Amazon.com

Italy's magical fantasy of midlife crisis and rebirth in Venice, the city of lovers, swept the Italian film awards and charmed all of Europe. Director Silvio Soldini turns the tourist mecca of piazzas, canals, and stone bridges into a quaint little village out of time and fills the film with the charm of the city and the gentle quirks of his delightful cast. Licia Maglietta is winning as Rosalba, the frustrated and ignored middle-aged mom who impulsively takes a vacation from her family. She hitchhikes to Venice and falls for lonely, suicidal Icelandic waiter-poet Bruno Ganz (whose soulful, sad eyes recall his fallen angel from Wings of Desire), blossoming as she rediscovers her smile and joy for life. Sweetly sexy and beautifully shot, this story of second chances may not be original or surprising (think Shirley Valentine), but it's no less lovely or enchanting for it. --Sean Axmaker ... Read more

Reviews (43)

A romantic comedy set in Venice? Who would have thunk it?
It is bound to happen. A romantic comedy set in Venice is like a Broadway show set in New York. It makes the perfect sense. The pair of love birds might not be your typical young twenty-something in love. In fact, one is a runaway middle-aged mom, Rosalba(Maglietta Maglietta), and the other is an over-the-hill waiter-slash-romantic poet (Bruno Ganz)who is just about to commit suicide the day he meets her. However, it has all the right ingredients to make it a sweet and charming love story, and an award-winning one at that.

If you have never seen Venice in real life, this movie will put you on the narrow streets and alleyways of Venice minus the sewage smell in the summer. As a substitute for the smell, there is a story about the bumbling plumber (Venice does need good plumbers!) who got hired by Rosalba's husband to track her down, and voila, there is your comedic element. The cinematography is breathtaking, as it has become a standard in many top quality European films these days.

It is most likely you won't walk away with the thought that this is one of the best movies you have ever seen. It is a fairly accessible piece that has many of the right elements of a superior movie. One complaint is that the segues between reality and Rosalba's imagination are confusing at times, and in my opinion, do not serve much purpose in the narration. Overall, it is an entertaining film that you should catch one of these days. Especially during those days you miss Venice or want to know what it is like.

A CHARMING ROMANTIC COMEDY - VIVA VENICE!
Forget flurrying pigeons, St. Mark's, Florian's tables, all the standard fare usually delivered by films set in Venice. Silvio Soldini's deftly masterful "Bread and Tulips" is instead an ethereal Venezia, a triptych of shadows, echoes and lights that evoke a city of workers, narrow stone studded streets, mini bridges and interlocking canals.

It is a place that Rosalba (Licia Maglietta) cannot resist. She is an under estimated, unappreciated middle-age housewife and mother of two teenage sons who is on a family vacation to the Adriatic coast. When Rosalba exits the ladies room during a rest stop she sees the back bumper of the tour bus as it trundles down the road without her.

Her husband is Mimmo (Antonio Catania), a self-centered boor who dallies with his mistress and oversees a plumbing business in Pescara. She immediately contacts him by cell phone and is lambasted for being left behind. She agrees to wait there, but evidently ready for a vacation of her own choosing she makes her way to Venice.

After her evening arrival she has dinner at a modest trattoria where she meets Fernando (Bruno Ganz), an Icelander, a despondent waiter who is prone to suicide attempts. (He keeps a noose handy). Ganz's artfully understated portrayal of Fernando is superb.

When Rosalba allows that she is short on funds Fernando invites her to share his lodgings, where she is greeted each morning with a note from him as well as breakfast on a tray. Eventually, she finds work with an elderly florist and becomes friends with her neighbor, Grazia (Marina Massironi), a wide-eyed, other worldly masseuse. The emergence of Rosalba as a confident woman is a joy to watch as her eyes dance and features soften with radiant allure.

When Mimmo's mistress refuses to iron his shirts, he hires Costantino (Giuseppe Battiston), an unemployed wanna be detective to track down his wife. Costantino's arrival in Venice provides some of the film's better comic moments as he searches for a hotel and Rosalba.

When Costantino is able to trace Rosalba to her room, he meets Grazia and falls under her spell. Love's rocky path has more twists and turns when Costantino confesses why he really came to Venice.

Apparently conscience stricken Rosalba returns to her nonchalant sons and indifferent husband. Fernando is left more mournful than ever with only a note and a bouquet of tulips. Or, is he?

"Bread and Tulips" is a charming romantic comedy that leaves one sighing contentedly, hoping for a trip to Venice and maybe even breakfast on a tray.

Dreadfully overrated trash!
Maybe I can't appreciate Bread and Tulips because I am not a middle-aged housewife. I found the film slow, overlong, boring, and pointless. I could not feel any sympathy for the main character, therefore I couldn't like her, which made me dislike the film itself. How can I like someone who leaves her family for no reason to start a new life just for the hell of it. I didn't understand what motivated this character to do what she did or why she didn't even care to find out how her children are doing. Yes, her husband was a pig and didn't deserve her, but what fault do the children have? She was a distant and unlikeable woman who didn't even seem to realize how serious her actions were. The ending was absolutely ridiculous and I was fuming and impatient for the film to end by the time the credits started to roll! Not only does her so-called real love, a man old enough to be her father, drive from Venice to claim her, but he somehow seems to know that she would be at the supermarket in the middle of the day, bringing the film to an end ridiculous even by cheesy American romance standards. This film was recommended to me as a lighthearted comedy, but I didn't laugh once. In fact, I am baffled at all these five star reviews because this film was so awful. The more I think about it, the more I realize how much I hated it. Maybe it was just so overrated that I expected something more, but aside from the gorgeous setting, there is absolutely nothing in this for me to recommend it.

Gently hilarious, humane, and refreshing
"Bread and Tulips," Silvio Soldini's gently hilarious comedy, allows viewers to revel in a lovely story about the renewal of life and hope. It bears some resemblance to "Under the Tuscan Sun," but benefits from a stronger story and more fully realized characters. It also has some similarities to David Lean's "Summertime"--another beloved movie about a middle-aged woman finding romance in Venice--but the mood in "Bread and Tulips" is more sweet than bittersweet. Rosalba (Licia Maglietta), a bored housewife, is left behind on vacation with her crabby family when their tour bus leaves without her. Rather than going straight home to Pescara on the Abruzzi coast, she decides on a whim to head up to Venice, where she has never been. From there on in, the movie is very much about the renewal of the spirit--not only Rosalba's, but also that of Fernando (Bruno Ganz), the romantic restaurateur who falls for Rosalba, and Constantino (Giuseppe Battiston), the tubby, sad-sack plumber who reluctantly spies on Rosalba as a prerequisite for getting a job from Rosalba's bossy husband. These three actors give delightful performances, as do the other players in this quirky romantic comedy. Particularly enjoyable for American audiences is that Soldini places us in a Venice rarely seen in the tourist brochures. San Marco and other wonders are seen only in passing; most of the action takes place in Venice's back streets, among the rainbow-hued houses, tiny fountain-centered courtyards, and toy bridges crossing narrow canals. The photography is lovely, and looks sensational in the DVD transfer. "Bread and Tulips" is a two-hour vacation in a sweeter, gentler world.

Beautiful movie!
This is a beautiful movie. I just love it. I first saw it at the COPIA - The American Center for Wine, Food and the Arts in Napa Valley, CA. After that viewing I ran out and bought the DVD. It is one of the most often viewed DVDs in my collection. ... Read more

Reviews (422)

one of the best foreign films!
"Run Lola Run" is a magnificent movie set in modern day Germany. It is easily one of the best foreign films I have ever seen. It is entertaining and thoughtful and constantly keeps you visually engaged.
Lola's boyfriend, Manni, has lost 100,000 marks that he was ordered to deliver to his boss (an unforgiving gangster) in 20 minutes. If the money is not recovered and delivered within the time allotted, Manni will suffer a terrible fate. He desperately asks Lola for help in this race against time. She jumps around from one disaster to another desperately trying to help. We see three different scenarios of Lola running to save her boyfriend giving us a play on the chaos effect. Tiny details in Lola's quest for the money ultimately change the result of the situation. As things change so do their fates, momentarily touched by her presence running by. The film is a visual display of Tykwer's collaboration of camera, music, and story creating a display of cinematic emotion.
The film illustrates a very different kind of female role that strays from the stereotypical portrayal of women. Lola takes on more of a male role as she desperately tries to be the hero in this situation. Her boyfriend is the one who seems incapable and asks for her help. The gender roles are essentially flipped and the stereotypes disappear from the female gender as we see classic beauty and attitude disappear as Lola runs through Germany. But surprisingly, at the end of the story, the female role is present and given to Lola as we see that Manni did not need her after all. They walk away together with Lola being the dependant female pretending that the chaotic journey never happened.

Sliding Doors Meets Trainspotting - Five Stars isn't enough!
Catch this superb German film before Hollywood decides to remake it (and believe me, they will). This is cinema in its purest, most kinetic form.

The plot is simple: Lola has 20 minutes to come up with 100,000 marks that her boyfriend Manni owes to drug dealers, otherwise he's going to have to rob a store to get it. And that's it, basically. Only, ingeniously, we are treated to 3 versions of her run (or perhaps alternative universes), events unfolding differently depending on how long it takes her and the choices she makes. The attention to detail is stunning, and every little image and incident is relevant to the taut plotting. A wonderfully choreographed study of time and space.

What we have is a kind of Sliding Doors (or Fowles' French Lieutenant's Woman) meets Pulp Fiction with all the energy and modernity of Trainspotting, mixing drama, tragedy and dark humour. Run Lola Run is a whirlwind race against time as our flame-haired heroine pounds the sidewalks of Berlin, unknowingly initiating traffic accidents, bank heists, uncovering dark family secrets, and changing the lives of the people she encounters on her way (beautifully executed in a series of Polaroid montages) in a complex web of cause and effect.

Furiously paced, and edited, Twyker's masterpiece of Chance bombards us with an entire catalogue of camera tricks, techniques and mediums; split screen, time lapse, animation (in the cartoon sense), anything to grab our attention and immerse us in the situation, and is enhance by an excellent techno soundtrack (composed by Twyker).

Presented on DVD with a decent extras package, Run Lola Run is a rush - in every sense of the word - from start to finish. (Watch it in German with the English subtitles, however, as the dubbed English soundtrack is dire.)

QUIRKY, ENERGETIC, BLAZING PULSE-POUNDER
To the beat of an incessant techno/deephouse soundtrack, Lola runs, and then runs some more. I couldn't possibly think of another movie with such sheer cinematic buzz, it's cut like an MTV video: blink and you may miss a visual gag.

The theme is doozy but interesting -- a slicing of the same reality in time into three perspectives. Blending an innovative mix of animation, still photography, slow motion, and normal cinematography, it illustrates how the smallest change in what a person does can alter the rest of their life, not to mention the lives of others, including complete strangers they pass on the street.

Ironic, creative, and simply riveting -- a fabulous kinetic pleasure of a rental. The breathless high-octane soundtrack should be in your dance collections too.

she never stops running
ok, so u want to know what a bad film is like. yea well dnt watch this one cause u will just fall asleep and still not know the film is about her running and runninga and running and running and u get the picture

Curious what-if game
I don't think this movie was really so much about the untypical heroine versus hero. I think it was more about the what-ifs situations.

This movie is an interesting take on public perception with a heavy emphasis on the Butterfly effect. Lola has 20 minutes to produce 100,000 Marks or her boyfriend Manni gets killed. As she's running through the streets of Berlin figuring out how to come up with the cash, she bumps into people along the way who see this red-headed stranger in a hurry. No one really knows why she's in such a hurry nor is she aware of what's going on in their lives. Lola bumps into a woman with a baby carriage; what little importance she has for this woman as she struggles to save another life. The feelings are mutal from the woman, yet, three times we get a glimpse into her three possible futures. The uniqueness of the movie is depicted in three alternate endings based on different choices Lola makes in her desparation to get the cash for her boyfriend.

Lola doesn't make discoveries about people until she stops for more than a minute to realize what is going on around her, and vice versa. Had she never gone to her father for money, she never would have found out he was having an affair. Had she stopped to talk to the woman with the baby carriage she might have found out she was buying a lottery ticket she would later win or was beaten or which ever scenario panned out. But then she would have missed the chance to meet her father. Etc. Etc. Etc. Questions leading to more questions to more questions.

The butterfly effect is seen throughout the movie even in the beginning when Manni blames the loss of the money on Lola not showing up on time to pick him up after the drug deal which caused him to take the train to bump into the homeless man who distracted him from the sack of money he was supposed deliver and leaving it on the train. At first you scoff at the boyfriend's irresponsibility for blaming Lola for his own mess up, but that's where the butterfly effect really begins and, like it or not, Lola started it all.

In the final scenario, Lola makes a different choice...she stops running lon enought to spend a few minutes with a dying man in an ambulance as he recovers. In the end, the running was for nought. Her boyfriend ends up solving his own problem. Lola wass useful in one man's life but useless in helping another. Is it all inconsequential? Just a passer by? Probably not.

If you're not into alternative films then this might not be for you. Even I was left a little confused. Yet, it's a worthwhile movie taking on a curious angle on how in some form or another our actions affect others just in the nature of our being. ... Read more

Amazon.com

The reigning masterpiece of Italian horror cinema, Mario Bava's Black Sunday remains one of the most stylishly photographed of all horror films, ranking with any other black-and-white film of lasting repute. This was the master cameraman's official directorial debut, and his striking compositions are the work of a genuine artist in peak form. Loosely adapted from a story by Nikolai Gogol, this chilling vampire tale begins in17th-century Moldavia, where the evil Princess Asa (Barbara Steele) is executed for witchcraft and vampirism, along with her brother Javutich (Arturo Dominici). Two centuries later, a pair of traveling doctors discover Asa's crypt and inadvertently revive the evil princess, whose scheme of vampiric revenge is aimed at her own identical descendant Princess Katia, an innocent beauty (also played by Steele) whose lifeblood will ensure Asa's immortality.

Influenced by Universal's classic horror films of the '30s and British Hammer films of the late '50s, Black Sunday (released in Italy as The Mask of Satan) is a dark fairy tale, with horror queenSteele as the definitive embodiment of erotic horror. With shocking violence (tame by today's standards) and visual emphasis on tombs, secret passages, ominous castles, and unseen forces, the film offers a wealth of memorable imagery and inventive technique. Redubbed, rescored, and harshly edited for its American release in 1961, Black Sunday is presented on DVD in the original English-language director's cut of The Mask of Satan, never before available in the U.S. The perfect movie to watch on a dark and stormy night, this timeless classic is the Citizen Kane of horror films, entirely worthy of its lofty reputation. --Jeff Shannon ... Read more

Reviews (58)

Classic Goth Guignol
The incredibly photogenic original Goth queen, Barbara Steele, couldn't have asked for a better film debut than this atmospheric black-and-white classic by famed director Mario Bava. She gets to play both the innocent and beautiful ingenue Katya, and Katya's evil twin ancestor, the diabolical witch, Asa.

Steele's performance is half the reason to watch this conventional black magic/ghost/vampire tale, the other half being Bava's cinematography and skillful direction. This is an especially violent film, opening on the execution of Asa and her evil manservant, Javuto, by the nailing of spiked devil masks to their faces (the original title of the film was Mask of Satan). The visuals in this, and all other, scenes in the film are archetypally perfect. The actual framing and composition of each shot is beautifully done, throughout. The scenery is lush, the makeups unsettling - especially the resurrected Asa, with the holes in her face from the mask - and many of the effects are equally disturbing, especially one in which Asa's naked ribcage is exposed.

European horror cinema of the 1960s was the best the genre ever produced, and this was one of its premiere features. Highly recommended not only for horror fans, but for serious film students as well.

Dark, gothic, evil fun
Let me start by saying Barbara Steele is just plain weird looking. She is not unattractive. She is just...disturbing. Maybe that is why she fits so well into the role of an ancient witch condemned to death, a horrible iron mask nailed to her face.

Time passes and some travellers wander into her crypt despite their coach driver's warning. And of course they manage to break the wards and symbols that keep her from returning to life.

Black Sunday features great set design and an oppressively dark mood that oozes evil and menace in every scene. Apparently the film is available in two versions. I think I got the bad one. One version is heavily edited but features voicework by the original actors in english and better overall sound quality. I bought the extended version which unfortunately has some pretty bad voice acting.

Buy Black Sunday if you like classic horror movies such as the old Universal monster films, but wish that they didn't pull their punches so much. I would have given Black Sunday 5 stars, but the voice acting in my version is going to cost it a star. Still, most people suggest this version (the full version) over the shorter version, so the choice comes down to your own preference.

The heavenly totality of Asa Vadya's eyes
(...)

This is certainly a minor stylistic masterpiece. It creates atmosphere that is thick, foreboding, and claustrophobic. The story, however, is not worthy of such a lush, lavish treatment. It just doesn't possess any emotional depth. The whole film is Barbara Steele's eyes. They possess power that the film as a whole simply does not. The fog the film is enveloped in is not pervasive enough to mask the bitter emptiness of the tale being conveyed. It is difficult to criticize the film on its cinematic qualities. Nevertheless, the story does not mesmerize, tantalize or excite beyond those moments when Asa is moaning in her blood ecstasy. Indeed, my grandest (futile) wish was for Asa to slaughter them all and then to hit the road looking for more victims to prey upon.

Barbara Steele weeps, shrieks, sighs, faints, screams, moans, gasps, and is undeniably fascinating to watch. She is far more interesting as Asa. As Katia, she is a cipher. She's drained of life and hysterical to boot. Asa has activated her will (if the undead can even be said to possess a will--the will of Satan?). Katia is receptive, helpless and boring. She's just a lonely princess longing for her prince (yawn). It isn't Ms. Steele's fault--the character is simply dismal. She's the "good" girl--she doesn't have to do anything, except mope about in a perfectly awful hairdo. The rest of the cast are perfectly plastic--save for Arturo Dominici as Javutich. He's a fine match for Ms. Steele and wondefully terrible. He has presence that the others lack.

Still, the film is simply gorgeous. The story might not be my glass of Absinthe, but the film is still visually stunning. It lacks emotion and depth--but it makes up for it somewhat in the sheer power of its images. Obvious films that clearly map out the binary opposites at play are just not that intriguing. When you know from the start that virtue will win and evil will be destroyed, it kind of takes the thrill out of the whole thing.

BRAVO BAVA AND STEELE
If you are a true horror connoseur of great horror films, BLACK SUNDAY or THE MASK OF SATAN, belongs in your repertoire of those films which defined what "horror" movies should be about.
Mario Bava's first film is full of eloquent imagery, darkly atmospheric sets and lighting, and an almost palpable sense of doom. Barbara Steele, who went on with Hazel Court, to be the true scream queens of the sixties, is perfect in the dual role of the witch and her descendant; Bava knew that Steele's beauty is not of the usual kind and he used his lens to soften some of her harshness, but yet to ignite those gorgeous eyes. Steele also knew how to handle the camera, how to peer not only into the eyes of her fellow actors, but into your eyes as well.
John Richardson's boyish handsomeness is a perfect contrast to Steele's dark beauty. (Only complaint about DVD is the obvious dubbing, with "radio dj" voices that at times lessened the impact of the movie). The silent stagecoach ride is as many readers have commented one of the eeriest scenes captured on celluloid.
This is a frightening movie, way ahead of its time, and maintains a crude brilliance that is still penetrating today.

Bava Lives!
BLACK SUNDAY (aka THE MASK OF SATAN) marks the directorial debut of prolific horror director Mario Bava, and what a debut! The story, a Gothic masterpiece about vampirism being an extension of Satan worship, is quite interesting. Barbara Steel, the first horror starlet, or scream queen, is amazingly beautiful and quite good as the evil Princess Asa, who curses her family after being condemned as a witch, and Princess Katia, her ancestor. A chairjumper every five minutes! It lulls you asleep and then slaps you awake with the next scary moment. True suspense is being built up as the plot goes along nice and slow (even under an hour and a half!) The whole film is gorgeous and really showed me that a black-and-white movie can be just as scary and cringe-inducing as one in bright color.
Yes, Mario Bava is the founding father of Italian horror as we know it! Not only is he a great director, but he is an excellent cameraman and special effects artist, just to name a few other things he did in his movies. Thanks to Bava, we have masterpieces from other great directors as Dario Argento (SUSPIRIA, DEEP RED, TENEBRE, INFERNO), Lucio Fulci (DON'T TORTURE A DUCKLING, ZOMBIE, THE BEYOND), and even Mario's own son Lamberto (MACABRE, A BLADE IN THE DARK, DEMONS 1 & 2). Hell, even the Bavas helped Argento on occasion (Mario directed that awesome underwater sequence in INFERNO, and Lamberto was assistant director on that and TENEBRE). So remember, when you think about how awesome Italian horror movies were back in the day and all the masterpieces that came out of that country, remember Mario Bava. And watch BLACK SUNDAY and all of his other movies! ... Read more

Description

A loose adaptation of the Marquis de Sade's The 120 Days of Sodom, Pier Paolo Pasolini's Salò is perhaps the most disturbing and disgusting film ever made. It is also one of the most important, offering a blistering critique of fascism and idealism that suggests moral redemption may be nothing but a myth. Criterion presents Salò in its uncut, uncensored version. ... Read more

Reviews (112)

One of the most shocking films
It's no wonder that this movie stirs up passions. It's very graphic and it's not for faint-hearted. But in my opinion it's less cruel than some Terrentino movies, like Reservoir Dogs, for instance. In terms of graphic representation of cruelty, it's not even close to some modern movies. The difference is that it has that horrifying suspense - you don't know what will be in the next scene; it's a very sophisticated movie. Also, this film contains an important message - that everyone there is a victim - the governors, the guards and not just the victims/youths. There are no positive characters; maybe only 2 youths who got killed earlier in the movie when trying to escape or for praying to God. I think the purpose was to show what lower depth a human being can reach, torturers with inventing new tortures, guards being stone-hearted and "just doing their job", and victims themselves who gradually turn into obedient sheep where there is no human dignity left. They try to fight for favours from the governors/torturors and any trace of pride is gone; they've turned into animals as well. It takes a while to stomach this movie and to decide for yourself what the author wanted to say. It is not a simplistic film where all thr answers are suggested. It's not a romantic kind of movie, too, so skip if you look for pure light-minded entertainment. By the way, it was not directed by Pasolini, but by his long-time assistant.

A genuine testimony of (in)humanity
Films like "Salo" are never made for the sake of entertainment, but they challenge the viewer's motivations and conceptions of what it means to be human. To watch this film requires to accept the challenge to be confronted with such fundamental questions, and to abandon simplistic and modern preconceptions of what film (and indeed art) "ought to be" for.

"Salo" is Pasolini's adaptation of the Marquis de Sade's last novel "The 120 days of Sodom", an 18th century catalogue of perversions commited by a group of "libertines" whose view of society is opposite to contemporary philosophical rationalism and optimism of the time. Pasolini transposes the story to fascist Italy at the end of World War 2, in Musolini's "republic" of Salo-a region in which Pasolini had resided, and where he experienced the fascist repression.

"Salo" tells the story of 4 fascist "signori", who retreat in a remote and decadently decorated villa to engage in, and act out a complex series of perversions (ranging from sexual violence to torture and murder) and degradation on a group of young civilian victims, and with the help of an equally young militia recruited from the same village.

Because of its extreme graphic nature this movie is definitely not for the faint-hearted. The scenes of violence and human degradation are truly shocking. However, what is equally shocking are the dialogues and the many details in the rigorous structure of the story that reveal Pasolini's underlying motivations. "Salo" is a gripping and thought-provoking reflection on power, modernism, decadence, and the limits of human rationality-and in that sense its relevance goes far beyond it being a comment on Sade's novel or on fascism. Few movies in the history of the genre had the power to raise these questions as strongly as Pasolini's "Salo", and it is to be doubted that more ever will.

As much as being a chilling visual representation of human irrationality, Pasolini's "Salo" is a highly intellectual, and a deeply moral and moving reflection on (in)humanity, by means of the urgent and ever so relevant questions it raises. This makes "Salo" compulsory viewing for anyone to whom such questions matter.

Let the madness end...
The conspiracy theories, the bootlegs, the ceremonial passing around of 'sealed' copies (gonna watch it, son?) on eBay for obscene amounts of money...well, finally, according to people I know who know the people at Criterion, the big bad boy of the DVD universe will be re-released in the near future (December, perhaps). Maybe now we can put the capper on this business of reselling these plastic things without any real regard for their quality or content. The film was very poorly transferred and is, frankly, a well-fashioned curio at best. A little sanity, please.

Aristotle
I'm giving this movie the highest rating because it made me understand the definition of the word CAPTHARSIS (the process of releasing strong emotions-pity and fear-through a particular activity or experience, such as writing or theatre, which helps you to understand those emotions)

Interesting movie - plus how to find the dvd cheap
Salo is an interesting movie if you watch it for what it is. If you're into disturbing movies you'll find that this isn't incredible disturbing, if not then be prepared to see things not generally shown in theaters.

Here is a quick summary if you're too lazy to read all the other comments (mind you it's been a bit since I've seen it). Four aristocrats decide to take in some men and women play with them, torture them, and kill them. Suppossed this is based on de Sade's 120 days of sodom.

HOW TO BUY RARE (SALO) DVD CHEAP
Don't pay a ridiculus amount of money for this movie. The first version of this movie I found on tape for $5 on ebay. I recently found a $5-10 dollar DVD version on ebay. From my understanding it's legal to sell this movie since it's unavailable here. As an added note if you're into rare movies I suggest finding a good import site say diabolik or xploited cinema (There's plenty others) or again try ebay.

Hope this helps. ... Read more

Description

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

Reviews (69)

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

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

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

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

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

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

Outstanding.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

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

Reviews (8)

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

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

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

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

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

I would suggest Enchanted April.

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

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

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

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

Amazon.com

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

Reviews (7)

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

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

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

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

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

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

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

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

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

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

YIKES!!!



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

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

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

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

Reviews (239)

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

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

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

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

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

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

Caveats:

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

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

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

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

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

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

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

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

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

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

Description

A legendary seven-hour silent crime serial in ten episodes. "Les Vampires" follows the exploits of a brazen and resourceful band of arch-criminals who rob the rich, transfix the elite of France, and almost elude the obsessive pursuit of crusading journalist Phillipe Guerande and his sidekick Mazamette. A series of Grand Vampires with names such as Satanas and Venomous share the irresistible Irma Vep (an anagram of "vampire") as strategist and mistress. Sometimes seductively garbed in a black body stocking and a black hood, sometimes disguised as a boy or hidden in plain view as a maid, stenographer or bourgeois spinster, feared and desired by both her cohorts and stalkers, Irma is perhaps the first liberated screen woman. Shot off-the-cuff by writer-director Louis Feuillade in the streets and interiors of 1915 Paris, "Les Vampires" was banned by the Paris police for glorifying crime. A smash hit when finally released, and for fifty years celebrated as a masterpiece of French cinema, "Les Vampires" is complete and restored, with English titles and inserts, tints and an evocative orchestral score. ... Read more

Reviews (16)

A masterpiece
Some directors have to see this work. You don't need special
effects and fancy things to achive a good film. Emotion, good
scenario and a lot of personal feeling. A classic for all times.
Some movies of the french and german cinema (1910-1935) have to be the standards for people who are involved with cinema.
Les Vampires is one of them.
Sometimes the acting in the episodes is a bit naiv but this is normal for that era.
The people who like cinema must own this work.

That's Entertainment
I have to confess that I first saw "Les Vampires" for academic reasons; because of its influence on the Surrealist movement. But now, having seen the entire series (lovingly restored) on its own terms, I think "Les Vampires" is just what it was originally meant to be-- an exciting, humorous adventure story and sort of a precursor of James Bond. The basic idea is that an investigative reporter becomes privy to the secrets of a criminal gang called "The Vampires" and manages to foil many of their plans. At the same time, WE become privy to the plans and in-fighting that go on between the Vampires and other criminal gangs. The main continuing character on the Vampires' side is Irma Vep, a beautiful cross between Mata Hari, Houdini and John Dillinger. At some point she falls prey to a criminal hypnotist, but she is always an interesting character in her own right and often sympathetic.

Technically, the DVD is wonderful; it contains the entire series on one disk, as well as several promotional films starring members of the cast. The film itself is transfered very well and is appropriately tinted; the entire project was obviously a labor of love, and I can't recommend it highly enough.

yeah...
This is just to second the previous reviewer. My DVD has the
&#$%@^% sensor tag on it as well. I can't seem to get the glue off. My advice is to hold off on buying this (brilliant, would be 5 stars+) DVD until you can be sure that tag isn't on there. For $70, this sort of gaffe can be immensely irritating.

Arrrrrrrrrggggggggggghhhhh!!!
I know -- this is a classic of world cinema, and it's seven hours of heaven to people who love film. Which is what makes this review so frustrating. When I opened this, I noticed that all seven hours is contained on one disc. The DVD is two-sided, which is technically brilliant, and not something I'm that familiar with seeing. Unfortunately, someone should have told the distributor about it, because when you order from amazon, you will receive your DVD with a great big sensor tag smack in the middle of what someone obviously thought was the blank side of the DVD. Removing it ruins the film. Oh, and opening the box to see if your tag is on there violates amazon's returns policy. Amazon, I love you guys, you're the best game in town, but this is a bit of a hiccup. Maybe the sensor tag only went on a couple of these suckers -- I dunno. I'd like to get the film but ordering it again will be a gamble -- a sensor tag this time or not?

Les Vampires
I saw parts of this on TCM,but missed a few chapters.
This is one of the best movies I've seen.It's a classic.For
those who like silent movies,get your hands on a copy by
any means!! ... Read more

Reviews (18)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A hit in Europe but a flop in the U.S.--where it was trimmed, rescored, and given a newending--Luc Besson's The Big Blue has endured as a minor cult classic for its gorgeousphotography (both on land and underwater) and dreamy ambiance. Jean-Marc Barr is a sweet andsensitive but passive presence as Jacques, a diver with a unique connection to the sea. He has theastounding ability to slow his heartbeat and his circulation on deep dives, "a phenomenon that'sonly been observed in whales and dolphins… until now," remarks one scientist. Kooky New Yorkinsurance adjuster Joanna (Rosanna Arquette at her most delightfully flustered and endearingly sexybest) melts after falling into his innocent baby blues, and she follows him to Italy, where he'scontinuing a lifelong competition with boyhood rival Enzo (Jean Reno in a performance both comic andtouching).

Besson's first English-language production looks more European thanHollywood, and it suffers from a tin ear for the language. At times it feels more like an IMAXundersea documentary than a drama about free divers, but the lush and lovely images create a fairytale dimension to Jacques's story, a veritable Little Merman. More dolphin than man, he's sotorn between earthly love and aquatic paradise that even his dreams call him to the sea (in asequence more eloquent than any speech).

Besson has expanded the film by 50 minutes for his director's cut, which adds little story but slowsthe contemplative pace until it practically floats in time, and has restored Eric Serra'ssynthesizer-heavy score, a slice of 1980s pop that at times borders on disco kitsch. Mostimportantly, he has restored his original ending, which echoes the fairy tale he tells Joannaearlier in the film and leaves the story floating in the inky blackness of ambiguity. --SeanAxmaker ... Read more

Reviews (99)

Long film
I have not seen the shorter version, and can give no comparision between the two cuts.
I bought the movie because I was impressed with Luc Besson's other films, such as La Femme Nikita and Leon. The story is about 2 divers, deep free diving divers. Very deep, very dangerous. The competitiveness and relationship between these 2 men is most definately love-hate, with Reno's charactor not being able to be himself without his competition and friend.
Very long, as stated perviously, with 49 minutes of footage added, the picture moves along at a fair pace. This is not an action move. Even the dive sequences are not fast paced; they move to where you are moving with them, down to their deep depths which they are certain will challenge them, but not kill them, or at least fairly certain. With Arquette's character, we are introduced to the love interest. Reno warns his friend to avoid her and concentrate on his work, but he is in to her in a very big way.
I am not sure who to recommend this film to, but it is definately worth a look.

Unfortunately, the Director's Cut left me feeling empty.
Well, I've read the other reviews and I find myself most decidedly in the minority. The movie is good, but it's not great. On the other hand, neither is it terrible. My first experience with The Big Blue was the American version, cut shorter and with Bill Conti's score in place of Eric Serra's. The Director's Cut (D.C.) is both longer and darker.

Okay, I'll say it. I like the American version better. Period. It was, perhaps, my all-time favorite movie. But things have since gone downhill. Eric Serra's music is good, don't get me wrong, but I don't feel that it has the emotional impact of Conti's. Yes, we're talking about something very subjective here. If the D.C. is your first experience with this film, then you'll be lucky enough to enjoy it without having to compare and contrast. However, for me, something was missing in this new release. I found many of the extra scenes superfluous to both the story and the character arcs. For example, there's an added humorous scene midway through the film that exists, supposedly, to show that Enzo likes to take chances and flex his masculinity. I agree; the scene depicts just that. But there are plenty of other scenes that do the same thing; this one is redundant. (On a side note, the endings of each version are virtually identical -- don't let someone tell you otherwise. Ultimately, this movie is about a man's struggle to choose between Humanity and Nature, and that message remains unchanged from one version to the next.)

Regarding the scoring, there are points in the D.C. where a given scene just didn't work for me with Serra's music (sometimes Besson chose no music at all, and the silence that falls over the action is absolutely stifling). I don't believe that Serra's score did the movie justice. Conti was able to capture the flavor of the film much more easily, yet without being disrespectful to Besson's message. At best, Serra hit the mark only five times out of ten.

To be fair, I can't honestly say that my take on the D.C. is based solely on its own merits, as I saw the American version first. I'd suggest that you watch both and decide for yourself. Of course, it might prove difficult to find the older one these days (outside of rental stores, that is).

In short, I was disappointed that they didn't come out with a DVD that had both the American and Director's versions. I realize that'd be more expensive, but it would've been a nice touch (and I'd have paid extra for it). I'm glad I saw the D.C., but I'd much rather own on DVD the American version and I regret that I now think less of the movie than I had previously. I would have given it two and a half stars, but it wasn't bad enough to warrant a solid two, considering how much I loved the American version; despite its flaws, this is still a pretty cool movie.

ETMR - The Big Blue
1. Humanity: Many critics claim the central themes portrayed by the two male protagon