Reviews (27)

An Existential Masterpiece
Although "8 1/2" is often touted as Fellini's greatest work, this other, equal masterpiece from roughly the same period grows more and more profound over time. An amazingly photographed and energetic survey of ennui and despair, "La Dolce Vita" is Fellini's rumination on the intellectual and moral death of an aspiring artist, who is equally a Fellini surrogate and a stand-in for the director's perception of modern man.

Though it began life as a sequel to "Il Bidone," "La Dolce Vita" ended up an autobiographical precursor to "8 1/2" by fictionalizing Fellini's earlier life as a journalist and newspaper caricaturist rather than his career as one of the great filmmakers of the 50s and 60s. As the celebrity journalist in crisis, Marcello is fantastic -- as graceful and intelligent and sexy a performance as the screen has ever seen -- and his romp with the unbelievably pneumatic Anita Ekberg in the Trevi fountain is one of the great iconic moments of world cinema. There's a haunted, despairing quality to Mastroianni's acting here that is so subtle and cumulative that by the end of the film his predicament of quiet despair overwhelms the viewer.

Bottom line: no thinking person's film collection should be without this movie, which is as beautiful and moving as any piece of art ever created, in any medium. Fellini and his fantastic cast are all at their peak as artists, and few films have ever approached their achievement.

Get this onto DVD!
My favorite Fellini film, combining the brilliant kaleidescopic parading of faces that characterize his later films with the humanistic neorealism of his earlier work. Told in a series of all-night parties that each end with the recognition of dawn, the movie tells the story of a tabloid writer who has risen to the top of his profession only to be dragged down because he can't find any sustaining meaning in the glitz and glamour.

But the story line, although more important here than in later Fellini films, is really just a device to put actors on the screen, and nobody does this better. The cast is real reason to see this; Mastroianni in the role of his life, Anouk Aimee as a bored rich woman, and Anita Ekberg spilling out of her dress as an American actress are merely the most famous - every single performance, even by the most trivial of parts, is astounding and some of the best ever captured on film. My personal favorite is the clown trumpet player with the balloons at the Cha-Cha Club - in the middle of his performance he flashes one quick look at Mastroianni that speaks volumes.

Unfortunately, the only version I have ever seen is in a standard screen ratio that is obviously badly panned - in a film this full of images there is almost more panning than actual camera movement going on, and still too much is happening off-screen. This movie needs badly to be letterboxed and given a new subtitle translation - but in the meantime, even if you have to settle for the poor VHS version, just enjoy what we have, from the awesome set pieces like the chasing of the Madonna and the final party, to the amazing Nino Rota score and the haunting organ melody of "Patricia".

5 star FILM--0 stars for a DVD that isn't released!!
WHERE IS THE DVD of 'La Dolce Vita'?? This is far superior art and entertainment to that wonderful-but-ridiculous '8 1/2' I mean, we all love Fellini, but why is his most coherent and artistically mature film lying around in some distributor's vault while trash like 'Shanghai Surprise' and box-sets of Whoopi Goldberg movies get all these million-copy releases?? Fellini is more than '8 1/2'; FEEL FREE TO RELEASE THIS DVD ANYTIME!! Ugh, do I have to get a region-free DVD player to watch foreign films? Heck, there are some American classic films that do not have release here, but are being printed in UK and European codes. What is wrong with American distributors?? We want our Fellini, and we want it now!! Gimme the sweet life gimme the sweet life GIMME THE SWEET LIFE!!!!

P.S. To all sympathizers, Bergman's 'Persona' is FINALLY getting American release in February. Cross your fingers they don't back out at the last minute in favor of a straight-to-DVD sequel to 'Finding Nemo': 'Filet of Nemo: Almond Crusted with a Side of Rice Pilaf,' starring the voices of Keanu Reeves, Jennifer Aniston, and Dom Deluise.

Fellini 's Vita
I am very fortunate to meet Guiletta Masini, the lovely wife of Federico Fellini. I several times wrote letters to Fellini himself and he answered back me. That had been going for a while till he died. If you doubt me, I can provide you copies.
I am only one Deaf authority on Fellini and his movies. I have a good collection of video, vhs or dvd. Many books about him and his movies.La Dolce Vita and 8 and half are my top favorites. I saw them in 35mm, 16mm, tv, vhs and dvd versions but the 35mm verisons are always the best!!!!!!!!!!!!!!!!
Thanks, F.R. Gomez

So ... ?
I does lack a plot. I almost fell asleep during the first half. It picked up during the 2nd half when the main character ran into his father. That was interesting for me, for personal reasons. But, having just watched it, all I can say is that it left me with an emtpy, hollow feeling. If that was the point, then the movie is quite successful. Mind you, I'm not the usual "simplistic" movie watcher. But that was my feeling... ... Read more

Amazon.com

Divorce Italian Style is a comedy milestone--a brilliant, biting satire that was originally conceived as a drama; directed with nonstop inventiveness by a filmmaker who had never done comedy; and featuring an actor who, though not even among the first dozen players considered, cemented his international stardom with this performance. The movie also marked a breakthrough for foreign film in America, winning popular as well art-house success, Academy Award nominations for director Pietro Germi and star Marcello Mastroianni, and--the first of only a few foreign-language films to do so--the Oscar itself for Original Screenplay.

On the sun-blasted island of Sicily, Baron Ferdinand "Fefè" Cefalù (Mastroianni) breaks out of his heat- and boredom-induced stupor long enough to be smitten with mad passion for his 16-year-old cousin Angela (Stefania Sandrelli). But he's married--to Rosalia (Daniela Rocca), she of the unfortunate mustache--and the Italian Penal Code gives him no way out... except, of course, for catching his wife in adultery and availing himself of the patriarchal license to commit a "crime of honor." So Fefè searches for a way to fling Rosalia into the arms of another man.

Mastroianni's Fefè is an indelible masterpiece, visually and behaviorally: a portrait in painterly chiaroscuro, with brilliantined hair, eternally drooping eyelids, a cigarette holder angled in perpetual salute, and a manic, conspiratorial slouch, like Groucho Marx on painkillers. Germi's direction hustles the film along with bold, mobile camerawork, stream-of-consciousness lurches into fantasy and flashback, Fefè's feverish voiceover commentary, and a wonderfully propulsive music score by the late Carlo Rustichelli. --Richard T. Jameson ... Read more

Reviews (11)

High-Styled Hijinks!
Pietro Germi's companion piece to his earlier "Seduced and Abandoned," this comedy comes so close to tragedy it takes your breath away. Only the director's insight into theocracy and Italian mores keeps "Divorce Italian Style" from succumbing to the darkness that lurks inside this material. Although Marcello Mastroianni and Stefania Sandrelli are the big names, in star-making performances, the picture is really held together by Daniela Rocca's tricky and subtle work as the dutiful wife who must be murdered to have a happy ending. This was very daring stuff in the 1960s, and Criterion's jaunty DVD transfer does it full justice (don't miss the nifty interview supplement). Germi's satirical epilogue will remind you of the one in "All About Eve," it's that good.

When Love Withers in Brilliant Comedy...
A flower's life span is nothing compared to humans, yet flowers go through similar developmental stages.The most memorable part of a flower's growth is the blossoming progress where it goes from being a small bud until it dwindles to the ground in a rapid withering phase.Occasionally, love uses the life span of a flower as a symbol for the affectionate spell under which two individuals bond.When the flower withers, the relationship turns numb, which is the case with Ferdinando "Fefé" Cefalú (Marcello Mastroianni).Fefé merely stays with his wife Rosalia (Daniela Rocca), as societal restrictions are enforced by the Catholic Church, family, and public, which forces people to remain married until death do they part.In the light of this notion, the audience will truly experience a socially important comedy, which plays with the ideas of divorce through more hideous plots such as murder, deceit, and other troublemaking.

The film opens on a moving train as Fefé exits the public toilet while he bumps into two Sicilian police officers.Quickly Fefé leaves them behind, as he slowly makes his way through gentle zigzagging around other passengers to the dining car.Seated while ordering roast beef and two potatoes, Fefé continues to gaze upon the passing Sicilian countryside, which does not seem to have changed much since the Roman Empire.This is a familiar place for Fefé who begins to disclose an amusing tale of why he is on his way home, as he recollects in homesick manner his hometown Agramonte. This opening has several suggestive nods towards Fefé's character, his family and what is important in Agramonte, which will be comically and profoundly illustrated as the story unfolds.

In the introduction by Fefé the audience learns through his words, the camera, and the actions of the characters that societal progress does not seem to be high on the agenda.Instead the audience learns about how politics and the Catholic Church seem to be intertwined in this small town.The slow progress has generated some very rigid guidelines, which no one seems willing to challenge.In this societal stalemate the men only seem to pay attention and gossip about one thing - women.This is essential information, as it depicts the boredom that helps the withering of the flowers.

The story goes into great detail to depict Fefé's monotonous life.He is unemployed due to social status because he is a Baron, which means that he often sleeps in.Whenever he does not sleep his exceedingly caring and nurturing Rosalia tends to his needs while it actually seems as if she is only annoying him.There is a wonderful scene where Fefé escapes everyone to read in peace and enjoy the soothingbreeze from a small fan in his study while Rosalia enters with coffee and turns off the fan.Fefé turns the fan on again while Rosalia turns it off with a smile, as she serves him the coffee.This scene oozes of tension between the two while Fefé keeps his cool and Rosalia tries her best to be a good wife. Yet, it offers him an opportunity to begin to imagine different methods of how he could kill her.

In between Fefé's annoyance and boredom he discovers the stunning teen Angela (Stefania Sandrelli) whom infatuates him with a brief look at mass.Fefé begins to think about Angela while he sneaks to the bathroom to steal a peak at the youthful girl through the window.Eventually, Angela expresses her mutual desire for Fefé, but they have to be careful so they do not cause a scandal, or worse.This provides an opportunity for Fefé to begin to actually think of how to get rid off Rosalia, which turns out to be a comically ugly event as he cannot divorce her by law.

The audience will feel empathy for Rosalia who tries to be a good wife, but Fefé does not allow it by being distant.Simultaneously, one cannot help to feel understanding for Fefé who now begins to study the law and how he possibly could get away with murder.It is a sad thought, even though the presentation of the topic is jovial, that the people are ready to commit the worst possible act in the name of love.Yet, it is also here where the film's strength lays, as it delivers a funny depiction of how a passé society can squelch life and frown upon societal progress, which was a big deal in the 1960s.A notion arises in regards to progress--should one have the freedom to find their own blossoming flower?

Divorce Italian Style offers a well-written and genuine comedy with deliberate intentions for the audience to ponder regarding the society and the social restrictions that govern the unhappy.The cast does a marvelous job in portraying the different characters.For example, Daniela Rocca's illustration of Rosalia provides authentic view of a woman who seeks love form her husband, but does not receive it.In addition, Marcello Mastroianni does a brilliant job through his dual performance in the film by also being in the Fellini's La Dolce Vita, which is shown in the film.However, Mastroianni's visual persona suggests his infatuation with beautiful women that can be explored if one views La Dolce Vita.Lastly, the camera work, mise-en-scene, and the framing of each scene enhance the complete ideas, as they transcends the expectations of the film.

That's it, I want a divorce!
Just so you know, divorce is now permitted in Italy. But in 1962, the only way you could get a divorce was by... well, "Divorce Italian Style," a ka bumping off your adulterous spouse. This delightfully warped black comedy focuses on that very idea -- a disgruntled husband who goes to absurd lengths to get a "divorce."

Ferdinando Cefalú (Marcello Mastroianni) is a middle-aged Sicialian noble who is displeased with his life, and his adoring wife Rosalia (Daniela Rocca). In true midlife-crisis fashion, he falls for his angelic-looking cousin Angela (Stefania Sandrelli), but he can't get a divorce. Divorce isn't allowed in Italy at this time, so Ferdinando is left stewing over his problems, fantasizing about murdering Rosalia.

But then he hears about an odd law: if an adulterous spouse is caught in flagrante, then the wronged spouse can kill the adulterer and get off with a light prison sentence. So Ferdinando starts desperately searching for a potential lover for Rosalia, but she remains faithful. Then he locates an ex-boyfriend of hers, hoping to rekindle the old flame. But nothing goes quite according to plan...

Yes, it's a bit sick. But in such a funny way that it really doesn't offend. At a certain point it becomes less about Ferdinando trying to murder his wife, as it is an increasingly overwrought attempt to get her to commit adultery. Not to mention a spoof on traditional views on "family honor," where it is more shocking to NOT kill your adulterous spouse than it is to do so.

Ferdinando carefully straddles the line between being slime and being a funny character -- his surreal murder fantasies are hilarious, such as when he shoves Rosalia into a vat of soap. And in keeping with the spoof atmosphere, the romance is overemotional, the fighting is overwrought, and the contrived adultery/murder scheme is absurd. The final scene is the final tragicomic flourish, hinting at future disaster that Ferdinando deserves.

Pietro Germi at first seems to be making an offensive movie, but viewing it with a sense of humor shows that he's poking fun, and making wry social observations. He was also not above plugging Mastroianni's other movies -- one scene has a priest denouncing "La Dolce Vita," followed by crowds rushing to see it. Ferdinando's future brother-in-law ogles the beautiful Anita Eckberg, then hastily tells his fiancee that Eckberg is pretty, but "she has no soul."

The immortal Mastroianni injects just enough humanity into Ferdinando to keep us from loathing him -- in the middle of a midlife crisis, he seems increasingly confused as the movie goes on. Daniela Rocca sits on the fence between being devoted and annoying, while Sandrelli plays a girl who acts like an angel, but definitely isn't.

Thankfully Italian spouses no longer have to bump each other off to get a "divorce," but "Divorce Italian Style" remains a classic black comedy/social satire.

Amusing
Charming story indeed.Baron Pepe Cerafulu gets bored with his wife's over nuturing and nagging ways.Oh how he yearns for his teenage cousin, Angelina.Baron does give us some amusing facial gestures.

His schemes to arrange for this divorce are kind of far fetched.They will certainly have you chuckling especially when the tape recorder fails to catch his wife in the act. Carmello is quite charming in his role as the painter.

The Black and White Cinematography works well depicting Italy several decades ago.The subtitles are a little out of synch but otherwise this old movie is certainly a goodie.

The Film Is Great, The DVD Is Not
Divorce, Italian Style is a superb movie from the 1960's genre.The story is highly entertaining and the characters are witty, especially Marcello Mastroianni, whose dry, cynical humour is an absolute pleasure.However, the DVD from Hen's Tooth could certainly be better.The excessive scratches do take away from some stunning black and white cinematography, but the film itself more than makes up for it.The film is definitely worthy a spot in the Italian film aficionados' collection, but wait for a new DVD version. ... Read more

Reviews (89)

Great Historical Film
...He is correct in saying the film is great for history buffs and that is what I am (BA-Hist). This film depicts history. It is an inside look at Nazi Germany. Turn off the lights when you watch it and you will think you have a front row seat at a Nuremburg rally. It may have been produced as propaganda but what it is now is nothing short of historical documentation, regardless of how the images were woven together.

It has great footage and shows all of the regular Nazi Nuts and ones you have never seen or heard before. I loved being able to listen to them in German with subtitles instead of having a narrator. You can have that too. I bought the Special Edition DVD. The quality of this black and white film is the best I have ever seen. Special features include English subtitles and voice-over narration (all optional).

Leni did not hire Industrial Light and Magic to insert millions of regimented Nazi followers. They are the real thing. The Nazi movement clearly stirred nationalistic fervor. You cannot deny the images. They speak for themselves. The German people were caught up in a movement of incredible proportions and this movie shows you what it was like in the early years of the Third Reich. Germans killed millions and millions of Germans died in WW II. This movie will give you a very good idea of what the Allied forces were fighting against.

A most valuable historical record
It's easy to see how this now famous (or infamous) 1934 film by Leni Riefenstal could have helped reinforce Hitler's already dizzying domination of the German psyche. For our own time, it helps reveal the human complexity of the Nazi phenomenon - so much more than just a march of crazed fanatics, as it's often stereotyped today. Triumph of the Will is particularly relevant to current politics - the Austrian controversy, as well as the continued importance of various dictators who still garner so much of the media spotlight.

Sadly, the near-sightedness of the Nazi mentality and its contradictory nature were already glaringly apparent at the time the movie was shot. Hitler's frenzied admonitions to value "peace" but at the same time to cultivate "courage", bristle with contradiction and hypocrisy. Brief allusions to racial purity and clear-cut moral rectitude are darkly ominous, as are the reiterated pledges of allegiance to Hitler , the man. It's instructive to compare Nazi rhetoric with much of today's political hype. Though, as many others have pointed out, nobody else has done it with quite the same elan. Sad to think that had they watched their own film with a more discerning eye, they might have seen what we see.

From an artistic standpoint, I can appreciate why it's cited as one of the most accomplished of all propagandist vehicles. Nazi shortcomings notwithstanding, the film is stunning. Riefenstahl's contribution is self-evident - even if she didn't direct the action herself, she captured and organized it admirably. But for all that, it is still the action which is most spellbinding. The gripping facial expressions, the charismatic speeches, the thundering shouts of allegiance, the enormous scale and choreography - all of this actually took place! Combine that with historical perspective - knowing what all of it would lead to - and the movie acquires a distincively haunting quality.

I not only recommend this film to others, I strongly advise it. It captures the very essence of social fanaticism. Many will instinctively feel its primitive appeal, and then, after putting it into perspective, recognize its inherent madness. Watching this movie, appreciating the feelings it evokes and reflecting on what it all means, will make the viewer a better person.

This Special Edition is good as it gets.
The Synapse DVD Special Edition surpassed all expectations. I had Triumph of the Will on video prior to obtaining this DVD and the video's visual and audio quality was poor. By contrast, this DVD is visually very crisp and sharp and the audio quality is fine The DVD appears to be produced from an excellent original film print. I've seen another DVD of TOTW produced by different company, and its quality was the same as the video version :substandard. Make sure you get the Synapse version. This Special Edition is good as it gets.

A GREAT LOOK AT WHAT MODERN USA HAS BECOME
THIS FILM GIVES A GREAT INSIDE LOOK AT HOW THE NOW MODERN USA OPERATES IN ITS POLITICS UNDER GEORGE W BUSH. WHO IS ALOMOST A CLONE OF HITLER. I RECCOMEND THIS FILM TO ANY BUSH SUPPORTER JUST FOR THEM TO SEE HOW ALIKE BUSH AND HITLER REALLY ARE.

An Influential Masterpiece of Cinematic Propaganda
Riefenstahl's documentary made for Adolf Hitler and the NAZI party in the early 1930's. The documentary primarily covers the Nuremburg rallies and the activities that surrounded these events. Again, this is a propaganda film and was designed to stir popular sentiment and political empathy for the infamous political party.

If one understands the socio-political climate of Germany in the late 1920s and early 1930s, one can clearly see what sentiments the film seeks to evoke and hence recognize its significance and brilliant execution. For example, Germany was in a state of shambles because of the global economic depression and many Germans feared an inevitable collapse to anarchy or Bolshevism. The opening scene starts with a Wagnerian piece and shows Hitler in a plane peering down from high above the clouds as he arrives for the rally. The scene sought to reassure a worried public that The Fuhrer was omnipotent, omniscient, and was coming down from the heavens to save a troubled nation in a godlike fashion. When he arrives at the stadium, Hitler is shown walking with his SA escort out of the crowd and towards the podium instead from behind the podium to look down at the crowd; this was to instill the notion that Hitler wasn't just another Berlin bureaucrat from the old failed Weimar Republic coming to talk down to a broken people; it was done to evoke the sense that he was a man of the people for the peole: selflessly arising out of a worried crowd of fellow Germans to lead them to a better and safer future. This particular scene was so influential in film that George Lucas adapted it (and many other scenes) for the closing scene to the original Star Wars when Luke, Han, and Chewy are decorated by Lea. Other scenes of happy German blonde and blue-eyed youths or common laborers performing paramilitary/social tasks were intended to evoke a proud sense of unity, purpose, and safety amongst all true German "volk" in these troubled times. In the background, the narrative voice recites how all German women should should bear many children for the Fatherland; how men should unite for the Fatherland and not Godless Bolshevism; how youths should work to better their nation; etc., etc.

The mass communication techniques of Riefenstahl and Goebbels are still used today by virtually every modern government and media firm. This film is important not only as a histiorical tool in understanding the rise of Nazism and the dynamics of facism, it is a very important landmark in the development of film, mass entertainment and mass communication in general. I strongly believe that every person who seeks to better understand their world and media see this film at least once and study it. ... Read more

Amazon.com essential video

Unanimously hailed as one of the greatest masterpieces in the history of the motion picture, Seven Samurai has inspired countless films modeled after its basic premise. But Akira Kurosawa's classic 1954 action drama has never been surpassed in terms of sheer power of emotion, kinetic energy, and dynamic character development. The story is set in the 1600s, when the residents of a small Japanese village are seeking protection against repeated attacks by a band of marauding thieves. Offering mere handfuls of rice as payment, they hire seven unemployed "ronin" (masterless samurai), including a boastful swordsman (Toshiro Mifune) who is actually a farmer's son desperately seeking glory and acceptance. The samurai get acquainted with but remain distant from the villagers, knowing that their assignment may prove to be fatal. The climactic battle with the raiding thieves remains one of the most breathtaking sequences ever filmed. It's poetry in hyperactive motion and one of Kurosawa's crowning cinematic achievements.This is not a film that can be well served by any synopsis; it must be seen to be appreciated (accept nothing less than its complete 203-minute version) and belongs on the short list of any definitive home-video library. --Jeff Shannon ... Read more

Reviews (294)

Epic tale even though it's decades old.
I was simply amazed watching this film at how simple the tale was but at how masterfully crafted and told the story was written. This movie will seriously play upon your emotions and only a cold hearted person, without emotion wouldn't be able to connect to this plot. Compassion, sadness, desperation, love and triumph are all prominent in this film. And the balance between these elemenys is impeccable.

The cinemetography is masterful. There is an intense to detail. Every shot is masterfully done. The atmosphere will pull you right in. The acting is top notch and there absolutely no room for improvement in the script. It's just hard to say something bad about it. Even being a foreign film, Japanese too -[and you know Japanese and Chinese movies have a lot of mythology involved that is hard for us Americans to understand.]- but the plot is truly one that is worth high praise. Seven Samurai is a roller coaster of emotions and it gives an indepth view into the mind and soul of the warrior spirit. Seven Samuari is the best movie I've seen in a long time and definately one of the greatest movies of all time. I'd gladly recommend this movie to anyone. 5 glowing stars. 10 if they were possible.

Few better than this, anywhere
Quite possibly one of the five or six best movies ever made, anywhere. Simple tale of a peasant village forced to hire samurai to defend them from mountain bandits gains incredible gravity and power as it moves along. Film encapsulates so much of the human condition it's hard to tabulate it all: politics, warfare, violence, the human need to persevere in the face of terrible odds, and on and on. All performances are superb: the everyman-ish Takashi Shimura as the eldest samurai bespeaks great heart and intelligence; Toshiro Mifune as wild-eyed Kikujiro is unforgettable and scene-stealing. Final 45 minutes are unbelievably violent and fast-moving even by today's standards, and never let the viewer out of their grip. Has spawned a host of remakes (most notably "The Magnificent Seven"), as has Kurosawa's "Rashomon", but few if any measure up to the power of the original. Original 208m edition is showcased here on DVD in the correct 1.33:1 aspect ratio; beware shorter prints with much of the drama butchered out. Hard to go wrong with this one in your collection.

a classic that inspired many tributes
A reviewer once wrote that the most amazing thing about Seven Samurai is that one-and-a-half hours into the movie, we're still in the character development part, and nobody's even noticed the movie has been running that long already. sure, it's not for everybody, especially for those who grew up with mostly Hollywood commercial fare that last 70-90 minutes. but for even the borderline film enthusiast, the Seven Samurai is a treat. Here, some of Japanese cinema's greats (Kurosawa, Mifune, Takashi Shimura) come together at the perfect time, to do the perfect job. Here, possibly, is the greatest movie of all time, and you are watching it.

the best special feature, the commentary track, is very detailed, in fact at some point, it is annoyingly too detailed! but if you want to know why toshiro mifune's acting was over the top, or where he was born (Manchuria), or why millet seems so low compared to rice, or why the light seems to change during the scene where we first see Kanbei Ishima (the bald, dignified leader of the samurai, here portrayed by Takashi Shimura), then the commentary track is indispensable. I've seen this DVD twice, with commentary on, and with commentary off. It's quite easy for me since I don't understand Japanese anyway, so the dialogue comes to me strictly through subtitles. needless to say, I highly recommend watching it in the manner I described.

there have been many "tributes" to this movie, from the obvious (The Magnificent Seven, The 13th Warrior), to the not so obvious (Disney/Pixar's "Bug's Life"). In all of them, the idea that a band of warriors would come to the rescue of an obscure village for nothing more than a bowl of rice (what, not even meat to go with that?), or in the case of "Bug's Life" nothing more than the chance to finally give a good show, seems ridiculous and unbelievable. As many reviewers have posted, the wretched farmers don't even deserve sympathy. Until you realize (the commentary helps a lot on this) that these samurai agreed to take the job because it gives them a chance to do what they do. They went there because once again, they can prove themselves worthy.

Must be understood to be watched...?
Watching the 'direction' in this movie, and others by this director, is like seeing the first ever 'lace-up' shoe or the first ever internal-combustion engine. You may happen to appreciate that the 'overused' ideas, employed in the film, were used there for the first time; the originality pervading the movie from beginning to end alongside gritty and convincing acting. However, it is still subject to a style of story-delivery that was original 50 years ago - that modern film watchers are jaded with.
To avoid a long spiel: if you hate black and white; if long silent scenes with no music overplay; if obscured scenes and dramatic angles are not your thing, you just won't enjoy this film. No matter how much of a masterpiece it is. Know your limits, people. And stick to Titanic. This film isn't for you. Now go. Leave.

PS: (...)

Seven Samurai
Akira Kurosawa's heroic tale of honor and duty begins with master samurai Kambei (Takashi Shimura) posing as a monk to save a kidnapped child. Impressed by his bravery, a group of farmers begs him to defend their village from encroaching bandits. Kambei agrees and assembles a group of six other samurai, and together they build a militia with the villagers while the bandits loom nearby. Soon the raids begin, culminating in a bloody battle. ... Read more

Amazon.com

With this magnificent Criterion DVD release, Luchino Visconti's 1963 historical drama The Leopard will finally earn widespread recognition as one of the most beautiful epics ever produced. In adapting the popular novel by Giuseppe Tomassi di Lampedusa (an Italian equivalent to Gone with the Wind, set during the tumultuous Garibaldi revolution of 1860-62), Visconti was initially reluctant to cast Burt Lancaster as the melancholy Prince of Salina--the aging aristocrat "leopard" of the title--who accepts change as inevitable during the struggle for a unified Italy. But Lancaster (even with his voice dubbed in the fully restored Italian release) delivered one of his finest performances, modeled after Visconti himself, and reacting to political and familial upheavals with the wisdom and whimsy of a man who knows that his way of life--and all he holds dear--must change with the times. You won't find a more intimate epic, and Giusseppe Rotunno's masterful cinematography represents the pinnacle of painterly beauty, matched only by the authentic splendor of the film's impeccable production design. The climactic hourlong ballroom scene--which even the hard-to-please Pauline Kael called "one of the greatest of all passages in movies"--is utterly breathtaking. Anchored by Lancaster's performance and the romantic pairing of Alain Delon and Claudia Cardinale, The Leopard is sheer perfection, fully restored to its 185-minute glory. --Jeff Shannon ... Read more

Reviews (45)

Visconti's magnificent adaptation of the Lampedusa novel
The Leopard is one of the truly great Italian films, one of the most beautiful widescreen films ever made, and arguably Visconti's masterpiece.

The story takes place in Sicily during the 1860s and depicts the decline of the aristocracy in light of the changing social and political order during Italy's struggle for unification. Visconti's attention to period detail is nothing short of astounding, and his painterly compositions are truly inspired, and never intrude on the narrative.

Burt Lancaster gives his finest, most noble performance as Prince Don Fabrizio of Salina, and Alain Delon is charming as his nephew, Tancredi, whose character represents the transition from the old order to the new. Tancredi's marriage to Angelica (Claudia Cardinale) unites his aristocratic blood with that of the emerging bourgeoisie and thereby closes the gap between the classes. The insightful Don Fabrizio sums up the central point of the story: "If we want everything to remain as it is, it will be necessary for everything to change."

A restored special edition of this truly remarkable film is scheduled for release in 2004 by Criterion Collection as a three disc set including both the Italian and American release. The Leopard will finally get the DVD treatment it truly deserves.

Copy and paste the following link to view the details of the Criterion DVD: http://www.criterionco.com/asp/release.asp?id=235&section=synopsis

Epic filmmaking at its finest
Adapted from a novella by Giuseppe Tomasi di Lampedusa, The Leopard paints a vivid picture of the Italian aristocracy falling from grace and the middle class revolting to form a more democratic Italy on an epic canvas. Caught up in this class revolution is an affluent family led by the Prince of Salina, Don Fabrizio Corbera (Burt Lancaster). He recognizes that he is part of an obsolete generation and that his young nephew, Tancredi Falconeri (Alain Delon), and his beautiful fiancée, Angelica Sedara (Claudia Cardinale), represent the new order.

The first DVD features an audio commentary by film scholar Peter Cowie. He provides the backstory to Visconti's career leading up to The Leopard. Cowie talks at length about the film in relation to its source material. This is a strong, informative track that is an excellent introduction to the cinema of Visconti.

The second DVD starts off with a fantastic, hour-long documentary, entitled "A Dying Breed: The Making of the Leopard," that was created especially for the DVD. There are interviews with most of the surviving cast and crew, including Claudia Cardinale and the film's screenwriters.

This is an excellent look at The Leopard from the origins of the novel to the film's botched U.S. version that truncated Visconti's vision and was re-dubbed with English-speaking actors.

There is also a "Goffredo Lombardo Interview" with the producer of The Leopard.

"The History of Risorgimento" examines the real historical figures and the times they lived in with the professor of Italian Studies at the University of Pennsylvania, Millicent Marcus. This is a really good primer for anyone who is unfamiliar with this particular period of Italian history.

Finally, there is a "Promotional Materials" section with an extensive stills gallery, a vintage Italian newsreel of the film's premiere and its success at that year's Cannes Film Festival, and three trailers-one Italian and two American.

The third and final DVD features a remastered copy of the truncated U.S. version that was dubbed in English and included Lancaster's actual voice.

Criterion has pulled off quite a coup with this DVD set. This is the first time that The Leopard has ever appeared on DVD. Criterion has painstakingly restored the film to its original glory, with a flawless transfer and included both the Italian and U.S. versions. It is a fitting package for this cinematic masterpiece.

History as told by an Arsitocrat
This is a film about the end of an age -- the age of the aristocrat. It also happens to be a film made by a member of the aristocracy. Luchino Visconti, the director, comes from a long line of Italian aristocrats. Visconti's films are all in one way or another about men who are incompatible with the age in which they live. In The Leopard Lancaster plays a refined Prince who has outlived his time. In his prime the Prince was the very model of health and vitality and he was the uncontested authority to all who lived in his province but now he is starting to show his age and his own decline coincides with the decline of his class and an entire way of life. Being such a refined figure the Prince records his decline in minute detail -- he seems to age right before our very eyes. It is obvious to the filmgoer that Visconti has no real love for democracy nor the way of life that comes with it. Elections are seen as crass popularity contests and the parvenus who seek office are seen as dim and uncultivated and lacking in that fineness of spirit that was the defining trait of the aristocracy. It is the Princes misfortune to live to see all that he values vanishing minute by minute before his very eyes and that is what happens in the famous hour-long ballroom scene. The new class rising to power has no time to cultivate that fineness of spirit and range of interest required to understand men and their needs and so govern them well. Instead the class now rising to power is largely self-serving and small-minded. Though they call themselves democrats they are preoccupied with material gain and status and the kind of civilization they are making is no longer capable of producing a man like the Prince. However Visconti himself is proof that the aristocratic spirit lives on even though the aristocracy does not.

It is more than a bit likely that this portrait of an ideal aristocat is just that, an ideal. I've heard this film described as Proustian. That is true only in so much as the film is obsessed with the passage of time. Proust, unlike Visconti, is interested in a multi-faceted psychological expose of the leisurely class. Proust loves his aristocrats but he shows them for the vain creatures that they are. Proust may have had something of the romantic in him but that was balanced by a keen social awareness (ie Dreyfus affair) that is nowhere to be found in Visconti's single-minded meditation on one man's point of view. Proust can speak of highly subjective states of mind and points of view but each point of view is balanced by other points of view. This pluralism and balance is simply not to be found in the Leopard nor in any of Visconti's other works. The Leopard is Visconti's best film but it is a myopic world view we are getting - we feel trapped in the Princes(and by extension the aristocratic) point of view. This is at times a strength and at times a weakness of the film.

Grandiose epic film with political and social undertones...
Leopard is a grandiose epic film based on the Sicilian aristocrat Giuseppe Tomasi Di Lampedusa's novel that he wrote in respect to his grandfather. The director Luchino Visconti, who was born as count, knew what kind of character was needed for the main part as Prince Don Fabrizio Salina as the film displays strong aristocratic conduct and value. Burt Lancaster was chosen to perform as the Prince of Salina, which initially was met with much reluctance. However, the initial resistance to cast Lancaster was swept away as he performed with convincing brilliance, which together with Visconti's direction left cinema history with a masterpiece.

The story circulates Don Fabrizio, a dominant aristocrat with a mere presence that demands respect, as it depicts an emerging new nation and a past where inherited power was slowly slipping away. Don Fabrizio recognizes the ruling class's ignorance for the current political changes as the nation is unified under the new flag. The aristocrats continue their silly games and diversions in their immense mansions that are slowly falling apart as an emerging middle class is seeking wealth and power. This leads Don Fabrizio to form a bond between the nobility and the common by permitting a wedding between Tancredi Falconeri (Alain Delon) and Angelica (Claudia Cardinale), whose father, Don Calogero, is a middle class politician that is raising in the ranks. This leads to a subtly political loaded film as it depicts the scheming middle class's quest for power and wealth as the nobility might only keep their fancy names if they are not following the new changes within the nation.

Leopard is a marvelous film with colossal shots of the Sicilian scenery that evokes a sense of freedom for the people while underlying currents bring notions of ownership. The story deals with ownership in a most delicate manner as it deals with love, marriage, friendships, war, and social events. However, Leopard also reminds the audience about the imminent change of possession as love can change, which is brought to the audience's attention when Don Fabrizio goes to see his lover amidst a bloody revolution. In addition, the tale of Don Fabrizio displays the manner in which one must control or protect ownership. This is brilliantly depicted in the opening scene where the Salina family is having a private mass in their home that is continued under the strong influence of Don Fabrizio as an emerging revolution is underway outside their windows. Under the cooperation between Visconti and Lancaster the audience experiences the transformation of Don Fabrizio from old to new. This transformation is what helps provide for a brilliant cinematic experience as it offers eye candy, profound insights, and a tale that will not be forgotten.

DVD Masterpiece
Unbelievable DVD transfer!
Back in the sixties I saw this film on theaters, and as I remember, the overall visual impression was darkness. To my surprise this DVD brings a new light to the film with bright and wonderfully saturated colours on exteriors, and deep colours with very good detail rendition on interiors. It is as seeing this film for the first time. ... Read more

Description

One of the cinema's greatest epics finally comes to DVD in its originallavish, uncut splendor! This definitive version of Leo Tolstoy's literary classic boasts anunprecedented scale for its battle scenes, including a fully created regular army, over 120 ... Read more

Reviews (40)

Spectacle & Reverence....
You will never see a movie like the Russian War and Peace ever again. With battle scenes involving 200,000 extras (the Russian Army), made prior to CGI, the film has awesome scope and spectacle to spare, as well as a reverence for the source material, Tolstoy's massive and magnificent novel.

It will not please all fans of the novel, no movie can ever do that, but it is a worthy effort in trying to capture Tolstoy's sprawling story, which itself shifts from the spectacle of the wars with Napolean to the intimacy of family life and society in 19th century Russia.

There is meticulous recreation of the lifestyles of the nobility of the era, and some simply incredible sweeping re-staging of the key battles of Austelitz and later the War of 1812. Shot with incredible tracking shots, crane shots and aerial camerawork, there are images here that are stunning.

Perhaps the more intimate stories of the loves of Natasha (a marvelous Irina Skobtseva, a Natalya for all times), the travails of Prince Andrei and Pierre are somewhat overwhelmed by the greater spectacle of the war, but we come to know them nonetheless. Some of the other characters that are vivid in the novel are given short shrift, but in so huge an undertaking, I don't know how that could be avoided. More than one viewing will help to sort them all out.

At any rate, we are left with an incredible effort to capture the sweep of history and its effects on the individuals caught up in it. Tolstoy's themes of love and death, of the horror and futility of war, of the price paid by all for the egotism of a Napolean and the ambitions of ruthless men, are here. The foolish & foolhardy, the wise and the devious, the courageous and the cowards, the loving and the indifferent, i.e., all the very human characters in Tolstoy's Russia are here as well. And the great span of the film allows us to see them grow and change.

Not perfect, but a hugely ambitious film that succeeds more often than not. Worth it.

A surpisingly enjoyable film.
After an unexpected delay, Image Entertainment has finally released the full-version of War and Peace on DVD. And what a collection it is! The entire film is spread out over 4 discs in a serialized fashion with each disc dedicatated solely to a specific portion of the film. Additionally, each disc contains cast biographies, notes on relevant history, architectural drawings, and more. The fifth disc contains lengthy interviews with the production staff as well as original "documentaries" on the making of the film. All in all, an impressive package indeed.

So, how is the movie? When I first sat down to watch it my first thought was "What am I doing? A six-hour Russian film that is almost 40 years old? Is this going to be interesting at all?" Surprisingly I found the film to be very engaging and held my interest throughout the 6 hour 43 minute running time. The photography is excellent, the acting is very realistic, and the enormity of the production does bring moments of "Oh my god!" every now and then. (Seeing 50,000 extras in costume while a battle rages is very impressive!) But the film is not for everyone. It does lack the polish of the traditional Hollywood film and the story is sometimes difficult to follow. The director's style would go from melodrama to experimental with multiple images, odd camera angles, and strange compositions. (You can definitely see the influence of Abel Gance's Napoleon.) The battles scenes are the most impressive portions of this film, perhaps of any film to date, and are worth the cost of this disc alone.

The quality of the transfer is excellent, despite a flawed film source. The audio is up-to-date with excellent 5.1 sound separation and strong bass for those booming canons. Since the disc is not region encoded (for worldwide distribution) it contains multiple audio streams and an enormous amount of subtitle choices. The English audio & subtitles are flawed. The dubbed version has many scenes that are not dubbed at all and contain only English subtitles. (The liner notes say this version on DVD is the restored version, including originally censored scenes. My guess is that the non-dubbed parts are these restored scenes.) As for the English subtitles, they appear to be accurate but often do not materialize during French speaking scenes. However, since I prefer to watch the film in its original Russian language, the only annoyance I encountered was the sporadic lack of English subtitles.

If you have any interest at all in this film, I would strongly recommend this new and definitive release. At 6+ hours, five discs, and a film production that will never be duplicated again, this is a purchase that will not go unappreciated.

Ruscico War & Peace DVD is horribly defective
ZERO STARS. What a dissappointment! The film randomly switches between English and Russian and French dubbing ---sometimes in the same section--- and the subtitles don't always come on in English. I tried it on 2 DVD players so it is quite defective. Judging from some other reviews, other people are experiencing it but for some strange reason they find this acceptable. This is the first DVD I have ever seen which was this screwed up. Too bad----a great movie which I still have only on Beta (Kultur version).

Bondarchuk's "War and Peace" released by RUSCICO
A gargantuan version of Tolstoy's national epic, approached as a priority as important as the Soviet space program, War and Peace is surely the biggest production ever put on film, with entire armies filling the screen and covering vast landscapes. The recreation of the Napoleonic era in St. Petersburg and Moscow is a wonderment. Director Sergei Bondarchuk makes the story work even better at the intimate level. The romantic adventures and heartbreaks of the story's central trio, Pierre, Natasha and Andrei lead to at least 4 or 5 devastatingly emotional highpoints.
Previously, there was the 1956 Dino DeLaurentiis version. Except for some awkward casting, it wasn't half bad, but it pales beside the opulence and scope of this colossus. Ruscico's version is both longer and better-presented than previous releases, and Image has packaged it with helpful extras and easily-navigated menus. More on that below.
Savant was excited to see this pricey-but-exceptional DVD release; Ruscico has a reputation for quality releases of hard-to-see Soviet pictures, and War and Peace is certainly the prize title, at least for Western audiences unfamiliar with the majority of Mosfilm's output. I saw the American release when 16 years old, serialized over two weeks in a fancy theater in San Bernardino. I can't say I followed the story well, and mostly remember the grainy, washed out picture and the distracting English dubbing - Natasha's voice squeaked like Minnie Mouse. But the eye-popping visuals stayed burned into my memory, especially a God's eye view, receding into the heavens, of the Austerlitz battlefield spread out below. It looked as if it took in miles of smoke and fighting.
In Russian with subs in a number of languages, the new Ruscico / Image DVD is a completely different viewing experience. The Russian voices are beautiful, and it's easy to catch cultural things we had only read about, such as the St. Petersburg elite opting to speak French for many conversational details. It's not 70mm, but on a big widescreen television, the scope of the visuals can be almost overwhelming.
Ruscico's DVD of War and Peace is handsomely presented on 4 discs in a thankfully easy-to-understand package. The transfer image isn't going to be able to compete with restorations done here, however. War and Peace was shot in a Soviet color system in 70mm, and the colors are a muted set of pastels we aren't used to. Either the age of the elements, or the reduction printing, or bad storage has given many scenes a dupey look, with slightly fluctuating contrast. The image is stable and intact, but there are occasional scratches and slight damage.
Either that one bad shot was an isolated instance, or most of the time we're too caught up in the story to notice such things. I should point out that I viewed the discs on a 65" monitor that magnifies these kinds of flaws, so many viewers will probably be completely unaware of them.
The DVD producers have included a generous allotment of extras, listed below. A fifth disc contains a couple of Soviet docus on Tolstoy and an elaborate commemorative behind-the-scenes piece. It starts with the stars at a Moscow premiere, and then backtracks to show how many scenes were filmed. The cameraman is on roller skates in the ballroom scene, and a trucking scene through the battlefield shows exactly how some of the more amazing shots were captured. The cameramen use portable 70mm cameras of a kind I've never seen, that look every bit as sophisticated as ours.
In one of the interviews, the President of the Mosfilm studio says that after the years of filming, War and Peace wasn't unanimously praised in the Soviet Union. Everybody saw it, but not everyone thought it was a masterpiece. Audiences are audiences, Russian or American, and after those 4 or 5 transcendant moments in the picture, the ending does seem rather downplayed and anti-climactic. But seeing the show now after 35 more years of film history, this enormous epic seems more of an accomplishment than ever.

P.S. To watch the movie preview video clip you can on russianDVD.com website for free.

Grand epic
This is an excellent movie. The dubbing situation was strange, but that doesn't detract form the overall quality. And off course the book is better and more extensive then the movie. That said though. bondarchuk did do the ideal screen adaption. I only wish Nicholas would have been more prominently featured. ... Read more

Reviews (67)

Beautiful! You'll love it!
This could be the most beautiful, unique, romantic movie ever made. Every bit of dialogue is sung (but there are no "musical" numbers), and it's filmed in VIVID pastels, beautifully restored in this print (the film was originally released in 1964, and was the Cannes Film Festival Grand Prize winner). In French, with English subtitles, Letterbox (1.66:1, so it looks fine even on a small TV). Young girl (Catherine Deneuve, radiant in her first film) who works for her mother in an umbrella shop, "Les Parapluies de Cherbourg" - hence the title - and young garage mechanic (Nino Castelnuovo) swear their undying love for one another, he goes off to war, she finds herself pregnant, and she must make some decisions which will forever affect the lives of at least four people. Underneath its beautiful and lighthearted look and feel is a very serious and moving story. The entire word-for-word/song-for-song soundtrack/dialogue is also available on 2 audio CDs - Les Parapluies de Cherbourg - Sony ISBN 7464626782. Directed by Jacques Demy, music by Michel Legrand. Several of the musical themes have entered into the cultural consciousness, and if you've never seen this movie before, when you watch it you may experience a pleasant sense of recognition, i.e., "So that's where that song came from!" You'll love it! END

One of the best musicals ever made!
Up until 6 months ago, I had never heard of "The Umbrellas of Cherbourg." My mom used to hum a couple of tunes from this French musical, but I never made the connection. However, I came across the DVD of this classic musical a bit back while searching for a present for my mother, and I quickly fell in love with this musical. It is different from most musicals, as it is (1) French, and (2) sung the whole way through. All the "dialogue" is sung in the recitative manner of opera music and lead so naturally into the actual songs that you really can't tell the difference. The story itself concerns the bittersweet love between the young daughter (Catherine Deneuve) of a shopkeeper and a young man who learns shortly that he has been drafted to join the French army.

It is a beautiful story told simply and effectively by one of the French New Wave directors, Jacques Demy. As I understand it, he made a few more musicals starring Catherine Deneuve (The Young Girls of Rochefort, Donkeyskin), but this film was his most popular musical. For a long time, this film was considered "lost" due to deterioration of the film stock, its vivid colors reduced to pale shadows of its original glorious hues. However, thanks to recovery of an alternate negative that retained the original colors, the film was abled to be restored to its former brilliance. This restored version of the film is what is available currently on DVD.

Truthfully, it looks quite fantastic. The colors are briliant enough to rival the Hollywood Technicolor process, and the sound is clean. I am glad I bought this DVD, and it has quickly become one of my favorite musicals.

I only have a few problems with the DVD itself. First, subtitles are only in English. I would have liked to have seen French subtitles as well, but such was not the case. Also, the film transfer gets a little blocky and pixelated here and there; I understand that Fox/Lorber has a questionable on/off reputation with their DVDs, and I wish they could have been just a tad bit more careful with this classic. This marred an otherwise beautiful restoration effort. Lastly, I wished there were more chapter marks. Some of the best songs lie no where close to any of the chapter marks and thus require either bookmarking or fast-forwarding. Not a big concern, but just a little inconvenient.

However, this is still an excellent film, and I would HIGHLY recommend it to any lovers of musicals! Purchase/rent/watch this film without delay! And a note to Fox/Lorber - how about releasing "The Young Girls of Rochefort" out on DVD? I know it was somewhat restored as well and had a limited re-release; this would be an excellent companion piece to Umbrellas of Cherbourg!

Lovely film making! Unique!
There is no other film like this one! Shot in the early 60s, it is still a favorite among film lovers. It's no wonder that it recently celebrated its 40th anniversary!

Catherine Deneuve plays a young girl who is faced with an important life decision in her tender youth that affects her life and the man she loves who must leave for military service. Nino Castelnuovo plays the young man who returns form war to the news of his love married to another man.

THE most beautiful film ever shot! Beautiful music that will staya with you forever!

A great new addition to any DVD collection.
The Umbrellas of Cherbourg is a fantastic film with a deceptively simple story, outrageous colors, and beautiful music (especially the tune "I Will Wait For You" played during the opening and ending). Fine performances from the cast as well, and all the dialogue is sung. As far as DVD transfers are concerned this looks better and as flawless as you can expect and DVD collectors shouldn't pass up the new Koch Lorber edition of this wonderful movie.

A wonderful DVD version of a unique film
There really isn't another film quite like THE UMBRELLAS OF CHERBOURG. For instance, every line of dialogue in the movie is sung, yet apart from the heartbreakingly beautiful "I Will Wait for You," there are no songs. So, is it a musical? In form it seems more like an operetta. Musically, the dialogue is loosely organized, though certain musical themes are repeated often, and it lightly sung, none of the performers coming across as highly trained professional singers. Overall, the music, despite the presence of only one song, is entrancing.

As fine as the music is, I actually found the film to be more riveting on a purely visual level. For instance, inn scene after scene, I found myself focusing on the art design rather than the music. Demy frames most of his shots against backgrounds of more or less solid and striking colors--green walls, blue-stripped wallpaper, unusually painted building. Demy also employs a host of subtle camera angles and techniques. The film is unquestionably as much for the eyes as for the ears.

Most members of the cast were unknown to me, except, of course, for the surreally beautiful Catherine Deneuve, who was nineteen during most of the production of the film. She exudes star quality throughout. But none of the performers fails at all in their roles, though none of the others was the budding star that she was. One thing that struck me about all of the characters was that while the tale told is essentially a tragic one--or at least a bittersweet one--there are really no bad guys. Marc Michel, for instance, who plays Deneuve's wealthy suitor Roland Cassard, is a thoroughly likable person, even admirable. She clearly doesn't love him, but in no conceivable sense is he a bad person. Nino Castelnuovo's character Guy Foucher, for whom Deneuve's Geneviève Emery has asserted she "wait forever" turns out to be an inconstant correspondent, but apart from that he does nothing actively unkind to Geneviève. Geneviève's mother might push her towards Roland and away from Guy, but she is clearly motivated by a love of her daughter. The movie could have been subtitled: "A Tragedy with No Villains." The film is about love, but it is sadly not a love story. In a way, it deconstructs the kind of romantic myths that dominates the musical genre. This is the anti-Disney version of the possibility of eternal love. ... Read more

Amazon.com essential video

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

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A biography of the first czar of Russia was the final movie project of the great Sergei Eisenstein's life. It would be his undoing, as Stalin was not pleased with part II of this epic. But Ivan the Terrible, Part I still stands as a magnificent, rich, and strange achievement. This is a "composed" film to make Hitchcock look slapdash; every frame is arranged with the eye of a painter or choreographer, the mise-en-scène so deliberately artificial that even the actors' bodies become elements of style. (They complained about contorting themselves to fit Eisenstein's designs.) If you don't believe movies can be art, this could be (and has been) dismissed as ludicrous. But Eisenstein's command of light and shadow becomes its own justification, as the fascinating court intrigue plays out in a series of dynamic, eye-filling scenes. This is not a political theorist, but a director drunk on pure cinema.

Part II continues with the struggle for power and the use of secret police, a controversial segment that caused the film to be banned by Stalin in 1946 (the film was not released until 1958). The predominantly black-and-white film features a banquet dance sequence in color. Obviously the two parts must be viewed as a whole to be fully appreciated. Many film historians consider this period in Eisenstein's career less interesting than his silent period because of a sentimental return to archaic forms (characteristic of Soviet society in the '30s and '40s). Perhaps it was just part of his maturity.

Alexander Nevsky (1939), Eisenstein's landmark tale of Russia thwarting the German invasion of the 13th century, was wildly popular and quite intentional, given the prevailing Nazi geopolitical advancement and destruction at the time. It can still be viewed as a masterful use of imagery and music, with the Battle on the Ice sequence as the obvious highlight. Unfortunately, the rest of the film pales in comparison. A great score by Prokofiev was effectively integrated by the Russian filmmaker, but stands on its own merit as well. ... Read more

Reviews (18)

Ivan The Terrible...a bizarre classic
Alexander Nevsky is a lively pro-Soviet propaganda piece partially intended as a warning to Hitler at the time not to invade Russia. The epic battle on the frozen lake is justly famous and the sheer scope of the logistics of filming are impressive. Some of the characters are somewhat cliche stock creations of the time including the two soldiers fighting for the love of one woman who must prove themselves in battle, but overall it's a modest success.

The real prize in this three film Criterion set however is of course Ivan the Terrible parts 1 and 2, a great masterpiece, Eisenstein's most "enjoyable" film(s) and indeed one of the oddest works to emerge from Soviet cinema of the time. Highly expressionistic visuals combine with a melodramatic (and slightly revisionist) take of Ivan's life to create one of the stranger filmic experiences one will see. Eisenstein clearly had a very highly developed visual style and the numerous extreme close-ups of faces are extraordinary as are the sets and costumes. Part 2 doesn't quite live up to the promise of part 1 but nevertheless brings the characters to an appropriate conclusion. Bizarrely humorous (perhaps unintentionally at times) Ivan is nevertheless a film more for afficionados than for the casual viewer looking for another classic in the mould of Casablanca.

Regarding the transfers, they are superb and anyone expecting better prints is simply not being realistic regarding the age of the material and the conditions in which they were kept. While not as pristine looking as other recent releases of 40's films on DVD such as Shadow of a Doubt or Monsieur Hulot's Holiday they are more than adequate considering given the circumstances.

Superb and unusual Eisenstein sound films
Alexander Nevsky:

For those familiar with this classic of the Russian cinema, little need be said. For others, here are the high points: the story is set in medieval Russia and it essentially is about a great warrior who is drawn out of seclusion to lead the fight to defend the homeland against invading barbarians, who are German; there is much bravura acting from the loyal patriots, who deal not only with a vicious enemy from without but also with insidious traitors from within; the hero-warrior who leads them is suitably understated and dignified, striking a memorable portrait of nobility and grandeur. All this is dramatically heightened by some of the best cinematography ever, climaxing in a final battle over the ice which is done entirely with striking visuals and music-only sound. The result is one that rises far beyond the level of a mere costume picture or any cartoon story of battling types. This is a rich treasure from cinematic history, with all talents (including Sergei Eisenstein, one of the greatest directors ever, seen at his best) in brilliant form. Don't miss it.

Ivan the Terrible, Parts I and II:

During World War II, with Russia in the grip of Stalin and with Hitler at its door, the greatest Russian director of his day, and perhaps ever, joined the greatest Russian actor of his day, to depict the dark and brooding story of the rise and fall of a ruthless Russian Tsar who tyrannized Russia during the 1500s. While the story hardly amounts to movie uplift, the joy and fascination here lies in the details. Straightaway, in episode one, there is perhaps the most amazing movie opening ever filmed, in the coronation of Ivan the Terrible. Those familiar with Theodor Dreyer's "Passion of Joan of Arc" in 1928 will appreciate what fascination can lie in watching the camera cut skillfully from one grotesque image to another in endlessly imaginative ways, almost as if the gargoyles themselves were about to speak. The fascinating imagery proceeds non-stop from there, in the hands of master craftsman and director Sergei Eisenstein, like a medieval masterpiece come to life, though part two does not quite rise to the exceptional quality of part one. A taste of the high production standards is gleaned from a musical score composed by the great classicist Sergei Prokofiev. A very, very Russian production -- dark and grim, but full of amazing levels of interest, just the kind of production spoofed by Woody Allen years later in "Love and Death." Not necessarily to everybody's taste, but a great treat for connoisseurs.

Excellent box set. Thank you Criterion!
This box set is one of the Criterion Collection's best releases yet. In this set are 3 films.

Alexander Nevsky and Ivan the Terrible (Ivan Grozny) parts 1 and 2.

Alexander Nevsky is based on the true story of 13th century Prince Alexander Nevsky who helped fend off Teutonic (German) soldiers out of what is now Russia.

The film has an excellent score composed for the film by Sergei Prokofiev. The acting in the film is also very good also. The film was very popular and was temporarily banned by Stalin after Germany signed a nonagression pact with the Soviet Union.

The film is on disc 1 and has the following special features.
Restoration demonstration, Production stills and storyboard drawings, a multimedia essay by Russel Merrit on Sergei Eisenstein's work with Sergei Prokofiev on the film's score, an feature length essay on the film by David Bordwell, who wrote a book on Eisenstein's films, and there is also stills and dialog from Eisentein's unfinished film, Bezhin Meadow with photos of the film's set.

Ivan the Terrible parts 1 and 2 are the first two parts of an unfinished trilogy. Several scenes of part 3 were filmed but only one scene is known to survive today.

The film follows the life of Tsar Ivan Vassilivich also known as Ivan the Terrible (Ivan Groznyy). He is credited with uniting the people of Russia into a single nation. The first film covers his coronation and a battle that was fought to reclaim lost territory. The film is also very famous and has music by Prokofiev.

The first part on disc 2 has the folloving special features:
The deleted prologue sequence covering part of Ivan's childhood where he witnesses the poisoning murder of his mother and also contains another deleted scene. It also has the surviving fragment of the unfinished part 3 There are also a slide show of production stills and drawings, and an essay on the history of the film.

Part 2 covers the time where Tsar Ivan roots out the traitors who helped poison his wife and executes them.

The film has an excellent Color sequence cofering much of the last 30 minutes of the film. The Agfacolor film stock was captured from the Germans during WWII and was used for this film. The cinematography is really gpood and there is a flashback sequence from the deleted prologue of part 1

Disc 3 also contains an audio essay by Yuri Tsivian on the stunning cinematography of the film.

The set is well worth the $79 if you are a fan of Russian Cinema like I am. This set remains one of my favorites and it is really worth looking into.

Nevsky DVD
I'm only telling you about the Nevsky DVD here - my local library has a copy of it, and that was all i got to see.

Terrific transfer - firstly. The film's look, like with Ivan, is its greatest attribute - and here it looks incredible. The images are just so clear, i couldn't believe it. You can fully appreciate the brilliance and purity of Eistenstein's cinema.

Sound quality was good.

Special features were particularly good (as usual). Audio commentary and tidbits from film historians and critics. Most interesting was a reconstruction from stills and titlecards of Eistenstein's unfinished/lost pastoral film Bezhin Meadows. This is the only place you'll get to see this. And i was quite impressed by it. There are some striking images in there, similar to some compositions from Nevsky.

Unlike Ivan (which i have seen Part I of, but not on this DVD) in my opinion, Nevsky does not suffer from a creaky plot, but has good unity and good progression to the climax of the battle of the ice. Part love triangle, part battle epic, Nevsky feels wearisome in places for how very much it is soviet propaganda. In both films, the performances are unusual, because they are more like silent performances, which would have been poetic in a silent, but definitely look quirky in a sound movie.

If i had any complaints it would be these:

one for Eisenstein, for his sound engineer, for the terrible job he did of constructing the sound for the battle on the ice. I could hear the foley artist literally clanking a whole lot of swords together rhythmically. Very distracting indeed.

one for Criterion: i would not have subtitled every line of the singing. Nevsky and Ivan are both part Eisenstein movie, part Prokofiev opera. But the lyrics of the songs the people/army are constantly singing in the background of Nevsky get very repetitive, because its the same verse over and over. Continually reinforcing this propagandising message of unity. And i'm sure its the same for Ivan, but the release i saw of Ivan didn't continue to subtitle every line of song, which is why i know this was a much better option.

Otherwise, a beautiful DVD edition (of Nevsky) with an incredible image and good special features.

A Review for Alexander Nevsky
This is a Russian film released in 1938, just before the start of World War II. Although the film features battle sequences between the Germans and Russians, it is not about World War II. It is set in the 13th century cities of Pskov and Novgorod. Alexander Nevsky is the prince and a famous war leader who previously defeated the Swedes when they tried to invade Russia. The film has very strong images (and songs) of Russian patriotism, and is probably one of the reasons it was so popular when it was released. Since the Russians were preparing to fight the Germans once again in WWII, this film was likely a morale-booster for the soldiers and the public alike.

The opening sequences of the film feature beautiful cinematography. Alexander Nevsky and his men are fishing on a lake when a band of Mongols crosses their path. The Russians have just fought a war with the Mongols and so some fighting ensues as the Mongols pass by the Russians. Alexander Nevsky, irritated with this commotion as it is scaring the fish away, breaks up the fight. Some of the Mongol leaders recognize him as the man who defeated the Swedes and invite him to become a general in their army. He replies with an old Russian saying that it is better to die than to leave your homeland, giving yet another shot in the arm to Russian patriotism.

After the Mongols depart, one of Alexander's men comes up to him and warns him that they may have to battle the Mongols yet again. However, Alexander brushes this warning aside and advises that the Germans will have to be defeated before the Mongols.

Next, we move on to the city of Pskov. The Germans have already taken over this city and are holding the surviving Russians captive. The men are tied up in the center of the city while the women and children look on. The site of the German army is actually rather amusing. The Germans are dressed up in sheets, somewhat reminiscent of the garb members of the Ku Klux Klan are famous for wearing. Regular German infantry soldiers have buckets on their heads with cross cutouts allowing for them to see out. The German nobility also have buckets on their heads but they get specials horns and other decorative regalia.

This is probably the most graphic and disturbing scene of the movie as the Germans then proceed to exterminate every surviving Russian, somewhat ominous as this is also what the Germans do in WWII. There are close-ups of a German soldier throwing children into a pit of fire as they are screaming out in fear. Everyone else is either burned to death or hanged. However, at least one man manages to escape Pskov and goes to warn Alexander that the Germans are advancing.

When the escapee relates his message to the famed prince, Alexander is deeply disturbed and begins planning how to seek revenge on the Germans. He forms a company of troops and even orders the peasants to join in. One exceptionally brave female also joins the army. They then march to the city of Novgorod to gather more troops. Although some at Novgorod initially refuse to fight, more patriotic speeches are made and everyone agrees the Germans must be stopped.

Once the battalion is formed, they begin marchi