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Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pickpocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship," and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist." --Jeff Shannon ... Read more

Reviews (84)

Consider it a wonderful experience
The movie musical was on its way out by the time 'Oliver!' hit theaters in 1968. Happily, this marvelously fun and entertaining film swept the Oscars and earns my vote for the best musical of the 60s (although 'The Music Man' ranks a close second). Mark Lester is adorable in the title role and Jack Wild is a kick as the mischievious Artful Dodger. Then there's Ron Moody recreating his stage role as the villainous (but still likable) Fagin. He's not exactly the same character created by Charles Dickens but he's memorable just the same. And Shani Wallis' Nancy along with Oliver Reed's Bill Sikes give the film some real dramatic punch. The production design strikingly recreates the feel and flavor of mid-19th century London. And the songs which include 'Consider Yourself' and 'Oom Pah Pah' are the icing on the cake. Do your family a great favor and add this timeless treat to your DVD collection.

I'm reviewing. . . .the situation.
I bought this movie because I had some vague, but pleasant memories of it from my childhood. I must say that the movie did not disappoint. It is a well-crafted musical with vivid characters. While they're not exactly analogous to their Dickensian counterparts, who portray a much darker, seamier side of London's underworld, the characters sparkle. Ron Moody as Fagin is unforgettable, and Wild as the Dodger was a perfect casting job. The musical numbers are memorable, hum-inducing performances, such as "Consider Yourself" "Oom Pa Pa" "You got to Pick a Pocket or Two" and "Who Will Buy". My personal favorite is "Reviewing the Situation" because I feel the lyrics to that song are so well done and so well executed by Moody. The adorable Mark Lester is the weak link in an otherwise strong chain. He plays a passable Oliver, but lacks the oomph that the others bring to their roles, and his voice is somewhat airy but sweet (according to other reviewers, too sweet). Nevertheless, he fulfills his end of the bargin, portraying a rosy cheeked cherub in the presence of villains. Oliver Reed plays Sykes to perfection, exuding such dark evil that his sinister shadow precedes him onto the screen. I handled his killing of Nancy better as a grown-up; however, young children may find that scene as distrubing as I did twenty years ago. Overall, this is a finely done musical, and for me, was time well spent.

I think I'd better think it out again.

CONSIDER THIS ONE A WINNER - OSCAR WINNER, THAT IS!
Carol Reed's "Oliver!" is the musical version of Dicken's Oliver Twist. It stars Mark Lester as the irrepressible street urchin, suckered into the lair of a vagabond by The Artful Dodger (Jack Wild) and forced into a life of crime by Fagin (Ron Moody). But when Oliver is salvaged from the slums by a benevolent philanthropist, Bill Sikes (Oliver Reed) decides to make a quick buck off of the trade. Shani Willis costars as Sikes' girlfriend, Nancy, who thwarts the kidnapping plot and pays for her betrayal with her life. This is a very stoic, stagy and rather dry musical that may capture the essence of Dickens in its settings characters and plot but seems totally out of touch with the effervescence of the traditional Hollywood musical. Even with such main staple songs as "Consider Yourself", "Boy For Sale" and "Food, Glorious Food", truly, the spoon full of sugar remains a bitter pill to swallow on this occasion.

Columbia Tri-Star has made "Oliver" available in a startlingly good looking transfer. Colors are solid, rich, vibrant and bold. Contrast levels are exactly where they should be. Blacks are incredibly deep. Fine detail is fully realized. Only occasionally do age related artifacts betray the vintage of the film. The audio is 5.1 and wonderfully spread across all five channels of the sound field. There are no extras. This film is spread across two sides of a single disc. The break comes at the point of intermission.

Moody's Fagin steals classic OLIVER!
Until CHICAGO reenergized the movie musical genre, this musical version of Charles Dickens' immortal "Oliver Twist" was widely regarded as one of the last of the great movie musicals. Indeed, with its high-energy performances, infectious music, steady direction by Sir Carol Reed and glorious sets, this movie won the 1968 Best Picture Oscar over such formidable competition as THE LION IN WINTER, CHARLEY, and FUNNY GIRL.

Of course, most people are familiar with the classic story of young Oliver Twist, whose mother dies giving him birth and is forced to be raised under the cruel supervision of the English workhouse officials. When he dares beg for more than his meager ration of gruel, the youngster is apprenticed to an undertaker and his extremely nasty family. After escaping this hostile environment, he finds himself taken in by the roguish Fagin, the Artful Dodger(Fagin's best pupil), and the rest of his band of young pickpockets. In time, however, Oliver will find his home, but not before dealing with the likes of the brutal Bill Sikes with the help of Sike's sympathetic lover, Nancy, and the kindly Mr. Brownlow.

As musical films go, it is hard to fault the wonderful casting in this film. Mark Lester makes a perfectly, if maybe overly, innocent Oliver, while Jack Wild is a delight as the rascally Artful Dodger. Shanie Wallis is heart-rending as the tragic Nancy. Oliver Reed (Sir Carol's nephew) is truly scary as the menacing Bill Sikes. Harry Secombe displays a glorious tenor in the comic role of Mr. Bumble, the beadle of the workhouse. However, it is Ron Moody's fantastic performance of the rascally Fagin that steals this movie. It is not surprising, when you consider that he created the role when the musical was first produced in London. Of course, the character itself has gone quite a change from Dickens' original, going from the debatably nasty anti-Semitic portrait of the novel to that of a lovable, if sneaky, eccentric. Indeed, Moody's excellent portrayal would set the tone for almost all future performances of the role to date, including those of such actors as George C. Scott and Richard Dreyfus, among others.

Some Dickens fans may quibble about the liberties taken with the book, from the softening of Fagin to the elimination of Oliver's evil step-brother Monks from the storyline. And it isn't a perfect film by any means. (The child singer who dubbed Mark Lester's songs sounds like she's in an echo chamber of some sort, which makes Oliver's singing a jarring contrast to the rest of the cast.) But, as a musical film, it is a wonderful entertainment and superb introduction to the classic story. As a result, this is one musical that I would DEFINITELY recommend.

Excellent
If only movies were made like this today. This film is filled with witty comedy, wonderful music, and great acting. One of the best musicals out there!! This film displays a boy's life going from the lowest of low (an orphanage) and slowely rising to a better life. The only thing is, it makes stealing look a little. .. well . . fun! But i'm sure we can all live with that right? ... Read more

Reviews (37)

Wow! (That's all I can say)
This film impressed me from begining to end. It is one of those few films about two women in love that doesn't drag in all the extra baggage that one usually sees (besides the unavoidable things caused by the time setting) It's simply about two women finding each other in a desperate and unsettling time. Jaguar is such a strong character and is portrayed beautifully by Maria Schrader who's performance was flawless. I think the film does a good job of building and conveying the strength of the relationship in the short time it has. The passion and intimacy of the love scenes is brilliant! What works beautifully is the concentration on their story but with an integration of several other issues brought on by World War II. It provides a much different perspective on the war than most people are used to. I recommend getting the DVD so you can see all the extras about the real Aimee and Jaguar. I fell in love with this film right away and have watched it many, many times now. It is one of my favorite movies ever and I can't emphasize enough how much I recommend it to everyone!

Maria Schrader nearly saves this movie
There is a remarkable performance contained within this unremarkable movie. It is given by Maria Schrader whose brilliant portrayal of the revolutionary Felice Schragenheim represents everything this movie lacks: nuance, depth, and earned emotional response. Her outstanding presence leaves one inspired at the capabilities of the human spirit and equally chilled at the human ability to crush it. The film on its own failed to convey what Schrader so effortlessly could. And sadly, Aimee and Jaguar falls into the category of yet another movie with homosexual themes that seems a little too enthralled by its subject matter, and, in turn, neglects to properly develop its movie into exciting cinema.

Aimee and Jaguar tells a lesbian love story between a Jewish resistance fighter and a Nazi housefrau during the Holocaust. This combination of ethnic, sexual, and historical intrigue compelled me to see it. I am not sorry I did. A better example of the artistry of filmic acting is seldom found. Really. I can think of only a handful of modern performances that have touched me as much: Dr. Haing S. Ngor in The Killing Fields and Nicolas Cage in Leaving Las Vegas being two. We can add Maria Schrader to this list of performers who not only tap into the brain but also the heart and soul of their characters, in turn, giving the audience a memorable, rewarding experience. Schrader captures the shrewd survivalism of Schragenheim's identity as a closeted Jew and lesbian, and also her vulnerability as a regular person caught in horrific circumstances. Schrader, neither Jewish nor a lesbian, handles the character with an empathy unparalleled.

The impact of her performance is nearly suffocated by the abundance of irritating supporting characters, tv-melodrama directing, and flash-forward sequences of the characters as senior citizens that are, to put it bluntly, cheesy. Schragenheim's lover, Lily Wust is irritatingly underdeveloped. Certainly the dynamic Felice Schragenheim would have chosen a partner who reflected her strong values and personality. Alas, this portrayal of Lily Wust (both erroneous in writing and performance) fails to convey any traits worthy of desire. Other than the obvious physical attraction and risk-taking inherent in the relationship, Schragenheim's attraction to Lily makes little sense, though Schrader does a remarkable job of compensating for this lapse in situational development by enacting her character's passion and love for Wust with true understanding. Due to the poor filmmaking, we are never truly exposed as to how this character wound up in the state of passion. It is a great tribute to Schrader that we don't wind up caring because her performance is that compelling.

I recommend Aimee and Jaguar on the basis that it features a wonderful performance, and does a beautiful tribute to a real woman who clearly had desirous qualities. Too bad then that it is trapped within a movie far beneath its level of brilliance.

Gorgeously Emotional!!!!
A story of forbidden love in WWII Nazi Germany, "Aimee & Jaguar" follows the lives of two very different women: Felice Schragenheim, a Jewish revolutionary sneaking through Germany under a false German name. Then there is Lilly Wust (pronounced 'Voost', in German) whose husband is a Nazi soldier fighting on the Eastern front, leaving her at home with four boys. Frau Wust's babysitter, Ilse, is one of Felice's many girlfriends and when Felice is introduced to Lilly, she falls madly in love. She writes Lilly love poems and signs them as Jaguar and soon, the two are forced to accept their feelings for one another amidst the hatred and odium.

A movie of raw power, "Aimee & Jaguar" is not a story just about love but also accepting it in times of need and fear. You may find yourself crying and i admit, i cried myself (i cry endlessly when seeing Felice's and Lilly's "mistake" when coming home from the picnic, i cry every time i see that part). The love scenes here are done tastefully (and quite romantically, may i add) and the words of wisdom are...amzing. especially when Felice is talking about "Now's" and Lilly talking about "50 years of one person"...Powerful!!

One Great Love
Felice (aka Jaguar) is a Jewish woman living in Berlin during WWII. In her underground life she is the dynamic center of a group of avant-garde lesbian women artists and eccentrics and a sinful seductress of fair-haired women. She is avant-garde in her tastes and in her always stylish appearance; with her dark eyes and perfect form she looks like she has walked out of a painting by Klimt or Schiele. She uses her charms on her female conquests and to assist the resistance in any way she can. As a secretary for a prominent Nazi newspaperman she has access to valuable information which she covertly passes on. Felice presents a convincing facade but beneath the elegant profile and pretty lipstick and dark eye-shadow is a woman who lives in fear . So it is shocking at first that Felice should be drawn to the very blonde and very Aryan and very bourgeoisie Lily Wust. And yet it makes perfect sense too. Because Lily is the perfect German Felice feels safe in her home and in her bed. These two are instantly drawn together from the first time they lay eyes on one another. Felice immediately goes about seducing Lily even though Lily is married and has four children and has never had a lesbian relationship. Reluctantly at first but then wholeheartedly Lily succumbs to Felice's advances. And once they take that first trembling step they both realize they are made for each other. Soon they are living as a couple in Lily's large apartment while her husband is away at the front. The bliss these two find together is something to behold; for the first time in their lives they feel a content they've never felt before. Felice's friends at first can't believe the avant-garde Felice has fallen for the bourgeoisie Lily but soon they all can see its the real thing and they all accept her. Eventually, however, the husband stumbles onto what is going on when he arrives unexpectedly one night and finds the women in bed together. Lily is utterly devoted to Felice and decides to leave her husband and for awhile things are perfect for Lily and Felice (Aimee and Jaguar are their pet names for each other)but one night when they come home from a perfect day of swimming in the country and tumble on the floor kissing each other in the dark of the apartment they hear a voice -- a Gestapo agent and his men -- tell them to enjoy that kiss for it will be their last. This is not a perfect film but it does a few things so well that you are willing to forgive it for its few minor faults. The most important thing in a film like this is the chemistry between the two leads and that we believe it when they say that they are in love and we do.

Lesbian splendor
Two aspects of Aimee and Jaguar can be seen in a negative light. The first is that it's subtitled, so it takes a bit of work. The other is that it's sad, so it's not meant for a giddy date.

That said, this portrayal of two women falling in love in Nazi Germany is gorgeous. The acting is spectacular, the costumes are exquisite, and the script is flawless. It's best suited to a somber or appreciative mood, but every lesbian (and arguably every person) should see Aimee and Jaguar.

The special features alone make this DVD worth buying. Extensive photo galleries and a mini-documentary provide more insight into the lives of the real Aimee and Jaguar. The quality of these extras is truly fitting for a movie of this calibre.

Bottom Line
Cuddles: ****
Tissues: *****
Hotness: ***
Laughes: *
Quality: ****
If you buy it, you'll get your money's worth the moment the menu comes on and you hear the music. ... Read more

Amazon.com

Fans of the testudinate pace and art-house vibe of writer-director Sally Potter's other works (Orlando, The Tango Lesson) will likely enjoy The Man Who Cried. Fegele (Christina Ricci) is a Russian Jew separated from her father as a child. Raised as "Susie" by an English family, she makes her way to Paris, where although the city's multiculturalism is vibrant, the Nazis are already on the rise and the secret of her origin becomes increasingly dangerous. The cast of The Man Who Cried is excellent; Cate Blanchett, Johnny Depp, John Turturro, and Harry Dean Stanton all do fine jobs in what could have easily degenerated into an accentfest. Depp and Ricci do very well with minimal dialogue--both go through the entire movie almost without speaking. The film moves at a leisurely pace and is beautifully shot. Not a film to show to a roomful of action movie fans, but it's well suited to people who like their films a little more European in flavor. --Ali Davis ... Read more

Reviews (50)

Actors' Showcase
This is a great "acting" movie. The stars are great, but the rest of the movie was missing something--my interest.

I'm not saying it was bad. The acting was wonderful, masterful even. The cast consists of Christina Ricci, Johnny Depp, John Turturro, and Cate Blanchett, all doing work that is equivalent to their best. Ricci, especially, as the main character, gets to run the gamut of emotions and I couldn't take my eyes off her. Blanchett does a thick accent that is hard to understand sometimes, but her performance was as good as I've seen her give. And as for Depp and Turturro, well, they don't make wrong moves. Even if they are in bad films now and again, they can always be depended upon to give superb performances.

No, the cast was not the problem. It was the story. I just didn't care what was happening. I liked watching great actors practice their craft, and I cared about them, but I couldn't get involved in the story. I know there was some subplot involving a white horse, but I couldn't tell you the significance, except to make the Johnny Depp character look sensitive, but he does that anyway.

I would definitely recommend it for fans of the actors, but I couldn't recommend it as entertainment.

A visually beautiful film in the shadow of oppression...
A Russian-Jewish man travels alone to the United States in order start a better life for his family, which he intends to send for when he has raised enough money. However, the communist rule under Stalin separates the family which leads to the death of the mother and the escape of the daughter, Suzie (Christina Ricci). Suzie's escape brings her to England where she is adopted and forced to assimilate to the British traditions and culture that eradicates her of her own past. Years later when Suzie has reached adulthood she travels to Paris with hopes to raise money that can bring her to her father in the United States. In Paris she meets love, dreams, hope, and horror as she must face anti-Semitism brought to France by the Nazi's during World War II. Man Who Cried is visually stunning as it portrays the struggles of Suzie and those around her in a time of hostility. The visual elements are also enhanced by a terrific cast such as Christina Ricci, Johnny Depp, Cate Blanchett, John Turturro and many more. In the end, Potter ties together a meaningful cinematic experience that has both historical value as well as morals.

A beautiful artistic masterpiece of a film.
No, it's not a fast-paced story. It's slow, it is subtle, and you have to savor it to really enjoy it. Performances by everyone are perfectly wonderful. Turturo & Blanchett especially, Stanton included. Very well done. I loved it. If you reflect on the film after you see it, you realize how much LIFE this girl lived. Beautiful movie. Underappreciated.

\m/
I haven't seen this film either but I still give it 5 stars because it ... has Johnny in it.

The Holocaust goes Hollywood...literally!
From an impoverished Jewish settlement in Russie to the soundstages of Hollywood, this well intentioned but overwrought melodrama seems much longer than its nearly two hours.

In spite of the interesting, original premise, the story goes south with incessant lipsynching and an improbable melange of accents. Christina Ricci's tragic waif, "Susie," isn't a viable heroine in spite of excellent performances by the stars surrounding her. Blanchett, as usual, steals the show and captivates every moment of her screen time. ... Read more

Reviews (60)

Oscars for Wilde
There can only be one explanation for why this movie wasn't revered and esteemed world over. Society really hasn't changed that much since the times portrayed in 'Wilde.' But this isn't supposed to be a social commentary, but a grand ovation for what is, in my opinion, one of the best movies ever. To begin with, the performances of Stephen Fry and Jude Law are really quite extrordinary. Stephen Fry, in particular, manages not only to look unnervingly like Oscar Wilde, but to embody the wonderful (and complicated) character to an uncanny extent. I applaud Jude Law as well for choosing movies like this instead of (or perhaps as well as ^_^) the normal Hollywood teen fare. He really does give a frighteningly good performance, manic depressive to the core. Jennifer Ehle is also very good in the understated but understanding role of Wilde's wife. All in all, I was really blown away by this movie. Not only is it an incredible tribute to Wilde's wit, but also to his life, to the "love that dare not speak its name" and how it is as true and wonderful a love as any other. Sometimes painful, always powerful, Wilde is a rare gem.

Beautiful, you will want to visit Paris...
In WILDE, Stephen Fry (Jeeves in "Jeeves and Wooster") is the consummate Wilde. Jude Law plays his lover Bosie Douglas. Jennifer Ehle (Elizabeth Bennett in "Pride and Predjudice") plays Wilde's long suffering wife. Vanessa Redgrave and Tom Wilkinson also have important roles. What a cast.

The Belle Epoch is beautifully recreated as Wilde travels between England and France--clothes, interiors, architecture, grounds. You don't even have to understand the story to enjoy "being there" in the parks, homes, carrriages.

Oscar Wilde was a writer, best remembered perhaps for "The Portrait of Dorian Grey" although modern audiences may be more familiar with his stage play "The Ideal Husband" (recently made into a film with Jeremy Northern and Cate Blanchett) or "The Importance of Being Earnest."

Wilde was a homosexual in England in an age when one could and did go to prison for acting on instinct. (Nowadays in Saudia Arabia they take off your head.) Although the public became aware of his proclivities, Wilde remained one of Europe's most admired writers. Unfortunately, his term in prison for his sexual preferences may be remembered longer than his works which contain a wonderful drawing room humor many folks fail to grasp. This is a great film, and if you're an Anglophile you must add it to your collection. -- And Paris?? That's where Oscar is buried.

A well-made depiction of Wilde's life
Wilde is a beautifully made film, and I agree with the other customer reviews that found it an impressive portrait of the writer's life. As an expert on Wilde myself (I am writing my master's thesis on him) I would like to comment on some of the objections raised to its handling of his life by scholars and critics. Several scholars whose comments on the film I have read (they know who they are) have pointed out its factual inaccuracies, and have complained about its emphasis on Wilde's love life rather than his literary career. Admittedly, if the viewer wants a more scrupulous account of Wilde's life than is given by this film, she/he would be better off reading Ellmann's biography, on which the film is rather loosely based. Artistic liberties aside, I think we would all agree that the sight of a man making love is more dramatically interesting than the sight of him writing; the film's depiction of Wilde's intimate experiences, speculative as they are, serve to give us additional insight into who he was and the emotions that drove him. The film's greatest strength is its depiction of the neurotic relationship between Wilde and Douglas, which helps the viewer to understand how Wilde got into the jam he did.
I'm sure nobody can complain about the performances in the film, which are dead on, especially that of Stephen Fry in the title role; unlike many actors portraying famous people he not only acts as Wilde must have acted but looks quite like him, which adds to the film's feeling of verisimilitude. Unfortunately, since we don't have a DVD player yet, this review is based on my copy of the video. Hopefully, I'll be able to get the DVD later to examine the extras.

Stephen Fry's memorable performance as the tragic Oscar
My introduction to Oscar Wilde consisted of three disparate sources. First, I read "The Importance of Being Earnest," the wittiest play ever written in the English language. Second, there was Monty Python's Oscar Wilde sketch, where Wilde, James McNeil Whistler and George Bernard Shaw force each other to turn insults into compliments for the Prince of Wales. Third, there was the "Masterpiece Theater" mini-series "Lillie," in which Peter Egan played Wilde and where for the first time I heard the speech from Wilde's court case where he explains "the love that dare not speak its name." It is one of the most unforgettable declarations from the docket in human history and I think I just about have it memorized because it was really burned into my mind the first time I heard it.

When I watched "Wilde," my knowledge and understanding of Oscar Wilde was extended in several key ways. In playing the title role actor Stephen Fry makes Wilde seem less the dandy and more the kindly man he must have been to be put in the situation that caused his down fall. In contrast, Lord Alfred Douglas (Jude Law), known as "Bosie," might be beautiful of face but it is most decidedly skin deep. He is an ugly human being and when Wilde does what he does out of the goodness of his heart, the tragedy that it is for somebody who does not deserve it. I had not really thought much of Bosie before, but after watching "Wilde" I consider him a most despicable figure. Wilde was in prison within three months after the opening of "The Importance of Being Earnest," and the thought of what has been lost to literature and drama is rather sickening. It is only in the film's final scene that for the first time I found myself thinking of Oscar Wilde as a pathetic figure, and again it was because of Bosie.

I had long appreciated the irony that despite his homosexuality Wilde truly loved his wife Constance (Jennifer Ehle), but in Julian Mitchell's screenplay, based on Richard Ellmann's noted biography, I learn an even greater irony with regards to Wilde's downfall, namely that his physical relationship with Bosie had been of short duration and that they were not lovers at the time of the libel suit involving the Marquess of Queensberry (Tom Wilkinson). In that regard this 1997 film enhances the tragic aspects of the story. Of course, the essence of the tragedy is articulated by Wilde himself, who declares: "In this life there are only two tragedies. One is not getting what one wants. The other is getting it."

Beautiful looking and sounding, and heartbreaking as well
This movie is everything about why I love the courageous, crisp, brainy and brilliant British media. Stephen Fry is a gem who could recite the phone book and turn it into a soliloquy on the cruelty of human history. His voice is marvelous, and he rolls his consonants around in his mouth like Jordan almonds -- all without affectation, somehow. Wilde's many quips and epigrams drop out of his mouth without the slightest artificiality, natural and thoughtless as dew rolling off a leaf. Jude Law's Bosie is terrifyingly unstable, and his beauty serves only to throw his instability into high relief. You can't take your eyes off of him while he's on screen at the same time you want to turn away and skitter under the cabinets to stop watching.

The rest of the supporting cast is magnificent (if only the American film industry permitted its great actresses to work past the age of 40, we might boast such luminaries as Vanessa Redgrave and Zoe Wanamaker someday as well as Helen Mirren and Judi Dench!), the directing is flawless, the costumes and set design stunning but never overstated. All of it is used only to support the story, and as beautiful as it all is, it never pulls you out of the story or distracts you, only providing a seamless and textured foundation for the action.

I admit, I'm somewhat amused at the reviewers who imagine that this film shouldn't have concentrated so much on Wilde's sexuality. This is the story of him as much his work -- and his work at any rate was quite informed by his sexuality, nebulous at best during a time when anything but rigid adherence to a particularly joyless version of heterosexuality was a sin and a crime. Beautiful as this film is (and delicious as it is to see so many gorgeous young British men running around au naturel), it breaks your heart with the realization that happiness and fulfillment in life, as well as success and self-respect, can be so profoundly influenced by nothing more significant than the year in which one was born. In a hundred years, what will people be saying about the great women, gays and lesbians, and other minorities who lived in our time? ... Read more

Reviews (6)

Great !
This is a classic Stephen Chow movie and one of the funniest. No doubt he is the king of comedy. He is great in the role of the hapless but cool guy (just watch the castration scene...). He is really skillful and has a vast range of expressions (well, I think you can compare him to Jim Carrey... in some ways but not in total). Though the movie has lots of sexual spoof, I think is not insulting; I read that Cantonese comicality is difficult to understand to foreign... well, I don't find it so different from the Italian one!

Some unavoidable presences in the movie: Ng Man Tat (Hoi Tai Fu) that is (I think) in 90% of SC's movies (and this is good, they are GREAT together) - Chingmy Yau (Princess Kim Ning) - Sandra Ng Kwan Yue (Sister Bond) - Man Cheung (Empress Dowanger/Lone-er).

And remember: always watch a SC's movie in the ORIGINAL language or you'll miss the best...

A parody that is a lot better than most Hong Kong films
Visually stunning parody of Hong Kong swordplay epics. Stephen Chow is a smart aleck, fast-thinking lowlife named Wilson Bond (really) who gets caught up in an incredibly tangled court intrigue. Bond starts out working for Chan (Damian Lau), Master of the Heaven & Earth Society and then he ends up on the side of Chan's target, Prince Ning (Siu-Lun Wan). Basically, in the great tradition of "Yojimbo" and "A Fistful of Dollars," Bond swears loyalty to whoever is threatening him at the moment and ends up playing everyone against everyone else while trying to figure out how to save his neck. This parody is more fun than a lot of the "serious" movies it is taking on. The DVD is letterboxed, which is great, but the English subtitles to the Mandarian language washes out from time to time. Then again, the dialogue in this 1991 film directed by Wong Jing is not exactly the strong set of "Royal Tramp." The fun continues in "Royal Tramp II" so be sure you watch both parts or you will be missing half the fun.

Stephen Chow's Best - don't forget the sequel, or the book!
This was one of the first DVDs I bought for my collection after getting a DVD player. The plot is engaging and extermely well-written, and the brilliant physical comic performances of Stephen Chow and Ng Man Tat work wonderfully even for someone like myself who needs the subtitles to follow the story.

Be aware, though, that "Royal Tramp" and "Royal Tramp 2" are a single story split into two parts, rather than just a movie and its sequel. Be sure to get both.

Also, this movie is based in the only story by Louis Cha that is currently available in translation. The title of the book is usually translated as "The Duke of Deer Mountain", but the English translation (in 3 volumes) is called "The Deer and the Cauldron", Volumes 1 (ASIN 0195903234) and 2 (ASIN 0195903250) have just recently been reprinted, and Volume 3 (ASIN 0195903277) is due out in September 2001.

Great fun!
An extremely funny rendition of the Duke of Mount Deer story. Stephen Chow is just hilarious! I got this DVD because it's classic.

Royal fun
This movie was loose based upon the 80'HK tv series starring Andy Lau and Tony Leung. This is probably Chow Sing Chi best movie. I've seen some of his film's including the sequel. But this one is better. Royal Tramp is about Wai Siew Po, a nobody who tell stories in a whorehouse where his sister works. He becomes a member of the royal staff and is appointed to Hoi Kong Kong, while he still remains a rebel against the Chings. The story is redecules, but that's what we aspect from a Chow Sing Chi movie. The action is marvelous, with lots of wire works. The kung fu is absolutely fantastic. My favorite is the Fa Kwat Yu Mien Teung. Which means as much as "bone-melting-palm". ... Read more

Description

Olivier mustered out of the navy to film this adaptation of Shakespeare's history. Embroiled in World War II, Britons took courage from this tale of a king who surmounts overwhelming odds and emerges victorious. This sumptuous Technicolor® rendering features a thrilling recreation of the battle of Agincourt, and Sir Laurence in his prime as director and actor. ... Read more

Reviews (18)

Pro Henry
Sir Laurence Olivier's 1945 version of Henry V was not the first attempt to bring Shakespeare to the screen, but it was the first to be successful. Up to that point, filmmakers had tried to translate the Bard to film, but failed to achieve any success. Sir Laurence was given the task to create a film that would be pro war and pro England in order to bolster the spirits of the people during World War II. While his version of Henry V is far from a faithful adaptation, it captures the essence of the play and was a tremendous critical and commercial success. It showed Sir Laurence's tremendous talent not only as an actor but as a writer and director. The film is a visual marvel, shot in glorious Technicolor, it opens with the play being performed on stage at the Globe Theater circa 1600 and then dissolves into the actual battlefields of Agincourt. Through the years the film has come to be derided as just a piece of wartime English propaganda. The film definitely was made to serve that type of purpose, but to simply classify in that vein is take away from the masterful job of producing a visually stunning and well crafted film that was very much on the cutting edge of filmmaking in 1945. In fact, the Academy gave Sir Laurence an honorary Oscar for his achievements in creating the film in addition to nominating him for Best Actor and the film for Best Picture.

This is the Gold Standard
This is a brilliantly conceived movie-within-a-play-within-a-movie that showcases the genius of Laurence Olivier. Today's audiences are exposed mainly to Olivier the movie star. But if you want to see a purer form of acting, see Olivier the stage actor. This is possible by watching his Shakespeare plays on film. And these films are by Olivier the "auteur," long before the title was coined. Olivier's is the legacy to which Branaugh, the darling of the current generation, fancies himself the pretender.

And lest you're expecting a camera pointed at a stage, don't worry. Olivier, who produced and directed most of his Shakespeare films, has actually used the film medium to enlarge his plays' visual scope, while maintaining the intimacy that is the essence of live theatre. Moreover, Olivier is mindful of how daunting the language of Shakespeare is for modern audiences and has modified much of the original script to be more comprehensible, while preserving the feel of Elizabethan English.

Olivier's "Henry V" was to England what Eisentein's "Ivan the Terrible" was to Russia - a familiar history rendered as a national epic, for morale purposes, while audiences were fighting off the Germans during World War II. There are other parallels. For example, both use static, formalized composition, in Henry V's case, meant to resemble the images in medieval illuminated manuscripts and books of Hours. (In Ivan's case, according to Kael, like Japanese Kabuki.) Thus, a soundstage "exterior" backdrop becomes a tableau that serves to enhance, with its flat perspective and subjective scale, the view we have of that fabulous Age of Chivalry, for which the play's Battle of Agincourt was the closing act.

I've always sneered at the extravagant accolades which show business gives its own. But after seeing this film, or the equally brilliant "Hamlet," I can understand why this man was so good that a knighthood wasn't enough, and why he was raised to the peerage.

By the way, the Criterion DVD is beautiful.

Visually splendid
I've seen this movie only once, and what thrilled me was the design -- the colors, the costumes, the amazing sets. The cavalry charge, done in a single tracking shot that lasts about a minute, is alone worth the price of admission. And I'm a guy who is most interested in plot.

The plot, unfortunately, stinks. The propaganda plays are not Shakespeare's best, and Henry V is not the best of the propaganda plays. Forget the politics, and the really embarassing courtship scene (maybe just turn the sound off), and watch.

Another reviewer complained that Olivier feminized the title role. I think this is likely a misunderstanding -- in the "play" part of the movie, Henry is an actor wearing stage makeup.

Improves with age
When I first saw this film, in about 1948, I only really enjoyed the battle scenes, and then mainly the first flight of arrows streaking into the French cavalry. Since then I have revisited it countless times, most recently just now, and my admiration for it steadily grows. I sympathise with those reviewers who couldn't understand the circumstances of the film's production, were disappointed, or thought the actors foppish. It is true the English stage of the day was somewhat overloaded with old queans, some of whom appear here. But these things are basically irrelevant. Olivier's delivery, his perception of the significance of every word that Shakespeare wrote, is impeccable. Appreciation of it sinks in deeper every time his performance is re-savoured, and the bits I was bored with 50 years ago --- eg the opening, the death of Falstaff, the discussion of "nationhood", and the courtship scenes --- grow more and more enjoyable and interesting. By comparison, Branagh is almost totally insensitive to the rhythms and latent meanings of the text. Both versions are heavily edited: Branagh wallows more in the brutality, but Olivier is infinitely more subtle and perceptive. Branagh tries to be different, but several of Olivier's speeches and scenic exchanges are just so fine and powerful that all Branagh can do is produce pale copies of them. Not everyone will agree. Time will tell. I know the arrows were just scratched into the celluloid.

A Truly Regal Experience
From various reference sources, in brief, here's the historical background both to Shakespeare's play and to this film. Henry V, the eldest son of Henry IV and Mary Bohun, was born in 1387. An accomplished and experienced soldier, at age fourteen he fought the Welsh forces of Owen Glendower; at age sixteen he commanded his father's forces at the battle of Shrewsbury; and shortly after his accession he put down a major Lollard uprising and an assassination plot by nobles still loyal to Richard II . He proposed to marry Catherine in 1415, demanding the old Plantagenet lands of Normandy and Anjou as his dowry. Charles VI refused and Henry declared war, opening yet another chapter in the Hundred Years' War. His invasion of France served two purposes: to regain lands lost in previous battles and to focus attention away from any of his cousins' royal ambitions. Henry, possessed a masterful military mind and defeated the French at the Battle of Agincourt in October of 1415. By 1419 he had captured Normandy, Picardy, and much of the Capetian stronghold of the Ile-de-France.

By the time when the Treaty of Troyes was signed in 1420, Charles VI not only accepted Henry as his son-in-law but passed over his own son to name Henry heir to the French crown. Had Henry lived a mere two months longer, he would have been king of both England and France. However, he had prematurely aged because of having lived the hard life of a soldier, became seriously ill, and died after returning from yet another French campaign. Catherine had given birth to his only son while he was away but Henry died without ever seeing the child.

The historian Rafael Holinshed, in Chronicles of England, summed up Henry V's reign as follows: "This Henry was a king, of life without spot, a prince whom all men loved, and of none disdained, e captain against whom fortune never frowned, nor mischance once spurned, whose people him so severe a justicer both loved and obeyed (and so humane withal) that he left no offence unpunished, nor friendship unrewarded; a terror to rebels, and suppressor of sedition, his virtues notable, his qualities most praiseworthy."

It would be a disservice to compare and contrast this film with the version which Kenneth Branagh directed 45 years later. Each has its own unique strengths and both are worthy of high regard. The year is 1413. As Shakespeare's play begins, newly crowned Henry V (Olivier) attempts to resolve animosities between England and France. In the film, however, Olivier creates a truly magical introduction which enables us to wend our way out of London and across the fields to a performance at the Globe Theatre. Once inside, we observe the audience around us but he also takes us backstage as the actors prepare. Following a welcome greeting by Chorus (Leslie Banks), the brief portrayal of a live performance continues as a film in 15th century England. This is a brilliant device. For many years, I showed this opening sequence to my English students before their reading of one of Shakespeare's plays. The "You Are There" effects are compelling and unforgettable.

The quality of acting throughout the cast is outstanding, notably Olivier, Robert Newton (Pistol), Renee Asherton (Princess Katherine), Esmond Knight (Fluellyn), Leslie Banks (Chorus), and Felix Aylmer (Archbishop of Canterbury). Special note should also be made of the cinematography (Jack Hilyard and Robert Krasker) and production design (Carmen Dillon), given the severe limits on what could be done (and what could not be done) when producing a film in England during World War Two.

Whereas Branagh chose to film Shakespeare's play in intensely human terms, and does so with great skill, Olivier takes a more formal approach after the initial scenes discussed earlier. His is a more regal Henry V, cunning as well as eloquent to be sure, but (or so it seems to me) a far more mature, self-assured monarch. Stated another way, Branagh's style reminds me of Mel Gibson as Hamlet or Braveheart whereas Olivier's style reminds me of, well yes, Olivier: In total self-control and of all he surveys. Never for a single moment did I doubt that his Henry V would conquer the French and wed Katherine. And so he did. ... Read more

Reviews (182)

A Work Of Art
Carlo Cecchi's 1999 "The Red Violin" may not have won any Oscars but it is Oscar worthy material. On the whole, it was an underestimated film that year. It's truly a great film. The movie is rather long and very musical (after all its' a film about the voyage of a violin through different time periods and global locations) and this could be the reason why people were put off by the film. But even more likely it's because mainstream, youth-oriented MTV audiences don't care for art films. Many will be quick to label this movie art-house, eventhough Samuel L. Jackson is in it. The film follows the course of the life of a violin, from its creation in the 1600's Italian music scene- it's a Bussoti violin, close to perfection and monetal value as a Stradavarius. The violin's red color was made by blood, by the way, but you'll have to see the film to see why. The violin then undergoes a series of adventures as it is owned by different characters - from a Mozart-type child star in 1700's Vienna, to a Paganini-like violin virtuoso in the 19th century, traveling Gypsies and to the 20th century China where Communist/Cultural Revolutions are raging. Finally it ends up in an auction house.

The DVD contains the movie in great form, a soundtrack and trailers. The film is really more than anything musical. The violin is expressed in its every face- cheerful, vibrant, yearning, despair, drama, tragedy, sadness, romance, love, sensuality, lyricism and even spirituality. This film should get you into the violin. It certainly did as much for me. I recommend this film for any music lover or if you are taking music appreciation classes. Teachers ought to show this film to music classes. There is nothing R-rated about it. There is no violence and the only sex scenes comes with the Paganini violinist who cheats on his writer-girlfriend while she is traveling abroad and comes back to discover him en flagrance. But this is nothing to worry about and it's done melodramatically and even tastefully, like something out of a 19th century romantic novel. This film is a must have.

Sensuous, Sumptuous & Sonorous (plus DTS)!
"The Red Violin" is a fascinating and complex film which uses several plot devices to tell its story. Central to its emotional core is a beautiful original score by American composer John Corigliano which weaves a spell over all who encounter the violin. The DVD presentation offers DTS digital sound, a feature I had not before encountered on DVD. My receiver/amp lit up like a Christmas tree and my surround speakers took on an enchanted life of their own. The solo violin of Joshua Bell speaks for the violin throughout the film. I was very impressed with the sound and the video image was consistently clean and sharp throughout. There is an interesting look at the making of the film in special features, plus a partial cast listing that's a bit disappointing. No matter! The film story is what is important here. At the outset, the film takes us to Italy of the 1600s in the workshop of a violinmaker. The master of this shop has a young, pregnant wife and he shows her his finest violin...one he created for their unborn son. Troubled by strange feelings, the wife seeks out one of her servants who reads Tarot cards, and from this point on, the film's first plot device grabs the attention and never lets up. There are five cards. The first card is turned over and its meaning explained. We are then shown that the baby is dead at birth and the wife died shortly after. And you want to say, "Whoa!" The next plot device appears in modern-day Montreal where an auction of rare violins is in progress. Each time this scene appears throughout the movie, we see a different person in the audience and are treated to that person's connection to the prized item on which they wish to bid: The Red Violin. From there, the story unfolds in time...Austria in the 1700s, England in the late 1890s (a very, very sensual segment), China in the early 1920s and mid-1950s and finally back to Montreal. Back and forth the story moves, from auction to tarot reader (a new card interpretation with each visit) to story, along with the subplot of Samuel L. Jackson's master appraiser unraveling the mysteries of the red violin prior to the start of the auction. It's a fascinating, masterfully crafted film with wonderful performances and soaring music. "The Red Violin" entertains and stuns. This is a film crafted by filmmakers who not only love film but love music. I cannot recommend it highly enough.

Don't analyze it, just watch it for what it is.
While I find this movie captivating to watch, and wonderfully done, the story does have a multitude of holes in it. The most glaring probably is how an instrument that spends most of it's life in such ordinary circumstance or in relative hiding becomes the sought after holy grail of a modern auction house. The instrument is really only in a position of high profile lime light once in the story that is documented in the film. The rest of the time it spends as a fairly generic piece being passed around to children in an orphanage, roaming the countryside with gypsies, in a pawn shop or hidden from authorities. This doesn't seem like a likely life of an instrument that would be known by and sought after above all others by what is portrayed as the foremost experts in their field. Even the bidders in the auction seem to only have interest in it from a sentimental value and not for the perfection that the modern auctioneer values it for.

The movie is however, almost hypnotically watchable and it is hard for me even to deprive it of the single star I have. On one side the movie appeals because of the intellectually complex plot, but by the same token fails because the holes in that plot seem like they would be obvious to the same group that would be drawn to the film. This is this films paradox. All in all a very entertaining film that you have to remember not to analyze.

"Art Film for Dummies"
If you've always been put off by "artsy" films due to their lack of action or speed, then you need to see "The Red Violin". This is quite possibly the best "art film" ever made. The reason I believe this: it has a constant flow throughout...it's not a study on one place in time. Also, there are no extended closed door private conversations or over-done symbolic camera work. Even a child could follow the story line and appreciate the beauty and mystery within. The movie follows a violin throughout the ages. And, at the end of the movie, we see it setting out on another voyage in the hands of a new owner.

Pick it up if you have a chance, you will not be disappointed!

Uneven but fascinating and beautiful musical journey
Having once been genuinely passionate about the violin myself, I figured that, at the very least, Francois Girard's THE RED VIOLIN would at least be entertaining. But, finally having seen it all the way through recently, I didn't expect it to be fascinating and even tear-inducing---Joshua Bell's violin solos and John Corigliano's music (which won a well-deserved Oscar) are almost beautiful beyond words.

It is true that, on a whole, some parts of the film work better than others. This is basically an anthology of stories with the Red Violin being the connecting thread---barely---and while three of the stories are fascinating and even enlightening and moving (the Cremona, Vienna, and Montreal sequences), the two others (the Oxford and Shanghai sequences) are either unintentionally funny (the former) or simply slight and kinda pointless (the latter). And yet the dud sequences are hardly enough to counteract the great things in the movie: not only its technical flash and beautiful music, but its resonant theme about how we all, at one point or another, yearn for perfection and can't let it slip away so easily when we find it. Certainly instrument evaluator Charles Morritz (Samuel L. Jackson, in a restrained but powerful performance) cannot let his vision of perfection, which the Red Violin embodies, escape him.

If nothing else, THE RED VIOLIN will perhaps enlighten non-music lovers about why we love the violin, and even music, so much. And that is enough for this uneven but overall wonderful film to be worth seeing by everyone. ... Read more

Reviews (160)

A straightforward story honestly told.
A wonderful gentle movie that I'm still enjoying after several viewings. Clearly Mr Lynch is not afraid to experiment and deliver something different and this is so unlike his previous output. Judging from some of the reviews this is not a movie for everyone but fortunately the one or two stars are in a minority. Most of the others, like me, appreciated the slow moving (just like five mph Deere mower) unfolding of Alvin's big adventure and the folks he met. Where else other than the Midwest, where honesty comes as standard, could this story take place.

There is so much to enjoy! Angelo Badalamenti creates the perfect bluegrass style theme music, cinematographer Freddie Francis captures the gorgeous colors of the Midwest, the actors and especially Richard Farnsworth sparkle. Great lines, too, Alvin says to a hitchhiker, who has run away from home and shares a meal with him around the campfire, "A warm bed in a house sounds a mite better than eating a hot dog on a stick with an old geezer travelling on a lawn mower".

The 'Straight Story' is a little gem and I bet I'll still be enjoying its warmth and honesty for a long time.

Clearly one of the best acted films of the year
This film is probably one of the warmest and heartbreaking films of the year and it is all because of David Lynch and Richard Farnsworth. Unlike your typical Hollywood movie, David Lynch is able to work in the multitude of charachters in "The Straight Story" in a very natural and unpretentious way. The beauty of the picture is the way in which Alvin Straight (Farnsworth) is able to touch all the people he meets as he travels from Iowa to Wisconsin on his tractor to meet his ailing brother. The ending, which may leave the typical moviegoer scrathching his head and asking "so what happens?", is brilliant in how the expressions on the brothers' faces explain how they feel; and there is no need for a long drawn out speech that screams for the Academy's attention.

This film, in essence is about getting old and how aging has its benefits as well as its tragedies; how anger and resentment of family and friends is really not worth it in the end. Richard Farnsworth does a brilliant job that not many actors could have done. The wisdom he seems to have just by staring at him is astonishing. The second best line in the movie is when a young man asked him, "What is the worst thing about getting old?" and Alvin stares at him and says quietly, "Remembering when you were young." The best line, of course is the last sentence of the movie which makes you feel happy as well as sad inside.

David Lynch did a beautiful job in making the cornfields of the midwest seem amazingly scenic; trust me, I have been through Iowa and it is not as gorgeous as he made it out to be. The soundtrack goes perfect with the movie also. And I did not even mention Sissy Spacek, who plays Alvin's daughter and she does a great job as well as the rest of the cast in playing characters touched by Alvin and his mission.

What makes a movie a classic or a great film is that after you watch it, you sit there and think about it and have discussions with your friends about it. This movie did that to me, and I have been reccommending it to all my friends. But I must warn you, you also have to be in the right mood for it, and it might be best if you either watched it alone or with only a couple of other people. It is a must see for anyone.

a (mostly) orthodox story
wilhelm furtwngler; the conductor of the berlin philharmonic up until 1954, had a very unorthodix beat. indeed, his conducting was in itself unorthodox. he had heard some grumbling amongst the orchestra members that his beat was hard to follow, and that his conducting was too improvisational.
he then appeared before them and said ' so you dont think i can give you an orthodox beat?, okay let's go' and he proceeded for several minutes to do a 'by the book' reading of brahms. he then stopped. ' see i can do it, but it has no life. its not interesting!'.
the same could be said for the films of david lynch and his most ardent critics.
lynch has, all along, been able to tell a story straight, as he did here and elephant man. but even then lynch has to be lynch. he has to filter the story through his own sensabilites and style.
elephant man and straight story both have lynchs style deeply stamped upon them.
elephant man has his visual artistry, straight story his quirkiness.
the beauty of straight story is this is his 'g' rated quirkiness, and that's very appropriate for a man,who despite all of his progressive accomplishments in film, still lives in the suburbs.
with straight story lynch set out to prove that he could indeed tell a story straight and its most certain there was a sly wink in titling this film.
he actually upped the furtwangler philosophy one in that he did an orthodox narrative and STILL made it interesting, but naturally its still lynchian all the way through.
by the way this was farnsworth last film. he was terminally ill and took his own life about a year later.
he was a charactor actor with grace and vulnerability.
he will be missed

Boring... These other reviewers are nuts!
The Straight Story is horribly boring. Nothing of note happens in the entire film. The people that have given this four and five stars must be crazy. You will be very disappointed if you watch this film "The Straight Story". There are some nice views of Iowa in the film, and if that's all you expect you may be satisfied. If you want to see a plot or story line you will be disappointed. All you will to see is character development with nothing ever happening. The retarded daughter(Sissy Spacek) is totally pointless btw. Anyway, don't say I didn't warn you!

What a priviledge
Where do you begin with a film that is as beautiful, poetic, moving, powerful, substantial, grounding, uplifting, and definitively sublime as The Straight Story. From it's emotionally and technically pitch perfect score by Angelo Badalamenti to the brilliant direction of David Lynch, the film takes us on a journey we will never forget.
Despite everything I've offered, the film depends upon one man- Richard Farnsworth. In his last role, his award-winning performance is a master class in listening and being. He IS Alvin Straight instead of acting like Alvin Straight. His beautiful blue eyes are weary with pain and memories. I have never seen the eyes convey so very much. To watch his scene at the bar and not have a resounding physical reaction- well, there may be no help for your soul.

Simply put, allow yourself the priviledge of viewing The Straight Story. ... Read more

Reviews (79)

He is not an animal.
The magnificent visuals in *The Elephant Man* are rather less due to director David Lynch than they are to cinematographer and Hammer vet (and former director himself) Freddie Francis. On purely visual terms, this has to be one of the greatest black & white movies ever shot. Victorian Europe becomes Hell, here: gritty, damp sidewalks; plumes of smoke everywhere (light and dark, steam and coal); impenetrable shadows; nauseating grays; daguerreotype snapshots in hallucinogenic fogbanks. It is the work of no less than a genius. The photography all by itself raises this otherwise conventional drama to near art. Also worthy of praise are the set design and -- of course! -- the costuming. Only by the film's credits do you realize that it's John Hurt who's portraying the horribly deformed John Merrick, the famous personage in Victorian London who rose from sideshow degredation to national celebrity. Watching this movie again, I wished that Francois Truffaut had written and directed it. I was constantly reminded of that director's *The Wild Child*, in which he played the equivalent doctor-role that Anthony Hopkins plays here. Nothing wrong with Hopkins' performance, mind you; it's more the heavy-handed moralizing that his character is forced to personify. Lynch, that famous finger-waggling moralist, insists on putting Dr. Treves' ethical quandary into the character's own mouth, thereby making sure we "get" it. (Truffaut understood that the ethical quandary of bringing a wild child -- or an elephant man -- into normal society is already a given, without requiring sage speechifying, oratory, declamation.) Every time I hear about what a "daring" director David Lynch is, how he "thinks outside the box", how "revolutionary" he is, I recall this tear-jerking film. *The Elephant Man* is ultimately as sentimental as any Academy Award-bucking Hollywood product. Of course, that's exactly what the movie is. It's also as sentimental and moralistic as most of Lynch's other movies. It's definitely worth seeing, but let's not get carried away.

A Masterwork
The Elephant Man is a movie so emotionally draining you only watch it something like once in five years, if that. On top of brilliant filmmkaing, you know the story is also true. Anthony Hopkins is top billed as a doctor who discovers John Merrick, a man so horribly disfigured by disease he is nearly unrecognisable as a human, and called The Elephant Man. Hopkins delivers an excellent performance. John Hurt plays Mr. Merrick. He isn't recognisable, as he's under layers of makeup that make him The Elephant Man(ive seen a picture of Merrick, and the movie has Mr. Hurt looking just like him) but I don't know if anyone else could've played the role as well. Very moving. David Lynch(director) tacles his first full length picture with this amazing movie. His last short, Eraserhead, got him the job. There just arent enough stories like that of John Merrick, so I don't know that Lynch can get so close to his calling again, though he does a damn good job anyway(Blue Velvet, Twin Peaks, Wild At Heart, Strait Story, Lost Highway). Amazing job.

The tyranny of normality.
Although generally interpreted as David Lynch's breakthrough, the main force behind the making of 'The Elephant Man' was Mel Brookes. Brookes fought agressively for David Lynch's final cut, including the opening and closing dream sequences that Paramount wanted to drop.

Lynch, whose fascination with the industrial landscape permeated his cinematic debut 'Eraserhead', must have taken a fancy to directing a movie set in smoke-staked Victorian Britain. Lynch himself likened John Merrick's facial structure to a series of uncontrollable explosions, an industrial-like catastrophe of the body (which sounds like the basis of an architypal David Cronenberg movie).

Although initially cared for by men of varying degrees of affection, it is with women that John Merrick shares his strongest bond. Within the moral confines of Victorian society, he is treated as the passive spectacle that women would have been viewed as at the time. His sensitivity and feminine affectations remain intact despite the brutality society has inflicted upon him. This bond would be almost impossible to imagine if he did not receive some maternal affection as a child. Yet ironically what ultimately dooms Merrick is the tyranny of normality that prevades Victorian society. All of those well-bred, well-meaning people who try to help, raise in him a fantasy of acceptance. A 'normality' he will always be excluded from. This tyranny of normality even leads him to believe that there is a 'proper' and 'accepted' way to sleep. Such is the huge leap from the conformist coventions of a century ago, that I believe if Merrick were alive today, he would wear his difference as a badge of individuality, something that has become a convention in itself.

DVD interviews welcome addition to film classic
I saw the original in 1980, and the DVD in 2004. The DVD really is a nice package. Not only do you have this great film in crystal clear quality, but the interview package at the end is really informative, especially regarding the makeup and how the screenplay was discovered -- the producer's babysitter handed him her boyfriend's script! John Hurt's insights were particularly interesting; there are so many things that could have torpedoed the project but thankfully didn't.

I only wish David Lynch could have been interviewed, as this was his first major project after Eraserhead and he really matured in terms of being able to work in a major production with so many shining talents.

Recommended for those with a heart and soul
The Elephant Man is a film of incredible passion and power. For those who think "power" in the movies involves supernatural abilities or mastery of martial arts or destructive weapons - The Elephant Man is perhaps not for you.

David Lynch's film is shot in black and white which gives a Victorian feel to the era depicted, but also gives a startling chiarascuro visual to many scenes.

Much of the information about the life of Mr. Merrick was obtained from accounts written by Dr. Treves, who became so celebrated that he was chosen to be Royal Physician, so it is perhaps not surprising that Treves comes off well in this film. The central performances are by John Hurt as Merrick and Anthony Hopkins as Treves, and they are both absolutely stunning. I have viewed the film a half-dozen times, and there are moments that I am moved every single time.

The Elephant Man suffers from terrible physical deformities that are only gradually shown to the audience. But we discover that his mental faculties are not hindered at all, and the scene in which this discovery is made is absolutely astonishing.

The late John Gielgud does excellent work as the hospital administrator, Mr. Carr Gomm. In the scene after it is revealed that the Elephant Man has normal intelligence Carr Gomm takes Treves aside.

"Can you IMAGINE what sort of life he has had?" (Merrick has spent his life up to that point as a side-show freak, beaten and jeered at.)
Treves looks absent-mindedly out the window before starting to reply "Yes, I think I ...."
Carr Gomm rebukes him sharply. "No you can't!" He softens his voice. "No one can."

And watching that scene we TRY to imagine the myriad of humiliations and sufferings that the poor man has endured simply for his unfortunate appearance. But we realize that we cannot "walk a mile in his shoes" and we recognize that we truthfully can't imagine what he has been through.

Nonetheless we find John Merrick witty and engaging and pleasant. Later on Merrick has become the Belle of the Ward and there is a steady stream of dignitaries who come by to visit. One of the wise old nurses, played by the wonderful Wendy Hillar, gives Treves a piece of her mind and suggests that Merrick has simply become a sideshow again and is being stared at all over again. This leads to a wonderful scene at home between Treves and his wife, played by Hannah Gordon, in which Treves does some honest soul-searching. Another scene where Treves has invited Merrick to his own home is remarkable for it's emotional amplitude. Treves has become very used to being around The Elephant Man, but Mrs. Treves is not, and despite being "prepared" for his sight, there are multiple instances when she is clearly struggling to "seem normal".

There are several other touching scenes, such as when Anne Bancroft,playing a famous London Actress, visits and her acting ability enables her to overlook his deformities more easily than Mrs. Treves, or when Princess Alex arrives at a key hospital board meeting to personally deliver a plea from Queen Victoria for a permanent place for "one of England's least fortunate sons". It would have been easy to turn overly sentimental or to pander, but Lynch knows when to reign things in perfectly.

This work has much to say about the dignity of man, and I recommend it highly. ... Read more

Reviews (128)

Not even a traditional SCI-FI fan
Star Trek bores me, and Star Wars doesn't do much for me either. So that disqualifies me from being a Sci-Fi geek. That being said, I've reviewed a handful of movies on Amazon, but I've never reviewed my favorite of all time. Year after year, this one stands out: The Time Machine, first viewed during my junior year of high school, is my favorite movie of all time.

The movie is very easy to get interested in. It brings up the What If questions about the world you ask yourself and your dearest friends. The dialogue is clever and enjoyable. And Rod Taylor is the perfect gentleman time traveler.

Some people can't handle the 1960 special effects... Appreciate the nostalgia.
Romance. Action. Intruige. Suspense. Emotion. Watch this thrilling movie about much more than TIME TRAVEL, and you'll find yourself loving it, too.

And when you're finished watching the movie, you'll be taking a few minutes to think about starting your own civilization...and what three books you would take to help you build THE FUTURE!

And then you'll stop thinking and look for something else to watch on TV.

An Ageless Enthralling Classic of Sci Fi
As gorgeous as the new time machine is, its hard to imagine it can ever top the beauty of the original. Watching the film again today the elegance and detail in the design astonish me. The machine is unforgetable but its the intelligently crafted story and character filled casting in this version that can still fill young hearts with wonder at the possibilities of time travel. Its amazing how the initial half of the film seems as contemporary a tale as when it was first invented. It is only in the land of the far distant future that the film turns into a traditional pulp heroic adventure. But the evil underground dwellers, the morlocks with their blue skin, white hair and glowing eyes remain quite scary and create wonderful tension and excitement. This is a really fun adventure film that warrants its classic status because it can still be apreciated today.

Accompanying the film is a sentimental featurette documenting the finding of the original time machine in a thrift shop and its loving restoration. The film is hosted by the original star Rod Taylor who reprises his role with his co-star Alan Young (Wilbur Post on Mr. Ed) at the end of the feature performing a ten minute skit that imagines a scenario where H.George Wells returns in his time machine to convince his friend to time travel with him to prevent his death in a soon to happen WWI plane crash. The affection for this film for everyone connected with it is palpable as they wistfully delight in telling stories of the experience. Oddly enough one of the big reasons I purchased this DVD at this time was the cover art was so beautiful I had to have it. Click on the Amazon.com icon for this film to see a larger version. It must be one of the best movie posters ever made. Good companion pieces to this film are Fantastic Journey and Journey to the Center of the Earth.

Don't let it fool you
I gave it 5 stars just for the movie, but this edition deserves 3, cause you see the audio cd shown on the picture won't be inside the package. I returned it, and got myself the standard version, cause I bought this edition most for the cd. The picture is from an initial pressing of this edition and is no longer available, you'll get all the stuff you see, but no cd. I just thought you'd better know it.

The Time Machine still a timeless classic
Rod Taylor, Alan Young, and Yvette Mimieux star in George Pal's "The Time Machine", a great sci fi movie based on the novel by H.G. Wells.

Taylor plays George an inventor in the late 18th century (1899 to be exact) who makes a machine that can go back in time.

At first his colleagues are skeptical, but when they see George's small model machine that goes back in time, they start to believe him.

George's best friend, and supporter is David played by Alan Young.

George takes the machine back, because he is sick of the present time, with war being brought on.

He travels to the early and middle 1900's and to his shock , George finds out that Man's future lies in war (which is pretty accurate even up to today's time).

He sees how WWI and WWII started, and even sees when his house is destroyed by an enemy plane!

George then travels far into the future, the year 802701, to see if mankind has any hope of living in peace.

At first, he sees a great paradise with many people (mostly children) play about in solitude. But when one lady named Weena, starts to drown, he sees that no one seems to care. He rescues her, and after talking to the other youths, he learns that they learned nothing from their ancient ancestors.

The books they have are old and buried.

They have lived the good the life, based on the sacrifices from mankind, and they don't appreciate it (which is another accurate telling of today's times).

He learns that Weena is part of the Eloi society which is under the slavery of the Morlocks, a cannibalistic race.

The Morlocks give everything, food and clothing to the Eloi , in exchange for the slavery and their bodies as food.

The movie was directed by sci fi whiz George Pal who won an impressive 7 oscars and awards for his movies.

He is the Steven Spielberg when it comes to sci fi movies.

What's astonishing about the film is the special effects that were made without computer help (which in most movies make the movie look more fake than real).

The way the special effects people made flowers bloom, candles burn while the Time Machine went in time, is very special to see.

It's a great site, from a special effects view, how these people managed to do these effects, with the limited resources they had.

He directed "War of the Worlds" and "Destination Moon" which won numerous awards. DVD comes with a number of great features:

A behind the scenes documentary with Rod Taylor. A great documentary where he shows how George Pal designed the machine. Taylor even shows us storyboards which haven't been seen in 30 yrs.

Even the DVD main menu with Taylor on the cover and the Murlocks in the background, give the DVD a great sci fi look!!

From 1899 to 802,701 AD The "Timeless" Classic
There are a lot of reviews about this great picture and how it influenced an entire generation. All of it is true! For some reason this film ties into the imagination and fills you with wonder. We can thank Mr. Wells for creating the story, but we really owe it to George Pal, Wah Chang and Gene Warren for translating the book into a miracle of romantic adventure. The real draw of course is "The Time Machine" prop. Never in the history of film has a prop been more imitated and desired. The special effects received an Academy Award and it was well deserved. All of the elements of Victorian London in winter, cozy parlors surrounded with friends gathered for dinner, "tea table" chat over the 4th dimension and the recollection of an experiment in time travel utilizing a flashback technique are what makes this film so enchanting. When Rod Taylor finally begins a slow initial journey we see the sky in motion in day and night sequences that are breathtaking in astronomic splendor. As the flowered garden and fruit trees go through their seasonal cycles in rapid progression you cannot help but be drawn into the wonder of creation and the genius of invention! The screenwriters then play with your imagination as we see our traveler stop at different events in our 20th century past and a "cold war" interpretation of the decade in which it was filmed when he stops in the "future" on August 18th, 1966 to witness a nuclear holocaust. From here we are quickly transported to the focal point of the Wells story to a future society of Eloi and Morlock culture. The care that went into this DVD should not be understated. It is a highly polished film that restores 20/20 vision to the frames so that we can see all of the colorful beauty that was originally there. Once again, we can SEE the atomic satellite zeroing in, the clear sky above the Eloi "cafeteria" and the smoking machinery of the Morlock caverns. When our traveler returns to 1899 and presents the flower to Filby that was given to him by Weena you will agree that "that flower could not have possibly bloomed in the winter time" and in the holding of that flower you will realize that this is a magic moment in film that will be with you forever and as Mrs. Watchit gradually turns off the lights in our view from the snowy evening outside you will think about the three books you would have taken and agree that having seen this film you will never be the same again, because you are in love with a romantic idea, TIME TRAVEL. ... Read more

Description

The Slipper and the Rose is a grand musical adventure in the tradition of The Sound of Music and My Fair Lady. This lavish production features Richard Chamberlain in a spirited retelling of the classic Cinderella fairy tale, and the Academy Award-nominated score is provided by the Oscar-winning song-writing duo the Sherman Brothers (Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang). The Slipper and the Rose is a brilliant mix of fantasy and realism that will enchant viewers of all ages. No musical collection would be complete without this romantically delightful film.Audio commentary by director Bryan Forbes (The Stepford Wives, King Rat). Video interview with the Sherman Brothers. Promotional featurette--Cinderella Story: The Making of "The Slipper and the Rose." Available for the first time on home video in its complete, full-length version. 143 minutes. AC-3 Soundtrack. 16x9 anamorphic widescreen transfer. ... Read more

Reviews (93)

Better than Roger's and Hammerstein's!
I found this movie one day on the Disney Channel while flipping throug the channels. I only saw the last hour or so, but I was enthralled. I have looked for it for 2 years. Then I discovered it's finally on video. I bought it at once, naturally. This is the most romantic version of the famous tale that I've ever seen. Richard Chamberlain does an outstanding performance as the prince. He's handsome, charming and witty. I'm surprised more of the princesses didn't agree to come to the bride finding ball. Gemma Cravens is the perfect Cinderella: beautiful, sweet, and kind. A princess in her manner and character. Edward and Cinderella are the perfect couple. Their love is touching. And I like all the twists and turns in the story that leave you wondering if maybe the prince won't marry his beloved Cinderella. But of course he does, but the two go through a lot. They have their problems and separations. It's not all roses for them. Though this is a fairy tale, it doesn't seem like it. It's all very believable. And very well done. It didn't lack anything at all. It's just a wonderful, romantic tale, and a joy to watch. Love really does find a way!

HOORAY! A must have for every video library!
I, like most viewers, saw this years ago, and it has been in my heart ever since! I am so thrilled that it is finally being released and others will become acquainted with, what I consider, the greatest Cinderella story