Reviews (19)

Shakespeare in Hollywood.
Let me begin by saying that the 5 star rating is purely subjective. As you can see from the other reviews you either like this film or you don't. I LOVE this film. As an adaptation of Shakespeare's play it's not very good. Such is the case with other Shakespeare movies of this vintage (check out the 1934 ROMEO AND JULIET with Leslie Howard and Norma Shearer or the 1929 TAMING OF THE SHREW with Douglas Fairbanks and Mary Pickford). In fact the hostile reception this version received steered Hollywood clear of anything by Shakespeare for years. So much for Shakespeare in Hollywood. The fairy scenes are among the most magical I have ever seen in any film echoing their German origins while the Athenian scenes are as Hollywood as they come. F.W. Murnau's FAUST (the co-director William Dieterle played Valentine in FAUST) meets 42ND STREET (note the dance numbers). The performances by James Cagney, Olivia de Haviland, Ross Alexander, Jean Muir, and Victor Jory are quite good. Anita Louise is a lovely Titania and Mickey Rooney (12 at the time) is loud and mischievous. Just what I would expect Puck to be. Most of these performers were in Max Reinhardt's stage production which this film is based on. The tradesmen are vaudeville comics with the exception of Frank McHugh and are perfectly at home in this dual setting. Joe E. Brown and Hugh Herbert get to do their shticks while an unrecognizable Arthur Treacher gets to do nothing. A MIDSUMMERNIGHT'S DREAM is not for everyone and definitely not for Shakespeare purists. But if you approach it as a movie from the Golden Age of Hollywood and all that implies then it's much easier to enjoy. Postscripts for the historically curious (with apologies to Henry W. Simon). This was the film that brought Erich Wolfgang Korngold to Warner Brothers. His job was to arrange the well known music by Mendelssohn. The rest as they say is history. The part of the young Indian prince is played by Kenneth Anger of HOLLYWOOD BABYLON fame.

I liked the new one better
This wasn't a terible movie, but I liked the new version better. Some of the acting in this version was overdone; Anita Louise, who played Titania, sounded like she belonged in an opera house, and why did Mickey Rooney decide to portray Puck as a wild animal in human form? Olivia De Havilland did give a good portrayal of Hermia, however; I just wish she'd had more lines! James Cagney also gave a good portrayal of Bottom. In the new version, whoever played the man who played the woman in the play about Pyramus and Thisbe gave a much better performance than Joe E. Brown does here. Brown just plays it for laughs. For the most part, the acting in the new version was much better. I believe the special effects were innovative for the time period; it is easy to see that, but, unfortuanatly, they pale in comparison to all that has come since in special effects in movies. The sets weren't too bad, either. So, on the whole, there were pluses to this movie, but minuses, too. The new version had more pluses.

Puck steals the show!
This is not the type of movie I would normally watch - but it is a must-see! The dance numbers are awesome, and the real kick is watching the performance of Puck, which I only realized later was Mickey Rooney - he doesn't look 12, and I found myself wondering "how did they get him to act like that?".

The movie seems long at times, particulary in the party at the very end. But I wouldn't mind watching it again with someone -

The best to date
There have been criticisms here of Reinhardt's AMND as "un-Shakespearean," but truly: who among us would really want to sit in a theater with almost no props or backdrops, minimal costuming, men performing the women's parts, and audiences that were anything but quiet during the show? -For that's exactly what Shakespearean theater conditions amounted to. Our idea of Shakespeare derives simply from modern Masterpiece Theater style productions, which make a virtue of sober lucidity, and do a fine job of it, too.

But Reinhardt gives us a German High Romantic version of AMND, and displays a very different virtue, seldom seen in modern screen transcriptions of older works: a sense of well-conceived and executed style. You may not like his Mendelssohnian fairies, but their integration into the play--by choice of dialog, imaginative staging and costuming, brilliant special effects and incidental music--is consistent. Mendelssohn's music was in fact intended to accompany actual performances many years previously; and the ballet sequences built around it have a way of stopping time even today with their visionary beauty, a matter of movement, staging, lighting (the remarkable Hal Mohr), editing and effects. A book in fact could be written on Reinhardt's multi-level application of thematic materials, which is done in a manner that's far less boring than the way it sounds. This is a brilliant conception of Shakespeare, far from the "let's be different to grab attention" Shakespeare of punk Romeos that have fled across our screens in recent years.

The casting is generally very good. Mickey Rooney, in his first film role, displays all the remarkable energy and focus which were his greatest gifts. (What a shame the film industry kissed him off when he matured into a short, pudgy man, who was just as talented!) No prim, polite observer, his Puck is an elemental force, taking malicious delight in the strongly felt emotions of the humans that have come to the forest. Everything is brilliant, bright mockery: his deliberately garbled imitation of the speech and gestures of Lysander prior to the latter's magical sleep is a good example. This is not a Puck you would want call Robin Goodfellow, not unless you wanted to please him--and you most definitely would want to please him. It is a taut, kaleidoscopically varied performance.

The comic players are also well cast. James Cagney is superb as Bottom, particularly in the monologue that follows waking from what he considers "his dream." Hugh Herbert brings more variation to a giddy giggle, both for accompanying expression and meaning, than any other human being probably ever has. Frank McHugh is a delight as Peter Quince. Only Joe E Brown, as Flute, goes overboard, trying to steal the scene from others during their lines; but he makes up for it with a delightful Thisbe. Arthur Treacher is very much wasted, with nothing to say; and their are indications in the action that more may have been filmed, or at least planned of their material to film. Considerations of length and/or budget probably intervened.

Victor Jory, so well known even today for his villainous roles (especially in Flash Gordon serials), is a superbly dark Oberon: not sinister, but more of a somber Herne the Hunter type, in contrast to Anita Louise, who is all Elven gossamer. Presumably Reinhardt saw them as a balance of light and dark, perhaps with an overlay of contemporary Austrian psychoanalysis: masculine/dark/forceful against feminine/light/receptive. No, I don't buy the silly pop analysis of Men Are From Mars, Women From Venus; but in Reinhardt's AMND, we may be looking at an earlier incarnation of the same values, definitely presented on a more creative level. I don't buy into Reinhardt's portrayal of Oberon's followers as a bunch of anthrompomorphized bats, but I have to admit it works in context. This especially holds true for the ballet sequence where one bat follower symbolically forces a fairy follower of Titania to the ground, overshadows her, then bears her off, horizontal, her hands waving delicately in the air. I suppose we can only be thankful that the Hayes Office wasn't really paying attention to high prestige Art films.

The lovers are not quite as effective. All four are good, with Olivia de Haviland perhaps the best of the lot; but there's little sense of emotional depth in their performances, at least enough to draw forth Puck's disparaging remark about "what fools these mortals be." Some of this, again, may be due to the director's conception. Reinhardt clearly plays them more for laughs, cutting a fair amount of the four-way badinage, and deliberately staging at least one famous piece of it as a four-way, non-stop, unintelligble harrangue, in which opponents trade off to continue arguing. The quartet in Adrian Noble's 1996 AMND is to be preferred, here (though the staging is, IMO, awful).

To round out, I have to return to Reinhardt. He gave many of Hollywood's greatest talents during the 1920s-40s their apprenticeships. The contemporary notices for his productions are unanimous raves for his artistic insight, integrity, intelligence, directorial ability, and brillance of execution. Yet he would be no more than a footnote in some theatrical encyclopedia if it were not for this single film, made after Reinhardt escaped from the Nazis. A modest success in box offices at the time, Hollywood could not countenance the huge expenditure of resources on such a film, and Reinhardt was a respected pariah in the film community until his death in the early 1940s. But AMND lives on, and provides an excellent sense of what all the excitement was about this master visionary of theater...and potentially, cinema.

Mere Words Cannot Describe the Horror
Max Reinhardt was among the great theatrical impresarios of the early portion of the 20th Century, renowned primarily for the pageantry of his stage productions. His 1930s Los Angeles staging of William Shakespeare's A MIDSUMMER NIGHT'S DREAM was such a popular success that Hollywood studios went wild to lure Reinhardt into adapting his production to the screen. Strange to say, Warner Brothers--more at home with gangster movies, tough melodrama, and strident musicals--won the bid, and the result was this 1936 abomination.

Now, I won't go so far as to say this version of Shakespeare's famous fairy tale will actually make you run screaming from the room, but I will say that by the time it ends you may wish you had. Fairies flutter, flounce, and flop around to some of the most uninspired choreography imaginable; the score, lifted from the Mendelsson's most obvious works, could rot your teeth at twenty paces; the sets and costumes strive for a Parrish-like effect and instead come up with clunky Hollywood gloss. And need we mention that Shakespeare's gossamer script has been ripped to shreds?

The cast is simply horrendous. This was Olivia de Havilland's first film, and while she isn't memorably bad, neither is she memorably good--and that's really the highwater mark of the performances as a whole. James Cagney is terribly miscast, and Dick Powell behaves exactly as if he is about to launch into a Busby Berkley musical number. And then there is Mickey Rooney, who gives what must be single most abrasive performance in all of 1930s cinema. Only Joe E. Brown manages to emerge unscathed.

All in all, watching the 1936 Warner Brother's version of A MIDSUMMER NIGHT'S DREAM is akin to watching an alligator swallow an innocent, sweet-eyed fawn. You just can't quite believe that it is happening, right there, in front your own eyes. Now, if you have an interest in how Hollywood approached Shakespeare in the 1930s, you may actually want to sit through this movie once. But don't inflict it upon any one else. They won't thank you for it.

--GFT (Amazon.com Reviewer)-- ... Read more

Amazon.com

This remastered, pan-and-scan 30th-anniversary edition of that kiddie-car caper is flawed but solid family fare. It retains a quaint charm while some of the songs--including the title tune--are quite hummable. A huge plus is Dick Van Dyke, who is extremely appealing as an eccentric inventor around the turn of the century. With nimble fingers and a unique way of looking at the world, he invents for his children a magic car that floats and flies. Or does he? The special effects are tame by today's standards, and the film is about 20 minutes too long--but its enthusiasm charms. The script was cowritten by Roald Dahl and based on the novel by Ian Fleming, best known for his James Bond adventures. --Rochelle O'Gorman ... Read more

Reviews (121)

A fun family film, kiddie winkies!
This attempt by United Artists to craft its own version of Mary Poppins comes oh so close. The period setting (pre-WWI England), two young kids, Dick van Dyke, and super music by the Sherman Brothers make this seem like a Disney product.

However, the somewhat overlong film seems to lack the charm found in Poppins. This may be the result of adult elements subtly worked in, such as the wife-hating Baron and double entendres ("You'll find a slight squeeze on the ... an excellent safety precaution..."). The hook-wielding child catcher character is likely to be downright scary for small children.

On the plus side are terrific performances by the lead and supporting characters. You will keep humming the catchy tunes in your head for hours afterwards. The movie also has lots of visual goodies, including some beautiful automobiles.

The DVD is disappointing, since widescreen is not available. Despite the shortcomings, this film is worth having, at least on VHS.

Truly scrumptious !
Chitty Chitty Bang Bang is one of the best movies ever made.
It is on dvd now in all it's glory. Ignore the Amazon editorial review which was obviously written by someone who disliked the movie entirely- perhaps they are too young to appreciate the splendor of it as they stated it was too long, out-dated, lacking special effects,etc. See and hear for yourself the delightful wonders that Hollywood used to make. Unlike the most recent movies made by Hollywood in the past decade -high budget disappointing typical movies filled with high-tech special effects yet no decent story at all ! By comparison Chitty Chitty Bang Bang holds it's own based solely on a great script, superb acting, songs that make you want to sing along, dancing that makes you wonder " how can Dick Van Dyke dance like that ?" with action,comedy,adventure and a love story all thrown into this family film. Who could ask for more ? They just don't make'em like this toot-sweet story anymore !

Great Movie Finally in Widescreen!!!
Theyve finally rleased this film in widescreen as they should have done years ago. And for the record this is NOT a DISNEY movie! It was made and released by UNITED ARTISTS. Don't you guys read the credits?

Bang Bang at Last
Chitty Chitty Bang Bang on DVD is now in WIDESCREEN and at last we get a bang for our buck. "Why issue a classic widescreen epic on DVD if you are not going to present it in its original aspect ratio?" That was my original question along with many many more fans as this Ian Fleming tale. Count Zborowski is no longer as disapointed about this DVD as he must have been when he lost the original Chitty-Chitty-Bang-Bang in 1922. This is an outstanding DVD presentation with pleny of extras for the young and old alike.

Good film, bad packaging
Please read this review to the end, because it discusses several important highs AND lows about this DVD package. It'd be unfortunate & unbalanced, if you only got half the picture.

1) The main DVD (1 of 2) has the widescreen version of the film on one side, and the TV-square version on the other side. This format makes SO much sense, and is good value for the customer.

2) Disney, which usually overloads their VHS video and DVDs with ads, and shovels them at you BEFORE the main feature, has let their ads sit in the PROPER place, this time-- under "extras" in the DVD menu. There are LOTS of extras-- a kids' book built-in on the DVD case, and some slightly puffy ad-interviews... but generally satisying despite the happy-happy-joy-joy quality of the interviews.

3) If my copy is typical, then the plastic Disney used in the DVD is substandard. My copy of the DVD has no other signs of heavy use, but already has a PAIR of fractures extending from the center of the DVD to the silvered data-bearing surface. Repeated insertion and removal from its standard pressure/friction-fit DVD case, will cause this DVD to quickly disintegrate into an unreadable coffee-cup coaster.

4) Oh yeah-- the MOVIE. *grin* It's pure Dick Van Dyke musical. I'd love to say it's Dick Van Dyke + Julie Andrews, like Mary Poppins, but it's not. However, the Julie Andrews replacement used in this film is completely acceptable, and does a job equal to Ms. Andrews' performances, and almost as pretty onscreen.
Like the Andrews films "Sound of Music" and "Mary Poppins", the childrens' performances are somewhat weak. Dick Van Dyke, however, is at the top of his game. Amazing, in someone old enough to have grey in in his hair (40 something, at this point ?) is energetic enough to do over 20 takes (by his own reporting) of the "Old Bamboo" piece, where he's required to jump over a piece of bamboo that he's holding for himself (at slightly over waist height). Good GOD, I may only know one person who can do that, even ONCE.

The music is memorable, especially the "living doll" duet late in the film. The plot is predictable, and silly kids' stuff, but-- heck, this IS a kids' musical, so one can't expect a Dustin Hoffman acting level, with a Michael Moore punch and a Silence-of-the-Lambs plotline.

5) Do you REALLY want to buy a Disney film, this year ? I don't. It'd send the wrong message to them, after they've withheld distribution (through their daughter-company Miramax) on the latest Michael Moore film (Fahrenheit 9/11). Their excuse is, it'd endanger the million-dollar tax breaks they get from Bush's brother, Florida Governor Jeb Bush. So, they're copping out on their contractual obligation to distribute the film that got Cannes Film Festival's top award. That ain't right. If they'd had objections, the time to raise them was when the contract wasn't yet signed. Don't support these guys. Not this year. ... Read more

Reviews (7)

from the golden age of Technicolor
Though this film has only a few scraps to offer in the way of scriptural accuracy, it is a visual delight, and one of the very best examples of the lush Technicolor of the mid 20th century, with its deep cobalt blues and incredibly rich reds. The cinematography by Leon Shamroy, along with the massive sets and luxurious costumes (all three were Oscar nominated but lost out to "An American in Paris") make this a fabulous "sword and sandals" epic; it also boasts a dramatic score by Alfred Newman, and one of my favorite dance sequences on film, by the brilliant Jack Cole. One had to be very strong and athletic to do his choreography, and the dancer in this number is the great Gwen Verdon.

Gregory Peck is handsome beyond words as King David, and it's always a pleasure to listen to his resonant voice; his recitation of the 23rd psalm, and his prayer at the Ark of the Covenant, are memorable scenes. In this film David is a pale reflection of the Bible character, this story being more about a big Hollywood romance, and the trouble it gets him in along with his partner in sin Bathsheba, played by the stunning Susan Hayward, who maintains her tiny waistline even though she is supposed to be "with child".
Directed by Henry King, the script and score were also Oscar nominated but lost to "A Place in the Sun".
For a film that is faithful to scripture, see the excellent TV production starring Nathaniel Parker, but for simply lavish entertainment, vibrant color and a gorgeous cast, this film is a classic well worth viewing. Total running time is 1 hour and 55 minutes.

SIN AND REDEMPTION...
This is the story of the love between David (Gregory Peck), King of Israel, and Bathsheba (Susan Hayward). It is a love that is doomed from the start, because she is the wife of one of David's army captains, Uriah (Kieron Moore).

David, uncharacteristically, wants Bathsheba at any cost. His is a passion that will not be denied. When she capitulates, it is to have great ramifications for all the parties involved. When their transgression and the lengths to which David went to secure Bathsheba for himself become known, it is Bathseheba who may pay the ultimate price in order to expiate their sin.

Gregory Peck seems ill at ease in this role and a bit stiff, though he revives at the end in order to quell God's wrath. Susan Hayward is beautiful, but she and Peck seem to lack chemistry. Jayne Meadows plays David's first wife, and she is very effective in the role of the woman scorned. Raymond Massey is excellent in the role of the prophet, Nathan, who calls David to judgment for his sin. It is Kieron Moore, however, who plays the role of the David's faithful captain, Bathsheba's cuckolded first husband, who steals the show.

This 1951 film, which received three Academy Award nominations, is a biblical epic that, despite some of its shortcomings, still manages to entertain the viewer.

Regal!
I do not understand (nor comprehend) why so many people think that this movie, i.e., David and Bathsheba VHS ~ Gregory Peck does not deserve more then two or three stars at best. In my opinion Mr. Peck plays with a sense of dedication, fortitude and resolve that (is rarely seen) and is only displayed by the true actors of our time, e.g., Kirk Douglas, Humphrey Bogart, Charlton Heston, Clint Eastwood et al. The story line is very well developed with a story that has intricate stops and turns; and one cannot predict or foresee how this movie will end. The most powerful scene in the movie is at the end when Gregory Pecks character is near the Arc of The Covenant and this is a very intense scene when one anticipates the wrath of God for David's sins. As for the costumes and the music; well, the former is better then the latter and the costumes can be said to have been done with a meticulous, careful and precise hand in order for the movie to be as authentic, real and genuine as possible. All in all, I would have to say that I think and consider this movie to be one of those great movies and that it will be viewed by many generations to come.

It's pretty good and watchable
If you want to see a movie with great acting in it, this is it, as Gregory Peck and Susan Hayward try to find redemption and hope in dark times.They really don;t make movies like this anymore and that;s a shame.

It Was Pretty Good Despite What Others Say...
I recently caught this when it was on cable at 3am. Unable to sleep at that time, I put the tv on just as the opening credits came on. As soon as I saw Gregory Peck & Susan Hayward's names I knew I had to watch it. It was a good story with great acting & I was glued to the set. Sadly, if this story were made today it wouldn't be anywhere near as good & would be panned by critics. If only there were actors of the caliber of Gregory Peck & Susan Hayward today. This is a movie I would gladly watch again. ... Read more

Description

Long, long ago, in a time of magic and dragons, there lived a girl named Rapunzel who had the most beautiful radiant hair the world had ever seen.But Rapunzel's life was far from wonderful. She lived as a servant to Gothel, a jealous, scheming witch who kept her hidden deep in a forbidding forest, guarded by the enormous dragon Hugo and surrounded by an enchanted glass wall.

However, in a twist of fate, Rapunzel's discovery of a magic paintbrush leads her on a journey that will unravel a web of deception, bring peace to two feuding kingdoms, and ultimately lead her to love with the help of Penelope(TM), the least intimidating of dragons!

Stunningly produced in computer animation, the movie stars Academy Award(R) - Anjelica Huston* as Gothel and Cree Summer as Penelope(TM). The movie features a song by Samantha Mumba and music by the London Symphony Orchestra.

Barbie(TM) as Rapunzel shows that love and imagination can change theworld... ... Read more

Reviews (39)

Beautiful animation of a classic fairy tale.
They've done it again! Now along with the enchanting Barbie Nutcracker, we have Barbie as Rapunzel. As with the former, this movie is a computer animated glory of a movie. Rapunzel is kept captive in the witch Gothel's castle which is beyond a magical wall that no one can see past. With the help of her friends, Hobie the rabbit, and Penelope the dragon (whose father is Hugo, guardian of the castle), she finds her way to the outside world and meets Prince Stefan in a palace garden.

When Gothel learns of her misdeed, Rapunzel is trapped in a tower with no hope of escape. Her silver hairbrush is touched by magic and becomes a paintbrush that forms paintings that can take one anywhere so of course, Rapuzel goes back to the garden in the hopes of finding Prince Stefan. He invites her to a masked ball and while dressing in the tower, she is found out by Gothel.

What happens from there is, believe it or not, a story of love, betrayal, and redemption. I enjoyed it just as much as my 3-year old! There were just a couple of scenes where she was frightened by Gothel (one in particular during the dream sequence where the Prince asks Rapunzel to let down her hair and a giant Gothel captures her in her hand).

All in all, this is another awesome Barbie DVD and like I said in my Barbie Nutcracker (also very worth watching)review, I hope there are many more Barbie movies to come!

Animated Bad Acting...
As an adult, I absolutely can't stand this movie. It appears to me to be bad acting in animation form. As if they watched a bunch of church-pageant-level players act out the scenes and put them in a cartoon. Perhaps it's the script, which is horrible. If I hear the words "Mighty Dragon" again, I think I'll scream!

However, my daughters LOVE this movie. I have three girls 4 and under, and it's a commonly requested video at our house. Hence, the two stars I've given it.

My advice is if you have children who have already seen this movie, it's probably a must-have. Otherwise, I recommend avoiding this one. If you're looking for a Barbie movie, Swan Lake is better.

I Greatly Dissaprove
This barbie movie is very boring with no plot or action. My children greatly disliked this movie. But one good side effect was that it put them to sleep, so now i love it!

oh man...
As a babysitter, I watch many movies that if I wasn't a babysitter, I'd never watch. This is just one of the many ones that my charges love, especially the 3-4 year olds. honestly, I don't like this movie, mostly because I've seen it so much. However, it keeps the girls happy, and yes, I've seen the boys love it too. As a teenager, I'd have to refuse to watch it, but if you do have kids, it's a great movie for them. Just not a great movie for anyone else.

Oh, I've seen this one several times
Yes, even though I'm a grown man (well ok, that's debatable), I'll have to say I've sat through this one a couple of times. My almost three year old daughter loves this movie and is highly entertained by it.
It's well done and it keeps her entertained even after several viewings, a five star in my book. ... Read more

Amazon.com essential video

Daniel Day-Lewis stars as Tomas, the happily irresponsible Czech lover of Milan Kundera's novel, which is set in Prague just before and during the Soviet invasion in 1968. Lena Olin and Juliette Binoche are the two vastly different women who occupy his attention and to some extent represent different sides of his values and personality. In any case, the character's decision to flee Russian tanks with one of them--and then return--has profound consequences on his life. Directed by Philip Kaufman, this rich, erotic, fascinating character study with allegorical overtones is a touchstone for many filmgoers. Several key sequences--such as Olin wearing a bowler hat and writhing most attractively--linger in the memory, while Kaufman's assured sense of the story inspires superb performances all around. --Tom Keogh ... Read more

Reviews (68)

Exquisite Film Was One of The 1980's Best
Phillip Kaufman reached an artistic pinnacle with this elegant translation of Milan Kundera's book about the 1968 Czechoslovokian crisis. Daniel Day-Lewis plays Tomas, a physician, whose life consists in seducing women, one of whom - an artist Sabina (Lena Olin) - is his sexual and spiritual soulmate. Into his life comes another woman, Terezina, (Juliette Binoche) who demands more of a committment to her than he will permit to any woman including Sabina. His crisis between the carefree artist and the more demanding Terezina mirrors the crisis of Czechoslovokia between the "liberation" of the Prague Spring and the Soviet repression of August 1968 although neither Kauffman nor Kundera crudely makes Sabina represent the one nor Terezina the other. Although these characters may lead apparently amoral lives, the film and novel are all about the moral consequences of their choices. Many American critics, similar to the one who provided the first customer review, feel that Kaufmann has simply made a piece of arty Euro-lite soft-core: intellectual and opaque enough to appeal to the high-brow crowd yet tittliating enough to strike at their lowbrow desires. While I'll concede that this judgement applies well to his follow-up film "Henry and June" (1990), it's grossly unfair to characterize this film as such. The narrative and themes are presented clearly, the cinematography is gorgeous but never in an overly-arty way like in "Henry and June", and his whirling direction keeps this film moving along at an effervescent 172 minutes. The actors - especially Day-Lewis and Olin - do phenomenal work and contribute mightily to bring Kaufmann's evocation of late 1960's Europe to life. In a strange way, the film compliments the book rather than adapts it and stands on its own as a fully realized cinematic work.

People conditioned to see sex on the screen as a smutty joke or leading to painful reprecussions had problems with Kaufmann's playful sensuality here. He compounded their discomfort by coating all these goings-on with a veneer of class, larding the film with literary references and putting Janacek on the soundtrack. And it was easy to dismiss the film as nothing but a bunch of amoral European sophisicates who make love in between bouts of literary discussions or fighting political repression. But the film pulls us into these character's lives in a much more impassioned and alive way than European art cinema does with its deliberate distancing effects and pretentious moralizing (good recent example: Lars Von Trier's interminable "Breaking The Waves"). The film weaves its larger concerns about freedom and responsibility seamlessly through the narration - we can follow the film without knowing all the allusions and references. Some may see the characters and their bed-hopping as shallow and affected but they are forced to deal with their country's politics and history and have to come to terms with their own lives in ways that Euro-fluff soft-core comedies like "French Twist" never have to. Indeed, the moral choices placed on these apparently frivolous characters gives the film its greatness.

In other words, "Unbearable Lightness" has a sophisticated air because it is sophisticated: in its ideas, direction, writing, and acting. Kaufmann's work since has generally disappointed but here he's made one of the richest and intelligent films of the decade.

the Prague Spring
If you've read the book you won't be disappointed with this film which doesn't try to convey all Kundera's philosophy but it does retain the spirit of the book. Really the book had what some considered to be too much philosophy in it which got in the way of the story which was not Kunderas main concern anyway as his characters were just actors he used to elucidate his ideas. For Kaufman the real heart of the book was not in its ideas but in the way Tomas and Tereza relate and how that relationship evolves within a very specific historical circumstance, the Russian occupation of Prague in 68. That moment in time is really brought to life both in the cafes as we hear a Czech. version of"Hey Jude" being played and in the streets when the actual invasion takes place at which point hand held black and white cameras are used to give an on the spot feel to it.
When we first meet Tomas(Daniel Day Lewis) he is involved with Sabina(Lena Olin)and what they share is an almost religious belief in the erotic and an equalllly strong belief in retaining their individuality and frredom. On a visit to a spa in the country to perform an operation however Tomas comes across the innocent waitress Tereza(Juliette Binoche) and his life after that is never quite the same. Sabina resents the intrusion at first but soon she and Tereza are friends, in fact the moment they become friends on a rainy afternoon taking pictures of each other is one of the best scenes in the movie. A lot is made of the historical happenings and how they affect each characters personal life. I found it a little hard to believe that they would willingly return to Prague under communist rule after they had made their escape to Zurich but you may feel differently. The use of the terms "lightness" and "weight" that so often appeared in the book always seemed to my ears rather vague, the movie gratefully only employs those terms on rare occasion. The last scenes in the countryside are some of the most beautiful cinematography I have seen, quite memorable images evoking the really valuable things in life.
Certainly one of the best adaptations of a novel.

Please read Kundera's book instead
Kundera's novel The Unbearable Lightness of Being is absolutely amazing, and this film falls so far short of it. Despite my almost-immediate dislike of the film, I actually stuck it out and watched the entire thing (hoping that Daniel Day-Lewis could somehow salvage it or that the film might actually express some idea from Kundera's book). But I was sorely disappointed.

But please read Kundera's novel, because it is wonderful. I can't help but think that Kundera was referring to this film when he wrote in his later novel Immortality: "The present era grabs everything that was ever written in order to transform it into films, TV programs, or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the nonessential."

A nice historical fiction movie
This review is for the Criterion Collection DVD edition of the film.

This movie is set against the backround of the Soviet invasion of Czechoslovakia in the 1960's It is about a doctor who has physical relationships with many different women. He then meets a woman whom he wants to pursue a romantic and emotional with. She wants him to be monogamous. The ensuing results are quite original.

The film is also a good history lesson about the Soviet invasion but is not appropriate for school age children. The film has a well deserved R rating for scenes of nudity and sex which I think were unnecessary and prevent a wider range of audience from seeing the film. I greatly hope that the producers would offer a version of the film witht he nude and sex scenes cut so that it could be shown in history classes in school.

There is also a scene that Beatles fans may like where the song "Hey Jude" is sung in the Czech language. It also has many pieces of music by Czech composer, Leos Janacek.

The DVD also has audio commentary by the director Philip Kauffman, Editor, Walter Murch, Co writer John Carrière, and Actress Lena Olin.

beautiful
This film, is one of the best screenplays I have ever seen (and I seen many). I had read the book before, and the film is just an extension of the beautiful superiority of the book.
I particulary enjoyed the mixture of 'real' footage of the occupation of Praque and the film footage. Very well done.
The reason I've only given this film 4 stars is because it didn't have a specific secene which I was looking forward to seeing.
But the reast of the film definatly makes up for it.
And by the way... the director is the director of Quills. ... Read more

Amazon.com essential video

A little-known chapter of American labor history is brought vividly to life in this period drama from writer-director John Sayles. It's a fictional story about labor wars among West Virginia coal miners during the 1920's, but every detail is so right that the film has the unmistakable ring of truth. The tension begins when the Stone Mountain Coal Company of Matewan, West Virginia, announces a lower pay rate for miners, who respond by calling a strike under the leadership of a United Mine Workers representative (Chris Cooper). Proving strength in numbers, the miners are joined by black and Italian miners who initially resist the strike, and a fateful battle ensues when detectives hired by the coal company attempt to evict miners from company housing. Violence erupts in a sequence of astonishing, cathartic intensity, and Matewan achieves a rare degree of moral complexity combined with gut-wrenching tragedy. The film salutes a pacifist ideal while recognizing that personal and political convictions often must be defended with violence. To illustrate this point, Sayles enlisted master cinematographer Haskell Wexler, who creates the film's authentic visual texture--a triumph of artistry over limited resources. The result is a milestone of independent filmmaking, and Matewan remains one of Sayles's finest achievements.--Jeff Shannon ... Read more

Reviews (37)

An exploration of America's terrible dark side
It's difficult not to get your personal feelings called into play when watching an obviously slanted film like Matewan. John Sayles, like Oliver Stone, is an obvious agit-prop master for the left. But so are several others. However, those others do not get the responses that Sayles has evoked because they don't have half the movie making talent that Sayles possesses. There is no fence-sitting when watching his films, and that's because his visions and messages are clear, uncompromising and passionate. Matewan is his highest achievement in those regards.

Using the coal miners' unionization efforts of the 1920s as his springboard, Sayles explores one of the dark truths at the heart of free-market capitalism: the unblinking willingness of those in power to crush--physically and spiritually--those who work.
Sayles' gritty realism, the gaunt faces of the actual citizens of West Virginia who serve as extras in the film, Haskell Wexler's recreation of a long-gone era, and, of course, the great performances all around, drive that dark point home. Sayles' script, although a little long-winded at points, illustrates well how employers pit worker against worker, worker against scab, scab against scab. In fact, the workers do as much violence to each other as the bosses do to them. Don't dismiss this as a masnifesto disguised as a film. In the tradition of On the Waterfront (also based on an actual event), the characters, situations, and dialogue are all convincing.

This is a great film but be sure to see it on video, not DVD, as others have pointed out.

Rocco Dormarunno, author of THE FIVE POINTS

Bleak mood sets the tone of this coal mine strike story
This 1987 film, written and directed by John Sayles, is based on a real incident from the 1920, when workers from a West Virginia coal mine went on strike. Chris Cooper stars as a labor union organizer who comes to the town which is run the Company that have just brought in a trainload of black men as well as a group of Italian families to do the work of the strikers. James Earl Jones is cast as the leader of the blacks who says out loud that he understands people can't help calling him the "N" word, but no man can ever call him a "scab". Will Oldham is cast as a 14-year old mine worker and sometimes preacher. There are heroes and villains in this film, and Kevin Tighe and Gordon Clapp are the kind of bad guys you love to hate.

The pace is slow as the story unfolds, each actor giving depth to his or her role. The Union is represented as a good and unifying force for the diverse types of people caught up in the drama. The company is represented as bad. Really bad. Not only did they exploit their workers and push people out of their homes, they also did not stop at brutal murder. There were enough personal stories to keep the film interesting although I found some of the speeches a little long and talky. It was all about mood and bleakness and John Sayles sure is a master of setting the mood. Most of the extras in the film lived in the area of Appalachia where it was shot and the close-ups of their faces added to the film's authenticity.

One of the problems was that the transfer of the film to DVD wasn't done well. The sound was muffled and some of the words were indistinct. And the shots set in the forest were so dark that it was hard to tell what was going on. I enjoyed the film although I thought it was too long. Followers of John Sayles work will enjoy it though, as well as those with an interest in union struggle.

MATEWAN as teaching tool
To avoid repeating what others have said, I'll just concur that this movie has the ring of truth about a little-known chapter of American labor history, and writing, acting and photography are superb. I showed it to two classes of students this semester and they were almost all fascinated. (Freshmen!) I was asked why they didn't learn about the mine wars of West By-Gosh in their history classes, which led to interesting discussion questions like "who writes history?" I used the film in conjunction with Denise Giardina's STORMING HEAVEN--a novel about the same mine wars. Both are based on actual events and lives.

For material that promotes fast-paced classroom discussion, Sayle's MATEWAN can't be beat. He is a fascinating writer and producer; MATEWAN is, however, the best Sayles' movie I've seen on all counts--writing, acting, photography, and historical content. Some reviewers here have called it slow-moving. I have watched it at least 5 times and find it just as compelling now as when I viewed it the first time. Buy it--you won't be sorry!

Word to the wise: Canadian widescreen available
Just an announcement for Sayles fans and fans of this film: a very good widescreen dvd of this film does exist, but it's only being produced in Canada. Its sound is supposedly much better than anything else available, and the widescreen transfer is totally decent. You can read a review of this dvd at dvd verdict.

Given what we learned about the peacefulness of our neighbor to the north in Bowling For Columbine, it's ironic that this most bloody-minded of Sayles films should be released there and not here. No other film I can think of more clearly explains the tragic connections between violence and class politics in American history. Lefty types such as myself have always loved this film, but I know a good many conservatives who do as well. The story of the little guy fighting for his very survival against the bully is always a compelling one, never more so than here. And for those who think the bad guys in this film are TOO evil--I have relatives from coal country and they assure me that if anything, the movie could have gone even further. More than in any of his other films of the 1980s, Sayles is just so brutally honest here about the necessities and the strange accidents that can lead us toward a better future, though with much to suffer in the meantime. A dead-solid American classic.

Supposedly Sayles has recorded commentary for an American release of a widescreen dvd, but I can find no evidence of its being produced any time soon.

Great film - awful DVD
John Sayles' best film merits a far better DVD treatment than this technical travesty.

Others here have mentioned the film's amazing cinematograhy, fine performances (indierockers note: a young Will Oldham -- later of the band Palace Brothers -- has a featured role) and stirring story. But it bears repeating that this digital transfer is *atrocious*. The film is presented in "full-screen" format, lopping off the edges of Haskell Wexler's beautiful frames. Celluloid scratches and "reel change" hole-punches are visible throughout. And the sound, if you can believe it, is worse -- it's in hissy, almost inaudible MONO, for God's sake!

Zero commentaries. Almost no bonus extras, unless you count a few panels of "production notes."

Not worth a purchase. Wait for the morons at Artisan to get their collective act together and give this fine film the gold-star release it deserves. ... Read more

Amazon.com

It's, like, Shakespeare, man! This good-natured and likeable update of The Taming of the Shrew takes the basics of Shakespeare's farce about a surly wench and the man who tries to win her and transfers it to modern-day Padua High School. Kat Stratford (Julia Stiles) is a sullen, forbidding riot grrrl who has a blistering word for everyone; her sunny younger sister Bianca (Larisa Oleynik) is poised for high school stardom. The problem: overprotective and paranoid Papa Stratford (a dryly funny Larry Miller) won't let Bianca date until boy-hating Kat does, which is to say never. When Bianca's pining suitor Cameron (Joseph Gordon-Levitt) gets wind of this, he hires the mysterious, brooding Patrick Verona (Heath Ledger) to loosen Kat up. Of course, what starts out as a paying gig turns to true love as Patrick discovers that underneath her brittle exterior, Kat is a regular babe. The script, by Karen McCullah Lutz and Kirsten Smith, is sitcom-funny with peppy one-liners and lots of smart teenspeak; however, its cleverness and imagination doesn't really extend beyond its characters' Renaissance names and occasional snippets of real Shakespearean dialogue. What makes the movie energetic and winning is the formula that helped make She's All That such a big hit: two high-wattage stars who look great and can really act. Ledger is a hunk of promise with a quick grin and charming Aussie accent, and Stiles mines Kat's bitterness and anger to depths usually unknown in teen films; her recitation of her English class sonnet (from which the film takes its title) is funny, heartbreaking, and hopelessly romantic. The imperious Allison Janney (Primary Colors) nearly steals the film as a no-nonsense guidance counselor secretly writing a trashy romance novel. --Mark Englehart ... Read more

Reviews (362)

Nothing To Hate About This Movie
Teen movies. Some are good. Some are bad. I'm a big lover of the 80's teen movies, and can only bare a few of the modern day ones. This is one I really like. I was pleasantly surprised when I first saw this cute, charming movie. Joseph Gordon Levitt("3rd Rock From The Sun") plays Cameron. He has moved to Seattle and is the new kid in school. He quickly befriends a geek(David Krumholtz from "The Santa Clause"), who gives him the run down of the school and it's students. Cameron falls madly in love with Bianca Stratford(Larissa Oleynick, who, coincidentally, played his girlfriend for a while on "3rd Rock"). Bianca is a the quintessential popular, beloved, rich girl who is untouchable. Cameron makes it his mission to get to her. Then there is Bianca's sister Kat(Julia Stiles). She is the 'Anti-Bianca'. She is tough, sharp mouthed, and generally hates people. Their dad, who is played the always watchable Larry Miller, makes a deal with his daughters. Bianca can date as soon as Kat does. Bianca is upset because Kat doesn't want to date. This begins Cameron's mission. He and his friend enlist a tough, brooding guy named Patrick(Heath Ledger)to start wooing Kat, for cash, supplied by empty, pretty boy Joey(Andrew Keegan of "7th Heaven").If he succeeds, then Cameron can date Bianca. Naturally, things get complicated and awful before they can get better and work out for everyone involved. The film is based on William Shakespeare's "The Taming Of The Shrew". Julia Stiles was first noticed with this film. There is something so intoxicating about her. She has a special quality to her that is irresistable. Her smile is a wondrous thing. She is a star. The movie is very funny, and surprisingly funny in some ways. The dialogue is pretty clever, sharp, and well written. It is head and shoulders above most teen comedies of the last decade. The actors are all well suited for their roles and are enjoyable to watch. Larissa Oleynick is as cute as a bug. Allison Janney from "The West Wing" has a hilarious, but all too brief role as the school's guidance councelor who is in the middle of writing a trashy sex novel. David Leisure also appears as the gym teacher. It is unfair that this movie has to have the tag of "teen movie" attached to it. To some people, that equals poison. Especially in this day and age. I'm telling you right now people, this movie is better than that. This is enjoyable for any age. It's funny, cute, and has more depth and intelligence than most of these movies combined. If only all teen movies of this modern era could be as delightful as this one. There are many things to like about this movie, but the 10 things I love about this movie are:Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles, Julia Stiles. Sorry.

Worthy of being in the genre of 'teen'...
After continuous teen movies with a popular girl, the popular girl's clique, the jock who wants the girl, and the boys who help the jock get the popular girl, of course let's not forget the famous shocking prom night and a kiss before the credits (seems familar?), I think the young generation, or any generation for that matter, is a little exhausted from the usual routine. In this highly acclaimed 'teen' movie, influenced by the comedy Taming of the Shrew written by William Shakespeare, the routine is still on, but with a new and refreshing twist. With unfamiliar, yet talented new faces, this brand spankin' new cast is entertaining from beginning to end.
Newcomers Julia Stiles and Heath Ledger light up the screen as the potential couple who incidentally fall for each other. The stratford sisters live under strict rules stated by their strict, humorous father: Bianca, the younger, outgoing sister, cannot date until her older, anti-social sister Kat (with the perfect I-hate-the-world attitude) decides to date. As soon as Bianca attracts two fellow students, their plans on finding Kat a date lead to mishaps here and there. With witty dialogue and great music to go along with it, this movie is worthy of being in the genre of 'teen'. It's right up on the list with Sixteen Candles and Clueless.

an amazing classic
the entire cast shines in this production of Shakespere's Taming of the Shrew. The jokes are amazing, and all the actors fit their parts well. Thanks in part to the USA network, this movie is ingained as a classic in countless teenagers' minds. I adore this film

10 Things I Hate About You
I found this teen film entertaining and fun. It totally relates to the highschool life. The over protective dad is very funny, the whole cast does a great job in playing out their roles. You would never guess its based on a novel by shakespear even though you see some shakespear love in the film!

Great film!

Love is in the air.
Opposite sisters in one house equals trouble.

Bianca is your typical prep all into fashion and a hotsy tosty life. Kat is the quiet loner who finds more satifsication relaxing at home than going to any type of party or social gathering.

New kid comes along adoring over Bianca. His friend and him decide to make a plan to pair Kat with Patrick.

It's a hard trip to get Kat in a liking happy mood, much less to get her to a party that she must attend dually with her sister, or else. The girl's have to live with an overbearing father who takes good watch over his girls.

I grew up with this movie and it is a definate high school flick funny for anyone. ... Read more

Reviews (231)

The Greatest Vietnam Movie, In my opinon.
Oliver Stone's "Platoon" is one of the best and most powerful of all war pictures. It is the best movie ever made about the Vietnam war. Stone's film is gritty, frighteningly realistic and incredibly powerful. Stone doesn't just show us the Vietnam war, he takes into the Vietnam war. The screenplay is brilliant and doesn't fall into the trap that other war films fall into, where the violence turns into a fun experience and fighting seems "cool." This is a movie that truly shows the horrors of war realistically and with great effect. The cinematography by Robert Richardson (JFK, Natural Born Killers) is rich and gritty, giving more feeling to already great material. The characters are believable and convincing. It's great work because Stone himself went to Vietnam, so he has a better idea of what happened than Francis Ford Coppola when he made "Apocalypse Now" (which is also a great movie). "Platoon" is mesmerizing, powerful, effective, disturbing and even philosophical. It is one of Stone's greatest works. He ignites the screen with passion. The music is incredibly moving. No other director has made better films about Vietnam than Stone, who's "Born On The Fourth Of July" and "Heaven And Earth" followed "Platoon," and opened our eyes to greater clarity. I was never less than spellbound by this work. "Platoon" vibrates with realism and energy. A very special motion picture

The Nam
Oliver Stone's Vietnam War film, PLATOON, remains a very intense film, even some 15 years after its theatrical release.
As seen through the eyes of Private Chris Taylor, (Charlie Sheen), the film focuses on the experiences of this naive young man and the other soldiers in his unit. As tensions mount and fears of the enemy threaten to overtake the men, a sick rivalry develops between Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem DaFoe) that sets soldier against soldier. The entire film takes you inside the minds of these 3 men for different views on the war and what it was like for the men that were there. Of course some of it seems tamer now, especially after, more recent war films. But PLATOON still is an intense look at the war, that, even today, no one really understands. Stone puts his real life experiences as a "Nam" vet, to direct to perfection. The performances by the cast are superb...

The Special Edition DVD has an excellent retrospective documentary on the film that is quite comprehensive. Of equal interest, were the 2 audio commentaries The first by Stone, the second by millitary advisor Dale Dye---both men put the actors through their paces. The photo gallery, theatrical trailer, t.v. spots and "collectible" booklet round out the disc's extras. This edition is vastly improved over the movie only edition and comes highly recommended

not God as some people praise it at but pretty damn good
very very enjoyable flick, mainly because it reminded me of FMJ(full metal jacket) and the humor was pretty good too. i might have preferred this film a little better if charlie s. wasnt in it but he actualy didnt do that bad of a job one part i found hysterical was that johnny depp has a part in it. with short blonde hair and he just is walking by then gets blown up. this film should deffinalty be in a war collects colection.

way too isolated and without emotions
Oliver Stone's was a veteran of Vietnam himself and he appears late in this movie, which is unfortunate for his own sake, because if I were him, I'd want to be hiding from this movie, pretending to have nothing to do with it. The three main soldiers (Willem Dafoe, Charlie Sheen, Tom Berenger) hate each other from the very beginning and everyone knows before it begins that it is about the loss of innocence because war is hell, so the things that happen to the three of them are pretty predictable. In some of his better work, mainly The Doors and Natural Born Killers, Oliver Stone uses a lot of effort to show the effect that the plot is having on the rest of the world. In The Doors, we see footage of Vietnam because it was transpiring at the same time. Likewise for Nixon. However, in this movie, we just see the war itself without seeing the outside world reacting to it as it unfolds. Oliver Stone does better work in the 90's.

Favorite Vietnam Piece
This is my personal favorite vietnam film. It blew away the others for me (ie..Hamburger Hill, Full metal jacket etc) The story, acting and gritty take of the war made this film VERY important. It asks some pointed questions and is a breathtaking film. Not to be missed! This should be in EVERY war film fan's library. plain and simple. ... Read more

Description

Disney's most acclaimed and beloved film just got even better! With its incomparable blend of magic and award-wining music, BEAUTY AND THE BEAST won the prestigious Golden Globe for Best Picture (1991, Best Comedy or Musical) and is the only animated film ever nominated for a Best Picture Academy Award(R) (1991). Now magnificently restored and remastered, BEAUTY AND THE BEAST SPECIAL EDITION features an all-new song, "Human Again," seamlessly integrated into the film. And in this groundbreaking 2-Disc Platinum Edition DVD, you'll enter the Beast's castle and explore its many secrets -- with three versions of the film, never-before-seen movie secrets, exciting games featuring all-new animation, and more! Disney magic reigns supreme in this triumphant 2-Disc Platinum Edition DVD -- a must for every DVD library! ... Read more

Reviews (332)

Excellent job Disney.
I saw this when it first came out in theaters back in 1992. I was only 7 or 8 at the time, and it just didn't appeal to me as much as The Little Mermaid or The Rescuers Down Under. I don't really know why, but having just getting the DVD in the mail, my view of the movie is completely different.

Beauty and the Beast really is one of Disney's top 4 animated films. How they managed to combine a massive cast of characters into the main plot is amazing. Beast is one of my favorite Disney characters after re-watching this. There's so much emotion inside of him. Anger, rage, pity, ambition, and love. You'll really care for him from the moment he appears on screen. Belle is possibly the most humble heroine to date. She doesn't see that she's beautiful, but just cares for helping others and reading books. The supporting cast is just as good. Gaston, the villain, is just a....well I can't use the word. You can bet your money you'll feel the same way. But the characters are just the icing on the cake. The story is what the strong point's always been. Disney did a great job adding so much more to it, whereas the original didn't focus on anyone but Belle and the Beast really. But I'm sure you all know the story, so I'll just get into the features on this DVD.

On the first disc, you get 3 different versions of the film- theatrical, work in progress, and special edition. The theatrical is what you saw in theaters or on the home video release. Work in progress is mostly drawings in black and white while the voices and everything else is put in. The special edition has a few lines changed here and there, and the added musical "Human Again" into the film. Personally, I hated "Human Again". It comes right after and before other songs in the film, making you want them to just get on with the story. Plus the animation in it really stands out since it's newer and has those annoying shadows on every character that you see in so many made for video animated movies. There's also a commentary track that adds a lot of depth and information, and a game that unlocks another game. People complain about the picture quality of the movie, but it's not that bad. On a scale of one to ten, I'd give it a 7.5.

The second disc has a well done documentary on the making of Beauty and the Beast, story origins of a few other Disney movies, art galleries, music videos, more games, and much more. Amazon lists that the Broadway Musical is on this, but it isn't. It's mentioned in the documentary, that's all. This sets the standard for extras on Disney special editions of their movies. It's too bad The Lion King has nothing compared to this. Either way, if you like Disney at all...or just movies, you should go for this while you can. It's a masterpiece, and getting harder to find.

A thinking girl's heroine
When I saw "Beauty and the Beast" in the theater, I had a rare and magical experience: I felt like a child again watching an enchanting Disney movie. In fact, "Beauty and the Beast" seemed even better than the Disney classics like "Cinderella" and "Sleeping Beauty" that were such a wonderful part of my childhood. The animation is absolutely gorgeous--particularly the waltz scene, which feels incredibly three-dimensional. The songs are beautiful, singable instant classics.

Despite the animated characters, I felt like I was watching an old musical. The movie opens with a scene reminiscent of "The Sound of Music," with our heroine, Belle, singing on a hilltop about wanting more out of life. The "Be Our Guest" scene, featuring a Lumiere (the Maurice Chevalier-inspired singing candlestick), dancing dishes and champagne corks popping like fireworks, reminded me of the Busby Berkely musical extravaganzas of the '30s.

A big appeal for me is that Belle is a much different heroine than the Disney princesses of my childhood. Belle isn't looking for a man to rescue her from her life of drudgery. She loves to read and longs for a more interesting life. She already has the "town catch," Gaston, wanting to court her, but she's having none of it.

Belle's escape from "her provincial life" begins when her father, a kooky inventor, doesn't return from his travels. (He has sought shelter from a snow storm in a spooky enchanted castle and is being held prisoner by the Beast.) Belle tracks down her father and, out of concern for his ailing health, takes his place in captivity. The Beast, who has been placed under a spell, wonders if Belle might be "the one"--the young woman whose love will return him to his original human form.

The enchanted furniture, candlestick, clock and dishes added lots of fun characters to the traditional story. Cogsworth, a stuffy clock, and Lumiere, the match-making candlestick are a great comic duo. Cogsworth's romantic advice to Beast about wooing Belle is especially funny: Give her "flowers, chocolates, promises you don't intend to keep."

Gaston, meanwhile, wants to woo and wed Belle himself. He sings about his he-man attributes in one of the funniest ode to a redneck that I've ever heard: "I use antlers in all of my decorating," Gaston sings about himself.

When Gaston realizes that Belle loves the Beast instead of him, he stirs up an angry mob to head to the castle. In another twist on the traditional fairy tale ending, Belle ultimately rescues the Beast--not the other way around.

"Beauty and the Beast" is a delightful classic whether you are a child or a grownup who knows how to feel like a child at times.

Pure Magic!
Bringing this classic fairy tail to life is one of the best things that Disney has ever done. Every second of this film is full to the brim with wonder and magic. More than ten years after first seeing it, there are still some scenes that make me gasp at their beauty.
The movie provides all of the usual Disney elements of gorgeous animation, skilled voice actors, awesome original songs, and non-stop entertainment, but there's something special in the mix. We get one of the most believable and heart felt romances to ever grace the animated world. As a child every time I read a picture book of this Fairy Tail I found it impossible to believe that a woman could love a beast, but Disney found a way to make it happen. You truly believe that it's possible, and feel her pain when she thinks she's lost him.
In the classic Disney fashion, Beauty and the Beast brings along a message for the kids to learn. We see the value of intelligence and compassion, learn to look beyond the superficial, and discover that love knows no boundaries.

After A While One Doesn't Notice It Is Animated
It is quite rare for any animated film to be treated with the same respect as any other honored non-animated one. In BEAUTY AND THE BEAST, directors Kirk Wise and Gary Trousdale take the time-worn fairy tale of the outwardly loathsome beast who impossibly enough allows his inner nobility to shine forth sufficiently to cause the beauty to fall in love with him. Robby Benson is the voice of the Beast and Paige O'Hara is Beauty. Even for those readers familiar with the spoken tale or the revamped music video with Meatloaf as the Beast cannot help but allow themselves to be entranced with the seamless melding of sight to sound. The plot is simplicity itself with the Beast as the archetypal symbol of the rebirth of nobility long hidden by the evil spell of a unnamed wizard. There is nothing childish is the unfolding of the tale of Belle the Beauty who chooses to sacrifice herself in marriage to save the life of her doddering inventor father. Enter the Beast who is initially presented as the roaring brute that his tormenting wizard clearly intended him to be. Yet, as Belle ministers to his psychic wounds of self-loathing and his physical wounds incurred in defending her against a pack of wolves, the viewer can see a competing spell at work, one that is older than time itself--the power of love that the film's many songs allude to and function as as subtext that imbues it with timeless energy. There is, of course, some needed plot complications of unwanted attention heaped on Belle by the handsome but warped Gaston, who plots to snare Belle in marriage as firmly as he would stalk a reindeer for its antlers. As Gaston leads the villagers in an assault on the Beast's manor, one is reminded in reverse of the cliched villagers pounding at the walls of Doctor Frankenstein's castle, but in this case the attack in presented in comic tones that keep the real world of harm at bay.

BEAUTY AND THE BEAST has no down moments, with each fresh plot advancement heralded by stunningly effective animation and song. This film was a deserved nominee for Best Picture in 1991, and with repeated viewings, one may rest assured that the alternately gloomy and resplendent halls of the Beast will eternally resonate with the same cachet that gives Tara, Oz, or Rick's Cafe a ticket that allows the bearer to see just how awesome the human spirit can be.

The Beauty
This is a beautiful movie and is in a wonderful set. It has two discs with great behind the scenes stuff for Beauty and the Beast that you definitely wont want to miss out on.
The colors in this movie is beautiful and the music is lovely.
I really wouldn't miss out on this movie because it's a great film and a wonderful set. ... Read more

Description

Screen stars Renee Zellweger (NURSE BETTY, JERRY MAGUIRE) and Hugh Grant (FOUR WEDDINGS AND A FUNERAL, NOTTING HILL) craft memorable performances in a delightfully funny comedy that looks at the ups and downs of modern romance! A busy career woman approaching a "certain age," uncomfortably unmarried Bridget (Zellweger) decides to turn over a new page in her life by channeling her thoughts, opinions, and insecurities into a journal that becomes a hilarious chronicle of her adventures! Soon, the irrepressible Bridget somehow manages to become the center of attention between a guy who's too good to be true (Grant) and another who's so wrong for her, he could be just right (Colin Firth, SHAKESPEARE IN LOVE)! Based on the best-selling book, BRIDGET JONES'S DIARY is another acclaimed crowd-pleaser from the hitmakers of FOUR WEDDINGS AND A FUNERAL and NOTTING HILL! ... Read more

Reviews (425)

Delicious Zellweger, Delectable Grant, and Hysterical Moment
What a wonderful surprise this movie was to me. I resisted it I admit, thinking I wouldn't relate to the plump heroine coping with loveless sex, dueling suitors and haughty English folk. Yet, not only does the movie sparkle in unexpected, laugh-riot moments, Renee Zellweger proves yet again what a stunning actress she's become. In the title role, she's silly and coy, at once vapid and brilliant, a heroine for our generation. Hugh Grant is slimy-sleazy as her boss, a real departure from his "Four Weddings and a Funeral" Jimmy STewart-ish character. And, Colin Firth excels as an unlikable suitor who in the end hooks Bridget with intelligence, heroism and a deep warmth that is rarely allowed to shine (ultimately it's Bridget who brings him out of his shell, while exchanging her own for a newer model!)

Ever since "Jerry MaGuire" made her a star, Zellweger was dazzled in on screen roles like "Nurse Betty" and "One True Thing." This is an actress who is able to fully expose her character - warts and all. Where other actresses might shy away from brash, bold characters, Zellweger embraces them, and in the process, the audience falls in love. She has the sort of face that tells stories with small, seemingly unimportant facial expressions. A raised eyebrow here, a pursed lip there, she's able to convey layers of emotional context and depth that very few of her contemporaries can ever hope to achieve. Her spellbinding work opposite Meryl Streep in "One True Thing" is proof positive this star is here to stay - and deserves attention as quite possibly the best actress of today;s generation. Very few actresses could ever hope to shine opposite the legendary Streep, but Zellweger does that and more. In that film, and this one, she delivers a fully realized character, infusing Bridget with wit, charm, charisma, and more than anything - REALNESS. Ultimately, that's the best thing about this movie - the multiple levels Zellweger manages to pull off will allow even men to see parts of themselves through Bridget's eyes. Warm, lighthearted, but filled with detail and myriad emotions, "Bridget Jones' Diary" is a winner! Let's hope Zellweger finally cops an Oscar nomination (which she's deserved for other roles in "McGuire", "One True Thing" and "Betty"). At least her fellow actors know a brilliant performer when they see one - as she's been nominated for a Best Actress SAG Award (over Nicole Kidman who was thought of as a shoo in for "Moulin Rouge.")

In a nutshell, this is a fun, entertaining movie, with great music, endearing moments of comedy, and another SHINING performance by Zellweger!

A Feel Good Movie Wonderfully Cast
This is a wonderful gem of a movie. Based on excellent material in the first place - Bridget Jones' Diary (the book), which in turn is loosely based on Pride and Prejudice to some degree - its near perfect casting ensures its place as a romantic comedy classic. From the leads to the bit players, even the seemingly unbelievable, such as Bridget's mother, are entirely plausible. The main characters are rendered with somewhat more depth than is the case for most romantic comedies; for example, raffish though Hugh Grant's character is, he is not such a stereotypical rogue that he does not feel badly about hurting Bridget, even before realizing how much he cares for her. Colin Firth is a particular triumph and plays off Zellweger remarkably well - they're an unlikely enough combination to add just the right amount of interest and tension, yet not unlikely enough to make the outcome unbelievable. Mark Darcy's transformation is one of the more interesting elements of the movie. It's puzzling that Firth hasn't risen to leading role status more prominently, though this may be due more to his own choice of parts than anything else. Few actors are more artful at innuendo and the use of facial expression and body language than Firth; no jabbering on is required to understand his characters' struggles and true feelings. When playing smoldering (i.e., masculine) repressed roles he's at his finest. This is a "feel-good" movie with the happy ending so many long for during challenging times and the holiday season. With so many engaging and quirky characters, it pulls its happy result off in a way that makes it far more interesting than is usual for its genre.

It's a gem, a keeper, a library addition
Bridget Jones's Diary was an unexpected surprise for me. I suppose I expected a sappy Renee and Hugh love story. It's not. Substitute sticky for sappy and lust for love and your getting in the right neighborhood.

I didn't have to identify with Bridget's (Renee Zellweger) biological clock to get the squirmy wormies during her multiple awkward situations or to feel triumphant when she overcame in spite of her embarrassment.

Hugh Grant plays the lovable rogue and the object of Bridget's heart. Even though the role of the scoundrel is a departure for Grant he plays it much as he does when he's the victim of love. If anything his good guy history adds to the allure of twists in the movie.

I am a Renee Z fan anyway but her portrayal of an undesirable, overweight, out of the game English spinster was amazing. None of these terms come to mind when I think of Ms Zellweger yet she was completely believable.

Oh yeah, I forgot the most important thing; I laughed out loud a lot. This is a very funny movie.

The story is great. The cast is great. Buy the movie.

Delightful romantic comedy
What sets this movie apart from other romantic comedies is that its heroine is a witty, self-deprecating, socially clumsy woman who isn't stick-thin, who doesn't look polished, and who will not have to undergo a makeover or any other kind of enormous transformation just to steal the hero's heart. He likes her just as she is. And so do we, even if we think her a bit daft for taking so long to realize that he's the right man for her.

But before Bridget even allows herself to admit that the proud and reserved Mark Darcy (Colin Firth) is not as bad as she thought, she's first swept away by her boss, Daniel Cleaver, played in a delightfully rakish way by Hugh Grant. And not only does she have to sort out her feelings for Darcy and Cleaver, she also has a host of other difficulties to deal with - her parents' troubled marriage, her fondness for fatty foods, her love of drink, and her tendency to speak without thinking.

Highlights of the movie include Bridget dressing up as a Playboy Bunny for what she thought was a tarts and vicars party. Another funny scene is her in the kitchen, ineptly making blue soup and swampy-looking gravy for her birthday dinner. Sometimes the movie did go too over the top, as in the fight scene between Cleaver and Darcy. Also, in the DVD outtakes, I didn't see any additional scenes with Colin Firth (a pity, because he's so well-suited for such a role and so easy on the eyes...). But on the whole, the movie was delightful, fun and full of warmth.

"Bridget used to run around naked in my paddling pool"
BRAVO Bridget Jones!
This movie is truly and amazingly unique and hilarious! Rene Zellweger is charming and funny as a slightly overweight publisher. Colin Firth is very fresh as a top notch lawyer, and Hugh Grant is amazing as a head publisher(...)
This story tells of Bridget Jones, who is an alcoholic and slightly overweight, but very lovely British woman who wants to change her ways and get a boyfriend. She finds her man in no time, Daniel Cleaver, who is her boss, but shortly finds out that he is NOT the man she's been looking for. In a strange turn of events, Bridget quits her job and finds another as a TV personality. After more events, mad depresssion, getting hung over, a (REAL) fight, and a divorce in the family, she finds the truth about jerky Mark and Daniel, and finds true love. But it wasn't easy for her after she finds out of his engagement to a dull, boring woman who is also his patrner in law, Natasha.
YOu'll love this movie and find it charming and frickin' funny! ... Read more

Description

A troubleshooting special agent is assigned to the investigation of a worldwide terror ring headquartered in Hawaii. ... Read more

Reviews (12)

Great for the opposite reasons
My name is Jim McLain, spelled the same way as in the movie. This said I'm here to tell you that this is a five star rating because I LOVE terrible movies! Sometimes I wish John Wayne hadn't used the rare spelling I do in my name. The Duke was running, yes RUNNING from the House of Unamerican Activities. James Arnes Gets bested by two little oriental guys who combined don't match his weight and beat him down hand to hand! More sermons than an Amish Convention. Great drunk late night viewing!

For Patriots Only
OK, I know the ultradicallibrocrats of our society disaprove of any attempt to recognize the evils and sins of communism. When commies are portrayed as evil, or if there is an attempt to defeat them, the libs will howl and bellow all kinds of leftist rhetoric. And they certainly make a big stink about this movie, which goes to show how good it really is. Why is it that the libs always are critical of anti-communist sentiments, but never seem to have any objection to anti-fascist movie? Hmmm.... I wonder.
If you're patriotic and want to see one of the few films that puts a white hat on the good guys, this is a show for you.
Forget the whining of the pink brigade and enjoy the show.

Relax and enjoy
In some ways this movie can be seen as political [persuasion] from the 50's, but so what. All I can say is relax and enjoy. Enjoy the Hawaiian scenery and ignore the attempts to turn you into a blue blooded right wing capitalist. It's still a pretty well made movie from my standpoint. It's slow pace is due to the sort of documentary feel of it. It's pacing is more like All the President's Men. Not to say it's as good as that movie, and it's definatly coming from the "right" side of the fence.
...
Forget the politics and get the popcorn.

Underrated
This excellent movie about two detectives (6'4 (76) Wayne and 6'7 Arness) who search for Communism in the Honolulu area. The plot is realistic in the sense that the movie is about something that was happening in 1952. Many people don't like this, even though I don't know why. It has everything: comedy, action, scenery, adventure, remorse, etc. It is a switch for Wayne (who would make Hondo in '53 and The Searchers in '56.), but it shows how great an actor John Wayne is. This is a must-see movie for any fan of Wayne, big or small.

A neat movie!
This is a good movie! I see that a lot of people don't like it. I'll admit it's slow, but it has a good lesson. I mean, it's totally patriotic and wonderful! You can really see how patriotic the Duke was. James Arness costars and is cool. I enjoy watching it every so often, and I think it's a good movie. That's my humble opinion! ... Read more