Reviews (36)

Thriller with a First-Rate Cast
When the film was made almost a quarter century ago, the concept of "cloning" was the stuff of science fiction, as far as the general public was concerned. However, with the recent developments in the area making headlines worldwide, the idea is not reserved to the imagination. Therefore, the basic premise of Hitler authorizing his own cloning doesn't seem as farfetched as it may have been. Hey, the Germans have given the world the Volkswagen; thus, their scientists could have possibly been working on the cloning process prior and during World War II.

Regardless, the film features excellent work from stars Peck, Olivier, and Mason. Peck went against type by portraying Josef Mengele as a crafty, calculating, and ultimately evil scientist who would go to any length to preserve the Third Reich. Olivier, as the Nazi hunter Lieberman, displays his versatility with accents by doning a very believable Jewish brogue. Mason shows his usual cool as a Nazi hesitant but forced to support the machinations of Mengele.

But, the film has an outstanding group of supporting players whose on-screen time may be brief but is memorable. Uta Hagen as an imprisoned Nazi nurse is captivating; stage veteran Rosemary Harris stands out as the widow of one of Mengele's victims; A young Steve Guttenburg shines as a Nazi hunter; and comedy team member Anne Meara (sans her husband) is great as another "mother" of a Hitler clone.

But, it is Jeremy Black, a young actor who seems to have drifted into obscurity since the release of this motion picture, who is impressive as four of the "boys."

Oh, yeah, the great Michael Gough is "hanging around" in this one, too! Look fast and you will see Prunella Scales from "Fawlty Towers" as Gough's wife.

Peck vs Olivier as the Nazis try to clone Adolf Hitler
Gregory Peck gets about as far away from his Oscar winning role as Atticus Finch as possible with his over-the-top performance as the infamous Nazi doctor, Josef Mengele. Once you learn about the plot of "The Boys from Brazil," based on Ira Levin's novel, Peck's hammy performance makes perfect sense. At a South American summit of Nazis, Mengele announces that over the next couple of years 94 adult males with much younger wives and adolescent sons are to be systematically murdered around their 65th birthdays. Mengele had cloned Hitler, implanted the eggs in all of these women, and now wants to recreate what he believes was the Fuhrer's formative experience as a child. Fortunately young Nazi-hunter Barry Kohler (Steve Guttenberg) overhears the plot and right before he is murdered manages enlists the aid of the legendary Ezra Lieberman (Laurence Olivier) to stop this horrific plot. Just think of this film as a cross between "Jurassic Park" and "Triumph of the Will." The scene where a scientist explains the cloning process in excruciating detail to Lieberman is a textbook lesson on how too much exposition can stop a movie in its tracks. But then there is the final living room standoff between Mengele, Lieberman and one of the Hitler clones with his pack of trained killer Dobermans.

Actually, the actor who impresses me in "The Boys from Brazil" is James Mason, who plays Nazi Eduard Seibert and somehow makes the whole thing seem reasonable. Lilli Palmer, Uta Hagen, Rosemary Harris and Denholm Elliott round out the stellar supporting cast caught up in this madness. Jeremy Black has the interesting role of playing all the young Hitler-Wannabees (Jack Curry, Simon Harrington, Erich Doring, Bobby Wheelock, etc.). Director Franklin J. Schaffner ("Planet of the Apes," "Patton," "Papillion") directs this straight up while Peck spews curses and Olivier trots out his wise old man routine. But to be fair, once we get past the exposition and Olivier tells the scientist that the person who has been cloned is neither Mozart nor Picasso, the story does get into gear. In what other over the top film can you see this much acting talent chewing up this much scenery? "The Boys From Brazil" is a first-class bad movie.

Overdone but chilling
Gregory Peck plays a Nazi doctor who escaped to Brazil as the Third Reich fell, while Laurence Olivier plays a Nazi hunter on Peck's trail. What is the evil doctor involved in? How about the creation of a Fourth Reich led by an Adolf Hitler clone? Will Olivier catch Pevck in time? Will that be enough?

Both of these great actors seem to have either tried too hard to make this movie work, or else treated it as somewhat of a farce. They overplay many of their scenes. Nevertheless, this is an intense, chilling, creepy movie with enough story to capture and maintain the viewer's attention. There is considerable gore at times; you might not want to pet a Doberman for a while after seeing "The Boys From Brazil". You might also find yourself wondering about the genetic background of eerily familiar-looking boys you might see, especially given recent advancements in cloning.

WHAT a movie!
This is so weird to write this, BUT... The first time I saw this film I had a roaring migraine headache, complete with severe nausea. IF you're a migraine sufferer, as I am, YOU understand what it's like to be stricken with one of them- you know what it's like to lay in bed, in misery and bordom trying to escape the pain. Normally, you just want to be left alone in a nice quiet, dark room and hopefully go comatose till it's all over. Anyway, early in that afternoon- BEFORE the headache part of the headache came on- the time where the only symptom is the onset of nausea, I read in my TV guide that "The Boys From Brazil" was going to be airing that evening. "Cool." me thinks, "I've been really wanting to see that film, now's my chance!" (This was Pre-DVD, Pre-VHS; Damn, this was SO long ago that it was even PRE HBO! It was plain-old-time-commercial-break-infested-TV-land; which, truth be known, was kind of a blessing for me what with the nausea and all... That night, one could call them: "hurl-breaks" !) Anyway, to shorten an already way too long story: In spite of BLINDING, COLOR ARCHING, NUCLEAR-MELTDOWN BRAIN PAIN, I was SO thrilled by this film, so completely enteretained and SURPRISED by the thing, that, migraine or no, I watched the whole dog-gone thing!
MERCY! Talk about "association strengthening memory"! THIS is one film I will never, EVER forget by virttue of association... SHOOT, to this day, every time I watch it, my forehead sweats, I get kinda' achy at the base of my scull, and my stomach commences to churn. But it was WORTH it! What a GREAT flick, go ahead, buy it. You'll like it. Heck, watch it with a migraine sufferer YOU love. ;o)

Passionate
The love secenes were especially moving. Watching two sensitive caring people commit themselves to lives of devotion and sacrifice for the benefit of children and the world was wonderfully refreshing. Long live the IV Reich !
(and George Bush!) ... Read more

Reviews (38)

a great horror film -- and the brothers udvarnoky too!
when i saw "the other" in its initial release, i left the theater more paranoid than i had been before!

based on tom tryon's sadly out-of-print best seller, it is a tale that once and for all will destroy the notion about saintly children. niles and holland are among the greatest villains ever placed on screen, and how anyone can call them a contrast of good and evil (as leonard maltin does in his illogical review) confounds me. there are wonderful scenic touches, perfectly catching the struggles of a 1930s farm family, and i am still blown away by the brilliance of the performance of uta hagen:as complex a character as youre likely to see on-screen. as an aside, the young actors who play the leads, chris and martin udvarnoky, are wondrous to behold. fans of a certain type will not be disappointed by these two, who sadly never acted again. let us rejoice that this movie managed to capture them at the peak of their talents and their charms.

a must see!

Now this is Horror!!!
This is a very very very very very very very very scary movie. Okay so maybe I exagerated on the verys, but this is a very scary movie. One of the previous reviewers said that it was scarier than The Exorcist and The Omen, well I have to disagree. That put my expectations high for this film, but I still wasn't dissappointed. I think Satan is probably the scariest thing in this universe. Actually the only thing scarier than the devil is the wrath of God and you CAN'T capture that on film. This is a rather unusual horror film that is kind of confusing, but entertaining and very disturbing. Even if by some weird circumstance you don't get scared, you still have to admit that it is a really good movie. It is very well made so even if the scares wear off on you, there is still a great story with GREAT characters and most of all THE BEST ACTING I'VE EVER SEEN! The boys are amazing.They portray their characters so well. This new generation will not appreciate this film. As a matter of fact, THEY'LL HATE IT!!! That's because todays youth like movies like The New Guy and Scary Movie, and stupid NOT SCARY MOVIES like Scream, I know what you Did Last Summer, Cherry Falls, and Prom Night. They don't like a complicated story, so if you are looking for something with buckets of blood, DON'T LOOK HERE! I don't mind gore, as long as it helps the movie (The Omen comes to mind) and gore really in most movies doesn't make the movie scary, it actually takes away from the atmosphere. Some slashers are very scary like Halloween, Texas Chainsaw Massacre, Psycho, Nightmare on Elm Street, The Fog, The Boogeyman, and Friday the 13th part 1. But this generation can't appreciate this type of horror, but they will eventually. Believe it or not, I'm part of the youth of today, and I'm very hard to scare, so if it scared me, it'll terrify you. While it is not a scary as The Exorcist or The Omen, it has a much better story than both of those. Yes this movie is very scary, and joins the likes of The Exorcist, The Omen, Rosemary's Baby, and The Evil Dead as one of the scariest movies ever!!! Remember that this a bit of a thinker, so if you don't like thinker this is definately not for you. I hope I have helped you with your choice of buying this movie. I liked it, but it isn't for everyone. I think it is scary so I suggest to anyone with good taste to see this movie alone in the dark. Have Fun!!!

Gothic Heartland
This film holds up well in the decades since its release. It was filmed boldly in color, and yet director Robert Mulligan still maintained the "feel" of the Depression in 1935 Connecticut. This was a world he perfected in 1962 with his classic film, TO KILL A MOCKINGBIRD. The script by Tom Tryon, from his own novel, was fraught with challenges for the minds and hearts of the viewers.

Twins Chris and Martin Udvarnoky were perfectly cast as twins Niles and Holland Perry. They had been discovered doing plays for Herbert Berghof, who just happened to be married to Uta Hagen. This movie was the only film work the twins ever did. They just seemed to drop out of sight afterward, heightening the reality of their performances. When I first saw this film in a theatre in 1972, I bought the extant twins premise. It was skillfully handled visually by Mulligan. I was strung along until midway when Uta Hagen, as the grandmother Ada Perry, revealed to the young Niles that his "bad" brother, Holland, had been dead for a year.

The movie worked on two levels successfully. There was a sun-kissed rural 1930's heartland, a kid's woodland paradise, on the one hand; great spans of forest and field, old barns, and dark mysterious cellars. Juxtaposed to that, overlapping and intermeshing with that, we discovered a Gothic plot; complete with a doomed family haunted by dark psychic powers, whose family crest was a peregrine falcon, for their name Perry, emblazoned on an heirloom ring, and on the creaking weathervane high atop the Victorian style house. Murder stalked the Perry farm, and spread out to the neighbors; murder disguised as accident.

Mulligan orchestrated wonderful touching moments between Uta Hagen and young Chris as Niles...loving moments whereby a blue-eyed angelic tow-headed child adored his wise and spirtually advanced grandmother. Much was made of the special psychic games they played, with Niles projecting his mind, and perhaps even his essence, into things and others; guessing the sex of his sister's unborn child, and even projecting into a crow, able to cognizantly fly freely over the farmlands cawing greetings to all it recognized. This was a game that Niles was so adept at, had perfected so well, that he had no difficulty dealing with his own split personality, and embracing a form of complete denial at to his brother's actual death, and further denial as to his own responsiblity for conducting divers heinous acts in the guise of, or as Holland. So Niles never had to be alone, would not accept being alone.

Diana Muldaur, as the mother Alexandra, was simply wonderful as the archetypical Gothic doomed heroine; beautiful, vulnerable, descending into madness and darkness and near catatonia. Her meager attempts to regain some emotional balance, to recapture the light, were soon dashed by the evil actions and reactions of Niles, who seemed to love her and loathe her, and definitely wished her harm.

Uta Hagen, a great actress of the Theatre, completed only three films, and a slew of television roles. In this one, she was very effective as a kind of Maria Ouspenskaya mid-European matriarch, with some kind of a dark past, and considerable psychic abilities. She radiated love for her entire doomed family, and riddled with guilt for her part in the machinations of plot, she was willing to sacrifice, to martyr herself in order to stop the killings. It was a kinky and delicious twist that her sacrifice was to no avail.

Victor French gave a fine performance in the small role of the farm handyman, Mr. Angelini [nice symbolism]. He did well with is brief scenes, illustrating the frustration and lonliness of an emigrant in America during the Depression; a man descended into drunkeness as a panacea or refuge; only to find himself dragged from his enebriated sweaty slumber and accused of murdering an infant; ala the Lindburgh case of that era. We witnessed racial prejudice and insane mob rule as the family and the authorities leaped headlong to incorrect conclusions. John Ritter was adequate in the likewise small role of Rider, the son-in-law living in the Perry household. It was a tiny part, but it hinted at Ritter's future talents.

The ironic ending reasonated with all the significant chords of a horror contata. At the fade, one wondered who would be next on the adolescent death list? Mulligan struck gold mining Tryon's dark tale.

Truly Amazing
Why have I never heard of this movie before???? Totally out of any spotlight, this movie is much like Holland (the evil twin brother) lurking in the shadows. THe movie would have been considered a classic had it not been burried by the teen horrors of the 1970's and had more exposure. It is upsetting to me that there are people out there who that have no clue what they are missing. As said by others, this movie is more psychological than a "bloody mess horror flick" or a "Boo, I made your heart stop thriller." There is a creepiness to this film that out does many more succesful horror films. The almost surreal uneasiness sends the minds of those with imaginations to a far distant place. The dynamics of the film works very well with the plot. Instead of the watcher getting thrown right into the madness, they are simmered to a slow boil. THe movie deserves way more attention and should again be revealed to the world.

Let's Have It on DVD Please
I saw this movie many years ago on late night TV and it made an indelible impression. Later tracked down the book by former actor, Tom Tryon. A fine piece of atmospheric rural horror. Creepy as hell, with some great unsentimental twists. Director Robert Mulligan served the story well. Love to compare my memory with an up to date viewing. Let's have it on DVD one day soon please. I'm afraid VHS is a sunset (or sundown) technology at our place. ... Read more

Amazon.com

Gregory Peck hams it up big time in this 1978 thriller based on Ira Levin's bestselling novel. Peck plays an old German Nazi behind a mysterious series of murders, the investigation of which leads to an astonishing plot to create the Fourth Reich. Laurence Olivier is equally outrageous as a Nazi hunter who stumbles onto the scheme. Director Franklin Schaffner (Planet of the Apes) doesn't make any bones about the preposterousness of the story or of his legendary stars' performances, and a viewer is advised not to push too deeply into this tall tale for cautionary meaning. The film is a bit bloody--particularly unnerving in a climactic scene involving some attack dogs under the command of a young but familiar-looking monster.--Tom Keogh ... Read more

Reviews (36)

Thriller with a First-Rate Cast
When the film was made almost a quarter century ago, the concept of "cloning" was the stuff of science fiction, as far as the general public was concerned. However, with the recent developments in the area making headlines worldwide, the idea is not reserved to the imagination. Therefore, the basic premise of Hitler authorizing his own cloning doesn't seem as farfetched as it may have been. Hey, the Germans have given the world the Volkswagen; thus, their scientists could have possibly been working on the cloning process prior and during World War II.

Regardless, the film features excellent work from stars Peck, Olivier, and Mason. Peck went against type by portraying Josef Mengele as a crafty, calculating, and ultimately evil scientist who would go to any length to preserve the Third Reich. Olivier, as the Nazi hunter Lieberman, displays his versatility with accents by doning a very believable Jewish brogue. Mason shows his usual cool as a Nazi hesitant but forced to support the machinations of Mengele.

But, the film has an outstanding group of supporting players whose on-screen time may be brief but is memorable. Uta Hagen as an imprisoned Nazi nurse is captivating; stage veteran Rosemary Harris stands out as the widow of one of Mengele's victims; A young Steve Guttenburg shines as a Nazi hunter; and comedy team member Anne Meara (sans her husband) is great as another "mother" of a Hitler clone.

But, it is Jeremy Black, a young actor who seems to have drifted into obscurity since the release of this motion picture, who is impressive as four of the "boys."

Oh, yeah, the great Michael Gough is "hanging around" in this one, too! Look fast and you will see Prunella Scales from "Fawlty Towers" as Gough's wife.

Peck vs Olivier as the Nazis try to clone Adolf Hitler
Gregory Peck gets about as far away from his Oscar winning role as Atticus Finch as possible with his over-the-top performance as the infamous Nazi doctor, Josef Mengele. Once you learn about the plot of "The Boys from Brazil," based on Ira Levin's novel, Peck's hammy performance makes perfect sense. At a South American summit of Nazis, Mengele announces that over the next couple of years 94 adult males with much younger wives and adolescent sons are to be systematically murdered around their 65th birthdays. Mengele had cloned Hitler, implanted the eggs in all of these women, and now wants to recreate what he believes was the Fuhrer's formative experience as a child. Fortunately young Nazi-hunter Barry Kohler (Steve Guttenberg) overhears the plot and right before he is murdered manages enlists the aid of the legendary Ezra Lieberman (Laurence Olivier) to stop this horrific plot. Just think of this film as a cross between "Jurassic Park" and "Triumph of the Will." The scene where a scientist explains the cloning process in excruciating detail to Lieberman is a textbook lesson on how too much exposition can stop a movie in its tracks. But then there is the final living room standoff between Mengele, Lieberman and one of the Hitler clones with his pack of trained killer Dobermans.

Actually, the actor who impresses me in "The Boys from Brazil" is James Mason, who plays Nazi Eduard Seibert and somehow makes the whole thing seem reasonable. Lilli Palmer, Uta Hagen, Rosemary Harris and Denholm Elliott round out the stellar supporting cast caught up in this madness. Jeremy Black has the interesting role of playing all the young Hitler-Wannabees (Jack Curry, Simon Harrington, Erich Doring, Bobby Wheelock, etc.). Director Franklin J. Schaffner ("Planet of the Apes," "Patton," "Papillion") directs this straight up while Peck spews curses and Olivier trots out his wise old man routine. But to be fair, once we get past the exposition and Olivier tells the scientist that the person who has been cloned is neither Mozart nor Picasso, the story does get into gear. In what other over the top film can you see this much acting talent chewing up this much scenery? "The Boys From Brazil" is a first-class bad movie.

Overdone but chilling
Gregory Peck plays a Nazi doctor who escaped to Brazil as the Third Reich fell, while Laurence Olivier plays a Nazi hunter on Peck's trail. What is the evil doctor involved in? How about the creation of a Fourth Reich led by an Adolf Hitler clone? Will Olivier catch Pevck in time? Will that be enough?

Both of these great actors seem to have either tried too hard to make this movie work, or else treated it as somewhat of a farce. They overplay many of their scenes. Nevertheless, this is an intense, chilling, creepy movie with enough story to capture and maintain the viewer's attention. There is considerable gore at times; you might not want to pet a Doberman for a while after seeing "The Boys From Brazil". You might also find yourself wondering about the genetic background of eerily familiar-looking boys you might see, especially given recent advancements in cloning.

WHAT a movie!
This is so weird to write this, BUT... The first time I saw this film I had a roaring migraine headache, complete with severe nausea. IF you're a migraine sufferer, as I am, YOU understand what it's like to be stricken with one of them- you know what it's like to lay in bed, in misery and bordom trying to escape the pain. Normally, you just want to be left alone in a nice quiet, dark room and hopefully go comatose till it's all over. Anyway, early in that afternoon- BEFORE the headache part of the headache came on- the time where the only symptom is the onset of nausea, I read in my TV guide that "The Boys From Brazil" was going to be airing that evening. "Cool." me thinks, "I've been really wanting to see that film, now's my chance!" (This was Pre-DVD, Pre-VHS; Damn, this was SO long ago that it was even PRE HBO! It was plain-old-time-commercial-break-infested-TV-land; which, truth be known, was kind of a blessing for me what with the nausea and all... That night, one could call them: "hurl-breaks" !) Anyway, to shorten an already way too long story: In spite of BLINDING, COLOR ARCHING, NUCLEAR-MELTDOWN BRAIN PAIN, I was SO thrilled by this film, so completely enteretained and SURPRISED by the thing, that, migraine or no, I watched the whole dog-gone thing!
MERCY! Talk about "association strengthening memory"! THIS is one film I will never, EVER forget by virttue of association... SHOOT, to this day, every time I watch it, my forehead sweats, I get kinda' achy at the base of my scull, and my stomach commences to churn. But it was WORTH it! What a GREAT flick, go ahead, buy it. You'll like it. Heck, watch it with a migraine sufferer YOU love. ;o)

Passionate
The love secenes were especially moving. Watching two sensitive caring people commit themselves to lives of devotion and sacrifice for the benefit of children and the world was wonderfully refreshing. Long live the IV Reich !
(and George Bush!) ... Read more

Amazon.com essential video

One of the most intriguing criminal trials of the 1980s involved Claus von Bülow, who was accused of sending his rich wife Sunny into a permanent coma with an overdose of insulin. Director Barbet Schroeder, working from Nicholas Kazan's evocative, darkly humorous script, turns the story into both a look at the lives of rich folks with too much time on their hands and a whodunit, as lawyer Alan Dershowitz (Ron Silver) prepares to defend von Bülow (Jeremy Irons) in court. Irons won an Oscar for his spooky, knowing performance, which hints at depths of degeneracy without ever putting a dent in a veneer of bored elegance. The contrast between the hard-charging Dershowitz and his eager-beaver Harvard law students and the eternally languid von Bülow adds unexpected humor. --Marshall Fine ... Read more

Reviews (21)

It's all about Irons
This is a slyly clever adaptation of Alan Dershowitz' account of the retrial of Claus von Bulow. It features strong performances from Glenn Close, and Ron Silver as Dershowitz, and Barbet Schroeder won an Academy Award nomination as Best Director. But in the end, this movie is all about the portrayal of Claus von Bulow by Jeremy Irons, in an Oscar winning performance. Irons is superbly ambiguous throughout, never allowing the audience to finally settle its sympathies with his character.

Irons' final line is typically enigmatic: "Just kidding." This movie is well worth a look.

Fine Dramatization of Celebrated Rhode Island Criminal Case
Along with the scandal-ridden career of Vincent "Buddy" Cianci, the mayor of Providence, the Von Bulow case was, and probably remains, a popular topic of conversation in Rhode Island. Barbet Schroeder gives a mesmering look at a dark chapter in the history of Newport, Rhode Island with exceptional performances from Jeremy Irons and Ron Silver. Iron portrays Claus Von Bulow with the right mix of elegance and sleaziness thrown in, letting us know that he is not quite the man he seems to be (Indeed, Von Bulow had married far above his station when he wed Sunny - Glenn Close in the film; there are many who still believe that he deliberately tried to poison her for her wealth.). Fellow Stuyvesant High School alumnus Ron Silver is magnificient as Harvard Law Professor Alan Dershowitz; although he doesn't quite resemble Dershowitz, he does a remarkable portrayal of the latter's personality, judging from what I have seen of Dershowitz during his conversations with television talk show hosts Larry King and Ted Koppel. This splendid film is both a first rate thriller and a revealing look at how rewarding justice can be for those who are wealthy. Without a doubt, it is one of the finest dramatizations of a celebrated criminal case ever filmed.

Exceptional drama of a legal defense
The murder of Sunny von Bulow (played by Glenn Close)was one of the most publicized murder cases of the 80s. This film tells the story of how well-known lawyer Alan Dershowitz (Ron Silver) reversed the guilty verdict of accused murderer Klaus von Bulow (Jeremy Irons), Sunny's husband. This film walks a tightrope between a dramatization of the facts in the case and an account that presumes to know what really occurred, so that by the end of the film, we still do not know who, if anyone, committed the murder. The film is filled with great performances. Irons won a best-actor Oscar for his role. Silver's Dershowitz is impassioned and driven.

Coma
Audacious, brilliant, cerebral yet firmly grounded in the stuff of life, Barbet Schroeder's "Reversal of Fortune" is as much a winner now as it was when it was first released, 14+ years ago. And this has as much to do with Jeremy Irons' performance as Klaus Von Bulow as it does with Schroeder's masterful writing and directing: here is an example of everything coming together in the right place at the right time.

Jeremy Irons¿ Great Villain[?]
Had occasion to see this terrific legal docu-drama again after 15 years and marveled at the performance of Jeremy Irons as convicted would-be-murderer Klaus Von Bulow. Buoyed by a great supporting cast, this movie tells the tale of the reversal of the conviction of Klaus for attempted murder of his socialite wife Sunny, played by Glenn Close. Irons steals the show though with his elegant, dark, emotionally hooded, and overtly sinister portrayal. While the film makes no moral judgments, and Bulow was eventually acquitted in real life; one can't help but wonder about the real outcome of the night that left Sunny a comatose vegetable to this day. ... Read more

Reviews (4)

For beginners to advanced...
I have been kicking around the idea of going to acting school for the past several years now. Because the school is somewhat expensive and relatively far away, I was concerned about enrolling considering I've never had the opportunity to explore my acting desires in this rural community. I purchased this video to see if this is a career I would like to, seriously, pursue.

After watching this video, it is very clear that Uta Hagen is very experienced and respected in this business. The way she talks to her class of actors is very down-to-earth but also very professional. As a "first-timer", her explainations of what she's looking for is easy to understand and comprehend. You know exactly what she likes, doesn't like, and why. She also tells you what to look out for while you're in character and what to work on when you're not. She has broken acting down into steps and explains each basic one in these two videos.

I recommend these videos to all actors of every level. If you are just starting out, like myself, you will learn valuable insight and tips that will forever help you along the way. If you are an experienced actor, the exercises that are outlined will keep you fresh and honest with yourself and your goals.

I cannot say enough about how much this video has helped me to understand acting as a true art form. For me, even though the price tag did seem a little stiff before I finally ordered, it has been worth every penny they were asking. I even hope they come out with a 2nd set that will continue to go deeper into this brilliant teacher's mind - And, I would pay that price, too!

A NECESSITY FOR ACTORS AND DIRECTORS!
as a teacher at USC film school, i have found this video
invaluable. my classes have watched it again and again.
new directors can watch ms. hagen in action so that they can witness what is necessary directions for actors...and professional actors will now have the opportunity to study
with this master!!!

How fortunate that Uta Hagen's teaching has been captured.
Hagen engages in fascinating dialog with this class of young actors. Her critiques of their scenes are right to the point,
useful, candid and entertaining. And the students improve! It is as if you are taking her class. A really important --and essential to any acting teacher or student -- work.

Worth it
I've read the books, and was curious to see Uta's master classes, but I wasn't certain I needed to actually have my own set. I shouldn't have been surprised--just like with the book, you do go back and back to the video. There's so much there.

And just like the books, if your spirits need picking up about why we're doing this, Uta comes to the rescue. ... Read more

Reviews (6)

ARTISTIC GIANT
Actor, singer, athlete, lawyer and activist are just a few of the titles bestowed on one of the greatest artistic geniuses of the 20th century. Regaled by many and reviled by some Paul Robeson, the son of a slave, stands out as an artist who intergrated his art as a form of activism against the injustices perpetrated on those who are powereless.

Here I Stand is a cinematic chronicle of Paul Robeson's life as seen through the eyes of himself, his colleagues, children, film critics and historians. The chronicle of his life begins in New Jersey where is is raised by his father a minister in the Presbyterian Church and later the African Methodist Episcopal Zion church. From him, young Paul is taught to be fearless and strive for excellence in whatever he does. Those values laid the foundation of what he was to become. When he leaves New Jersey and goes to New York for law school, Paul finds himself hitting the glass ceiling of a white law firm and eventually is encouraged by his wife to seek an acting career.

It is in singing and acting that Paul finds his true calling. One of the great strengths of this video is its analysis of his acting career on stage and in the movies. Paul failed in the movies not because of lack of talent but because of the refusal of the industry to give him roles that weren't stereotypical of Black people. His singing increases his popularity abroad and soon he becomes politicized to the problems of the disinfranchised. It is from this experience that the activist Paul Robeson emerges.

All through the film we see his growth as an activist and his firm refusal to back down. Even more thrilling is his defiance against government authority determined to keep him in his place but like old man river, he keeps rolling along. He keeps going inspite of his passport taken away, the constant hounding by the FBI, his concert career broken for close to ten years and the deterioration of his health. Through it all, he maintains his dignity and refuses to bow. He is an inspiration as to what Black men and women should be. There are critical assessments of him concerning his marriage and refusal to denounce Stalin but even those merely tell us he was a man of his times flawed like any other. Yet he remains for us a giant of his time.

Captures all of the major issues
The content of this film has already been discussed, but fans will be pleased that most of the major issues dealing with Robeson, his career, and the controversy are all handled well in the allotted time. It also does not shy from some of the less flattering aspects of his career (such as his actual knowledge of Stalin's crimes, but his refusal to openly speak on this because he felt his bigger enemies were at home), but this is handled well and you come away with a good idea of what the man was about in his outspokenness on issues of oppressed people. Only monor complaint is the lack of special features on this DVD, but overall, it's worth the money.

An Excellent Introduction to the Man
This "American Masters" volume directed by St. Clair Bourne is an excellent centennial introduction to the life and times of Paul Robeson, one of the greatest Americans of the twentieth century. The video's content has already been discussed by other reviewers and I have nothing to add on that score, other than to recommend three other fine books that people interested in finding out more might enjoy.

First is Martin Bauml Duberman's biography of Robeson, published in 1989. This is the best single source.

Second is Philip Foner's excellent "Paul Robeson Speaks" which contains a collection of Robeson's writings and speeches, as well as an excellent chronology. Particularly noteworthy is the transcript of Robeson's testimony before the House Unamerican Activities Committtee.

Third is Robeson's own book "Here I Stand," a small but very valuable volume with enduring insights about America and the world.

O.K., there's also a fourth. Paul Robeson Jr. has written an excellent new book about his father that is worth checking out.

You should be able to find these books (Foner's book may be out of print) on Amazon.

americas shame
this dvd shows how robeson was caught up in international politics and paid with his life. he was years ahead of his time, a one man civil rights movement careering into the mccarthyite era, a dangerous place to be, but he did not shirk: " i have made my choice, i have no alternative." his mission?" all men are brothers because of thier music." still misunderstood by the american conciousness, this dvd goes some way to explaining robeson's political manoevers and also demonstrates the huge american support he had during his opposition to the prevailing policies of the day, many of which are now discredited and redundant. what a hero.

Fascinating and Compelling
This documentary is probably one of the best biopics I've seen in a long time--it's incredibly moving, it told a compelling story I wanted to keep listening to, and it devoted enough time and attention to its subject so that by the end you really felt you knew something about the man.

The reviewer on this page did an excellent job of summarizing the content of the documentary, though I disagree with her about the Robeson films shown. That section of the movie dragged for me. It's true that in role after role, Robeson was forced to play characters unworthy of him, allowed only the narrow, stereotyped range that moviegoers expected to see African-Americans portray, and undermined by directors and editors even when he attempts to give his work a deeper significance and a more challenging political message. But the filmmakers seemed determined to show extended footage of each and every one of these movies, and it's painful to watch such a talented man being objectified in film after film. I finally had to fast-forward.

In the ample footage of Robeson performing on his own, on the other hand, whether singing, speaking to crowds, or describing his life in television appearances, Robeson isn't forced to compromise with someone else's vision. Here, he can say what he really thinks. I was astonished at how unrelentingly outspoken Robeson was at such an early date--at least from the Second World War if not earlier. In fact, when Robeson returns from an extended trip abroad in the early 1960s, he's greeted at the airport by a gaggle of interviewers, one of whom wants to know whether he'll be particating in the Civil Rights Movement. Given everything we've seen thus far, it's an astonishing question and I was torn between outrage and laughter, but Robeson just gives the guy a mildly condescending stare and says, "I consider myself to have been doing so my entire life." Likewise, a segment that shows how, over the years, Robeson transformed the song 'Ol' Man River' from a testament to racism to an ode to struggle and endurance is powerful. I was also entranced by Robeson's television appearances. In these, you can see something that doesn't come through in his singing speaking, or acting: that he was a natural storyteller, with a gift for timing and humor, and an actual physical involvement in each anecdote that seems to reflect his youthful training as an athlete.

All in all, I found this movie one of the most informative I've seen, one that educated without sacrificing its ability to entertain and entrance. Much of the credit must go to Robeson himself, committed both to teaching America about the truth of its behavior toward its most disadvantaged citizens, and to the extraordinary quality of his artistic work, which has a beauty and power that remains to this day. ... Read more

Reviews (36)

Thriller with a First-Rate Cast
When the film was made almost a quarter century ago, the concept of "cloning" was the stuff of science fiction, as far as the general public was concerned. However, with the recent developments in the area making headlines worldwide, the idea is not reserved to the imagination. Therefore, the basic premise of Hitler authorizing his own cloning doesn't seem as farfetched as it may have been. Hey, the Germans have given the world the Volkswagen; thus, their scientists could have possibly been working on the cloning process prior and during World War II.

Regardless, the film features excellent work from stars Peck, Olivier, and Mason. Peck went against type by portraying Josef Mengele as a crafty, calculating, and ultimately evil scientist who would go to any length to preserve the Third Reich. Olivier, as the Nazi hunter Lieberman, displays his versatility with accents by doning a very believable Jewish brogue. Mason shows his usual cool as a Nazi hesitant but forced to support the machinations of Mengele.

But, the film has an outstanding group of supporting players whose on-screen time may be brief but is memorable. Uta Hagen as an imprisoned Nazi nurse is captivating; stage veteran Rosemary Harris stands out as the widow of one of Mengele's victims; A young Steve Guttenburg shines as a Nazi hunter; and comedy team member Anne Meara (sans her husband) is great as another "mother" of a Hitler clone.

But, it is Jeremy Black, a young actor who seems to have drifted into obscurity since the release of this motion picture, who is impressive as four of the "boys."

Oh, yeah, the great Michael Gough is "hanging around" in this one, too! Look fast and you will see Prunella Scales from "Fawlty Towers" as Gough's wife.

Peck vs Olivier as the Nazis try to clone Adolf Hitler
Gregory Peck gets about as far away from his Oscar winning role as Atticus Finch as possible with his over-the-top performance as the infamous Nazi doctor, Josef Mengele. Once you learn about the plot of "The Boys from Brazil," based on Ira Levin's novel, Peck's hammy performance makes perfect sense. At a South American summit of Nazis, Mengele announces that over the next couple of years 94 adult males with much younger wives and adolescent sons are to be systematically murdered around their 65th birthdays. Mengele had cloned Hitler, implanted the eggs in all of these women, and now wants to recreate what he believes was the Fuhrer's formative experience as a child. Fortunately young Nazi-hunter Barry Kohler (Steve Guttenberg) overhears the plot and right before he is murdered manages enlists the aid of the legendary Ezra Lieberman (Laurence Olivier) to stop this horrific plot. Just think of this film as a cross between "Jurassic Park" and "Triumph of the Will." The scene where a scientist explains the cloning process in excruciating detail to Lieberman is a textbook lesson on how too much exposition can stop a movie in its tracks. But then there is the final living room standoff between Mengele, Lieberman and one of the Hitler clones with his pack of trained killer Dobermans.

Actually, the actor who impresses me in "The Boys from Brazil" is James Mason, who plays Nazi Eduard Seibert and somehow makes the whole thing seem reasonable. Lilli Palmer, Uta Hagen, Rosemary Harris and Denholm Elliott round out the stellar supporting cast caught up in this madness. Jeremy Black has the interesting role of playing all the young Hitler-Wannabees (Jack Curry, Simon Harrington, Erich Doring, Bobby Wheelock, etc.). Director Franklin J. Schaffner ("Planet of the Apes," "Patton," "Papillion") directs this straight up while Peck spews curses and Olivier trots out his wise old man routine. But to be fair, once we get past the exposition and Olivier tells the scientist that the person who has been cloned is neither Mozart nor Picasso, the story does get into gear. In what other over the top film can you see this much acting talent chewing up this much scenery? "The Boys From Brazil" is a first-class bad movie.

Overdone but chilling
Gregory Peck plays a Nazi doctor who escaped to Brazil as the Third Reich fell, while Laurence Olivier plays a Nazi hunter on Peck's trail. What is the evil doctor involved in? How about the creation of a Fourth Reich led by an Adolf Hitler clone? Will Olivier catch Pevck in time? Will that be enough?

Both of these great actors seem to have either tried too hard to make this movie work, or else treated it as somewhat of a farce. They overplay many of their scenes. Nevertheless, this is an intense, chilling, creepy movie with enough story to capture and maintain the viewer's attention. There is considerable gore at times; you might not want to pet a Doberman for a while after seeing "The Boys From Brazil". You might also find yourself wondering about the genetic background of eerily familiar-looking boys you might see, especially given recent advancements in cloning.

WHAT a movie!
This is so weird to write this, BUT... The first time I saw this film I had a roaring migraine headache, complete with severe nausea. IF you're a migraine sufferer, as I am, YOU understand what it's like to be stricken with one of them- you know what it's like to lay in bed, in misery and bordom trying to escape the pain. Normally, you just want to be left alone in a nice quiet, dark room and hopefully go comatose till it's all over. Anyway, early in that afternoon- BEFORE the headache part of the headache came on- the time where the only symptom is the onset of nausea, I read in my TV guide that "The Boys From Brazil" was going to be airing that evening. "Cool." me thinks, "I've been really wanting to see that film, now's my chance!" (This was Pre-DVD, Pre-VHS; Damn, this was SO long ago that it was even PRE HBO! It was plain-old-time-commercial-break-infested-TV-land; which, truth be known, was kind of a blessing for me what with the nausea and all... That night, one could call them: "hurl-breaks" !) Anyway, to shorten an already way too long story: In spite of BLINDING, COLOR ARCHING, NUCLEAR-MELTDOWN BRAIN PAIN, I was SO thrilled by this film, so completely enteretained and SURPRISED by the thing, that, migraine or no, I watched the whole dog-gone thing!
MERCY! Talk about "association strengthening memory"! THIS is one film I will never, EVER forget by virttue of association... SHOOT, to this day, every time I watch it, my forehead sweats, I get kinda' achy at the base of my scull, and my stomach commences to churn. But it was WORTH it! What a GREAT flick, go ahead, buy it. You'll like it. Heck, watch it with a migraine sufferer YOU love. ;o)

Passionate
The love secenes were especially moving. Watching two sensitive caring people commit themselves to lives of devotion and sacrifice for the benefit of children and the world was wonderfully refreshing. Long live the IV Reich !
(and George Bush!) ... Read more

Reviews (21)

It's all about Irons
This is a slyly clever adaptation of Alan Dershowitz' account of the retrial of Claus von Bulow. It features strong performances from Glenn Close, and Ron Silver as Dershowitz, and Barbet Schroeder won an Academy Award nomination as Best Director. But in the end, this movie is all about the portrayal of Claus von Bulow by Jeremy Irons, in an Oscar winning performance. Irons is superbly ambiguous throughout, never allowing the audience to finally settle its sympathies with his character.

Irons' final line is typically enigmatic: "Just kidding." This movie is well worth a look.

Fine Dramatization of Celebrated Rhode Island Criminal Case
Along with the scandal-ridden career of Vincent "Buddy" Cianci, the mayor of Providence, the Von Bulow case was, and probably remains, a popular topic of conversation in Rhode Island. Barbet Schroeder gives a mesmering look at a dark chapter in the history of Newport, Rhode Island with exceptional performances from Jeremy Irons and Ron Silver. Iron portrays Claus Von Bulow with the right mix of elegance and sleaziness thrown in, letting us know that he is not quite the man he seems to be (Indeed, Von Bulow had married far above his station when he wed Sunny - Glenn Close in the film; there are many who still believe that he deliberately tried to poison her for her wealth.). Fellow Stuyvesant High School alumnus Ron Silver is magnificient as Harvard Law Professor Alan Dershowitz; although he doesn't quite resemble Dershowitz, he does a remarkable portrayal of the latter's personality, judging from what I have seen of Dershowitz during his conversations with television talk show hosts Larry King and Ted Koppel. This splendid film is both a first rate thriller and a revealing look at how rewarding justice can be for those who are wealthy. Without a doubt, it is one of the finest dramatizations of a celebrated criminal case ever filmed.

Exceptional drama of a legal defense
The murder of Sunny von Bulow (played by Glenn Close)was one of the most publicized murder cases of the 80s. This film tells the story of how well-known lawyer Alan Dershowitz (Ron Silver) reversed the guilty verdict of accused murderer Klaus von Bulow (Jeremy Irons), Sunny's husband. This film walks a tightrope between a dramatization of the facts in the case and an account that presumes to know what really occurred, so that by the end of the film, we still do not know who, if anyone, committed the murder. The film is filled with great performances. Irons won a best-actor Oscar for his role. Silver's Dershowitz is impassioned and driven.

Coma
Audacious, brilliant, cerebral yet firmly grounded in the stuff of life, Barbet Schroeder's "Reversal of Fortune" is as much a winner now as it was when it was first released, 14+ years ago. And this has as much to do with Jeremy Irons' performance as Klaus Von Bulow as it does with Schroeder's masterful writing and directing: here is an example of everything coming together in the right place at the right time.

Jeremy Irons¿ Great Villain[?]
Had occasion to see this terrific legal docu-drama again after 15 years and marveled at the performance of Jeremy Irons as convicted would-be-murderer Klaus Von Bulow. Buoyed by a great supporting cast, this movie tells the tale of the reversal of the conviction of Klaus for attempted murder of his socialite wife Sunny, played by Glenn Close. Irons steals the show though with his elegant, dark, emotionally hooded, and overtly sinister portrayal. While the film makes no moral judgments, and Bulow was eventually acquitted in real life; one can't help but wonder about the real outcome of the night that left Sunny a comatose vegetable to this day. ... Read more