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Those who believe British miniseries to be too proper and corseted may want to make an exception for Ken Russell's 1992, four-hour BBC adaptation of D.H. Lawrence's scandalous novel. Between the full frontal female nudity and empowering shed-rocking sex scenes, this is something for everyone to have a randy good time.To save you the bother of fast-forwarding, episodes two and three contain the very naughtiest bits involving the illicit affair between "loyal wife, good companion" Constance Chatterly (Joely Richardson) and Oliver Mellors (Sean Bean), gamekeeper to Constance's embittered, paralyzed husband (James Wilby). When he insists his wife take a lover and produce an heir to his fortune, he didn't have the lowly "wild man of the woods" in mind. Neither did Constance, but soon enough the woods are alive with the sound of heavy panting and frantic gropings up against trees. The production is impeccably mounted--no pun intended--and the performances (particularly by the daring Ms. Richardson) impassioned. Save for one dream sequence involving a black horse (a symbol of passion, one character helpfully explains), and the, at times, overheated musical score that threatens to overwhelm the lovers, Russell (Tommy, Altered States) holds his tendencies toward excess in check. --Donald Liebenson ... Read more

Reviews (8)

Excellent, compelling miniseries!
Very entertaining look at Lady Chatterley. After reading the book I was very curious to see how the story could be brought to life! Ken Russell has done a fine job and the two lead actors bring life to Lady C and Mellors. Prior to this movie, I did not think Sean Bean (Mellors) was anything special, but after seeing his portrayl in this movie- all that has changed. He is superb and an excellent leading man- just perfect- I do not see how any woman could not fall for him in this role. Easy to see how Lady C does! Buy this DVD- you will not be disappointed!

Beautifully filmed, sympathetic characters
Lady Chatterly is the story of a rich young aristocrat who takes her gamekeeper for a lover after her husband returns from the war, paralyzed. Despite the subject matter (adultery), I really enjoyed this film. The screenplay is written in such a way that you quite understand why Lady Chatterly has an affair. AND all four of the main leads were quite sympathetic, even though the husband is at times emotionally abusive. While, personally I fast forwarded all of the sex scenes, I thought the film was beautifully filmed and directed. Five stars for an excellent and entertaining film.

-"My lady"...say it again, Sean!!!
Brilliant! I bought this movie because of Sean Bean (I just wanted to hear him saying "lass"...) and because I love british drama. I just finished it and I am not disappointed. What a great story! I do believe that the sex scenes are far from being shocking, they are justified, intense and beautiful. The previous reviews say it all - great story, adaptation, characters... over 200 minutes very, very well spent.I'll let the tears dry now.

Lady Chatterley
D. H. Lawrence's classic and erotic novel, "Lady Chatterley's Lover",is beautifully filmed and retold in this Ken Russell video production.
Lovely Joley Richardson plays Lady Constance Chatterley, in the title role, as a sexually and socially repressed young English woman in the early 1920's. She is married to Sir Clifford Chatterley, played by Michael Wilby,as a titled, WW1 British officer, whose war injuries have paralized him from the waist down.
We watch as Constance accepts her fate at first, and loyally looks after her demanding,upper-class husband. The isolation and Sir Clifford's constant need for care take its' toll, and soon Lady Chatterley's mental and physical health is in question. A nurse-companion, Mrs. Bolton, is hired from the local colliery town of Tevershall, thus relieving Connie of her duties, giving her more time to visit with her family members and,to go for long walks in the near-by woods. Soon, her wanderings cross paths with Sir Clifford's reclusive,irrasible,lowly bred game keeper, Oliver Mellors.
Actor Sean Bean, with his rakish and sensual "bad boy" good looks, plays Mellors with great intensity and honest passion. He is perfectly cast as the angry, down trodden man who finds new life and "the only freedom" he has ever known,in the love he shares with the independant, and equally passionate Lady Chatterley.
This adaptation follows the literary novel closely. (Please read the book, if you haven't already, as some of the warmly passionate and meaningful scenes have been left out for the sake of censorship and the movies length). The video "fleshes out" (pardon the pun!)the novel that features lots of dialogue in the book. The comparisons between priviliged and idealic country life, and the "blackened" buildings that serve as social "traps", rather than homes to the low-born class,gives one pause for thought, even 80 years later.Even Sir Clifford is able to gain our sympathies now and then,as he tries to control what little of his life he can, but in the end, he needs to rely on others.It was interesting to see the stories characters juxtaposed in front of the cathedral windows, or in the front doorway at Wragby Hall;a subtle way of letting the viewer know "who is in control now!".
I highly recommend this video. Although this (surprisingly) un-rated BBC production aired on British TV (....and we think the Brits are "stuffy", not a chance!!!), it is not for the prudes or immature viewers among us! It is an honest and moving portrait of a love that conquers all!

The story of a young and sexually repressed woman
Now available in a DVD format, Lady Chatterley is the dramatic and passionate BBC miniseries directed by Ken Russell and based upon the D.H. Lawrence novel "Lady Chatterley's Lover" which gave rise to what was perhaps the most famous obscenity trial of the 20th Century and continues to appear on various banned books lists for it subject matter. It's the story of a young and sexually repressed woman of the British upper class who is unhappily married to a paralyzed husband. She encounters a gamekeeper on her estates whose scandalous attentions awaken her senses. This BBC production is technically flawless and hallmarked with beautiful outdoor scenes, authentically detailed indoor sets, brilliant acting, and outstanding direction. Available in VHS (11457, $29.95), Lady Chatterley has a running time of 205 minutes. ... Read more

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If you've ever wanted to hear Jack Nicholson sing (or try to) or marvel at the sight of Ann-Margret drunkenly cavorting in a cascade of baked beans, Tommy is the movie you've been waiting for. As it turns out, the Who's brilliant rock opera is sublimely matched to director Ken Russell's penchant for cinematic excess, and this 1975 production finds Russell at the peak of his filmmaking audacity. It's a fever-dream of musical bombast, custom-fit to the thematic ambition of Pete Townshend's epic rock drama, revolving around the titular "deaf, dumb, and blind kid" (played by Who vocalist Roger Daltrey) who survives the childhood trauma that stole his senses to become a Pinball Wizard messiah in Townshend's grandiose attack on the hypocrisy of organized religion.

The story is remarkably coherent considering the hypnotic dream-state induced by Russell's visuals. Tommy's odyssey is rendered through wall-to-wall music, each song representing a pivotal chapter in Tommy's chronology, from the bloodstream shock of "The Acid Queen" (performed to the hilt by Tina Turner) to Nicholson's turn as a well-intentioned physician, Elton John's towering rendition of "Pinball Wizard," and Daltrey's epiphanous rendition of "I'm Free." Other performers include Eric Clapton and (most outrageously) the Who's drummer Keith Moon, and through it all Russell is almost religiously faithful to Townshend's artistic vision. Although it divided critics when first released, Tommy now looks likes a minor classic of gonzo cinema, worthy of the musical genius that fueled its creation. --Jeff Shannon ... Read more

Reviews (68)

Ann-Margret in a Rock Opera? I guess so!
A visually spectacular and colorful adaptation of The Who's 'rock opera,' Tommy features an all-star cast including some of the greatest names and performances in rock music and a score written by Pete Townshend that was released six years prior to the film's release.

he story is about a young boy named Tommy (Roger Daltrey) who sees his father (Robert Powell) killed by his stepfather (Oliver Reed) while Tommy's mother (Ann-Margret) watches in shock. After the incident, Tommy's mother and stepfather tell him in song, "You Didn't See Anything, You Didn't Hear Anything." Traumatized by witnessing this horrendous deed, he becomes psychologically blind and deaf i.e. His brain won't let him see or hear. In the course of growing up, he proceeded to become a "Pinball Wizard" of the world and had a strong following of admirers. During this time, he endured years of manipulation and abuse by his family. Eventually Tommy breaks "free" of his world of silence and darkness and becomes aware of the world around him, his mental capacity has only evolved to that of a child. At the end of the movie, Tommy's followers finally realize that they have been brainwashed by him.

'Tommy' opened with critical acclaim from virtually everyone who saw the film. The film, costing three and a half million dollars, was produced by Robert Stigwood (of 'Jesus Christ Superstar' and 'Grease' fame) who took a backseat in the publicity of the film to director Ken Russell (of 'The Boyfriend' and 'Lisztomania' fame). Russell was commended for bringing the rock opera to life by using spectacular visuals and special effects to enhance the re-recorded soundtrack. "Technically the film is astounding...Russell has fused a kaleidoscope of images that pulsate with the incredible precision of a rock drumbeat in visual counterpoint to the music." (Newsweek March 24, 1975) This is the first of two reasons for the film's appeal. The second is the fact that the film used popular rock stars in cameo appearances to attract the 20-24 year old audience, who already had an awareness of the rock opera in its original form. Those who were not aware of it were wooed via promotions on the radio using the rock stars names such as Elton John, who was at the peak of his success. The rock stars had produced more interest in the film than the already established stars such as Ann-Margret and Oliver Reed, but by using these stars it gave "...the project more legitimacy among movie fans without dulling anticipation amount rock purists significantly..." (Variety February 26, 1975)

The film utilized the two different parts of the entertainment world, rock music and established film stars and used their talents to the fullest making the film appealing to the older audience as well as the younger one.

After reading various glowing, positive reviews and watching "Tommy" I found myself neither liking nor disliking it. By using songs and no spoken dialogue is a most effective and creative way to tell a story. The characters must express in song feelings of joy ('It's a Boy'), the covering up of a crime ("You Didn't Hear It'), joyous holidays and the sadness of Tommy's problem ('Christmas'), the evilness of relatives ('Cousin Kevin' and 'Fiddle About'), a story about one of Tommy's fans ('Sally Simpson'), Tommy breaking out of his world of silence and darkness ('I'm Free'), and the realization of being brainwashed ('We're Not Gonna Take It'). The film also contained great renditions of The Who's songs such as Eric Clapton as the Preacher ('Eyesight to the Blind'), Tina Turner ('The Acid Queen'), Elton John ('Pinball Wizard') and Jack Nicholson as the doctor ('Go To the Mirror Boy'). The use of special effects and colorful visuals helped to relay the story to the audience who only had envisioned it while listening to the original record by The Who.

The one fault I found with this movie was the use of Ann-Margret. She does not fit into this rock-opera or any rock opera for that matter. Her vocal ability does not permit her to sing these songs and consequently she screams them out, for example "Do I Smash the Mirror?" Her voice is very soft and sings some of the other songs without feeling like "Christmas" and "Tommy Can You Hear Me?" Ann-Margret's voice "...works better after you've seen the film and have an image to associate with the sounds." (The New York Times March 21, 1975). After viewing this film several times, it is still difficult for me to associate her with The Who's music and I feel someone else should have been chosen for the part.

**cdk

A bizarre and wonderful film
Tommy is easily the most disturbing movie I've ever seen, and I've seen a lot of disturbing movies. It chronicles Tommy's life from birth to the death of his father to his traumatic adolescence and spirtual entry into adulthood. The scene where Tommy endures sexual abuse (at the hands of Keith Moon, no less) is a particularly unsettling one. While the cause of him being "deaf, dumb, and blind" is never really explained, along with other unanswered questions, Tommy is definitely a work of art.

The cameos by Eric Clapton, Tina Turner, Elton John, and Jack Nicholson are brilliantly done. Ann-Margaret, whom I had previously dismissed as just another singing piece of eye candy, shows incredible acting skill as Tommy's mother. The only flaws in the film (besides Tommy's miraculous change from a brown-eyed boy to blue-eyed Roger Daltrey) are the ambiguity between symbolism and reality, which can make the story hard to follow, and the last quarter of the movie, in which Tommy becomes a Christ-like figure of worship. The movie really should have ended with Tommy's final realization of himself, at least in my opinion. However, a child rock star in this sequence eerily resembles Marilyn Manson circa 1996, which should entertain music fans.

Keep in mind, though, that just because this movie is rated PG does not mean it is suitable for children.

COUSIN KEVIN IS DA BOMB!!!
Why doesn't anyone mention him? This DVD is worth the price just to see that scene!!! I love everything else too but I like to watch the Cousin Kevin scene over and over again. The movie version is WAYYYY better than the dull, slow version on the album!!! Same thing goes for many of the songs. All in all, this is one of the most entertaining and enjoyable musicals of all time!!!

Unique, but as senseless as Tommy
When I first read of Tommy, I found the premise intruiging. A "rock opera" based on music by The Who... starring Roger Daltrey? I knew that the term "cult classic" would be applicable here. And being a fan of rock music, and 60's rock/pop in particular, I knew that I had to see this film. One mediocre review in a newspaper didn't put me off: I felt the combination of The Who and 70's cinema would make for great entertainment. How wrong I was.

With the opening sequences of "It's a boy", an embarrasing and awkward singing performance by a nurse, I was left with my jaw hanging open that this material was not destroyed by a later Government order. Songs often collapse into repetitiveness (I'm Free) just as they border on the great. Potential is repeatedly wasted - and at times, you can almost feel how good Tommy's music COULD have been - but alas, each song, without exception, feels both overblown and underwritten at the same time. It's a shame.

Not that the movie is devoid of artistic talent - it isn't. There are visually stunning sequences everywhere. Set peices become gradually more and more impressive (the Marilyn Monroe idols, Tommy's religious land) and special effects, crude as they are, are used to music video effect - an impressive precursor to MTV.

But the plot is loose, very loose - and scattered. Tommy's plight, his childhood trauma, and the theme of religious exploit all earn marks for originality, and maturity. But there really is very little continuity going on - and though the theme of Tommy's degredation becomes quite dark, his exploitation becomes repetitive. And tiresome. That said, the film's most energetic peak, "Pinball Wizard", is a colourful, memorable and bizzare game of pinball featuring Tommy and Elton John playing head to head before a theatre audience. Even the music shows flashes of inspiration. Without a doubt a proud climax for any film.

But at the end of it all, Tommy cannot be saved by a single scene, and with a plot so light and music so abominably poor (sorry, but it is), the film is rightly one of the smaller cult classics. The imagrey is good, but in the end, it all seems rather pretentious. Perhaps it needs to be, to fill the huge, gaping holes in the story. Yes, I "get" the film, and no, this is not the first musical or rock movie I have seen. Tommy displays both maturity and style at times - but neither are ever subtle, and that is the film's downfall. Only through the rose-tinted view of a fanatic could Ann Margret wallowing in baked beans ever be worth watching. Yes, I know that this is slander, and 0 of 37 people will find this review helpful as a result, but I can't help my honest opinion.

It has Elton John. In 10ft platforms. But this alone is Tommy's entry into rock history.

Bring on the special collectors edition!
The five star rating is purely for the content of this marvelous and sometimes misunderstood masterpiece from director Ken Russell. But in the U.K. right now (June 2004) they are being treated to an amazing 2 disc collectors edition DVD! The Superbit DVD with DTS sound is fantastic but we want extras!!! Please, Columbia Home Video! Let us Americans have it too! ... Read more

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Wittily updated from one of Dracula author Bram Stoker's lesser-known horror novels, The Lair of the White Worm is a camp classic that only Ken Russell could have delivered. It's got all the perversity one expects from the bombastic director of Tommy and Altered States: sensible plotting, intelligent dialogue laced with double entendre, graphic imagery with Boschian intensity, and a mischievous disregard for good taste and decorum. In other words, it's heretically hilarious, especially when skeptical Lord D'Ampton (fresh-faced Hugh Grant, in one of his earliest films) begins to suspect that seductive neighbor Sylvia (Amanda Donohoe, game for anything) is connected to the local legend of a monstrous serpent that feeds on sacrificial virgins. Evidence mounts with the help of a local archaeologist (Peter Capaldi) and two endangered sisters (Catherine Oxenberg, Sammi Davis), and Russell infuses Stoker's grisly plot with his inimitable brand of blasphemy, including a gouged eyeball, a venom-splattered crucifix, Roman soldiers raping nuns (in a delirious hallucination sequence), and some of the funniest one-liners since Young Frankenstein. Prudes beware; everyone else…enjoy! --Jeff Shannon ... Read more

Reviews (35)

Wicked!
Hideously kinky, delightfully depraved and woefully witty... this is Ken Russell's masterpiece! Where else can you see ex-"Dynasty" trollop Catherine Oxenberg trussed up as a virginal pagan sacrifice to a 90-foot long demonic albino snake? Or ex-L.A. Lawyer Amanda Donahoe running around in just a thin layer electric blue bodypaint and two-inch snake fangs? Or the pre-"Four Weddings and a Funeral" Hugh Grant act like the smug, upper-class twit that he is instead of a hangdog shy wimp? What a great movie!

The DVD looks good... not a huge improvement over the VHS release, but the trailers and TV spots are funny and Ken Russell's commentary is droll and entertaining. I highly reccomend this film for anyone who likes vampires, thigh-high leather boots, Tommy: the Movie or dry-humored immortal pagan snake-god priestesses. Hail Dionin!

First Class Trash
This one was despised by the serious critics, but all that means is that they weren't weird enough to enjoy it. All right, it's trash. But it's great trash. It's my idea of a feel-good movie. It's kinky, erotic, scary, and funny. And bright. Literally. After zillions of creepy, dark, scary scenes in movies, the sunshine and well-lit rooms in this one emphasize the horror scenes. But who cares about the lighting? It's main attraction is an over-the-top performance by Amanda Donohoe as a very bad girl. Upper-crust Hugh Grant and his cohorts have a lot of fun trying to evade her slithery grasp. That's about all you need to know. But for heaven's sakes, don't take it seriously. If you hate it, you'll really hate it.

Campy as hell
but that's not necessarily a bad thing. This is typical Russell; weird non-fitting dreams, and definietly not enough violence, horror or sex when, here, it wouldn't be superfluous, but highly helpful in making the film better. The acting is interesting, to say the least. Worth a watch or two, but try to get a cheap used copy.

Bite me!
Yes, it's over-the-top! Yes, it's gorey and heretical but this only adds to the movie's drawing power. Both Hugh Grant and Amanda Donohoe are absolutely terrific in their performances. {Darn}can she be so scary and still so sexy, as in the scene where upon hearing a recording of a snake charmers music, she emerges from her wicker basket and sexily slithers across the room and out of the house, dressed in skin tight black leather (how else would a snake wear it's skin?). Another impressionable scene occurs when the lovely Catherine Oxenberg is ready to be fed to the white worm. The poor victim is hanging by her wrists over the lair and the half-serpentine Donohoe, nude and painted blue, doning yellow snake eyes is summoning up the serpent. If you're uptight or prudish, see something else. But if you enjoy a good campy scare with some gore and sexy imagery, don't miss this one!

LAIR OF THE WHITE WORM
Based on a novel by Bram Stoker. Stars Hugh Grant, and the lovely Amanda Donohoe.
It's pretty "campy" which I usually don't like, but I DO like this movie.

Hugh Grant plays James D'Ampton, who returns to his ancestral castle in the English countryside. James' distant ancestor was said to have slayed a dragon, the white worm, who supposedly dined on the flesh of young virgins.

A legend that James immediately dismisses, but when a local amateur archaeologist discovers the huge skull of a reptile and what looks like a site of worship on James' property. It has James rethinking his original dismissal. Especially when his virginal & virtuous girlfriend, Eve, disappears.

James and the young archaeologist, Angus, decide to investigate the the dark cave, rumored to be the lair of the great white worm.

Living in the same small locality is the beautiful vamp Lady Sylvia Marsh, a so-called "snake watcher" Really a devotee of the snake deity. She wants to get her hands on the reptilian skull and make some "offerings" to the white worm.

She really has everyone in the village entranced, but James is able to resist her. He's very suspicious about her activities. And acting like a snake charmer, attempts to stymie her plans.

Donohoe is excellent as the sultry and dangerous Lady Sylvia . Her costumes, make-up and unique cars! are fabulous, lots of fun. :-)

The film contains some dream sequences involving extreme images of followers of the white worm (who worship the snake deity) in some kind of shocking ecstatic frenzy together with some nuns, and an image of Jesus. Filled with blood, nudity, suggestive activity & some pretty big phallic shaped objects! :-).. I wasn't offended by this, but some overly-prudish people might be. ... Read more

Reviews (18)

Kathleen Turner fans need this film in their collection
In 1984, Kathleen Turner was doing big Hollywood films such as "Romancing the Stone". However, on the side she did a more obscure Ken Russell film called "Crimes of Passion". This film truly showcases Kathleen Turner's talents as she portrays an advertising executive by day, and a Hollywood hooker by night. Anthony Perkins plays a 'preacher' trying to correct Ms Turner's wrong-doings, while John Laughlin plays a husband searching for intimacy. Any fan of Kathleen Turner will want this film in their collection. I borrowed my friend's copy, and am eager to get it my own.
DVD SUMMARY:
A great transfer to DVD by Anchor Bay, with some deleted scenes thrown in. Full uncut version of film, but only a mono soundtrack.

a plea for honesty
as Ken Russel says, that's what this film is about, and it is a supurb artwork of cinema in my opinion. I've watched a beat-up 1984 VHS of the original U.S. release so many times that I've memorized some of the zinger one-liners, and the unedited, uncensored DVD is a real treat. The director and writers' commentaries give you something new to think about every time you watch it. Russel does a great job of flouting American suburban hypocrisy with this film; it's raunchy and unapologetically un-PC, shows that we all have to have our illusions to believe in

No passion, only a crime to have been made
It is easy to see that this movie was produced in the drug induced 80's, as someone was on the best stuff to even consider producing, let alone releasing this movie. I believe the intent was to mimic Brian DePalma's thrillers, "Body Double" and "Dressed To Kill", but this falls woefully short in almost every way. The uncomparably campy performances by all the principal actors makes this unbearable to watch, not to mention the complete lack of relevance in so many scenes. I could go through those scenes one by one, but I don't want this review to become a spoiler. Just believe me, there were many. I will admit Kathleen Turner's quips with her tricks are indeed good, they alone are no reason to watch this movie. There is no compelling story told here. This movie is a chaotic display of different images and scenes loosely bound by sexual activity and some perverse form of the struggle of 'good' against 'evil' or 'sin' and 'salvation', if you prefer.

No, Just a Crime
Don't get me wrong: I'm not a prude. I'd love a challenging, sexually-charged film that ignited and then scorched its characters with desire and passion and obsession. Wind them up and see what happens to them. LAST TANGO IN PARIS and BODY HEAT come to mind. But CRIMES OF PASSION, even this Unrated! version, should not.

From the crude, obnoxious opening dialogue to its garish "sex scenes" (not to mention the truly embarrassing "H.P." scene), CRIMES OF PASSION plays like an attempt at high-minded art by an immature juvenile working with the staff of Hustler magazine.

The lead actor comes off as wooden and inexperienced. His character never appears sympathetic or even interesting: he's just a shallow lout who dumps his family for a hooker.
Kathleen Turner and Annie Potts are above this horror show.
According to the commentary, Anthony Perkins really is snorting something--which would explain his usual madness this time.
At first, I thought the cheap music was intended as a parody of cheap porn film music, but director Ken Russell professes his admiration for it. (He also says, "This is one of the best scripts I've worked with"!).
The climax plays like a ridiculous rehash of PSYCHO--even if it didn't include the original Norman Bates stumbling around in drag.

If you're getting this for the Director's Commentary, be warned: Ken Russell abandons it about twenty minutes into the movie. Writer/Producer Barry Sandler glosses over Russell's departure ("Ken had to catch a plane back to London") and then soldiers on, not so much giving any insight into this mess as merely overstating what you're seeing.
No real depth here. Sleazy, pretentious, offensive for the sake of being offensive. Not even very funny.

I have no intention of keeping this DVD (a first, and I have a lot of BAD DVDs). I'm just trying to figure out whether to trade it for credit at a used CD store.
Or just throw it away.

Frightening (ly funny).
That blue dress! That casitone score! Anthony Perkins! That music video! That I wrote the first part of my review in slogans should enlighten you as to the type of film on offer here. It is loud, brash, unsubtle and suffers from a severe lack of dramatic (?) consistency. Whereas these indications should point towards an awful film, this one just seems to work (dementedly). This is a far greater diatribe on exactly what went on in those nether years also known as the eighties. Far more effective than the patina of after the fact examinations (and far scarier than anything Brett Easton Ellis could think up). A must own! An AMerican Classic! ... Read more

Description

Ten of the world's greatest directors produce one unforgettable film in this sumptuous visual and musical feast based on the most famous arias in the history of opera. Erotic, violent, thought-provoking, funny, and moving, this critically-hailed milestone features the electrifyingly erotic film debut of Briget Fonda, a revealing appearance by supermodel Elizabeth Hurley (Austin Powers), and unforgettable performances from John Hurt (Harry Potter and the Sorcerer's Stone), Tilda Swinton (The Deep End), Beverly D'Angelo (Vacation), Theresa Russell (Wild Things), and many more! Segments directed by Robert Altman (Gosford Park), Bruce Beresford (Double Jeopardy), Bill Bryden, Jean-Luc Godard (Contempt), Derek Jarman (Edward II), Franc Roddam (Quadrophenia), Nicolas Roeg (Performance), Ken Russell (Tommy), Charles Sturridge (Longitude), Julien Temple (The Filth and the Fury). ... Read more

Reviews (10)

Liz Hurley's first important role in a movie
This movie provided Liz Hurley with her big break. Soon after this, Dennis Potter snapped her up for the lead role in the BBC adaptation of Christabel Bielenberg's 'The Past is Myself'. She became Hugh Grant's girlfriend and the rest is history. She transformed herself physically during her twenties, which is why some viewers have had problems identifying the occasionally nude actress that appears here as the very slim Liz Hurley they now know.

For me, 'Aria' was the classical music community's response to the rise of MTV and the pop video. Directors like Ken Russell and Nick Roeg wanted to show us that opera could be equally colourful and sexy, even if you couldn't dance to it. And they proved their case, to my mind.

But like a pop video, you wouldn't want to watch this too often. There's no substantive connection between each of the videos, so you end up feeling much the same as you would after a 90-minute immersion in MTV.

A Visual and audial smorgasbord
I have loved this movie for years. Granted, it may be for deep film buffs, but it is powerful.

Each vignette offers a top director's interpretation of a provocative aria. Opera lovers know how emotionally provocative the music can be; and that raw emotion is shown by each director.

The love story is one of the most romantic and tragic stories I have ever seen--the images are still in my mind 10 years after first seeing it. I had enjoyed a light introduction to opera before this movie, but after feeling the raw emotions this film created in me, I bought a few opera CDs based simply on first hearing the arias in this movie. There is even some VERY funny stuff is one scene.

So, in summary, the music, images, and emotions from this movies were all so intense, they've stayed with me for years. If you can take the intensity, do not miss out on this powerful movie that can be both sublime and intense at the same time.

The movie that started me on opera
I first saw Aria in the theater back in high school (about 3 million years ago) and only because I wanted to impress a girl way more artistic than myself.

It worked, but not in a way I'd expected. The movie, a series of vignettes, runs the whole emotional spectrum. In my younger days, we were blown away by the Wagner/Roddam piece starring a young Fonda, so loving and jarring at the same time. These days I find all the music beautiful, but one or two of the vignettes boring. The entire movie is beautifully shot and all deserves to be watched at least once.

After having done that you'll find continual enjoyment watching Sturridge, Beresford, Roddam, Jarman, and Bryden's interpretations.

Who knows, you might fall in love with opera too.

Great the first time, tends average, not for everyone
This movie was great the first time, on the big screen. The music and the images shock you, and make you squirm and react to this movie. It's an artistic roller coaster ride.

I've found since, however, that this shocking quality doesn't preserve especially well. My favorite way of watching this movie these days, is to turn the music on, while I'm doing stuff around the house, occassionally looking at the images.

It's artistry, it doesn't hold up under critical thinking.

Who will like this movie? Despite (or perhaps because of) the billing of mature content, I think that this is a good film for teenage viewers with a liking for art films. One must be able to appreciate both the variety and intensity of the images, and be able to forgive the story. Not a problem in an action movie, but for an "art film", it shows it's high concept roots.

Maybe a gift for an opera lover, or an "art film" buff.

A Most Incredible Experience
Aria is 90 minutes of pure wonderment -- I'm not certain what demographic this project was aimed at, but I definitely fall into it. You have to love opera style music yet not be so attached to the operas themselves that the re-presentation of the music offends. You have to enjoy video that your average couch potato won't get, no matter how many mind altering drugs he takes.

To really enjoy Aria, you have to check your expectations at the door and accept it for what it is -- a set of brilliant visual explorations fueled by some of the most incredible music ever written. With any other attitude, you're far more likely to find this a miserable experience. Too vulgar, too highbrow, too bizarre, too surreal, too whatever.

Some pieces tell a solid story, ranging from humorous to tragic. Others lack story line and speak to a different level of consciousness. Pathos. Humor. Death. Life. Celebration. Brilliance. Aria cleanses windows of perception, like a good wine between courses of a meal. On the other hand, it's a main course, in and of itself.

This is not fodder for young children, and most teens won't have the patience for it either. If you thought "Dude, Where's My Car?" was a brilliant movie, perhaps you'd better pass on this one as well. I only wish that more Wagner had been included ... perhaps an Aria II consisting solely of Wagner arias?

(If you'd like to discuss this movie or review in more depth, click on the "about me" link above and drop me an email. Thanks!) ... Read more

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It's easy to understand why the late, great screenwriter Paddy Chayefsky removed his name from the credits of Altered States and substituted the pseudonym Sidney Aaron. After all, Chayefsky was a revered dramatist whose original source novel was intended as a serious exploration of altered consciousness, inspired by the immersion-tank experiments of Dr. John Lilly in the 1970s. In the hands of maverick director Ken Russell, however, Altered States became a full-on sensory assault, using symbolic imagery and mind- blowing special effects to depict one man's physical and hallucinatory journey through the entire history of human evolution. It's a brazenly silly film redeemed by its intellectual ambition--a dazzling extravaganza that's in love with science and scientists, and eagerly willing to dive off the precipice of rationality to explore uncharted regions of mind, body, and spirit. William Hurt made his bold film debut as the psycho-physiologist who plays guinea pig to his own experiments; Blair Brown plays his equally brilliant wife, whose devotion is just strong enough to bring him back from the most altered state imaginable. From the eternal channels of sense memory to the restorative power of a loving embrace, this movie rocks you to the birth of the universe and back again. And while it's clearly not the story that Chayefsky wanted on the screen, the directorial audacity of Ken Russell makes it one heck of a memorable trip. --Jeff Shannon ... Read more

Reviews (46)

Nice DVD Remaster of Award-Winning Sci-Fi w/ Great Cast!
A sci-fi favorite of mine, this Academy Award winning film had fallen into obscurity on the video shelves, but is now back with all its original impact in a sharp, well-colored remaster with a brilliant digital 5.1 rendering of the Oscar-winning soundtrack. Ken Russell directs one of his more accessible films (compared to, say, THE DEVILS) based on the novel by Paddy Chayefsky, who, in a move remeniscent of Stephen King on THE SHINING, had his name taken off this movie because he didn't like the director's interpretation of his subject matter.

The film boasts a high-quality cast of young actors from William Hurt in his major film debut to John LaRocquette in the small role of an X-ray technician. Whoever cast this knew whom to select from the period's roster of young talent. Charles Haid, frankly, has never been more impressive as the fast-talking and brilliant skeptic and Bob Balaban is outstanding and self-assured in the role of the supportive friend who forgives Hurt his eccentricities but worries that he may be going crazy. Blair Brown is sexy and appealing and frequently nude as Hurt's just-as-brainy wife anthropologist, and one of the most interesting aspects of this movie is the dialog between these two intellects from the moment they first begin their sizzling sexual liason through their matter-of-fact decision to marry, then divorce, then finally redeem their relationship -- while nearly losing Hurt's character to his high-risk experiments.

Among other interesting subplots is Hurt's spiritual ambiguity since his father's fearful death, Hurt's notion that schizophrenia and related conditions may be "altered states" rather than diseases, Blair Brown's pragmatic decision to love Hurt's character, and marry him, despite the fact that he appears not to be wired to love her in return.

For the sci-fi fan there is the once-removed-from-reality premise that man may be able to physically alter his reality through changes in consciousness, whether via the isolation tanks Hurt utlizes in his experiments, or through complex hallucinogenic drugs he researches after an experience with an obscure indian tribe in Mexico. The special effects and the special make-up for Hurt's "throwback" missing link are first rate for their time and still look fairly stunning today. One of the things that impresses me about this movie is that the hallucinatory sequences, while wowing us in a post-psychedelic kind of way, also make sense in terms of the protagonist's life and experience; far more than just kaleidoscopes, the content of the montages are grounded in the story, rather than detouring us from it with eye candy. Ken Russell's religious viewpoint plays a part in the choice of imagery here, but the symbols of crucifixion, the beast and the Bible do not seem intrusive or sensational because they fit seamlessly with the Hurt character's internal struggle.

For the student of sociology, this movie offers a peek into the "turned on" 60s idea that drug experiences actually led somewhere -- a notion we now know to be tragically false. But at one time there was speculation that some drugs "expanded the mind" and deepened the life experience, either in terms of increasing one's understanding of the meaning of life or in some fashion maturing one's personality. The only reason this movie still works today is because the movie makes clear that in some tribes, there are substances that are traditionally and successfully used in spiritual rituals, and it is one of these that Hurt uses, in combination with sensory deprivation techniques, to try to get in touch with his own "genetic memory", for lack of a better term.

Again, this movie has much to recommend it, and the DVD release makes possible an experience in the home viewing much like we enjoyed in the theater on first run. Popularly priced, I snapped it up without hesitation for my collection and was rewarded with a very nice presentation of an old favorite. Not much in the way of extras here, just trailers and some text screens for cast, crew and background, but it's still a value, and you get to see the whole 1:1.85 image.

Alterations
The sci-fi film Altered States, is on the one hand, a landmark for the genre, while at the same time, it's not quite a classic either...

Research scientist Eddie Jessup (William Hurt, in his first film role) believes other states of consciousness are as real as everyday reality. Using sensory deprivation, then adding powerful, hallucinogenic drugs, he explores these altered states and endures experiences that make madness seem a blessing.

While Altered States features a solid cast that also includes Blair Brown, as Jessup's wife Emily, Bob Balaban as Arthur Rosenberg, and Charles Haid as Mason Parrish, Professor of Endocrinology at Harvard Medical School, as well as stunning visuals. Thanks to problems with script and the original novel's author Paddy Chayefsky displeasure with the way things were being done, the film does have a certain amount of choppiness to it at times--covered up by those effects I mentioned earlier--the impact of the film is less than it could have been. Director Ken Russell fortunately uses his best asset, the cast, to their full potential.

The DVD has very limited extras. There are only a few production notes and the theatrical trailer on the disc. On the technical side, the film boasts a soundtrack remastered in Dolby Digital 5.1 that sounds awesome. Viewers can watch Altered States in either the full-screen or widescreen formats.

The DVD is recommended, but the film's fault lies in covering up its weaknesses with albeit good looking eye candy.

Dont Believe The Hype!!!!
I'd happily soak up endless gallons of SWAK with my tongue, rather than watch this festering pile of crappola ever again!!!

Intriguing albeit silly at times
My mother recommended this film to me and I found it was definitely worth watching at least once. The premise is that a brillant scientist desires to transcend our human limitations and conducts experiements using himself as the subject in isolation chambers. He visits a Spanish speaking tribe who offer him a potent drink that has halluncinatory side effects and it is extremely freaky to see the healthy, tan tribe members turn to ghost white ash when the scientist glances at them under the influence of the drink. The visual assault certainly is stunning and I thoroughly enjoyed explosions of fire, religious scenes, crazy images a wild imagination would reel out. I found it diffuclt to sympathize with the scientist because his desire to pursue his experiments overrides his commitmment to traditional values such as family. He does manage to change into a fierce, primitive creature that reminded me of a cross between a rabid wolf and a prehistoric caveman. The change lasts a short while before he reverts to his human form, however, his skin tends to shudder and undulate helplessly after his first regression and he watches in interest. It's a good movie to see at least once because it explores a realm not dealt with often and the often outright silliness of the film downplays any terror one might be consumed by otherwise.

Something you should know about Altered States
by most reviews on here, i bought this DVD thinking it was some movie about the psychedelic trip of an experimental scientist and all the good fun he had with going back in time. FALSE. im going to be a little bit of a spoiler here, so if you dont wanna know exactly what the movies about, dont read the rest of this.
altered states is about a scientist/psychologist who is wandering about the reality of schizophrenia. that maybe its a connection that is not of insanity, but pure gift of the mind (my theory from day one). so he ends up in this dark water tank with some f-cked up voodoo LSD or sumthin from mexico. he goes back in time and evolves into an ape-man. he escapes from the tank and kills a man and eats a goat to be found sleeping naked (returned to his human form) in the zoo. his wife agrees to let him try it again. this time, it makes his face bubble up and deforms his entire body. the light and gas from the tank (how the hell it got their? some supernatural sh-t i guess) knocks out his wife and 2 scientists. the wife awakes, finds her husband, the experimenting scientist, in a swirling portal and he is screaming with an extremely disfigured face/body. she saves him from the portal of nothingness and they go back to the house only for him to turn into the deformed master of nothingness again and make her one of them (some fire girl---accident by the way), then he saves her from her nothingness. he tells her he loves her and thats the end.
yes, the movie has some trippy drug sequences but thats not what its about, really. its very impossible. i thought i was in for some good ol psychidelic fun and a guy with altered states of conciessness. i gues thats what i get for buying a movie before i see it. ... Read more

Reviews (30)

The Romantics Unbound
I haven't seen any of Ken Russell's other works, but this one is the only one I need to see. This interesting thing about this movie is how similar all of the characters look to their real-life counterparts, or at least their portraits, with the sole exception being Shelley. Even without the fictional aspects being mixed in, the historical accounts of Percy and Mary, Claire, Polidori, and Byron are quite fascinating as well as entertaining in the movies, as evidenced by Haunted Summer. But it was Coleridge who once coined the term "suspension of disbelief", and taking a compelling real-life account of how Mary Shelley came to write Frankenstein and mixing in generous elements of the fictitious in order to turn reality into a horror story can be fun indeed, especially when the story is capable of allowing you to suspend your disbelief. And that's what this story does so wonderfully. I remember loaning a copy of this movie to a friend many years ago, and then several days later she called me to express her disbelief that Polidori had drank a beeker filled with water and leeches. But that's part of the lure of this film. Fans of the account concerning the origins of the story Frankenstein might, if their imagination allows, truly enjoy this work of art.

Ecxellent movie
Not a gore fest movie. It is supensefull and thoughtfull. It's a wild drug trip with the characters all strung out on laudanum. Surreal imagery mixed with drugged out viewing from the character's perspective.

A Master Piece
Gothic is one of Ken Russell's best films. Of course his work isn't for everyone, and I know some people just hate his movies, and complain about their content and self indulgence. But for me, these are some of his strong points, being prepared to experiment with his subject matter, and produce his own unique vision. Gothic tells of a meeting, in Switzerland, between: Byron (Gabriel Byrne), Shelly, Mary Shelly (Natasha Richardson), and two lesser known figures: Clair Clairmont and Dr Polidori. The beginning and end of the film both look like period piece dramas. What comes in between is Ken Russell's unique vision. The characters, during a stormy knight, invent stories and create a monster of their own imaginations. These involve all of Ken Russell's favorite images for film (and hence the self indulgent criticism): Religion, vampirism, sumptuously films sets, a plot that verges on the fantastical, and nudity. Of interest though is the way the narrative deals with death, as there is an interesting sequence where Mary Shelly has visions of the demise of all the principles in the film. Of course it all ties in with the Birth of one of English literature's most memorable books: Frankenstein (by Mary Shelly). Gothic is a Master Piece from Ken Russell, one of his most interesting films that challenges the viewer immensely. Sadly, however, not all will get it.

Ken Russell's Highly Underappreciated Masterpiece
I can honestly say that I've never really been a fan of Russell's films, for some reason, the incoherent strangeness of his works never appealed to me; however, in Gothic, this combination of surreal weirdness works perfectly.

The movie is basically about one night that poet Percy Bysshe Shelley and Mary Godwin (author of Frankenstein), along with Claire Clairmont, spend together with poet Lord Byron and his doctor John Polidori. In the course of the evening they decide to "raise the dead" and this idea haunts Mary, inspiring her to write her famous story about creation and the destruction of one's creation (it also inspired Polidori to write the excellent short novel "The Vampyre.") So, there is a cerebral element to this film which will probably not appeal to the average moviegoer.

I have the suspicion that this movie probably is well-loved by most intelligent Goths and well-read people with a love of Gothic literature to begin with, so if you're expecting the usual blood and gore of traditional horror films, please move on. This movie is haunting because it deals more with the psychological demons of the mind, and this is portrayed by the various images that haunt the characters of the films, as their fears "come to life."

I would highly recommend this film to anyone who loves Gothic literature, or just English literature to begin with, as well as anyone with elegant tastes who is tired of the cheap horror movies that abound these days.

In sum, I will add that Ken Russell's Gothic is highly unappreciated, and in my opinion, deserved accolades.

Gothic
Sorry fans. I was disappointed by the movie. It wasn't what I expected. Plus it was somewhat too sacrilegious. I like gothic movies, the Crow, Underworld... but this one just didn't do it for me. ... Read more

Description

The Superbit titles utilize a special high bit rate digital encoding process which optimizes video quality while offering a choice of both DTS and Dolby Digital 5.1 audio. These titles have been produced by a team of Sony Pictures Digital Studios video, sound and mastering engineers and comes housed in a special package complete with a 4 page booklet that contains technical information on the Superbit process. By reallocating space on the disc normally used for value-added content, Superbit DVDs can be encoded at double their normal bit rate while maintaining full compatibility with the DVD video format. ... Read more

Reviews (68)

Ann-Margret in a Rock Opera? I guess so!
A visually spectacular and colorful adaptation of The Who's 'rock opera,' Tommy features an all-star cast including some of the greatest names and performances in rock music and a score written by Pete Townshend that was released six years prior to the film's release.

he story is about a young boy named Tommy (Roger Daltrey) who sees his father (Robert Powell) killed by his stepfather (Oliver Reed) while Tommy's mother (Ann-Margret) watches in shock. After the incident, Tommy's mother and stepfather tell him in song, "You Didn't See Anything, You Didn't Hear Anything." Traumatized by witnessing this horrendous deed, he becomes psychologically blind and deaf i.e. His brain won't let him see or hear. In the course of growing up, he proceeded to become a "Pinball Wizard" of the world and had a strong following of admirers. During this time, he endured years of manipulation and abuse by his family. Eventually Tommy breaks "free" of his world of silence and darkness and becomes aware of the world around him, his mental capacity has only evolved to that of a child. At the end of the movie, Tommy's followers finally realize that they have been brainwashed by him.

'Tommy' opened with critical acclaim from virtually everyone who saw the film. The film, costing three and a half million dollars, was produced by Robert Stigwood (of 'Jesus Christ Superstar' and 'Grease' fame) who took a backseat in the publicity of the film to director Ken Russell (of 'The Boyfriend' and 'Lisztomania' fame). Russell was commended for bringing the rock opera to life by using spectacular visuals and special effects to enhance the re-recorded soundtrack. "Technically the film is astounding...Russell has fused a kaleidoscope of images that pulsate with the incredible precision of a rock drumbeat in visual counterpoint to the music." (Newsweek March 24, 1975) This is the first of two reasons for the film's appeal. The second is the fact that the film used popular rock stars in cameo appearances to attract the 20-24 year old audience, who already had an awareness of the rock opera in its original form. Those who were not aware of it were wooed via promotions on the radio using the rock stars names such as Elton John, who was at the peak of his success. The rock stars had produced more interest in the film than the already established stars such as Ann-Margret and Oliver Reed, but by using these stars it gave "...the project more legitimacy among movie fans without dulling anticipation amount rock purists significantly..." (Variety February 26, 1975)

The film utilized the two different parts of the entertainment world, rock music and established film stars and used their talents to the fullest making the film appealing to the older audience as well as the younger one.

After reading various glowing, positive reviews and watching "Tommy" I found myself neither liking nor disliking it. By using songs and no spoken dialogue is a most effective and creative way to tell a story. The characters must express in song feelings of joy ('It's a Boy'), the covering up of a crime ("You Didn't Hear It'), joyous holidays and the sadness of Tommy's problem ('Christmas'), the evilness of relatives ('Cousin Kevin' and 'Fiddle About'), a story about one of Tommy's fans ('Sally Simpson'), Tommy breaking out of his world of silence and darkness ('I'm Free'), and the realization of being brainwashed ('We're Not Gonna Take It'). The film also contained great renditions of The Who's songs such as Eric Clapton as the Preacher ('Eyesight to the Blind'), Tina Turner ('The Acid Queen'), Elton John ('Pinball Wizard') and Jack Nicholson as the doctor ('Go To the Mirror Boy'). The use of special effects and colorful visuals helped to relay the story to the audience who only had envisioned it while listening to the original record by The Who.

The one fault I found with this movie was the use of Ann-Margret. She does not fit into this rock-opera or any rock opera for that matter. Her vocal ability does not permit her to sing these songs and consequently she screams them out, for example "Do I Smash the Mirror?" Her voice is very soft and sings some of the other songs without feeling like "Christmas" and "Tommy Can You Hear Me?" Ann-Margret's voice "...works better after you've seen the film and have an image to associate with the sounds." (The New York Times March 21, 1975). After viewing this film several times, it is still difficult for me to associate her with The Who's music and I feel someone else should have been chosen for the part.

**cdk

A bizarre and wonderful film
Tommy is easily the most disturbing movie I've ever seen, and I've seen a lot of disturbing movies. It chronicles Tommy's life from birth to the death of his father to his traumatic adolescence and spirtual entry into adulthood. The scene where Tommy endures sexual abuse (at the hands of Keith Moon, no less) is a particularly unsettling one. While the cause of him being "deaf, dumb, and blind" is never really explained, along with other unanswered questions, Tommy is definitely a work of art.

The cameos by Eric Clapton, Tina Turner, Elton John, and Jack Nicholson are brilliantly done. Ann-Margaret, whom I had previously dismissed as just another singing piece of eye candy, shows incredible acting skill as Tommy's mother. The only flaws in the film (besides Tommy's miraculous change from a brown-eyed boy to blue-eyed Roger Daltrey) are the ambiguity between symbolism and reality, which can make the story hard to follow, and the last quarter of the movie, in which Tommy becomes a Christ-like figure of worship. The movie really should have ended with Tommy's final realization of himself, at least in my opinion. However, a child rock star in this sequence eerily resembles Marilyn Manson circa 1996, which should entertain music fans.

Keep in mind, though, that just because this movie is rated PG does not mean it is suitable for children.

COUSIN KEVIN IS DA BOMB!!!
Why doesn't anyone mention him? This DVD is worth the price just to see that scene!!! I love everything else too but I like to watch the Cousin Kevin scene over and over again. The movie version is WAYYYY better than the dull, slow version on the album!!! Same thing goes for many of the songs. All in all, this is one of the most entertaining and enjoyable musicals of all time!!!

Unique, but as senseless as Tommy
When I first read of Tommy, I found the premise intruiging. A "rock opera" based on music by The Who... starring Roger Daltrey? I knew that the term "cult classic" would be applicable here. And being a fan of rock music, and 60's rock/pop in particular, I knew that I had to see this film. One mediocre review in a newspaper didn't put me off: I felt the combination of The Who and 70's cinema would make for great entertainment. How wrong I was.

With the opening sequences of "It's a boy", an embarrasing and awkward singing performance by a nurse, I was left with my jaw hanging open that this material was not destroyed by a later Government order. Songs often collapse into repetitiveness (I'm Free) just as they border on the great. Potential is repeatedly wasted - and at times, you can almost feel how good Tommy's music COULD have been - but alas, each song, without exception, feels both overblown and underwritten at the same time. It's a shame.

Not that the movie is devoid of artistic talent - it isn't. There are visually stunning sequences everywhere. Set peices become gradually more and more impressive (the Marilyn Monroe idols, Tommy's religious land) and special effects, crude as they are, are used to music video effect - an impressive precursor to MTV.

But the plot is loose, very loose - and scattered. Tommy's plight, his childhood trauma, and the theme of religious exploit all earn marks for originality, and maturity. But there really is very little continuity going on - and though the theme of Tommy's degredation becomes quite dark, his exploitation becomes repetitive. And tiresome. That said, the film's most energetic peak, "Pinball Wizard", is a colourful, memorable and bizzare game of pinball featuring Tommy and Elton John playing head to head before a theatre audience. Even the music shows flashes of inspiration. Without a doubt a proud climax for any film.

But at the end of it all, Tommy cannot be saved by a single scene, and with a plot so light and music so abominably poor (sorry, but it is), the film is rightly one of the smaller cult classics. The imagrey is good, but in the end, it all seems rather pretentious. Perhaps it needs to be, to fill the huge, gaping holes in the story. Yes, I "get" the film, and no, this is not the first musical or rock movie I have seen. Tommy displays both maturity and style at times - but neither are ever subtle, and that is the film's downfall. Only through the rose-tinted view of a fanatic could Ann Margret wallowing in baked beans ever be worth watching. Yes, I know that this is slander, and 0 of 37 people will find this review helpful as a result, but I can't help my honest opinion.

It has Elton John. In 10ft platforms. But this alone is Tommy's entry into rock history.

Bring on the special collectors edition!
The five star rating is purely for the content of this marvelous and sometimes misunderstood masterpiece from director Ken Russell. But in the U.K. right now (June 2004) they are being treated to an amazing 2 disc collectors edition DVD! The Superbit DVD with DTS sound is fantastic but we want extras!!! Please, Columbia Home Video! Let us Americans have it too! ... Read more

Reviews (1)

A Dreyfuss affair a fair 'Dreyfus affair'?
This is an accurate account of the famous (infamous, more likely)
Dreyfus affair, a scandal that nearly drove France to civil war at the
turn of the century. And it could have been a good movie too, if
director Ken Rusell hadn't overdone it miserably by pretending
"the whole thing was a comedy"!

The film manages to get
its facts right (a rare acomplishment for a Hollywood movie), features
an elaborate production, with fine costumes and sets (although its
'Paris' resembles London), and boasts a great cast led by Richard
Dreyfuss, who gives an above-his-usual performance as the officer
trying against all odds to save Dreyfus, while disliking him
personally for being a Jew.

Why, then, spoil it with all those
cartoonish "comic" details that serve no purpose whatsoever,
except to ruin the whole picture?: A French general, at work, dresses
as Zeus for a portrait (its painter complete with pointy moustaches
and a red beret!) later on display in his office. Another general (a
fat, grumpy, bearded lout who looks a lot like Bud Spencer, and sinks
every scene he's into) sings child-like racist songs with his junior
officers at an elegant military club that seems to accept all ranks
inside its halls, for one sees in one room the entire French army,
from maréchales to privates, getting drunk, pounding tables and
shouting at each other in their messed up uniforms. There's a War
Minister serving cake to his subordinates, a chanteuse lampooning 'La
Marsellaise' (the French applaud!), a German officer -pickelhaube and
all- dancing with a male spy in drag, and a sinister meeting inside a
church, with generals sniggering as they cross themselves. My, oh my!
Aren't these the bad guys!

Seems to me, the director tried so hard
to stress the point, he completely missed it. ....


... Read more

Description

A cult favorite from director Ken Russell. In a candle-lit Victorian brothel, playwright Oscar Wilde sips champage as pretty prositutes enact his latest play, "Salome," about the temptress responsible for the death of John the Baptist. As Salome performs her Dance of the Seven Veils, life begins to imitate art and the story becomes a mirror of the life of its author. Features: Audio commentary with director Ken Russell, Theatrical Trailer, Scene Access ... Read more

Description

In a remote corner of England's lavish Peak district, a young archaeologist, Angus Flint, unearths a mysterious skull. When Angus escorts Eve and Mary to "holiday" festivities at Lord James' castle, the sensuous and snakelike Lady Sylvia Marsh seizes the moment - and the skull. Lady Sylvia brings the skull down into the dank recesses of her gothic mansion where she engages in the erotic worship of her pagan god, the White Worm. Since the worm hungers for the sweet taste of virginal flesh, Lady Sylvia uses her unique charms on Eve - the town's closest offering - and prepares her for the ultimate sacrifice as the snake writhes in anticipation. Features: Audio commentary with Director Ken Russell, Behind the scenes footage and photographs, Props, Blue screen and special effects dailies, Theatrical trailers, Scene access. Hugh Grant, Amanda Donohoe ... Read more

Reviews (35)

Wicked!
Hideously kinky, delightfully depraved and woefully witty... this is Ken Russell's masterpiece! Where else can you see ex-"Dynasty" trollop Catherine Oxenberg trussed up as a virginal pagan sacrifice to a 90-foot long demonic albino snake? Or ex-L.A. Lawyer Amanda Donahoe running around in just a thin layer electric blue bodypaint and two-inch snake fangs? Or the pre-"Four Weddings and a Funeral" Hugh Grant act like the smug, upper-class twit that he is instead of a hangdog shy wimp? What a great movie!

The DVD looks good... not a huge improvement over the VHS release, but the trailers and TV spots are funny and Ken Russell's commentary is droll and entertaining. I highly reccomend this film for anyone who likes vampires, thigh-high leather boots, Tommy: the Movie or dry-humored immortal pagan snake-god priestesses. Hail Dionin!

First Class Trash
This one was despised by the serious critics, but all that means is that they weren't weird enough to enjoy it. All right, it's trash. But it's great trash. It's my idea of a feel-good movie. It's kinky, erotic, scary, and funny. And bright. Literally. After zillions of creepy, dark, scary scenes in movies, the sunshine and well-lit rooms in this one emphasize the horror scenes. But who cares about the lighting? It's main attraction is an over-the-top performance by Amanda Donohoe as a very bad girl. Upper-crust Hugh Grant and his cohorts have a lot of fun trying to evade her slithery grasp. That's about all you need to know. But for heaven's sakes, don't take it seriously. If you hate it, you'll really hate it.

Campy as hell
but that's not necessarily a bad thing. This is typical Russell; weird non-fitting dreams, and definietly not enough violence, horror or sex when, here, it wouldn't be superfluous, but highly helpful in making the film better. The acting is interesting, to say the least. Worth a watch or two, but try to get a cheap used copy.

Bite me!
Yes, it's over-the-top! Yes, it's gorey and heretical but this only adds to the movie's drawing power. Both Hugh Grant and Amanda Donohoe are absolutely terrific in their performances. {Darn}can she be so scary and still so sexy, as in the scene where upon hearing a recording of a snake charmers music, she emerges from her wicker basket and sexily slithers across the room and out of the house, dressed in skin tight black leather (how else would a snake wear it's skin?). Another impressionable scene occurs when the lovely Catherine Oxenberg is ready to be fed to the white worm. The poor victim is hanging by her wrists over the lair and the half-serpentine Donohoe, nude and painted blue, doning yellow snake eyes is summoning up the serpent. If you're uptight or prudish, see something else. But if you enjoy a good campy scare with some gore and sexy imagery, don't miss this one!

LAIR OF THE WHITE WORM
Based on a novel by Bram Stoker. Stars Hugh Grant, and the lovely Amanda Donohoe.
It's pretty "campy" which I usually don't like, but I DO like this movie.

Hugh Grant plays James D'Ampton, who returns to his ancestral castle in the English countryside. James' distant ancestor was said to have slayed a dragon, the white worm, who supposedly dined on the flesh of young virgins.

A legend that James immediately dismisses, but when a local amateur archaeologist discovers the huge skull of a reptile and what looks like a site of worship on James' property. It has James rethinking his original dismissal. Especially when his virginal & virtuous girlfriend, Eve, disappears.

James and the young archaeologist, Angus, decide to investigate the the dark cave, rumored to be the lair of the great white worm.

Living in the same small locality is the beautiful vamp Lady Sylvia Marsh, a so-called "snake watcher" Really a devotee of the snake deity. She wants to get her hands on the reptilian skull and make some "offerings" to the white worm.

She really has everyone in the village entranced, but James is able to resist her. He's very suspicious about her activities. And acting like a snake charmer, attempts to stymie her plans.

Donohoe is excellent as the sultry and dangerous Lady Sylvia . Her costumes, make-up and unique cars! are fabulous, lots of fun. :-)

The film contains some dream sequences involving extreme images of followers of the white worm (who worship the snake deity) in some kind of shocking ecstatic frenzy together with some nuns, and an image of Jesus. Filled with blood, nudity, suggestive activity & some pretty big phallic shaped objects! :-).. I wasn't offended by this, but some overly-prudish people might be. ... Read more

Amazon.com

This 1992 Opera de Lyon production of Sergei Prokofiev's masterly dance adaptation of Shakespeare's immortal tragedy about two "star-cross'd lovers"will shock anyone who expects a conventional treatment of one of ballet's mostdurable classics. Avant-garde choreographer Angelin Preljocaj sets the work notin Verona, Italy, but in an unnamed, vaguely familiar totalitarian state--thestage is taken up by mostly sterile, gray prison walls. Preljocaj's choreography is innovative, his dancers, especially the leads,Pascale Doye (Juliette) and Nicholas Dufloux (Romeo), are flawless, and KentNagano leads the Orchestre de l'Opera de Lyon in a shimmering account ofexcerpts from Prokofiev's score. That's a warning: at 85 minutes, thisproduction barely covers half of Prokofiev's music, showing offPreljocaj's genius at the expense of the composer. It's worth a look if you'reon the prowl for something different, but what's onstage is defiantly notProkofiev's ballet. --Kevin Filipski ... Read more

Description

Director Ken Russell's "Mahler" is a dazzling depiction of Gustav Mahler's tormented life. Russell blends history and psychological analysis for a fascinating study of art and sensuality. Equally brilliant and disturbing flashbacks and sequences chronicle the turn-of-the-century Austrian composer's turbulent marriage, passionate affairs and rejection of Judaism. Viewers will revel in Mahler's stirring music, the exquisite cinematography and lavish sets, and characteristic Russellian extremes. ... Read more

Description

The year is 1816. A sprawling villa in Switzerland is the setting for a stormy night of madness. On this night of the "Haunted Summer," five famous friends gather around an ancient skull to conjure up their darkest fears. Poets Lord Byron and Percy Shelley, Shelley's fiancée Mary Godwin, Mary's stepsister Claire Clairemont and Byron's friend John Polidori spend a hallucinogenic evening confronting their fears in a frenzy of shocking lunacy. Horrifying visions invade the castle - realizations of Byron's fear of leeches, Shelley's fear of premature burial, Mary's fear of birthing a stillborn child - all brought forth in a bizarre dreamscape. They share the terrifying fantasies that chase them through the castle that night. The events of that night later inspired Mary Shelley to write the classic "Frankenstein" and Dr. Polidori to pen "The Vampyre," which became the basis for the creation of Dracula. Gabriel Byrne, Julian Sands, Natasha Richardson ... Read more

Reviews (30)

The Romantics Unbound
I haven't seen any of Ken Russell's other works, but this one is the only one I need to see. This interesting thing about this movie is how similar all of the characters look to their real-life counterparts, or at least their portraits, with the sole exception being Shelley. Even without the fictional aspects being mixed in, the historical accounts of Percy and Mary, Claire, Polidori, and Byron are quite fascinating as well as entertaining in the movies, as evidenced by Haunted Summer. But it was Coleridge who once coined the term "suspension of disbelief", and taking a compelling real-life account of how Mary Shelley came to write Frankenstein and mixing in generous elements of the fictitious in order to turn reality into a horror story can be fun indeed, especially when the story is capable of allowing you to suspend your disbelief. And that's what this story does so wonderfully. I remember loaning a copy of this movie to a friend many years ago, and then several days later she called me to express her disbelief that Polidori had drank a beeker filled with water and leeches. But that's part of the lure of this film. Fans of the account concerning the origins of the story Frankenstein might, if their imagination allows, truly enjoy this work of art.

Ecxellent movie
Not a gore fest movie. It is supensefull and thoughtfull. It's a wild drug trip with the characters all strung out on laudanum. Surreal imagery mixed with drugged out viewing from the character's perspective.

A Master Piece
Gothic is one of Ken Russell's best films. Of course his work isn't for everyone, and I know some people just hate his movies, and complain about their content and self indulgence. But for me, these are some of his strong points, being prepared to experiment with his subject matter, and produce his own unique vision. Gothic tells of a meeting, in Switzerland, between: Byron (Gabriel Byrne), Shelly, Mary Shelly (Natasha Richardson), and two lesser known figures: Clair Clairmont and Dr Polidori. The beginning and end of the film both look like period piece dramas. What comes in between is Ken Russell's unique vision. The characters, during a stormy knight, in