Reviews (62)

Best love story I've ever seen,
In the spirit of "KIDS" this swedish film has brought the (sometimes disturbing) reality of High School to the big screen. Set in a small town, the story follows two best (female) friends into the frustratration that is teenage love. They bounce from party to party getting drunk and looking for boys, the monotony of the same thing every night drives one of the girls to look for love outside her group of friends.
Its hard for me to put in words (I'm no writer) how good this movie is, it takes "taboo" and makes it alright. This movie has adult themes including: adult language, adult situations, and brief nudity (a shot of a playboy centerfold that last no more than 10-20 sec). I hope that doesn't prevent open minded individuals from seeing this movie, trust me its worth the time!
If you don't want to buy, atleast go rent it, or watch it on HBO (that is where I saw it the first time). Its worth it: find it, watch it, I don't think you will regret it.

Foreign Import - Worth The Watch. Good Movie !
If you were ever a teenager, then this movie is for you....

Okay, so I'm being a bit broad based here, but this is a great film - and it touches so perfectly on what it's like to be a teenager, the feelings - confusions and emotions - that it's worth it's weight in gold.

The story follows a small group of Swedish youth, including an akward young girl "outsider" named Agnes who has fallen in love with her schools "it" girl: the very popular, especially with the boys, Elin.

The Elin/Agnes relationship is painful and beautiful at the same time. It's an excellent recollection of what it is to be a teenager in love, regardless of the sexuality. These are honest and true emotions, the kids portrayed could be any in any city, regardless of the country.

The film is full of angst and humor and a precious kiss.

The subtitles are done well and are easy to read.

If I had to pick a complimentary American film - get yourself a copy of "All Over Me" starring the wonderful Alison Folland.

Take a chance on this film - You won't regret it.

Best Regards, turtlex

See This Movie Or Die Unfullfilled
When i first got this flick in the mail, i figured it'd just be cool to see once or twice, no biggie. Once again, i was wrong. This is prolly the best movie i have seen all year. the cast was amazing, direction was much better then any american film i have seen commercialy released sind Hitchcock and the plot was very involving. Besides, thoese girls were SOOOO damned cute.

swedish movies sometimes suck, but not this one!!!
Well hello there!

Let me see. I feel like I can truthfully say that some movies from Sweden suck big time, but this "love story" is really good.

A typical young girl named Agnes, falls in love with Elin.
Agnes has discovered something about herself and she realizes that she is in love with Elin, the girl that every boy wants and with the reputation as the "schools slut" For some reason everyone thinks she has been with everyone.

Agnes is the geeky one with not many friends, and of course she has to carry her feelings for Elin all by herself. In the beginning Eling doesn't think much about Agnes. Just that she is a freak. But as Elin start getting to know Ahnes she realize that they have more in common than she first thought!

This is one of the best swedish movies I have ever seen. It is not based on the fact that we have to see erotic scenes between Agnes and Elin. Instead we can see two people falling in love, and not giving a da** what other people think of them!!

I suggest that you see it!! It's really good!!

I am from Sweden, and the only thing I don't like would be the translation from Fu**ing Åmål to Show me Love. but but, sometimes we translate american movies into funny swedish names! lol

See ya

Sweet, but without the sugar
This movie is very simple, but its completely involving and totally realistic. The story revolves around two high school girls, and the people around them. Elin is the most popular girl in school, and is liked by all the guys. Agnes is the exact opposite of Elin. She is awkward, she is nerdy, and she just happens to be completely in love with Elin. What follows is a realistic and open look into the lives of these girls, and just teenage life in general.

What truly won me over about this film, was how natural it all seemed. Throughout the movie, it didn't even feel like these people were actors reciting dialogue. IT felt like these were people you actually knew being caught on tape. Also, most films that deal with lesbianism are trashy and gratituous. This movie was neither. It was heartwarming, and real, and truly made you see the relations and interactions beneath.

NO, this film isn't extraordinary. But it's refreshing to have a simple film, with a simple story, that depicted the pleasures and horrors of everday teenage life. And that's basically what this film is, a slice of everyday teenage life. The fact that its warm, enveloping, and pleasant is just a plus. It doesn't try to dumb things down, and make pain non-existent, as many shallow teenage films do.This film might be simple, but its not shallow or silly.Lukas Moodysson is masterful at showing life at its most realistic. I would whole heartedely reccomend that you see one of his other films, "lilya 4-ever" as well.Its very different from this movie, but will serve as more proof that this is a director with genuine feeling. ... Read more

Reviews (124)

Easily John Woo/Chow Yun Fat's best!
The Killer is a beautiful action/drama masterpiece. It is the best work I have yet to see done by both director John Woo and HK superstar Chow Yun Fat(both of whose movies I am familiar with.) The rest of the cast (including Danny Lee and Sally Yeh) are superb. The sheer grace and flair of the seamlessly choreographed gunfights to the poignancy of the gripping story of a professional hitman trying to cut clean, while gradually falling in love with a victim he accidently blinds in a shootout are all executed perfectly. This movie is not your standard action fare, as it goes deep into the mind of the killers, and depicts the characters trying to live a life that is honorable in a world that is so corrupt and sinister. The bottom line of the movie is quoted by CYF toward the beginning of the film: "Not everybody in this world is untrustworthy." Underlying the blazing guns and implied emotional battles, lies a tale of loyalty, trust and friendship. John Woo epitimizes this movie by proving that the action is not present simply for the sake of action, but instead for clean moviemaking and plot. As for the quality of the DVD itself, the picture is very clear for an older movie (1989) and the features and menu setup is very stylishly done... just don't watch the trailers, they do severe injustice to the featured films (The Killer and Hard Boiled) and contain spoilers. For hardcore HK movie buffs, the Cantonese language track with English subtitles is the definite route to take. The English track is butchered and incomplete, not to mention hard to understand and silly-sounding. I highly recomend watching this movie in it's original language (the way it was intended to be heard) as it is much more powerful this way. If you plan on purchasing this movie, though, I would instead recommend you buy the John Woo 2 DVD pack, which includes both this edition of The Killer and also Hard Boiled, another John Woo/CYF compilation.

The Story of a Hitman with a Heart
Because I'm a 13 year old boy(and a fan of Chow Yun-Fat and John Woo), I was just looking for the best action movie of all time. I ended up with something better, a dramatic, well though-out action film. It may not be "The Matrix", but "The Killer" was awesome. It was a movie filled with mayhem and bullets. And there was so much action. Jeffrey is a hitman with a heart who, during his last hit, accidentally blinds a woman with a gun. Because he's not a cold-hearted hitman, he decides to do one more hit to pay for an operation that will keep her from going blind. Lee is a cop who wants to stop Jeffrey from making his last hit. Jeffrey is betrayed by the mob that hired him and is put in war against all odds. Jeffrey and Lee put aside their differences to blur the line between them. Together they blast through the war leading to a climatic battle that is John Woo's best battle ever. Even though I'm only 13, I know good acting when I see it. This movie has been throned "THE Movie of Mayhem".Don't bother renting it, just buy the DVD.

"One Vicious Hitman. One Fierce Cop. Ten Thousand Bullets."

John Woo & Chow Yun Fat...nuff said!
The Killer is the perfect example of cinema in its most powerful form. Expression...every bullet, every conversation & every scene just flows so beautifully & expressively it just blows me away. Unexplainable. Very deep & mythological story, unlike anything ive ever seen! U just have to see it. & see it. It will make u think to yourself, "what the hell is the average Hollywood budget gettin wasted on?? Promotion!!?? " John Woo on the other hand does not need $100,000,000 to truley express himself, hell, he doesn't even need the highest quality celluloid to make his films stunningly beatiful.. The Killer is no exception, John Woo is such a masterful director, no wonder why Hollywood have been ripping him off long before they invited him to join 'em!
& unlike most action films of mindless "invincibilty" plots & stupid reasons for massive shootouts, this has a cause for every piece of stunningly choerographed action...& consequences to join the equation.
If youve only seen Chow Yun Fat in his American films (Replacement Killers & Bulletproof Monk e.t.c), you really havent his true styles & capabilities. Get THE KILLER, & youll know why Hollywood have copied J.Woo's style of genius direction more times than a photo-copier has copied paper!
This is John Woo at his purest form, & Chow in his true style.
The John Woo & Chow Yun Fat combo is like the Sergio Leone & Clint Eastwood combo= Classics!
Get this if u like a deep, moving story, awesome acting, & action that sychronizes perfectly. (Also check out other J. Woo classics, Hard Boiled, A Better Tommorow 1 & 2, & Bullet in the Head!)
.....Nobody does action like Honk Kong...Nobody does Honk Kong like John Woo...

Best...action movie...ever!
Filled with grit, emotion, and psychological depth, not to mention lots and lots of blood, "The Killer" is the kind of passion play that is seen all too rarely in any style of film, let alone the action genre. In fact, John Woo's Hong Kong shoot-'em-up masterpiece resembles nothing so much as Shakespeare with thousands of bullets flying around. In this case the role of the tragic hero is assumed by Jeffrey, played in career-defining fashion by Chow Yun-Fat. Jeffrey is an amiable enough sort, who also just happens to be a fearless, unstoppable assassin with a steely glare and a deadly accurate shot. But when he accidentally blinds a lovely torch singer named Jenny while mowing down about a dozen criminals in a crowded bar, Jeffrey finds some new meaning in his life by assuming responsibility for the woman, even going so far as to try to get her a vision-restoring cornea transplant. However, everything is far from hunky-dory for Jeffrey and his ward: after committing one last job to get the money for Jenny's operation, Jeffrey finds himself pursued by a small army of thugs as well as Chang and Li, two relentless detectives. Oh, and his best friend and associate Sidney has (temporarily) betrayed him. With all that's going on, the stage is set for a struggle on an operatic scale, with Chow giving his character just the right mix of warmth and gravity.

As one would expect from a film directed by Woo, with Chow in the starring role, "The Killer" contains more than its fair share of shootouts and chase scenes, all filmed with Woo's signature frenetic visual style. However, it's what happens when the movie slows down that sets it apart from the pack. "The Killer" is as much a drama as it is an action yarn, and it's a mighty good drama at that. There are a bunch of scenes here that got my adrenaline flowing, but even more impressive, some moments practically moved me to tears (emphasis on the word "practically"). Behind the constant action is an often-moving tale of devotion, honor, redemption, and friendship in the unlikely setting of the criminal underworld. The lines between good and bad, right and wrong, cop and criminal, are all blurred in a haze of moral ambiguity and divided loyalties. While Jeffrey and Sidney attempt to restore trust after Sidney's betrayal, an unlikely bond forms between Jeffrey and Li as the detective and the assassin realize they're not that different after all.

As the story unfolds, building toward the inevitable confrontation, the tension and the emotional stakes only rise along with the body count. Woo manages to elevate the crime drama to poetry, whether during a taut action sequence or a subdued conversation scene. The movie's deservedly legendary finale, involving a crazed gun battle inside a church, is the only appropriate conclusion. The viewer certainly needs some catharsis after such a harrowing journey, and Woo more than delivers the goods. "The Killer" is one of the few movies of its ilk that can legitimately be called art.

=====Respect Hong Kong Cinema =======
===========Hong Kong action and John Woo should be greatly respected by Hollywood b/c most of his movies like THe Killer, Hard Boiled and The Better Tomorrow Series are being ripped off by Hollywood directors such as the movie "DESPERADO," "RESEVIOR DOGS" and etc. The Hong kong cinema should be credited by hollywood.==================== ... Read more

Description

An urban Maori family deals with great difficulties in adjusting to normalcy in urban New Zealand. ... Read more

Reviews (99)

The Clashing of Cultures Brings Ruin
ONCE WERE WARRIORS is a gem of a movie that received little play in the United States. And that is a shame since this film is one of the most brutal and unforgettable exposes of the disintegration of a native culture after debilitating contact with a colonially suffocating one. Director Lee Tomahori presents a poverty-stricken subculture of the Maori tribe in New Zealand, one in which the dissolution of the formerly strong tribal bonds and rituals becomes increasingly evident in each scene. Part of the appeal of this movie is that the theme of cultural sabotage is often repeated in many cultures--and not just in third world cultures that accept Burger King rather than their own gods as a worthy pantheon.

Temuera Morrison is Jake, a brute of a husband who finds that his place in society has been undercut by a Western civilization that seems bent on putting Guess jeans on all the natives. Jake finds it difficult to hold a job so he spends his days drinking in pubs with his mates. He brawls, he drinks, he abuses his long suffering wife Beth (Rena Owen) whenever his self-esteem dips below a critical level. Beth tries hard to maintain some semblance of normalcy, but with one son in prison, another seeking to join a gang, and a teenage daughter trying to face the issues of her own burgeoning sexuality in a male-dominant society, she finds this job impossible. She loves Jake, but she hates what he has become, and there is no easy solution.

Nearly all the major characters are blighted in some way by their inability to adjust to their newer and low-class status in a Western culture than relegates their own to disrepute. Much of the film is filled with the raw violence of bar room brawls, ugly scenes of domestic abuse, and rape. All of this violence serves to underscore the need of a disenfranchised people to look within themselves to find the pride and respect that once marked them as warriors. Most fail, but the few who do not suggest that the recovery of basic human decency transcends cultures and borders so that any who see this marvelous movie can take heart that brutes like Jake are dinosaurs, eventually to be replaced by adaptable survivors like Beth. The closing scene of Beth's son,now fully engaged in his gang's ritualistic dance of discipline, punctuates this most basic of human desires.

Superb acting and a point well made
It isn't hard to see why this movie garnered so many kudos after its release. The acting is superb. (Note: Temeura Morrison later stated that he was "scarred" for quite a while emotionally and mentally after playing Jake.) The unexcelled acting in AND the directing of this film, in this viewer's opinion, show the exact nature of family violence more clearly than other presentation in any media ever has. At first I was unwilling to see another film dealing with the subject, especially since I the results of domestic violence almost daily on my job. Now I say that if you watch only one film on the matter in your life, make it this one. For an American viewer, the fact that all the action takes place in Auckland, New Zealand helps give the distance needed for an honest perspective on the theme. Then the highly skilled actors (may we see more of all of them!)play the story out as it happens to thousands of families all over the world, totally stripping domestic violence of any excuse to be. By the heart-rending and horrific end of the movie there can be no doubt in anyone's mind that neither substance abuse, cultural conditioning, disenfranchised cultures, poverty nor a host of other things often invoked as "reasons" justify turning one's household into a war zone. Most family violence perpetrators are not hardcore psychopaths; they are "Jakes", and they have no excuse for what they do to their families. A beautiful film that makes its point without resulting to melodrama and sensationalism. It's a credit to all involved with the production that we look in on the lives of one family in crisis and realize, knowing that this scene is repeated thousands of time daily worldwide, the ultimate devastation brought about by "routine" family violence. A brilliant presentation. A "must see."

Film Of The Century!
Without discussing the content of this film, suffice it to say that the acting is absolutely phenomenal! The male and female leads are enormously talented!It's real ,it's raw, and I think that is the best example of acting that I have ever seen

Just sucks you in...
... and won't let you go. Really amazing story with people you really care for.

The best film of 1994
ONCE WERE WARRIORS is one of the most powerful films I have ever seen. Released at a time when NZ films weren't widely accepted, yet when audiences saw it ... they changed their minds. This was the most talked about film in Australia in 1994. It's one of those rare movies that made me cry.

Incredible performances from both male and female leads which contribute to the powerfulness of this film. The sequel from 1998 called "What Becomes of the Broken Hearted" is worth seeing, but not a patch on ONCE WERE WARRIORS.

Buy it, rent it, or whatever ... just get yourself a copy. You must have this DVD in your collection. ... Read more

Reviews (6)

Hey Dipsh*t. Yes, you Mr. Howard Marks
This forum is not the place for your anti-American propaganda bullsh*t. This forum is for the discussion of the film, "Idi i Smotri" (Come and See).

You sit in you high and mighty UK and bash the US while conveniently leaving out the 3 centuries or so of oppression and genocide comitted BY YOUR BRITISH EMPIRE all over the globe.

Half of my family is from Russia, were this film is set; and I can tell you that we are happy to live in a country such a America. Is America's past perfect? Absolutely not. But neither is England's, Germany's, Russia, France, Japan, China, etc...

Get off your high horse and take a deep breath of the fresh free air- which is brought to you via hundreds of thousands of dead American GI's thoughout two world wars.

Excellent account of WWII on the Eastern Front . . .
4.5 Stars

Although initially sceptical regarding this movie's historical accuracy as it was a Soviet era production, after watching it I thought this film to be a very honest and sobering portrayal of the war on the Eastern Front, between Hitler's Germany and the Soviet Union during WWII. The movie depicts an often overlooked facet of the war, specifically the activites of the SS "Einsatzgruppen," or special action police units, whose task was to liquidate Jews, communists, and any potential threats to the Nazi regime behind the front lines of the actual fighting. These SS police units travelled behind the army's advance, and in addition to conducting mass executions of Jews and suspected communists, were also employed to "pacify" occupied regions that were suspected of taking part in, or aiding, the growing underground resistance. The activites of such an SS unit provides the background to the movie as the main character, a young teenage boy, loses his parents and survives the razing of a Russian village - a scene quite unpleasant to watch, yet very well depicted and brutal in its realism. Of mention was the role played by local Russian militia in carrying out these executions and "reprisal" raids - as this is a Soviet film, and was subject to state oversight, I was surprised that such unpleasant reminders of Russian collaboration were incorporated. Large numbers of volunteers from the occupied territories were accomplices to the SS in their cleansing actions, a fact documented in this movie.

"Come and See" also provides an interesting glimpse into the role and activities of the Soviet partisans, the insurgent groups fighting the Nazi occupation behind the front. Furthermore, the suffering and harsh conditions endured by Russian civilians living under Nazi occupation is not lost upon the viewer. Although there are definitely stark Good vs. Evil undertones throughout the film (all Germans are essentially portrayed as cold, sadistic, Nazi killers - the Soviet partisans as heroic, beleaguered freedom-fighters), it must be remembered that this movie offers a mere snapshot of the war at its most horrifying level. SS actions such as the ones depicted were commonplace on the Eastern Front - as was the willing, and often enthusiastic participation of anti-Soviet / anti-Semitic elements in the USSR, whom the Nazis depended on for support.

Excellent camera work and photography, in my opinion the quality of filmmaking rivals the most recent Hollywood productions. This film is highly recommended to those interested in watching an accurate account of World War II in the eastern theater, and the war as experienced by the Soviet population.

Shocking.
4.5 stars. This film is shocking in many ways. The only negative aspect is that for the first half of the film I was battling a serious case of culture-shock. I raised my eyebrows in consternation more than once. However, by the end of the film I was stunned. There are some graphic and intense sequences, many of which linger long after the film is over. I just finished watching it for the first time and I am overwhelmed and haunted by the horrifying images I have seen. Some of the scenes of Nazi brutality are unnerving and evil; their debauchery and slaughter are unforgivable. Seriously, there are scenes in this film I have never seen before and will probably never see in any future films. The camera work is amazing, being a worthy film for study by any aspiring cinematographer, and the direction is outstanding. The main reason I watch foreign films is that I hope to see and experience something I never have. This is one of those experiences. Highly recommended.

DVD Technical Considerations
Equally important to me in reading reviews about a film are the technical aspects/production values and quality of the DVD itself, particularly re-releases of older films. From what I've read about the overall DVD quality of "Come and See" there is controversy, to say the least.

My intent here is to delineate the technical aspects of the current DVD issue and leave prophetic wisdom and insite of the film to other eager reviewers. But I will say that as a long-time war film fan I found "Come and See" easily one of the best with some of the most stunning visuals ever committed to film. If you've seen and appreciated such films as The Winter War, Das Boot, Stalingrad or Die Brucke (The Bridge) you should be quite pleased with this effort.

The current DVD package is no longer two DVDs, but one (thankfully) and contains all 142 uninterrupted minutes of the original film. The special features are scant and consist of a theatrical trailer with no oral commentary and a written appreciation of the film by Sean Penn.

The movie is full frame (aspect ratio 1.33:1) and NOT in original widescreen. It is in Russian with English subtitles giving the viewer adequate time to read each line. Each chapter is delineated on your DVD player, so you can stop anywhere you like and pick up where you left off later. I have a decent home theatre system and found the picture quality very good and likely similar to that which was released for theatres. The audio is in stereo and the sound quality is good and on a par for the era in which it was produced.

The DVD is still produced by Kino Video, issued in a hard case and contains the same art cover and interesting film descriptions as the former two DVD version.

In summation, a monumental motion picture (and a favorite of mine) and top quality production, not withstanding modest extra features.

SO BRILLIANT NOT EVEN A MEDIOCRE DVD CAN DETER
This film made under the old Soviet cinema system back in 1985 makes SCHINDLER and RYAN seems like THREE MEN AND A BABY!!

TOTAL GENIUS.

I do however find the other reviewer's remarks so typical of the American mind when he asks reviewers to imagine a fictional world where Kansas is over-run by Nazi terror. To which I have two responses. The American Indian tribes of Kansas don't have to imagine a fictional senario they lived it at the hands
of Washingtonian Manifest Destiny...same difference.

From the early stages of this film I began to imagine a remake of this movie set in Vietnam during the American invasion and genocidal conquest of Indochina. What the German Nazis did and are showing doing in BeloRussia in this film you Americans did two decades later in Vietnam. Near the end of the film a title comes on the screen saying that 628 villages were burnt to the ground along with their inhabitants. Well in South Vietnam the portion of Vietnam the USA was claiming to the world it was defending from Northern commie aggression, 12000 out of the 15000 hamlets were burnt to the ground by the American army with murders and rapes committed by Americans in the 100's of thousands. In Saigon there was a CIA administered interrogation prison where 50,000 people were tortured. In the end 4 million Indochinese were murdered by the USA. The parallels between the two experiences are undeniable.

This brilliant piece of Soviet era cinema contains none of the Hollywood niceities that we are all programed to expect from movies. This is the real deal and it is IN YA FACE. If you think you can handle it BUY IT!

(...) ... Read more

Reviews (49)

Boys don't cry...or do they?
I vividly remember a summerday afternoon. I was a 4th grader boy. While I was watching this movie, I cried but didn't feel ashamed. I never cried while watching a movie until one of my freshman days. Then my favorite actor Robert De Niro's Mission was the one brought tears to my eyes (Remember the waterfall climbing scene he is dragging his armours?). La Strada is one of the most beautiful and powerful films in our history. It''s haunting! This is one of my top 20 if not top 5. But it's clearly one of TOP5 I'd feel like my life has a gigantic hole if I didn't watch it in my life. I'm glad watched this over and over again and I am glad we can own it now. How happy we are!

PS) My only complaint is (yes, there is one) at the end of movie, when Anthony Quinn hears a lady humming Gelsomina's song, it sounds too 'professional'. I always wish it had been recorded as if it's sung more casually.

Is there a "glitch" in the "English" audio element?
I agree with almost all of my fellow reviewers, that this is probably one of the greatest films ever made. Since DVD's came about, I've been writing letters to Criterion (the company which restored it), asking that "La Strada" be released (especially by them). First of all, the picture quality is 10 out of 10, it's wonderful. The original "Italian" audio track is a joy to my ear, from beginning to end. BUT....the "English" audio track seems to be flawed (at least with this, the first release). In the beginning of the film, when Gelsomina is introduced to Zampano, about 3:30 min into the film, until 4:04 min into the film, there is a complete loss of sound. And once again from 4:20 min into the film, until 4:35 min into the film, there is another complete loss of sound. From then on, the audio is flawless. I contacted Criterion about this problem, and I was advised that it was probably a bad copy, and to contact AMAZON for a replacement. I did this, and AMAZON sent out a new copy within 2 days. Unfortunately, the replacement disk was flawed in EXACTLY the same places on the "English" track. Please check YOUR copy, and if it IS flawed, please contact Criterion about it. I tried BOTH of my copies on THREE DIFFERENT DVD players, and it was SAME problem on each machine, and at the same times that I mentioned. What are the odds of that? I'm a HUGE fan of Criterion and their work, and I think it's just a bug that needs to be worked out. Other than that, their restoration is a jewel in my collection.

La Strada's English Soundtrack
In response to Stephen Lopez:I,too,contacted
Criterion regarding the English track.I received
the same reply.However,I can't accept their
answer because some years back,Criterion released
La Strada on laserdisc (a now-defunct video medium
used mainly by videophiles before the advent of DVDs)
which I've owned since its release.

The English soundtrack on this LD is flawless...not
a single "dropoff" from start to finish.

So...my hunch is that somebody at Criterion fouled

up somehow and the result is several minutes of
missing audio.

I'm still happy,however,that I purchased the DVD
because the video quality is outstanding!

Dreary
Okay, so it's a famous movie by a famous director. So what? The acting is not especially good. (Yes, I realize part of the problem may be that the original dialogue had to be dubbed in Italian. But it is what it is.) The Gelsomina character is particularly annoying, so obviously trying much too hard to be cute and appealing, and coming off mostly as artificial and rather stupid. The plot barely exists, the cinematography is ordinary, and there isn't a single character whose fate I cared about.

Overrated, Unimportant, and Poorly Produced
There, I said it. This film just doesn't have much going for it, other than positive word of mouth. I challenge you to find some substantive reasoning in the 5-star reviews... can't find it? That's because they're full of hot air.

Giulietta Masina is unattractive and a most unenjoyable screen presence. There, I said it again. Call me shallow, but I want my movie stars to be visually pleasing. Fellini reminds me of Citizen Kane demanding that his wife be a star. The original voice track production ruined the film: I wanted to hear the Italian voices but then couldn't hear Quinn's real voice (the whole film was dubbed, twice, it has no "original" sound). Also, Fellini's films are too long. If you are not telling the story of Gandhi or Lawrence of Arabia, then keep your drama to under 90 minutes. For a film with virtually no plot, La Strada takes a very long journey down such a short (and frankly, insignificant) road.

Regarding the Criterion DVD, the image is crisp. That's it. The special documentary is boring and could have fit on the first disc, I don't know why they used two. As usual, Criterion offers no subtitles beyond English. Marty Scorsese offers up a 120 second summary in which he doesn't really say anything complementary about the film. How much did he get paid for that interview, $10k, maybe $20? Don't worry, you're paying for it, as this disc is highly overpriced in the Criterion tradition. If you must, Enjoy! ... Read more

Reviews (151)

A great factual account of Pearl Harbor... to a fault.
There's no denying the grand effort that went into making this historical presentation of the Japanese attack on Pearl Harbor. Taking accounts of both sides of the war equally, made respectively by both United States and Japanese production crews, Tora! Tora! Tora! is a great documentation of how the attack really occurred. Unlike the recent Pearl Harbor film, which tries to tell the historical story (with many flaws), a love story and a disaster story, Tora! Tora! Tora knows what is meant to be, and strictly follows the historical angle.

Unfortunately, this dedication to fact is the films major weakness. There are no real characterizations of any of the major roles, no central character the audience can connect with, either on the American or Japanese forces. This lack of a so called staring role (which both sides should have had) makes the film feel more like a documentary then a movie. What characters the film does center on are all flat and rather uninteresting. Not to mention poorly acted.

Despite this, the film provides a great understanding of how the attack really occurred, and gives a wonderful visual feast of the disaster. For 1970, when this film was released, the visual effects are outstanding. Definitely worth at least one viewing, more if you're a World War II buff.

The Definitive Pearl Harbor Film -- Not To Be Missed
A unique collaboration between American and Japanese filmmakers, "Tora, Tora, Tora" remains the definitive Hollywood portrayal of the tragic events of December 7, 1941. Perhaps the greatest compliment ever paid to this film was provided by none other than Jerry Bruckheimer and Michael Bay, the "masterminds" behind the disastrous "Pearl Harbor", who stated that "Tora" played too much like a documentary. Well, how about that? No meandering love story, no Hallmark script, just cold, hard facts. "Tora" places us smack dab in the middle of a lethal chess game played by politicians in Washington and Tokyo throughout the Fall of '41. The political stalemates and blunders which inevitably lead to war are the meat and potatoes of "Tora". The climax is, of course, the Japanese attack on Pearl Harbor which is masterfully and accurately re-created. Vintage airplanes and actual ships are seemlessly juxtaposed with miniature models. The results are a spectacular cinematic experience which still holds up by today's standards. (Digital effects didn't exist when "Tora" was released in 1970.) Several big names-- Joseph Cotten, Martin Balsam and E.G. Marshall -- assume starring roles, yet wisely let the story be the "star" of the film. Credit the filmmakers for steering the focus toward the "event" without getting sidetracked in typical Hollywood fashion. To objectively portray the events of Pearl Harbor through the eyes of both sides, while keeping finger-pointing to a minimum, was no small task. In turn, the ability of the viewer to experience the preparation and strategy of both sides makes "Tora" truly unique. This is an important film which treats a monumentally tragic event with the respect and accuracy it rightfully deserves. Essential cinema -- not to be missed.

Superb!
After seeing Das Boot for the first time recently, my interest was piqued for another WWII movie. I remember when Tora! was in the theater while I was in high school...and that I had no interest in seeing it at the time. This is a serious-minded, fact-based film of epic proportion. It has similarities to Das Boot in that part of the story is told from the US enemy's point of view. And, oddly enough, I found the structure of the film to be somewhat reminiscent of The Deer Hunter, or even King Solomon's Mines [1950], in that there is a long, detailed build-up of the story prior to any action sequences. And once the action arrived, I sat there thinking, "How did they do this?" Especially considering the fact that this was 1970. But the biggest reward for me is the story itself, and the non-Hollywood way in which it is told here. No one would get financial backing today for a film of this expense coupled with such a non-fiction approach.

The Best Movie Ever Made About Pearl Harbor
Tora! Tora! Tora! is the single best movie ever made about the Japanese attack on Pearl Harbor. It features excellent performances from such actors as James Whitmore, E.G. Marshall, Jason Robards and Martin Balsam. The special effects are far more convincing than what's in modern movies. It also has some of the best movie music of all time. Best of all, the movie shows the sheer complacency on the U.S. side that enabled the Japanese to successfully mount the surprise attack.

Tora! Tora! Tora! is far superior to any other movie ever made about Pearl Harbor. In fact, it is one of the absolute best movies ever made about World War II. It is a classic motion picture in its own right.

On a scale of 1 to 5, it really merits a 10.

Should have been 5 if...
...this movie, which got awesome air scenes and very well documented background info (politic, diplomatic, and military), had been a couple of minutes longer at the end of 1st part. And showed how Roosevelt, who was informed of the results of the (fantastic) Intelligence work -they even could pin the time of the attack- decided to keep it under wraps: so that, without any prior warning, the damage would be maximum, and the shock upon American people would be such as to suppress the reluctance they still got towards entering the war. One of the best examples of "The end justify the means". The Pearl Harbor story could as well have as title "They were expendable". ... Read more

Reviews (26)

Excellent adaptation of Thackeray masterpiece
Thackeray's "Vanity Fair" is such a sprawling, grand example of the Victorian novel that any mere two-hour movie adaptation will be forced to leave out crucial elements. As it is, this six-hour BBC film version emits certain items (Jos Sedley's ultimate fate, the James Crawley episode), but is remarkably faithful to its source. Indeed, a television mini-series is the best way to adapt such a work, allowing the story to unfold and the viewer to become involved with the various characters.

This production is fantastic, with beautiful costumes, excellent performances, and a fine script. Chief among its attractions is Natasha Little in the key role of Becky Sharp. Miss Little is not only luminously beautiful, but manages to arouse our sympathies toward a virtually unsympathetic character. Special mention must also go to Jeremy Swift, whose portrayal of bumbling Jos Sedley is a delight. Miriam Margolyes (always wonderful) and Eleanor Bron appear in secondary roles. The rest of the cast is well-chosen and all play their parts with conviction.

The greatest hurdle a filmed version of "Vanity Fair" faces is how to convey the many shifts of tone which Thackeray goes through in the novel. This problem has been solved by use of an unusual score, which draws from such diverse sources as military marching bands, Strauss waltzes (wrong for the period but who cares?), and a bit of Kurt Weill. Murray Gold's score never lets us forget that we are in the world of Thackeray's biting satire, and not Jane Austen's more delicate world of comedy-of-manners.

All told, it will take a long time before this film treatment is bettered.

Fell short of expectations
This was a much touted mini-series which I missed on TV and have now watched on DVD. I had high expectations. They were not realized, but by no means can one say that the show is a failure or even a waste of time. No urge to fast-forward here....

Yet..... there is a flatness about the whole production that keeps the emotions, the humor, at arms length. Becky Sharp remains the same, looks the same, inflects the same from beginning to end. The direction reveals no development, no nuance..... certainly charming rapaciousness is more varied than we are shown here. The script is not particularly memorable.

BBC production values are top-notch except in the repeated use of extreme closeups to mask a penny-pinching budget..... the Belgium battle segments are particularly cheesy...... but overall, things are shot handsomely, and some visual commentary is downright witty e.g., pigs crossing the frame as we approach the Crawley manor. The music score, hilarious and anachronistic, is rather refreshing.

This is nowhere as exhilarating a show as the BBC's Pride and Prejudice. Which leads me to the odd realization that perhaps the better writer for Vanity Fair would have been Balzac. Now.... why doesn't somebody do something with his stuff..... Lost Illusions, for example. There we have meatier stuff.

Thackeray's masterpiece brought to life!
It begins on an innocuous afternoon at the Pinkerton school for young ladies, where Miss Becky Sharp (played by Natasha Little, whose father was a drunken drawing master) is finishing up her last day as French tutor to the girls. She is going to stay with her friend, Amelia Sedley (a stock-broker's daughter, played by Frances Grey) for a short time, until she must leave to take up a post as a governess. Becky carelessly proclaims her goodbye to her students and "waltzes" out of the classroom, shortly to join Amelia in Miss Barbara Pinkerton's office. Miss Pinkerton reads aloud a glowing letter of praise about Amelia to her sister Jemima, just before they are joined by Amelia and Becky; she then presents "my dear Amelia" with Johnson's dictionary to "remind her of her time there." Miss Pinkerton (who has never liked Becky) then continues severely, "Miss Sharp, I bid you good day. I make no presentation; you've shown yourself incapable of gratitude," to which Becky replies tartly, "I beg your pardon. I taught a little French here and you paid me a pittance for it. No occasion for gratitude on either side, I should say." She flounces outside and into the waiting carriage, where she and Amelia journey to the Sedley home in London.

Amelia Sedley (Emmy to friends), a sweet and innocent young lady, trusts that her friend Becky is as honest and true as she herself is; but it is just not so. Becky is envious of her friend Amelia's good fortune and privileges, and does everything she can to attain those things for herself. She pursues love in the least likeliest places (going after men she could not possibly be interested in), hoping to eventually catapult herself into the upper crust of society; Becky manipulates man after man, using them for what they can give her, while Amelia Sedley, who is trusting and kind, sadly begins to experience misfortune at the hand of both fate and society.

All in all, this six-part mini-series from A&E was a great watch, if you can get past a small bit of questionable content and mild language. I'm looking forward to the new version done this year with Reese Witherspoon and Romola Garai!!

Becky, Andrew and William
Andrew Davies is a very clever man with, I suspect, quite a tender heart. I don't know how he draws out these old novels for us the way he does, but he's done it again here. I have to admit, the first time I saw this production, I liked it, but was left a little cold. The second time I saw it, I knew it was just me, and that it takes a viewer accustomed to mediocrity some time to readjust to this kind of brilliance. The costumes and sets, in the hot Oriental colours of the real Regency instead of the too often misrendered pastels of the earlier Georgians, are well done and the acting and casting are great. Davies, cleverly, put some of the wry observations of the narrative passages into the mouths of the characters. "I must say, Dr. Hume, if a man's character is to be abused, there's nobody like a relation to do the business." David Bradley is old Sir Pitt is himself, in fact, the whole Queen's Crawley contingent will make you both laugh and squirm, just like they're supposed to. Janine Duvitski as marvelous as the ghastly, grasping Mrs. Bute Crawley. Natasha Little is luminously beautiful as Becky Sharp, her careless curls at unsettling contrast with her little smirk. Amelia Sedley is so wet you could ring her out (Thackeray predicted my criticism of her character, by the way) but Frances Grey plays her so well you admire her, as you do all of them, for just being the flawed creatures they are.

You will find the inhabitants of this fair very much alive and not at all like puppets, as Thackeray disingenuously tells you they are all through his book. The visuals well support the spirit of the production. There is one scene of Dobbin and Osbourne conversing outside their barracks, and the camera then raises into an extreme high shot that makes them look exactly like toy soldiers or pictures on a chocolate box. It's the shot often used to film a football game or the square formations of the old battlefields, so we are reminded that what became almost quaint in the ensuing two hundred years was once very real. The battlefield scenes are up close and personal, noisy and ugly, from the grim patience of the Dobbins and Osbournes, the foot soldiers who carried the terrible day of the Battle of Waterloo, to the hard breathing and slamming together of metal and flesh as the cavalry engages.

The score has disturbed some people, but it's as brilliant as the adaptation and delivers the feel of the period directly. It's hard to say why it works, but there's no question that it does, and anachronism only serves as a friend, here. Like Becky's wonderful, new remarks, which I'm sure she really made, "Baisez mon cul." and "I'm sorry I'm laughing, your ladyship, but I just can't help it." When I actually saw the band at Vauxhall Gardens, they provided me my bearings, like finding a "You Are Here" on a map. The songs are placed perfectly. When Becky's entertaining at home, her occasional flat notes don't seem to be noticed by the men in her thrall, and Becky similiarly winning over the gyneocracy with her "Dido's Lament" (sans the flat notes) at the Steyne House soiree is not to be missed.

The story itself, whatever it's about, whether it's just a puppet show or one of the most profound, tender observations of human life ever put to paper, is delivered faithfully, without sentiment, but with more of the buried tenderness of the author than he would ever own up to. The ending, where these inhabitants of Vanity Fair learn to recover from glamorous war and get on with the business of becoming unexciting Victorians, and where a mysterious bad girl is saved by the intervention of a cheeky, innocent little boy is delivered in this production in all its beauty. But never mind that. As it was not about pastel interiors, the real Regency was not about sentimentality. Somebody said that all authors are in love with their childhood. Even though this was the work of a Victorian, born in 1811, and even if he did not properly approve of her, I think Thackeray was in love with his wicked, plucky little heroine, as he was in love with the period in which she flourished. Perhaps he is the curious little boy walking up the casino steps into the past and into that strange world of what appear to be grown-up people with their masks and secrets. When he gets there, he finds this particular grownup needs him. In fact, it's almost as if she's waiting for him to let him know she is not so strong on her own, and to remember her and to please be sure to write about her. We certainly need Andrew Davies and his adaptations. See what you think of this one. You won't be disappointed, and if you are, watch it again.

Very Enjoyable Production of a Literary Classic
I have read "Vanity Fair" twice and intend to re-read this coming year. I remember seeing a BBC version with Susan Hampshire in the role of Becky Sharp back in the 1970s, as well as the 1930s Hollywood version with Mariam Hopkins on late-night television when I was a teenager. Now I understand that there is to be another Hollywood version, with Reese Witherspoon, of all the odd choices, to play Becky. Natasha Little is, in my opinion, an outstanding Becky Sharp, surpassing both Hampshire and Hopkins in the role. I cannot feature the vastly overrated Ms Witherspoon being able to give as subtle and natural a performance as Ms Little does in this A&E production. Ms Little is at once appealing and a monster, a woman "on the make"; in one very funny, and creepy, bit she is forced to turn down a marriage proposal from the coarse Sir Pitt Crawley, because she is already married to his dashing son. When Pitt Crawley leaves the room, it becomes clear that Becky would have married the vulgar old man for the security he offered had she been free.

The rest of the cast was very good, particularly the actors portraying Amelia, George, Rawdon, and Dobbin. There has been some criticism of the appearance of the actors, that they were too plain or even downright unattractive for the roles. One of the differences between British and American productions (particularly those made for televsion) is that in British productions the performers are more often selected for their talent than their appearance. Sometimes this backfires, as in the case of the remake of "The Forsyte Saga," when many viewers complained about Geena McKee being too plain for the role of Irene Forsyte, who was supposed to be a great beauty. In the case of "Vanity Fair" I feel that the actors were just right for their roles in every way, including appearance. Becky's attraction was her spirit as much as her face, and Amelia's sweetness was the inspiration for the love and admiration she received from men.

My one criticism of the film was the loud background music. It was supposed to suggest a carnival or fair, but it was so blasted loud that at times it drowned out the performers. Although this was not as constant as one reviewer indicated, it did happen often enough to be annoying. If you like Thackeray, I think you will be pleased with this version of his masterpiece. ... Read more

Description

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

Reviews (112)

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

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

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

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

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

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

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

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

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

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

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

Hope this helps. ... Read more

Description

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

Reviews (69)

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

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

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

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

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

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

Outstanding.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

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

Reviews (8)

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

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

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

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

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

I would suggest Enchanted April.

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

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

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

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

Amazon.com

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

Reviews (7)

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

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

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

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

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

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

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

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

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

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

YIKES!!!



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

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

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

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