Reviews (108)

BEN KINGSLEY'S FINEST HOUR ON DVD
Richard Attenborough's "Gandhi" is a masterfully told, massively mounted epic motion picture, depicting the life and times of Gandhi, a benevolant crusader for peace, whose shocking assassination rocked the world. Ben Kingsley rightfully took home the Oscar for his subtle but stunning transformation into the title role. WARNING: This is a slow paced movie but well worth the three hour plus investment of your time.
Columbia Tristar has given us a very beautiful print of the film. Colors are rich, bold and vibrant. Contrast levels are good. Although black levels are not always at their darkest, this is relatively forgivable, since most of the film takes place during the day. Shimmering, aliasing and edge enhancement are all present but in extremely minute amounts, leaving one with nothing to do but admire the visual presentation in all of its breathtaking cinematography. The soundtrack is 2.0 surround but well represented. Some of the audio has a tendancy to appear thin or strident but, again, considering its dated fidelity and the source material, it is remarkably well represented. No extras - disappointing for a big time Oscar winner like this. Perhaps we'll get a special edition eventually.

Excellent movie about a 'mover' in this world
Every once in a while this world produces an exceptional human being whose presence makes it a much better place to live in. Such a person was Mahatma Gandhi; the Indian 'radical' whose teachings about non-violent resistance lead to the eventual independence of India from British colonial rule. His teachings have inspired other such movements in the world and his life has been looked up to as a standard which others have tried to emulate.

Every once in a while those responsible for the academy awards have chosen deserving films. This is one of them. Ben Kingsley gives a grand performance as Gandhi, from his youth to his death. The impersonation is spot on; everything from the accent to the gait is so convincing that one could swear Kingsley was Gandhi.

If you are looking for a biography of this man on film, this movie is an excellent source. Condensing Gandhi's life into a few hours is such a great feat, especially when there is so much of this man that could be explored. The movie was filmed in India, with 300,000 extras, so if you like epic films you will definitely enjoy this one. The scenery is authentic and the characters have a reality about them so often lacking in 'hollywood' films. No 'eye-candy' version of a historical event, this is a real movie about a real person.

The DVD extras were ok for a film this old. There is some original newsreel footage which is quite short but still worth watching to see the real Gandhi as he was. Kingsley also gives a talk about how it was being Gandhi, there is also some of the sayings of Gandhi; great candidates for those memorable sayings we all try to memorize to motivate ourselves. All in all a great DVD, the movie is a timeless classic about a great man of the modern world.

Movie does not do justice to the person
Richard Attenborough's movie "Gandhi" was a movie of epic proportion. Mohandas Gandhi was probably the most influential person of modern day India. If one reads any of his biographies or his autobiography, one would find that he was a very complex person. The movie was well directed and showed some of the important parts of the freedom struggle starting from his initiation in South Africa. However, for the sake of marketing, the movie concentrates largely on the european angle and sidetrakes the Indian angle completely.

Gandhi was a person who started a new line of thinking that inspired people like Martin Luther King, Nelson Mandela, and Dalai Lama. He was a complex person who right from childhood was afraid of ghosts and speaking in public. He was a disaster as a lawyer initially. The transformation happened when he saw the injustice happen to him in Pietermaritzburg in South Africa. I wish that the movie had shown the transformation in the person. This was an important catalysis. Most of the people shown in the movie were not important in Gandhi's life, though they were decent actors, such as Candice Bergan and so on. The Indians who associated with him such as Patel, Nehru, Azad and so on are given minor importance.

Some of his important speeches were left out, which are thought provoking. Recently Time magazine had Salman Rushdie write a piece about Gandhi. Granted there is freedom of speech, but I had never seen a more badly written piece about Gandhi than that. Rushdie should stick to fiction - well he is losing his touch in that too. Gandhi had his faults like any human, some of his ideas may not apply in the present day world. But his positives far outweigh his negatives. The sad part is that he is largely forgotten in India itself. Most people in India do not take the trouble to read and know about the real person, what he stood for, his ideals. In fact, I am ashamed to say that South Africa remembers him more than India, even though his is the father of India. Even in the last elections in South Africa, he was used as an icon. However, in India, he is slowly ebbing away.

A soul-conquering fine work of art
Never before have I seen such a powerful work of art. It made me forget the finesse of the technological masterpiece, an advanced Macintosh computer running MacOsX, which delivered the breath-taking scenes in vibrant colors with soul-stirring sound effects. Instead all that stood in my mind was the movie and movie alone. This was a radical change in thought for a person like me who is a avid technology enthusiast. Never before have I been so involved in the scenes of a movie. Every scene and every peice of sound hits the nail right on its head with a powerful strike of the hammer. I must appreciate the dedication of the team and their quest for perfection. Years of their work has produced this masterpiece which mankind can cherish for the eons to come. This certainly is one of the best creations of collective human intellect of superlative degree. The story of the life of a great soul in a soul-conquering work of art.

gandhi-whats the point?
i mean he wasnt that great was he? there are plenty of annorexic people out there. plus its not healthy. throughout that whole movie i was yelling, " GIVE THAT MAN A SANDWICH!" he needs to eat something. I cant tell the difference between mahatma gandhi and paris hilton. in closing WHO LET THE DOGS OUT
WHO WHO WHO WHO.
who let the dogs out-good tune
gandhi-OK flick

i give it ***

GO GANDHI! he is my favorite linebacker in san diego chargers history ... Read more

Reviews (36)

Hornblower, The Adventure Continues
The cast, producers, directors, etc. did and outstanding job in the latest two episodes, Mutiny and Retribution! I heartily echo the sentiments made by Hornblower fans in previous reviews.

It is so refreshing to see a wonderful story, with outstanding acting, direction, etc. without relying too heavily on complicated special effects. With that said, I would like to state that the sequences with the model ships were outstanding yet again!

Because I have so enjoyed the Hornblower series on DVD, I have eagerly read all the Hornblower reviews by you long-time Hornblower fans.

Being a fairly new fan of just one year, I have recently learned here on this site, that CS Forrester had written a series of 11 books about Hornblower's career. I have purchased and read Mr. Midshipman Hornblower. What an excellent book! Looking forward to reading the remaining 10 books and hope more televison movies will be made!

Hornblower On Trial
This was one fantastic movie. Ioan Gruffund, Jamie Bamber, David Warner, Paul Copley, and all the other members of the cast did a superb job. No longer a boy, Horatio has grown into a man while maintaining an honorable character. This movie begins with Horatio, who is in prison with the charges of mutiny on his head, being paid a visit by the obviously ditraught Commodore Pellew who cannot believe that Horatio, of all people, would be in prison for mutiny. Horatio assures him that it was for the good of the service that he and those who were in agreement with him should take over the ship. He then launches his tale starting six months prior to his imprisonment. Horatio, along with Archie, Styles, and Matthews,is stationed on a British War Frigot known as the Renown that is captained by the aged war hero Captain Sawyer, who is out of his mind. Horatio and his friends for a long time must put up with their captains crulety and his strange antics, until when he endangers the ship and its entire crew, the men have him chained up and locked in his cabin. Fearing court marshall should they not do something quickly, the men attempt to take a Spanish fort. The second half of the movie is about their on land adventures and how Horatio must prove his innocence in court. This fantastic movie is filled with adventure and loyalty and honor just as much as the original four movies. Along the way, Horatio will lose friends and gain them as he fights for survival during the Napoleonic Wars.

The best gets better
This follow on to the earlier efforts of A&E are actually an improvement where few thought that possible. The widescreen format and the quality of the filming are superb. Forrester's work is excellently adopted to the big screen. With a large screen televison and surround sound this ranks as an all time favorite.

the best movie in the world!!!!
i love horatio hornblower its my absolute favorite movie i would deffinetly give it five star, i'd give it ten if possible.
it's absolutely amazing, interesting, and the best movie in the history of time!!!!
watch it!!!

it was the best movie ever writen
In the movie Mutiny we find Horatio In a prision with Captian Pellew coming to see him. Then we see that horatio begin to tell captian pellew the whole story. Including every bit of detail possible. Also in Mutiny we meet Mr. Bush and we see that he is not trusted at and has no friends aboard the Renown.

In retrubution we see Horatio Hornblower and Mr. Bukland tell the rest of the story at the trial. At the end of the secound movie it ends very tragicly but it had to end that way be sure to keep a box of tisues near by.

It defently has to be rated five stars for the best acting and spacial features and the feelings that Ioan Griffudd shows. I recomend it to any person who loves action/ drama movies. ... Read more

Reviews (49)

The Nazis come up with the "Final Solution" over lunch
"Conspiracy" is based on the original minutes of the Wannsee Conference held on January 20, 1942 in Berlin where the Nazi worked out "The Final Solution." The of this HBO production is something of a misdirection, because this hour long meeting that would result in the death of 6 million European Jews might have been secret, but it was not exactly clandestine. This is not a meeting where the participants made their plans in hushed whispers, but something that eerily smacks of a board meeting at a large company. These men were going to become mass murderers on a scale rarely seen in human history, but they seem more like bureaucrats than anything else, which is just another level of the horror involved here.

"Conspiracy" goes beyond the recreation of this infamous meeting for the 1984 documentary "The Wannsee Conference," both of which are based upon the lone surviving record of the gather of 15 Nazi officers head by General Reinhard Heydrich (Kenneth Branagh). Included in the group are Lt. Colonel Adolf Eichmann (Stanley Tucci) and Dr. Wilhelm Stuckart, Interior Ministry (Colin Firth), and within an hour they come up with their solution to the "Jewish question." However, this is a sense in "Conspiracy" that they are not so much debating what it to be done but being asked to sign on to the plan that Heydrich is revealing directly and indirectly throughout the meeting in his quest for "unanimity."

This time around the horror is in the details, as these men try to come up with the most efficient way of killing and disposing of that many people while one guy does the math. Given that we know what is going to happen what stands out are not those who cannot wait to start the killing as much as those who have "reservations." Stuckart, who wrote the Nuremberg codes, is aghast at what these new policies will mean for the rule of law in Nazi Germany, as the courts are filled with divorce cases separating Jewish and Aryan spouses. However, Struckart makes it clear he hates Jews as much as the next person at that table. Then there is Dr. Wilhelm Kritzinger (David Threlfall), Permanent Secretary of the Reich Chancellery, who obviously has misgivings on moral grounds, but ultimately can offer no more obstacle than a story, which serves as the final statement on the proceedings when related by Heydrich to Eichmann after the meeting.

The end of the film, where we are informed as to what happened to the participants, is particularly interesting. I was surprised how few of these 15 Nazis were actually executed for war crime. Several of them would die during the war while others would be imprisoned, but a surprising number were released for lack of evidence. I was also interested to find out exactly who failed to destroy their copy of the minutes, although there is nothing particularly insightful about the revalation beyond satisfying my curiosity. In terms of Holocaust films "Conspiracy" a footnote to the mass exterminations, but of interest for what it provide in terms of rare insights into what the Nazi bureaucracy was actually thinking as it launched the "Final Solution."

Stands up to its subject matter
An account of the Wannsee Conference, chaired by Reinhard Heydrich (Head of the Reich Security) on January 1942. This Conference was to be decisive in establishing the "Final Solution" - cause of the Holocaust. One copy of the proceedings was found by American investigators after WW2 and was made into two movies, "The Wannsee Conference" (a West German movie), and the American remake "Conspiracy".

Any movie where we watch people talking for 90 minutes stands or falls on acting quality. Kenneth Branagh, as Heydrich, is excellent - the texture of his role is slick and darkly pleasant. The other actors are efficient. The made-for-TV nature of the movie does become apparent in its low-budget production, but this kind of movie does not necessarily need a lot of fluff.

Watching nazi officers and officials discussing whenever half-Jews should be made infertile or killed is not an inherently desirable experience. But there are many things in life that are undesirable, but must be confronted.

Worth Watching
I had the opportunity of viewing Conspiracy during a Holocaust Education workshop for teachers. It is very accurate (from what I have read) and does show the inner-works of the Wansee Conference.

I believe that the film was either filmed on location or at a place that was very much similar to the Wannsee House. I had the opportunity to travel there this past summer with a group of teachers. I was struck by how much the movie prepared me to think about the house and it's importance in the creation and implementation of the "Final Solution". If you are thinking of showing it to students, you may need to explain to them how the conference was conducted and give them some background -- it has lots of dialogue and plenty of "under currents" that can be hard to follow if you are not familiar with the "power plays" that were going on at that table....lots of ego at that table. It is important to remember that many of these individuals were sent by the "major players" in the Nazi regime to attend the conference. By not attending the conference himself, Hitler and his administrative members could claim "plausable deniability" (so they thought) if anything were to go wrong with the plan. It is hard to believe that this beautiful house that is located on beautifully-decorated ground and of of a spectacular lake could have played such a major role in WWII. Chilling!

chilling and engaging
It is certainly true that this is not the most accurate of historical documents, but then any historian would tell you that all history is in the interpretation and so the movie is as useful as your interpretation. The performances are excellent, Branagh, in particular, is outstanding, he is every bit the portrayal of the chillingly pleasant monster. The message is powerful, the acting and direction cold, calm and calculated - within 1 hour the holocaust was decided upon; the moment where the topic of discussion is how many and how fast can they be culled? is particularly sickening.

From an historical perspective i found the following very interesting: Hitler based his party structure on a chaos theory in that he had simple overlapping functions, so that his subordinates would always be engaged in in-fighting, instead of challenging him. It worked remarkably well. Here, in motion, the director shows the in-fighting, but on this part of domestic policy (internal to the Reich, at any rate) the decision was swift and unanimous, Heydrich alone held the power. Utterly intriguing.

What may make this more interesting for anyone, might be to read Hannah Arendt's account of Eichmann's trial in Jerusalem, which is published by Penguin.

Haunting
The Holocaust is one of humanity's greatest tragedies, and its mention brings up images of swastikas, death camps, mass graves, and gas ovens. It's some thing you can't talk about easily, and can barely joke about unless you have no heart. This film is about the Holocaust, and while you may see a swastika arm-band and hear a few Heil Hitlers, you won't find any violence or harrowing images; this film is only rated R due to the use of the f bomb a few times. However, this film can be just as gut wrenching as any Holocaust movie you've seen, because it's all about the people who planned it...and the fact they were just as human as you and me.

The fate of eleven million European Jews was decided over a meal by several higher ups in the German government (although not Hitler). Led by Reinhard Heydrich (played brilliantly, as usual, by Kenneth Branagh) and his aide (play brilliantly, also as usual, by Stanley Tucci) as they explain the plan. They explain it so simply, as if they're building a house, and in a very intellegent manner. In fact, it has to be explained at some point in the conversation that "deportation" is just a fancy word for murder.

Many of those present do not agree with the methods, but not because they have sympathy for the Jews. One somber delegate thinks the Jews should be removed from common society, but that murder is too extreme. Another delegate objects to the plan...but only because he feels the procedures Heydrich draws up will contradict his already enforced anti-semite laws. In the end, it is revealed how it will be accomplished: by none other than the gas chambers of the concentration camps.

Like movies such as "My Dinner With Andre" or "12 Angry Men" this movie takes a storyline built entirely on dialogue and proves it can be fascinating. These are characters that joke about sterilizing a whole race as if the Jews were animals, and the lack of music through out the whole thing (except for the ending narration) adds a good level of realism. I found myself watching this movie three times after I had rented it to closely study how the different characters interacted and treated this serious issue.

If you are interested in World War II, German history, the Holocaust, or you just like drama, then you will enjoy this movie. Some may not be able to watch it because of the subject matter, but it is definately worth your time. These are not propoganda style Nazis, nor are they charicatures of Hitler, but they are just ordinary people. ... Read more

Description

Part poetry, part journalism, part philosophy, master filmmaker Jean-Luc Godard's Notre Musique is a witty and lyrical reflection on war through the ages. The film is structured into three Dantean Kingdoms: Hell, Purgatory and Heaven.The journey begins in Hell, represented by modern war and then moves to Purgatory, set in Sarajevo.Finally, Paradise is conceived as a small beach guarded by Marines from the United States.At the same time, the film also follows the parallel stories of two Israeli Jewish women, one drawn to the light and one drawn towards darkness. ... Read more

Reviews (4)

A visual poem of hope beyond horror
Godard has offered us perhaps his best work since "Le-Week-End"
(not cialis folks)in 1967. The arche post-modernist film-maker has given has a subjective charcter, Olga, the French-Jewish journalist/martyr is his first totally compelling female character since his ex-wife Anna Karina, who lit up his work from 1961-65.

JLG, himself, seems to have mellowed a bit, and like many septaganarians, his musings may be turning to the "invisible world" beyond the veil.

Loosely based on Dante's "Divine Comedy," "Notre Musique" gives usvisions of Hell, Purgatory, and Heaven. This redemptive movement gives us hope in the face of the wars that have virtually detroyed 20th century Europre, and of the tremendous horror modern man has inflicted on minorities he considers a nuisance (American Indians, victims of war, Palestinians, Women, Muslims,Jews, Bosnians, Blacks...). This isn't new for Godard, but the outrage is replaced by sorrow in the face of the eternal repetition of atrocities. inequalities. and injustice.

Godard mourns the "masculinization" of women with his film bit about film shot/reverse shot. And Sarjevo has become the new Auchiwitz- or Hiroshima. We see how much war, masculine child-like war, has traumatized our civilization, and how we still are helpless in the face of this primal instinct.

Some may see "French anti-semitism"in his his treatment of the fascinating interview with the very western looking Palestinian, who says, in effect, the only reason the plight of his people are known is because of their relationship with "The Jews", both victims of European Nationalism.

In Olga's ascension, in the short final section, to Paradise after her martyrdom in Israel(perhaps indicative of Godard seeing signs of impending fascism in the "Neo-Con" contrived"roadmap" of today's Israel- not original but dramitcally poignant.) we see a retun to nature, as in "The-Week-End." and our return to our origin
in "the garden" A hopeful sign that we all may begin, not necessarily be born, again.

Welcome back JLG, perhaps, like Luis Bunuel in his 70's, your bestwork may be yet to come. Sadly, this isn't for everyone,
but wouldn't it be wondeful if it could be.

Godard's new film is way beyond belief
Jean-Luc Godard's overpowering but insanely confusing new film "Notre Musique" is an astonishing symphony of garish colors, violent images and a jarring musical score. Godard, an icon of the French New Wave, uses every technique at his disposal to create a solemn reflection on the questions of war, evil and human nature. But the film's grave, weighty maxims don't really add up to any clear profundities. The film is a bizarre and ambitious experiment -- a mixture of narrative fiction film with documentary -- but it ultimately leaves its audience behind.

The structure of "Notre Musique," modeled on Dante's "Divine Comedy," is divided into three parts: Hell, Purgatory and Paradise. The homage to Dante is one of the most obvious references in a film filled with them, which tends to amount to allusion for allusion's sake. Godard is well known for his practice of quoting, paraphrasing and referring to past works of art, though his tastes are so obscure that it's nearly impossible to follow along.

The first segment, Hell, is a disturbing ten-minute collage of images of war. The short clips were culled from all sorts of sources; Nazis from the Holocaust documentary "Night and Fog" play alongside stereotyped Native Americans from Hollywood Westerns.

Godard's tremendous skill as an editor is evident throughout "Musique," especially during this first sequence. He weds violence and brutality to the powerful music of numerous classical composers, including Sibelius and Tchaikovsky. The effect of the perpetually pounding pianos is overwhelming, though numbing rather than emotional. The same is true for the section in its entirety; showing scene after scene of gruesome death, Godard does not so much affect his audience as alienate them.

The second part of the movie, Purgatory, is its bulk. Its loose narrative is centered on a real-life conference, European Literary Encounters, held in Sarajevo. Godard follows a cast of tangentially related fictional and real-life characters as they travel in Sarajevo during the conference. Among the people playing themselves are Godard, the Palestinian poet Mahmoud Darwich, the Spanish author Juan Goytisolo and French authors Pierre Bergounioux and Jean-Paul Curnier. The internationality of this real-life artistic community is particularly interesting, especially in the way Godard uses it in order to universalize his messages.

The protagonist of the film is Judith Lerner (Sarah Adler), an Israeli journalist from Tel Aviv. She and Olga Brodsky (Nade Dieu), a French Jewish woman, wrestle with the Israeli-Palestinian crisis, which serves as Godard's microcosm for modern armed conflict. In one of the movie's most memorable scenes, Judith interviews Darwich about the Israeli-Palestinian conflict. The poet argues that even as they have suffered under the Israeli occupation, the Palestinians have benefited in publicity. "The world cares about you, not about us," Darwich says. "You've brought us defeat and renown." Judith's response rings all too true: "We are your propaganda ministry."

But identifying with this scene, as with the entire film, requires genuine knowledge on the subject, making "Notre Musique" something of an elitist work of art. The other obvious shortcoming is the rapidness and arbitrariness with which Godard moves from character to character and idea to idea, leaving the audience no time to absorb them. As a result, the film's many self-consciously profound insights into the world come off as glib and even shallow. (For example, one character randomly remarks, with a straight face, that Russians have no concept of evil because of Russian syntax.)

The scenes in Purgatory have little thematic connection or character development to speak of. Instead, where Godard envisions Hell as absurd and inexplicable war, he seems to regard Purgatory as a world of perpetually fruitless wrestling with morality. Though this idea sounds wonderful in concept, the film's open-ended nature quickly becomes tiresome.

Perhaps the most interesting part of Purgatory is its setting, Sarajevo, the city where World War I originated. The film shows it to be a damaged and wounded city, though one undergoing a healing process; the run-down bridge in the city that Judith visits during its reconstruction is an elegant symbol of this transition.

The centerpiece of the film is an address Godard gives at the conference. He speaks on the subject of "text and image," using a cinematic technique he refers to as "shot and counter-shot" as a metaphor for the duality of human nature. He shows a scene from the 1940 "His Girl Friday," arguing that Cary Grant and Rosalind Russell are two halves of one whole. It is infinitely confusing, but a wonderful moment nevertheless.

The title of the film translates to "Our Music," a phrase that seems to refer more to film than anything else. By mixing real-life and fictional characters, Godard challenges the boundary between movies and real life, suggesting that the first can help us come to terms with the second. But this abstract message is the closest the film gets to a concrete moral: it is often much more content to observe rather than comment. Detrimentally, "Notre Musique" observes the world at a mile per minute.

During the climactic lecture, one of his students asks the filmmaker, "Can the little digital cameras save cinema?" Godard does not respond. He doesn't seem to know about saving cinema, nor does he begin to contemplate saving the world. It seems, at times, that he doesn't even want to make sense of it.

(Originally published in the Yale Daily News, February 11, 2005.)

I've Heard That Song Before
I've never been much of a Jean-Luc Godard fan. Film after film he has disappointed me. Sure, there have been a small handful of films I've found meaningful including his last film "In Praise of Love", "Contempt" and "My Life To Live", but I've said some pretty mean spirited things about Godard in reviews written on amazon and in conversations with friends. I've called him pretenious, immature, and about as intellectually stimulating as a three year old.

I've found Godard to be childish in a philosophical sense. We just don't see eye to eye I think. What he finds thought provoking I don't. I think Ingmar Bergman, Andrei Tarkovosky and Akiria Kurosawa are far more mature and thought provoking.

I've also thought Godard has problems resolving his stories. He doesn't know how to come to a satisfying conclusion. In most of his films the characters die in the end. Watch "Breathless", "A Woman Is A Woman", "My Life To Live", "Pierrot le Fou", "Weekend" and "Contempt". In the grand scheme of things, yes, death is the ultimate ending, but, I feel it's a cop out. It showed his inability in handling his characters.

But now I've seen "Notre Musique", and my opinion of Godard has changed.

"Notre Musique" is one of if not Godard's best film. It is the film I have been waiting for Godard to make since I first saw "Breathless" about seven years ago.

Now either I'm slipping and have lowered my standards or Godard really has something here.

My guess is the latter. Now at 73 Jean-Luc Godard is not the same man anymore. He is not the radical leftist of films such as "Weekend" or "Two or Three Things I Know About Her" but instead has become more reflective. With age, wisdom and maturity have followed.

"Notre Musique" does not feel like a typical Godard film. Godard shows more restraint, more focus. There really is a great maturity here. It is here that Godard blends an intellectual capability and an emotional complexity in a masterful way. A way few films are able to achieve.

The film is divided in three chapters; Hell, Purgatory, and Heaven. Each is set to beautiful music. I said the film doesn't feel like a Godard film, and that's true, but Godard does his usual experimenting nonetheless. Music is cut in mid-scene, the screen fades to black while actors are still talking, and some characters do speak in the same way they have in Godard's past films and I've called it pretenious, but the difference here is Godard has found a perfect marriage of ideas and images.

We see the horror of war and its aftermath, the struggle here on Earth, and the paradise that can be found, as two women; one a journalist, the other a rebel searching for the truth. In one example of how Godard has matured, in the 60s the rebel would be the star, the symbol of power and what needs to be done in society, here though she is an almost tragic figure. Godard is injecting himself not only in a physical sense (he does star in the film as himself) but in an emotional way.

Despite the new year being only a month old, "Notre Musique" is the year's first "important" (whatever that may mean) film. A masterpiece.

Bottom-line: One of Godard's best if not his best. Displays an emotional maturity in his work. A perfect marriage of ideas and images.

Notre Musique
Jean-Luc Godard's `Notre Musique' is a somber act of eventual forgiveness, a cry for a world divided by its wars, our own Godard says. If Godard's previous film, `Eloge De L'Amour' was about things forgotten: memory, cinema, history, than `Notre Musique' is about division, a last cry for a world destroyed, Godard has made the film of our time, one scene in particular, is one of the most unsettling, tragic and symbolic scenes Godard has ever shot: An Indian of a forgotten tribe makes a moving speech in which he offers reconciliation to the white man in front of him, standing in a destroyed library in Sarajevo, the man pays no attention to him at first, and then when Godard turns the camera over to where the white man initially was, there is no one there. There is one undeniable connection between Godard's earliest work and his last films: the ghosts that haunt them. `Le Mepris', `Pierrot Le Fou', `Bande A Part', were films that were haunted by the ghosts of a certain kind of cinema that was ending: a poetic American cinema that included auteurs like Sam Fuller and Nicholas Ray and foreigners welcomed by the American cinema like Hitchcock or Fritz Lang. Then in 1966 Godard had Jean-Pierre Leaud talk about, in `Masculin-Feminin', the alienation he felt when he went to the cinema: `The screen flickered, but more often than not we were disappointed, Marilyn Monroe had aged terribly', an incredibly confessional scene in a film that spoke of a newer generation, no longer captivated by Bogart and Dean, the `children of Marx and coca-cola' as Godard called them. `Notre Musique' is set in Sarajevo and all of the characters are wounded, caught between different countries, destroyed by nationalism, notably a young Israeli journalist who serves as a (literal) bridge from purgatory to heaven (Godard divides his film into three separate parts: hell, purgatory and heaven). In what is certainly the most tragic scene in the film, she explains why for her suicide is the only answer to purity, she is later killed in a cinema when she threatens to have explosives in her bag (which actually contains books), an extremely symbolic statement on sacrifice and why it is impossible. There is a scene in the film that describes the entire message of the film and, perhaps better than any other single scene he has ever shot, the balance (that is so faint in his films) between stylization and complete, utter moments of beauty that can only be captured, not staged: Godard himself is seen giving a conference, and when, for the millionth time, someone asks him if video will save the cinema, the camera lingers hauntingly as a tear runs down his face: his answer is silence. ... Read more

Reviews (71)

A sensuous, erotic and touching love story
"The Lover" is a gorgeously sensuous and erotic film about a young girl's awakening to love and her own sexuality. Whover categorized this movie as soft porn needs to wash his or her mind out with Lysol. It is, quite simply, a love story. Jane March plays "the young girl", a French adolescent in colonial Vietnam living with her widowed mother and two brothers. Her mother barely makes ends meet by teaching, her younger brother, with whom she has a relationship both protective and erotic, is weak and passive, and her older brother is brutally antisocial, stealing the family's few funds to support his opium habit and bullying his younger siblings through violence. The girl attends a lycee in Saigon where she and her friend are the only Caucasian pupils. On a trip from her home back to school she meets "the Chinaman" played by Tony Leung, and their encounter sets off sparks. Leung is the son of a rich overseas Chinese, engaged to marry the Chinese girl picked out by his father, who spends his own days in an opium haze; his feelings for the young girl are at first purely sexual but ripen into a love so deep it confuses and frightens him. It's a love that is doomed from the start; his father will not hear of him marrying a non-Chinese, and her family, although the equivalent of white trash, still considers themselves better than the Asians they live among. When the word of her affair with the Chinaman gets out, she becomes an outcast among her schoolmates. The young girl tries to cope with the social and emotional conflicts by convincing herself and telling him that she doesn't love him; he knows she's kidding herself and so do we, and toward the movie's end, when she has lost him forever through his marriage to the woman chosen for him by his father and her own repatriation to France, she herself realizes she is in love with him. Jane March is incredible in the role of the young girl; she brings out all her character's innocence, sexuality and adolescent confusion. Tony Leung is just right as the pampered son of a rich family who is hamstrung by the mores and traditions of his family and society; and Frederique Meininger is especially effective as the mother, who dotes on her worthless older son (the more venal she knows he is, the more she dotes on him, helpless to deal with the reality of what he is, and worse, what he will become), and condemns her daughter's relationship with a Chinese on the one hand while she has no problem taking her daughter's lover's money on the other. The cinematography is beautiful and conveys all the heat and languor of colonial Vietnam. This is no film for children; the sex scenes are as explicit as can be shown in any film not rated X. At the film's end (Jeanne Moreau does an excellent voice-over throughout the movie), when the Chinaman after decades of silence telephones the girl who is now a middle-aged woman and tells her he has never forgotten her and will love her until death, we realize how strong was the love between these two. It's a beautiful film of two people who were just right, even while they were all wrong, for each other.

From Lust to Love
This is a physically beautiful film, set in an exotic locale (Vietnam) and inhabited by very attractive actors who know their trade. It starts as a lustful adventure for the wastrel son of a Chinese merchant and a bored teenage girl who finds her all-girls academy to be quite stifling. It ends as a true and tragic love story as the protagonists find that their sexual affair leads to real caring.

Many professional critics disliked this movie, but my wife and I both found it quite involving. This director (Jean-Jacques Annaud) also created "Quest For Fire", which I think met a similar fate among the critics. And again, both my wife and I found that very unusual film to be quite impressive.

I do hope that movie-lovers will give this one a chance. It was meant to be a film of quality, and in spite of its frank sexuality it is by no means to be considered soft-core pornography. It is perhaps in the same genre as "Sirens", a little Australian movie that combines a rather complete view of Elle MacPherson with a clever, well-photographed story.

Let me say that if you're looking for a good "date" movie, here's your answer. This is a love story that both sexes will enjoy. Warm up the DVD player, and lower the lights.

The Lover - A Passionate Love Story
For those who think this movie is only carnal, I extend my deepest sympathies for your apparent ignorance. This is a romeo and juliet parallel not to be missed.

This is one of, if not the best, love story ever written. It tells of a young woman, barely 17, whose life is already a tragedy. Her family was thrown from wealth and good standing, to poverty and squalor, scraping by to make ends meet in French occupied Vietnam. She is all but shakespearean in her suffering, without the guidance of a father, and the love of a weak and unscrupulous mother and drug addicted brother. There is much tenderness in the cannonization of the youngest brother, as a living saint, the one pure thing in her life.

The lover, played by Tony Leung Kai Fai, is himself, a tragic hero. Educated in France, he longs to shirk the burden of his chinese culture, buck tradition and marry for love. He is consumed by the forced arranged marriage, and pursues the young Jane March with the guile of an experienced and wealthy man, but with the tenderness and respect of a true lover.

The two make an arrangement to meet in his bachelor pad, which according to chinese tradition, is a "practice area" for marriage. Jane March's young virgin surrenders to passion and experience, while remaining emotionally detatched from her chinese lover, for he tells her that they can "never be married" as it is "not allowed", and he would be disowned and poverty stricken if he went against the wishes of his family. Seemingly, Jane March's character cares little for the potential of this toxic relationship, revelling only in the sexual experience and conversation that they share in their secret room, away from the rest of the world. He is her escape, as surreal as the life she escapes from.

The scenes are intimate and touching, full of tenderness and imagery that conveys the worship like reverence with which they experience each other. He, worshiping her sexual innocence, while she worships his sexual experience. A powerful and erotic culmination.

Truly as story continues, you believe each of the characters less and less, as they joke about how they would not fit in to each others world. They do a wonderful job trying to convince each other that the affair means nothing. It becomes less believable, as you see them fall deeper and deeper into love, and examples of arguments where they truly hurt each other, in the way that only two people in love can wound.

A truly touching ending that had me in tears, as her ship pulls away from the harbour and he is there, in his car, watching her leave.

Highly recommend this movie as a measure to restore your faith in the very real power and strength of love, even when there is no "story book" ending.(...)

Visually stunning, well-told story
I'll admit it, I first watched The Lover for the erotic scenes with Jane March, who I happen to think is gorgeous. But the more I watched it, the more the direction (Annaud) and the story (Duras) shone through. I recently bought my own copy, and I watch it more frequently than I would have thought. If it were only the sex, there are more efficient films, although the sex is quite good and again Jane March is truly a hottie.

The story, which is based on Duras' own life, talks about a young girl living at school, a 1-day trip away from her dissociative family in French Indochina in the 1930s. One day, returning to school from a visit with her family, the 15 year-old meets a Chinese man, who offers her a ride. They begin an affair, based on her curiosity and his desire for love. Needless to say, this causes scandals on both sides of the relationship. As their intimacy deepens, the Chinese man's arranged marriage looms closer, until he has to leave her for his new wife. Shortly after, the French girl and her family leave for France. As we see, the relationship was stronger than either one suspected it had become, but by that point it's too late.

The physical beauty of the film, which owes much to both Annaud's direction and the Vietnamese countryside, is amazing. I find myself watching it over and over just to see the cars driving through incongruous fields, bridges and streets. The subtext of foreigners (French, Chinese) in a foreign land (Indochina) governed by foreigners (French) reinforces the story's quality of isolation, as do the locales: there are rarely more than a handful of people in any scene, and the exceptions are telling, as well.

This is definitely one of the best films of the decade and deserves to be seen over and over.

Diffrentiating Between Sex and Love
This movie has one thinking what sex and love is. Can sex and love go hand in hand? That is the question of what the movie brought to my attention. I saw this movie on an independent film channel and the character, a young girl, has an affair with an older Chinese man. Her family struggles financially. The mother is a widowed schoolteacher and her brothers are obnoxious and want to get into her personal life. She does introduce her lover to her family and he does treat them to dinner. However, what was puzzling was their relationship. Did they actually have real feelings toward one another? He was arranged to be married and there would have never been anything more between them.
This movie diffrentiates between sex and love. Is it possible to have a sex only relationship? If so, how can it last? Do emotional feelings get in the way of their relationship?
Duras was experimenting sex for the first time. It was an experience that she would carry through her adult life. ... Read more

Amazon.com

In filming this semi-autobiographical account of life in Italy duringthe dawn of World War II, director Franco Zeffirelli imbues Tea with Mussolini with the mixed blessings of fond reminiscence. It's a warmly inviting film, as impeccable as any Merchant-Ivory production, but like a hazy memory it's uncertain in its narrative intentions. And yet with an exceptional cast to compensate, the film's as engaging as it is inconsequential.

Zeffirelli's alter ego is Luca (Charlie Lucas in youth; Baird Wallace as a teenager), who is raised in Florence by Mary (Joan Plowright), the middle-aged secretary of his absentee father. Luca lives among a loose band of British and American women, nicknamed "Il Scorpioni" for their stinging wit in the shadows of Mussolini's thuggish dictatorship. Along with Mary there's Hester (Maggie Smith), a crusty ambassador's widow; Arabella (Judi Dench), a lively bohemian; lesbian archaeologist Georgie (Lily Tomlin); and Elsa (Cher), a flamboyant American who quietly finances Luca's education.

Il Scorpioni witness the rise of fascism and the dangers of resistance, weathering dictatorial custody and (in Elsa's case) falling prey to heartbreaking betrayal. But Tea with Mussolini carries little dramatic weight; you have to forgive its unfocused structure to appreciate its merits. Zeffirelli gently conveys the passage from pleasantry to wartime, and he's drawn uniformly fine performances from this seasoned cast. If the film is vaguely unsatisfying, it's only because it had the makings of greatness and settles instead for an ethereal quality of anecdotal enchantment. --Jeff Shannon ... Read more

Reviews (47)

Rich, beautiful, layered, and delicious
With Judi Dench, Joan Plowright, Cher, and Maggie Smith, how could this movie be anything but wonderful? Set in Italy in the 30s and 40s, Mussolini's era, with WWII as a backdrop, it's the semi-autobiographical story of director Franco Zeffirelli's childhood. Beautiful scenery and costuming, beautiful sets, it's in many places a mood piece more than a deep examination of the issues involved. It spite of its occasional superficiality, a very wonderful film with stellar acting.

Excellent and worth buying!
One of the best films to ever grace my screen. The film was quite spectacular and really helped to understand the history of WWII more as an outsider caught up in the policies of war. I really felt as though I was there and found myself becoming "friends" with each and every one of the characters. Definately calls for a trip to Florence now! Baird Wallace has a wonderful career ahead of him. Cher was-as usual- great! Judi Dench's character was lovable and emotional. Joan Plowright was truly a gem among stones. She's brilliant! Don't bother to rent this movie. buy it for you, your family and your grandkids. You won't be disappointed!

This Is The Best Tea I've Ever Had!
Tea with Mussolini is an excellent movie. I have to agree with most everyone else's comments. My personal favorite is Hester. Played brilliantly by Maggie Smith, she is a pivitol character with a comically blind faith in Mussolini. I would (and do) recommend this movie in a heartbeat.

A Great Cast!
Set in Florence and covering roughly 10 years from the brink of World War II to the liberation of "Il Scorpioni", Zeffirelli's film boasts a great cast: from the group of English women who love all things Italian-- Maggie Smith as Lady Hester, Judi Dench as Arabella, Joan Plowright as Mary to Lily Tomlin as Georgie, Cher as Elsa, and last but certainly not least, Baird Wallace as the older Luca based loosely on the director, himself. The group of English women will not leave Florece even in the face of an impeding war; Lady Hester, in her naivete assumes that tea with Mussolini will guarantee her and her friends' safety.

The film is a little predictable and somewhat rosy. On the other hand, If Luca is based on Zeffirelli, he obviously lived to tell his tale so perhaps this rosiness is justified. Cher seems to play Cher and isn't terribly convincing as a rich Jewish American; and her wardrobe is gaudy enough to belong to her. On the other hand, the three British actresses are great, particularly Maggie Smith who cannot abide Americans. My favorite line of hers is that Americans [referring to Elsa] can even "vulgarize" ice cream.

Of course it's impossible to make an ugly movie that's filmed in Florence; this one is no exception. (It's probably impossible for this director to make a less than beautiful movie.) While this may not be Mr. Zeffirelli's best film, it's much better than the best efforts of a lot of his contemporaries.

An Engaging Movie Worth Your Time
With the many talented actresses in this film, you might have expected to have heard more about it. While the editing is questionable, this is still a wonderfully acted, engaging little film. Although, it does drag a few times, the story is worth knowing and the performances are top notch.Particularly Cher, who lights up the screen as Elsa. Especially, near the film's end as Elsa boards a small boat to escape with the assistance of the charming character Luka. Simply breath taking!

Grab your favorite beverage and check this film out! ... Read more

Description

A pair of teenage boys growing up in a working-classneighborhood become aware of their homosexuality. While both werevaguely aware they might be gay, neither had ever acted on theirimpulses. Once they decide that they're attracted to each other, neitheris sure just what to do. Winner of 4 International Film Festival Awards. ... Read more

Reviews (261)

Sweet & poignant coming of age (and out) story
An emotionally tender & wonderful coming of age film, "Beautiful Thing" is an essential addition to your "alternative" movie section.

The story centers around Jamie (Berry) and Ste (Neal), 2 teenage classmates and neighbors in a working-class development in London. Jamie is a reserved teen sharing a normal relationship with his single, pub manager Mom (Henry). Ste lives an emotionally and physically abused life at the hands of his single father and older brother. What transpires between them is a very tender and emotional tale of first love and budding homosexuality. Awakening sexual desire, guilt, fear and, eventually, love is played out in an honest & sincere fashion.

The entire cast is superb. As Jamie & Ste, Glen Berry & Scott Neal give their characters a sweet and emotionally accurate innocence... especially when joyously galavanting through a forest together and sharing a long kiss. Linda Henry is exquisite as Jamie's Mom, Sandra. She delivers a fantastic and multi-layered performance as a woman trying to deal with her own life, in addition to her son. As the Mamas & the Papas loving neighbor Leah, Tameka Empson graciously adds some needed turbulence (comically and otherwise).

The script is heartfelt, comical (some moments between Sandra & Leah are a bitingly hilarious), and fresh. Definitely a wonderful comedy-drama and, perhaps, the best coming out film of the decade.

Don't Miss It!
BT is one terrific movie -- and one of those surprises you could have almost missed, but are eternally grateful that you didn't! It's an honest, fun, sensitive and uplifting story about growing up, about loving, and about raw courage -- without any of the political agenda or overwrought angst found in other films of a similar genre. Linda Henry and Glen Berry give first-rate performances as Sandra and Jamie, a British working-class mother and teen-age son struggling with the usual stuff of which such relationships are made, while Jamie is simultaneously discovering the depth and beauty of his sexuality, and the love that he feels for his neighbor and mate, Ste (Scott Neal). Far from being another cliche-filled coming-out story (though coming out is a major theme), Beautiful Thing is most authentically a love story -- and a damned good and happy one at that! (though weeping is certainly allowed, encouraged, and unavoidable in certain key scenes). But it's not just about the love that Jamie and Ste share; in a way that is inseparable from the main story line, it's about the powerful and life-giving love that Jamie and his mum feel for each other. The movie is full of hope and joy -- and will fill you with those same feelings. Indeed, it sticks to your gut and stays deep down inside long after you have first seen it.

The downside of this film is that its "R" rating (certainly not for sex -- it's gotta be for the rough language) deprives a whole group of young people from experiencing a film that could bring so much goodness to their lives. Every teenager, gay and straight, ought to see this movie. It cuts through all the stereotypes and shows just how beautiful the love between two regular guys can be. Their story is so moving that one would have to be pretty cold and hard not to root for the triumph of Jamie and Ste's love. Indeed, making it a required part of the high school curriculum would go a long way in freeing young people from fear and prejudice, and would do much to help them become more loving and accepting people. What an inspiration and beacon of hope it could be for young gay people looking for a way to love and a reason to hope!

You will be glad and grateful for seeing this movie. In fact, I guarantee that you will not be able to see it just once -- you will want to see it again and again. And that's why you will want to buy it! That's what I did!

Falling In Love
Falling in love, having someoneto love, someone who loves you.It just doesn't GET any betterthan this. A special treasure.

Truly Beautiful
I can't count the number of times I've read a magazine article about this movie, how many times I'd scoured the movie rental places for it in high school, how many times I'd almost bought it online... but never did get my hands on it until recently. It may be hard to find, but it is well worth the search. This is the best coming-of-age movie I've seen --I connected with it and each of the characters on more than one level-- and I was delighted to find that the usual stereotypes are no where to be found in this movie. And on top of that, no sex scenes or anything else you might not want to show your mother.

The story has been summarized in many of the other 250 or so reviews, so I won't do that here. But I will urge you to get this movie and watch it -- it will touch you and be beneficial whether you are just coming to terms with being gay, if you're out and completely fine with yourself, or if your kid or friend has just come out to you. Even if you don't know many gay people, watch this movie and see what you think. It deserves all the awards, recognition, and reputation that is has. I only wish I had seen it sooner (and that other people had seen this before I had to come out to them!).

This is a British film, so expect more rough language than you'd see if it had been made in the U.S... I'd also recommend using the Closed Caption to keep from getting a bit confused from the language differences (for instance, I thought Ste had said he was Naked when it made no sense ... ends up he had said Knackered... sleepy I guess LOL).

Whether you rent it or buy it, find some way to see this movie.

A Must See and A Must Have
This film deserves six stars. It is more than a story about two men falling in love. It is just a wonderful love story. It is very sincere without being sickening and very sensual without being overtly provocative.

Buy two. One for yourself and one for someone you care about. ... Read more

Reviews (40)

An Entertaining and Clever Landmark
Breathless, or A Bout de Souffle, is arguably one of the ten most important films of the last fifty years because it demonstrates a new, and eye-popping editing style that has now become common-place among Indie and European cinema.

Francois Truffaut, who is responsible for the script, once said all that you needed to make a movie was 'a girl and a gun.' Breathless appears to be Truffaut putting his theory into action, but there's a little more going on than that suggests.

It is a film that transports classic era Hollywood to the Paris of the late 50's. Jean-Paul Belmondo's character is obsessed with Humphrey Bogart. He is also on the run from the police, and off to visit his girl, Jean Seberg in Paris.

So far, so blah. But what director Godard does with this simple 40's noir plotline is to treat it in a way that feels intuitively wrong. He promotes the relationship between Belmondo and Seberg to centre stage and leaves the man-on-the-run-from-the-police story as a virtual subplot. To this end there is a lengthy scene of the couple talking in a bedroom - it must last twelve minutes. You practically forget that there's a Hollywood B-movie plot somewhere in the background.

It is testament to the performances, and particularly to Truffaut's script that you really don't mind. You just sort of get carried along by the thing.

It's important not only because it's dead, dead good and genuinely entertaining rather than just clever for the sake of it, but also because it plays so loose with genre and structure, it gave subsequent directors the right to experiment as well. No Breathless, no Pulp Fiction - despite Tarantino's claim to prefer the (much inferior) American remake with Richard Gere.

Jean-Luc Godard subsequently disowned the movie, considering it to be far too conventional. Perhaps he also disliked Truffaut's humanism, which shines through as it does in everything he was involved in.

Godard went on to make more challengingly, more confrontational pictures but never really recaptured the youthful exuberance of Breathless.

Think of a movie like Citizen Kane. If you've seen Kane you'll recall that the viewer feels Welles's joyful iconaclysm, even sixty years or so on. Same deal with Breathless. Even though the jump cut and gleeful genre-bending have both become standard you can still feel the exhiliration from everyone concerned in doing something genuinely new.

A must own.

Yes, the film is important, but it's also a lot of fun.
"Breathless," Jean-Luc Godard's tribute to moviemaking itself and one of the seminal titles of the French New Wave, is, jump-cuts and all, a film that changed the way movies were made. It introduced audiences and critics alike to new voices in the cinema, to a newer and cheaper guerrilla-style film made on location and to the sort of movie aware of the fact that it was just a movie.

That said, though, this movie is a lot of just pure fun. In the leads, Jean-Paul Belmondo and the absolutely gorgeous Jean Seberg seem to inject their portrayals of young thief-and-killer Michel Poiccard and his indecisive American girlfriend Patricia with a sense of humor and joy. The couple they portray are given moments where they're not really pushing the action forward, where they're reveling in what it feels like to be young and in lust, if not love. The scenes where they're lying in bed just talking or riding together in a car and talking about Paris are perhaps the most delightful aspect of the film.

Even though the character of Michel is almost certainly doomed from the moment he steals a car and guns down a police officer, he has a lot of fun with his last days, wandering the streets, stealing from friends and trying to get Patricia to sleep with him. Patricia, likewise, is given moments of joy, despite worrying about her pregnancy and job, wondering if she should betray the man she loves to the police or run away with him to Rome.

That spirit, in addition to its technical wizardry and the passion of its makers, is what made the film different in 1960, and it's the spirit behind it that just makes "Breathless" fun Sunday-afternoon viewing now.

The first of the New Wave, but not the best...
All right - Breathless is an important film and I can see why. This is the film that gave birth to the French New Wave. Before this, films look like they were shot in a studio. This film made the gritty look of seventies filmmaking - and indeed, today's independent filmmaking - possible. This film has a guerrilla feel to it, which makes it seem very modern. Goddard films on actual locations with handheld cameras. The most obvious innovation is the deliberate use of "jump cuts", which goes against the traditional theory of "invisible edits." The story itself (by Francois Truffaut) is innovative - it foreshadows Quentin Tarantino with its non-moralistic account of a cold-blooded, Bogart-worshipping killer (wonderfully played by Jean-Paul Belmondo) and his crazy/beautiful American girlfriend.

That having been said, the style of this film is really what is important. Looked at today, when its innovations have been absorbed into mainstream film, TV, and commercials, some of the flaws are more apparent. Especially towards the end of the film, when the story gets wackier and the style gets over-the-top, it became hard to restrain my Mystery Science Theater comments. That is the problem with being the first in anything - you go too far and you date yourself. Although Goddard started the Nouvelle Vague, I think that Truffaut - as evidenced by his script here - is the more important artist. This is the film that paves the way for better films like The 400 Blows. However, Breathless is still a good film and a must for any serious student of cinema. Although there are few extras on this DVD, the film looks great. For all its flaws, Breathless still has an air of authenticity that few films today can dream of.

Slow moving crap
This movie is full of a bunch of slow moving character developments. There's a bunch of long dialogues between men and women that are very drab and superficial. People tell me to watch this film for the amazing jump cut edits...well I did and big deal. Let's face it this guy is no Scorcese when it comes to doing innovative stuff with the camera, writing compelling scripts, and getting a likable cast up on the screen. Personally I think this guy just writes films for film school types and completely ignore us the audience.

Of Historical Interest Only?
The reaction of someone who is not a film historian:

This is obviously not intended as a work of surrealism or Dada. Godard has a story to tell, and two characters to introduce to us. I suggest that the film techniques be measured by whether they contribute to these goals. The use of handheld camera, long shots, candid shots of Paris do. They give the film a sense of energy and reality, and have perhaps been adopted by others because of this. The "jump cuts" (which I take to mean the abrupt cuts in the middle of scenes, with no attempt to maintain continuity) do not. They are distracting and remind you, with a jolt, and indeed never permit you to forget, that you are watching a film. This is not like noticing that a great painting is made up of the artist's individual brushstrokes; more like brushstrokes that keep you from seeing the overall picture. It just comes off as amateurish, and interfers with plot and character development.

Seborg didn't seem to me to work in this role. I think Godard means to tell us that she is not vulnerable but in fact the same sort of animal as Belmondo, but the toughness was not persuasive (esp. the obvious self consciousness of the closing shot). If this is not what was meant, then she failed to communicate to this viewer what exactly it was that motivated her character. Does that mean she is "deep"? ... Read more

Description

One of the most celebrated screen adaptations of Shakespeare into film, Akira Kurosawa’s Throne of Blood re-imagines Macbeth in feudal Japan. Starring Kurosawa’s longtime collaborator Toshiro Mifune and the legendary Isuzu Yamada as his ruthless wife, the film tells of a valiant warrior’s savage rise to power and his ignominious fall. With Throne of Blood, Kurosawa fuses one of Shakespeare’s greatest tragedies with the formal elements of Japanese Noh theater to make a Macbeth that is all his own—a classic tale of ambition and duplicity set against a ghostly landscape of fog and inescapable doom. ... Read more

Reviews (83)

Akira Kurosawa's Japanese version of Macbeth
I'm a student from Nagoya International School and have just seen the movie "Throne of Blood" in our unit in Shakespeare's Macbeth. By watching the movie, I saw how Kurosawa has adapted Shakespeare's Macbeth to a setting in the Japanese feudal time period. As a person who reads and speaks Japanese, I felt the Japanese title "Kumonosu jou", meaning Spider-web castle had a strong impact on the film. One of the most interesting characters in both Throne of Blood and Macbeth was the witch. The witch took a big part in the story where he/she tells Macbeth his destiny. This drives Macbeth to his tragic end. In the original version of Macbeth, there were 3 witches telling Macbeth his future which motivated Macbeth to his murders. But in Kurosawa’s Throne of Blood, when Washizu was lost in the woods, he meets an old man spinning a wheel and making thread. By seeing that, I thought Kurosawa recognized that the witches controlled the story in the original version of Macbeth. So the old man spinning symbolized that the witch had everything in control. I think that is another reason that Kurosawa named his film Spider-web Castle, with the idea of spider-web suggesting the witch was in control of everything. I recommend this film to students who have read Macbeth and studied the play carefully, as they will be are able to compare this film to the original version of the play and enjoy the differences between the two.

witches counts as 'mononokes'?
I am a student at Nagoya International School, and have recently studied Shakespeare's Macbeth in my English class. After reading the original Macbeth, we watched several versions (Polanski, BBC, and RSC) which included Kurosawa's version of Macbeth, "Throne of Blood". Each of Polanski, BBC, and RSC version reflected Shakespeare's original version of Macbeth, its rich and fluent language, and its fabulously distributed plot. Because of language difference, and difficulty to transfer Shakespearian language directly into Japanese, it seemed as though the value has been lost, but as a Japanese citizen, I was eager to understand that Kurosawa had used old fashioned Japanese language in his film, which created an harmony which can be compared to or to support the lackness of Shakespeare's language. I also enjoyed the way how Kurosawa transferred the witches of the original version, into 'evil spirits' or what is called 'mononoke' in Japanese. Kurosawa probably named the forest and the castle to match the evil spirit , or Macbeth's (Washizu) fate. The evil spirit appeared in white robe, with white messy hair, spinning a wheel in its hand, a stereotype of what a Japanese would imagine as a 'mononoke'. Cobweb or 'spider' was such a great aspect to extract the evilness of the original witches of Macbeth, because of the replacement of the witches to a 'mononoke'. The black and white film also contributed to express the 'spookiness' in the evil spirit. With some of these changes, Kurosawa perfectly fitted Macbeth itself from an English story into a brand new Japanese film, using ancient Japanese culture (ex. feudal systems, japanese chivalry). He was successful in translating the original Macbeth for the Japanese, to spread the wonderfulness of the Shakespearian plays to a new and wide ranged people.

I just read Macbeth in British Lit class
After reading Macbeth in Lit class, I wanted to watch a movie adaptation and I happened to run into this one, I had heard on amazon.com that this was a Japanese adaptation of Macbeth and I picked it up, I really enjoyed it, much more than I expected to. Akira Kurosawa did a great job in this, it is old and the technology is limited but I loved it, I showed it to my friends who had not read the book but they loved the film as well, especially the ending, if you have seen it, you'll know what I mean, I do not wish to ruin it for anyone, anyway, the DVD price is quite high but if you are thinking of buying it, I suggest trying to rent it somewhere or obtain it temporarily from somewhere or someone and then decide to buy it or not, good movie, enjoy.

Akira Kurosawa just knew how to make great movies.....
Akira Kurosawa's Throne Of Blood may very well be his best, ranking up there with Seven Samurai, Ran, Yojimbo, Rashomon, and The Hidden Fortess.
A telling of Macbeth the film takes place in the time of the samurai. Tashiro Mifune plays Washizu a worrior who betrays his master and friend on his climb to the ultimite of power.
After encountering a witch in the woods who tells Washizu that he will take the place of his master Washizu, with the not so suddle proding of his wicked wife, dose everything in his power to gain, the lose control, of everything.
Kurosawa had done Shakespear before, quite possably the best telling of King Lear was Ran, but this time he strips everything down to the bear bone and unlike some films from Japan, the acting, manic and frantic, seeems only to enhance the film. Mifune is fantastic as Washizu, the ill fated worrior.
The movie grabs you right from the beggining and never lets go. It's a very violent film for it's time but if you ever want to see a master at his craft look no further than Akira Kurosawa'a Throne Of Blood.

Macbeth around the globe
Throne of Blood is an Akira Kurosawa's rendition Shakespeare's Macbeth. The story pretty much is the same with a few minor character changes, one sprit instead of three witches for example, and some obviously included contextual changes, set in pre-modern Samurai Japan. I understand that it has historical relevance and all, but really the movie itself is nothing too special. It is just an ok movie.
Now that I have said that, I feel I need to warn the viewers out there who do not usually watch foreign films. These people must be wary of, if it bothers them, the fact that the film in black and white. I understand that some people cannot sit through black and white films. There is also lack of ongoing action, typical Shakespeare, that we are used to, and that puts some people to sleep, so be warned about that too. I feel that you should watch it for your own cultural and mental advancement, but unless you like the genres of Japanese/Samurai films or Shakespeare adaptations then you probably will not like it. In addition, it is in Japanese, so if you do not like subtitles then you should be warned once again. I recommend you watch it, but at the same time I feel that once is enough. ... Read more

Description

After a decade of battling in the Crusades, a knight challenges Death to a fateful game of chess. More than forty years after its initial release, Ingmar Bergman's stunning allegory of man's apocalyptic search for meaning remains a textbook on the art of filmmaking and an essential building block in any collection. Criterion is proud to present The Seventh Seal in a pristine new transfer. ... Read more

Reviews (109)

Death and a masterpiece
After ten years in the crusades, Antonius Block (Max von Sydow) returns to his homeland with his squire (Gunner Bjornstrand) to find it is blackened with plague. Upon his return he is faced with a meeting with Death and the realization of his ultimate fate. The clever knight prolonges his destiny by challenging Death to a game of chess. Through the film Antonius strives to find the meaning of life and the existence of God. The story is joined by several other intriguing characters played by many of the familier Bergman Actors and Actresses.
Truely a masterpiece by Swedish director Ingmar Bergman. This film displays the true soul of man and his ignorance and acceptance of his existance. I was particularly marveled by the contrast between the beliefs of the knight and the squire. Whenever Antonius' search for faith became too ambitous, his squire always levels him with reality. Through the charcters of the film, Bergman shows us the living fabric of man's contradicting natures and ambiguous answers to life. As an avid film viewer I strongly recommend this film to serious movie spectators. This DVD is truely a treat as all the films in the Criterion Collection. The transfers are considerably noteworthy. If you have already seen this film and found that it was enjoyable, check out other Bergman films or look into some of the other Criterion titles.

A Compelling, if Somewhat Dated, Classic of Existentialism
I recently watched the Criterion edition release of this film, The Seventh Seal, with some friends. Although the film's techniques -- innovative and startling in 1957 -- are somewhat cliche today, the film still packs a powerful message, which is that although we cannot know if God exists, it is still possible for us to perform meaningful acts in the time allotted to us.

The story focuses on the story of a Swedish knight, Antonius Block, returning to Sweden from the Crusades -- played by the ageless Max von Sydow. The knight and his squire, Jons, are on the way home through a land ravaged by the Black Plague. On a lonely beach, the knight encounters Death, played with admirable restraint, and a good dose of dry humor, by Bengt Ekerot. Before Death claims Block's life, the knight challenges him to a game of chess -- if Block wins, he goes free; otherwise, when the game is over, Death will come for him. In that Death is busy, the game is renewed throughout the movie.

The movie also focuses on a troupe of actors who are traveling along the same road as the knight. Block knows that Death plans to come for the young actor and his family, and by prolonging his game with Death and thereby distracting him, he enables the young family to escape.

The movie, although obviously shot with a very small production budget and featuring a very minimalist approach (it could well be a stage play), is haunting -- one thinks about the movie's simple lessons for days afterward.

The film has often been parodied -- by Woody Allen in Love and Death, or in the recent "Bill and Ted's Bogus Journey" where Death is forced to play games such as Twister and Battleship with the film's heroes -- but it is still well worth watching.

The Criterion edition features both a Swedish and English-dubbed soundtrack, as well as a commentary track from a noted film critic.

An amazing and thought provoking movie.
This film is absolutely amazing. It is one of the few movies I watch more than once or twice.
It is an achievment in style. The film manages to look amazing by virtue of Bergman's skill with lighting and cinematography alone. Especially compared to the big budget, color Hollywood titles of the time (such as The Ten Commandments) which look plastic despite their "special effects" and use of color (this film is black & white).
The subject of the movie is man's search for the meaning of life and the question of whether or not God exists. The film is both thought-provoking and blunt in its presentation of this subject and the answers which Bergman provides are suprisingly blunt.
The DVD quality is great, as it always is with Criterion Collection DVDs, and Peter Cowie's commentary is particularly good.

However, I will admit that this film is not for everyone. It also seems to require (for me anyway) one to be in a certain "mood" to view it. If you want to simply be entertained then this is not a film for you, but if you want to view a skillfully directed and wonderfully thought-provoking (if a bit dated) film then go for it.

The silence of God!
Ingmar Berman(1918) established a challenging premise a chess mate between a knight from the Crusaders and the Death (Bengt Ekrot). If he wins, he'll live ; otherwise the Death will claim him . And this original duel happens after Sydow has left behind the misery, the plague and an unending war. He's deeply dissapointed with God and certainly he concludes that it doesn't exist.
This game will let exchange , scrutinize several ideas concerned with the faith , the silence of God and its own existence. God is a comfortable idea for the mankind ; it keeps them warmth , besides the man can dream with the hope of a celestial Paradise after this journey through this awful and miserable world. The ending sequence with the Dance of the Death is one of the most captivating and fascinating images in all the cinema story.
Many people state this is the Masterpiece : and obviously to me it's one of the three major achievements ; Persona and Cries and Whispers would be the rest .
But I've watched almost forty films of this brilliant swedish film maker and in his particular case ; a minor film from Bergman is above the average . So my advise is try to find out and watch all you can from this outstanding director.
This film won the Special Jury Prize 1957.
A timeless cult movie.

Absolutely Brilliant
A profound, affecting movie. Excellent dialogue and performances. Stark black and white cinematography. One of Bergman's greatest films. In fact, one of the greatest films of all time. ... Read more

Amazon.com

Some movies can only be described as delicious. In Babette's Feast,a woman flees the French civil war and lands in a small seacoast villagein Denmark, where she comes to work for two spinsters, devout daughters ofa puritan minister.After many years, Babette unexpectedly wins alottery, and decides to create a real French dinner--which leads thesisters to fear for their souls. Joining them for the meal will be aDanish general who, as a young soldier, courted one of the sisters, butshe turned him away because of her religion. The village elders allresolve not to enjoy the meal, but can their moral fiber resist thesensual pleasure of Babette's cooking? Babette's Feast deservedlywon the 1987 Academy Award for Best Foreign Language Film. This lovelymovie is impeccably simple, yet its slender narrative contains a wealth ofhumor, melancholy, and hope. --Bret Fetzer ... Read more

Reviews (81)

5-Star Meal, 5-Star Cinema
The feast of the title doesn't take place until well into the film. In fact, the majority of the film is spent telling the story of 2 godly sisters and the choices they made in life. Both sisters passed up true love and the promise of success in order to remain faithful to their religious beliefs. Instead they pass their lives assisting their minister father and carry on his work after his death. They continue their quiet lives past mid-life until one of the sisters' former suitors sends them a Parisian refugee, Babette. Babette spends 14 years with the sisters as cook, her only link to her former life being a lottery ticket that a friend in Paris renews for her every year. One day she wins the lottery and decides to use the money to prepare a sumptous dinner for the sisters and their small congregation. More than just an epicurean delight the feast is an outpouring of Babette's gratitude.

If the plot sounds thin, be assured it's anything but. The story is as rich and satisfying as the feast Babette prepares. We see the delicate romances that develop for each sister and understand their reasons for turning their suitors away. We see the lives the sisters, and their men, have led after making their decision. The feast comes at a time when the sisters are asking themselves questions that they never voice: Did they make the right decision all those years ago? Was it worth it? Reassurance comes in an unexpected and exquisitely romanitc way.

This film is such a wonderful example of what happens when filmmakers are interested in telling a good story and