 STARS/ 10 STARS

One of the greatest films of ALL TIME, certainly one of my favorites, and one of Criterion's best releases hands down. BRILLIANT FILIM!!!!!!

Amazing! One of Bergman's greatest: way ahead of its time!
This Criterion edition is an absolute must-have for any fan of Ingmar Bergman's work. I have seen the 3-hour film version several times before, and felt it was superb, as most of Bergman's films are, but it faded for me in comparison with my favorites, "Persona", "Cries and Whispers", "The Silence", "Shame" and "Through a Glass Darkly". The 5-hour TV version, however, presented here for the first time in the US, is a revelation to me. It is startlingly contemporary. It is like seeing the film fresh, for the first time. I am struck by the naturalness of the acting of Bjornstrand and Ullman, giving astonishing performances, both in terms of nuance and intensity. At times, one forgets that they are acting, they so inhabit their gruelling roles. Liv Ullman is particularly great here, and photographed with luminous intensity by Nykvist, the master cinematographer. This is a woman who has her world shattered, and who responds to her changed circumstances in realistic stages: denial, anger, grief, rage, and finally acceptance. Also, I am struck by the way this particular film is the unacknowledged "grandfather" of independent contemporary film technique. A recent article in the New York Times on Dogme astonished me by the failure to even acknowledge Bergman's influence. Liv Ullman is spot-on in the interview when she notes that "Scenes from a Marriage" was Dogme filmaking 30 years ahead of Dogme, and that the often hand-held camera here moves with precision, versus the shallow, self-indulgent scattershot mess that is so tedious in the films of the Dogme filmmakers. In the five-hour TV version, one sees the film as it truly is, a groundbreaking, thoroughly engrossing masterpiece. Finally, it reminds us of how little we ask from our own TV movies in the US. This is a riveting, compelling, lacerating work, made with compassion and with a strong humanist understanding. Bergman didn't come to this spareness and austerity out some philisophical point of view, like Dogme has with its "manifesto". Instead, "Scenes from a Marriage" arrives at its technique out of Bergman's desire to get as close as he can with his camera to the faces, emotions, and flawed humanity of his characters. It was a process he began with "Persona" and which opens further in "The Passion", and which here is expanded out and relentlessly focused, like a pure, blue, Scandanavian flame. ... Read more

Reviews (185)

"It's a strange world, isn't it?"
That line of dialogue from David Lynch's unquestioned masterpiece BLUE VELVET describes Lynch's film universe perfectly. With the new SPECIAL EDITION dvd out we truly get a glimpse inside the making of a great film and how it can immediately be misunderstood by someone like Roger Ebert. The behind the scenes documentary is great with interviews from many of the film participants. To enter the world of David Lynch is to cross into an unknown vortex of subconscious desires, fears, and dreams. The film brilliantly shows us the illusion of the perfect smalltown life vs. the city underworld right next door. The images stay with you long after the movie is over. Dennis Hopper is absolutely perfect in a harrowing, funny, and brutal psychopath filled with self loathing and anger. I just saw a revival showing at a theater in Los Angeles and I highly recommend to anyone to see it in a theater if possible. On the big screen the movie envelops you into its world from which there is no escape. BLUE VELVET is definitely not for everyone, and that's ok. Lynch wasn't trying to make a film for the masses, but rather as a complete personal expression in the movie art form.

Blue Velvet, the best film of the 80's
In what one could regard now as a precursor to TWIN PEAKS, David Lynch explores his primary fascination, the possibly seedy under-belly that may or may not exist in Middle America.

Jeffrey(Kyle Maclachlan) lives in an idealic small town. It's picturesque, everybody knows everybody, and the doors are left unlocked at night. However, evil is lurking. Jeffrey discovers this one day as he walks through a remote field, he finds a human ear. Jeff takes the ear to a local Police Detective, who thanks him and then asks him to stay away from the case. But Jeff, with the Hardy Boy inside getting the better of him, does no such thing, and with the help of the Detective's Daughter(Laura Dern) he decides to investigate. His snooping eventually leads him to a mysterious and seemingly disturbed night club singer, Dorothy(Isabella Rossellini), who Jeffrey is uncontrollably intruiged by and attracted to. In fact, it is only when Jeffrey meets Dorothy's derranged tormentor Frank Booth(Dennis Hopper at his twisted best) that he starts to realize that he just might be in way over his head.

Bizarre, captivating, hypnotic, and haunting. You've heard these words describe BLUE VELVET before. But that's because these descriptions are very accurate. This is David Lynch's brilliant painted portrait of what might lie beneath. It's violent, it's comedic at times, it's disturbing at others. It's a film that Lynch fans will love, and that non-Lynch fans will find pointless and boring.

But then again, that's true of all of Lynch's work. His films are definately an acquirred taste. Here's the best way to describe it. All the mystery aside, it's about a young man who loses his innocence on his way to adulthood. That's BLUE VELVET in a nutshell. In way it's one of Lynch's most straight forward stories(THE STRAIGHT STORY being an exception).

So to all Lynch fans to have yet to see BLUE VELVET for themselves, log off your computers, run to your nearest Blockbuster, check out this masterpiece, and be prepared to pay some major late fees. Because this is one film you will want to experience over and over again.

Thanks for reading my review.

Much Less Than its Rep
Weird, dully acted, occasionally gross and sometimes unintentionally funny. Lynch desperately wants to have his cake and eat it too by being so uncool that he's cool. Lynch cannot just tell, he has to show. All the time. Like the weird kid in 3rd grade who always brought something unsettling to show-and-tell and the kids told their parents and the parents complained and the teacher had to talk to his parents about his not bringing anything else. The weirdos Lynch populates his underworld with are hilariously overacted by actors who obviously don't know what the heck is going on and probably think Lynch is full of it. Dennis Hopper is hysterical. He basically didn't change his act a bit from Apocalypse Now and, of course, the critics and fans raved about how "brilliant" ansd "electrifying" his performance was. After Blue Velvet, I imagine Hopper got down on his knees every night and thanked God for giving most people short memories and short attention spans.

Hey neighbor
I've had a weird experience with this movie. The first time I saw it, I couldn't help being disappointed having already seen some of Lynch's other films. While Dennis Hopper's performance was impressive and many of his quotes from Blue Velvet stuck in my memory, somehow things just didn't click and I more or less thought of 'Blue Velvet' as a somewhat interesting, but ultimately forgettable experience. The seemingly good vs. evil theme of the film (the robins and Sandy's dream) in particular annoyed me and the whole thing added a definite 'cheese' factor.

One night I decided to give Blue Velvet another chance and surprisingly the experience was a much richer one; in fact, I would now say that this is an excellent movie.
[Incidentally, Lynch's Lost Highway had a somewhat similar, but completely opposite effect - I went from thinking that it was a great flick to thinking it was an alright one].

I would say that it is wrong to say that this film is about 'good vs. evil' or that Lynch is trying to make any sort of a moral statement in it; the nuances of Blue Velvet are much more subtle than that and the characters more complicated. As most of Lynch's work, Blue Velvet is about obsession and obsession luring people into dark corners of the world. The film pulls the viewer (as a voyeur) int