Reviews (11)

Henry Hathaway Special!
A Classic of sorts in that Henry Hathaway was making films like these( Kiss of Death) , that were shot on location.

This time its in the Chicago area and very ethnic story telling this film really is. Richard Conte plays one of the "two" convicted of murder. His mother slaves away at mopping floors to come up with money to pay an attorney to help her son ( Conte)

Another peerless performance by Stewart probably the most versatile actor ever( Probably? ) Here he plays the newpaper reporter drawn in to the drama in trying to exonerate ( Conte) Frank Weicek.

Dark alleys, old houses , trash cans cant stop Stewart. Betty Garde plays ( Wanda Skutnik) , the supposed eye witness who Stewart feels is lying.

Filmed in pure documentary style, It would be interesting to observe the events on screen if this was during the Mayor Daly period in Chicago Fine acting by all.

Chicago Reporter Seeks Truth in Policeman's Murder
Jimmy Stewart stars as James McNeal, a Chicago newspaper reporter assigned to investigate the Prohibition-era murder of a policeman. Two men - Frank Wiecek and Tomick Szaleska - were convicted and sentenced to prison terms of 99 years.

But Wiecek's mother Tillie, a Chicago scrubwoman, has raised five thousand dollars scrubbing floors in the hope of reopening the murder investigation. Her ad in McNeal's newspaper catches an editor's eye and McNeal is assigned the story. Eleven years after the trial, Tillie Wiecek tells McNeal, "My boy is innocent."

McNeal is skeptical of the story and he doesn't like the idea of "freeing a cop-killer." But he digs further after his initial story attracts a lot of reader interest. The film dramatically depicts his dealings with the courts, the police, and the Illinois Parole Board. Director Henry Hathaway used real Chicago locales to give this film its black and white grittiness. Stewart gives a fine performance, helped by an able cast and an interesting story. Fine film, worth seeing.

Stop the Presses
For my money this is the best film ever made about American journalism. James Stewart is a staff writer made cycnical over the years by the grubby sensationalism and shallow hackwork that fills most American newspapers. When he actually latches onto a case of genuine injustice it's an episode that transforms his life almost as much as that of the convict he's trying to free. This is certainly director Henry Hathaway's masterpiece and he has never been given sufficient credit for it. The straight-on realism he achieved filming on location in Chicago has rarely if ever been equalled in the American movies in my view, and no effort was made to clean up the untidy skeins of the story either as Hollywood was wont to do. For instance, nothing was done to free the man unjustly convicted along with Richard Conte's character, around whom the story revolves. If you were to make a list of Stewart's 4 or 5 greatest performances this would have to be on it. He uses methods both praiseworthy and ugly to get what he's after and no American movie actor ever brought home that kind of mixed morality better.

ignore John Grave`s review
This is a good film for any jimmy stewart fan.His acting is top-notch as usual.

No passion, no surprises
Realistic, documentary-style recreations are one thing, but call Northside 777 falls off the mantle.

Sorry, guys, I give thumbs down on this one. This film is directorially unimaginative, the dialogue is lousy and lacks spontaneity, and a stone cold soundtrack almost totally devoid of music make Call Northside 777 a film I would rather have missed.

I am a serious fan of Lee J. Cobb and James Stewart, so I really can't fault the casting at all. The actors are appropriately cast in their roles; they make a great pair. But the director kind of plods along, the first half of the film so cumbersome, so utterly predictable. The emotional impact "hits" seem especially ill timed.

Henry Hathaway fails to plant any questions in the audience. In short, Call Northside is not a "whodunit", but rather a "Who- didn't-dunit"

Maybe the film editor blew it. But more than anything else, it's the lack of a score, a lack of passion, a lack of flow; cold, analytical, sluggish. Maybe this film could have been great if Alfred Newman had been cut loose to do something creative. But this time out, the composer seems to be in a straightjacket, and I doubt it was his choice. Someone taped up Newman, I swear it.

What this film needs more than anything else is a score. A score to richly stir the emotions: paranoia, loathing, suspicion, determination, insinuation. Instead, we have only the persistent crackling of the optical sound.

The best thing about this motion picture may be the locations, especially the rounded penitentiary location, which is stunning.

-John ... Read more

Amazon.com

Like the finest of film scores with its fluid beauty and succession of intensely romantic tunes, Puccini's opera Madame Butterfly has a surprisingly cinematic feel. In 1995 director Frederic Mitterand exploited this quality of the story, exposing a young woman's disillusionment against a backdrop of cultural chasms. Shot on location, with Tunisia doubling convincingly as a turn-of-the-century Nagasaki, this Butterfly shines with fragile beauty. The house becomes a brilliantly used set, at once airy and full of the scent of flowers and at the same time a cage for the trapped woman. Archive footage of bygone Nagasaki is used skillfully to underline the distance between the 15-year-old bride and Pinkerton.

Purists may prefer a more traditionally robust, stage-bound Butterfly, but you'd be hard-pressed to find a more visually heartbreaking interpretation. Chinese soprano Ying Huang doesn't rock the rafters with her vocal power; hers is a tender, delicately observed performance. Tenor Richard Troxell's self-seeking Pinkerton is well sung. Overall, this is a haunting cinematic treatment of an enduringly popular opera. --Piers Ford ... Read more

Reviews (35)

Cheers for F. Mitterrand
When considering the characteristics of opera, it naturally follows that the genre would be difficult to film. Not so for Mitterrand with his Madame Butterfly; from casting to direction to filming, Mitterrand wins. The title role must do far more than "look Asian," she must also live the role...even more so when being filmed as "Butterfly." Ying Huang proves herself a sensitive and sensible actress as well as a singer with an expressive and powerful voice. Richard Troxell as "B. F. Pinkerton" shines in his role, allowing the callousness of his character clash with an accidental love. Troxell uses the flexibility of the film medium to act as many opera singers seem unable to do upon finding themselves on a stage. In fact, the power of this video lies in the fact that the singers realize that they have the opportunity to be better actors than they could be in a staged version of the same work. There are retakes, more natural positions, beautiful scenery, and an amazing acoustic, even when outdoors! All in all,it is a fine work by Frederic Mitterand, Huang, Troxell, Cowan ("Sharpless"), Liang ("Suzuki"), and the rest. None of the roles had less than an accomplished actor and singer; even the role of "Kate Pinkerton" played by Constance Hauman was rendered with a delicate hand aware of a conflicting position and an involuntary hostility. Enjoyable for the everyday opera viewer as a fresh, beautiful feast for the eye and ear, and a first-rate film for the opera newcomer.

Very Beautiful
A very lovely film. Ms. Ying Huang is a very touching Butterfly, and Troxell makes a great Pinkerton, he has just the right smile for this role. Magnificently filmed with some effects not possible on an operatic stage-like looking out onto a real seascape horizon when Butterfly awaits Pinkerton's return. Ying Huang's portrayal of Butterfly will break your heart-she captures Butterfly's sense of young innocence very well and does a very fine job acting out her hope and anguish. Finally, a Butterfly who looks almost young enough for the role she is portraying! Suzuki is also well portrayed here.

The Humming Chorus is set to early black and white footage of Japan to great effect. The subtitles are well done, and the drama is tastefully presented. I first learned about this opera when I was viewing a biographical video of Shoghi Effendi, and his wife recounted that he really enjoyed the opera Madame Butterfly. Then I listened to CD's and fell in love with Puccini operas and most other operas too, but no CD will equal this integrated audio AND visual presentation. I feel like this film gave me a better appreciation of those great arias and choruses. They take on a new meaning.

The operatic and cinematic elements were well integrated, and the cast was terrific. A truly magnificent opera, a great production, and an outstanding film. Very highly recommended! I hope more movies of such exceptional quality are produced from great operas.

Is Cio Cio San an indigenous character?
A friend of me, who is an expert antropologist, said that the similitudes between the japanese women and the Nahuatl women from Mexico are so evident, that he theorizes that they have the same origin. Both Nahuatl and Japanese languages sound very similar. But the amazing thing about this wonderful opera is that the loving behaviour of Cio Cio San a.k.a. Madama Butterfly and the love and shy glances to his beloved, are the same that the nahuatl women take to their husbands. Is a mistery, which makes more captivating, this absolutely wonderful movie. Huang is a so tender, yet powerful Butterfly that makes you smile, cry and reflect at the same time. She deserves an Academy award for this splendid performance. And the director: Wonder how he finds that absolute perfection in directing a chinese woman to perform a lovely japanese girl? The orchestra is wonderful too. Troxell makes an easy going Pinkerton sound perfect. It's an easy gospel, but full of deep perfections.

Puzzling choices
More and more directors are choosing to expose the musical fantasy that is opera to cinematic reality. In this Butterfly, that reality is compelling, except for some very puzzling and peculiar directorial choices. The most glaringly ridiculous of these is that Cio-Cio-San's uncle, the Bonze, an all too real character in the libretto, appears floating in the air. The grounded characters seem as perplexed by this as I was. Such silliness destroys the film's otherwise down-to-earth visual realism. BOOOOOOOOOOOOOOOOOOOOOOOOOOOO!

Fabulous... Captivating... Sensitive
Fabulous filmed rendition of the opera! Beautiful visuals! But, most of all, I'm thrilled to have discovered Ying Huang who's performance is beautiful, sensitive, and her voice gorgeous (delicate, sweet yet masterful without that "Southerland screech" that so many sopranos have. The first time I watched it, I did so for days! :-) ... Read more

Reviews (70)

Magical Irish Tale
The Secret of Roan Innish is a movie unlike any other I have seen. Truly enchanting, haunting, moving, and inspiring, I recommend this movie to anyone who has not lost their sense of childlike wonder, and who remembers fairy tales read on a rainy day.

Roan Innish means Seal Island in Celtic. The story is of a young, orphaned Irish girl determined to uncover her family's secret. Her brother has been missing, and is never mentioned by her traditional and loving grandparents, who are raising her. The intrepid girl uses her detective skills, perseverance, hard work, and all the resources at hand to uncover a mystery greater than she or her grandparents ever imagined.

This is a movie for adults more than children, as the heavy Irish brouge is a bit difficult to translate at first, and the beautiful filmography may seem slow-moving to children. Amazing acting will transport you to a place you have never been and will never forget.

Fiona solves the mystery of the island of Roan Inish
The family of young Fiona (Jeni Courtney) has been touched by tragedy. Her mother has died and no one wants to talk about when her baby brother Jimmy drifted off to sea in his cradle. Fiona is sent to live with her grandfather (Mick Lally) and grandmother (Eileen Colgan) on the coast across from the family's former home on the island of Roan Inish. Everyone from her grandfather to the people she meets in towns have stories to tell young Fiona, about Roan Inish and the selkies, "ceils" who assume human form and can be captured if you but get their skins away from them. Bit by bit Fiona puts the stories of her family and the local legends together until she and her cousin Eamon (Richard Sheridan) finally learn the secret of Roan Inish.

Director John Sayles and cinematographer Haskell Wexler have crafted a simple story, told in leisure about a young girl who believes in her heart long before she has evidence for her eyes. Besides any film that involves a young man having to be tied between two cows for warmth after the sea refuses to drown him is obviously a film worth seeing. Then there all those lilting Irish accents and their wonderful way of coming up with a phrase to describe each situation. Add to this the wonderful soundtrack of Irish music and the captivating mystery and I do not think you will have to worry that the relatively slow pace of the film will lose the interest of your children. They too will want to learn if their suspicions about the island's secret are correct. "The Secret of Roan Inish" is a delightful family film, of the sort we will all agree they simply do not make enough of any more.

Magic!
An absolutely beautiful story building on legends from the west coast and the islands. Captures the magic of the legends better than anything has since my storytimes with an old West Kerry grand uncle.
Beautifully acted by an excellent cast despite the distraction of Judi Courtney's northern accent when the rest of the family have southern accents.
The Selkie is well played by Susan Lynch who has been in many other films including Ned Devine

What a beautiful film
This film was so gorgeous...the scenery was breathtaking. Though I was a bit confused at times about the plot (now I understand it more), overall it was a spectacular piece of cinema. Lovely.

The Secret of Roan Inish
The movie made me want to GO to Ireland - to go to Inishmore (the island off the west coast).
It's a good movie - if someone is interested in Irish folklore, by all means get it!
Oh, I FINALLY did go to Ireland, and Inishmore a few weeks ago, and saw the seals playing on the beach! It's just as beautiful (and mysterious) as the movie! ... Read more

Amazon.com essential video

Tough stuff from director Fritz Lang(M), making his first American film with this 1936 story of an innocent man (Spencer Tracy) who escapes a lynch mob and then orchestrates his apparent murder at their hands. Tracy is superb, and the film is uncompromising, until studio interference takes some of the wind out of Lang's sails right at the end. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic.--Tom Keogh ... Read more

Reviews (12)

Lang's First American Film
An insightful study of mob rule, director Fritz Lang's "Fury" (1936) still packs a disturbing punch -- abetted by excellent performances from Spencer Tracy, Sylvia Sidney and Bruce Cabot. The closing shot was studio-imposed and unnecessary, but does not lessen the film's overall impact. "Fury" remains a powerful, thought-provoking drama. The DVD release includes an excellent commentary track from director Peter Bogdanovich.

We've Seen the Enemy And He is Us
What is amazing about Fritz Lang's "Fury" is it's depiction of middle America gone psychotic is it was distributed by MGM, the studio that advanced the Norman Rockwell idyll more than any other.This mirror of the darkest recesses of the American heart remains an obscurity, probably because we cannot admit to ourselves that when law and order break down we are capable of some of the most abhorent behavior.Obvious parallels can be made to what was occuring in Germany at the time of this film's release but our history suggests that, yes, it can happen here.There are many images that are seared in my consciousness from this film none more than that of one of the unruly lynchers munching on a hot dog as the jailhouse burns.Spencer Tracy is simply brilliant as the average Joe who, as a victim of circumstance, becomes the lightning rod for the mob's wrath.Sylvia Sidney contributes solid work as Joe's fiancee and the film's voice of reason.An underrated actress, Sidney also did a good turn in another classic film released in 1936, "Dead End".This film has to be commended for it's brute honesty, though, it took a foreigner to reveal some harsh truths about ourselves.

Smart 1930s Morality Tale from Fritz Lang with Spencer Tracy
"Fury" was legendary German director Fritz Lang's first American film. He spoke English, but not well enough at the time to write fluid dialogue, so Lang worked on the script with writer Bartlett Cormack, who did the actual writing. Lang and Cormack based this morality tale of mob psychology and revenge on a story outline by Norman Krasna entitled "Mob Rule", but they incorporated some elements of a real lynching case that had recently occurred in San Jose, California. Lang's intention was to give the film a realistic, documentary feel. "Fury" gives the impression of looking at the laws and customs of the United States through foreign eyes, which, of course, it is, but I don't know if Lang meant that to be so evident.

Joe Wilson (Spencer Tracy) is a man very much in love with his fiancée Katherine (Sylvia Sydney). The couple are eager to get married but don't yet have enough savings. Katherine takes a job in another city to earn more money, while Joe works hard in Chicago. After over a year of this arrangement, Joe has saved enough money to marry Katherine, and he sets out in his new car to join her. But he is intercepted by police en route and arrested on suspicion of being part of a kidnapping gang. He is held in a small town jail pending further investigation, but gossip spreads of the arrest, and an angry mob descends on the jail. When the mob is unable to break into the cells, they burn and dynamite the jail. Joe is thought to have died in the fire. But he escaped and is determined to avenge his attempted murder by seeing that the lynch mob is prosecuted for murder.

"Fury" isn't the least bit subtle in its message. It states its morals outright, but that doesn't undermine its power. The film is neatly divided into 2 parts: Part one concerns the Fury of the Mob, and part two is about Joe's Fury. The fury of the mob is transferred to its victim, and, although Joe's anger is more justified, "Fury" asserts that it is just as corrosive. At one point, the town barber delivers a monologue on violent impulse. The entertainment value that the public finds in both the lynching and subsequent trial is emphasized. And the state's Governor is reluctant to answer the Sheriff's request for National Guardsmen to protect the jail on account of election politics. The film is generally complimentary of the justice system, but scathingly critical of "mob justice" and vigilantism. "Fury" wasn't a failure when it was released, but neither was it a big success. Looking at it now, I wonder if that may have been because the film is critical of its audience. That's always a recipe for dismal box office. In any case, "Fury" is a smart "social conscience" film of the 1930s that doesn't align itself with any political party or group.

The DVD (Warner Brothers 2005 release): The picture and sound quality are good, but I don't think this is a restored print due to occasional small white specks. The flaws would hardly be noticeable unless you were looking for them, though. There is a theatrical trailer and an audio commentary by Peter Bogdanovich and director Fritz Lang. Yes, Fritz Lang! The commentary alternates between Peter Bogdanovich discussing Lang and the film in the present day and an interview with Fritz Lang that Bogdanovich did in mid-1965. Lang talks about his career, writing and filming "Fury", and differences between American and German filmmaking. Lang's commentary is quite a treat and very interesting. Bogdanovich is also interesting, as he fills in some of the gaps in Lang's comments. The audio commentary is definitely worth a listen. Subtitles for the film are available in English, Spanish, and French.

The scary thing...
is that this film is, with just a little tweaking, just as applicable today as it was then. Mob mentality is mob mentality, even if it's not literal. This is easily one of the best films to illustrate just how imbecilic and lemminglike mobs can be, and how self-righteousness can supposedly cover up for a multitude of sins. Tracy is superb, as are many of the characters, and Lang's direction is near flawless. The only things that keep this from being a 5-star film: The ending, which was forced on lang by the studio, and the fact that some of the acting, including Sydney in parts, is too over the top. Still, one worth watching and owning.

Brutal film !
The inner demons hidden in a crowd will explode with all the expected fury around and innocent man acussed unfairly .

The sociological study of the human being is exposed in all its ugly nakeness .

So after you watch this sinister nightmare brilliantly played by Spencer Tracy, please remind that famous reflection of Ibsen taken from An enemy of the people : ^The majority never has the reason^ .

This movie was the first one made for Lang when he came to North America after leaving Germany .

A major cult movie ! ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ... Read more

Amazon.com

Only the mind of Guy Maddin could conjure up The Saddest Music in the World, in which a double-amputee beer baroness invites musicians of all nations to compete in a grand music competition... in Winnipeg. The only thing zanier than the plot is Maddin's style, which makes the film look like a lost artifact from the Cabinet of Dr. Caligari era, a jumble of Expressionist compositions and gauzy focus. It helps if you're already a fan of the director of Careful and Dracula: Pages from a Virgin's Diary, for this is not Maddin's most cohesive picture. Kids in the Hall stalwart Mark McKinney is a little too arch as a sharpie returning to Manitoba, but Isabella Rossellini is delicious as the "Beer Queen of the Prairie." By the time she straps on a pair of hollow glass legs filled with bubbly lager, you're either delighted by this movie or you've given up. --Robert Horton ... Read more

Amazon.com

Dinner Rush is gourmet cinema, served with a generous helping of culinary panache. After countless commercials, music videos (including Michael Jackson's "Beat It"), and a few obscure features, director and restaurateur Bob Giraldi casts his own New York eatery as a TriBeCa hot spot where the owner (Danny Aiello) presides over a busy night of fine dining and mob entanglements. He's been a bookmaker for 25 years but he's going legit; his son (Edoardo Ballerini) is a nuovo cuisine genius, eager to inherit the business; the sous-chef (Kirk Acevedo) is deeply in debt to mafia thugs; an art-dealer snob (Mark Margolis) is antagonizing his waitress (Summer Phoenix); a charming stranger (John Corbett) harbors a climactic surprise; and a powerful food critic (Sandra Bernhard) is ready to pounce on any wrong move. In perfect control of this bustling environment, Giraldi directs like a great chef cooks: with Altmanesque delicacy, confident that every ingredient is vital to the success of his creation. It's utterly delicious. --Jeff Shannon ... Read more

Reviews (25)

I loved this movie
As a person who loves food, restaurants in Manhattan and Danny Aielleo, I think I loved this movie before I even saw it. But now that I've seen it I can't stop recommending it to every body I know. I loved this movie, the writing, performances, characters and of course, the wonderful recipes created by the kitchen staff.

One can't help but realize how food has changed in the last 20 odd years and perhaps nowhere as much as the New York restaurant scene. Where once diners were afforded large home made food, today we are afforded smaller portions wonderfully presented with moutwatering tastes. We eat from a myriad of spices, tastes and countries. Everything is prepared with thought and passion and presentation is the key word.

And it is Dinner Rush which presents to its viewers the old world of restaurants with mom and pop cooking in the back to today's world of tempermental chefs, sous chefs, matire d's, waiting in line and begging for a reservation. Dining today has become a palate of wonderful foods and memorable experiences. As one of the characters played by John Corbett says, "When did eating become a Broadway production?"

But lest you think that Dinner Rush is only set in a restaurant and kitchen, which it is, the restaurant is so much more and sets the stage for a microcosm of all sorts of people living their lives with all sorts of challenges. From Danny Aiello, the original owner of this restaurant (owned by the director Bob Giraldi) who wonders what happened to spaghetti and meatballs on the menu, to his son, the highly educated chef with his own ideas to the sous chef addicted to betting and finally to the two underworld gentlemen who occupy seats during one night, this movie is a banquet for the eyes ear and nose. It is as if one is tasting the food through the words of all of these fine actors. Not since Big Night with Stanley Tucci, have I enjoyed a movie about food and restaurants as much as I did the night I saw Dinner Rush.

And now you'll have to excuse me as I head out to a favorite Italtian restaurant. Just writing this review has made me hungry. Come to think of it, perhaps I'll see this movie again tonight I enjoyed it so much.

An order of Sausage and Peppers......per favore
I've spent the bulk of my adult life in the food business as a student in cooking school, a chef, in restaurant operations and in food procurement. So I can attest to the accuracy of the crazy, loud cacaphonous milieu that serves, not just as a back drop, but as an active character in Bob Giraldi's "Dinner Rush." Giraldi himself is the owner of the restaurant where this movie was filmed. So he knows of what he speaks. The story itself involves bookmaking, addiction to gambling, murder, art, old style cooking versus nouvelle, the chef as star and old courtly values vs new cavalier ones to name a few things. Danny Aiello is the owner, Louis Cropa his son the chef, Udo (Edoardo Ballerino) at a bustling, newly busy restaurant in Tribeca. Udo has recently "saved" the restaurant from extinction and red sauce and meatballs with his new ideas and recipes...or has he? Aiello, with his raspy, quiet voice and his total command of the screen acts as the voice of reason and experience and it is obvious he longs for the old ways and the old times when his wife ran the restaurant and where he good get a plate of sausage and peppers. Stylistically, "Dinner Rush" is more like "The Godfather" than "Casino," in that, not only was the film shot in beautiful earth tones in middle light (as was "The Godfather") but, the values put forth are more like those of the 40's and 50's than those of the the year 2001. Giraldi seems to be saying: let's return to a time when life was more clear-cut and simple and Italian food meant red gravy and meatballs and you could tell the bad guys by the shoulder holsters,stick pins and two-toned spectator shoes. Danny Aiello dominates the movie but Edoardo Ballerini, Vivian Wu (Nicole) and Kirk Acevedo (Duncan....late of HBO's "Oz") definitely make good impressions. "Dinner Rush" is a call for reason, re-evaluation and a reinstatement of old ways and values....and hey this makes more sense to me every day.

Very Entertaining
The premise of this movie is rather simple - father/restaurant-owner/bookie wants to get out of the bookie business; son/chef who wants to take over the restaurant as part of growing up; young family friend in trouble with bookies.. BUT.. don't let that dissuade you from watching.

Except for the opening scene, the events of the movie all take place during one night and largely in one place when the conflicts built into the premise converge in the restaurant.

The cinematography is outstanding - the ballet of activity in the kitchen is wonderfully filmed

The acting is all top-notch. Even the minor characters (waiters, cooks, guests) deliver their roles well. The only drawback here is Sandra Bernhard as a food writer - she does schtick rather than acting.

The plot is simple and fairly predictable, but so was Casablanca which in some ways this movie's structure resembles.

Watch and enjoy.

Warning - eat a good meal first; the dinner scenes will make you hungry.

Deliciously Entertaining
The characters are what drive this movie and make it fun to watch. Though I realize that last lobster dish he created for the stuck-up food critic was meant to be ridiculous, I still found myself drooling all over the couch. Danny Aiello is perfect as the low-key restauraunt owner who is not impressed with his star chef son's cuisine.
The events are realistic, and I loved the pretentious, condesending "Fitzgerald" jerk who just rips his waitress to shreds with his lowbrow, rude remarks. The gay maitere D was hilarious as was the ... bartender who challenges his customers to trivia and rakes in the dough. My only semi-complaint was the ending which I found to be rather predictable and unbelievable, saw it coming a mile away.
Still, this is a great indy film, and a must-see for anyone who works or has worked in a trendy restaurant.

Buon Appetite!!!
It's Sat. morning and I just stumbled onto this awesome movie! What more could you want besides Pancakes and sausage served up with real maple syrup, black coffee. After watching Dinner Rush, I am ready for Lunch!!! Its a great cast acting in a very well written script! Danny Aiello's portrayal of "ol' Tony" in The Professional could be a side script to Dinner Rush. Old Dog on the block that will not be pushed around. Its every Italian restaurant in NYC with that one table that the owner reserves for himself. From the front of the house to back of the house, the restaurant is real!!! The conversations could take place anywhere fine dining is hustled. The stress and pressure is a big part of the food service industry and you can see the realism in this movie. When you see that server being tortured by a overly demanding customer, understand that they work hard for every penny!!! Food, food, and more food!!! As movies of food go this one should come with a recipe book. Finally, I suggest no dieters watch this movie, you can gain weight from just watching it!!! ... Read more

Reviews (343)

8-Mile Review
The acting debut of Eminem in "8-Mile" makes for an excellent breakthrough for the popular rap star. Em (real name: Marshall Mathers) is Jimmy Smith (a.k.a. "Rabbit"), a working-class white kid from the racially-divided lines of inner Detriot.

Smith lives in a trailer park with his alcoholic mom and her much younger boyfriend but spends his days, working in a garage, and looks to make ends meet as a rapper. He has two ways of doing this: One, through battle-rapping at a club spot hosted by his best friend, Future, and the other is relying on help from a so-called talent agent.

While this movie is highly entertaining upon first view, it definetly suffers from some horrible writing and real lackluster characters (other than its lead). For some reason, all of Rabbit's buddies have nothing better to do than wait around for him to decide what he wants. It seems rather unlikely that in a movie set in 1995 when white rappers were viewed as jokes, that a handful of Smith's black followers would stand around with nothing better to do than wait on their "white savior". His black militant friend takes the cake as far as "filler" characters go. He seems to just take up space as he waits to throw out a cheesy sterotypical line about being held down. He goes nowhere with these opinions and just seems to stand around, playing the background.

Eminem, himself, is great as Smith but he seems too much like a good character in a movie filled with bad cartoon characters. He's a deep character stuck in SAVE THE LAST DANCE. That's right. This script makes some of the same mistakes as "Last Dance" in its belief that urban kids stand around and talk about "hip-hop lingo" like they are explaining it to a documentarian. To be fair, it's not quite as bad as "Last Dance" but it does get really annoying. The story involving Smith and his mother makes for some good moments but it still doesn't quite make up for such awful characters.

This is actually a real good movie at times but again, the script could certainly have stood to go through a few more re-writes. And while I'm talking, this DVD could have used a lot more special features such as some videos, deleted scenes, and an audio commentary. Don't fear though I'm sure that there will be another release down the road.

Screw You Carl Lentner and Kosmo
Kosmo, you're a racist who can't stand to see a white guy succeed in black entertainment. STFU! And Carl, you're a stuck up a$$hole, who prolly gets ur a$$ kicked at ur school, punk.

8 Mile is a classic HipHop film. All the stars from Eminem to Mekhi to Basinger to Xzibit's cameo to great. This is a modern day rise to the top film. I'm just pissed that you haters can't see the greatness of this film.

By the way, Belly was tight but it wasn't as good(as far as acting) as 8 Mile.

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EM COMES TO SAVE THE IGNORANT BLACK FOLKS.......
The people who made this movie a success are the same people that buy Em's records and didn't even look at hip-hop as being a legitimate art form till a blonde hair, blue eyed non-threatening white man did it.

Em tramps around with all the black folks in the city as he lives the life of the "oppressed white rapper." the violent black men throw the word "niggah" around, calling each other "faggots" (funny how he uses that word but avoids the N word when he has used that word several times in a song he wrote in 1992), fight each other, showing their stereotypical savagery. what a sad story.... he experiences "racism" and his goals is to triumph over the Negroes and of course he does.

there is a bizarre scene with Kim Basinger's character watching a movie called Imitation of Life, which is classic movie about a multiracial child, I still cant understand the point of this ... there are some implicit racial overtones in this movie that have yet to be talked about.

A side from this vapid storyline the acting is weak except for maybe Kim Basinger... Brittany Murphy is completely unbelievable that she is "down" with the hip-hop crowd. It is embarrassing to see her dance sexy to the hip hop music, i doubt Brittany has ever been in 99% black club in her life.... Em's acting works like Madonna's acting did in Desperately Seeking Susan - it isn't that hard to play yourself .. or is it?

What ashame a movie like this blows up but hip-hop movies like Belly, the Streetz Is Watching or even the legendary Krush Groove cant even touch its success.

I WANT MY MONEY BACK!!!
First of all, I can't stand M&M. But I was foolish and took someone's advice, "you don't have to like m&m to like this," and "m&m is actually a good actor." I gave m&m a chance, and he lost. About four minutes into the rap fight or rhyme feud or whatever the heck they call their little battles, I had to call it quits. Didn't we learn OVER ten years ago that unless you are clowns and intend to look silly (Beastie Boys) white people just look like TOTAL morons rapping. The Proof--Vanilla Ice---looked like a jacka$$--3rd Bass---jacka$$es--THAT'S IT--CASE CLOSED

Eminem's 8 mile...
IS THE BEST MOVIE FROM EMINEM! ALL I SAY IS BUY IT, ITS WORTH YOUR MONEY! I BOUGHT MINE FOR $5.96 AT WALMART! BUY YOUR COPY TODAY! ... Read more

Amazon.com essential video

A superstar and cultural icon in his native Japan, Takeshi "Beat" Kitano has conquered more than one medium, but he is best known in the West for his remarkable films. Among those, Fireworks is the clear favorite, a taut and enigmatic noir that fluctuates between perfect stillness and savage eruptions of violence.

Kitano plays a cop named Nishi, a determinedly impassive man whose face occasionally ripples with an involuntary tic, hinting at the explosive but contained forces within. Nishi's wife (Kayato Kishimoto) is dying of leukemia, a disease that already killed their child, and he cares for her with a shattering tenderness. While on a stakeout, Nishi takes a break to check in on her, and while he's gone his partner is crippled and another officer is killed. With death hovering at home and a score to settle outside, Kitano's hero sets off on an isolated course to seek justice.

Few filmmakers have understood as well as Kitano has here the irresistible draw of a thriller told with a moody calmness, with an eye toward graceful construction and rigorous composition. The careful, unhurried dispensing of story information also helps keep the focus on Nishi's warrior soul, on his mysterious capacity for the extremes of gentleness and brutality. The story here is the way one man can be the sum of such bold contradictions, and a great story it is. --Tom Keogh ... Read more

Reviews (52)

Outstanding movie, but this DVD is CUT!!!!!
Fireworks (released internationally as "Hana-Bi") was the seventh film directed by Takeshi Kitano, Japanese comedian, novelist, essayist, short story writer, poet, critic, musician, cartoonist, painter and filmaker.

Kitano (always credited as "Beat" Takeshi as an actor) wrote the screenplay and stars as Nishi, a tough cop struggling to cope with the recent death of his daughter while caring for his leukemia stricken wife. One day, at his partner's urging, he takes a break from a stakeout to visit his wife at the nearby hospital where she's being treated. In his absence, things go terribly wrong; his partner is left crippled and another officer is killed.

Kitano plays Nishi like a man holding the weight of the world on his shoulders, struggling to maintain composure in the wake of a tragedy that has shattered the lives of people close to him. The quiet dignity with which he carries himself is compromised only by an occasional facial tic, which we see while he listens to his ex-partner reveal that his family abandoned him after the shooting and later when the dead officer's widow pours her heart to him about the emotional and financial difficulties of raising her daughter alone.

Hoping to make his wife's final days more pleasant, he borrows money from a local Yakuza, but when he falls behind on the interest payments, he becomes the subject of harrassment and threats. Determined to correct everything that's gone wrong, Nishi decides to rob a bank to pay back the Yakuza and take care of his wife, ex-partner and the widow of the slain officer. The situation escalates out of control, resulting in an understated, but powerful climax.

This film won the Golden Lion award for Best Picture at the 1997 Venice International Film Festival and propelled Kitano to the forefront of Japanese cinema. It's considered by many critics and fans to be Kitano's best movie, though I consider his 2002 release "Dolls" (unavailable on U.S. DVD) to be a strong contender for that distinction.

Now, the problem with this DVD. The transfer itself is fine. The film is presented in its original aspect ratio of 1.85:1 with clear, well translated subtitles and some nice features. However, the disc is inexplicably missing aproximately 4 minutes of footage. Why a company like New Yorker Films, which specializes in art house releases, would release a truncated version of such a seminal work, is anyone's guess, but American companies have not been kind to Kitano's works. Any DVD released stateside of his films has a much better version overseas. I strongly urge anyone interested in this film to look for the uncut Korean special edition DVD (under the original title "Hana-Bi"), which is NTSC and region free (despite being labled Region 3 on the box)), so it will play on any North American DVD player. It has excellent subtitles and even costs a few dollars less than the incomplete American version.

FIRST-CLASS DVD FOR A FIRST-CLASS DIRECTOR
Winner of the Golden Lion of the 1997 Venice Film Festival, HANA-BI aka FIREWORKS is the movie that revealed japanese director Takeshi "Beat" Kitano to the international movie audience. Only a few curious movie lovers knew then Takeshi Kitano through SONATINE, A SCENE AT THE SEA or BOILING POINT.

Firstly, I would like to point out the superb quality of this DVD presentation of New Yorker Films. Theatrical trailers (american and japanese), filmographies of the main actors, an excellent featurette presenting Kitano at work during FIREWORKS shooting, a gallery of Kitano's paintings and, last but not least, interviews of the director discreetly hidden in the scene access department of the DVD. Thank you for these bonus features that allow us to know a little better this very interesting director.

Like in Kitano's precedent movies, FIREWORKS describes the consequences of a crucial decision taken by the main character of the movie. Takeshi "Nishi" Kitano has had a bad year : his wife is slowly dying at the local hospital and his best friend is confined in a wheelchair, shot while Nishi was visiting his wife. Nishi robs a bank and decides to offer to his wife a trip into the japanese countryside before facing the consequences of his act.

A good introduction into the imaginary world of this first-class director.

Haiku + .45 Semi Automatic = Hana Bi
Simply stated, the most important film of the 1990's; probably of the last twenty years. The film is in its entirety a meditative experience, combining a slow and calm build-up of chi or prana-force-energy with explosive violence. Beat Takeshi's violence, however, is not gratuitous, but righteous anger in action. As a schizoid world falls down around him, Takeshi takes the role of Samurai -- indeed, "such a man was already Samurai." This is a film of mystery, of soft color and light ocean breezes from the South China Sea, and of poetry. If the warrior immortalized in Book of Five Rings or Gitopanishad has an equivalent in modern times, surely it would be in this strange character, this Japanese-style Colonel Kurtz in Hana-Bi. But then, you must watch this film for yourself. You will not be the same person when it is over.

Fire and Flower
"Fireworks" is a direct translation of the Japanese title "Hanabi," which combines the two words "fire" and "flower." The title was chosen due to the juxtaposition of the calm beauty of a flower, and the burning intensity of fire, which perfectly captures the feeling of this Beat Takeshi masterpiece.

I was expecting quite a different film, one more packed with violence and action, something more along the lines of a John Woo/Chow Yun Fat creation. Instead, this is a calm, understated and emotional film peppered with miniature explosions like...fireworks. The pacing of the film is typical of Japanese storytelling, patient and quiet allowing enough time for a story to build fully and characters to live and die on the screen.

Takeshi gives such a complete performance, saying everything with a glance or a movement. Dialog is almost unnecessary, although when it does come it punctuates the scene fluently. He is equal parts warrior and lover, tender and hard. Kayoko Kishimoto delivers an equally wonderful performance as Miyuki, Nishi's wife, dying of leukemia yet able to charm with a smile.

Visually, the movie is stunning, full of creative scenes and transitions. Takeshi knows when to have the action appear off-camera, and when to focus. The use of nature as an element in the film is beautiful, as the story moves from snow to sea to mountain.

Takeshi "Beat" Kitano is one of Japan's greatest modern filmmakers, and "Fireworks" is one of his greatest film. A stunning film.

A beautiful Aria
From "Beat" Takeshi Kitano, Fireworks plays like a beautiful aria. It's the story of a man who has suffered tremendous tragedy in his life, and makes one final attempt to make peace with himself, the world, and his wife who is dying of Cancer. The amazing music score by Joe Hisaishi (Spirited Away, Princess Mononoke) adds massive depth to the already intense images revealed. Quite possibly Takeshi Kitano's masterpiece it also includes beautiful montages of Kitano's own paintings. The film was made after Kitano had a serious motorcycle accident and deals with his feelings over neglecting his family over the years, and the power of redemption. A must have for all those who appreciate Foreign Films, and especially those who appreciate Japanese Film. ... Read more

Reviews (27)

Chilling
Critics have tended to give this film the thumbs down finding it a bit to commercial. The director Zhang Yimou is better known for dramatic social realist type films, such as raise the Red Lantern.

However Shaghai tried gets you in from the moment it starts. The opening scene shows Gong Li the star belting out a number in a way that exudes sex and style. The film is seen through the eyes of a young boy who is sent by his family to work with a criminal gang. His first job is to serve the Gong Li character.

An attempt is made on the life of the mob boss and the characters have to move to a small island to set a trap for those who pursue them. A trap which works all too well.

The film is an extremely effective gangster film. Probably it is effective because such films set in a western context have explored every known configuration of cliches so that it is necessary to move to another culture to make the genre work. However work it does, the film is chilling and the final resolution is unexpected.

Part of the attraction of the film apart from the ability of the director to create atmosphere is the performance of Gong Li who is as ever astounding.

A DVD zone GONG LI
I'm not so sure that SHANGHAI TRIAD is Zhang Yimou's best movie, I personally prefer the drama HAPPY TIMES. But, what is certain, is that Gong Li gave in this movie one of her most luminous interpretations. The musical score and the singing acts of SHANGHAI TRIAD are a sufficient reason to keep the movie in one's library.

Beware, SHANGHAI TRIAD is not your regular action film. The scenes that would have been the highlight of an european or an american movie such as the attack of the Tang headquarter or the siege of the island where the boss of the Tang family have retired, are deliberately absent of the movie or just evoked by shadows.

So let's enjoy the always interesting descriptions of the Chinese psychology that reach their highest point in the last scenes of SHANGHAI TRIAD when the gang boss Tang rubs out for a while his eternal smile and condemns the traitors to an inhuman death. Absolutely chilling since the execution of the sentence, that concerns two of the main characters of the film, will not be shown to us.

I LIKE THIS MOVIE
OH THE MOVIE IS VERY GOOD,YOU NEVER SEEN,IT IS BETTER THEN HAPPY TOGETHER.YOU HAVE TO SEE.

Great
I'm not much for the style of Chinese movies. Many of them are just overly dramatized to the point where it's somewhat funny. Nevertheless, I do check on IMDB for the highest rated ones and watch them in hopes of finding a gem. This one one of those gems.

"You will die as white as a lily."
The film, "Shanghai Triad" from Chinese director, Yimou Zhang, is a week in the life of 14 year-old Shuisheng Tang--a country boy who is sent from the provinces to live in decadent Shanghai in the 30s as a servant to a glamourous nightclub singer named Bijou (Li Gong). Bijou is the beautiful, spoiled, petulant, bored mistress of "The Boss"--arguably the most powerful man in Shanghai and head of the Tang family triad. Bijou, who is prone to unpredictable temper tantrums, isn't thrilled to have yet another member of the Tang family in her presence, and so Shuisheng becomes the recipient of Bijou's sporadic cruelty and spiteful mirth.

Shuisheng is told by his Uncle Lui that the Boss surrounds himself with Tang family members, and serving "Miss" is Shuisheng's chance to be "somebody" in Shanghai. Uncle Liu instructs Shuisheng--and tells him basically--that a servant is to be unobtrusive, subservient and the recipient of whatever treatment is doled out.

It's clear that Shuisheng has landed in the middle of a very bad situation, and he is both fascinated and terrified by the exquisitely beautiful Bijou. Although Shuisheng actually has very few lines in this film, his feelings are mirrored in his eyes. As a servant, he can't express his feelings or even show them, but his eyes never lie. His situation is complicated by his Uncle's obsequience that covers only contempt for Bijou. Shuisheng isn't really capable of the sort of duplicity his Uncle has mastered.

While Shuisheng's is fascinated with Bijou, he isn't mature enough to analyze her behaviour--that's for the viewer to do. She is obviously a bitterly unhappy woman--nothing more or less than a exotic pet kept in a gilded cage by a man old enough to be her grandfather. Her unhappiness shows in her random cruelties, and in the humilation she suffers from being Tang's mistress. The Boss may have installed her in a beautiful home, but she's there to serve--only as long as the Boss wills it, and she may be a nightclub singer, but her songs are picked for her, and the Boss troops his friends to her performances so they can envy him. As the precariousness of Bijou's situation becomes clearer, she becomes a more sympathetic character.

"Shanghai Triad" is not widely accepted as Yimou Zhang's best film (with Li Gong), and indeed it is not an easy thing for me to select an Zhang/Gong collaboration as my absolute favorite--"Ju-Dou," "Raise the Red Lantern," "Red Sorghum"--other Zhang films which star Li Gong--are all perfect, unforgettable films--no argument there. However, of them all, "Shanghai Triad" has a special appeal for me. It is the character of Bijou and the relationship she has with Shuisheng that makes "Shanghai Triad" my favourite Yimou Zhang film. Critics blasted "Shanghai Triad" for containing too many scenes with Li Gong singing. I thought the nightclub scenes were integral to the story, and I didn't consider this overdone. Seeing the beautiful Li Gong dressed up in rather ridiculous outfits singing rather pathetic little songs that pleased the Boss served to underscore her position as the 'pet'--she performed only to please, and amuse, and then her use was ended. There is a sort of inevitability to this film, and the sense of the inescapable and hopelessness of one's fate looms throughout the film. Visually, the film was stunning. Some of the photography--especially in the island scenes--were some of the best I've ever seen--displacedhuman. ... Read more

Description

Filled with topflight performances and unforgettable music, this entertaining and critically acclaimed story was cheered by audiences everywhere! When Harry, a struggling but highly imaginative funnyman, forms a singing group with an unusual group of friends, "The Harmonists" go on to become an overnight sensation in prewar Germany. But as their wave of success inevitably collides with the nation's changing political tide, the group's members are forced to face unprecedented challenges that will try their wills and test their loyalty!An award winner at several prestigious film festivals -- THE HARMONISTS is another outstanding motion picture you don't want to miss! ... Read more

Reviews (14)

A Fantastic Film on Many Levels
The Harmonists is a movie about the real life singing group which rose to fame during World War II. The group was torn apart by the Nazis and ended their brilliant career abruptly.

The movie does a great job of showing how the six men had very different personalities from each other but blended together to create incredible music. There was love and bitterness, friendship and joy. The group focusses on singing for their audience, but in the meantime the Nazi power grows.

There are three Jewish men in the group, and each one looks at his faith differently. There are also Jewish women involved with the men, and each situation causes friction and difficulty. The group gets more and more pressure to abandon its Jewish members.

The group does visit New York, where all but one member want to stay. Because of that one member, though, the group returns to Germany. Shortly after, they are banned from singing and the three Jewish members leave Germany permanently.

The actual group, the Comedian Harmonists, are still considered to be one of the greatest groups in Europe and their records are treasured. If you haven't heard of this group before, be sure to watch the DVD! The musical performances are a real treat and the story is quite moving.

The View from Germany
This is an excellent movie, a knockout in several ways. It tells the true story of a popular German singing group in the 30's called the Comedian Harmonists. Unfortunately the group had several Jewish members and not even their huge popularity could save them from official sanctions as Hitler's thugs came to power. Not only is The Harmonists musically and historically impressive, it's also interesting because it's the first German production I have ever seen that deals with pre-WWII Nazi bigotry. It's got some aspects of Cabaret in that respect, but this is a real story and all the more gripping for it. The acting is first rate, the writing is superb. I watched it a second time immediately.

Great music threaded into the story line.
The time and place is Germany as Hitler is coming to power. The story centers on the genesis of the Comedian Harmonists, a group of five singers and the piano player who accompanies them. We can't be sure how much of the story has much truth value, but we do know that the Harmonists were a real group and their music was much appreciated, and remains so even today. They are called "comedian" because of their lighthearted and humorous approach to the music they sing.

The founder of the group is a jew, Harry Frommermann. He is a talented singer/arranger and his vision is to bring together an exceptional group of men to sing "jazzed up" and highly stylized versions of popular songs. Harry is a perfectionist and the first third of the film shows him first cajoling and then badgering his singers to develop a musically unique and visually entertaining style. He succeeds beyond even his ambitious dreams. Soon the Comedian Harmonists are a feature act in demand not only in Germany, but internationally.

Unfortunatley for the Harmonists, Hitler comes to power in 1933, just as the group is headed for true stardom. Jews in Germany are beginning to feel the impact of the racial hatred that will end in the holocaust. Of the six members of the Harmonists, three are jews and as the story progresses, first restrictions and then cancellations of their concerts prevent the group from finding an audience in Germany for their work. They head to New York and find success there. Harry would like to remain in America, but the rest of the band still believes there is a chance for some success in Germany, so they head home again.

The Harmonists' error in judgment is typical of the mistake of many jews in Germany who thought they only needed to patiently wait for reason to return to their country. At the end of the film we see the Harmonists on stage in Munich performing to an audience that knows that something very special is being lost to them. The Harmonists disband and the jewish members escape to freedom. The group left in Germany tries to reconstitute the band, as does the group that leaves, but they do not experience the success of the original members.

If it were not for the music, which is truly first-rate, this story would be interesting, but not worth four stars. Because the music is so much a part of the film, those viewers who enjoy vocal singing at its very best are sure to enjoy this unusual film.

Harmony, Religion, Fame, Fortune & Prostitues
The true story of one of the greatest singing groups ever to hit the scene during the World Depression Era is effective in showing Berlin during emminent Nazi take-over, but seems to focus mainly on the issue of religion. Other than debating who's Jewish and who isn't, there is a preoccupation with the services of prostitutes, and marrying the same once successful.

The group member with the initial idea to "do something" is shown eating bird seed, implying he can not even afford groceries. Once gathered, the ensemble reheares for months without pay, for the sheer chance at eventual success. Of course they do make it big; too big for the liking of certain political party sympathisers.

For fans of the original music (including the FDR Presidential Campaign song "Happy Days Are Here Again") this film delivers. Many of the legendary tunes are worked into the plot. The "naughty" suggestions in "Veronika, der Lenz ist da" are accepted by even respectable upper class theater guests, paving the way for recording contracts and world stardom of the newly discovered "Comedian Harmonists".

This German/Austrian co-production filmed in German has high production values. The setting reminds of "Cabaret", however the story (although based on true events) is rather thin. The overuse of some of the above mentioned situations becomes unnecessary and boring. As a viewer with a background extremely partial to this story I looked for detail and could see several obvious embellishments for the sake of drama. There must have been more than wine, women and song to tell about. The final minutes somewhat redeem the earlier shortcomings, delivering a tear-jerking love story along with sad good-byes amidst still-cheering audiences.****

Brilliant, gripping, and based on a true story!
I was unaware that this was based on a true story until the very end of the film, when photographs of the original Comedian Harmonists were shown. The story line is so gripping, it almost seems too contrived to be true. And, given the immense talent and popularity of the group (in its heydey), I was surprised that I had never heard of them. The story is about a group of six musicians, three of whom are Jewish, who rise to fame in Germany in 1930s. Tension grows within the group as the Nazis become increasingly powerful in Germany. After the group performs aboard the USS Saratoga in New York harbor, there is some question about whether they will return to Nazi Germany or stay in the US. The group plays its final concert to a sold-out crowd shortly after the New York trip. The movie will leave you wanting to know much more about its members, particularly Mr. Frommerman, and its music. As an added bonus, the five-part harmonies are FANTASTIC. This is one of the most gripping shows I've seen in several months, it came as a complete surprise. ... Read more

Description

The history of black women in America: having emigrated on a purely involuntary basis, they became slaves to white America and nurturers to white America's offspring. They were rewarded by being the last Americans given the right to vote. This explosive, vivid "choreopoem" illuminates the story of black women in America as they celebrate in song, poetry and dance their strength, beauty and enormous capacity for love. The seven women comprising the cast, including author Ntozake Shange, share with the viewer their exuberance for life and their ability to begin again, no matter how ridiculous the odds. "A play that should be seen, savored and treasured." --The New York Times. With Alfre Woodard, Ntozake Shange, and Lynn Whitfield. ... Read more

Reviews (206)

Phenomenal!
I watched Monster without any expectations, save knowing that it was a movie about two women. At the end of the screening, i was totally blown away. One, Charlize Theron gives a spectacular performance as 'serial killer' Aileen Wuornos. Her facial expressions and bodily movements strongly resemble that of the actual person (based on what i read). Secondly, the 'human' aspect of Aileen was brought out in the film, and despite her brutal killings, one can symphatise with aspects of her life which brought her to this point of no return when she started killing her johns. Thirdly, although Monster is primarily about Aileen the killer, yet the viewer is treated to a love story between Aileen and her lesbian lover. This is in many aspects, the driving force of the film and which makes the film memorable. Some prison psychologists had diagnosed Aileen as having Borderline personality disorder, which explains her behaviour of wanting to keep Selby Wall, her girlfriend (in real life, the girl's name is Tyria Moore) at all costs, despite the fact that Selby was at times a selfish, immature person who ultimately betrayed Aileen. The final scene of the 'confession' phone call (which basically nailed it for Aileen) is heartbreaking. Aileen basically took the fall for everything and absolved Selby of any blame. Even though the audience may sense a taste of Hollywood drama here, one must remember that in real life, Aileen did take the blame for everything, and even went to the extent of sending Tyria money while she was on death row. Perhaps this is a glimpse into a rare aspect of her life (which traditional documentaries on her never cover), which shows us that at the end of the day, she is a human being like the rest of us and despite her heinous crimes, she too longed to be loved and feel love. The betrayal scene will stick in my mind for a long time to come. I welcome emails on this film as i am interested to know more about the film as well as Aileen and her lover.

Such a Beautiful and Talented Monster
I don't think the Academy Awards people have had any trouble in choosing the winner for the best actress in a leading role, nor I think they took too much time to arrive at their decision,despite the other wonderful performances of the other nominees.
Anyone who watches Monster, and the mind blowing performance that is so gritty, real and totally involved and involving would not flinch for a second in presenting Charlize Theron with a truly deserved award!
The story itself, a biopic of infamous serial killer Aileen Wuornos, has been filmed before,(I don't think such a 'meaty' subject matter for a movie would had to wait till now to be filmed),but there is a difference..
For one, all credit should go to writer/director Patty Jenkins for her totally sympathetic and unsentimental treatment of the Wuornos story.She was more than capable of handling the complexity of emotions, with very visual as well as character based approach.
Although the story is told largely from Wuornos's point of view, the success that Jenkins manages to achieve is to win the viewer's sympathy for both killer and victims: there are no real monsters in Wuornos's story..just a very tragic life, a woman who has been abused for so long by family and 'customers' and neglected by society at large when she tried to 'go straight', pushing her back into the ending that she could not avoid.
And while the loss of lives of the innocent men she killed was totally inexcusable, the feeling I got from the film was that Aileen Wuornos was also dead long before she was executed.
A very powerful scene sees Wuornos in the back of a corrupt cop's car, allegedly booked for some complaint but picked up for sexual favors. She tries to pretend that she is having a day off from a normal 9 to 5 job,but then the cop revealing that he knows what she does for a living, replies sarcastically, do you go to church on your day off?
I find this scene extremely important because it shows how Wuornos tried to maintain her dignity as a human being but failed..very sad indeed.
The relationship between Aileen and Selby (played so well by Christina Ricci in one of the best roles so far) which is central to the whole story,was very well written. We know that Wuornos was not gay but someone who craved affection and love and (as she says in the film)can 'train' herself to love a woman to achieve a most desperate need to love and be loved.
I thought the love scenes were very well filmed, with enough passion between the two women, yet never gratuitous.
Now a word about the acting again..
Charlize Theron is not only one of the most beautiful women ever, but she is equally talented..She reminded me a bit of De Niro, Hoffman, Kidman or Streep, that kind of actor/actress who totally dedicates him/herself to his/her role, not only emotionally but physically as well..and had I not known she is playing the lead role, I would have been be excused even for few seconds for failing to recognize her..this is how great the physical transformation and likeness to the real Wuornos is.I would also like to mention that I real loved Pruitt Taylor Vince, one of the best actors in American Cinema today, and although his role was short, he as usual excelled.
So Monster is a real gem of a movie, a tragic story about the life of one woman who from early on had all the odds stacked against her, and at a moment of weakness unleashed demons that slowly took control of her, and had to pay dearly for it. A Must Buy!

Absolutely Amazing
I saw this movie with my mum know nothing but the fact it was about a lesbian who killed people. I was completely blown away by every aspect of the movie. First off i have to mention Charlize, her performance is unforgettable and heart breaking, you forget its just an actress and get sucked into an amazingly sad story of a woman like anyone else, who just had horrible things happen to her and crossed the line. You can see that even though Aileen did some horrible horrible things, she was still human, still a person just making a last attempt for love. Christina Ricci also did a great job as Selby, the phone call scene will stick with me for the rest of my life, it was almost physically painful to watch. The movie was very disturbing at times, and i had to fast foword through the rape scene, but it just pulls at your heart without making Aileen into any sort of hero. All the director does is show you as the viewer what happened, and what made her cross the line. Truely an amazing movie.

Amazing perfomance by Theron in a sad pitiful story
Monster is a sad tale of a woman with heartbreaking poor circumstances make wrong decisions after wrong decisions.

Chalize Theron is amazing in this movie. Unbelievable talent to portray an uneducated, gritty, prostitute. There is no sign of the lithe, elegant Theron, which makes the transformation all the more impressive.

Christina Ricci with her big expressive eyes portray the innocence of Selby, Aileen's lesbian girlfriend.

The movie is very disturbing and sad especially when you think prostitution like this happens everyday to wom