Reviews (30)

Not the goofy comedy depicted in the trailer
Wolfgang Becker's "Goodbye Leinin!" was a phenomenon is Germany, packing theaters and sweeping the 2003 European Film Awards in Berlin. In light of that success, it was disappointing to have to wait well over a year for it to arrive in U.S. theaters.

The U.S. trailer depicts a goofy comedy, but this is actually a touching movie about one family in the former East Germany struggling through the changes brought on in 1989 by the fall of the Berlin Wall and the collapse of the DDR state. In addition, it's a great little history lesson - there are great intermingled clips of East German leaders Erich Honecker, Egon Krenz and of other leaders like Mikhail Gorbachev and Helmut Kohl. Footage of "Ossies" stampeding into friendly Embassies right before the Wall tumbles are turned inside-out and artfully presented as Westerners clamoring to get into the "socialist paradise."

Even though this is Daniel Bruehl's movie (as the lead character 'Alex,' he appears in everyone of the scenes), it's his comic foil (and new 'Wessie' pal) Denis (as wonderfully played by Florian Lukas) who stands out. Whether it's his unbridled delight at sneaking his low-budget '2001' homage into a wedding video, or his portrayal as a spot-on, faux East German network newsreader, Lukas' brand of humor is one that transcends any language gap. He must have had them howling in the theaters in Germany.

To get a real sense of the German experience since 1989, I highly recommend you catch 'Goodbye Lenin' while it's still in theaters.

Hide it For My Mother's Sake:Moving Drama about Son & Mother
Another good film from Germany (and from the producer of "Run Lola Run") "Good Bye Lenin!" is best enjoyed when you see it not as a comedy ... actually, it is a comedy, but its tone is more subdued than films like "Life Is Beautiful," and the best part of the film is in fact its dramatic part about the son and the mother.

It's 1989, the year which was to witness the end of the notorious walls in Berlin. Now, Alex is an ordinary boy living in East Germany with his sister and mother. Just before the big social changes happen, however, Alex's mother collapses because of heart attack and is hospitalized in coma.

Luckily, she wakes up again after eight months, but the dcotor warns that any shock could be fatal to her condition. The problem is, she was a devoted member of the former regime (which is rapidly going) and the products from the West are rushing into the place where Alex and his mom are living. In short, a red Coca Cola logo could kill her instantly.

So Alex starts to lie before his mother, pretending that the former commune is still healthily going on, even faking up the news reports on TV (with a help from his friend who wants to be a film director). But can Alex keep on this pace forever before the huge social changes that would sweep up the whole nation?

The premises are slightly contrived, I admit, but the film works well because of the credible portraits of the mother and the son. The actors are doing exceptional jobs, especially Daniel Bruhl playing Alex, whose ideas of "for the sake of mother" goes beyond the normal territory, but who remains still a likable and charming fellow all through the film. Katrin Sass who plays his mother is also great, whose fragile portraits of the mother easily convince us of the reason her son should care for her so much.

Another strength is the charming music by acclaimed musician Yann Tiersen, whose name might be remembered as the one behind the lovely score of lovely French film called "Amelie."

There are lots of funny scenes in the film, but the sad tone is always felt behind the hilarious moments. And that is right when we come to realize that after all this is a story about a mother and her son, and the understanding between them, as the surprising ending suggests to us. How much do we know about our parents, or children? The film's messsage under the comic gesture is as heavy as that question.

Welcome, German Cinema
An intelligent and compelling comedy (or dramedy), "Good Bye Lenin" presents an interesting portrait of the multiple changes that affected Germany a few years ago. Managing to offer a strong social/political/historical perspective about the evolution of his country, director Wolfgang Becker also delivers a solid character study about a youngster and his relationship with his mother, touching issues such as the generation gap or the power of a lie. The acting is good overall (Daniel Bruhl is very convincing), the directing is clever, the plot is gripping and the soundtrack (by Yann Tiersen) is superbly crafted, which makes for an above average cinematic experience.

Recommended.

NOT YOUR MASS-PRODUCED AMERICAN PAP
Even without the telltale subtitles, you can tell that "Goodbye Lenin" is not an American movie. Why is that, you ask? Because it can offer all the elements of good filmmaking: storytelling, character development...of its general complexity without sacrificing values.
Values, you say? Oh yeah--those quaint notions that inherently recognize right versus wrong and/or hold some old traditions near & dear. Again, the inclusion of old-time verities tips one off that TimeWarner is not providing the funding for "Goodbye Lenin." In fact, TimeWarner types would not fit into the ouevre of the film at all.
To cut to the chase, the story follows the antics of a young son's attempts to cover up the 1989 breakup of the GDR to his ailing mother. Residents of East Berlin, the son's mother--an ardent communist--emerges from a coma; doctors warn her children, though, that any shock or upset could bring on a fatal heart attack.
Knowing too well the cultural havoc that rampant post-1989 Westernism has created over the former GDR, the son goes to great comedic lengths to recreate pre-1989 Berlin in their tiny apartment in Alexanderplatz.
Which is yet another way "GL" cannot be mistaken for mass-produced American sap: it can manage to be a comedy, a complex political questions and a brave champion of Olde World values. And all at the same time!
Its refreshing to see the son's devotion to his mother, respect for familial ties and tradition. All Americans should be made to watch "GL:" to see the ugliness of our popular culture firsthand as it makes its brash way into the GDR. Coke banners, pornography, rap music, Britney...
Unlike those American movies that do make the attempt to formulate a message (which are becoming rarer by the day!), this film doesn't hit you over the head to get you to see the deleterious effects of western imperialism and crass consumerism. The movie's producers simply do this through their characters: a daughter who works at the new Burger King; Denis, the eager aspiring movie director who provides much of the comic relief in this film.
Although he may not be crazy about Lenin's theories and living under the communist regime, the son has enough depth of character to acknowledge and appreciate his mother's years of devotion to The Cause. But this is where the predictability ends in "GL>" Now usher in the disturbing and unexplained fact that his father was persecuted by authorities for not joining the Party and hence defected to West Berlin. Is this why his wife was such a devoted worker in The Party?
This could have been fleshed out more, just as the "Wessie-ness" (western Berlin manners and mores) of his sister's boyfriend, Rainer. The film has other shortcomings: the relationship between the son and his mother's nurse is too sappy and predictable ("American-like, you could say).
Some may view his efforts is recreating a pre-1989 life for his mother too farfetched for reality: think of the pickle scenes. The director's use of fast-forwarding for many of the comic scenes are hilarious and accentuate their absurdity.
Actual footage from the crumbling of the Berlin Wall is interspersed thru the film as well as newsrells of political leaders. I found it interesting that no images were shown of former President Reagan (or any other American officials for that matter).
The scene with the disembodied Lenin flying over Alexanderplatz, waving goodbye to the mother, is SUBLIME.
It doesn't get any better than this!

Goodbye stupid films
Goodbye Lenin! is like a breath of fresh air -- the rare comedic farce that avoids Hollywood's addiction to formula, love story that sidesteps sentimentalism, and political commentary that isn't boring.

The story line is wonderfully simple: a woman lapses into a coma in the former East Germany and when she awakes, the Berlin Wall had come down and the communist state she served has been dissolved. Her family, aiming to save her from additional stress that could send her into another coma, creates a small bubble of the former East for her to live in. Sounds simple, but the best stories are often very simple on the surface ... Goodbye Lenin! proves that point once again.

The DVD package is just average -- a wider selection of languages, and maybe some historical information about the time frame covered by the film that could help explain some references for people unfamiliar with the former East Germany -- would have earned an extra star. ... Read more

Description

A young man begins an obsessive search for his girlfriend after she mysteriously disappears during their sunny vacation getaway. His three-year investigation draws the attention of her abductor, a seemingly mild-mannered professor who, in truth, harbors a diabolically clinical and calculating mind. When the kidnapper contacts the man and promises to reveal his lover's fate, The Vanishing unfolds with intense precision, culminating in a genuinely chilling finale that has unnerved audiences around the world. ... Read more

Reviews (51)

Powerful beyond belief--real horror
"The Vanishing" is one of the most terrifying films I've ever seen, but not in the usual sense of the word "terror". This is disturbing in a way not done since Hitchcock or Bergman. While many will mistake this for a "thriller" or a mere tale of kidnapping, etc, but there is something going on here that suggests far more than the (extremely intriguing, suffice to say) story. This is a horror film about the human condition itself. If he wasn't dead, I would have thought Camus had directed it. Beneath the calm facade of everyday life lies arbitrariness and chaos--absurdity. On a beautiful day Saskia, a gorgeous young French woman, simply disappears after going into buy a soft drink for her boyfriend as they are on a biking trip together. She never emerges. The reason, which is indeed horrible, is not so significant as the fact--she simply disappears. Her boyfriend's descent into near madness via obsession rivals many classic movies I would consider sacred. How can a human being with friends, lovers, parents, etc, disappear into thin air? Where is the justice, the knowing?
This, I believe, is what the director is trying to convey--there is none, and at no point does ultimate knowledge about anything enter our lives.

The ending is horrifying but absolutely necessary, which is why the remake is nothing but a waste of celluloid. The most significant scene is the dialogue between the kidnapper and Saskia's boyfriend during the downpour near the gas station. The key to his motive for this atrocity is "the eternal not knowing"--he wants someone to share the pain of life's complete uncertainty. A masterpiece.

Horrifying film that still gives me nightmares....
Perhaps I would have been better off if I had never seen this film. I don't usually watch horror films. I was scared out of my wits by "Psycho" when it came out in theater's (it's hard for younger people who grew up with Freddie Kruger to imagine it, but there was a time when you didn't see blood all over the screen.) This film does't show any blood and I don't remember much violence, however, it's a psychologically terrifying movie like "Diabolique" so if you have a weak heart don't watch it.

"The Vanishing" has a fine cast and was shot somewhere in the Netherlands--I believe the cast is Dutch. Johanna ter Steage(?), the fine actress who played Theo's wife in "Vincent" and Frau Beethoven in "Immortal Beloved" plays a young woman who becomes the victim of a mentally unhinged stalker. The man's derangement is demonstated by his lifelong willingness to "experience" things like deliberately falling off a balcony so he can see what it feels like to break an arm.

Johanna's boyfriend cannot overcome the loss of his girlfriend. Her memory ruins opportunities to form a realationship with a new person. The crime drives the boyfriend to acquire the attributes of the man who 'stole' his girlfriend. First he becomes obsessed about establishing a link with a particular person, just as the stalker became obsessed about finding a woman he could kidnap. Second he stalks the kidnapper in a variety of ways, just as the kidnapper used a variety of ways to lure a woman into his car. Third, he says he is willing to 'experience' what the kidnapper demands so that he can discover what happened to his girlfriend. In the end, I was left "unhinged."

A bit of a warning...
I you haven't seen this movie yet, and plan on seeing it, skip the review entitled "A Horror Film In Every Sense Of The Word". This reviewer gives away the ending, which may ruin a really good movie for ya.

Freaking brilliant, Thinking Man's Thriller
First off, shame on the previous reviewers who gave away the ending. Yeah, if you've seen the blasphemously bad remake w/ Kiefer Sutherland (by the same director no less!), you know the ending.

Nonetheless, this movie is more than the tension. The characters are strong (particularly the villain), many of the visuals are strikingly visceral, and this nicely contrasts w/ the philosophical storyline. The villain is one of the most original villains in Film. He is an intellectual creature, not driven by anger or childhood trauma or emotional prejudice...rather cold, hard logic. His premises may be unsound, but you can at least you can understand the method to his madness.

They simply don't make movies, yet alone thrillers, like this anymore. Taking Lives? Your average Ashley Judd film? Puke. This is the type of movie for people who like Seven, Memento, Requiem for a Dream, Identity...not for the sunshine pumpers, I assure you. But fiction *should* test our boundaries and make us uncomfortable...

Don't see the remake. The remake trashes all the poetry and poignancy of the original.

Well made psychological thriller.
A very understated (although some might say boring) evenly, paced film -- yet it it somehow kept my attention to the disturbing end. Haven't seen the US remake to make any comparisons.

Unfortunately at the premium Criterion price, one would expect some extras beyond the standard trailer. ... Read more

Reviews (193)

The Ultimate Struggle for Survival Under Siege
The story begins with the Zulu army fresh from their stunning massacre of 1300 British soldiers at Isandhlwana. This force of over 5000 seasoned warriors then turns their attention to a small outpost called Rorke's drift. Only one hundred men, many sick and some malingerers man this camp in the middle of South African wilderness. Two lieutenants, one, engineer, and one the son of an English aristocrat are in command. These young officers are not battle tested but must quickly prepare for the fight of their lives. Fortunately, they are supported by efforts of the quintessential sergeant major that hardly breaks a sweat as he fights the fierce adversaries while maintaining proper British manners and discipline. By the use of military tactics and shear resolve, the two officers galvanize their small force against nearly insurmountable odds. This film is full of breathtaking sequences, exciting heroics and slackers becoming heroes. A scene where the Zulus attack the hospital is particularly brimming with action. Zulu also has its fair share of honor and humanity. Stanley Baker and Michael Caine turn in fine performances as the commanders of Rorke's Drift. Cy Endfield directs one of the most exciting movies ever made about the tenacity of the British soldier.

Outstanding re-telling of the 1879 battle at Rorke's Drift
In January, 1879, a column of British soldiers comprised primarily of the 24th Regiment of Foot, South Wales Borderers, was wiped out at the base of the mountain, Isandhlwana, in Natal, South Africa. A large contingent of 4,000 Zulu warriors then moved on to the undermanned expedition base at Rorke's Drift. This movie tells the incredible true story of the subsequent battle, and of the victory of the 90 some British soldiers, many of them sick, who held their post in the face of overwhelming odds. See Donald Morris' definitive book, _The Washing of the Spears_, against which this film account compares most favorably.

This neglected classic was filmed at a time when it was still just possible to associate the word "glory" with military victory-- without a sneer. The makers of the film avoid preaching and just let the battle tell the tale of the men of both sides. The British soldiers are not the "good guys" nor are the Zulus "bad guys," and the lone derogatory comment about the fighting ability of the Zulus is instantly rebuffed by a tough Boer cavalryman who says, "And just who do you think is coming to wipe out your little garrison, the Grenadier Guards?" This is a soldier's story about a soldier's fight.

Did the Welsh really sing "Men of Harlach" as they manned their mealie-bag barricades?

Did the Zulus really render a warrior's salute as they broke off the action on the second day of the battle?

It doesn't matter. The film is accurate in the historical basics that really count.

Beautifully filmed on location, with an outstanding, stirring score by John Barry, this film features solid but appropriately understated performances by Stanley Baker, Michael Caine, and Jack Hawkins.

I hesitate to mention the hideous, politically correct pre-quel, _Zulu Dawn_ which was released almost 25 years after _Zulu_, but any viewer who has the unhappy experience of seeing _Zulu Dawn_ should not be put off from seeing _Zulu_, which shines in comparison.

Whether one is interested in military history or a "movie for men who like movies," _Zulu_ is a worthy addition to a film library. From first to last, it is a compelling, superior film.

So where's Zulu Dawn?
Trying to find this movie and it's only available in Region 2. What gives?

Is it coming to the US soon?

Basically an Anti-War Movie
Zulu is basically more of an antiwar movie than an action adventure flick. War is not glamorized in Zulu and it is shown in all its horrific repulsiveness. Nor for that matter are there any heroes in Zulu for nobody acts heroically. The officers and soldiers know that its likely that they will die defending their isolated frontier outpost against the Zulu hordes and they are bitterly resentful of that fact.

This makes Zulu an original and different movie. However, the quality of the acting is generally low, although Michael Caine delivers a splendid performance. The script, direction and special effects are also deficient. Zulu was made on a low budget and it shows.

Zulu is an example of how a great idea does not necessarlily result in a great movie.

Girls can love this movie too!
I have always enjoyed this movie since I was a little girl. At 27 I love it even more. The gentleman behavior of the English, the breathtaking battle sequences and the fantastic score are spectacular. I have my favorite characters that just send shivers up my back and tears to my eyes at times for their heroism. If you don't take my word for how great this movie is you can refer to Lord of the Rings Two Towers extras. Peter Jackson was inspired by a few of the scenes from Zulu for the beginning of the battle at Helm's Deep. ... Read more

Description

Offenbach's extraordinary opera is performed here in thisCovent Garden production by Placido Domingo, Luciana Serra, Agnes Baltsa and Ileana Cotrubas. The Royal Opera House Orchestra and Chorus are conducted by Georges Pretre. ... Read more

Reviews (8)

An exelent production
This is probably the best Hoffman on Video. Domingo is at his peak here, the best Hoffman I've ever heard singing the best I've heard him sing the role. Particularily good are the Ballad of Klinzach and "Amis! L'amour tendre", which is acted excellently by Domingo and features some really great buisness from Anges Balsta, Domingo and the chorus.

The conducting of Pretre is speedy, and most of the time it works, but, in some places (like the Baracolle, sung beautifully) it seems the singes can hardly keep up.

The production values are nothing short of increadable. the late John Schliesinger shows himself to be a capable operatic director, with several nice touches to the production, such as Lindorf appearing at the end of each act, mocking Hoffman and laughing. I would have prefered to see the roles acted by one man, but the seperate apperances of Lindorf do just as well. The begining of the Venice act is very impressive, with the gondolas floating ominously and the writhing orgy taking place on the banks of the cannal. The designs of Maria Bjornson and Willum Dudley utilize the three-story stage excellently, and give each setting a different feel: The tavern a place of grity reality, Paris a zany Victorian invetors lab, Venice a C.B. DeMille nightmare, and Munic the feeling of a derilict, clostrophobic mansion from hell.

The singing, other than Domingo is almost uniformally good. Luciana Serra, as Olympia is fine acting-wise and her voice is pleasent enough, but I don't like her phrasing. Balsta's Guiletta is increadeble, a real stand out. She looks terrific, too. Ileana Cortubas' Antonia sings well enough, but could act the part better, but you warm up to her eventually.

As the Villians, Robert Llyod (asways reliable) is a memerable Lindorf, though he speaks rather than sings Stella's letter and takes his aria much to fast. Sir Geraint Evans is amazing as Coppelius, both zany and extreamly creepy. Seigmund Nimsgern is extreamly hypotic as Dappertutto, and gives the best vocal performance out of the four villians. Nicolai Ghiuselev's Miracle is the production's biggest letdown, as he is overpowered in his two trios easily and acts rather woodenly.

Claire Powell is an excellent and masculine Nicklausse, and makes a ravishing transformation into the muse, where her sdialouge is not as good. In smaller roles, Robert Tear is a memerable Spalanzani and Gwynne Howell is an excellent and touching Crespel. Bernard Dikerson is very funny as Frantz, giving the best acting performance (if not vocal) of "Jour et Nuite" I've heard yet. Paul Crook is execellent as Conchinelle, but not as Andres. Chorus and Orchestral work are both excellent.

This is a production I would highly recomend under any circumstances.

kultur shock
This is a total DVD disaster fom Kultur. I have tried two copies of this wonderful performance and both had a miserable soundtrack and opera is sound. Volume swells and fades throughout the performance destroying a terrific production. Would love to know what Placido Domingo thinks of it. Dr. Mirakle must have been the sound mixer.

Wonderful except the production
I prefer my operas grand and colorful. This production was grand but in monochromatic colors. OK but I have seen so many better interpretations of this opera in color.

The music is wonderful. I loved all the principals. I am glad I bought this version. I have the one from Lyons France and it is awfull. I do not know of any other DVD of the Tales of Hoffmann.

Not DVD Quality
The content was good but the Video quality was very poor. I was watching on my Sanyo HD PLV-60 projector. It looks like the master tape was a VHS or 3/4" tape. The original show was taped in 1981 by the British. Those people are perfectionists. The only explanation for the poor quality must be 2nd and 3rd generation of tape or a bad transfer from PAL to NTSC TV.

You should not watch this DVD on a big screen.

I Loved It!
This is a great, great performance. Domingo's Covent Garden Hoffmann is supreme, but this is no one-star show: there is a first-rate supporting cast as well (including the veteran bass-baritone Sir Geraint Evans as Coppelius -- I believe these were his last Covent Garden performances -- the always-outstanding Robert Lloyd as Lindorf, and the touching Ileana Cotrubas as Antonia). Every fan of HOFFMANN and/or Domingo should watch this video! ... Read more

Reviews (2)

Mexican road trip film
"Without a Trace" from Mexican director, Maria Navaro, is a road trip film, but the difference here is that the story centres (as one would expect with Navaro) on women. Ana/Marilu (Aitana Sanchez-Gijon) is intelligent, educated and has some nefarious doings with fake Mayan art. A border patrol officer is more than a little interested in Ana, and that interest is personal. He drags her into his office for questioning, and lets her leave after he's finished drooling on her. The other main character, Aurelia, (Tiare Scanda) is a single mother of two. Aurelia works in a sweatshop in Ciudad Juarez where more than 250 murders of women remain unsolved. Her narcotics-dealing beau makes the mistake of leaving a stash at her place. She cashes in this little nest egg, and hits the road with the proceeds. Ana heads back to her fake Mayan art counterfeit centre, and Aurelia heads for Cancun where she hopes to get a job in a hotel. The two women meet in a roadside cafe, and a relationship begins as they decide to travel together.

The relationship between the two women is the great interest here. They are two different types--Ana is constantly mis-identified as Spanish, and she's quick to correct everyone that she was born in Mexico but educated in Spain. Ana receives both deference for her Spanish looks and derision from others who tend to see her as an outsider. Aurelia is tough and determined, and yet Ana is beyond her experience. The two women need each other, and they silently accept that fact--along with the idea that it's better not to travel alone (look what happens to women in Juarez, for example). As the two women travel together, Aurelia sees new country for the first time, and she marvels at the sumptuousness of it all. To Ana, it's nothing new. The film starts off very strongly, and degenerates into standard fare as the two women travel towards Cancun and are pursued by the annoying men in their lives.

"Without a Trace" is a visually stunning film and worth watching if you're interested in Mexican cinema. The male roles are--dare I say it--token stereotypical types. There is nothing terribly new here, and the ending is disappointing. That said, I have to add that Mexican cinema is enjoying an energetic renaissance, and I'm reaping the benefits as often as I can. Flawed though this film may be, it still beats most of the pap churned out from Hollywood. Director, Navaro is to be commended for the making of "Without a Trace" for the film brings attention to the huge numbers of women raped, mutilated and tortured in Cuidad Juarez. The victims are mainly young sweatshop workers who disappear forever from their families--a fate Aurelia wishes to escape--displacedhuman

A Wonderful Road Movie!
Ana, an educated art historian, and Aurelia, lone mother of two, are two women in trouble, one with the law and the other with drug trafficking thugs. Their paths cross as Ana asks if she can get a ride with Aurelia to Cancun as both attempt to escape their pasts. This is in the backdrop of a vicious serial killer that has murdered over 250 women and haunts all women in Mexico. Without a Trace is a wonderful road movie about the two women as they try to change their lives on their own in the shadow of a patriarchal society. Novaro creates a motherly environment as mother Aurelia breast feeds and nurtures her little baby, but also a tough femme fatale atmosphere with the women drinking beer in different bars. These two aspects of the women are brought to the screen with strong drama and comedy as the women venture for something better. In the end, Novaro creates a wonderful cinematic experience that both entertains and enlightens the audience. ... Read more

Amazon.com

Audrey Tautou (star of Amélie) shimmers like a born movie star in Happenstance. A woman on the morning train tells Tautou that the full moon will lead her to her soulmate; from there, Happenstance follows a marvelous interlocking series of events, in which little things (like whether or not a young museum guard eats a piece of chocolate) affect bigger ones (like whether or not an adulterous husband will tell his wife the truth). The numerous characters intersect with each other's lives, creating a web of coincidences that finally catches Tautou like a hapless fly. This could have been cloying and forced, but the writing and directing are so deft and subtle that the coincidences of Happenstance feel natural and compelling. A sweet and hopeful movie, with excellent performance all around, but Tautou's wide-open eyes leap out of her every scene, hypnotic and charming. --Bret Fetzer ... Read more

Reviews (31)

If a butterfly beats its wings in Europe ....
.... there will be a hurricane in the Pacific. This wonderful movie illustrates all that in a charming and captivating manner.

Audrey Tatou shines as Irene, one of myriad characters in this subtitled flick about what would happen if you took this road instead of that??

Irene is a salesgirl in a household appliances store, who gets her horoscope read to her on the train to work. It turns out that the guy next to her has the same birthdate -- and both are supposed to find "love around the corner" that day. But it will take the whole day and several others whose lives meet theirs in the most casual way (the EMT whose ex-girlfriend recognizes him in a photo at the film-developing place where she works, the man cheating on his wife who decides to lie to his mistress, and so on.)

The storylines are full-fleshed and it is amazing the way all the characters affect each others' lives without really knowing what they do.

This is a simply great movie, very French, very fun and guaranteed to make you read your horoscopes again!

Karma and a butterfly's wings
You know the old saying about the "butterfly effect," that the beating of a butterfly's wings can set off a storm over the Amazon jungle. That idea is half the basis of "Happenstance" (original title: "Le Battement d'ailes du papillon" -- more on butterflies), a sweet little French bit of froth that will leave you warm and fuzzy.

Irène (Audrey Tautou) is on the subway to her job when a woman doing surveys tell her the horoscope: She will meet her true love that day. The handsome young man, Younès (Faudel) who sees her, has the same birthday and same horoscope. Coincidence? There is no such thing in this film. Elsewhere, an indecisive man promises his mistress Elsa that he will tell his wife that he wants a divorce.

Fallen leaves, tossed stones, discarded sneakers, a mugger's yellow jacket, heads of lettuce, Algerian sand, uneaten chocolates and nose injuries all affect Irène and the people who brush by her in everyday life. After the end of that fateful day, nobody's life will be quite the same. Some people will come home, some will make break up, some will miss dates, and some will live happily ever after.

"Sliding Doors" was a shaky but interesting romantic comedy, and "Run Lola Run" was frenetic and full of visual gimmicks. But the slower-paced, more forthright "Happenstance" may be the most interesting look at how little things can change our lives -- it's not just one person's life, with a few people affected around him or her. Instead, it's a dozen or so, whose lives change for better or worse because of little things.

What little things? A head of lettuce falls off a truck and causes a bike crash. A pebble fails to get through a modern sculpture, causing a man to lie to his mistress. A thousand little innocent events cause major changes in people's lives. But above the idea of chaos theory is the concept of fate and karma: You know that forces are slowly driving Irène and her soulmate together. A few bad things may happen to the two future lovers along the way, but they are just stepping stones.

Cinematography is nothing special, but nice and somehow makes Paris look like more than a postcard, with the subways, grubby side streets and sparkling night skies. The intricate script is bound to trip itself up a few times. A couple of storylines are left mildly unresolved. And perhaps the most intriguing character -- the enigmatic "Destiny Man", who seems to be all-knowing -- appears once and then never again. How does he know other people's plans and secrets? We're never told. (Maybe the guy is supposed to be God)

Tautou displays a different kind of acting from the charming "Amelie." Here, she's more downbeat and outspoken, but gradually softens as she comes to realize that things don't happen purely by accident. Faudel is a good counterpart to Tautou, quiet and unassuming, but quite sweet. The dozens of supporting actors are given less to do, but are charming too.

Do you believe in fate and true love, that somehow you'll be drawn together with your soulmate, the one meant specially for you? If you do (even a little bit), then "Happenstance" will charm you.

Deep Movie
More of Audrey Tautou, however you won't see her much in this weird film. However this film's look at the theory of chaos is done in such a simple, beautiful way that it's amazing.

a not very memorable ensemble film
A film by Laurent Firode

There is an idea that life is made up of a serious of coincidences and that any small action can have a wide ranging effect and connection to the lives of various people in ways that we cannot even imagine. Little events can affect big events even though the two are not truly related, at least not in any way that we can directly see. It is like the butterfly in Egypt flapping its wings and causing a hurricane over the Pacific Ocean. This is the overriding idea of "Happenstance".

The movie opens with Irene (Audrey Tautou) on the subway. A lady sitting across from her is reading Irene's horoscope and tells Irene that soon she will meet her soul mate. Irene gets off the train and the scene changes. From here we are brought into the lives of multiple people (men and women) living in Paris. We see their actions and how their actions affect each other. Even though Irene opens and closes this film, it is not truly about her and she is a more minor character than I had expected (or hoped).

It is interesting to see how all these lives intersect and affect each other, but even with the ending wrapping things up, "Happenstance" did not feel like it truly amounted to much, or did a good enough job making me care about any of the characters (except Irene, but that may be because of Tautou). It was difficult for me to engage with any of the characters, or find any of them memorable (though some of the intersecting events I can remember, but not the characters themselves).

The best I can say is that "Happenstance" was just okay. Despite Tautou being all over the cover/poster for this film, she is not the star, this is a true ensemble piece. The ensemble just didn't add up to a strong whole.

-Joe Sherry

One small, solitary event...
The film _Happenstance_ investigates how one small, seemingly meaningless event, can change the lives of many others. The script weaves a large web, with few degrees of seperation between the characters. There are no "main" characters in the film, because each story is so interlocked with the others. The French title of the film translates to "The Beating of the Butterfly's Wings", and it is unclear why they changed the title for the American release. The word "Happenstance" does not come up in any conversation in the movie, however a major scene in the movie discusses the butterfly's wings.

Audrey Tautou's face is on the DVD cover, (not even a picture from this movie, I might add) and it is clear that the American marketing firms wanted to show off Tautou and use her recent fame to attract attention. While I think it is misleading to plaster her picture on the front when there are many other deserving actors in this movie, the marketing did work for me: I would not have found this movie had I not seen Audrey's face advertising it.

A fun and rewarding film that is sure to leave a smile on your face. ... Read more

Description

The film that catapulted Bergman to the forefront of world cinema is the director's richest, most humane movie. Traveling to receive an honorary degree, Professor Isak Borg (masterfully played by the veteran Swedish director Victor Sjöström), is forced to face his past, come to terms with his faults, and accept the inevitability of his approaching death. Through flashbacks and fantasies, dreams and nightmares, Wild Strawberries captures a startling voyage of self-discovery and renewed belief in mankind. ... Read more

Reviews (40)

The three worlds of "Wild Strawberries"
When "Wild Strawberries" was released in 1957, Ingmar Bergman had been involved in more than a dozen films, everything from coming-of-age angst drama (the screenplay for "Torment" 1944) to sophisticated comedy ("Smiles of a Summer Night" 1955). With "Wild Strawberries" (and "The Seventh Seal" the same year) his name became well known outside art house circles. ("Now Bergman means Ingmar, not Ingrid," as one magazine put it.) His career even became the cover story for an issue of Time. One can only imagine American movie audiences going, out of curiosity, from the Deluxe color naughtiness of "Peyton Place" to Bergman's dark vision. Dark, yes; cold, no. In fact, this is one of Bergman's warmest films and, I think, one of the finest films ever made. The picture involves three worlds: The immediate world, the world of the past, and the world of dreams. As Professor Borg, a 78 year-old widower, makes a day trip from his home in Stockholm to the cathedral in Lund (where he is to receive an honorary degree) he deals with all three worlds: the present (his son's estranged wife who is traveling with him, the people they meet en route, the old professor's ancient mother), the past (painful memories of his youth), and the future (a series of persecution nightmares), all hauntingly photographed by Gunnar Fischer. (The 1985 film "DreamChild", about the old age of Alice Pleasance Liddell, has almost the same construction.) I suppose it's impossible not to compare "Wild Strawberries" with "A Christmas Carol". Like Scrooge, Professor Borg is visited by the "ghosts" of bitterness, unhappy memories, and nightmares -- and survives to find himself better adjusted to himself and other people. And Bergman obviously admires Dickens: whole scenes in "Fanny and Alexander" are lifted from "David Copperfield". But Bergman avoids egregious sentiment, unlike De Sica, whose geriatric study "Umberto D" comes dangerously close to schmaltz. (I keep thinking Lewis Stone and Lassie.) Neither the professor's frailties nor his revelations are trivialized -- especially important in the relationship with his son, whose life has been thwarted by the professor's coldness. In a flashback, the pregnant daughter-in-law tells the professor how her husband has told her in no uncetain terms that he condemns the idea of bringing a child into this absurd world. It's a revealing scene -- and, incidently, one of the most gracefully executed flashbacks you'll ever see. Another key scene occurs when the professor's car is sideswiped by another car occupied by a couple caught in a horrific misalliance, both the man and the woman greedily feeding off their hatred for each other. As the men work to get the couple's overturned car upright, the female stranger stands over them mocking "He strains his creaky limbs to show off in front of that pretty young girl!" However, it is the professor in the frame wih the woman, not her husband. Later, the professor confesses to his daughter-in-law that the couple reminded him of his own rotten marriage. Sunny? Hardly. Yet the sun shines even in Sweden and the conclusion of "Wild Strawberries" could be construed as a happy ending, though not pat and omniscient. Another plus is the excellent cast, including VIctor Sjöström (who had directed films in Hollywood during the silent era) as Professor Borg, Ingrid Thulin as his daughter-in-law, and Gunnar Björnstrand as his son. Max von Sydow can be seen briefly as a Texaco attendant, centuries away from the tormented knight of "The Seventh Seal". Bibi Andersson has a dual role, as a hip young hitchhiker in the "present" sequences and as the professor's lost love in the "past" sequences. To my knowledge, she and Sjöström are the only two actors to appear in all three worlds. These three worlds may seem forbidding to the uninitiated, but open up to them and you'll find they're filled with the intriguing artistry of a cinema master.

a must for any film buff
this is a masterpiece and is required viewing for any of you wannabe directors out there. it's a beautiful mix of narrative, montage, a Surreal scene here and there, and some great acting. the female lead, Bibi Andersson i think, is a particularly striking woman. she plays the daughter of an aging professsor who is going on a trip to receive and honorary award from a university (you've probably already heard that Woody Allen based much of 'Deconstructing Harry' on this movie and of course, Allen is a Bergman fan...). along the way, he relives memories of his life and begins to bond with his somewhat estranged daughter.

if you found this movie at Amazon then you're probably looking for something interesting, moving and stimulating. Wild Strawberries is all of that. a film everyone should see...

When film was an art form
In this symbolic tale of an old man's journey from emotional isolation to a kind of personal renaissance, Ingmar Bergman explores in part his own past, and in doing so rewards us all with a tale of redemption and love.

Victor Sjostrom, then 80 years old, stars as Professor Isak Borg whose self-indulgent cynicism has left him isolated from others. Sjostrom, whose work goes back to the very beginning of the Swedish cinema in the silent film era, both as an actor and as a director, gives a brilliant and compelling performance. All the action of the film takes place in a single day with flashbacks and dream sequences to Borg's past as Borg wakes and goes on a journey to receive a "Jubilee Doctor" degree from the University of Lund. Bergman wrote that the idea for the film came upon him when he asked the question, "What if I could suddenly walk into my childhood?" He then imagined a film "about suddenly opening a door, emerging in reality, then turning a corner and entering another period of one's existence, and all the time the past is going on, alive."

Bibi Andersson plays both the Sara from Borg's childhood, the cousin he was to marry, and the hitchhiker Sara who with her two companions befriends him with warmth and affection. The key scene is when the ancient Borg in dreamscape comes upon the Sara of his childhood out gathering wild strawberries. Borg looks on (unnoticed of course) as his brother, the young Sigfrid, ravishes her with a kiss which she returns passionately; and, as the wild strawberries fall from her bowl onto her apron, staining it red, Borg experiences the pain of infidelity and heartbreak once again. Note that in English we speak of losing one's "cherry"; here the strawberries symbolize emotionally much the same thing for Sara. Later on in the film as the redemption comes, the present day Sara calls out to Borg that it is he that she really loves, always and forever. Borg waves her away from the balcony, yet we are greatly moved by her love, and we know how touched he is.

The two young men accompanying Sara can be seen as reincarnations of the serious and careful Isak Borg and the more carefree and daring Sigfrid. It is as though his life has returned to him as a theater in which the characters resemble those of his past; yet we are not clear in realizing whether the resemblance properly belongs in the old man's mind or is a synchronicity of time returned.

Memorable is Ingrid Thulin who plays Mariana, the wife of Borg's son who accompanies him on the auto trip to Lund. She begins with frank bitterness toward the old man but ends with love for him; and again we are emotionally moved at the transformation. What Bergman does so very well in this film is to make us experience forgiveness and the transformation of the human spirit from the negative emotions of jealousy and a cold indifference that is close to hate, to the redemption that comes with love and a renewal of the human spirit. In quiet agreement with this, but with the edge of realism fully intact, is the scene near the end when Borg asks his long time housekeeper and cook if they might not call one another by their first names. She responses that even at her age, a woman has her reputation to consider. Such a gentle comeuppance meshes well with, and serves as a foil for, all that has gone on before on this magical day in an old man's life.

See this for Bergman who was just then realizing his genius (The Seventh Seal was produced immediately before this film) and for Sjostrom who had the rare opportunity to return to film as an actor in a leading role many decades past him prime, and made the most of it with a flawless performance, his last major performance as he was to die three years later.

A big part of cinema history
This is something one who likes Bergman's films --or great films in general-- mustn't leave unwatched. Wild Strawberries cannot be mistaken for anything else than a product of Ingmar Bergman, but isn't a run-of-the-mill Bergman movie. It's a gentle but deep film with unusually few "horror" scenes; psychologically it can be horrifying, but it never turns uninteresting or unconvincing. Victor Sjöström was 79 years old during the filming of Wild Strawberries (early July through late August 1957), and does a great and very convincing job as 73 year old Isak Borg - a pedantic old professor who, on a car-ride --on his way to the University of Lund to receive his jubilee degree-- stops at his childhood home, among other places, and flashed back at his youth. Gunnar Fischer's black and white cinematography is definitely part of what makes this journey mesmerizing. The movie has won 11 awards.
Film historian Peter Cowie's commentary gives very interesting information, and an insightful and professionally presented analysis of the film. The disc also features a 90 minute documentary by Jörn Donner, which mostly consists of a 1998 interview with Bergman - this gives the disc more than 270 minutes of entertainment.
Criterion presents the film with surprisingly well restored sound and picture, and anyone can watch it - this edition is region free!

The film that catapulted Bergman to fame
>Wild Strawberries was the film that thrust Swedish director Ingmar Bergman into the spotlight. Filmed in 1957, the movie follows an elderly college professor on a car trip to receive an honorary degree. That is the metaphor for a trip through his own subconscious, a looking-back at his whole life through bright and lyrical flashbacks. Many of Bergman's films that followed this one were, IMO, a little abstruse, but Wild Strawberries isn't a difficult film at all. It's rich, deep, evocative, and most of all, humane.
Worth re-watching. ... Read more

Amazon.com

Zhang Yimou's (Raise the Red Lantern) tale of a pluckyadolescent substitute teacher in a rural Chinese village, cast entirely withnonactors and shot on location, is an astute example of censorship politics.Taking on touchy issues with a veneer of can-do spirit and happy-endingfantasy, his film is at once rousing and eye-opening. Wei Minzhi is astubborn young woman who takes a substitute teaching job in a tiny provincialtown because they can't afford anyone else. When one troublemaking boy headsoff to the city to help support his starving family, it's not a sense ofresponsibility that drives her rescue mission, it's money: She won't receiveher bonus if any students are missing. Her efforts to raise money for thecity trip pulls the class together in a sense of purpose, and even drives thelessons, but when she finally reaches the city she's shocked to discover anurban jungle of lost and runaway kids. Yimou shoots with an easy naturalismthat suggests a well-intentioned docudrama in spots, due to narrativecontrivances and a few self-conscious performances, but his compromisesultimately make his shocking look at China's rural poverty, adolescentworkers, urban juvenile homelessness, and woefully underfunded educationalsystem more potent. In the heat of the film's uplifting climax, theonce-mischievous boy pulls the film back down to earth with his reflection on hisbig-city adventure: "I had to beg for food. I'll never forgetthat." --Sean Axmaker ... Read more

Reviews (46)

a heart-warming film
This film was apparently based on the true story of a 13 year old girl, Wei, who was recruited to take over a rural classroom for one month while the teacher is on family medical leave. The teacher tells her that too many kids are dropping out of school and that if no kids have dropped out when he returns, she will get an additional 10 yuan reward in addition to the 50 yuan that the mayor has promised her. When one of the boys goes off to the city to earn money for his destitute family, Wei goes after him. When she arrives in the city she finds that the boy became separated from his traveling companions at the bus station and nobody knows where he is; he is lost and wandering the city alone begging strangers for food and sleeping in alleys. Wei is determined to find the boy, but why? Is it for the reward or does she actually care about him? It seems she was initially motivated by the reward but then later when she realized he was lost it touched her heart and she wanted to find him. The child actors were so cute and natural, I enjoyed their performances. A charming story with a happy ending.

Less is More
Zhang Yimou lifts the vail and provides a wonderous glimpse into life in rural China. The movie tells the story of a young girl who must take over a small rural school while the regular teacher goes away to take care of family matters. If upon the return of the teacher there is "Not One Less" student, she will be paid, but if she looses any of her pupils, the money she so desperately needs will be forfeit. She is soon tested as she finds students are torn between going to school and obligations to help their families tend the land. The young girl, Wei Minzeh, who has no previous acting experience is stunningly sweet, incredibly determined, and savy. It is hard to imagine why she was not nominated for Best Actress. The Director did much more than expose life in China to the outsiders view, he showed the universality of human traits such as indifference, bureaucratic thinking and finally compassion. Ulitimately one realizes that this movie could have just as easily been filmed in West Virginia, Maine or the farmlands of California.

GOOD
WHAT CAN I SAY?IT IS VERY GOOD.I LOVE THE MOVIE.IT IS MY FAVOR,GREAT WOEK

Another Great Film from Zhang Yimou
I really think that Zhang Yimou is the best director alive today. While in a sense he has dropped off from his ultra classic early dramatic collaborations with Gong Li (Red Sorghum, Ju Dou, Raise the Red Lantern, Qiu Jou, To Live, Shanghai Triad), I still find the humble films of this middle stage of his career to be heartwarming and engrossing in a most subtle way. Happy Times, The Road Home, and Not One Less are all simple films that manage to express and evoke a surprising depth of sympathy and emotion, much like Frank Capra was able to do during the classic era of American cinema with films like It's a Wonderful Life, It Happened One Night, and Mr. Smith Goes to Washington. And the fact that Not One Less was done with non-actors is a triumph not only for their success but also for the innovative courage that Zhang continues to display. Many consider films like this to be evidence of Zhang's fall from grace. On the contrary, I think they show why he is so great. How could he improve upon Raise the Red Lantern, the veritable Casablanca of Chinese cinema? Rather than continuing with similar films, he made the bold move to forge other paths. The next phase of his career will apparently be wuxia films. I have a feeling it is there where his name will come back into the popular radar abroad. Not that he should be concerned, as he's done very well without it, as the future will surely show...

A quasi-realistic fairy tale of modern China
Wei Minzhi (played by Wei Minzhi, essentially playing herself) is a 13-year-old peasant girl pressed into being "Teacher Wei" at a small rural elementary school when the regular teacher must take a month off. She knows one song (a Maoist propaganda song) and that not very well. She hasn't a clue about how to manage a classroom. Her arithmetic is suspect and her people skills are those of a self-centered beginner. It's not even clear that she wants to do the job. In fact she seems more concerned about the 50 yuan she's supposed to get than anything else.

Thus acclaimed Chinese film maker Zhang Yimou sets the stage for a most compelling fairy tale which illustrates how the determined spirit of a little girl might triumph over poverty, ignorance, and the hard-headed reality of the post-Maoist bureaucratic society.

And is she determined! She is given 30 pieces of chalk and warned not to waste any of it. The lesson plans are to copy some lessons on the chalkboard and to get the students to copy the copy. That's it! Both the regular teacher and the town's mayor point to the other as the one who will pay her. When the regular teacher starts to leave without paying her, she chases after him. She is told she will get paid when he returns, and if all the students are still enrolled, she will get a ten-yuan bonus.

Thus we have the movie's title and the source of "Teacher Wei's" determination. When one little girl is picked to go to a sports camp because she can run, Wei hides her from the authorities. When Zhang Huike, the class trouble-maker (played by Zhang Huike), quits school and heads for the city to find work, Wei schemes ways to get him and bring him back.

At this point the magic begins. With this common goal both teacher and the kids figure out ways to raise money to send Wei by bus to the city and back. They figure the cost for Wei's round trip and for Zhang Huike's one-way trip back, with the kids themselves taking the initiative at the chalkboard with the math. Wei makes them empty their pocketbooks, and when there is not enough she takes them on a field trip to a brick-making factory and together they move bricks to raise the cash. Again they calculate how many bricks they must move at so many "cents" per brick.

I mention all this because what is demonstrated, by the by, is some real teaching and learning taking place. In fact the mayor comes by and peeks into the classroom and is delighted to see that the substitute teacher knows how to teach math!

This sequence of events is very moving and is at the heart of the film. Any teacher anywhere in the world will recognize how brilliantly this is done. The kids become so eager to learn that they learn effortlessly, which is the way it is supposed to be. Furthermore, one of the phenomena of the profession is exemplified: that of the real teacher learning more (partly because she is older) than the students from the lessons they encounter.

Now, it is true that director Zhang Yimou does not show us the real poverty that exists in China nor does he point to the horrid dangers encountered by children who go to the city to work. Neither the little boy nor Teacher Wei is preyed upon in the manner we might fear. Recapitulations of the baser instincts of human beings are not part of Zhang Yimou's purpose here. This is in fact a movie that can be viewed by children, who will, I suspect, identify very strongly with the story. Zhang Yimou is talking to the child in all of us and he does it without preaching or through any didactic manipulation of adult verses child values. It is true he does manipulate our hearts to some degree, but with all the ugliness that one sees in the world today, perhaps he can be allowed this indulgence.

Although I would not say that this film is as good as Zhang Yimou's internationally celebrated films such as Red Sorghum (1987) (his first film) or Raise the Red Lantern (1991) (which I think is his best film) or The Story of Qiu Ju (1991) (which this film resembles to some extent), it is nonetheless a fine work of art exemplifying Zhang Yimou's beautiful and graceful style and his deep love for his characters and their struggles. And as always his work rises above and exists in a place outside of political propaganda as does the work of all great artists.

Perhaps more than anything else, however, one should see this movie to delight in the unselfconscious, natural, and utterly convincing "amateur" performance by Wei Minzhi as a most determined and brave little girl. She will win your heart. ... Read more

Amazon.com essential video

This popular and beloved film, produced by Tsui Hark anddirected by Ching Siu Tung, is a standout in the Hong Kong supernatural-action genre and spawned many sequels and copycats. A Chinese Ghost Story stars Leslie Cheung as Ning Tsei-Shen, a timid and likable tax collector. Looking for a place to stay the night, he comes upon a spooky abandoned temple occupied by a tough Taoist swordsman (Ma Wu).Despite hiswarnings, Tsei-Shen stays anyway.Later he encounters a beautiful maiden (JoeyWang) who he quickly falls in love with.Unfortunately, she is a ghost whois being forced to trap men for an evil spirit who feeds on their souls. A Chinese Ghost Story has been widely praised for infusing the genrewith humor, action, romance, and inventive special effects. Memorable images include an attacking mile-long tongue and a cloak opening to dozens of ghastly decapitated heads. The final battle in hell is said to have inspired scenes in Sam Raimi's Army of Darkness.And the filmhas its share of homage: A group of crusty zombies are reminiscent of the skeletons in special-effects guru Ray Harryhausen's 7th Voyage of Sinbad--and they are eliminated by Tsei-Shen in comedic slapstick fashion, not unlike the style of Charlie Chaplin. Cheung and Wang are a likeable romantic pair, and Ma Wu creates a hilarious character whobreaks out into song and a martial arts dance when drunk. The DVD transfer istopnotch, with the film's misty mood lighting and fluttering gowns appearing layered and crisp. It's a must-see for Hong Kong action film fans. --Shannon Gee ... Read more

Reviews (32)

1987 - great visuals, action, story, everything
This film started the "mortal meets ghost" trend in the late 80s, and as we all know, originals are the best.

The plot in a nutshell-a tax collector screws up during a collection run, and with nowhere to stay, decides he'll take his chances and stay in the deserted monastery on the outskirts of town. He meets a beautiful woman and a mad Taoist swordsman. When he discovers the woman is a ghost trapped by the Tree Demon he enlists the help of the Taoist in order to save her.

There are great performances from Leslie Cheung and Wu Ma-they both seemed to be born to play their roles. Joey Wong, thankfully, doesn't really have to act, so we don't have to cringe at her rather...limited...acting range This film is beautifully filmed, with some etheral scenes, such as the underwater kissing scene, and the special effects compliment, rather than detract, from the storyline. The characters are well-formed and I could definitely sympathize with the lover's plight. Well-written and highly recommended. - ew

A Love Stronger Than Death
Movie Summary: A young tax collector named Tsei-Shen is forced to stay in the old almost abandoned Lan Ro temple while making his rounds. There he meets a Taoist monk/master swordsman/ghost buster who is the only other human staying at the temple. He also meets a very beautiful young woman, Nieh Hsiao-Tsing, whom he falls in love with. Although she resists at first, the woman falls in love with Tsei-Shen as well. This complicates things because she is a ghost and has been ordered to delete Tsei-Shen and take his soul.

My Opinion: At first I had a hard time with the poor English subtitles and strange story. But then I was pulled into the love story and began to understand what was going on. Some of the small things that happen in the beginning are a bit confusing but I think this is mostly due to the cultural differences and poor subtitles. I ended up liking the movie very much. It has horror, action, and romance all very well mixed up into an entertaining package. The special effects are quite good. The plot is very filled out as well. The Taoist monk is a very cool character and you can’t help but fall in love with the maiden ghost Nieh Hsiao-Tsing.

DVD Quality: Non anamorphic, no English language sound track, poor English subtitles

What You Should Do: Rent it. Don’t buy this edition, wait for a new version that has an anamorphic transfer. This movie is what I would consider a fairly hard core Hong Kong film. You need to be into this type of film to enjoy it. If you are into this genre you should definitely see it and also check out The Bride With The White Hair.

Colorful, Original and Farout!!
This is such a cool film! The magic is felt when you watch it. The moves of the actors, the music, the sets, the storyline and especially the visuals. The effects are natural and unique in this film. There is a transexual tree monster who rules the beautiful dead ghost, who has to be a vampire in order to survive in the ghost world. They are all living in a temple with a possible ghost or warrior, wasn't quite clear. The warrior stood for good and fought the evil. When a young man who is naive and doesn't realize the temple is haunted stumbles in and falls in love with the bewitched beautiful vampire ghost. He does not know she is dead yet and they have a lovely romance sequence. Soon he finds out she is a ghost and wants to help her escape her karma and be reborn again. With the sanskrit words and the help of the good warrior, they take on the tree monster and even go to hell to fight for the spirit of the beautiful ghost finally making there way back to the world. A shimmering image filled feat! Just like the haunted mansion you always wanted to see. Highly Highly Recommended. It has subtitles and they are sometimes hard to follow. This is a movie definately for art lovers and whoever else that is open to something new and different.

Lisa Nary

A must-see if you want to fully enjoy Chinese Ghost Story II
I saw Chinese Ghosty Story II before Chinese Ghost Story, and there's a marked difference between the two. Unfortunately, there are several important plot points from the two movies that join them in a way that makes both better (including a song that takes on a whole new meaning when you realize it's sung by two different characters in each movie).

Chinese Ghost Story is not as wacky or enthralling as its sequel, with less special effects and a more uneven rhythm. The plot, in short, is about Ning Tsei-Shen, a tax collector, falling in love with a ghost, Nieh Hsiao-Tsing, who is kept by a, uh, "tree hag." The tree hag uses her to kill unwitting male mortals.

One particularly weird point is that the tree hag can transform into a gigantic tongue, which shoves itself down men's throats in Alien-esque fashion. Upon doing so, the victim's life force is sucked out. So in essence, the tree hag gives one serious French kiss.

I've since read elsewhere that Sam Raimi took inspiration from this film for Evil Dead, a connection I made on my own. The animated trees, the grasping tentacles, the perspective from the demon's point of view, and even the tree hag's shout that she'll "swallow your chi!" - yep, Sam saw this movie and loved it.

Ghost life is different than typical European ghost folklore. In Chinese Ghost Story, ghosts are more like faeries. They have lives, get married, argue, have relatives, etc. In this case, Nieh Hsiao-Tsing is torn by her role of luring men to their doom and her affection for the hapless tax collector. Worse, she is promised to some unspeakable evil guy in hell.

Our fearless protagonist stumbles into this plot because his tax records are rained on, thus leaving him without any means of getting paid for his hard work. Broke and desperate, Ning Tsei-Shen can only afford to stay in a haunted temple to stay out of the rain.

Chinese Ghost Story is like an Asian version of Romeo and Juliet, down to the help friar -- in this case, a crazy monk who happens to enjoy the presence of spirits more than living people. Although we don't get much perspective on Ning Tsei-Shen's life prior to the story, Nieh Hsiao-Tsing's back-story is fleshed out. She has sisters, all of whom were murdered and left without a proper burial ritual.

As ghosts, they serve a weird tree demon who is actually a man dressed in drag. This is an ongoing theme throughout both movies - demons always look like men, but dress and sound like women. It's strangely effective in making the demons seem immediately wrong, even in their supposedly mortal forms.

The struggle here is not to reunite the two lovers - that's understood to be an impossible task. Instead, it's a race to put Nieh Hsiao-Tsing to rest before she is married to the Unspeakable Evil. A final burial means the ghost also has a chance at being reincarnated as opposed to roaming the Earth or being married in hell. In comparison to the other two fates, reincarnation sounds a lot better.

Of course, things don't go that smoothly. Nieh Hsiao-Tsing is kidnapped, and the dynamic duo of bumbling tax collector and crotchety monk pursue her right into hell. The action propels itself along so quickly that things become confusing - I picked up a lot on second viewing because the characters shout or react so quickly to Hell, which is a murky place.

Between the three protagonists, they manage to defeat Hell's minions, an axe-wielding general, and the big bad himself.

Ning Tsei-Shen looks over his shoulder and his ghostly love is gone. Next we see him giving her a proper burial. Then Ning Tsei-Shen points - we can only assume at a rainbow in the distance that we see in the next scene - and the tax collector and the monk ride off into the distance.

POOF! The end.

To say the ending is jarring is an understatement. The director's style definitely matured in the second movie. This first movie is an excellent set up for the sequel, but on its own it seems like a pastiche of ideas and concepts that were never fully executed. A must-see if you want to fully enjoy Chinese Ghost Story II.

Tale of a man and a ghost...
The debt collector, Tsai-Shen, arrives in a small town in order to collect a debt. However, during a massive rainfall the water has destroyed the records of the debt that Ning is suppose to collect. Penniless and friendless Tsai-Shenseeks shelter in the Lan Ro temple oblivious to the reputation of the temple, which is known for its ghosts as well as its deaths. During the night Tsai-Shen meets Hsiao-Tsing with whom he falls in love with, but he is unaware that she is a ghost. Chinese Ghost Story is a touching love story full of swashbuckling adventure and humor as Tsai-Shen ignorantly tumbles through an adventure with horrors around every corner. However, the comedy is not as well balanced with the horror, since the comedy removes the suspense as it often is slap-stick humor. In the end, the audience experiences a action comedy that will entertain and offer some hilarious moments as Tsai-Shen struggles through this adventure. ... Read more

Reviews (1)

Another great box set from Anchor Bay!!!
This is one great box set from Anchor Bay!!! 3 great Wim Wenders classics in one great collection!!! Contains "Lightning Over Water", "Notebook On Cities & Clothes" and "The American Friend". Each film is personally restored by Wenders himself and lodaed with facinating new extras!!! Extras include:Commentaires on all 3 films by Wenders himself including one(The American Friend) with guest Dennis Hopper!!!,deleted scenes with commentary by Wender:on "The American Friend" and and "Notebook On Cities & Clothes" and "Nicholas Ray:Especially For Pierre"-a 38 minute lecture by Nicholas Ray(on "Lightning Over Water" and more!!! If you like Wim Wenders, you'll love this wonderful box set!!! Two thumbs up!!! Way up!!! Five Stars!!! A+ ... Read more

Reviews (28)

Not as good as "Wings of Desire", but still has charm
"Faraway, So Close" is a sequel to a perfect movie so perfect that perhaps should have been left untainted by a sequel, however, it still captures the magical feel of "Wings of Desire", but this time with a pop-thriller feel.

It cruises along the border of body and mind, and follows the two intellectual angels that have been tackled with the dillema of reality versus eternity.

The film is lengthy and at times moves slow, but offers many interesting and thoughtfull moments, and it generally provokes many thoughts long after the movie's end. A must for Wenders fans. Since a sequel has already been made to WoD, perhaps master director Wenders can cook yet another chapter in the story, but one that captures the essence of Wings of Desire.

An excellent sequel
This is much lighter and easier to follow than its progenitor, "Wings of Desire".

This movie follows Cassiel's desire to be human. While Tariel may have hade a more ideal life (family, child, job, simple pleasures), Cassiel's story is one more of what happens when humans screw up, make bad choices, or live in denial.

Can't forget Peter Falk. He reprises the best role I have ever seen him in. Also, William Defoe the Fallen Angel is something to be remembered.

A truly wonderful companion movie and also wonderful on its own. I wholly recomment buying it today.

Void of meaning; boring enough to put you to sleep
Starts out great, then descends into a horrifying hell of boredom and ambiguity and mixed up wastelands of celluloid. There was no point to this movie and it literally put me out; yep, it put me to sleep. I thought the beginning looked promising but then it turned into one of the most enigmatic wastes of time I have ever watched.

faraway
airheaded new age schtick. feel-good gobbledygook mixing philosophy, social consciousness, art cinema fetishes, international stars, history, noir, and whatnot. it tries to teach, illume, entertain, humor, and inspire. it also tries to be very hip. it just made me wanna puke.

The Berlin Ground.
The success of 'Wings Of Desire' must have prompted Wenders to come up with a sequel. It certainly makes a greater effort at garnishing a wider audience, with the addition of Natassja Kinski, Willem Dafoe & Horst Buchholz to the previous cast. The script also has the novelty of being in 4 different languages.

In 'Wings Of Desire' Bruno Ganz's transformation from angel to human could be seen as a desire by Berliners each side of the wall to overcome their imprisonment from each other. In 'Faraway, So Close', the moral confusion that Otto Sander witnesses when he crashes down from above, mirrors the uneasy turmoil of the new united Berlin. Like an East Berliner untutored in the ways of the West, he stumbles about in an unsophisticated way until his new freedoms begin to overwhelm him and he finds his only refuge in a bottle. Despite all this, he tries to find meaning and do good, but finds that in the new Germany, the only options open to an ex-angel (or an ex-communist) is the criminal underworld.

Although the film starts to lose its way in the final farcical half hour, there are some impressive performances here, especially Horst Buchholz (last seen in 'The Magnificent Seven').

Wenders last great film, his talent has since floundered in making movies with the likes of Mel Gibson. ... Read more

Reviews (15)

Gripping, not just about Zaire/Congo. DVD quality moderate.
Although it's quite likely that some artistic liberty has been taken with the facts, I viewed this with my "general state of affairs of colonialized African countries" goggles.

In that regard, it's a gripping tale that shows some of the horrible footprints left behind by colonialism mixed with other pre-existing tribal aspects of the local societies, not to mention the Cold War. That indictment is what stood out when I watched it, and it's eye-opening for those who've not lived in Africa.

Since this is a review of the DVD, and not just the movie, my only disappointment is that those of us with HDTV/widescreen capable TVs/projectors will notice the poor quality of this DVD. I watched Lumumba for the first time at a film festival a couple of years ago, and was looking forward to having a good quality copy on DVD.

Unfortunately, it's been *letterboxed* to shrink the widescreen format into a 4:3 frame. I wish they had used a true anamorphic widescreen transfer that would make fuller use of a 16:9 aspect ratio/resolution. In that sense the cover text "luminous new widescreen transfer" is misleading.

At least the Special Edition is subtitled, and not dubbed or censored (from what I've read of the other version), so that's one plus for this specific edition of the DVD.

An Excellent Attempt
Lumumba is a movie worth seeing. It sets down as facts, a number of attributes about the character Lumumba, in terms of substance and style.
In a very striking story such as this, a very important and incredibly difficult task has to do with revealing raw facts while avoiding any elements of assessment or judgement of such facts by the crafters of the film. This allows the audience to do their own assessment of the raw facts they see. The events in the movie is presented from the perspective of Lumumba. We hear Lumumba's voice at the beginning and end of the movie, as well as a voice-over narration from time to time. This idea of the "Voice of the Dead" is interesting. In the story, Patrice, being human, didn't know (of course) what others were thinking and conspiring about. He had to read between the lines and put the pieces together. That is what one feels when watching events unfold from Lumumba's perspective. I very often felt an underlying silent tone of events, which made me think curiously and read between the lines. So in reacting to Soren Dayton's comment, I have to say that it is not a misstep even though the film does not outrightly present us with a glaring reason why Mobutu changes in the story.
In terms of production, continuity and editing of the film could have been better. However, Lumumba is an excellent attempt.

Important subject matter, a bit hard to follow
I would recommend this film, but couched in the warning that I found it a bit hard to follow. There are a lot of characters - the various political figures - and sometimes it's hard to keep them all straight. It's definitely important subject matter though - an interesting glimpse into the colonial forces that shaped modern Africa and the struggles that continue today in many of its troubled nations.

A Haunting Story, Excellent Film
This movie is an excellent in its depiction of Mr. Lumumba. Strong, sensitive and committed to his people this movie depicted a strong man senselessly murdered after betrayal by his own countrymen. Mr. Ebouaney's performance was Oscar worthy! This is a must see movie.

Get the subtitled Special Edition version
First off, Lumumba is an exciting, dramatic film that I recommend very highly.
However, this version of the DVD in addition to being dubbed into English, is censored in at least one place. Toward the end, at a moment crucial to a historical understanding of the role of other countries (including the U.S.) in sealing Lumumba's fate, the name of the United States official is actually beeped out on the soundtrack. Why? Did it have something to do with this being the version aired on HBO?
Of course, it's possible that there are other instances of censorship on this DVD that I'm unaware of.
I'd recommend getting the subtitled Special Edition. The price isn't THAT much more and it has some good special features that make the higher price worth it. ... Read more