Amazon.com

Lamberto Bava, son of the Italian horror legend and giallo godfather Mario Bava, teamed up with modern master Dario Argento (cowriter and producer) for this slick gorefest, a triumph of style and special effects over movie logic. Set in a refurbished German movie palace, our hapless soon-to-be victims arrive for a sneak preview of a horror movie only to see the gore unfold in the audience, as well as onscreen.While the exposition remains murky, one patron finds that an infected cut leads to a gooey transformation, and every one of her victims follows suit until the snaggle-toothed monsters outnumber the humans. The survivors, trapped in the tomb of a theater, must fend off attacks à la George Romero's Night of the Living Dead. Borrowing liberally from films such as Dawn of the Dead and The Tingler, Demons also anticipates Scream in its cinema-savvy references, not to mention its undeniably Neve Campbell-ish heroine. The blaring heavy-metal-hard-rock soundtrack and the carnival horror-house atmosphere helps remind us that this is all just stupid fun.Despite the overwhelming body count, excessive gore, and rivers of green demon pus, the cartoonishly grotesque killings avoid the sadistic edge of many Italian horror films. By the climax of the film the premise is long forgotten in a ghoul apocalypse, but who's watching this for the story anyway? --Sean Axmaker ... Read more

Reviews (50)

One Of The Best Horror Films To Come Out Of Italy!
Dario Argento and Lamberto Bava co-wrote this horror film, a huge European hit upon release. The film centers on two young girls who go to a brutal demon movie and begin to notice happenings in theater mirroring the action on screen. Soon, half of the audience have been turned into blood thirsty demons, forcing the remaining patrons to defend themselves from the unholy beasts. Stylish, gory, bleakly funny and reminiscent of George A. Romero's films, DEMONS is a hugely entertaining horror movie. Argento also produced and Bava, son of the legendary Mario Bava (BLACK SUNDAY), directed.

I seen the original release of DEMONS about a year ago and liked it. Then I bought the new widescreen edition. It's still good, but some of the translater's voices are different and/or the same as the other characters. Still this is a great film, because it included some scenes that were cut out of the original release

This has to be Italy's best horror film, because I've seen some of their other films and they had bad quality. DEMONS on the other hand was excellent. This is even considered a classic in Italy. The best scene in the film is the mutation of the character from human to demon. The special-effects are nasty and awesome.

All I can say is DEMONS is a great Italian horror film ... The last twenty minutes of the film are unforgettable and unexpecting. So I suggest you rent this if you like horror a lot.

I hope my review was helpful to you!

surprisngly good
turned out better than expected.. well filmed not like some of the early cheesy italian movies.. storyline not bad. good makeup on zombies...kind of reminds me of The Evil Dead

Dario Argento at his best.
I do not understand some of the reviews dario argento's movies receive. First of all you do not get horror movies with creativity as you do with the Maestro movies.This movie has beautiful color the whole theater thing was just amazing. The guy with the silver mask just was awesome and it clearly shows the artistic ways of dario argento.Anyhow I really love this movie. Also check out Stagefright by Michele Soavi.

Outstanding Horror Film
Demons centers around a woman given a ticket to an unnamed film by a mysterious stranger. After arriving at the theater with many other patrons, a film with no title begins to play that shows a pair of couples finding a demon mask in a crypt that supposedly belongs to Nostradamus. (It is learned that the seer predicted the rise of the demons.) One person puts on the mask and turns into a demonic creature who, in turn, infects others. In the movie theater, a prostitute who scratched her face with an identical mask in the lobby turns into a creature depicted on the film. Horror and mayhem insue as panicked patrons try to leave the building only to find out that the doors have vanished. With enough over-the-top special effects to please any gore fan and horror for fear film buffs, Demons is one of the best horror films to come out of the 1980's.

Demons
I think this is a great premise for a horror movie. It consists of a great story, great gore effects, inventive camera work, and a soundtrack full of 80s rock and metal... what more could you ask for? The plot is straight-forward.(unlike many Italian horror films) and I feel that this is one of Bava's best. If you're a fan of Italian horror or just want to try something different, go pick up a copy of Demons. The sequel is quite good as well. ... Read more

Amazon.com

Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies, and its central idea--the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow--is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the center of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch) and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: The two scenarios are so romantically imbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment, and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself, but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. --Jeff Shannon ... Read more

Reviews (194)

SLIDING DOORS: Safe!
Without spoiling the end for you, I can say SLIDING DOORS shows God may have a plan for you in spite of your own free will. Excellent performances by supporting players Jeanne Tripplehorn, John Lynch and the comic actor (I forget his name, but he's a hoot) who plays Lynch's best friend provide SLIDING DOORS' most memorable scenes. See SLIDING DOORS.

Answers the question, "What If?"
This movie had an original idea with great acting and script too! The ending was good but was a little shocking and disapointing (if you saw it you know what I mean). After I saw it, I couldn't get over the ending. But I loved it and enjoyed it very much especially main male lead who played James!! He's so adorable in the movie!

i like this movie!
Gwyneth Paltrow was doing a great job. She acts even better than Seven

What if....
Ever spend your time wondering what would have happened if you had gone to the movies with your friend? Or if you just hadn't said no to that guy/girl who asked you out?Then this is the movie for you! Here we see Helen (Gwyneth Paltrow) go two separate ways - missing the train, and if she had made the train. You'll see how split second occurances can affect your life.

Very intriguing, one of my all time favs
I loved this movie this first, second, third.... time I saw it. The story is so original and keeps you guessing until the very end. It really lent me a new perspective on life and how things can change (for the better or for the worse). Although it is a "Chic flick" I think anybody would enjoy the message. Superb acting and very funny. ... Read more

Reviews (30)

wonderful.
This is a movie everyone should see. I know that everyone always writes that, but I really mean it. I've never seen another movie like it in my whole life. there's something hauntingly, charmingly true about it. The story is set in 1918, in a small french town that has been evacuated because there's a bomb hidden. A scottish soldier is sent in to disable it, but he doesn't know where it's hidden or when it's going to go off. Accidentally freeing all the inmates of the insane asylum who've been left (by the fleeing townspeople) in the town, the soldier finds himself stuck among them, trying to convince them to leave, but having no luck. the inmates are irresistibly lovable, carefree, full of wisdom and completely free of all societal restraints. it's impossible not to fall in love with the world they create in the evacuated town. I think the movie is only made better by being in another language: reading the subtitles, you can imagine the characters saying the lines in any way that you want. French is such a beautiful language: that, combined with the unobtrusive music, makes for a film strangely silent and beautiful. It makes me cry. Please go watch it. It's definitely one of my favorites.

Enchanting fantasy; topical allegory; classic movie
A fairy tale set in a French town caught between the opposing armies of the First World War, "King of Hearts" has lost none of its beguiling charm in the 35 years since its original release, nor has its message grown stale. Alan Bates shines as Charles Plumpick, a simple private in a Scottish regiment and perhaps the only sane man in the abandoned town. But is his world of war and brutality really any saner than the make-believe world conjured up by the escaped inmates of the town lunatic asylum, the only residents Private Plumpick encounters during his reconaissance? It is a point of view that depends entirely on one's perspective. This whimsical, gentle tale challenges the watcher to reexamine what constitutes true madness, just as the asylum characters force Pvt. Plumpick, having been to his initial discomfort acclaimed as the King of Hearts, to choose which role he prefers: king of the fools or fool for King George V? Broca directs his own screenplay with a deft touch and using a stellar cast of mostly French actors. A very young Genevieve Bujold makes one of her earliest appearances in a major picture. The English subtitles aren't the best I've seen (and unlike the VHS version, are distractingly present even during English dialogue), but far better than the awful English-dubbed version of "King of Hearts" that is sometimes broadcast or sold. (The best subtitles I have ever seen were on a print that circulated around theatres during the 1970s and 1980s, but I've never seen this version used for home video.) The score by Georges Delerue is one of his best.

Quelle Surprise! This DVD version has, without fanfare, at least two entirely new scenes in the film that I have never seen before (and I first saw this in 1977). The first is a lengthier "homily" by Monseigneur Marguerite (aka Bishop Daisy) in the church before Charles' coronation. But the real grabber is an added scene at the very end of the movie that offers a parting glance at the primary players and a final bittersweet twist. Where on earth did this footage come from, and why has it been missing from this film for so long? Does this DVD version offer a "better" ending than the familiar one? It's debateable. But it's certainly intriguing.

Best Ending Ever!
This movie has the very best ending ever. I'd like to see someone try and find a more surprising, happier, funnier ending than this one. The loonies are in town and they've found their king and my heart. This movie takes the bag. It's my father's very favorite movie and one of mine. I definitely recommend this movie.

A buck-naked skip with birdcage!
This gem should hit many different emotions for the avid viewer. A true parade of carnival characters set in an antiwar theme -- this bit of royalty of the heart brings up aTHE enigma: Is the difference between psychosis and psychic just a paper-thin line of cultural subjectivism? Is the lunacy of blowing up yet another vacant city on the path to glory any different that skipping naked down a path with a birdcage in one's hand?

This film started the boomers reading subtitles and (hopefully) brought them out of their fears of foreign film. (Don't get the dubbed version, it lacks so much charm.) Its popularity had a great deal to do with the country's mass-consciousness about the Viet Nam war; but I hope it would have found the same audience without such a catalyst.

One feels like dancing in a fountain and blowing bubbles on the back of a bus after seeing this great flick. Keep a kazoo handy; you'll want to have something to toot after the film is over and you are left to your organized sanity!

Better yet, follow it up with the 1972 release of "The Ruling Class" and have yourself a truly insane evening of jocularity.

Is there something extra on this DVD?
King of Hearts was, in my younger and more vulnerable years, one of my favorite movies, but I had not seen it in many years. In fact, I'd rather forgotten about it. Then I came across the DVD and bought it and watched it again. Still a great movie, but I was puzzled. My recollection was the final scene of the movie is Plumpick (Alan Bates) appearing at the gate of the asylum naked. Then the credits began (rather abruptly as I recollect). In the DVD, however, there is a short scene after this where Bates has joined the inmates and there is a brief exchange of dialog. I don't recall ever seeing this before, but maybe my memory is foggy. No one else seems to have mentioned this either in ... of IMDB, nor does the DVD tout a restored scene. Can anyone tell me if they recall this scene? ... Read more

Amazon.com

The second part of Yves Robert's filming of Marcel Pagnol's childhood memoirs completes the narrative so casually begun in My Father's Glory--and fulfills a radiant journey we hadn't even realized we'd embarked on. Marcel is approaching his teens and acquiring a more coherent sense of the world. Accordingly, My Mother's Castle boasts a more concentrated style and unspools its story over (mostly) the space of one year, as opposed to a dozen. Whereas in the first film Robert had worked entirely with little-known players who simply became Marcel's family, here he calls upon screen veterans Jean Rochefort, Jean Carmet, and Georges Wilson to flesh out sharply ironical figures who loom challengingly on the young man's horizon. Consistent with Pagnol's emphasis on Provençal locations, the focal event of the film becomes the weekly walk the Marseilles-based family makes from the trolley station to their remote country cottage--a quintessentially mundane ritual that comes to be fraught with wonder, delight, and terror. It all leads to a payoff that opens the meaning of the title only as the film is reaching its transcendent conclusion. --Richard T. Jameson ... Read more

Reviews (17)

A Gentle, Romantic Period Piece
This new A&E production on the lives of Queen Victoria and Prince Albert was simply told and well-acted.It does not oversentimentalize the relationship of the couple, and the major events of their lives are reenacted without much sensationalism.
Victoria Hamilton, who may well be one of the Queen's many namesakes, captures the petite size of Britain's longest reigning monarch, making her an endearing character in the eyes of the viewer, even though many of my own forebears suffered under her regime. Jonathan Firth's Albert is potrayed as a gentle, decent, thoughtful man, made to leave his homeland and struggle to find acceptance in an entirely different country. But in the scene where this devoted father of nine comforts hs wife during labor while nearby, his critics suggest that he should be at a men's club instead, we see that, by following the German tradition on dealing with childbirth, he is a man ahead of his time. One of the more delightful moments ofthe film is when, during their courtship, he and Victoria play a duet together on the piano. One of the saddest, is when the Christmas tree, a custom Albert introduced to England, arrives a few days before his death on December 14,1861. It was nice to see a grown-up
Kate Mayberly in films again. She plays the couple's second daughter, Alice, who followed her older sister into marriage in the German Nobility, became the mother of Russia's last Czarina, and died of diptheria at the age of 35.The relationships of the Queen and her cabinet members is touched upon, as is the relationship with her overbearing mother. Peter Ustinov has a certain strained charisma as the Queen's predecessor, who is still aware of his sister-in-law's antics despite ill health. Diana Rigg is understated and dignified as the young Queen's devoted Lady-in-Waiting. The whole cast did a fine job. This elegant miniseries brings the chief players of the Victorian Era down from the oil-painted canvases and resurrects them quite nicely.

The Art of Personification
One of the reasons I love so many of the BBC productions is because they can turn someone foreign in concept, like in this case the incredibly famous Queen Victoria and her almost forgotten husband Prince Albert, into characters you bond with and are sad to leave. For one of the first times in recent production history BBC has created a film about real people, and made it touching and incredibly interesting.

Authentically costumed, scripted, and filmed, this incredibly well acted film brings to life two of history's most influential characters and makes them human. Something hard to do when they lived in a different time, place, and are in that untouchable zone of fame. It's a love story of an arranged and somewhat accepted marriage between Victoria and Albert, and how they grow to love, respect, and ultimately need each other in life and politics. They shrink 20+ years of history into 4 hours quite nonchalantly and in a captivating and bright manner. It also makes for a very interesting history lesson. I daresay I never knew that much about Albert, and he really impacted our world and what is known as the Victorian era (hey, we wouldn't have Christmas trees without him!)

This story is sweet, poignant, runs smoothly, and though very different, is a worthy descendant of it's BBC predecessors. You'll be hesitant to leave it.

A royal cinematic feast
"Victoria and Albert," directed by John Erman, stars Victoria Hamilton and Jonathan Firth as Britain's Queen Victoria and her consort, Prince Albert. The superb supporting cast includes an impressive band of acting veterans, among them Peter Ustinov (as William IV) and Diana Rigg (as young Victoria's governess). The film follows the courtship and married life of this royal couple.

V&A is a visually stunning period piece, but ultimately it's the fine performances that really make the film work. There is a wonderful chemistry between the two leads, who furthermore capably rise to the challenge of portraying the pair over a long span of time. It's an onscreen relationship that is complex and tender. The supporting cast is great--Ustinov is especially entertaining as the cantankerous King William. It's a juicy role that Ustinov plays with relish.

Although it's a period piece, V&A seems remarkably timely in light of the continuing saga of the British royal family. The film raises a number of intriguing issues--the politics of royal marriage, the relationship between the royal house and the citizenry, etc. This is a classy, well-made film--a must for those interested in British royal history.

A Great Period Piece
I'm sure if I was a Queen Victoria historian, I would probably have given this a lower number for the innaccuracies presented as fact. Since I'm not, and since it seemed to cover what I do know of her fairly accurately, I'm giving this movie a high mark. First off, I happen to really enjoy period pieces that can pull the viewer in and help them to understand life from another time in history. Braveheart, Gettysburg, Three Soverigns For Sarah, Charles Dickens/Jane Austen movies, and even films about more recent times such as Enemy At The Gates and American Graffiti. If they keep them in their proper time and place (clothing, speech, sets, etc.), I'm glued. (Titanic was almost perfect except for the "Can I bum a smoke" line DiCaprio made after stopping Rose from jumping off the ship).
Victoria and Albert caught my attention right off and held it til the end. It not only brought two historical figures to life, but it made them both human, with being vulnerable to human feelings and emotions. One can imagine how Victoria felt when she angrily spoke to her mother as THE QUEEN. One can also imagine how her mother felt being spoken to in that manner by her daughter THE QUEEN. How about Albert's feelings when Victoria poo poo'd him when he would try to help her with her duties, instead giving him a frivolous task to keep him "happy."
I would have liked to have seen more of the relationship that Victoria and Albert had with their children, which was only touched upon and glossed over. Also, it would have been nice to see Victoria's affect first hand on the everyday people of England - her subjects - as she ruled for the majority of the 19th century. After all, a whole period in time was named for her. But that would have increased the time of this movie from four hours to six hours, I'm sure - not that I would have minded.
I feel this is probably the best version out there of these two larger than life figures. A&E, Masterpiece Theater, and others of this ilk always do a marvelous job when it comes to the historical period pieces, and Victoria and Albert is right up there with the best of them. It's well worth the money.

A personal look at the life of Queen Victoria
I bought this set thinking it would be just another movie to add to my growing costume drama collection. I was really wrong. From the first minutes of this movie the viewer is hooked. I was amazed to find out how Queen Victoria became Queen, how she struggled with her mother and how she picked a husband.

I must say A&E did a great job portraying the lives of these well known people. I really felt as though I was there living out her life.

The costumes are great, acting is supurb and nothing could be improved on save for the fact that it wasn't long enough and tons of time was skipped.

Good job and a great movie. I would reccomend to anyone who wants to learn more about Queen Victoria or someone who just loves good movies! ... Read more

Amazon.com

Among the bounteous literary and cinematic legacy of Marcel Pagnol, poet laureate of Provence, is a two-volume memoir, My Father's Glory and My Mother's Castle. The enormous success of Jean de Florette and Manon of the Spring (Claude Berri's 1986 remakes of two Pagnol films from the '50s) encouraged Yves Robert to shoot another Pagnol diptych. Like Garlaban, the great bluff overhanging Pagnol's childhood home, the result is "less than a mountain, much more than a hill." The first part, My Father's Glory, spans Marcel's early years from infancy to preteen. The film keeps faith with its juvenile subject, leaping from one quirky detail of landscape, character, or biography to the next--whatever has caught the child's fancy and lingered in the adult narrator's memory. This makes for episodic storytelling, but it's an appropriate way to reflect childhood experience, and it doesn't prevent Robert from developing loving portraits of Pagnol's nearest and dearest, or paying luminous tribute to the Provençal countryside Pagnol loved. You can almost feel the sunshine, smell the wild thyme. --Richard T. Jameson ... Read more

Reviews (8)

Idyll of Boyhood
This film is one of the most honest and beautiful accounts of family life and boyhood in the Auvergne and in Marseilles. The warmth of the Langudoc shimmers through the colours of the film as also through the lives of this happy family drenched in the browning sunlight in the last few years of the nineteenth and the first few of the twentieth century. This warmth is reflected also in the son Marcel's friendship with the young peasant boy, Lili, who modestly asks if he may keep the sailor suit which fits him. In a sense, this is a 'lower professional' childhood rather than the aristocratic one of the Tadzio in 'Death in Venice'. It is completed by a continuation film, equally wonderful, called 'Le Chateau de ma Mere' - and this, too is a must. The two together make for a wonderful winter evening and make you realise just what dross we are generally offered on the television.

Lavish, Beautiful, and Sentimental
My Father's Glory is the first of two films dealing with the novelist/filmmaker Marcel Pagnol's childhood. The film really does not have a plot. Marcel's parents Joseph, a beloved school teacher, and his mother Augustine, a dressmaker meet, fall in love, and get married. Soon afterward Marcel is born, as is his brother and sister. Marcel's family, along with his Uncle Jules and Aunt Rose, vacation in the South of France, and his father wins a hunting contest. On the surface there is not much to hold the film together. Yet the plot of the film is not what makes it so worthwhile. The film's chief strength is the way that each character is developed. We can see that Joseph is a good and descent man, a masterful teacher, and most especially a devoted father and husband. Young Marcel idolizes his father, and wants all others to realize the father's great qualities. The father is not perfect, and Marcel has questions about his doubt of all things religious. Marcel admires his mother as well, who is a nurturing and caring soul. The other major characters are both richly developed and varied.

The setting of the film is sumptuous. The small French town where Marcel and his family hail from seems realistic and the viewer can feel as if he/she has stepped back in time. The music adds to the film and perfectly blends with the scenes and characters.

Some may feel that the film is too saccharinely sweet. This can be an easy dismissal of a film that is unashamedly lavish, nostalgic, and sentimental. Such critics are wrong, however. The film shows Pagnol's appreciation for his parents, and how their good qualities played such a significant role in the man he would later be.

One of the best childhood films ever
This is, quite simply, one of the best films about childhood ever made. But then again, to write this film off as a film about childhood is too easy. This is a gorgeously filmed adaptation of Marcel Pagnol's memoirs of growing up and vacationing in Provence with his family. The cinematography is beautiful, and the cast is uniformly excellent. And as a real treat to film viewers, there are no sentimental or treacly moments that can often bog a film down. A friend noted that while I watched this film, I had a smile on my face the entire time. That's the best kind of film. This is followed by the equally stellar but more somber "My Mother's Castle."

"Le Gloire de Mon Pere". C'est bonne filme
"Le Gloire de Mon Pere" is one of the best films I have seen in a long time. The first time I saw it was in my french class. I thought it was cute and decided to see if the library had it, they did. After I saw it the second time I realised how good it is. The true story of Marcel and his father is unique for the 90's. I highly reccomend this film and its sequel "La Chateau de Ma Mere", the rest of the story of Marcel and his family. It has a sad ending but is worth it.

charming and uplifting
What a beautiful film! This is one of those films where everything works. The visuals are beautiful, the script spare and heartfelt, and the characterizations profound. Can Americans make films like this; where there is warmth and nostalgia but where the humor and the modesty keep sentimentality under control? Forget irony and cliches...this is wonderfully real and exciting. ... Read more

Reviews (17)

Beautiful timeless classic, yet ...
This movie was hauntingly beautiful, yet so frustrating to watch at times. The scenes were just breathtaking and the narration read like a poetry with excellent English translation. The costumes were wonderful and true to its time (credits to university professors in Korea).

Unlike other reviewers, I found Pansori singing interesting at first. Unfortunately, I felt that it became too frequent and detracted me from enjoying the story. I found myself turning down the volume and reading the subtitle whenever the Pansori singer appeared later. I'm fairly certain the singer was a designated national treasure in Korea. Still his omnipresence all throughout the movie was overdone.

I also found the two main characters lacking in raw emotional drama. In particular, when Myoung confronts the corrupt governor who wanted to execute Chunhyang for not sleeping with him, he had this nonchalant attitude, asking the soon-to-be ex-governor to understand her reasons for not giving in to his wishes. I would've slapped Myoung had I been Chunhyang listening in on the conversation.

Nevertheless, it was an enjoyable movie that I appreciated more afterwards.

Poetry on Film
"Chunhyang" is living art. Narrated in the Korean tradition of Pansori in which a story is told through sung verse, it's the timeless classic tale of two young people who fall in love at first sight, are separated through adversity, and come together again. Chunhyang is the daughter of a courtesan, and in the ancient Korean class system she is therefore considered a courtesan herself, and Mongryong is the son of an upper-class nobleman; they meet, fall in love, and marry secretly. Mongryong's father, however, has plans for his son that don't include marrying a courtesan's daughter, and the couple has to split up while Mongryong prepares for a state examination. Chunhyang spends the three years of their separation fighting off the advances of a venal provincial governor; she's about to die for her resistance when her long-lost husband returns to save her. Virtue has its rewards. The film succeeds on every count. The cinematography is splendid, the two young lead actors, both of them teenagers, are excellent, and the haunting tones of the Pansori singer draw us into the film and make us a part of it. Unlike those reviewers who felt that the singing distracted from the movie, I thought it helped to underscore the ancient tradition of story-telling, a part of so many cultures, in which a tale is narrated through song and verse as well as prose. We not only enjoy "Chunhyang" as a brilliant example of Korean film making, we feel it on a fundamental level as a love story anyone can relate to. It's a great movie that deserves a much wider audience.

Avoid
If you're looking for a good Asian movie, spare yourself of this one. The story isn't bad, and it's beautiful to look at, but the traditional Korean singing throughout will have you PRAYING FOR DEATH.

Confucian fealty never looked so good
I saw this at the Hong Kong film festival in 2001, and the film went over well with the Asians and the Westerners in the large hall where it was shown. Probably the best film I've seen in the last three years...

I tried to describe it for friends as a 13th-Century(?) Korean version of Star Wars with less swordplay. Substitute Confucian fealty (how relationships of elder-younger, husband-wife, mother-daughter, leader-follower should work, perhaps ideally) for the Force and corruption for the Dark Side of the Force and, strangely, it fits.

The cinematography is great, and the story is introduced via the Korean operatic form for the first ten minutes, but then largely fades out to allow the story to unfold.

What the Western is to American culture, this is to Korea's. Better than you'd expect, unless you've seen a lot of Asian cinema. Deserving of a wider audience...

Great Movie!
I didn't buy the dvd..I just happened to switch to the Sundance channel after the movie had just started. I've never seen a movie like this, I think it's great! The storyline is really good, and the images/scenery throughout the movie are really nice. I think the Pansori narrative is really interesting, i've never seen a movie like it. I think it's worth checking out, I would love to see this movie again... it's a great love story. ... Read more

Description

The crowning achievement of the Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability, presented in both the newly-restored German and English-language versions.
Emil Jannings, the quintessential German expressionist actor, stars as Professor Rath, the sexually-repressed instructor of a boys' prep school. After learning of the pupils' infatuation with French postcards depicting a local nightclub songstress, he decides to personally investigate the source of such indecency. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Marlene Dietrich), commanding the stage in a top hat, stockings and bare thighs, Rath's self-righteous piety is crushed. He finds himself fatefully seduced by the throaty voice of the vulgar siren, singing, "Falling in Love Again." Consumed by desire and tormented by his rigid propriety, Professor Rath allows himself to be dragged down a path of personal degradation. Lola's unrestrained sexuality was a revelation to turn-of-the-decade moviegoers, thrusting Dietrich to the forefront of the sultry international leading ladies, such as Greta Garbor, who were challenging the limits of screen sexuality. ... Read more

Reviews (27)

Kino's 2-disc DVD version
Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

The "Stepping Stone" for Marlene Dietrich's World Conquest
Joseph von Sternberg 'packaged' his muse, Marlene Dietrich to become a world star with "The Blue Angel". The disturbing story of a revue entertainer (Dietrich) and the middle aged professor(Emil Jannings)who falls madly in love with, and later is destroyed by her, based on the novel "Professor Unrat". Many unforgettable songs by Friedrich Hollander are featured, most noteworthy of course "Ich bin von Kopf bis Fuss auf Liebe eingestellt" ("Falling in Love Again") and "Ich bin die feche Lola" ("They Call Me Naughty Lola"). -- There is a dub-version available, but I recommend the original German with subtitles. Many effects are lost with the former. I can highly recommend this film, a must for fans of either the stars or the director!*****

Falling Too Hard
This memorable, iconic film stars Marlene Dietrich as the showgirl Lola Lola, Emil Jannings as the Professor, and is directed by Josef von Sternberg. Stodgy, upright Herr Professor enters the cabaret after following some of his pupils, whom he's discovered with postcards of the singer Lola. He is shocked by the degradation of the place, but then catches sight of Lola and finds himself fascinated. In spite of himself, he returns again and again to the nightclub, driven by his feelings for Lola, a mixture of blatant lust and intense curiousity. Through a series of dressing room encounters, the Professor becomes acquainted with Lola, who views him as an amusing distraction, a relic with his gentlemanly ways and old-fashioned manners. The Professor proves useful in his way, serving as a foil between her and unwanted advances from customers and unwelcomed suitors. With the best of intentions the Professor offers Lola his hand in marriage, offering her his protection, and his good name. This is meaningless at the cabaret, no one plays by his rules. The befuddled Professor tries to fit in, but cannot, and in the process loses himself entirely. He can't change himself, just as he can't change Lola ~ to change Lola would be to destroy her, just as the Professor, through the change he endures, destroys himself. There is a sort of backhanded morality here: Lola cannot help for what she is, she is a product of what she has seen in her life, what she has been forced to do in order to survive, just as the Professor can't help for what he is, the product of his own background, mores, and values. He might have survived had he realised that what a person portrays on stage is not necessarily what that person truly must be, once the curtain is wrung down. The film arrives to its inevitable tragic end, climaxing with a scene of devastating humiliation. Many underlying psycho-sexual themes run through this film, the most obvious being repression vs freedom, and at what cost 'liberation' is achieved. To view the film in the context of the era in which it was made ~ a time portending many social and moralistic upheavals ~ makes for some interesting discussion. Marlene Dietrich, in her role, is in turns cold and unbending, charming and vexing, wise and vulnerable, and always, always absolutely luminously beautiful. Jannings is heartbreaking as the Professor. A must-see for anyone interested in cinema.

One of Kino's best packages. A must for Marlene Fans!!!!!!!!
I like most the DVDs that Kino makes but I must say that this is their most impressive package. A two disk set, the features are marvelous, including both versions of the film (which look great)! Marlene Dietrich musical performances, scene comparison, informative commentary, and a not to be missed screen test with Marlene. The film alone is great, but the DVD package makes it outstanding. Its about a professor, Emil Jennings, who is perfectly cast, and his downfall after meeting a nightclub dancer named Lola Lola, played with great charisma by Marlene Dietrich. A must, don't hesitate to but the Kino 2-disk set if your a Dietrich fan!

A classic of world cinema
A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans. ... Read more

Reviews (9)

You must the face the life no matter what...
Bresson made his most epical film in all his artistic career.
This movie is a homage to the best a man can do when he's persuaded for get that goal.
The story is simple. A prisoner makes his first attempt for escape and he's back to prision. But he's convinced with such passion and inner power that his fellow realize about that and help him for his achievement.
Lyrical and surrounded for arresting images, a perfect script , under the direction of the master of masters, Robert Bresson.
What the genius has of beauty is that it looks like the rest of the world and however, nobody looks like him. (Balzac)
This work is one of the supreme treasures of the french cinema and one of the best top five films all around the world ever filmed.

Bresson: One of many pinnacles in art.
Most every film in Robert Bresson's filmography has the power to steer the uninitiated away from the standard trappings of cinema and to realign the path of the experienced. A Man Escaped, like many other films by Bresson, shows what film can be if you can put aside the unnecessary and head forward with a clear view of what is important and vital. This goes for both the film and the world outside of it.

Bresson's most engaging story
For viewers who have never seen a Bresson film this is an excellent one to start with because its like a student notebook of all the strategies he will put to use in his two early masterpieces Diary of A Country Priest and Pickpocket. Its a prison escape movie which focuses on the inner monologue of Fontaine from the time he is captured and tortured(which we don't see)until the escape but along the way he befriends several other prisoners and each prisoner is there for a different reason and there is very little unity among them and very little hope. One man overhearing of Fontaine's escape plan mutters "freedom" as if the word meant nothing any more. Each day shots are heard and each one knows it is only a matter of time until his turn will come. One prisoner finds solace in his bible and there is a religious quote or two which no doubt will reverberate with the religious minded and Bresson was a devout Roman Catholic but Fontaine is not particularly religious and he finds his very elaborate escape plan a means of keeping his mind occupied and his hopes high despite the overwhelming odds against him. We watch him as he carves at his door and as he winds ropes out of braided bedsheets and makes hooks from his window casing and its fascinating to watch because his life depends on it. There are fatalists in the prison who just accept that this is the end but not Fontaine. Its about as simple a story as can be told and yet there are interesting layers in this film. In such circumstances one is forced to come face to face with what kind of man one is and what one truly believes. In some ways Fontaines sanity lies in the fact he does think too much, he stays busy. This is as good a philosophy as any other. There is no greater incentive to make his every effort count than the one this situation presents. In the last scenes Fontaine is given a cell mate just before he is to make the big break. In just a few conversations he must take an accurate measure of this man who is only a boy and decide whether he can trust him with his plan. Once again its a life and death decision and he takes a leap in making the decision he does. From the cellmates perspective he has lucked out being put in a cell with someone who has an escape plan all ready to go. The actual escape makes you hold your breath and when they scale the final wall and take their first steps of freedom you find yourself as exhausted/exhilerated as they are. The later Diary of A Country Priest(also told mostly in inner monlogue) is not for everyone as it deals with the religious life in a way which will probably only interest those who have some interest in the topic. This film and Pickpocket will appeal to all audiences. Bresson's later films become more and more cynical and if you've seen some of them like Lancelot of the Lake(1974) or L'Argent(1983) this one is a refreshing one to come back to.

Bresson Is Alone.
In spite of Bresson's note at the beginning, this amazing film about a condemned man's miraculous escape from a Nazi prison is so much more than just a re-telling of the historical event it is based on. It is an intimate, spiritual story of transcendent grace leading a man to freedom and within the context of the entire body of Bresson's work this prison can be seen as a representative example of the spiritual condition of the entire fallen world itself. But notice how Bresson does everything to avoid making this a large-scale story, as most directors would. The viewer spends most of the film time in the tiny cell with the prisoner and the camera is rarely more than a few feet away from him throughout the film. There is no use of the camera to create a large setting for the story. And for the viewer expecting such usage this film could seem claustrophobic. There is no development of character or plot beyond the preparations for escape. In fact there is nothing but the minutely observed details of the work of grace unfolding in the narrow confines of the prison grounds. And yet this film is boundless. And the only thing that makes such a film even possible is Bresson's extraordinary style of choosing images that relate to and suggest nothing but the strict, precise meaning and purpose of the film. Observe the very small amount of content in each image. Bresson lets absolutely nothing in that is not immediately related to this man's encounter with the Spirit that blows where it will. In the entire history of cinema there is not another film maker who could have achieved such concentrated profundity. Bresson is alone, he is in a category by himself. This is a great film by one of the great artists of all time.

this is French?
(...)

(...)

It seems strange to me that Robert Bresson referred to himself as a "Christian atheist", because God is very much present in this film. A
Man Escaped is based on the true story of André Devigny, a member of the French Resistance who managed to break out of prison just
hours before he was to be executed by the Germans. The movie begins with the prisoner, here called Fontaine, being driven to jail. The
men beside him are cuffed, but he is not. He tries to get away when the car stops but is recaptured and beaten about the head.

In prison, Fontaine nearly succumbs to despair, fearful that his fellow Resistance fighters will be rounded up too, but then a stranger
intervenes, a prisoner exercising in the courtyard who promises to get a note to them. Relieved of this concern, Fontaine once again sets
his mind to escape. While other men remain bound either physically or mentally, Fontaine develops a detailed plan of escape and
arduously sets about implementing it.

Bresson presents Fontaine's machinations in painstaking detail. He also confines most of the film to Fontaine's cell, so the viewer too
feels like a captive. Seemingly forgotten by the Germans, Fontaine delays his escape attempt. He believes that two people will be
required to make the attempt work, but is unable to convince anyone else to join him. He is himself afraid to take the leap of faith that it
requires, seemingly waiting for a sign that he should go ahead. The sign comes quite suddenly in the form of his death sentence, his
crimes not forgotten after all.

But now, just when everything seems to have fallen into place, another prisoner is placed in the cell with Fontaine, a very young man
whom he has every reason to distrust as a stool pigeon, planted at the last minute by the Germans. His execution scheduled for the next
day, Fontaine has but two choices : kill the boy or include him in the escape. Once again Fontaine has thrust upon him a matter of faith.

His resolution to this problem and the ensuing escape are exciting stuff. The very sparseness of the film and the way Bresson strips it of
emotion, makes the action, as he intended, speak for itself, and it speaks volumes. But there are also big ideas at work here, the most
refreshing of which, particularly coming from a Frenchman in the 1950s, is that faith and hope matter and that we can take some control
of events through our own actions. The most famous image of the French intellectuals' view of life is the example of Sisyphus, as per
Albert Camus. Sisyphus, a Titan sentenced to eternal punishment for rebelling against the Gods, has to push a boulder up a hill all day,
and at the end of the day, just as he arrives at the top, it rolls back down again. Bresson's film is perhaps best understood as a refutation
of this fatalistic and futile worldview; A Man Escaped suggests that indeed we can escape the fates, can create our own destinies, if only
we have faith and make the effort. The impetus remains with us, even if the ultimate outcome remains in the hands of "The Spirit".

GRADE : A+ ... Read more

Amazon.com

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

Reviews (137)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

Heishiro, a noble Samurai, sets out in search of the renegade who stole his clan’s treasure and killed his best friend. Heishiro should be able to hold his own against the villain Rannosuke, who has only killed hundreds of men and fought entire armies while simultaneously defending himself against dozens of deadly ninja assassins. This is Samurai Fiction. Don’t believe everything you see in Chambara movies! ... Read more

Reviews (13)

Encore! Encore!
Just about the most entertaining film I have see so far this year!! This is such good stuff!! It's reassuring to know that less can certainly be more in a movie. The black & white approach to the film was a nice "retro" touch. The soundtrack was enjoyable as well. A little jazz a little spaghetti western and a little surf music?!? Oh well, sounds strange but it certainly enhanced some scenes. The story line was typical but the dialogue certainly wasn't. Who ever wrote the script certainly wasn't going for that purist kinda thing, refreshing it was!! What really made this film work was the obvious pleasure the actors displayed in making it. That's always a big plus and also infectious!!! At least it infected me!!!

If you have to see one Samurai movie this year....
See this one. Forget about the one with Tom Cruise - this is so much better as to be not even a comparison. Hotei's acting and hot guitar licks make for a pleasing sound and sight. It's almost a mime performance - he has so few lines. I'd call him the Japanese equivalent of Clint Eastwood - cool and tough. Nakano's use of black and white and color make this film as beautiful and artsy as it is well told and acted. It proves that you don't necessarily need a huge budget and millions of bucks to make a great movie. It's also wonderful because it doesn't take itself to seriously.

I will say it again - if you have to see one - see this one.

come on see it i know you will like it
This was one of the first movie that i ever felt so good.I bought this movie becouse wanted something diferent.when i finish seen it i was speechless it was just what need it to see.The film has great story amazing cast and the director and also the dir of photography is damn good.THIS IS A MUST HAVE YOU WONT REGRETED

Great
This movie is funny, yet still maintains a serious theme. A must have for any foreign movie buff!

One Amazing Movie
The plot is as follows. A samurai clan entrusts a talented but unknown ronin to guard their ceremonial sword. He ends up stealing the lovely weapon for his own use. Upon hearing this, a young swordsman and his two best friends go on a journey to retrieve the sword. Their first confrontation causes each of the three warriors to take a path separate from the other.

The plot is fairly basic (the stealing of the sword reminds me of "Crouching Tiger, Hidden Dragon"), but the way director Hiroyuki Nakano sees it is very original. Shot mostly in black and white, it's an obvious way to get the audience to appreciate his artistic vision.

Perhaps my favorite aspect of "Samurai Fiction" is the musical score, composed by Tomoyasu Hotei, who you may know as "...the guy that made that song from Kill Bill" (Battle Without Honor or Humanity, the part where O-Ren is entering the house of blue leaves). Every fight scene and many simply well directed scenes are pulled from 1696 to modern day with hard rock or techno anthems.

This is a must have DVD for any martial arts fans, particularly those looking to see where Quentin Tarintino got "Kill Bill" from. ... Read more

Amazon.com

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

Reviews (92)

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

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

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

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

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

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

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

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

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

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

Description

Poetic realism reaches sublime heights with Children of Paradise (Les enfants du paradis), the ineffably witty tale of a woman loved by four different men. Deftly entwining theater, literature, music, and design, director Marcel Carné and screenwriter Jacques Prévert resurrect the tumultuous world of 19th-century Paris, teeming with hucksters and aristocrats, thieves and courtesans, pimps and seers. The Criterion Collection is proud to present this milestone of cinema in a new high-definition film transfer made from the restored negative. ... Read more

Reviews (45)

A Masterpiece
This film is a glittering gem from the early days of motion pictures. Shot in B&W in Paris when the City of Light was under German Occupation during WWII, it tells the story of a French mime and the wrenching love dramas he gets caught up in between his sublime performances. But the film is so much more than that- its a microcosm of mid nineteenth-century Paris complete with costume, sets and an acurate depiction of Parisian society at the time. In this respect it boarders on epic. Barrault's ultimate rejection hits like sharp spike due to the repercussions it has on himself and others around him. The high society of Paris has a coolness which stems from experience which Barrault comes cavorting into like a reckless child- and how the glass shatters. The acting is superb and the smoothness of the direction and film style is stunning. Its a long film- I think over three hours, and it is spoken in French with English subtitles. But it is a timeless and majestic works by the early French director Marcel Carne. Its amazing that he made this film inconspicuously to to avoid run-ins with the German troops who constantly encrouched upon his film studio. Today many very bad films are made in multi-million dollar studios. Children of Paradise goes to show how real genius shines through.

A MASTERPIECE OF FRENCH CINEMA by CRITERION
Children of Paradise (Les Enfants du Paradis) possibly stands as the best french film ever made. It's production took many years due to the German invasion of France. Yet despide all problems the film is a total triumph.
The film is divided in two parts: "The Boulevard of Crime" and "The Man in White". The story spans several years in the lives of Babtiste (Barrault) who loves Garence (Arletty) who seems to end up destroying the hearts of those who fall for her. To reveal more would be unthinkable and the film presents us many subplots with great characters.
The sets are beautiful and the theatre numbers are fantastic. This is one film that brings us the true magic of Cinema with great stories, powerful drama and unforgetable characters. No other film ever captured the nineteenth century Paris like this one. A true work of art and a great homage to the french theatre. It will make you cry. It will make you laugh.
CRITERION (as always) did a wonderful job digitally restoring many print demages that were in the film. The extras are very nice (specialy the section devoted to the art direction - one of this film's greatest assets).
The film is long (but not overlong) and the two parts are placed in separate discs. So are the extras. The image is great and camera work is not to be believed!
A film that deserves to be loved! buy it now!

**
I rented this after seeing Marlon Brando's comment that it is "maybe the best picture ever made." But I didn't like it, and I think perhaps if I'd seen it in its own time, I may have liked it, but it's terribly dated. Not that I would have liked it even so, but, what is sure, I couldn't wait for it to end.

RESTORED TO ITS ORIGINAL BRILLIANCE
Marcel Carne's masterpiece set in the theater district of early 19th century Paris has been restored to its original brilliance.

Filmed during the Nazi occupation of France, it is ripe with visual beauty and reality.

The greatest french film ever
It's hard to put in words the essential terms which describe that brilliant masterpiece .
Marcel Carne and Jacques Prevert made an eternal film. The poetry envolves the plot from start to end. The locations, the superb performances of Barrault like the mime and Maria Casares are amazing. The atmosphere you breathe since the first sequence , seems to carry us to another dimension, to that extatic experience that trascends us. When an artistic expression gets it (like Beethoven's Eroica or Miguel Angel's Sixtine ) , becomes unique due to its originality. Carne gave us big remarkable films like Le jour se leve, The night visitors , Les portes de la nuit, Le quai de brumes and Therese Raquin, but none of them will reach the height of that monumental work . A must for every human being , in any age, because like a genuine masterpiece, it goes far away its historical circunstance and maintains the eternal freshness for all the eternity.
A venezuelan poet (Rafael Cadenas) said once upon a time: "The genius is always contemporean" .
And the rest is silence (Shakespeare - Julius Caesar) ... Read more