Reviews (14)

Sweet and Endearing
This movie, to me, was truly wonderful. It pulls you in and makes you want to keep watching. The comedy is wonderful, as is the drama. Diane Keaton, Jessica Lange, and Sissy Spacek are wonderful as three sisters who are reunited because of something that happens. Sam Shepard has a wonderful supporting role as 'Doc'. All of the actors were terrific in this movie. If you like dramas and comedies mixed into one, then definitely rent or buy this movie. You won't regret it! Three Oscar winning actresses in the leading roles, a wonderful storyline, and a wonderful play-turned-into-a-movie.

Wonderful film!
This is a great film about the relationship between three very eccentric Southern sisters Lenny (Diane Keaton), Meg (Jessica Lange) and Babe (Sissy Spacek). All of their jealousies and rivalries surface during an odd reunion in the South when one of the sisters is accused of trying her murder her husband. This is an enjoyable film that features top-notch performances by its stars, witty dialogue and beautiful scenery that enhances the slice of life in a small town atmosphere. Sam Shepard and Tess Harper also give good performances in their roles. Give this film a try, you may be surprised at how much you'll enjoy it!

Endearing and Touching Movie
Not only was this movie very true to the play, it was very well acted by three wonderful Oscar winning actresses. Diane Keaton plays Lenny, the oldest of the three, who seems to be the most sane sister of the three. Jessica Lange can't seem to keep a man. She just sort of jumps from one relationship to another and Sissy Spacek plays Babe, the youngest of the three, and she has just shot her husband, so she has a few problems there. Yet it is that that brings the three together again for a bittersweet reunion. Sam Shepard also shines as Doc Porter, a long time friend of the family. I would classify this movie as being a 'chick flick', but a very well done one at that! So if you like these actresses, I would highly recommend this movie to add to your collection.

Faithful to the Play.
CRIMES OF THE HEART is a movie that is successfully adapted from the play by the same name. The film revolves around a couple days in the lives of the three Magrath sisters: Lenny, Meg, and Babe. Babe is just released from jail after having shot her husband because she "didn't like his looks". Meg returns home to Hazelhurst, Missiissippi upon learning that Babe's in trouble, and Lenny is a basketcase who holds the family together.

The movie has a great cast with some very fine serio-comic acting. The direction is superb and the writing full of wit.

Overall a charming film. However, this is a chick flick and if you're a guy, you may only want to watch this on a date.

Up-close and intimate
The films I watch tend to be action films of the likes of Arnie, Stallone and Gibson et al. So it may come as a surprise that I say that I think this film is a real gem. So why do I think that? Well, for a start it's just a pure delight from start to end. Great acting, great directing, great storyline. It's a southern story played out with charm, elegance and humanity. It's really very diificult to say exactly why one likes this movie because it really is a special personal experience that covers so many things, from aspects of motivation, the way the characters reflect and even just their accents. I will never forget those simple lines "oh babe why did you do it" and the replies, or the "she was just having a very bad day" lines too. It's a very personal film, laid back, up-close, intimate, soft, a work of art. Brilliant acting, brilliant direction and brilliant script - lovely film. ... Read more

Reviews (5)

Refurbished Streetcar rides better than the original
I was age two in 1951 when Tennessee Williams's A STREETCAR NAMED DESIRE had its first Silver Screen incarnation. I don't recall seeing this film during the 50s as part of a twenty-five cent, Saturday, kiddy matinee double feature. Well, we would have been bored with such grown-up tempests-in-a-teapot anyway. As an adult, I can now view both the original and this 1995 version, and reap the benefit of improved film-making technology and relaxed censorship, though both versions are substantively identical - no surprise, since they're both working off the same script.

Blanche Dubois arrives in post-WWII New Orleans from Mississippi to visit her younger sister Stella, who's married to Stanley Kowalsky. Both women were the products of a genteel, Southern upbringing, and Blanche is appalled by Stanley's brutishness and the sweltering, seedy, French Quarter apartment in which her sister happily lives. Early in life, Blanche was psychologically devastated her young husband's death. He'd committed suicide after Blanche had discovered his homosexuality and confronted him. Stella having departed the family estate, Belle Reve, for the Big City, the widowed Blanche was left to deal with the deaths of parents and the eventual loss of Belle Reve to creditors. Now, at the edge of sanity, Blanche perceives herself as a classic Southern lady fallen on hard times. But she has another side which Stanley, a male "pig" if there ever was one, immediately perceives. It's their tense interaction over several months that provides the story's conflict and seals Blanche's fate.

How do the players compare?

Alec Baldwin's 1995 Stanley is more than adequate. OK, he doesn't have the animal presence of Marlon Brando's original, but at least the former doesn't talk as if through a mouthful of cotton. And if I hear the 1951 Stanley screech his high-pitched "Stella!" one more time, I'll lose it.

The role of Blanche is better served by Jessica Lange than Vivien Leigh. To me, Leigh's version came off with a touch of spoiled brat, while Lange's embodied more of the vulnerability and residual gentility that comprised the essence of Blanche. In that persona, Leigh's illusions and delusions seemed overacted, while Lange's seemed inherently genuine. (Do I suffer from being too infatuated with Jessica's role in TOOTSIE?)

John Goodman as Mitch, who becomes smitten with Stanley's sister-in-law, is more of a flawed-yet-sympathetic figure than was Karl Malden's original. Perhaps it's because Goodman's more massive physique contrasts better with his (initial) gentleness.

Played by Diane Lane (1995) and Kim Hunter (1951), Stella is a toss-up. I give Ms. Lane the nod simply because she's a superb, contemporary actress that I fondly recall from LONESOME DOVE and UNFAITHFUL.

Purists will rage, but if I had to recommend one version over another, it would be this one. Filmed in color, it provides more atmosphere and depth than the B&W original. And the viewer no longer has to cope with the early-1950s censorship that muddied dialog and scenes having to do with homosexuality, rape and nymphomania. This is a half-century later; let's move on for Chrissakes! After all, the "classic" story is Williams's original play. (Who knows? In 2050, a third screen edition may do it even better. Perhaps it'll be a holographic presentation.)

For me, the best scene in both is at the end when Blanche is gallantly treated like the lady she believes herself to be, and she poignantly remarks, "Whoever you are, I have always depended on the kindness of strangers." To get through life, we all do.

Simply Perfect
I've never seen the original, but this TV version was truly mezmerizing. I love Jessica Lange so I am biased when it comes to her performances. However, I had such compassion for her portrayal of Blanche. She portrays the character as such a lost and troubled soul. You feel a sence of impending doom building throughout the film which is satisfied by the film's explosive climax. The entire cast is first-rate and seem to compliment each other's performance. I could watch this one over and over.

Jessica is truly amazing!
It's hard for anyone to believe that Jessica Lange could outshine Vivien Leigh in one of the latter's signature role, but she did. Alec Baldwin is no match for Marlon Brando. However, this new version is more faithful to the original. And it's worth seeing even only for Lange's magical performance. Her final scene is truly heartbreaking.

Jessica' s best performance?
I always thought that Vivien Leigh's interpretation of Blanche will be the definitive performance for this role. I am not so sure after I watched Lange's heart-breaking performance in this version. She is truly amazing. ALthough this actress given tons of great performance in her career ('Frances', 'Country', 'Sweet Dream', 'Music Box', 'Blue Sky'), she very likely gives the performance of her career in a made for TV movie.

Excellent Version of Williams' Masterpiece
While it will not replace the classic 1951 Kazan film version, this television production of Tennessee Williams' "Streetcar Named Desire" comes textually closer and remains more faithful to what Williams actually wrote (with the exception of a few minor deletions). The most noticeable restoration is the issue of homosexuality in regard to Blanche's dead husband, which in 1951 had to be sidestepped. The performances are all quite good. Diane Lane as Stella and John Goodman as Mitch are more human and less deliberate than their Kazan counterparts, Kim Hunter and Karl Malden. Alec Baldwin does quite well, especially considering the shadow of Brando which hangs over the role of Stanley Kowalski. Baldwin may lack the complete rawness and animal sexuality, but he improves over Brando in giving Stanley a sympathetic edge; another advantage is that Baldwin does not mumble.

Which brings us to Jessica Lange, whose portrayal of Blanche is both delicately shaded and strongly characterized; she is heart-breaking and luminous. Comparing her to Vivian Leigh, it is impossible to rank one over the other, as both performances seem "definitive" (now if we only had the performances of Jessica Tandy, Uta Hagen, and Tallulah Bankead preserved). The production design for once truly emphasizes the squalor in which Stella and Stanley live and which so shocks Blanche upon her arrival. Worth purchasing, especially for devotees of Williams. ... Read more

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One of the touchstone movies of the 1980s, Tootsie stars Dustin Hoffman as an out-of-work actor who disguises himself as a dowdy, middle-aged woman to get a part on a hit soap opera. The scheme works, but while he/she keeps up the charade, Hoffman's character comes to see life through the eyes of the opposite sex. The script by Larry Gelbart (with Murray Schisgal) is a winner, and director Sydney Pollack brings taut proficiency to the comedy and sensitivity to the relationship nuances that emerge from Hoffman's drag act. Great supporting work from Teri Garr, Dabney Coleman, Charles Durning, Bill Murray, and pre-stardom Geena Davis. But the film finally belongs to Hoffman, who seems to connect with the character at a very deep and abiding level. --Tom Keogh ... Read more

Reviews (59)

What y'all really want is some gross, caricature of a woman!
In 1982, Dustin Hoffman played one of his most memorable roles as Michael Dorsey in the hilarious comedy, "Tootsie". As an out-of-work actor, Michael teaches acting classes because no director will hire him due to his somewhat peremptory attitude, or so says his agent George Fields (Sydney Pollack, who also directed the film). Frustrated with being undesirable and wanting to prove himself, Michael dons a dress and high heels so that he can apply for a female role in a television soap opera. Calling himself Dorothy Michaels, the soap opera director, Ron (Dabney Coleman), thinks that Dorothy is too ugly for the part, but Dorothy's dominance earns 'her' the right to a screen test and 'she' gets hired! As the film progresses, Michael's pretense as a woman earns him the stardom and recognition that he longed for. However, it also gets him into trouble not only with a woman that he's dating, Sandy (Teri Garr), but also with two of the regular stars from the soap opera, Julie (Jessica Lange) and John Van Horn (George Gaynes).

With an excellent script, superb acting and a hilarious story, it was completely unsurprising that "Tootsie" earned 10 Oscar nominations, including nominations for Best Picture, Best Director (Syndey Pollack), Best Cinematography and Best Screenplay. Dustin Hoffman was nominated for Best Actor and both Teri Garr and Jessica Lange were nominated for Best Supporting Actress. Of all the Oscar nominations, only Jessica Lange won the Oscar. Dustin Hoffman won the Golden Globe for Best Actor, as did Jessica Lange for Best Supporting Actress. The number of Oscar nominations that the film earned demonstrated the many strengths of the film, not to mention that the film will keep you laughing and fully engaged!

Other very memorable characters in the film include Julie's father Les (Charles Durning), Michael's roommate Jeff (Bill Murray), soap opera producer Rita (Doris Belack) and soap opera nurse April (a young Geena Davis).

If you enjoy films such as "Some Like It Hot" (1959) and "Mrs. Doubtfire" (1993), you will more than likely enjoy "Tootsie" equally as well. I rate "Tootsie" with a resounding 5 out of 5 stars and am very pleased to own it on DVD.

We Are Large...We Contain Multitudes
When I first saw this film more than 20 years, I really did not fully appreciate then what director Sydney Pollack, his cast, and his crew had achieved. To be sure, I found the humor hilarious, the cross-dressing and gender-bending clever, and all of the performances first-rate. I have the same opinion today. However, in ways and to an extent no previous film had done, Tootsie makes certain assertions which have serious implications, then and now. For example, that at least some men can more fully develop their masculinity by recognizing their femininity, as indeed Michael Dorsey/Dorothy Michaels (Dustin Hoffman) does. And the same is also true of at least some women. Moreover, this film effectively demonstrates how difficult it can often be to gain and then sustain another's complete trust. To salvage his acting career, Michael repositions himself as Dorothy so he will be hired to play a character in a soap opera. As Dorothy, he establishes an especially close relationship with another cast member, Julie (Jessica Lange), and falls in love with her while continuing to deceive her. Later, her widower father Les (Charles Durning) falls in love with Dorothy and thus becomes another unwitting victim of Michael's deceit. The eventual happy ending does not include Les.

Shakespeare never devised for his Italian comedies a plot as complicated as the one Larry Gelbart and Murray Schisgal provided for Tootsie. Under Pollack's direction, all of the cast members provide brilliant performances, notably Bill Murray as Michael's friend Jeff and George Gaynes as John Van Horn, another cast member. Jessica Lange was selected to receive an Academy Award as best actress and deserved it. Much of this film is hilarious, it is always entertaining, but as I indicated previously, having seen it again recently, I find it much bolder and more thought-provoking now than I did 21 years ago. To some, perhaps, its serious implications may even seem threatening.

A Nearly Perfect American Comedy
I heard a story that Dustin Hoffman was considering doing this movie, but that he waited until he had been made up to see if he made a convincing enough woman before agreeing. I don't know how true this story is, or even how convincing he is as a woman, but thank goodness this movie was made.

I can't think of another movie more perfectly cast except.... maybe... Casablanca? Jessica Lange is perfect as the beautiful soap actress and love interest. Charles Durning is perfect as the sweet older man who falls in love with Dustin's "Dorothy". Terri Garr is perfect as the insecure female friend who loses the role on the soap to "Dorothy". Bill Murray is great in his few scenes - this is one of the first movies where we actually got to see him "act". Dabney Coleman is perfect as the arrogant director of the soap who cheats on poor Jessica. Director Sydney Pollack wisely casts himself perfectly as Dustin's exasperated agent. (The scene early on where he informs Dustin that NO ONE will hire him because he's too "difficult" is fantastic.) Lastly, Dustin Hoffman is perfect as the actor who becomes a better man by pretending to be a woman.

The film is full of situations that turn your expectations sideways - I'd give examples, but that would ruin your enjoyment if you haven't seen it yet! Trust me - just watch this movie - but only if you want to be entertained!

FUNNY. AND MEANINGFUL.
What a tightly scripted, beautifully acted, finely paced comedy! Having seen it a long time ago, I felt it must've been very much like an older version of Mrs Doubtfire, but this marvellous film has a lot more going for it than the female impersonation angle.

When a failing actor cross dresses to get a job, he also discovers the inconveniences of being a "woman of the 80s". Throughout the film, there's always a pleasing sense of cynical humor (e.g., "I dont believe in hell. I believe in unemployment, but not in hell") and Hoffman is topnotch in his role.

The from Morricone has a somewhat grating refrain of Stephen Bishop's "It might be you" but I guess it perfectly serves its purpose, providing the touching backdrop to the actor's increasing awareness of the strength of feminine qualities -- the touch of the baby to his cheek, the poignant sight of Julie's skirt swishing in the kitchen, the offering to Dorothy of her chocolate-covered finger to suck, etc.

I can see that Hoffman must have committed to this movie bigtime, and I notice that there's a book that describes the making of this film but is currently out of print. Perhaps something to this effect would have been great to include on the DVD itself, which is incidentally quite lousy for such a classic film.

At any rate, it's a great addition to any movie collection.

Dustin Hoffman is the best!
Dustin Hoffman is a fantastic character actor, one of the all time greats. He is superb in this movie. He is an actor who can't get a job as a man but through circumstances, ends up getting a woman's part in a soap opera. The cast thinks he is a woman and it really was funny watching Hoffman try to keep them from learning he was a man. This movie was really funny and yet it had a lot of drama and humanity included.

I found his portrayal of a woman more interesting and likable than that of the male character, in fact, there were times that I would get so wrapped up in the character, Dorothy, that I would forget that he was a man acting as a woman. The cast, Jessica Lange, Teri Garr, Dabney Coleman, Bill Murray, Charles Durney, Geena Davis, were all great.

This is one of those movies that will be remembered for years to come! Enjoy! ... Read more

Reviews (303)

Landmark in US filmmaking
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Don't be fooled. "Big Fish" is not the classic want-to-be "surreal" tale with random psychedelic elements. "Big Fish" is not a movie that "tries to hard" to be different or bizarre. "Big Fish" is *real*. It embodies much more than what it may seem at first glance.

After a somewhat decline during his last movies (since his masterpieces "Edward..." and "Ed Wood"), Tim Burton finally decided to explore two more realistic subjects: first; a father-son relationship and second; the story of ones life. "Big Fish" is left to the viewer to be understood, analyzed, and interpreted. Like any other film, the final interpretation lays on the viewer. However many directors are often biased and leave little room for personal interpretation making their own. Burton, on the contrary, leaves a universe for multiple interpretations. One can wonder how he managed with such a solid plot. Nonetheless, he succeeded.

The beauty of the profound subject, the imaging, the style, and the meaning and purpose of "Big Fish", makes it a film to be remembered by many generations to follow. Tim Burton has delivered a masterpiece like never before: a landmark in US filmmaking.

5/5 - "Big Fish" is huge.

Wow
I've been a big Tim Burton fan for years, so when the combination of his imagination with the heavenly creature that is Ewan McGregor are combined - it's a match made in movie heaven.
The story revolves around a man who feels disconnected from his father and all of his "tall tales" of growing up. When his father falls ill, he returns home with his pregnant wife and tries to get to the truth of the matter when it comes to his father's life.
I loved how the story kept going back and forth between the present day and the past. Burton's imagination is one of the things I love about his films and he didn't cease to amaze me with this project. Plus, all of the interesting characters brought into the story made the movie even more enjoyable. (My particular favorite was Karl the Giant.)
Albert Finney and Ewan McGregor's performances were amazing. I'm surprised and a bit disappointed that this movie didn't get as much credit as it deserves. Another aspect I loved was the relationship between Bloom and his wife. That scene where he is in the tub in his pajamas and his wife joins him just about brought me to tears. You could still feel the love between the two characters.
Go see this movie. It may just be a movie about tall tales, but it you'll leave feeling better about life.

Greatest Movie Ever
This is the greatest movie I have ever seen. And for all of you people that thought it was terrible, you are either one of three things: mentally handicapped, void of any emotion, or just plain stupid.

Just Plain Awful
After seeing the movie, I was without words to describe my disappointment with the movie. Seeing the comments and reviews on Amazon, I am without words as to how people could be giving such an awful movie 5, 4 or even 3 stars. It is phony from start to finish, with a terrible plastic feeling throughout. It has the most stupid script ever, jokes that are simply not funny, and the bottom line is the I just could not believe someone actually released this movie to the theaters. I simply cannot put into words how deep my disappointment is.

Something's missing...
There are things worth seeing in Tim Burton's Big Fish. Some of the scenes are visually stunning. There are some colorful minor characters (especially the poet/bank robber played by the wonderful Steve Buscemi). And the ending is pretty moving.

Other than that, there seems to be something aimless to the film. It was difficult for me to get interested in what was happening to the characters; I never felt that I truly got to know them, and though perhaps this is part of the point, it was frustrating. Also, Ewan MacGregor's insistently upbeat performance would occasionally get on my nerves. ... Read more

Amazon.com

Jessica Lange is a social worker who falls for an abandoned newborn and breaks all the rules by bringing him home. Halle Berry is the homeless druggie who dumped the baby. One of the film's best attributes is that it reveals everyone's perspective, though much of the story is told from Berry's point of view. Strung out on crack, Berry's character thinks nothing of hiding her baby in a cardboard box near a dumpster before going off for a fix. We watch Berry painfully pull herself up out of the gutter and make a life for herself. She embraces decency and sobriety and becomes the person she might have always been had her childhood been different. After Lange and her amiable spouse (David Strathairn) have formed strong family ties with this difficult child, they find themselves fighting to keep him when Berry decides she wants Isaiah back. Naomi Foner's clever script reveals a legal system that is as much a character in this painful story as the attorney (Samuel L. Jackson) who takes on the case pro bono. Though the film ultimately flounders under a hesitant ending, Lange is such a dynamo that this tragic story still comes recommended. --Rochelle O'Gorman ... Read more

Reviews (15)

Losing Isaiah is the best
Losing Isaiah is the best movie that i've seen so what if Isaiah is african american and a white person wants to adopt him the way i see it is it shouldn't be about race it should be about the love and care that a child gets from the family that they are with no matter what race they are in my opinion Isaiah should have stayed with the family he was with before they moved him they were giving him the love and care that he needed and deserved. he shouldn't have went back with his natural mother he should have stayed where he was at in the first place.the place that he felt the most loved and secured that should have been his family.

Good story plot ;good acting by "et al"
12/04/03 The movie ends with one line on the screen Isaiah 11:6 "and a little child shall lead them"...Supense is there from the moment that the child's biological mother*(played by actress Halle Berry*)) puts him in a cardboard box behind the "beastly room she has herself & he living in"; to him being rescued from the inside of a Muncipal Trash Truck " in the nick of time;to the ER representing itself as the life saving force of hospitals once more, in rescusitating him; with a woman* (of another race and her family adopting him)played by actress Jessica Lange*) saving him from an early life of "foster homes" ,his biological mother raising from her demons,pits and dens of self destruction",the courts ruling in favor of the biological mother (so he can be raised in the culture which is the reality that he must be groomed to realize)to an ending of the adoptee's mother and the biological mother going beyond "self" to be a team in helping him reach the age of reason and beyond as a sensible human.

Who's Better at Being a Parent?
Seeing this movie for the second time, twice on television, the story is about a an African-American baby abandoned by his mother, Khaila Richars, who was strung out on crack, and his foster mother, Margaret Lewin, a social worker who raises him. The first three years of the boy's life, he is nurtured and cared for by the Lewin family while his mother goes through rehab and getting herself a job and a place to stay. She learns of the child she abandons and wants to claim custody of him.
I felt that Khaila needed more time be an adult rather than trying to claim her son back. For one thing, she abandoned a baby and got hooked on drugs. And another, she needs to know how to be a more responsible adult. Although she got rid of her married boyfriend and kicked her habit, she couldn't offer much for Isaiah who was already accustomed to his surroundings. The Lewins, who are white, raised Isaiah, despite the cultural differences. But they have to relate to a society that is colorblind. They just can't up and assume that everything is like a fairy tale. Margaret's husband cheated on her and she didn't even know it until he admitted it in court.
Unfortunately children like Isaiah are put away and await for families that reflect their background and oftentimes, they never get adopted fully. It's even more sad when people have children that they aren't prepared to care for. Government intervention has made it worse. It is argued by some people that they need to bring back group homes and orphanages and put more funding into them. But of course, that too was under fire.
I felt that Isaiah better off living with a family that was stable and nurturing and that Khaila needed to grow up and get herself together. Perhaps even form a certain bond with the family that took in Isaiah.

Cried SO hard!
I've seen this movie on Lifetime Movie Network last year, in my own home, during the Spring. All I remember is little bits and peices of it, but - at the end ... I was hystarical in TEARS! I don't want to spoil you, but - she (the birth mother) did give back her son to the one that cared for her, because the son was CRYING and not eating a THING for weeks. This is why I was CRYING because it was SUCH a happy ending! Gotta watch it... :) You'll cry, too, if you're as sensitive as I am. :)

Powerful and Emotional
For those of you that think Halle is just a pretty face...hopefully her Oscar winning performance in "Monster's Ball" showed you that she wasn't...but if you still have doubts this is a movie you should see. Halle is well deserving of an Oscar in this film as well, she plays a crack addicted homeless woman who loses it all and dumps her baby in the trash just so she can get a hit...when she comes out of her drug stooper she then realizes her mistake, but it's too late. The baby was adopted by a white family and she believes her baby to have died. The movie takes off from there, the white family raises and cares for the child. After Halle's character struggles but reforms herself she finds out that the child is still alive. Then the battle for who is rightfully the parent of the child begins. Some of the highlights here...Samuel L. Jackson's role as Halle's Lawyer and the scene in which the 2 "mothers" meet in the bathroom for the first time...that is a very powerful scene. The movie is a very powerful and moving piece of cinema. Excellent film. ... Read more

Reviews (220)

A Beautiful and Haunting Debut
Julie Taymor, of Broadway's "Lion King" fame, creates a dazzling surreal anachronistic fantasy world with her feature film directorial debut. "Titus" (lately, "Titus Andronicus,") though thought to be Shakespeare's worst play, is a beautiful symphony of distruction, murder, deception, seduction, rape, and cannibalism...at least it becomes so under Taymor's careful direction. The choreographed opening scene of marching soldiers weary from battle in the middle of the collesium sets the tone for a very unlikely brilliant piece of film. Alongside armored soldiers on horseback, people ride down the street in automobiles of various periods. A jazz band accompanies the new young emperor's wedding night orgy. And two young Gothic barbarians in furs trade in their furs for leather and video games. This movie is beautiful, intelligent, and above all unexpected. You can't help but like Aaron the Moor, who prides himself on his villany. Even the queens young sons you can't help but find fascinating, despite their rape of Titus' young daughter Lavinia.

Anthony Hopkins, as always, is brilliant in the title role of Titus. A man dedicated to his country and his emperor and upholds duty above all else...even willing to risk his daughter's unhappiness by consenting to her marriage to the young corrupt emperor Saturninus. Saturninus however eventually marries Titus' captive Gothic queen, played with true sinister brutality by the unrepentantly sexy Jessica Lange. One of her sons you might even recognize from the movie "Velvet Goldmine." Saturninus is played by the always talented and sexually enigmatic Alan Cumming who seems to take great pleasure in imitating more politicians than you could shake a stick at. But hands down the show is stolen by Henry Lennix, playing the evil Aaron, the queens trusted friend and consort. Aaron never apologized for all the pain he has inflicted or his evil ways...he revels in them.

The ending is not unexpected considering most Shakespearian tragedies...but I won't ruin the finer points. Suffice it to say, my personal favorite scene involves the queens two sons, Lavinia, and some twigs put to some very interesting use...this scene sticks with you long after the movie has ended...as beautiful and haunting as it is horrifying.

Titus (2000) d: Taymor, Julie
Titus Andronicus is arguably the most complicated play ever penned by the great William Shakespeare. It is also one of the darkest and most violent plays, filled with shocking scenes, and obscene human behavior. Using the original old English, this movie mixes things up a little using outrageous situations, and brilliant visual touches of ancient Rome, fascist Italy, and a coke-a-cola post everything media assault. The new emperor played by Alan Eyes Wide Shut (1999) Cumming marries a vengeful queen (played by a sometimes topless Jessica Lange) who has two vicious punk rock sons who torment Roman warrior Titus (played by Anthony Hopkins). In scenes comparable to Silence of the Lambs (1991), Titus seems to lose his mind after his two sons are decapitated and his daughter is raped, she has her tongue cut out and her hands chopped off. Revenge soon follows in a cannibalistic dinner served to the guilty, 'a la Theatre of Blood (1973) with Vincent Price. The DVD contains many extras. A excellent film with something to offer both young and old alike. Not only is it hard to believe the depths the movie delves into, but even more incredible is that this epic picture by Julie (Lion King) Taymor is a directorial debut. Impressive first try..., we can't wait to see another.

I Gave it 4 Viewings
Ms Taymor, let me say at the outset, is a highly creative director. Loved the Broadway show (The Lion King). She's innovative, imaginative, extremely adept at visual imagery, etc. What she isn't is adept at interpreting The Bard. The DVD version had her meeting with a group of NYU students discussing the production and the play, in which she showed exactly how shallow her understanding of Shakespeare actually is. Her focus was entirely on her vision, rather than his text. That shows up, rampantly in the movie. It's all about her and her imagination, never centering on the text or the innner beauty of Shakespeare's most brutal play.

I'm not saying that all the bard's plays have to focus on the grand design of the poetry, the meter, the frangrant, redolent language, but at least lip service should be paid there. In this version, we get stuffed with so many Taymor pipe dream (and I do mean a loaded hookah!) visuals, that the language is submarined into oblivion. Even so consummate an actor as Anthony Hopkins (why isn't he Sir Anthony, by now? ..get off your keister, Queenie!) can't compete with the hyperactive Ms Taymor and her busycam. She's obviously aiming for the Art House crowd (of which I am a sometime member, but not in good standing here, obviously), but she misses even that mark. Most of the "innovative" interpolations, such as the young kid who provides the framing device, are entirely superfluous, thereby losing any actually artistic force they might have achieved. It's nothing but empty window dressing.

The performances are largely execrable, including Sir Tony, I hate to report. His version of the Brando mumble is ill suited to the title role. Jessica Lange gives a nadir plumbing performance in a career that features a few of them. She was a lot more convincing in King Kong, trust me. The rest of the Mad Max rejects were even worse.

The reason I gave this film four viewings before sending the DVD on to a friend, was I thought perhaps it was just me, and I was being too reactionary or cynical about this brave new look at what is actually, in a way, one of my favorite Shakespeare plays. Then, midway through viewing #5, I thought, "nah....this thing really is as bad as originally perceived."

Last I heard, "The Lion King" was still playing on Broadway. My suggestion is, buy tickets to that, next time you are in NYC. As for this Turkey, my advice is to rent it if you must. Otherwise, don't put yourself through the torture I did.

BEK

Brilliantly stylized; unique
Every once in a while, a movie comes along which you feel was made just for you. I can understand why a lot of people might not like this film, but for certain people I think it might be just what they were looking for.

Taymor's production, instead of trying to somehow mitigate the remorseless violence and moral vacuum which characterized the much-maligned play, intentionally plays it up. The garishness of the plot is complimented by the garishness of the anachronistic costumes, the elaborate staging and the delerious, overdramatic acting. It gets right to the heart of what a revenge drama is, and what value can be found in Andronicus just as a pure visceral experience. A lot of great performances, and the images are brilliant. My only complaint is, given the pacing of a modern film, it's difficult to hear and understand all of the dialogue sometimes, since none of it was 'updated' from the original Shakespearean. Given the stylized nature of everything else, maybe some of the dialogue should have been simplified.

Writing this now, comparisons to Kill Bill are inevitable, and, while it can't quite claim to reach that pedestal, and lacks the ultimatley morally redeeming value of the complete KB, I recommend it to fans of the KB pt. 1 as a similiar experience.

Taymor adapts vengeance and its consequences...
Titus is based on Shakespeare's Titus Andronicus, which is an extremely bloody and terrifying tale of vengeance and its consequences. The cinematic adaptation that Julie Taymor wrote is set in a Roman Empire-like environment with crossings of ancient and modern as the mise-en-scene displays cars as well as tanks with soldiers in ancient armor. This creates a link between then and now, which could suggest that the displayed horror is timeless and possible even today. Taymor creates exaggerations in this cinematic environment with brilliant cinematography, grand directing, and mise-en-scene that amplify the abstract atmosphere as it elevates the unnatural doings of Titus Andronicus (Anthony Hopkins), Tamora (Jessica Lange), and Saturninus (Alan Cumming) among others. The Shakespearian violence that Taymor presents serves as the means to an end as the story plunges into a dark realm that most do not wish to visit, but must contemplate as it could have devastating effects on all.

The film opens with a scene where a young Lucius is sitting at the kitchen table, with a brown paper bag over his head, eating dinner while sadistically tearing the heads of his warrior dolls while violently smashing the items on the table and pouring ketchup over the "killed" dolls. This is followed by an explosion where Lucius dives bawling to the floor for protection. Lucius is a clear resemblance of his father Titus in the opening shot. The rest of the film is a carnival of hideous acts and morbid behavior that alll falls around Titus with a domino effect trigged by one wrong decision. Despite the distressing elements of Titus, the film offers a brilliant cinematic experience that devours the audience as it supplies several subplots and themes, which the audience should ponder under the light of human compassion and the word "consequences". ... Read more

Amazon.com

Jessica Lange and Michelle Pfeiffer are quietly dazzling in thisunderrated adaptation ofJane Smiley's best-sellingmodern version of King Lear. The two play sisters of a stubborn, alcoholic Iowa farmer (Jason Robards), who decides to leave his fertile farm to them and their youngest sister (Jennifer Jason Leigh). It is a decision that rends the family, setting siblings against one another and forcing long-held secrets out of their guilty closets. The family dynamics become ever more destructive, and the refuge of sanity the two older sisters have created may be their only salvation. It's a tragedy not quite on a Shakespearean scale, but anyone who appreciates the difficulties of a dysfunctional family will relate to the heartbreak--and the promise of redemption. Pfeiffer especially is breathtaking as the good housewife Rose, whose rage at her father and her husband is never far from her placid surface. --Anne Hurley ... Read more

Reviews (24)

excellent cast performs beautifully despite mediocre script
The dramatization of Jane Smiley's "A Thousand Acres" is dissapointing in that not only does it come from an excellent novel, but also because of the dream cast involved.
The story is loosly based on Shakespeare's "King Lear," in only that the father in the modern version is an evil villain, while the two daughters are alleged martyrs. The issues involved in the film are important and though-provoking--incest, sexual abuse, breast cancer, Alzheimer's disease, dysfunctional families--too bad the writers handled these noteworthy subjects so messily. The calamities piled upon the characters happen in an episodic way, that makes the film feel like a miniseries without commercial breaks. With each new mini-drama, you feel as if you should watch this movie in installments. The script is also full of cliched dialogue, and characters without motivation.
Despite all these flaws, the film is still worth watching if just for the cast. Jessica Lange, Michelle Pfeiffer, and Jason Robards prove themselves brilliant performers in this film--each actor gives more than the shallow script deserves.
Lange plays Ginny Cook, the shy and docile oldest daughter, who accepts her lot in life without complaint, and manages to live a relatively happy life. Her character is the most appealing, and Lange gives nuances and shadings to the character that weren't written in. Ginny described herself in the film as a "ninny" and she is written as so--Lange gives her so much more, and it is amazing to watch her create a true three-dimensional character.
Jason Robards is Larry Cook, a dragon of a father. He like Lange is given an essentially cardboard character, and his performance gives Larry a sense of pity and pathos, that the script did not allow. The writer wanted him to be simply evil, and Robards chose, wisely, to instead, elevate Larry out from the cartoonishly evil lines he was given, and make him a complex human being.
Michelle Pfeiffer gives the most provoking performance of the three main stars, because hers seems to be an mixture of Robards and Lange's. Her role is also quite underwritten, but she manages to breath life (not just fire) into her character, the angry and resentful, Rose. The part is written as dour and bitter--completely unlikable, and even as the story moves on (slowly) and you realize the sacrifices Rose has made, she is still written in a completely shrewish way. Pfeiffer gives her vulnerability sorely needed, and manages to steal the film (not an easy thing to do, considering her costars).
Jennifer Jason Leigh has a smaller role as Caroline, the youngest daughter. Her role is underwritten on the lines of Robards' and Pfeiffer's characters, yet unlike the two, she fails to bring any depth to the essentially pouty and boring person she is portraying.
All in all, a good movie to watch to witness the beautiful chemistry between two of America's finest actresses.

good performances despite some script flaws
The actors save this sparse script in this film.

"Daddy, dearest?"
A good film driven by a rather creepy performance by Robards. Memorable.

Recommended.

Shakespeare it isn't!
This film definitely has merit as well as an all-star cast. It may well be an updated version of King Lear, but I found the topic less than entertaining...and I was not thrilled with the ending. As for Colin Firth's performance as an American drifter... he successfully portrays a Mr. Wickham from his P&P days. He is charming, available, and easy to like ~ except he is definitely not going to be around for the duration. And what sort of cad sleeps with sisters of the same family...simultaneously?

When Majesty Doth Stoop To Folly
I saw this when it came out on televison and I must say I thought it was just awful. How can anyone win any literary prize for something that is little more than Shakespeare...? While this is a majestic production with great acting, direction, and cinematography I confess I found it much too predictable as it seemed to follow Shakespeare's KING LEAR almost act for act and scene for scene. The only persons missing were Kent, Glouster, Edmond, Edgar, and of course the Fool. Had the story line varied sufficiently as to be a mere suggestion of the play, I would have enjoyed it very much. It bothers me that the the author received accolades for a mere re-write! It is as Kent said "when majesty doth stoop to folly!" ... Read more

Reviews (27)

A sad love story
The beauty of this film, accurate or not, lies in the love story at its core and Jessica Lange's unforgettable portrayal of Patsy Cline as an ideal character. Lange's Patsy Cline is a human being who loves so much that she is willing to stay with an abusive husband. Her heart was so big and yet in her lifetime she was hurt so much. The heart of this movie lies in its belief in the ideal, and there are people out there who love much more than others, unconditionally, and sadly many times they pay in heartache for the flaws in those they love.

Whether the character in the film is the real Patsy Cline or not, it is a sincere and unforgettable portrayal by Jessica Lange, and that Patsy was a romantic is something that most of her fans want to believe. Sweet Dreams is a glorious film that will have you thinking back to it and contrasting the themes to those in your life long after it is finished, much like Jessica Lange's Frances. Somehow, Lange always manages to convey true inner beauty, which is what you will find in this film. What we can learn from this film is that if we are ever lucky enough to find someone in our life who can love so fully and unconditionally, we must never take them for granted.

Jessica Lange as Patsy Cline = Disappointment!
I've owned a VHS copy of "Sweet Dreams" for about fifteen years. As a Patsy Cline fan since 1956, I was disappointed with the movie overall. Although I enjoyed Jessica Lange's performances in movies such as "Tootsie" and "How To Beat The High Cost Of Living", she just wasn't Patsy. Beverly D'Angelo played a much more convincing Patsy in "Coal Miner's Daughter". She even did her own singing. I think Beverly should have been Patsy.

Singer George Hamilton IV once toured with Patsy. He tells me that Patsy was more likely to start a fight with Charlie than vice versa. Ed Harris didn't impress me much as Charlie. Ann Wedgeworth gave the best performance in the movie as Patsy's mother.

Despite it's shortcomings, "Sweet Dreams" is a movie all Patsy Cline fans should own. I intend to purchase the DVD in the near future. It's a shame that most Country stations have turned their backs on Patsy. Without Patsy we wouldn't be hearing Faith Hill, Shania Twain or the other Country divas of today. Thankfully, I work for a radio station that hasn't forgotten Patsy. We play her hits as well as her recordings of standards like "True Love","Always" and "Someday You'll Want Me To Want You". Even the posthumous duet with Jim Reeves: "Have You Ever Been Lonely" is on our playlist. Maybe Country music has forgotten her, but not all of us have.

Wonderful Patsy Cline/Jessica Lange!
To my mind, this is one of the better biographical movies I have ever seen. Jessica Lange portrays Patsy Cline very well, with her lip-synching to Patsy's wonderful songs. Even the costumes Jessica wears resemble those on Patsy's LPs and still photos. I am totally impressed with this film. I saw it in a theater in its initial release, and a friend copied it off TV - my first movie. I enjoyed it then, and now, with this DVD copy, I can enjoy it even more.

Sweet? No, but Interesting to watch
I never knew much about Patsy Cline before i saw this. It happened to be on HBO one rainy afternooon and I was passing through the room. A couple hours later, I am still sitting there watching. She was a pistol, that's for sure. She had issues that I'm not sure anyone fully understands even to this day. It was curious to me that her friendship with Loretta Lynn was conspicously absent from this film--esp considering it was a big part of Loretta's life story.

This is not a sweet story, but it's a compelling look at a woman with an amazing voice, ambition, drive, and a hole in her that nothing could fill.

Sweet Dreams/The movie
Very good source of Patsy's music, great acting by all actors,
even if this movie is not accurate, it tells a very good story,
besides, you have to love that beautiful voice! Wish you were still with us Patsy.............For a very good source of Patsy Cline material go to Ellis Nassour's..............PatsyClineHTA.com ... Read more

Reviews (3)

Flawed would-be masterpiece
In this 1984 production of "Cat On Hot Tin Roof" the play is allowed to retains some of Tennessee Williams original acerbic script. Yet some how lacks the intensity of the 1950's version. Perhaps because Jessica Lange, lacks sensuality and delivers her lines in a unconvincing high pitched Southern screech. She is both painful and irritating to watch because her acting skills are so mediocre. Beside her Tommy Lee Jones is totally convincing as the profoundly closeted ,grieving, and drunken former football hero Brick. ...

Rip Torn is excellent as "Big Daddy" delivering his lines with a wily humor that makes him more likable than perhaps his character should be. The reminder of the cast are able if not remarkable with Big Mama competing with Jessica Lange as having the most contrived performance on screen. I would have liked this film more if the sound quality had been better. It was simply horrible.

Although the play is about Brick's latent homosexuality and stubborn self-loathing. I feel that it is also really about "Maggie the Cat" and how Brick's sexual rejection of her leads not only to frustation but the risk of poverty to which she refuses to return. Her battle of wills over Big Daddy's inheritance with Gooper and his fertility monster wife May is at the core of the play. The play could be considered cruel towards women since Maggie the cat is portrayed as a bitchy harridan because of sexual neglect. She can not sexully compete with the homosexuality charged bond between her husband and his recently dead friend Skipper.

What rescues it from mocking the fertility linked sexuality of women is the fact that Big Daddy is so obviously embittered about his own life, inspite of having crawled his way out of the gutter into ostentacious wealth. He is still not happy and so takes it out on his wife Big Mama. Who's loyalty is breathtaking in the face of so much humiliation. Unable to squeeze any demonstrative love or respect from her husband and sons. You feel uncomfortable watching her feeble attempts to create a normal family celebration. Its contrived and you know she knows its fake but you can not fault her for trying anyway. Her efforts are beaten down verbally by Big Daddy as blatant hypocrisy but you sense that she has nothing else left to live for. So you don't criticize her. The fact that Tennessea Williams play is able to make you feel compassion for Big Mama is an indication of his great brillience as a playwrite and chronicler of his age. The story is a timeless one of unhappy people compelled to fraternize with each other because of material gain. Skeletons rattle out of the cupboards and closets because everyone has something hidden behind their rage. This production is worth watching because ...I would suggest renting it first.

Only three stars because of the sound quality.

Lange at her best!
This has got to be the best adaptation of a play I have ever seen. I was a five year old kid watching this when it first came out on Showtime! I loved it then, and now I love it even more and fully understand it! Lange has never been so sexy nor great. Besides being the best actress in the world, her performance in here really displays her dramatic talents. Jones was born to play Brick and he does a great job. The settings in this version are so well designed and set-up it makes you wonder if they are in a REAL plantation home! And the rest of the cast, particularly the wonderful Torn, do an outstanding job. Besides the scenes between Jones and Torn being overly long and you find yourself missing Lange's prescence, this is a high recommendation.

Very strong, fresh production
I thought this was a wonderful version of this play. Lange is a wonder to watch as she struggles to keep her marriage and her life from falling completely apart. Jones, while many thought he was a poor choice, brings a very refreshing interpretation of Brick. He comes across more as the broken man that he is, the drunkard he has become. A man afraid to face the truth, which Big Daddy forces him to face. Act II, the scene between Brick and Big Daddy, played by Rip Torn, is powerful and engaging. It is a very honest performance by the cast, making it an absolute delight to watch. If you are a fan of Williams' plays then I highly recommend this. ... Read more

Reviews (3)

Flawed would-be masterpiece
In this 1984 production of "Cat On Hot Tin Roof" the play is allowed to retains some of Tennessee Williams original acerbic script. Yet some how lacks the intensity of the 1950's version. Perhaps because Jessica Lange, lacks sensuality and delivers her lines in a unconvincing high pitched Southern screech. She is both painful and irritating to watch because her acting skills are so mediocre. Beside her Tommy Lee Jones is totally convincing as the profoundly closeted ,grieving, and drunken former football hero Brick. ...

Rip Torn is excellent as "Big Daddy" delivering his lines with a wily humor that makes him more likable than perhaps his character should be. The reminder of the cast are able if not remarkable with Big Mama competing with Jessica Lange as having the most contrived performance on screen. I would have liked this film more if the sound quality had been better. It was simply horrible.

Although the play is about Brick's latent homosexuality and stubborn self-loathing. I feel that it is also really about "Maggie the Cat" and how Brick's sexual rejection of her leads not only to frustation but the risk of poverty to which she refuses to return. Her battle of wills over Big Daddy's inheritance with Gooper and his fertility monster wife May is at the core of the play. The play could be considered cruel towards women since Maggie the cat is portrayed as a bitchy harridan because of sexual neglect. She can not sexully compete with the homosexuality charged bond between her husband and his recently dead friend Skipper.

What rescues it from mocking the fertility linked sexuality of women is the fact that Big Daddy is so obviously embittered about his own life, inspite of having crawled his way out of the gutter into ostentacious wealth. He is still not happy and so takes it out on his wife Big Mama. Who's loyalty is breathtaking in the face of so much humiliation. Unable to squeeze any demonstrative love or respect from her husband and sons. You feel uncomfortable watching her feeble attempts to create a normal family celebration. Its contrived and you know she knows its fake but you can not fault her for trying anyway. Her efforts are beaten down verbally by Big Daddy as blatant hypocrisy but you sense that she has nothing else left to live for. So you don't criticize her. The fact that Tennessea Williams play is able to make you feel compassion for Big Mama is an indication of his great brillience as a playwrite and chronicler of his age. The story is a timeless one of unhappy people compelled to fraternize with each other because of material gain. Skeletons rattle out of the cupboards and closets because everyone has something hidden behind their rage. This production is worth watching because ...I would suggest renting it first.

Only three stars because of the sound quality.

Lange at her best!
This has got to be the best adaptation of a play I have ever seen. I was a five year old kid watching this when it first came out on Showtime! I loved it then, and now I love it even more and fully understand it! Lange has never been so sexy nor great. Besides being the best actress in the world, her performance in here really displays her dramatic talents. Jones was born to play Brick and he does a great job. The settings in this version are so well designed and set-up it makes you wonder if they are in a REAL plantation home! And the rest of the cast, particularly the wonderful Torn, do an outstanding job. Besides the scenes between Jones and Torn being overly long and you find yourself missing Lange's prescence, this is a high recommendation.

Very strong, fresh production
I thought this was a wonderful version of this play. Lange is a wonder to watch as she struggles to keep her marriage and her life from falling completely apart. Jones, while many thought he was a poor choice, brings a very refreshing interpretation of Brick. He comes across more as the broken man that he is, the drunkard he has become. A man afraid to face the truth, which Big Daddy forces him to face. Act II, the scene between Brick and Big Daddy, played by Rip Torn, is powerful and engaging. It is a very honest performance by the cast, making it an absolute delight to watch. If you are a fan of Williams' plays then I highly recommend this. ... Read more

Album Description

1995 reissue of the soundtrack to director Bob Fosse's acclaimed 1979 musical co-starring Roy Scheider and Jessica Lange. Ralph Burns arranged & conducted all 14 tracks, whichinclude performances by George Benson, Sandahl Bergman and Ben Vereen with Scheider. A Spectrum/ Karussell release. ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

Reviews (19)

wow
I've never written a review before, but I was so impressed with this movie, I felt like I should write something. Even though I personally don't deal with the specific issues in this film, I was deeply touched by Jane Anderson's script and the performances by Jessica Lange and Tom Wilkinson are nothing short of incredible - definitely some of the best work either has ever done. I do have to agree that Jessica Lange steals the show. Her reactions to what is happening to her are exactly what I imagine someone in her shoes might go through. I liked the way church issues were dealt with as well, although it wasn't surprising that Roy was treated as an outcast by the members of the congregration. Sad, but often the case.

I highly recommend this movie to anyone who needs inspiration. Very powerful film.

A quiet powerhouse - Wonderful film
I caught this on cable and found myself unable to turn it off. Its the story of a husband and father living in a quiet, rural community who can no longer take living a lie. Roy is a woman living inside a man's body. He realizes he can no longer keep this to himself, confiding in his wife and turning their marriage and the community upside down. When he begins to wear earrings to the factory and singing in the women's choir, the family begins to be quietly isolated. I feel the reason he might have been left alone could have been because of respect for his wife and children. I don't know if that would be the same in real life. I seriously doubt it but even that little bit of what I believe is naive optimism doesn't detract from this film.

What is most touching is how the daughter handles it. She instantly embraces her father. Their grown son is less able to deal with it but the scene between father and son is touching. Its Jessica Lange that steals the show as Irma. Her reactions from anger to mourning are always dead on. Wilkinson is also wonderful as the tortured Roy who can see what he's doing to his family but can't stop himself in his search for personal freedom.

The scenery in this film is amazing and the music fits each scene. I was really impressed by everything about this film and would recommend it to anyone.

5 stars and then some. Normal will stay with you long after the film has ended.

Inaccurate but truthful
Contradictory though it may be, this film is simultaneously inaccurate and truthful.

In presenting the gender transition of a middle-aged man in a small, conservative farming community, this film has an odd omission. As an earlier reviewer pointed out, Roy/Ruth is able to go through hormone therapy and to get Sexual Reassignment Surgery without the film ever showing how. This is more than just a technicality. To get HRT, one needs a prescription. Most endocrinologists who work with TG people work as much on the emotional side of the issues as they do on the physical. To get SRS, one must have letters from two therapists. Roy faces some incredibly difficult issues in this film. He also makes some very dangerous choices, such as wearing perfume and earrings to work before having disclosed his transition. In real life, the therapist would be working with Ruth on all of these things. It almost feels as though a decision was made after shooting to edit out all of the scenes in which Ruth interacts with her doctor and her therapist.

This does have the effect of focusing on the real drama, the evolving relationships within the family. But it makes the film feel somehow unreal and misguided.

Other than that, as several reviewers have mentioned, the acceptance of the community as depicted is extremely optimistic.

For all that, this film nailed it. A couple I know invited me over to watch movies with them one night, and popped this one into the VCR. Halfway into the film, I broke down weeping and had to leave. As a TG woman myself, this film captured the truth of what happens, of the emotions and changes, as accurately as anything I've ever seen. The humanity of this movie, in how it depicts all of the family members, is stunning. There is no sensationalism, no embellishment, just four human beings trying to make sense of and work through a difficult transition.

I went back to see my friends three nights later and watched the rest of the film. I'm glad I did. You will be glad you saw this film too. It's a wonderful story of love.

Riveting Drama
Roy (Tom Wilkinson) and Irma (Jessica Lange) are a normal farm family with an estranged son and a teenage daughter. After their 25th wedding anniversary, Roy confesses that he is a woman trapped in a mans body. At this point, I expected things to get absurd, including the predictability that we will see Roy in drag. However, Director/Writer Jane Anderson allows all ssues to come the forefront; family, friends, religion, coworkers and community. What seems a destiny for ruination is full of surprises and Anderson can humble the viewer by showing how anyone can be easily misunderstood. The performances by Wilkinson and especially Lange are nothing short of amazing. The emotions run high, vivid and clear as each person struggles with this abrupt revelation that affects everyone's life. This is a precise study of empathy, understanding, the testing of relationships and most importantly - love.

Memorable performances from Wilkinson and Lange
"Normal" is a film where the performances by Tom Wilkinson and Jessica Lange are so much better than the script. This is not to say that the script by writer-director Jane Anderson is inadequate, but rather than Wilkinson and Lange give it a power and grace that transcends what was on the printed page. Wilkinson, a veteran character actor who suddenly seems to be in half the films coming out (Jim Broadhurst is usually in the other half), plays Roy Applewood, who has been married for 25 years to Lange's Irma and who finally reveals his deepest and darkest secret: he feels like a woman trapped in a man's body.

To say that this comes as a shock to everyone is an understatement. Roy is the foreman at a plant that manufactures tractors and a pillar of his church. He is also married to Irma, who, like the actress who plays her, has gotten sexier as she has gotten older. When the church throws an anniversary party for the couple Roy kisses his wife and faints. In a counseling session with their pastor (Randall Arney), Roy finally confesses that he is a woman. The fact that Roy says this in such a matter of fact manner, without the slightest trace of any affectation that would suggest being gay, is what makes "Normal" such an offbeat look at a somewhat offbeat subject.

This is not a sensationalistic treatment of the transgender topic (remember the lurid film "The Christina Jorgenson Story"?). The script is clearly sympathetic, but also manages to tell the story with a wry sensibility and to reach a level of depth that we usually do not find in such films, which tend to veer towards sensationalism and/or melodrama. This is because despite the fact that Roy starts taking female hormones so that he can grow breasts he still loves his wife. Underneath all the shock and dismay at Roy's transformation there is a love story going on, crystalized when Irma's pastor gives her permission to give up on her marriage and she replies with emotional elegance, "How can I? He is my life."

Perhaps it is not realistic that "Normal" has Roy treating his gender reclassification as if it were akin to getting a new haircut: he wears earrings and perfume to the tractor plant and wants to be called Ruth. But Wilkinson brings a sense of dignity to the part that helps carry it off and no doubt Anderson is trying to make a point. The only part that rings false for me is the dramatic exploitation of the Applewood's two children. Two, not just because you get to have one son and one daughter, but two because one will accept their father's change with curiosity while the other goes off the deep end. Of course it is the son (Joe Sikora) in the latter role and when he reads the letter written by his father to a bunch of drunks in a bar, I thought was going way too far (unless he was adopted?). The same holds true for Irma's awkward try at a tryst with Roy's boss (Clancy Brown).

Anderson wrote the hysterically funny "The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom" and shows much more restraint overall with "Normal" in dealing with the satirical side of her subject matter this time around. When Irma kicks Roy out of the house, she pointedly tells him he is much too selfish to be anything but a man. Still, we come back to the performances by the two stars. Wilkinson plays this role perfectly straight as if he was changing political affiliation and not gender. In contrast Lange gets to run the gamut of emotions from disbelief and anger to acceptance and love. Wilkinson is so decent and real that you have to admire him and root for him, especially when the alternative is identifying with the less tolerant and understanding members of his family and community. But you also root for Lange to keep her husband.

But in the end "Normal" is a love story. If it were about a sex change operation then we would be getting all the nuts and bolts about how that is done. Anderson is not concerned with the mechanics; she cares about the people. In the end, Ruth and Irma care about each other and it is hard for us not to care about them as well. ... Read more

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Choreographer-turned-director Bob Fosse (Cabaret, Lenny) turns the camera on himself in this nervy, sometimes unnerving 1979 feature, a nakedly autobiographical piece that veers from gritty drama to razzle-dazzle musical, allegory to satire. It's an indication of his bravura, and possibly his self-absorption, that Fosse (who also cowrote the script) literally opens alter ego Joe Gideon's heart in a key scene--an unflinching glimpse of cardiac surgery, shot during an actual open-heart procedure.

Roy Scheider makes a brave and largely successful leap out of his usual romantic lead roles to step into Gideon's dancing pumps, and supplies a plausible sketch of an extravagant, self-destructive, self-loathing creative dynamo, while Jessica Lange serves as a largely allegorical Muse, one of the various women that the philandering Gideon pursues (and usually abandons). Gideon's other romantic partners include Fosse's own protégé (and a major keeper of his choreographic style since hisdeath), Ann Reinking, whose leggy grace is seductive both "onstage" and off.

Fosse/Gideon's collision course with mortality, as well as his priapic obsession with the opposite sex, may offer clues into the libidinal core of the choreographer's dynamic, sexualized style of dance, but musical aficionados will be forgiven for fast-forwarding to cut out the self-analysis and focus on the music, period. At its best--as in the knockout opening, scored to George Benson's strutting version of "On Broadway," which fuses music, dance, and dazzling camera work into a paean to Fosse's hoofer nation--All That Jazz offers a sequence of classic Fosse numbers, hard-edged, caustic, and joyously physical. --Sam Sutherland ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire