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

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

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

Amazon.com

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!")

You will marry Bullwinkle and have 3 kids!
Okay...you all think you are fans? My friends and I loved this movie so much (it released to VHS when we were in high school) and watched it so many times that we had our own last fling before going off to college and spent a week in Myrtle Beach. (Unfortunately, life isn't always as fun as a movie but we still had a good time!) Yes, the movie is cheesy, but everyone in it is so completely likeable. The music, the dancing, the outfits, the southern drawls...what's not to like? Even my mom loves this movie! It definitely fits under the category of "Chick Flick" but we all need movies to watch with our girlfriends... what ever happened to some of these fun actors? If you have not seen this movie, I highly recommend you try it out!

GRITS
This movie has got to be the best movie (along with Gone With the Wind) ever! I have actually worn out my VHS tape because my girlfriends and I (all from South Carolina) get together to watch it at least once a week! I went to Senior Week (as Sun Fun weekend is known to graduating seniors from SC) four years ago, as did every graduating senior in SC, as did our parents before us. My mom loves to watch it because it reminds her of her Senior Week (in 1963)! Those who don't like it, are usually guys or those who don't know what shagging is or how to do it (people not from SC or the South, basically). So give it a chance, don't just rent it, you have to buy it!

NO SELF-RESPECTING SOUTHERNER SHOULD BE WITHOUT IT
Ah, Shag! This is one of my favorite movies for so many reasons. The movie is definitely lightweight, but also very memorable. The perfect casting had one thing to do with that. Everyone in this movie, down to the late Carrie Hamilton, is made-to-order. The "Southern" details of this movie are also dead-on. As a North Carolinian who's spent a heck of a lot of time in Myrtle Beach (though in the '90s, not in the '60s) the accents, expressions, music, and clothes are all correct for the time and place. The story is simple, but most great movies have simple plots when you get right down to it. What makes Shag shine is great acting, fantastic period details, and quotable dialogue. Watch this movie with another Southerner or anybody else who could appreciate the humor and the fun of this great movie. Whether it's your first time or your 100th time watching it, Shag is absolutely the "most fun"!
By the way, though this is not the original motion picture soundtrack, it's still pretty darn good. For those of you who didn't see the early VHS version of the movie, let me explain: some of the songs were in the original version of the movie and are still in this version; others were added later. The original movie soundtrack, which I still have, contains new versions of old songs, plus a couple of original ones. I don't know why it was changed, but I'd sure like to have a copy of the DVD with the original soundtrack, which includes songs by K.D Lang and Randy Newman, to name a few.

Loved Scott Coffey
ok the movie was just like every spring break movie you had ever seen even the characters were the same the prim one, the slut, the one that used to be a duckling and became a swan, they all go to the beach to have one last fling before they go their own ways.the movie wasn't bad it just wasn't all that memorable. but all throughout the movie i kep screaming how much i loved chip (scott coffey) his character was so lovable. i wish i could find more movies he was in. ... Read more

Album Description

Exclusive 2 DVD Canadian version features, Q & A with Roman Polanski, Production Diary, The Warsaw Ghetto - Historical Background, Wladyslaw Szpilman Biography, Filmographies, Bonus Audio Tracks from the Sony Classical CD Soundtrack, Soundtrack spot, 'Story of Survival' Featurette, Theatrical Trailers, Television Spots including Adrien Brody Interview Segments, Poster Gallery, Photo Gallery & Director's Note. Widescreen Version. Aspect Ratio 1.85 1. Dolby Digital 5.1, DTS 5.1. Region 1/NTSC. ... Read more

Reviews (281)

Intense Life Story During the Holocaust
"The Pianist" is one of the top 10 best films of 2002. It was rightfully nominated for seven Oscars, including Best Picture, going on to win three: Best Director, Best Actor, and Best Adapted Screenplay. Its true story of world-famous pianist, Wladyslaw Szpilman, who struggles for his life during the Holocaust is very powerful, yet brilliant. The hardcore drama begins the moment his passionate music career becomes threatened by Hitler. Its material is close to as graphic as the actual conditions, which is how it should be displayed. Such intensity, which is never lost for a second, guarantees an emotional reaction. All the emotions in the scenery and through the characters are heartpounding through Szpilman's entire unfortunate journey. The immense research of these events is present. The writer's own heart and soul was written in every word. This project was wonderfully led by Roman Polanski's brilliant vision. His directing talents answer why he deserves his legendary status.

The set scenery is as accurate to the actual buildings and living conditions of Europe in 1939-1945. The hard work through the construction paid off, adding extra living intensity. The clothing worn in the movie adds the necessary emotional value that keeps audiences watching. All other physical details in this film are also flawless, namely the make-up and the dirty scenery (dirt, burns, blood, etc.). The musical score was composed beautifully, blending perfectly with every scenes' particular mood.

The performances from all the actors are beyond words. Adrien Brody beautifully portrays Szpilman in his career-launching role. His every drop of heart and soul are obviously presented through his character. This is one of the best Holocaust movie roles in cinema history. His talents prove that he'll be around for many more years. A few other actors could have received Oscar nominations for their supporting roles without critic complaints.

"The Pianist" is a great movie for entertainment and education. This future classic is sure to please many audiences. Those looking for more perspectives on the Holocaust should also watch "Schindler's List", which offers a more graphic look.

One of the best films ever about the Holocaust.
In an earlier review, I proclaimed "Chicago" the best film of 2002. Now I realize my judgment was hasty: "The Pianist" is really the year's best film. Roman Polanski has fashioned a horrifying, deeply moving film based on the life of Wladyslaw Szpilman, a Jewish pianist who manages through the kindness of friends and strangers and the sheerest strokes of luck to survive in Warsaw during the six years of World War II. Polanski's understated style makes the horrors he records all the more powerful, as Nazis matter-of-factly murder Jews in the street for no other reason than that they can. Polanski actually lived through these atrocities, and makes them absolutely real on the screen. Polanski also had the enormous luck to find the perfect actor to play Szpilman, the young American actor Adrien Brody. With his soulful eyes and aquiline, otherworldly face, Brody was born to play Szpilman; in a performance that is nearly wordless through long stretches of the film, he moves us to tears. Brody brings Szpilman to breathtaking life, a decent, reasonable, exceptionally talented man in a world where decency, reason and talent count for less than nothing. In the early portions of the film, Brody bears more than a passing resemblance to portraits of Chopin; toward the end, long-haired and scraggly-bearded after years of hiding in bombed-out buildings, he looks like Jesus on the road to Calvary. There is one scene in which, ordered by a German officer to play, Szpiilman plays a Chopin ballade--the first time he has touched a piano in years. The performance, technically choppy but impassioned, reaches heights of emotion the cinema rarely achieves. This moment, and many others in the film, are magnificent testaments to the artistry of Polanski and Brody. At the end, it's not that you shouldn't leave before the credits are finished rolling, as Szpilman returns to his old life at the end of the war, playing Chopin's Grande Polonaise with the Warsaw Philharmonic, the beauty of the performance and the human triumph it represents leave you transfixed in your seat. No other non-documentary film about the Holocaust--not even "Schindler's List"--has moved me as deeply as "The Pianist."

For shame
Even though barely deserving a rebuttal, some of the reviews here are so beyond asinine that I cannot restrain myself, particularly with regard to those reviewers who had the gall to call Mr. Szpilman a coward. Mr. Szpilman risked immediate death every time he helped to smuggle a weapon or ammunition into the ghetto. The ghetto uprising itself was essentially a suicide mission, and everyone involved probably knew that. So Mr. Szpilman was a coward because he wanted to live, then? How dare you. While I don't believe that any work of art should be above criticism no matter what its subject matter, I have not read a single negative review here that has any remotely intelligent criticism of this film whatsoever. They pretty much describe it as "boring" or "another Holocaust movie." Schmucks. One reviewer couldn't even remember the protagonist's name, yet had no shortage of would-be scathing things to say about the movie. Almost as absurd are the unfavorable comparisons to "Schindler's List." Yes, Oskar Schindler was a great man, but the very straightforward good vs. evil nature of the subject matter must have appealed to Steven Spielberg's very American sensibilities. "The Pianist," on the other hand, boldly treads a ground that is decidedly messier, morally less clear-cut, and I think that only a man like Roman Polanski, who understands the particular time and place where these events transpired, could have made this film. And Adrien Brody fully deserved the Academy Award for this performance. And, yes, he does spend a good deal of time searching like a "rat" for food. What do these buffoons think it means to survive in such an environment? Idiots. Anyhow, this film is a masterpiece, an artistic triumph of the highest rank. The naysayers have not been able to level a single legitimate criticism against it.

Some lied when they vowed "Never Again"
For the record, let me comment on Dennis Littrell on his same review of this film. I find his opening statement repulsive, as he used the persecution of Jews during WW II as an excuse to justify Zionist persecution against the Palestinians here. Littrell is solely wrong if he thinks The Pianist is a film of Jewish supremacy overcoming all odds. Adrian Brody commented that in Szpilman's book (which this film is based), he narrates his experiences in an objective view. There were not just evil Nazis running around persecuting Poles and Jews, but there good Poles and bad Poles, good Jews and bad Jews and even good Germans among Nazi ranks. Even Polanski allows this in his film, where poor and suffering Jews complain of rich and influential Jews doing nothing to allevate their suffering. You can see the extreme contrast of rich and poor gap where you see the Jews in the restaurant where Szpilman plays the piano and the streets where you can see corpses lying on street, victims of starvation.

In the beginning of the film, the Germans have invaded Poland and the Szpilman family are adjusting their lives to the new ruling of the Nazi Germans. They find their living conditions deteriorate as they are hustled away from their comfortable home to Ghetto and finally to the "melting pot". We see two brothers conflicting with each other as Hendrik, Szpilman's brother did not like the way he supposedly grovel to the authorities and using his privilage as a famous pianist which many Jews may envy. Even Hendrik was ungrateful when his brother freed him from prison. "Are you mad?" Szpilman asked. Hendrik's reply was "That is also my business."

Szpilman's influence was so great that he was spared when his family was sent off to the gas chambers. He lost every one of his family and when he goes back to the Ghetto where virtually all Jews were wiped out, here is a man completely devastated. We see the second half of the movie being akin to The Fugitive where he wriggles away from the claws of ever-suspecting Nazis.

When caught by Captain Wilm Hosenfeld and asked to play the piano, he plays the piano for the first time in a few years he had to be in silence for fear of alerting those around him (in apartment where he lives, he cannot play the piano as to alert everybody around him that there is a hiding Jew). This is one of the most redemptive scenes in the history of film, Szpilman plays the Chopin's Ballade reflecting the ordeal he went through. It is akin to Furtwangler conducting the great Beethoven Ninth in 1942 with battlefield sounds heard from distant.

At this age, where we cannot foretell the conclusion to the Middle East conflict and Americans squandering up their operation in Iraq, the pathetic music of MTV is contrary to music in Szpilman's time. Great music can only be created with great suffering. Gustav Mahler said that if his life flows like a calm meadow, he would not have the ability to compose anything. The classical music age has lost it's Szpilmans, Furtwanglers, Menuhins and the like. When another horrific World War comes, will there be another artist like Szpilman? Time can only tell.

A Stunning Achievement
The depiction of the brutality of the Nazis toward the Jewish population of Poland is heartbreaking and unforgettable. This film captures the range of emotions that a family experience as they subjected to the gradual increase in persecution that ultimately leads to Treblinka.
Adrien Brody is a marvelous actor and is perfectly cast as Spilmann the famous pianist who is the only member of his family to survive. Spilmann's Survival depends on the kindnes of others who take great risks to protect him. Thes heroic acts are contrasted with the forementioned brutality of Germans to great effect in the film. A final act of redemptive kindness by a german officer near the end of the war brings the absurdity of the circumstances we have just witnessed into full relief.

Based on Spillman's memoirs , the film is very accurate relative to the book. The cinematography is astounding, particularly the transformation of Warsaw to a spectoral ruin where Spillman struggles to survive. The movie is well acted, well written and shocking in it's realism.

IT will leave you numb if you haven't seen it yet. ... Read more

Description

One of the greatest films about film ever made, Federico Fellini's 8 1/2 (Otto e Mezzo) turns one man's artistic crisis into a grand epic of the cinema. Guido Anselmi (Marcello Mastroianni) is a director whose film-and life-is collapsing around him. An early working title for the film was La Bella Confusione (The Beautiful Confusion), and Fellini's masterpiece is exactly that: a shimmering dream, a circus, and a magic act. The Criterion Collection is proud to present the 1963 Academy Award® winner for Best Foreign-Language Film-one of the most written about, talked about, and imitated movies of all time-in a beautifully restored new digital transfer. Disc two features Fellini's rarely seen first film for television, Fellini: A Director's Notebook (1969). Produced by Peter Goldfarb, this imagined documentary of Fellini is a kaleidoscope of unfinished projects, all of which provide a fascinating and candid window into the director's unique and creative process. ... Read more

Reviews (78)

We invent ourselves endlessly!
1. Federico Fellini. Sensitive, vulgar - il maestro.
2. Saraghina - beauty and repulsion just a few jiggles away.
3. Sandra Milo is dimples dangerous and blessed.
4. Marcello M. as Guido Enselmi, loveable hypocrite.
5. Guido's father moaning about his burial arrangements.
6. A little fantasy in reality or a little reality in fantasy.
7. Claudia Cardinale carrying mineral water.
8. Crappy musical inspired by film. How many movies claim that honor?
1/2. The spaceship - masculinity/identity in progress of going up or coming down?

The "close but no cigar" portion of the list:
Terry Gilliam carries on about how scenes in this movie have influenced his career (see no.2); Nino Rota's music, brilliant as always, probably should have been included in my top eight list; DVD extras - especially lost gem A DIRECTOR'S NOTEBOOK; boring commentary; when this picture first opened in Italy, the anticipation was compared to the excitement over a new Rossini work in his time; Fellini was like a fish in water when it comes to film design and invention - a true master; It moves at its own pace and logic, critics be damned; Fellini was brilliant because the people who worked on his films were equally brilliant - the best in their respective fields; the whip-master fantasy, I can actually agree with the impulse behind that one; it's an epic about one man's over-sized ego - what a wonderful subject to create a brilliant film about! The perfect movie for a century that has been incredibly affected/effected by the ideas purported by the science of psychology. Fellini had stated he was a great admirer of Carl Jung's work, and it is no surprise he would take up that banner.

If you can, check out CITY OF WOMEN - another film by Fellini that works on a similar logic, but takes it several steps beyond what he did with 8 1/2. Ciao!

Life is our greatest invention!
1. Federico Fellini. Sensitive, vulgar - il maestro.
2. Saraghina - beauty and repulsion just a few jiggles away.
3. Sandra Milo is dimples dangerous and blessed.
4. Marcello M. as Guido Enselmi, loveable hypocrite.
5. Guido's father moaning about his burial arrangements.
6. A little fantasy in reality or a little reality in fantasy.
7. Claudia Cardinale carrying mineral water.
8. Crappy musical inspired by film. How many movies claim that honor?
1/2. The spaceship - masculinity/identity in progress of going up or coming down?

The "close but no cigar" portion of the list:
Terry Gilliam carries on about how scenes in this movie have influenced his career (see no.2); Nino Rota's music, brilliant as always, probably should have been included in my top eight list; DVD extras - especially lost gem A DIRECTOR'S NOTEBOOK; boring commentary; when this picture first opened in Italy, the anticipation was compared to the excitement over a new Rossini work in his time; Fellini was like a fish in water when it comes to film design and invention - a true master; It moves at its own pace and logic, critics be damned; Fellini was brilliant because the people who worked on his films were equally brilliant - the best in their respective fields; the whip-master fantasy, I can actually agree with the impulse behind that one; it's an epic about one man's over-sized ego - what a wonderful subject to create a brilliant film about! The perfect movie for a century that has been incredibly affected/effected by the ideas purported by the science of psychology. Fellini had stated he was a great admirer of Carl Jung's work, and it is no surprise he would take up that banner.

If you can, check out CITY OF WOMEN - another film by Fellini that works on a similar logic, but takes it several steps beyond what he did with 8 1/2. Ciao!

A CONTROVERSIAL MOVIE.
Frequently, the name or label "Art film" is given to a movie that presents innovative techniques, an experimental narrative, abstract and ambiguous characters, complex dialogues...and slow pace, with complicated scenes, so complicated that the audience doesn't quite know what's happening, sure you can say a theory or what you think might be happening, but in the "Art films" sometimes even the director can't give an accurate explanation. Anyway, since "8 ½" presents all those elements, "8 ½" is an art film.

Federico Fellini's cinema is one of the most mysterious and influent styles at the same time, modern filmmakers such as David Lynch owe a lot to the italian director. With "8 ½" happens something very interesting, there are a lot of scenes that are almost incomprehensible, but they are very interesting to see, because since the movie offers few explanations, the audience must be thinking most of the time, trying to solve the puzzle, so "8 ½" requires an active audience.

The cast is very good, the obvious mentions are Marcello Mastroianni and the gorgeous actress Claudia Cardinale. "8 ½" presents some of Fellini's trademarks: there are a lot of surreal scenes that look like a complicated Dream, or a Nightmare if you wish. The use of the camera is very artistic and groundbreaking. And the pace is slow.

The thing with the "Art cinema" is that for some, it's the only way of cinema that really counts, and for others the art cinema is just a pretentious way to call a slow and boring movie. I choose not to be in any of those extremes, I rather be in the middle because to me "8 ½" is a very, very interesting movie, worthy of study and analysis, but sincerely I think that Fellini did better movies, like "La Strada" or "La Dolce Vita".

Anyway, "8 ½" definitely is not for fans of the "American Pie" trilogy or the Adam Sandler's comedies. "8 ½" is for lovers of the cinema in its more artistic expression.

Fellini's fragmented masterpiece of an internal crisis...
The prominent film director Guido (Marcello Mastroianni) finds himself overworked, harassed, and fatigued in all aspect of being. Guido is sent to a health spa where he is supposed to recover from his stressful life, but instead is continuously pursued by people around him, by his past, and by his conscious. The people around Guido are either dependent on him, desire his company, or merely try to advertise themselves in his presence. In order to cope with a large number of people Guido has developed a social dance where he is able to circumvent or approach the individuals of his choosing. This dance is also Guido's way of dealing with life and its complications, which affects him physically, psychologically, and socially.

8½ fragmentally displays Guido's life as he dances between reality, dreams, and memories in the developmental stage of a film production. This cerebral dance helps him to avoid what is deemed as uncomfortable as he escapes into his memories where he can find some joy and peace. However, Guido often reminds himself of how his past sometimes plagues him as he can recollect deep memories of discomfort and guilt. These negative emotions lead Guido into an internal crisis where he struggles with his decisions in the light of moral judgment that is heavily weighted by his Catholic upbringing. Despite the internal crisis, the dance continuous as Guido is compelled to flee his painful memories by seeking company outside of his marriage as he seeks self-affirmation when he is alone. The cheating provokes further guilt which urges Guido to remain dancing as he escapes into a dream world where he attempts to unify memories with the present where his consciousness sets the rules. But to Guido's dismay he finds the dreams forcing him back into reality as his dreams rebel against himself. This is due to his conflicting ideas that are simultaneously rejected and approved of in order to find temporary happiness and please those around him. In essence, it is Guido's denial of his own lies that is the root to his guilt and unhappiness.

Fellini's 8½ is a cinematic masterpiece, which encourages analytical and artistic thinking as it dives into a dense fabric of inventive imagery. Vividly Fellini paints Guido's moral crisis onto the silver screen, which offers a surreal cinematic experience as it drifts between reality and dreams. In addition, 8½ shows Fellini's profound understanding of human psychology, which possibly could have been based on himself. The fragmented story line enhances the visual feeling of the stress that Mastroianni's character experiences as well as developing a deep understanding for his mind. The opening shot where Guido dreams of being enclosed in a smoldering car stuck in traffic displays Fellini's true cinematic genius as he develops an image of panic, anxiety, and fear. This visualization is something that can be discovered in every film that Fellini has directed as well as his trademark of having a circus-like atmosphere. 8½ has everything of what makes it a Fellini film, which offers a unique experience that could only have been accomplished by a true cinematic artist.

Best Movie About the Artist
I saw 8 ½ (1963) for the first time on South Street in Philadelphia at the old TLA theatre. I was in my mid-twenties and liked the big-breasted women. Saw the movie again yesterday at the Colonial in Phoenixville, PA, a wonderfully restored small town theatre, and reentered the world of the great director Federico Fellini. The cast consisted of Marcello Mastroianni (mid life crisis of the great director), Claudia Cardinale (the perfect woman), Sandra Milo (the chesty but dim lover) and Anouk Aimée (the ordinary wife he cheats on).For Fellini, 8 ½ continued a trend away from the realism of his early movies to a surrealistic view of his own life. The film has a simple premise. The great director has no idea what his next movie is about, while his producer and film company wait for Mastroianni to tell them what the movie is about. It does not help that Mastroianni falls in love with every woman in the cast and every woman he ever knew. The famous harem scene is near the end of the movie, where all the women in his life await his every whim. The older ones get banished upstairs. When the women revolt, he gets his whip and regains order. The women love him again. Oh, irony, but in Surrealism, Freud reigns supreme and dreams are a wish. I rate 8 ½ one of ten best movies ever made. ... Read more

Reviews (49)

Epic Inuit story is a cinematographic work of art
Filmed in Northern Canada in the Inuit language, this film is based on a myth that has been passed down through the generations. This isn't a documentary, it is an epic story, and all of the actors are Inuit. The cinematography is magnificent, and brings the frozen North to life as never before seen on the screen. Using an almost entirely Inuit cast and crew, with financial assistance provided by the National Film Board of Canada, it won the Camera d-Or for best feature at last year's Cannes International film Festival. It's a cinematographic work of art and an impressive film.

At almost three hours long, the story takes its time to unfold. The beginning is confusing, especially for an audience with no background in the Intuit culture. It takes a while to distinguish the differences between the characters and it's hard to follow the myth of the two baby brothers, whose father was not a good hunter and was therefore ridiculed in the community. Time passes though and the two boys grow up to be strong and able men. There is murder, jealousy and revenge, with a signature scene of the central character, Atanarjuat, running for his life naked though the ice and snow. All the actors are excellent and their performances display physiological complexity. I could relate to the story despite the different cultural trappings.

As the film takes place in an indeterminate past time, way before Europeans ever set foot on this land, every single tool and detail of Intuit life seems absolutely genuine. We see them building their igloos and living in them, eating raw meat, scraping animal skins, and all the other domestic chores, which provide a setting for a story. There's also humor as they make jokes and sing bawdy songs. Some of the rituals were memorable, such as when two men fight over a girl, the fight takes the shape of each one taking turns punching each other in the head. It is an anthropology lesson as well as an intriguing story and a true learning experience for me. I had to absorb it myself though as no one was holding my hand and explaining things to me, which is both the strength and the weakness of the film. I was plunged right into it, without a background to sustain me, and I had to give up on understanding every single detail and just relax and let the story happen.

I loved every moment of the film - the characters, the story, and, especially the place. But I was still confused when it was over. The story seemed to be grounded in reality and yet there was talk of spirits. Some of the characters were introduced and not developed and there were places in the story where there seemed to be holes. It made me want to see it again and hope to get it right the second time.

In the closing credits, there were some great shots of the cast and crew during the filming. We saw the sled mounted cameras and the way the scenes were filmed and were again introduced to each of the Intuit actors, this time clad in leather jackets and sunglasses. It made me think that there will certainly be some very special features on a future DVD, one that I might like to own.

I definitely recommend this film which I saw it in a modern theater with the latest in surround sound and large screen. It's an immersion in a culture that has always fascinated me and I yearn to know more. Just be prepared for something different. Be prepared to be confused. And, mostly, be prepared to love it.

A Superb Storytelling in Digital Age (and much much more)
The beauty of this movie lies in its unique style that pulls viewers up close with the people and the action, allowing us to catch a glimpse of rich Inuit culture and their harsh yet life-sustaining beautiful homeland through seasons. The material culture was meticulously researched and presented as beautiful clothing, ice architecture, and other personal belongings, which are sometimes given hidden meanings for "the Southern" viewers. Maybe our storyteller Zacharias Kunuk intentionally made them more eloquent than the spoken narrative, which is curiously kept minimal. When I first saw it I was often confused about what is happening until I learned more about the legend much later.

I recommend the "Deluxe" DVD set available from www.amazon.ca, which comes with special features including the original legend, the production diary, cast bios, and family trees of Atanarjuat and Oki. You can get the same information from www.atanarjuat.com. Those materials are very helpful to appreciate the movie.

People of Nunavut is fortunate to be blessed with Zacharias Kunuk, a great filmmaker and visionary. I was lucky to be in Canada last summer when I caught three episodes of "Nunavut (Our Land)" on Bravo!, produced by Igloolik Isuma Production in 1995, which tells tales of an Inuit community in 1940s with a style similar to Atanarjuat. I am totally fascinated by the works of Isuma. To learn more about them, visit www.isuma.ca.

not a must see
I am a bit confused as to why this movie has won so many awards and gotten all this great press. Is it because its a peek into the world of the Inuit? And it was written, acted and directed all by the Inuit? This alone does not allow for any concessions. It is a sincere effort, but its also quite amatuer. The bad guy is really bad and the good guy is really good(almost no character development). the camera work is awkward(cheesy zoom in's on actors' faces when we're supposed to grasp the dramatic moment). the acting stiff. the narrative is strange and hard to follow(all of a sudden he's got two wives!). and the length...yes long, but not really slow, it was neither compelling nor boring to watch. i am however quite interested in what the actors are up to these days. but hey, the movie is not a must see. you can pass this one up.

MOVIE AROUND THE FIRE
What have I gotten myself into? I'm watching valiant but impossible acting, undoubtedly by some amateurs, in a movie about modern tribal people in the Arctic Circle that is ... videotaped? Where's the Cinerama? This is slow-going. I'm checking the screen to insure I pressed the 'PLAY MOVIE' icon. Seems like an added feature. This is indeed, the movie. My eyes are getting bugged out by staring at the Arctic Circle on videotape. This is, I suppose what I would expect from people living in The Arctic Circle. A lot of sitting around in igloos. Hunting fresh meat. Cleaning fresh kill. You can't very well take people like this and expect them to act. A story begins to emerge, as if being told in a nightime story session igloo sit-around. I'm staring into the fire listening and watching the penetraing light and relieving shadows. It's a love story. Guy wants girl but girl's father not so sure. Ouch! Did that guy just kick that sled dog? Where's the injured animal disclaimer? That dog yelped in pain. This is ... too real. Another dog snarls and bites. Will somebody please wipe the snot off that baby's nose? Some of these performances start becoming sharply defined. I'm rooting for the hero and hissing at the villain. Let me review. I'm watching genuine Arctic tribal people acting in front of a camera in their own environment, outreaching the boundries of moviedom by claiming the story told and handed down through ages is the human possession of the heart, and the only reality. The sad, shocking revelation in the closing credits make it all too, too real. I'm all over the internet trying to find information about this wonderful movie.

"Only Atanarjuat runs like that"
This is one of those movies that start out really slow, but if you hang in there and make it through the first forty-five minutes, you will end up satisfied. In my opinion the creators of "The Fast Runner" use the slow pace in the movie as a reflection of the speed at which life moves in the Inuit tribe on which the story focuses.

The movie starts when a demon visits an Inuit group and curses them. At this time, Tulimag is having trouble to feed his family and already starts receiving a treatment that is not the "usual" this society gives to its members. Eskimos are known for their generosity and solidarity, but Tulimag becomes the object of ridicule and he is only given the leftovers from the food the others get. Years later, his two sons are well respected and some of the best hunters in the group. Atanarjuat and Amaqjuart have a good life and are very close to each other. Atanarjuat is in love with Atuat, but she is promised to Oki, who is willing to fight for her. In the meantime, Oki's sister, Puja, is interested in Atanarjuat. The events develop and we get to see the special rules they use in their "duels" and their customs regarding marriages. When a severe tragedy knocks on the door, the adventure picks up in pace and the interest of the audience is grabbed until the end without letting go.

Except for the painfully slow pace at the beginning, this is a highly enjoyable movie. Nevertheless, you have to be in the mood to sit down for three hours and be patient until the events turn into something really interesting. Apart from the story in this particular case, I enjoyed learning about the uses and culture of this society, about which I knew very little. The other remarkable aspect is the photography, which is absolutely stunning! Overall, I think it is a creation worth seeing, but you have to carefully pick the moment to do so. ... Read more

Reviews (102)

The Importance of "Seeing" Earnest
Since I have not read the play by Oscar Wilde nor seen any previous performances of this work, I came into this movie completely unprejudiced, and left utterly delighted. I thought the film was hilarious; in particular the interplay between the two male leads, Colin Firth (Jack)and Rupert Everett (Algy). Judi Dench, as the austure Lady Bracknell, is of course perfection, and although less impressive, yet still quite good, are the two romantic interests of the gentlemen: Francis O'Connor (Gwendolyn) and Reese Witherspoon (Cecily). The tangled webs woven by our two heroes lead to some wonderful moments for Firth and Everett, especially when Algy shows up at Jack's manor to woo the fair Cecily. The scenes where Jack takes matters into his own hands had the audience roaring, and it was a treat to see Mr. Firth in a more playful role then is his usual.
There is also a sort of side plot involving the vicar (Tom Wilkinson)and Cecily's tutor (Anna Massey) which is also quite entertaining, and both actors display their humourous sides most credibly. All in all, a wonderful movie. I thought it was a shame, however, that the studio saw fit to release it only as a limited engagement. I, myself, had to drive nearly 200 miles to view this gem(well worth the trip, I might add), yet the lack of accessability disturbed me as it seemed to assume that only those in "larger metropolitan areas" would make the effort. Well, not only did I make the effort, I fully intend to purchase the DVD when it is released, and am looking forward to that date with relish, so that I may watch Firth and Everett over and over and over....

Run! (don't walk!) to see "The Importance of Being Earnest"!
This movie is a must-see and the epitome of a playful, feel-good comedy. Having never seen nor read the original play by Oscar Wilde I went to the theater with the expectation of merely staring at Colin Firth (whom i LOVED in P&P2!!) & Rupert Everett for an hour or so. I was pleasantly surprised and elated to discover that the movie was comedic, witty and filled with a cast of actors who played off each other wonderfully.

The movie is hysterical-i laughed throughout the entire thing-and it was not merely the verbal wit, but the physical comedy and dare I say again the chemistry of the actors that made the movie a true delight. Colin Firth and Rupert Everett are absolutely perfectly fitted to their roles, and "the muffin scene" (which those who have seen it must remember!) had me laughing so incredibly hard! Reese Witherspoon is grand, as is Frances O'Connor. Judi Dench's role was perfectly suited to her, and the twists of the story put the characters in such hilarious situtations. I must say, my only regrets after viewing this movie are:
1. It was only opened in limited release
and
2. I did not go and see it sooner.

I cannot wait for the DVD ~ the extra features *sigh* ~
...i can only imagine...

a treat
I haven't seen the 1952 version of Earnest, but I must say that I love this one. I laughed the whole way through. Purists might say that the dialogue goes too slowly, that the acting was underdone, or that Reese Witherspoon was miscast. My opinion: the dialogue is, of course, brilliant. It's Oscar Wilde. It is also delivered wonderfully, with perfect expressions that make the witty lines even more funny. Attention is, at times, required to catch these little expressions, but they are what help make the film so great. Also: I loved the casting. I loved it the first time I saw the film. I appreciate the casting even more now that I've read the actual play--the actors portray the characters exceptionally well, with all the quirks and nuances that I gleaned from the book. The add-ins (like the knight in Cecily's daydreams) make the movie, in my opinion, even more delightful. It should be quirky, and, thank goodness, it is. I highly recommend this film--it is a very well-done, lighthearted story full of wit. I definitely enjoyed it.

GOOD except some...
Brilliant, lovely, impeccable casting by the entire Oliver Parker's production team. Almost perfect performances by GORGEOUS actors and actresses upon beautiful costumes design, greenest of the countryside, and exquisite interior decorations. This Oscar Wilde adaption will no doubt remain timeless for the next three decades at least before another remake emerges in Hollywood.

Everything's so agreeable except Reese Witherspoon's cast here... Parker must have been mistaken for Christ sake! Witherspoon is so NOT right for the choice. Her indifferent beauty and bubbly profile are totally incompatible with the rest of the casts - who has got the lordly Englishness. She plays the "ward" of Jack Worthing (Colin Firth) who's kept and schooled in his country house, no wonder.

Superb
I must admit that I decided to watch this movie for just one reason. Colin Firth. And needless to say, I was not disappointed. The movie itself was very funny, not the slapstick stuff that has invaded the cinema screens in the recent past but hilarious dialogues and characters that are so rich in their stupidity that you can't help but laugh away. The concept of the play itself is lovely, the fact that so much importance is given to being christened with an appropriate name. However, I was quite upset with Witherspoon being cast as Cecily, there are a million wonderful British actresses for God's sake, why her ? I have this image of her in Legally Blonde, and then you see her faking this Brit accent and its sad, to say the least. Evert, Firth and Dench are superb in their roles, a must must watch movie. ... Read more

Description

In the wake of the Bomb, ex-soldier Shozo Hirono [Bunta Sugawara] joins a Hiroshima yakuza gang, the Japanese equivalent of the Mafia–and then the shootings, slashings, betrayals, and scheming begin.Premiering a year after The Godfather, The Yakuza Papers also broke box office records and spawned sequels, but, in contrast, took a ruthlessly de-romanticized view of the underworld. Based on an actual gang boss's memoirs, The Yakuza Papers plunges the audience into a gritty, brutal, violent newsreel of a three-decade struggle for power of Shakespearean complexity, a nihilistic epic unlike any other. ... Read more

Description

In this film, considered by some critics to be Akira Kurosawa's greatest and most compassionate achievement, Takashi Shimura (Seven Samurai) portrays Kenji Watanabe, an aging bureaucrat with stomach cancer forced to strip the veneer off his existence and find meaning in his final days. ... Read more

Reviews (63)

A powerful meditation on the fragility of human life.
As a big fan of Kurosawa and the Criterion Collection, I couldn't wait to recieve this DVD in the mail.

Human life can be lost before a person dies, Kurosawa's film shows, and it is difficult for anyone to remain truly alive with all of life's challenges and setbacks. Like a thin thread, life's inspiration is easy to lose. But what happens when a man loses that thread for decades and discovers it again only months before dying?

The answer to this question is both heart-warming and heart-breaking. But ultimately this film will burn brightly in the viewer's mind.

Two years after becoming world famous for Rashomon, Kurosawa released this thematic sequal - a meditation on truth and meaning in the modern world. While Rashomon became a cinematic landmark, I think this film blows rashomon away. It, along with Ozu's Tokyo Story, are the most moving films I've ever seen.

What makes Kurosawa so great here? It is the centrality of the movie's meaning. We all die and we all struggle to find truth. Watanabe, a placid and unquestioning bureaucrat, glimpses the truth about his life when he finds that he has only months to live. He immediately sets out to live his life to the fullest - eventually granting the dearest wish of the citizens that the other bureaucrats would just rather ignore.

But like the man who emerges into the sunlight from the cave in Plato's allegory - none of the other cave dwellers understand his actions.In fact, it's worse, the grandstanding officials claim credit Watanabe's inspired actions, despite having stood in his way.

But ultimately the truth saves Watanabe before he dies. This is masterful filmaking - more on par with Kurosawa's heroes Dostoyevsky and Shakespeare than his cinematic peers. It is a must purchase for his fans and, I think, a story that will move the viewer towards greater compassion and consciousness of life passing by.

Perhaps it's no wonder Criterion chose this fim to include two feature documentaries on Kurosawa on a second disc. And the commentary track is done by the always entertaining Stephen Prince. You can't go wrong here.

Excellent movie, but terrible transfer
I should start by saying that I think Ikiru is the best movie I've ever seen, but I'll try to address some of the negatives.

The story of Ikiru is that of a bureaucrat who upon learning he has stomach cancer begins a desperate search for meaning in his life. He tries family, liquor, and women, but eventually finds purpose in a cesspool that troubles a local community, and their attempts to have a playground built on the site.

The story is absolutely compelling, and the intricate subtleties of Kurosawa's direction make this film very powerful, especially in the second half of the film, where Watanabe's (the protagonist) coworkers discuss his final few months at his wake. The acting is superb. Takashi Shimura gives a performance that is stand out.

Ikiru is not a universally liked movie, for several reasons. The movie is black and white and has subtitles. The cuts and scene changes have a very old-fashioned feel to them (quite rightly... it's old. But this gives a lot of people trouble). The pacing of this movie is deliberate, and by that I mean slow. It is not quick or action-packed. It moves subtlely.

While most all the reviews rave about it, I'd caution that this movie will not beat you over the head with its brilliance. It is a gentle story with subtle nuances, and often, the meaning is conveyed more in facial expressions and quiet moments than in anything said or done.

That being said, I thought the transfer of this movie to DVD was terrible. It is my understanding that this was the best that could be done, which is a shame. Many feel this to be Kurosawa's best work, and to know that this terrible transfer is the best it can ever get, that's sad. Specifically, the vertical lines noted in previous reviews are definitely there, and definitely problematic. There is poor contrast, and it is often difficult to see the actors defined well at all.

The bonus material on this DVD is so so. The commentary is certainly interesting, but the documentaries didn't thrill me too much. The main sell of this DVD is the movie itself.

If this movie sounds like something you can sit through, you should watch it. It's a great movie. I really do think it's the best movie I've ever seen. But it's not for everyone. If you've already seen it and want to own it, this DVD set is fine, but it comes with the caveat that the quality of the transfer is not impressive.

Occasionally quite moving but a bit too sentimental
I don't profess to be an expert on the films of acclaimed Japanese director Akira Kurosawa, but I will say that, though I haven't seen a great many of his films, I've definitely admired the ones I have seen. Films like RASHOMON, THE SEVEN SAMURAI, and THRONE OF BLOOD show a director that not only has an acute visual sense---I have never seen equalled the unforgettable images of the moving trees and then Toshiro Mifune with all the arrows launched at him at the end of THRONE OF BLOOD---but also a human sensitivity that may be more flamboyant and theatrical in style than his Japanese counterpart Yasujiro Ozu, but is no less impressive. He is a true film artist, to be sure...but, though IKIRU is often called one of Kurosawa's most human film achievements, I personally would not quite put it in the same level as those aforementioned three.

Not that it's not moving. The first half of the film actually made me shed quite a few tears, watching poor Kanji Watanabe first find out he has stomach cancer, and then try to actually have some fun with his life. His attempts to do so are quite touching, even though it does not always work out---esp. with the girl that eventually gets annoyed with him b/c he insists on hanging out with her so much. Finally, he decides to do something noble for the people he works for, and thus we get to the second half of the film: Mr. Watanabe's wake, in which colleagues reminisce about the noble act he accomplished for a town before he died. His act---he steps over bureaucratic lines and gets built a children's park in an area where there was only a dirty pool of water previously---slowly inspires the others to perhaps break out of their bureaucratic mold...and perhaps will inspire you too, in a different way.

I dunno, though...I was inspired but only sometimes moved by this film. For me, I think Kurosawa's penchant for lack of subtlety and heavy-handed sentimentality sometimes mutes its power. Kurosawa, for example, is not content to simply allow us to visually observe how lifeless our hero truly is at the beginning: no, he must give us a voiceover that drums it into our head that "this man has not truly lived." And then there is the scene in the bar in the middle of the film, in which Watanabe sings, with tears coming out of his eyes, a mushy song that expresses his feelings of hopelessness and despair. If nothing else, though, the second half of the film seems to expose this unfortunate tendency---a very long scene, intercut with flashbacks, set in Watanabe's wake in which his fellow workers first try to deny Watanabe's deep heroism, but then eventually resolve to be as noble as he was in his last months of life. It is certainly intriguing structurally, as we see the effects of his death on fellow workers and the townspeople Watanabe helped so greatly. And yet I think, could this scene not have been just as effective as simply an epilogue rather than the focus of the entire second part of the film? I'm sure Kurosawa could have made his point---he is showing how one man's heroism can deeply affect other people---without becoming as repetitious and even preachy as this portion of the film sometimes seemed.

And yet, if IKIRU is a flawed film, at least its flaws always spring from an honest desire to lift up his audience in a way that SEVEN SAMURAI and THRONE OF BLOOD do not even try to do. It may be sentimental, but it is always honestly felt, and perhaps you might be much less resistant to Kurosawa's sentimental excesses than I occasionally was. As Watanabe, Takashi Shimura gives an unforgettable performance (esp. with that hauntingly raspy voice of his); and Kurosawa does create a final moving image of Watanabe swinging on the swing in the new park, singing that same song he sang at the bar, but in a different, perhaps more joyful manner.

That image just goes to show you that Kurosawa was, above all else, a masterly visual artist in his films. If he had relied more on his sense of powerful imagery to make his point, IKIRU might have been a truly great film, instead of one that perhaps tries too hard to be deeply moving. And yet I would be lying if I said that I wasn't affected by the film. Perhaps some of you might not mind the occasional preachiness in this film and will find this a truly transcendant film experience. For me, it almost got there, but not quite. Still, IKIRU is a good film that deserves to be seen for its powerful message, if nothing else. Maybe it will really change your life. Recommended (with some reservations).

5 stars not enough...
... for rating this one. I can't but than agree it might well be the most compelling film by Kurosawa. As well Criterion have to be hailed for bundling the most interesting 'Extras' I've ever seen on DVDs. But afterwards I couldn't help thinking why, after half a century since it was released, nobody realized that giving stomach cancer to civil servants and politicians might get them doing their work: and if even for a short while, at least tax-payers won't regret the money they're usually conned of. Since the bulk of most civil servants' work is waiting retirement, and almost all politicians think (???) they've been elected so they can be paid while preparing their next campaign, it would be worth giving it a try.

Masterpiece
I'm only 19 so perhaps some may say I can't really comment or fully understand all about living life to the full, because I have barely lived. But one thing this film makes you realise is that a job, is just a job! This film was so heartful and beautiful,it can make any age group realise that life is for living and how correct it was to say that 'only when you know you are going to die do you begin to live'..we should learn to live before that moment comes! I recommend this film for everyone, I love Japanese films and this was by far one of the best films.
It's an eye-opening film and one that should not be disregarded! ... Read more

Reviews (108)

An engrossing and as legendary as the real story.
A monumental achivement and a powerful milestone that changed hollywood forever , not only is this film as big and legendary as the true life story , the true life story ended this movie this film the story is endless from the massive production to the sweeping love story that it gave on and off screen with Liz Taylor and Richard Burton is in many cases as legendary as the love affair between Antony and Cleopatra.Huge massive sets and authentic locations and an powerful cast of it's time such as Rex Harrison as Julius Ceaser,Richard Burton as Mark Antony and Roddy Mcdowell as Octavian but at it's heart Liz Taylor in the role that made her the dream of every man Cleopatra who held the power of two nations in the palm of her hand.

This still hold the worlds record as the most expensive film ever made 45 millon at a time when you could spend 2 millon on an epic and still get something grand but many drawbacks and waste and script rewrites , directors getting tired and producers fed up and many times a sick Liz Taylor ,it also holds the record for the largest sets ever built. At the hights of the Roman Empire and the Egyptian Empire, Julius Ceaser a respected Ceaser and general wars to make and expand the greatness of Rome, after the battle little does he know that while he may conquer countrys there is one thing he cannot conquer the love of his neighboring Egyptian Queen and ruler of Egypt Cleopatra who is feirce and ambitious and seducting and uniting Rome and Egypt as one she will do that at all costs even if it means loving a Ceaser and bearing him a son.But when both nations are locked into war and famon , The Roman senate decides that Julius is no longer capable of being a Ceaser so they , assasinate him.Cleopatra alone and not fufilling her dream she meets the beloved Roman General Mark Antony and is immidiately swept into another love affair from a Roman but Antony seemingly betrays Egypt and strikes Cleopatra's anger and frustration now hated and decived by Rome Antony is once again engaged in war with announced Ceaser Octavian as Antony wars at Actium he must endure a terrible defeat.

But as the movie ends in a almost Romeo and Juliet style as Antony dies in the hands of the only thing to him that was worth fighting for Cleopatra , when she realizes how much Antony loves her she causes her death and is bit by a serpent and dies before Octavian can capture her alive.

An amazing film , a legendary film sprawling in intrigue and betrayal and lust the DVD contains a two hour making of the film and a legend that almost bankrupted 20th century fox if Cleopatra was made today it would cost twice as much as TITANIC to make.Cleopatra was a virtual flop and badly tanked at the box office but this movie is good because it manages to bring a legend to life with unserpasssed and powerful brillance few Hollywood films can do today.Not even reacent 2001 Best Picture winner Gladiator is as big in scope and scale everything is just small next to this film the will live in the annels of film as the story will live in egyiptian lore for centurys to come an specticale worthy and awsome