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It was instantly acclaimed the crowning masterwork of Ingmar Bergman's career, and time has not dimmed the Olympian status of Fanny and Alexander. Bergman drew upon memories of his own childhood for this portrait of the Ekdahls, the upper-class Swedish family whose celebrations and tribulations are seen through the eyes of 10-year-old Alexander (Bertil Guve). The world of the theater, of puppet shows and magic lanterns, does battle in this scenario with the cold realities of the palace of the bishop--a man whose influence over Alexander's mother gives the movie the stark outlines of a fairy tale.

As for the Criterion five-disc DVD:This may be the most beautiful DVD release ever devoted to a single film. The original 188-minute international release is here, of course, in all its original glory. (It won four Oscars:foreign language film, costumes, art direction/set decoration, and cinematography--the last to longtime Bergman collaborator Sven Nykvist.) An audio commentary by Peter Cowie gives useful background.

That film was carved out of Bergman's preferred 312-minute version, telecast on Swedish TV and included here. While the shorter cut remains a wonderful movie, and complete unto itself, the five-hour film is a deep, luxurious expansion. There is more of the Christmas Eve party that begins the film, more of the theater, more of Alexander's imagination. Especially meaningful is a long sequence between Fanny and Alexander and their doomed father, as he demonstrates the nature of storytelling with a simple chair.

Also here is The Making of Fanny and Alexander, Bergman's feature-length self-portrait, and a fascinating look at the rapt attention he bestows on actors and camera. DVD extras include a penetrating hourlong TV interview Bergman gave in 1984, and a 40-minute documentary shot in 2004 with reminiscences from cast and crew (including actors Guve, Pernilla August, and Erland Josephson). A handsome booklet includes essays by Rick Moody and Paul Arthur, and one disc is made up of pithy introductions shot by Bergman in 2003, for 11 of his classics, plus a sampling of trailers. Fanny and Alexander was Bergman's final theatrical film, though he has gone right on making TV movies and writing screenplays. This is a fitting treatment of his triumph. --Robert Horton ... Read more

Reviews (27)

A Universe of Humanity
I agree ... that Fanny and Alexander is not just a great film, but that it is a career retrospective of Bergman's art encompassing a universe of humanity and the artist's concerns and feelings for all of life.
As such, it is imperative that the US DVD release should not only come soon, but that it should be the complete five hour version released in Europe, but never seen here in the US.
With the Oscar winning art direction, costumes and cinematography, this is Bergman's most luxuriant film that sucks you in with a sweep that never drags. In repeated viewings in theaters and on VHS, I never had a moment of distraction, but always wanted more. Now we can have it, in one of the greatest films of all time.

Bergman's Powerful Farewell
Though I give Fanny and Alexander only 4 stars, I can totally understand reviewers who give it 5 stars. I did so only because I prefer more "artsy" or "ambiguous" Bergman such as Persona or Cries and Whispers. But Fanny and Alexander is by far the best mainstream film I've ever seen, and this is Bergman's most accessible. I can't believe how thoughtful and thought-provoking this film and others like it are, in comparison to average Hollywood fodder. Even young Bertil Guve and Pernilla Allwin give stunning performances as the title characters, portraying emotion and expression as genuinely as any of the adult characters. I won't even begin to analyze the plot, the film being over 3 hrs. long; see it for yourself. I will just say that Fanny and Alexander is among filmdom's best. Kudos to the master for going out in style!

Powerful
This ORIGINALLY THREE HOUR LONG film was extended for Swedish Television a couple of years after its release. I've seen both versions and must say that the story makes much more sense in the five hour version, and I hope that's the one we eventually will get. However, some stuff (15 to 20 minutes or so) could have been left out in the extended version without having affected the story line, but all shots are nevertheless enchantingly beautiful. Bergman has said that this film (apparently his last for cinema) sums up all his work as a director, and I have no doubt that his career in film couldn't have ended on a higher note. The movie is flawless and powerful, plus on DVD we'll be able to watch it in the widescreen format!

fanny & alexander
when you release the DVD version of Fanny & Alexander, make sure that it is the 5+ hour uncut epistle
or don't bother to contact me , i won't be shortchanged. you cannot EDIT a masterpiece !!!!

Bergman's finest contribution to the history of cinema...
The upper-class Ekdahl family is a warm and vibrant family and this shines through in their extravagantly decorated home in which they are about to celebrate Christmas Eve. They have the Christmas feast in the kitchen with the servants, and this is something some servants find inappropriate. However, the family is very close to everyone who is a part of the family or friends of the family. The mother Helena (Gunn Wållgren), who is on the later part of her life, has three mature and married sons, Gustav Adolf, Carl, and Oscar. Gustaf Adolf (Jarl Kulle) is a funny and happy fellow who is constantly cheating on his wife, who is aware of his cheating, but maintains a civil manner and still loves her husband. The family smarts went to Carl, (Börje Ahlstedt) who is a scientist with nihilistic life philosophy. Carl suffers from depression which is frequently expressed toward his loving wife in an emotionally abusive manner. Oscar (Allan Edwall) is the theater director full of love, which he shares as often as he can with his dear children, Fanny and Alexander. However, Oscar does not feel well, and he hides his poor health from the family as he believes that life must go on. Oscar passes out when he is rehearsing Shakespeare's Hamlet and dies a short time after. Fanny deals much better with the death of her father than Alexander, who does not know how to deal with the pain and anguish from his father's death. The warmth and love that the family has keeps the family together, despite many family issues, which all surfaces as the audience is brought to the issues through Bergman's story telling. A year after Oscar's death Emilie (Ewa Fröling), Oscar's wife, is remarrying the Bishop Edvard Vergerus (Jan Malmsjö). The Bishop who asks Emilie to leave all her past, issues, and belongings at home when they move into the Bishop's rustic home. However, Fanny and Alexander cannot leave their past behind them and they often end up being punished by the callous Bishop, who proclaims that his strictness is an act of love from God.

Fanny and Alexander is a film that dissects socially learned morals and values in the shadow of family secrets and issues. These secrets and issues are often the emotional engine behind the human motivation which produces certain manners and behaviors from the Ekdahl family members and those around them. For example, Carl's depression is partially inherited from his financial difficulty that is hampered by his mothers reluctance to give him money, which enhances his nihilistic self-perspective and deepens his negative self-worth. Bergman displays his vast insights into psychology and the human psyche in Fanny and Alexander as he displays the production of numerous emotional states such as happiness, anger, desire, anguish, and many more. These emotional states are clearly acted out by a terrific cast as they face several hurdles throughout the film. In addition, the misé-en-scene is outstanding, since it elevates the understanding for the different emotional states provided in the different homes. A great example is the comparison between the Ekdahl's home which has several strong colors and the art that awakens different emotions, which brings life to the home and the Bishop Vergerus' home that is very sparingly furnished with thick white prison-like walls, which almost suffocates any expression of feelings. The cinematography maximizes the use of the camera in order to enhance the emotional states of each scene. When all aspects of film making are put together in Fanny and Alexander it leaves the audeince with a brilliant cinematic experience. ... Read more

Description

In TOP GUN, Tom Cruise stars as Maverick, a talented training pilot in an elite U.S. school for fighter pilots. When he stumbles upon some MiG's over the Persian Gulf, and his wingman panics, Maverick cleverly talks him through the situation to safety. Consequently, he is moved up in rank and sent to the Top Gun Naval Flying School. There he has several conflicts with other students while trying to live up to his deceased father's reputation.Unable to cope with the death of his best friend, and fellow pilot, Goose, Maverick contemplates dropping out, but follows through with his dream and ultimately becomes one of the "best of the best." ... Read more

Reviews (209)

Fun, but not realistic.
"Top Gun" is not the movie to watch if you are looking for authentic military activities. It is, however, a showcase for Tom Cruise to show how hot he and his band of young stud actors are. Cruise plays Maverick, a crack Navy pilot who get the chance to go to the elite Top Gun Avaiation School. There he is placed in competition with other excellent pilots, but his cheif rival is Iceman (Val Kilmer). This is your standard story of a boy wonder trying to prove himself to a father figure. The romance with his instructor is also sort of superficial. It is, however, very funny to watch all the bloated egos trying to function, resulting in very funny lines of dialog. Also the dog fights are very cool and exciting. Good job Tony Scott. I have met a lot of pilots who act just like these guys, but it didn't seem as funny at the time, though.

Top Gun
This movie is an awesome hit from director Tony Scott (also directed Beverly Hills Cop, Enemy of the State,and much more) dense with fun and excitement that will keep you FLYING for as long as you like. Tom Cruise (Days of Thunder, Jerry Maguire, etc.) stars as hotshot fighter jet pilot "Maverick" Pete Mitchell, who is elected with his partner "Goose" (Anthony Edwards) to enter the Navy's very competitive "Top Gun" program, where many comparible opponents challenge him to win the top rank, including "Iceman" Tom Kusansky (Val Kilmer) and "Slider" (Russ Rossovich). Stars Kelly McGillis as Mitchell's girlfriend, with appearances by Michael Ironside, Clarence Gilyard Jr., Meg Ryan (as Goose's wife), and Tim Robbins. A great action film.

Top Gun baby!
TOPGUN..wat can i say. i grew up watchin this film ,its fun, exciting,thrilling and above all SEXY..tom cruise has never looked soo hott...this movie has given a new meaning to the song 'Youve lost that loving feeling' youd be surprised how many pilots, footballers sing this to girls in bars...it has an amazing soundtrack. 'take my breath away' performed by berlin is a wonderful emotional lovesong that truly melts your heart. so if your a fan of a little romance then this will be a movie top of your list. i know a lot of my boy friends have enjoyed this film so its not just a sloppy romance for girls. the boys get a kick out of 'Maverick' the stud played by Cruise who is 'one hell of an instinctive pilot' who learns never to leave his wing man. His best friend 'Goose' is the coolest character hes so entertaining. there are really fun sexy catchprases, such as 'goose ya big stud take me to bed and loose me forever' and 'son your ego is writing checks your body cant cash'
Top gun is a great movie to just chill out with some popcorn on the sofa and watch with your best friends. ill guarantee you will definately enjoy it.
"there are no points for second place in Topgun." (girls checkout the volleyball scene...mmm)

Awesome Movie!
This movie is a definate classic. The story line is interesting and not mindless like many of hollywoods other movies. Plus we have a beautiful guy with a smile that will make you melt playing the sensitive yet daring main charecter; need I say more? Be careful about chosing when to watch this though, you may have trouble focusing your brain on anything other than Tom Cruises amazing smile.

Top Gun Favourite.
Absolute cheese on a stick, but Top Gun proves that that's not always a bad thing. This movie's got everything - an arrogant prodigy who'd be out on his ass if he wasn't so good, a sensible, more down to earth best friend, a love interest, an arch nemesis and his dumb sidekick, a few cool high fives and catchphrases, the emotional death scene, a euphoric victory act and of course, some unforgettable action sequences. What more could any red-blooded child of the eighties ask for?

Anyone born around 1980 will remember how everyone was doing that double high five and saying 'talk to me Goose' to the kid next to them in class. Certainly one of my all time favourites - entertaining stuff. ... Read more

Amazon.com

Todd Haynes, ever unpredictable, follows up his experimental trilogy Poison and his restrained Safe with this flamboyant study in glam rock through the kaleidoscopic lens of Citizen Kane. Christian Bale plays Arthur Stuart, a reporter sent to investigate the legend of rock legend and bisexual pop icon Brian Slade (Jonathan Rhys-Meyers as a not-so-thinly veiled David Bowie), who disappeared a decade ago after staging his own mock assassination. But Arthur is flooded with memories of his own adolescence as he interviews Slade's friends and business associates, peeling back the layer of makeup and spangles that was the model of rebellion for a generation of middle-class British kids and discovering a hollow center. Ewan McGregor almost steals the film as the punk pioneer Curt Wild (equal parts Iggy Pop and Kurt Cobain), the genuine article to Slade's calculated, coifed image of glitter stardom.Haynes's film lacks nothing in capturing the flamboyance and spectacle of the era with flashy filmmaking and kitschy costumes, and if the plot seems lost in the preening and visual fireworks, perhaps that's the point: behind the façades and manufactured fronts is nothing but glitter, energy, and a beat. --Sean Axmaker ... Read more

Reviews (216)

Beautiful, Lyrical, Fascinating, Glam Movie
I absolutely loved this movie from the first time I watched it late one night strictly by accident. The acting is superb by all of the main characters with McGregor really shining in his wonderful punk role of Curt Wild. This guy really proved what a talented performer he truly is. John Rys Meyers who plays Brian Slade was quite delicious to watch and I'm a straight female...I must say the scene where Slade and Wild are on stage together for the first time and the guitar scene was quite a turnon.

Of course, I'm a huge Christian Bale fan and he was wonderful as well as the reporter investigating the disappearnce of our rock icon Slade 10 years after a fake murder was staged. The flashbacks to his youth were well done and inciteful into his character.

Jack Fairy was a great character that added a bit of mystery and a true image of glam days. Eddy Izzard, what can you say, the guy is fantastic.

I loved this movie for it's glitz and glamour, for it's quirkiness and campiness but mostly for the FANTASTIC music and acting. CRANK IT UP and enjoy!!

stellar cast and far out cinema create incredible parable...
a lot of people will tell you they don't like velvet goldmine. they say it has no plot, or that it's boring, or its just based on david bowie's life. if you lived through the 70's and you're looking for a movie that is totally about celebrating the glam of your youth, then maybe this movie is not for you. however, if you're nutty for well crafted historical fiction, insanely innovative cineamatography, and really good, well acted movies than velvet goldmine will be right up your alley!!

velvet goldmine is about a young reporter (Christian Bale) who's been running from his past for ten years. the decade has brought him full circle to the ackwardness and loneliness he's been trying to escape, by taking him down memory lane in his latest assignment; an article asking, "what ever happened to brian slade (johnny rhys-meyers)?". on his quest, the reporter hears a very bowie-esque (and cinematographically, amazing) story about slade, and in the end, discovers that he doesn't have to run from his past anymore.

Just like a Prancer, a Gypsy dancer pt. 2
In addition to my last review, I should point out, after reading reviews saying "this isn't what Glam was really like"... The movie isn't supposed to be a historically accurate. "The ages live in history thru their anachronisms" (Oscar Wilde). The movie is "a work of pure fiction", and if you try to degrade it into fact, you're missing the beauty of it. It's a fairy tale. Glam rock, Oscar Wilde, etc... are merely vehicles for it to play out.

Just like a prancer, a Gypsy dancer
The film is beautiful. It's a fairy tale, love. Make no mistake about it. It's not a "history" of Glam rock and the characters are composites of many real people without being too much of anyone. It's a fairy tale.

The film is very symphonic and atmospheric, and flutters thru the celluloid sky. It can be confusing at first viewing, because everything is juxtaposed and jumbled. It flickers between eras, characters, and storylines in a half-remembered dream way. The movie must be watched as a feeling, not a sit-back-and-relax caper.

The movie is NOT based on David Bowie and Iggy Pop, at least not entirely. They never had such an affair and never had such lives. The movie is fiction. Brian Slade is no more David Bowie than he is Marc Bolan or Jobriath, and Curt Wilde is no more Iggy Pop than he is Lou Reed and David Johansen. And neither of them are any of them. They're composites of the essence of real people - or of the feeling of them - thrown into a London backdrop thru the lens of Citizen Kane and an Oscar Wilde fairy tale.

Many of the events are real events (Brian's Top of the Pops performance, as well as his relationship with Cecil, is very much akin to Marc Bolan's performance and relationship with Simon Napier-Bell -- The Maxwell Demon album cover is an almost exact remake of Jobriath's self-titled album cover, etc...). Many of the events are real fictions (the movie plays out threw a Citizen Kane-like sequence -- Oscar Wilde's story "Star Child" is carried throughout the movie via a green pendant which is passed around, not to mention many Wilde quotes and parables from stories such as "The Remarkable Rocket" and "The Picture of Dorian Gray"). But nothing in the movie is real. It's simply beautiful fancy.

The film is based around reporter Arthur Stewart, who is, in 1984, on a quest to discover the mysteries behind a fake murder/publicity stunt of Brian Slade in 1974. Everything and everyone in the movie circles back to him, and his discovery. What does he eventually discover? Symbolicly, himself. Literally... watch the movie.

The real Star of the film is Jack Fairy, a beautifully elusive archeotype with the grace of Garbo, the fantasy of Oscar Wilde, and the power of Marc Bolan who silently glides thru the movie, not saying a word until the end, but playing one of THE MOST VITAL ROLES in the movie (he and Arthur make the movie... Brian and Curt are just vehicles for everything to happen).

Many great songs too, from T. Rex, Roxy Music, Lou Reed, Cockney Rebel, etc... Most of them covers, though. As well as newbies such as Shudder To Think and Pulp.

It's a beautiful film. Not action packed, kinda confusing, and not too tethered to a plot. But beautiful - ethereal. It's very layered. If you enjoy Glam rock, Oscar Wilde, Citizen Kane, fairy tales, or just things and people to fall in love with, you'll probably like the movie.

Oh, one interestingly thing to point out is the surplus of Roxy Music songs, but the lack of a Bryan Ferry-like character. Bryan was a consultant for the film, so methinks that's intentional - he made sure they kept him out of the muck.

Very disappointed
I am a big fan of the whole "70 Glam" era. I am also a huge fan of Iggy Pop and the Stooges.
Here is the low down.
1. This movie is lame.
2. The only cool part of the movie was when Ewan/Iggy/Kurt was singing TV Eye.

This movie portrayed Iggy Pop/Kurt as David Bowie's lover. I don't think Iggy was having sex with Bowie. I wasn't there and I don't know for sure.

This was a huge disappointment. I think I was expecting something different. ... Read more

Reviews (154)

Coming of age for a young boy and Spielberg
Made back in 1987, EMPIRE OF THE SUN, is based upon the best selling book by J.G. Ballard. It tells the story of Jim, (Christian Bale) a young British boy, who is separated from his parents, during World War II. His family is living in Japan at the time. The young boy is thrown into a Japanese internment camp. As the story unfolds, Jim befriends 2 Americans (John Malkovich and Joe Pantiliano) also trying to stay one step ahead of their captors and fight for freedom. As it says on the back of the DVD "Through [Jim's] eyes we see the facination and horror of war." Jim goes from being a child of innocence to an adult who is just trying to stay alive in a harsh world.

When the film ended, I had forgotton how flawless the movie is. This was not only a young boy's coming of age story, but a coming of age for Spielberg as a Director as well. This was his 1st film (up to that point) without a real "Gee Whiz" element to it The performance by Bale is outstanding. As the viewer, you really get a sense of what it must have been like to be held captive in that prison. The scene where Jim runs back to the comforts of his home, shortly after being separated from his Mom and Dad, only to find it ransacked, and his parents gone, is particularly effective. The scene is both horrible and funny at the same time The film also boasts some fine production design and a good film score by John Williams. The film was the first to be shot in the People's Republic of China and eagled-eyed viewers will note a supporting role from funny man Ben Stiller.

The only extra feature of note on the DVD is, a good 45 minute documentary, made at the time of production. The documentary is narrated by Actor Martin Sheen. When this movie was released, I remember the reviews being somewhat mixed. That is a shame. It is one of the only movies from Spielberg, that you don't hear much about, even today. I guess I just wanted to remind folks that EMPIRE OF THE SUN is still out there and certainly worth a first or second look

An Unheralded Masterpiece
This epic film is the first of Spielberg's World War II trilogy that includes "Schindler's List" and "Saving Private Ryan." It was made at a time when Spielberg was financially successfully but artistic merit eluded him. That this remarkable piece of filmmaking has been overlooked is no reflection on him; it is the failure of the tastes of critics and the public alike. Spielberg tells a beautiful story of the horrors of war, how families are uprooted and separated, and how the human spirit overcomes adversity. Christian Bale is superb in the film. I cannot comprehend why his career did not soar after the film's release. It was good to see him in the role of Jesus in the recently televised movie on Mary. John Malkovich is his usual fantastic self as a fellow POW who becomes Bale's Long John Silver, a sly comparison to the classic "Treasure Island." The film is beautifully photographed and has a subtle and moving score from Spielberg stalwart John Williams. It is a must for fans of the director and those who appreciate masterful storytelling.

a skewed reality, how a twelve year old boy would see things
A film by Steven Spielberg

Film critic Ernest Rister has written a brilliant review of "Empire of the Sun" where he details the unreality of the movie, how the viewer cannot trust what we are seeing on screen because it is the impressions of a 12 year old child and Spielberg gives us enough hints and allusions and images in the film that with a little bit of work, the viewer should be able to figure this out. Since I had read Mr Rister's review more than a year before I finally saw this movie, I tried to keep that knowledge in mind when I was seeing "Empire of the Sun" for the first time.

"Empire of the Sun" is the story of Jim (Christian Bale), a 12 year old British boy living in China with his parents. The movie is set during World War II when Japan was attacking China. During a raid on the city they are living in, Jim and his parents are trying to escape when they are separated. We don't know what happens to his parents, but Jim ends up in a Japanese internment camp. Jim meets an American named Basie (John Malkovich), whom he befriends and sort of tags along after. "Empire of the Sun" deals with the isolation and loneliness of this one boy who is quickly losing his innocence. That is really the heart of "Empire of the Sun", the loss of Jim's innocence in the midst of World War II.

The one thing that I struggled with was not taking this film at face value, that the events on screen are not truly happening, but rather how Jim is remembering them. They are happening as a twelve year old boy is seeing them, heightened and slightly distorted. I did not catch the clues that Mr. Rister wrote about, but I suspect you have to be studying "Empire of the Sun" to really grasp what Steven Spielberg is putting into the movie. Fortunately, "Empire of the Sun" works on two levels: as a straightforward film, and also on the level that Rister discovered and Spielberg intended.

-Joe Sherry

Wunderbar
One of the greatest dramas ever. Buy it. Watch it. Many times.

Empire of the Sun - Spectacularly Moving
What a sensational film. I'm curious as to why it has been so overlooked all these years. It's so much more than a war movie. It not only speaks to the tenacity of the human spirit, but also to it's frailties.

When Jim reunites with his mother in the final scene, it always brings tears to my eyes. Yeah... lots of tears. ... Read more

Amazon.com

Granada Television's adaptation of The Forsyte Saga achieved the seemingly impossible in spring 2002, matching the BBC's 35-year-old black-and-white classic version with a richly cast and superbly directed take on John Galsworthy's first two novels. The success of these six 90-minute episodes proved that despite the current emphasis on miniseries and dramas developed around the hot actor of the moment, our appetite--and attention span--still craves ensemble pieces that are given space and time to develop. It also demonstrates that nothing generates television gold like a compelling family drama crammed with lust, rape, class conflict, and the insuperable power of money.

The Forsyte Saga is nothing if not superior soap opera. It could all have gone horribly wrong, haunted by the specter of its BBC predecessor--a television legend for anyone over 40. Instead, it succeeds entirely on its own merits with scarcely a weak link--from Stephen Mallatratt's taut and fluid script to David Moore's carefully measured, seamless direction. Risks were taken to banish the old ghosts, particularly in the casting. Damian Lewis's repressed Soames and Gina McKee as his ill-matched bride, the enigmatic Irene, are inspired choices delivering complex portraits of unhappy, damaged human beings who deserve our sympathy. In a sea of marvelous cameos and splendid acting, the top honors go to Corin Redgrave and Rupert Graves for their hauntingly sensitive interpretations of old and young Jolyon, as well as to Amanda Root for her increasingly exasperated Winifred and Gillian Kearney for her sharply intelligent and worldly June. --Piers Ford ... Read more

Reviews (55)

Upper-class, Victorian soap opera
I thoroughly enjoyed this new version of "The Forsyte Saga". The series is well-produced, well-cast, well-acted, with the storyline remaining faithful to the books. The series focuses on the lives of several branches of the Forsytes, an upper-class British family in London, beginning in the 1870s and ending in 1901. Primarily, the story highlights the havoc Irene, first as Soames' wife, then later as (young) Jolyon's wife, unintentionally wreaks upon the family. When viewers are first introduced to them, Winifred has just become engaged to the upper-class, ne'er-do-well Montague Dartie. Soames (Winifred's brother) first sees Irene as she is just beginning to go out in society again after the mourning period following her father's death. Young Jolyon (Soames' & Winifred's cousin), who is married and has a young daughter, June, falls in love with his daughter's French governess and causes a huge family scandal when he leaves his cold-hearted wife for the governess and his father disowns him. Although all of these cousins interact with eachother, though not always for anyone's benefit or support, the main focus of the series is upon Soames' and Irene's disastrous marriage. Soames, who is cold, obsessive, and controlling, falls in "love" with Irene at first sight. He exemplifies a Victorian gentleman in that he views women (and wives in particular) as property. In fact, Soames is often referred to as a "man of property" even by his own family. He never really bothers to get to know Irene, or even to take into account her interests, hopes, and dreams for the future. He does show that he can more than adequately provide for a wife, and viewers see that he is obsessed with her, but none of these things equal love. Soames is nothing if not persistent. He convinces Irene's stepmother to accept him as Irene's suitor, and watches the house, hangs about so often that other potential suitors are discouraged and/or driven away. Irene is young, poor, and clearly at a disadvantage--she clearly tells Soames no, that they would not suit, tells her stepmother the same, to no avail. The stepmother has ulterior motives--she wishes to remarry, and so long as Irene is on the scene, men are interested in Irene, so Soames provides a good way to eliminate a rival on the marriage market. Irene finally caves in to the pressure from both her stepmother and the prospect of poverty--she accepts Soames but only on the condition that he release her from her marital obligations should the marriage not be a success. Soames readily agrees, and they are married. Much of the rest of the series continues with the disintegration of their marriage, Soames' refusal to honor his pre-marital promise to her, and her subsequent attempts at escape from an increasingly jealous and possessive husband, including openly flouting her affair with architect Philip Bosinney (June's fiance), and an absolutely appalling marital rape committed by Soames. The stories of Winifred and her family and young Jolyon and his families are seamlessly interwoven with the central story of Irene and Soames. The series progresses with Irene finally leaving Soames for good, Soames' refusal to accept that his marriage is over (following her, pestering her, bullying her, demanding her return and that she give him a son), and Irene's friendships with both old Jolyon and young Jolyon, including her marriage to young Jolyon once Soames divorces her. The series wraps up with the births of Irene's & Jolyon's son and with Soames remarriage (also of convenience instead of love) to Annette and the birth of their daughter.
The series shows the usual attention to detail that viewers can expect from British period dramas, including beautiful costumes, and lovely sets.
I also like the casting, and, contrary to many previous viewers, find that Gina McKee does an excellent job as Irene! In the books, Irene is described as having blonde hair and brown eyes in some parts, and in more parts is described as having amber hair and brown eyes. To me, amber means a reddish-brown (like the fossils) not blonde. She also conveys how trapped and unhappy Irene is in her marriage to Soames. This is the story of a disastrously unhappy marriage, in which she is trapped, watched obsessively by a husband who has no idea how to treat a woman (to think of her as a human being was well beyond the scope of his intelligence and imagination), who wants out, and to suggest that she should be portrayed as anything but lifeless when Soames is around would go against the story and her character. The only times viewers see any life in Irene is when Soames is not around or when she thinks that he is not around.
The other actors, including Damian Lewis, Rupert Graves, Amanda Root, and Ioan Gruffudd round out the cast and give wonderful performances all around.
Viewers are also treated to wonderful social and political commentary (on the status of women as chattel or property, the cumbersome divorce laws in effect at the time, the British class system, the Boer War, etc.) Wonderful series all around. Highly recommended.

Well, two-thirds of the John Galsworthy literary saga
I have neither read John Galsworthy's novels nor seen the classic 1969 BBC version that was the first "Masterpiece Theater," so my perspective is based on recognizing Damian Lewis from "Band of Brothers," Gina McKee from "Notting Hill," Ioan Gruffudd from "Horatio Hornblower," and Amanda Root from "Persuasion." Actually, when I started watching this Granada Television production my immediate thought that this was going to be like "The Magnificent Ambersons," and that sooner or later (I assumed later) Soames Forsyte (Lewis) was going to get his comeuppance. By the end I was thinking more in line of "Rich Man, Poor Man," because Young Jolyon Forsyte (Rupert Graves) becomes the other pivotal Forsyte in the saga and his path and Soames do cross throughout. These comparisons are not meant to be gratuitous, because I think the mini-series at its best is as good as it gets (think "Shogun," "Lonesome Dove," "Pride & Prejudice," name your own--in your heart you know that I am right).

The short version of this saga is that it chronicles the lives of three generations of a monied, middle-class English family at the turn of the century. As our saga begins Winifred (Root) becomes engaged to the wastrel Montague Darties. Young Jolyon is disowned by his father (Corin Redgrave) after leaving his wife of this daughter June's governess. Soames is a solicitor who forces his marriage to the beautiful but penniless and therefore desperate Irene, who falls in love with Philip Bosinney, the French architect hired by Soames to build a home in the country. Those are the starting points for the major characters, but what becomes important is that the characters prove to be dynamic despite all the soap opera elements of the saga. The predictability of their behavior is tempered by some surprises. I also want to praise the adaptation by Stephen Mallatratt and Jan McVerry for its use of meaningful looks: there is a scene early on where Soames and his father have a discussion as to how much money to settle on Winifred after her marriage. Soames says nothing but provokes an entire series of propositions form his father just by minute facial manipulations.

I was rather surprised to learn after the fact that "The Forsyte Saga" on these three DVDs is not the entire Galsworthy epic. What we have hear is based on "The Man of Property" (1906), the short story interlude "Indian Summer of a Forsyte" (1918), and the novel "In Chancery" (1920). There is another interlude, "Awakening" (1920) and novel "To Let" (1921) which deals with the third generation of the Forsytes, particularly Fleur and Jon, who are born at the end of this series. However, I was actually pleasantly surprised by where and how the saga ended. I guess this is an "average" British mini-series, which certainly makes it above average by anyone's standards. I did not enjoy it so much that I want to go out and read Galsworthy's novels, but it is still a worthwhile viewing experience. However, I do want to check out the old BBC version.

absolutely wonderful!
brilliant acting performance of a wonderful story. I enjoyed every minute of it, and after watching more than eight hours, I couldn't believe it was over.

Do yourself a favour
Do yourself a favour and watch this series of DVDs also Series 2. If you love this era then dont miss this lavishly produced series with gorgous costumes and handsome heroes watch the series then read the books. They are great.

Far superior to the original
Having read the books and now having seen both the 69 version and the 2000 version I am somewhat mystified by some of the reviews. First let me say that I am generally a fan of "original" works rather than remakes. I love black and white and am not at all bothered by dated production values or styles. This said, the 2000 version is far and away superior to the 69 version. The performances here are vastly more nuanced and subtle, especially Damien Lewis as Soams. His predecessor was not only too old for the role but I find his performance very self-conciouse and one note. As for the huge uproar over the casting of Irene, I expected to be bowled over by the original, I was not. Here again a very stagey and also vacant performance. Gina McKee is an Irene who attracts not only with her grace and beauty. She is attractive because of her sensitvity her insight and her unwilingness to bow to Victorian social standards. The very things that attract Soams to Irene are the things that make it impossible for their marriage to work. The other characters are also, with rare exception, played better here than in the original especially June, Young Jolyon, Bossiney and Winifred. Do not let a bow to nostalgia cloud your judgement. This is by far a superior piece of work. ... Read more

Reviews (35)

HERE'S A LIL' STORY THAT MUST BE TOLD...
C'mon, who can resist all that bummy-ass gear some of our Hip Hop hero's are rockin' in this movie? lol Or how about the infamous ball court face-off with Cold Crush and the Fantastic 5? Not to mention Double Trouble's classic set in gangster garbs and totin' "toolies". Wild Style, though low in budget, is definitely high in spirit and Hip Hop talent. One of the very few pieces of urban cinema to capture New York Hip Hop pioneers during their zenith, Wild Style is a cult classic. But before we head down to the "Dixie" to puff cheeba and jam; there is one bone that needs to be picked. What in God's name was director Charlie Ahearn thinking when he replaced the original music from the infamous "kitchen" scene with Grandmaster Flash!? For those of you who need more clarity - in the original version of Wild Style (i.e., pre-DVD) turntable legend, Grandmaster Flash butchers Bob James' infamous "Mardi Gras" on a pair of 1 & 2's in his kitchen. In the DVD version, (to my surprise) Flash is cuttin' up another breakbeat! My jaw dropped when I heard this b-list beat replacing a breakbeat classic. I think Mr. Ahearn n' gang were out on tour when Henry Chalfant and Tony Silver (creators of the classic, Style Wars) were teaching "Hip Hop Integrity 101" and "How To Release A Hip Hop Classic on DVD". Was Ahearn too cheap to pay for the rights to use that beat? Damn Charlie, I know Wild Style has been (financially) good to you; so, what gives? How could you sell the consumers short, (on DVD no less)? The lil' extras on the DVD are cool and the movie itself is still classic, but Ahearn definitely get's a 0 for "remixing" one of the illest Hip Hop scenes of all time! Nuff said. --James "Koe" Rodriguez

Don't expect Shakespeare, expect Hip-hop!
I think it's possible that a generation raised on "realism" in movies, and now "reality TV" (oxymorons for morons), have come to expect De Niro-style dramatic acting in every movie they view. But drama is not reality. Real life might seem more like film, and perhaps as exciting, if God the Director would see fit to edit out all the bathroom breaks, stretches of boredom, mundane and inane dialogue, and blow things up more often. Alas, He doesn't. Still, people tend to ham it up when a camcorder's trained on them, as if this is more interesting than how they normally behave. Conversely, if they view a film where the actors behave normally, they malign it as "bad acting".

Hence Wild Style's bad "rap" in the acting department. What's brilliant about Wild Style is that all the key roles are played by real emcees, deejays, breakdancers, and graf writers. Unlike Beat Street, where the center character (Ramo) is portrayed by some thirty-year-old white guy pretending to be a teenage graffiti writer. Or Breakin', which has as its cast everyone who got kicked off the set of the TV show Fame.

And Wild Style's "poor plot" is another victim of the reality/drama confusion. Yeah, there's no awesome John Woo-style gunplay or revenge drama. Instead we have an honest and historical account of the merging of South Bronx subculture and New York's Uptown art scene. Fab Five Freddy, whose character "Fade" in the movie shuttles between these two worlds, was, in reality, a liason who helped hip-hop cross boundaries into mainstream culture (first, as depicted in the film, and later as vee-jay for Yo! MTV Raps). Lee Quinones really was a young artist trying to find his place in a world of alienation, and in the film is the archetype of the individual vs. society, who "comes of age" with the realization that he is an individual within society, a society comprised of individuals. Lee's pontifications on graffiti as outlaw-art throughout the film are key to understanding the essence of hip-hop as a whole.

See my review of the Wild Style soundtrack for my list of how influential this film has been to hip-hop music itself. Thank Charles Ahearn and Fab Five Freddy for this time capsule, without which a gaping hole would exist in the musicological timeline. My one beef here is that, probably out of copyright considerations, the classic Grandmaster Flash scene has been butchered to remove the Bob James "Take Me to the Mardis Gras" bells. Oh well. The film still rocks.

classic
If you are into Hip Hop and don't own this then you should! It's a capture of the early eighties scene on the edge of going worldwide..the very end of the old school. Classic rhymes and breaking. Worth owning alone for the A to the K scene...

legendary classic
im from england and in 1984 the hip hop breaking and grafiti scene arrived. but it took me a good 6 months to really get into it. i use to bomb my school walls and break too. in 1985 the breakin scene died down, but in my heart i wanted to keep it alive. it wasnt till the summer of 1986 when i went to NEW YORK that i was looking forward to seeing the greatest breakers and graffiti artists, but when i arrived it was all finished. i even asked people on the street wheres all the breakin and graffiti, they replied its out of style man. i was just so saddened i could not have seen a culture which in my view was new yorks greatest. it wasnt till after that i saw WILD STYLE,WHICH made it more saddened for me. i actually stayed in the south bronx, in which was the centre of it all. Wild style bought the real fruit of the culture. if there was no wild style, i dont think there would of been beat street, breakin or any of the other classics. Even to this day i still have the pleasure in watching it. Many people in ENGLAND believed that going and bombing trains in new york was part of the film, but life in NEW YORK was exactly how you saw wild style. I remember a puerto rican guy named CHICO who i made friends with over in new york, said to me" wild style exactly how new york was in 1983,84. i guess my real sadness was i couldnt of gone to new york at that time to see it.

GOD BLESS, all old skool lovers....

adesh kumar.... many thanks

More "important" than it is "good", and sadly made worse
With the recent release of the truly fantastic "Style Wars" on double DVD and its assorted surprises and added features, the errors, omissions, and ultimately negative tinkering with "Wild Style" on DVD are made even more alarmingly clear. Not a good sign for a movie that seemed always like a cute little story about the early hip-hop years than a powerhouse phenomenon. I can understand why people twenty years on might get excited about seeing it, but the truth is that it never was really something to get excited about in the first place.

To someone who was there when it all went down, "Wild Style" is a chaotic and somewhat-interesting "cute home movie" with atrocious acting, lethargic pacing, a disastrously bad ending, and an embarassingly poor sense of filmmaking. The film is so devastatingly predictable and laughingly mundane that it is a wonder that any sort of cult appreciation for it exists at all. As everyone will probably agree, the saving grace of the entire project is twofold: the soundtrack is still one of the top ten pieces of hip-hop music of all time, and the fact that the actors themselves are the real old-school heroes from the scene is more than an adequate excuse for their bad acting skillz. I mean, who wouldn't want to hear Rammellzee rap for another three hours, or see Lee and Zephyr screw around in the yards zooted out of their minds, or hear Fab 5 Freddie try to ad-lib the role of a cheesy promoter? The whole concept was fly, but it's the end result that is less than the sum of its parts. The scenes with Patti Astor make me sick, and the good scenes can be boiled down to a twenty-minute highlight film.

None of these faults should obscure the true simple pleasures the movie has to offer, however: a chance to see some legends dance around and act like actors while the equivalent of a home-movie camera seems to roll with no mercy for screw-ups, hilariously bad lines, or ... footage. So what, eh? I have at least once enjoyed the ride.

By the way, the kitchen scene with the REAL music is on my old (original) VHS issue of the film, and the excuses for not having the original music in the DVD version (Ahearn wouldn't foot the bill) is no excuse to tamper with an already damaged artifact. It says alot about Ahearn's attention to detail, self-appreciation for his supposed art, and his true feelings about an otherwise important film and piece of history. ... Read more

Amazon.com

Few things can be more noble than a wholehearted effort to tell thestory of black secular music in America, especially through the eyes of a mid-20th century rhythm-and-blues vocal group breaking through race barriers to popular success. Comedian and filmmaker Robert Townsend's The Five Heartbeats (1991) is one such ambitious effort. If its story frequently sagsunder epochal burdens, the film makes up for it with a surprisingly tough lookat the music business and classy appearances by Diahann Carroll and hoofer Harold Nicholas. Townsend plays one-fifth of the titular act, whose collective life and times we follow from 1965 to the 1990s, through friendships, break-ups, and re-groupings. The director's script, cowritten with Keenen Ivory Wayans, is wobbly and short on good material for the women in the cast. But several of the male actors are quite strong, particularly John Canada Terrell as an original Heartbeats replacement. --Tom Keogh ... Read more

Reviews (59)

The rise and fall of a '60s group
"The Five Heartbeats", one of my favorite films by Robert Townsend, is a wonderful movie about a fictional singing quintet's rise to fame in the 1960s. It somewhat echoes the story of the Temptations, but in actuality, it could have been a profile of just about any black male singing group of that era (it was supposedly based on the story of The Dells). The struggles to get to the top, what happens when you get there, the egos, trying to keep up with musical trends and of course, the racism, backstabbing, and shady characters -- it's all included here as a very real look into just how ruthless the recording industry can be. There are scenes that will make you laugh, make you cry, and just make you feel good all over!

With strong performances from Leon, Robert Townsend and Michael Wright, this movie is a CLASSIC and extremely enjoyable. Also included in the cast are Hollywood legends Diahann Carroll and dancer Harold Nicholas. I highly recommend this...great acting and great musical scenes add up to a GREAT FILM. Get it today!

This is a must have
The Five Heartbeats is one of my favorite movies. Robert Townsend does an excellent job. This movie is action packed (The beginning), funny (Big red), and heartbreaking (Eddie on drugs). This movie is one of the best. This is a must have.

Much Dap to Robert Townsend
for telling the Story od the Dells&congradulations to them for fianlly getting into the Rock&Roll Hall of Fame after waiting way to long. this story deals with the Music Industry&Mirriors alot of the same Politics you see today.Racisim,Sexisim,Bad Contracts,Drugs,Hustling,Pimping,&all still waiting on that Hit to Emerge.the Cast was Strong in this Film.Dap for Holding it down.Brother Townsend knocked this Film out just as he did with "Hollywood Shuffle".also He had a cool Role in "Cooley High".this is a Film that spoke then&Speaks even more today about the Shady Industry.

Wonderful Movie!!
Wow, what a film! It is a movie about a fictional vocal group from the 60's that is loosely based on The Dells( as opposed to The Temptations, like a lot of people thought). Writer/director/actor Robert Townsend works overtime to make sure we get the whole story of how a vocal group had to make it in the 60's. Michael Wright steals the show as the lead singer who is asked to leave after showing up too late, too many times due to drug and alcohol abuse. Michael Wright has a (should have been) Academy Award winning scene in a parking lot after a show where he sings to prove he still has the chops, only to embarrass himself in front of his ex- group members. The pathos is palpable as the rest of the cast hits the right note of sorrow showing that they still respect him, but now pity him. There are plenty of moments like this, both dramatic and musical that will make the hair stand up on your neck. The soundtrack really resembles songs from this era and I am definately interested in getting the soundtrack.

Good Movie
It's one of the better films on black music group singers. the casting and acting was one of the better. I would recommedn this movies for entertainment. ... Read more

Reviews (67)

Global Thermonuclear War
What happens when a computer hacker breaks into the defense department's computer system and starts playing what he thinks is a computer game? Would you believe World War III?

That is the premise of this movie in a nutshell. But don't let the simple plot line summary fool you. This is a great movie.

Half the fun of this movie is in watching David Lightman (played by Matthew Broderick) get himself in deep water when he accidentally gets the United States to believe that the Soviet Union is attacking. The other half of the fun is in watching David and his new girlfriend (played by Ally Sheedy) desperately try to find the only person on the face of the earth who can stop the computer (called Joshua) from starting World War III.

This is a fun, escapist movie that can be enjoyed by the entire family. Don't worry about the plot holes, or the lack of believability in some areas. Just watch the movie for the fun that it is meant to be.

The best hacker movie ever made!
"WarGames" is easily one of the best hacker movies ever made. Matthew Broderick did a very good job playing in this movie. Broderick is David Lightman, a young man, who breaks into the computer's defense system and almost starts World War III. Ally Sheedy is awesome, in her supporting role, as Jennifer Mack, David's girlfriend. Dabney Coleman is excellent as John McKittrick, a cocky computer expert, and John Wood is wonderful as Stephen Falken, a wizardly computer genius. I have this movie on DVD and I am glad to own it.

Dated but still worth watching.
When this movie was released it was very up to date with the technology it featured. In this day of laptop computers and Internet access to mobile phones it certainly looks dated but put that aside and you are still left with a really good movie with a plot idea that still works today.
The story revolves around an underachieving, bored teenager (played by a very young Matthew Broderick) whose main interest in life is his computer. From his bedroom he can alter his school grades, reserve flights, and download software, all by hacking into other computers. While searching for new games from a software company he comes across a set of titles he assumes are games and decides, with his girlfriend, to play Global Thermonuclear War. Unfortunately it isn't a software company he has hacked into but a military system and he is playing against NORAD's computer. When the realisation hits that the NORAD computer, when it's turn comes round, will launch atomic missiles for real, the race is on the stop the game.
This is still a gripping film that can well pump up the tension even after several viewings. Recommended

well be back in two and two
this movie is best seen in sequence after slingblade, american psycho, kids in the hall, wag the dog, and lawnmower man. Not to be rude or anything, but I find this movie slightly erotic when the computer asks mathew if he wants to play a game. after you watch this, you need to really get the totally erotic euphoria of Bob Roberts and you got a really good movie marathon. Seriously though, if you have a blind date, rent this one and shell do anything you ask, even if she doesnt like you, I swear by this DVD as a date movie, it sets the mood just right. The performances and Brodericks beedy eyes make it a two thumbs up thriller that few other movies will come close to.
enjoy

The original W.O.P.P.E.R.
This animal is a whopper in more ways than one. All you have to do is suspend any type of belief in reality and it is a lot of fun trying to outguess the next move. Even after you have seen it a million times you will find your self kibitzing "look look look it is still running." And what is Joshua doing at the back door?

A teenager, David Lightman (Matthew Broderick) that is too tech savvy for his own good is searching for the new game on the net. He stumbles into the NORAD mainframe evidently it was DARPA/net. For those with a short lifespan DARPA (Defense Advanced Research Projects Agency) was the precursor to the internet. We all know what happens when you do this. Yep, now David with the help if his teenage sweetie, Jennifer (Ally Sheedy) must worm his way into NORAD and stop the game or we are toast. ... Read more

Amazon.com

The life of St. Thérèse de Lisieux, a young Carmelite nun who died oftuberculosis, is the inspiration for this spare, sincere French film. Theobsessively religious Thérèse (Catherine Mouchet) fights to be allowed to jointhe rigorous order of nuns, taking her petition all the way to the Pope himself.After becoming part of the sisterhood, Thérèse takes joy in the strict ritualsand devotions, until she develops tuberculosis and her inner connection with Godsuddenly leaves her; despite this, she never loses faith, and writes a private diary (which, whenpublished after her death, became hugely popular). The settings of every sceneare depicted only by furniture; the neutral background puts all the focus on therich performances of the actors, including Hélène Alexandridis as a young nunwho falls in love with Thérèse. An elegant film, perhaps best appreciated byCatholics. --Bret Fetzer ... Read more

Reviews (10)

Not for Everyone
Keep in mind that the director of this film was an atheist, and that one of his primary purposes in filming it was to experiment with a new/different cinematic style. Therefore, no fancy sets or backgrounds, just a concentration on the life of a very devout, simple, and loving young girl. Not her whole life, only bits and pieces of how she thought, what she said and did, and what life in a Cloistered Convent was like. l've seen this movie several times, and not once did l see any overt or obvious act of the so-called lesbianism. See it for its spititual message, and keep in mind that after this movie was released there was a solid increase in applications to Carmelite Convents and a more solid interest in the life of St. Therese of Lisieux, also known as the Little Flower.

A sweet film about a girl with Obsessive-Compulsive Disorder
The film is good, it's french and it's minimal. I saw it when I was in the seminary years ago.

If one reads the memoirs of nuns who actually had to live with this eventual saint, none of them really liked her. Short of counting every step she made throughout the day, or avoiding cracks lest she break her mother's back, she was so driven by obsessively compulsive disarray that she HAD to become a saint. She was consumed with the most minor infractions (silly, nonsense sins) that she drove everyone around her crazy.

Is that really a "saint," or is that someone who could have just been helped out a whole lot with a little Zoloft or Prozac? So you think a mean thought of someone who annoys you...well, this woman made mountains out of those inconsequential thoughts, yet she's viewed as special.

Well, she was special. Her neurosis was olympic, and she made others suffer for that. But we didn't have to live with her, so we think she's spectacular.

This film does not deal with her psychological self-induced trauma. This film, like time, makes this woman stand out as a saint.

Fantasy and fond memory beats the heck out of truth and reality.

Mike

seeing a saint from the outside
This intimate, intense little film shows the making of a saint 'from the outside.' When I first saw it, I was so impressed by the portrait of young Therese Martin that I learned all I could about the icon she became to the Roman Catholic World. The after-death publication of her stubby-pencil autobiography "The Story of a Soul" captured the attention of the devout. She rapidly came to be known as 'The Little Flower' or "St. Therese of Lisieux" and was canonized in 1927, becoming co-patroness of France with St. Joan of Arc, and a "doctor of the church". The film shows us this giant figure of the faith as she appeared within the hermitically sealed world of a Carmelite convent-a little girl with quietly extraordinary qualities. No music or heavenly light announces her holiness. The scenes are barren, the light is directional and shadowed, as in a Caravaggio painting. The film presents a series of vignettes, as though on as shallow stage. Within each one, she seems to seek to hide, not allowing herself to dramatize even her own illness and approaching death. But the reactions of other sisters reveal her. An elderly nun chooses her as confessor, surrendering to her the one private possession she has retained, against the rules, for 50 years. A confused and unhappy young sister responds to her clear-eyed and loving compassion. A crabby older sister showers her with flowers and asks her for the relic of a fingernail clipping, astonished that she is unable to withhold her homage. Most important, her Mother Superior, who alone knows her secret desire to become a great saint, requires that she write down the thoughts of her heart, knowing that they will be important. Believers will be moved, the merely curious may find themselves breathless.
One vignette in particular, stays with me as a beautifully rendered cinematic explication of her character. I have never in all my researches on St. Therese encountered a narrative that 'validates' the scene, but it has a haunting truthfulness. Therese is working in the kitchen with another sister. A box is delivered. When opened, it proves to contain a huge, live lobster. Therese boldly lifts it, though she is clearly frightened and awed by its claws and its repulsive appearance. But it is too large for her hand, and falls heavily to the floor, writhing and snapping on its back. She bends over, rights the thing, and picks it up. As she bends, blood streams from her mouth-a hemorrhage from the lungs, and the first sign we see in the film of the tuberculosis that will painfully kill her. She smiles radiantly to her companion sister, wiping the blood away, and saying that she 'bit her tongue.' Thus, Therese faces death. I am struck by this scene because it reflects another painful scene in Dostoevsky's novel, The Idiot. A tubercular young student recounts a nightmare in which he is trapped in a room with a huge scorpion he knows he cannot escape. His terror and horror at this entrapment by inexorable death contrast strongly with Therese's outward reaction, though we later learn that she, too, is afraid. The difference? She boldly asserts her fear as a test of her faith, and continues to give herself to the God she no longer can see.
I see that some reviewers have been unnecessarily disturbed by the young nun who is so attached to Therese. This isn't a sick modern-day attempt to introduce'lesbianism' into the convent. It illustrates that one of the great difficulties religious must face is the inevitable temptation to form special attachment to another individual. Such special, individual love IS a problem for those trying to focus all love on an invisible God. Watch closely. You will see that Therese knows her fellow sister is troubled. Clear-sightedly, but lovingly, she refuses to participate in that exclusivity. The disturbing scene in which this sister eats sputum Therese has coughed up from her dying lungs is clearly based in the girl's attempt to emulate the actions of St. Catherine of Siena, who drank water used to wash a leper's skin. This action is 'perverse' only to those who do not understand it as an attempt to participate sacrificially in another's human suffering. Where the young sister is 'wrong' is that she would do such an action 'for Therese' but probably not for a stranger who is, as Mother Teresa of Calcutta would put it "Jesus in a distressing disguise." Therese herself costantly reveals less self-dramatizing sacrifices in her 'Story of a Soul.' To some, she appears extremely neurotic. To me, her 'craziness' appears the insanity conferred by divine love. Such madness for love of God will always look bizarre to non-participants.

disgusted and appalled
I purchased the VHS version of this movie five years ago. I had difficulty watching this trash as it obviously pandered to every twisted, sick stereotype of Cloistered Catholic Nuns that I have ever heard of (lesbianism, S&M, etc...)! I was so thoroughly disgusted by this poor excuse for a movie that I threw in it the garbage, where it belongs, immediately after forcing myself to watch it in the vain hope that I could unearth at least a single redeeming quality in it. I could not. It is garbage. I only gave it one star because it is a required field. It does not deserve even one!

Strange little movie
I love St. Therese and have read her autobiography, letters, and poems. Unfortunately, this movie does not do justice to Therese. At times, the movie is kind of creepy, paying undue attention to a lesbian nun in love with Therese. This nun is almost the co-star of the movie. It seems to me that the film maker is critical of Therese and the Carmelites. This is not a movie for children in particular, because it would only confuse them. Actually, it would probably confuse anyone. What a shame. The movie gets 1 star only because of good acting by the woman who plays Therese. The movie has other faults, but I'll not dwell on them because its really not worth it. ... Read more

Reviews (199)

Probably the best movie about loving the movies
Rightfully known as a movie for people who love the movies, "Cinema Paradiso" ("Nuovo cinema Paradiso") is Giuseppe Tornatore's 1988 memoir of growing up in a small Sicilian town. A famous film director returns home for the first time in years to attend the funeral of an old man, but this bit of foreshadowing hardly prepares us for the depth of the tale. For the young Salvatore who is called Toto (Salvatore Cascio), the center of the universe is the local cinema and its projectionist Alfredo (Philippe Noiret). When we first see them together in the projection booth, Alfredo is editing out the kissing and other inappropriate scenes from a new film under the supervision of the local priest, Father Adelfio (Leopoldo Trieste) who rings a bell every time he finds something objectionable. The good father rings the bell a lot, to the dismay of the local citizens who bemoan the fact they have never seen a kiss on screen. Unlike most films featuring the cute kid and the grumpy old man, "Cinema Paradiso" presents the odd couple as kindred spirits from the very start. They both love the same thing: the movies. Even when the adolescent Salvatore (Marco Leonardi) discovers something else to love besides the movies in the form of a young woman named Elena (Agnese Nano), he is equally devote in his new obsession, standing outside her window for days in the pouring rain to impress her. Of course Salvatore loves not only the Cinema house but Alfredo as well, and when tragedy befalls them both he has to take his place in a new world while hanging on to the old. Finally, Alfredo has to kick Salvatore out of the nest and send him off into the world with the warning never to come back, because Salvatore's dreams will never be realized in the town of his birth. "Cinema Paradiso" is a film that captures both the pain as well as the joy of remembering the past. When the grown Salvatore (Jacques Perrin) opens up the gift left to him by the man who was much more than his father figure, we know immediately exactly what he has received. But that knowledge does not attract from the emotional impact of that glorious final montage.

One of the Best Films of the Last 20 Years
Guiseppe Tornatore's masterpiece proves for once, and for all, that you can indeed go home again. "Cinema Paradiso" is a timeless tribute to family, friendship and love as seen through the eyes of Toto, a filmmaker, who abandons his small town roots in search of that elusive "something more" in life. In a truly universal manner, Toto experiences success, failure, love and emptiness prior to the film's beautiful finale in which life's true meaning becomes clear to him. The childhood relationship between Toto and his father figure Alfredo, a projectionest at the local cinema, is the centerpiece of the film. Their ensuing lifelong friendship is simply priceless. The legendary Ennio Morricone's unforgettable score provides the perfect emotional backdrop . Overall, "Cinema Paradiso" is a stunning film that works on all levels. A word of warning: even the most macho of all macho will have trouble holding back tears during the film's remarkable final 15 minutes. Not to be missed!

Only one word that pops out when watching this: NOSTALGIA!!!
To make it short, this is the one and only movie that makes me cry every time I watch it. It's the kind of movie that melts your heart and keeps you thinking about it for days ahead. Also, I've never heard a soundtrack as beautiful as the one in this movie. It only helps bring out your tears more easily, especially in the last sequence.

A passion for film and filmmaking
I have not seen the "new Director's cut" version, and based on what the other reviewers have been saying, I'm so very glad. This movie has always had a special place in my film heart.

The theme of love has never really been so subtly and wonderfully dramatized. And the love is on so many levels: love for the opposite sex, love for filmmaking, love for family, love for one's hometown, etc. The plot is deceivingly simple and traditional but there are elements that are very unique. What particularly appeals to me isn't just the developing relationships among the main characters, but the relationships going on among the townsfolk. The extras are not anonymous here: all the patrons of the Cinema Paradiso have a slim storyline that are quite amusing. (In one sequence, a young couple are kissing. Next time we see them they're doing something more than just kissing. By the end of the film, they have a family in tow.)

Anyway, the story aside, CINEMA PARADISO is so gorgeously filmed, it's so pleasing to the eye that it's almost unbearable. This is a film for lovers of film and filmmaking.

Stay away from the director's cut
Cinema Paradiso is one of my favorite movies ever. This review is about the director's cut, it just ruins the whole movie. If you loved the original movie, don't watch this new version.

Cinema Paradiso is mainly a love story. But it's not about the relationship between Toto and Elena, it's about the relationship between Toto and Alfredo. The new version turns the whole move upside down. Not only the plot, but the characters too. Elena becomes the most important part of the story. And the character of Alfredo becomes a completely different person through the eyes of Toto. I don't want to give away anything about the "new" plot. But believe me, the director's cut and it's brand new 51 minutes changes the whole movie into -what a critic said, "mundane soup opera." ... Read more

Reviews (28)

The man who invented big band!
"The Glenn Miller Story" can be enjoyed even by someone who's not a fan of big band or jazz music. It's for everyone especially music lovers of all tastes. Jimmy Stewart is cast superbly here and at times you're thinking you're watching the actual Glenn Miller himself and not the actor. The music of Glenn Miller is brought to life so magically with its captivating soundtrack filled with his most memorable tunes and melodies like "Chattanooga Choo-Choo" and the one everyone knows: "Moonlight Serenade." The colors on this film are vivid and make you wish you'd want to be there. It was indeed tragic to lose such a great musician all too soon. You still hear his music in movies, nightclubs, theaters and more. All in all, it is a neat movie to look at and to hear remembering the trombonist who became the leader of the band: Glenn Miller.

5 stars for the music.....as for the story.....well.......
This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

That Sound
This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

Evocative and Amazing
It happens every time. When you watch a film with James Stewart in it certain things happen.

The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing.

He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really.
Those who carp about accuracy should pick up a biography. Those who love the mystique will watch and enjoy the timeless Glenn Miller through James Stewart.

I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history.

Finally, I was not around during during the Miller era however,

after viewing this film .. " I was there"

C Pope

Another mistreatment of a classic
Let's clarify a couple of things.

First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such.

Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies".

Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history.

Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release.

The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie.

Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal.

As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more

Amazon.com

It's not exactly Fred Astaire and Ginger Rogers, but this 1998 entry, starring Vanessa Williams and newcomer Chayanne offers its own terpsichorean pleasures. The story centers on Rafael Infante (Chayanne), a Cuban émigré to Texas, where he takes a menial job at a local dance studio run by John Burnett (Kris Kristofferson). There, he falls for Ruby Sinclair (Vanessa Williams), a one-time ballroom championship contender looking for the opportunity to compete for the title once more. The romance seems a foregone conclusion but has some snap thanks to a crisp performance by Williams and a sunny (if limited) one by Chayanne, a singing star in Puerto Rico. Best of all is the dancing itself. In terms of both energy, exuberance, and style, this film's dance sequences rank with the best of the decade's limited celebration of the kinetic art, such as Strictly Ballroom and Shall We Dance. Though the movie's central plot secret seems obvious from the first downbeat, the film takes off every time the dance music kicks in. --Marshall Fine ... Read more

Reviews (85)

Fantastic
"Dance With Me" was a really great movie that worked on manylevels. It had great music, an enthusiastic, fun-loving cast, a great storyline, believable characters, sensitivity, romance, and a happy ending. This was accomplished without the use of gratuitios sex, violence, and bad language that seems to be all too common in todays movies of lesser character. Vanessa L. Williams was great as dancer Ruby, and Chayanne was wonderful and romant