Reviews (39)

MERCHANT IVORY'S SUBLIME VISUAL BANQUET
Anthony Hopkins stars as Henry Wilcox, a member of England's ruling class who finds himself slipping into a romance with Margaret Schlegle (Emma Thompson) after his wife has passed away. However, before her death, Ruth Wilcox (Vanessa Redgrave) had stipulated that she wished to leave her family home "Howards End" to both Margaret and her sister, Helen (Helena Bonham-Carter). Of course the Wilcox family, being stuck up and spoiled, did not follow through with her wishes and this becomes the focal point of the plot. Along the way there is adultry, corruption, deception, original sins revisited and even murder - in short, everything one could expect from an impeccibly crafted story turned into a poignant and stirring film experience. Producers, James Ivory and Ismal Merchant have given us one of a handful of truly stirring dramatic/epics, filled with the sort of grand illusion and entertainment value that Hollywood used to provide en masse during the 1930's and 40's. This is definitely a worthwhile excursion.
Columbia has done a beautiful job on the transfer. There is absolutely nothing to complain about and I defy anyone to be disappointed with the quality of this mastering effort. My one regret, this disc comes with NO EXTRA FEATURES. Apart from this oversight, you must definitely take a road trip to Howards End.

A strangely fascinating love story between British classes.
I was prepared NOT to like this film, but it drew me in and won me over.If you are a fan of what I call, "People Movies", this is for you. The plot line is fascinating, in that you MUST pay attention to every detail to follow it. Emma Thompson and Anthony Hopkins are at their usual best as the couple from two different social classes in 19th century England. The central character is, though, the country cottage called, "Howard's End." You will either love this film or hate it. For me, it is in my top 20.Credit must be given to the score, which adds much to the film's ability to draw you in from the very beginning.

"A million square miles are almost the same as heaven."
I loved E.M. Forester's book, HOWARD'S END, so I knew I'd love this film as well. Period pieces are my favorites and English period pieces have a special "something" about them. Maybe it's the lush cinematography or the brilliant acting. I suppose it's really a combination of many things.

HOWARD'S END is set, for the most part, in London, and revolves around two families: the Schlegels and the Wilcoxes. The Schlegels and the Wilcoxes are separated by class; the Schlegels are a middle class family, comfortable, but definitely not "old money," while the Wilcoxes are far more "to the manor born." Society, at the time HOWARD'S END takes place, dictated that the Schlegels and the Wilcoxes definitely not mix. However, mix they do, with disastrous results.

In the Schlegel family are two sisters, Margaret (Emma Thompson), the older and plainer, and Helen (Helena Bonham-Carter), the younger and more beautiful. We know trouble is brewing when Helen becomes involved, though briefly, with young Paul Wilcox. Of course, the Wilcoxes consider Helen (or any Schlegel, for that matter) to be beneath them, but the affair also distresses the Schlegels as well.

The lives of the Schlegels and the Wilcoxes are destined to be intertwined, however, and Margaret befriends Ruth Wilcox (beautifully played by the always-ethereal Vanessa Redgrave), the mother of young Paul. The lives of the two families become further entwined when Ruth Wilcox dies and leaves her lovely country home, "Howard's End," to her good friend, Margaret. Of course, this doesn't sit at all well with the Wilcoxes, who are truly shocked, and Henry Wilcox (Anthony Hopkins), Ruth's husband, tries to cover up Ruth's final wishes and keep Margaret away from "Howard's End."

But that is far from the end of the story and far from the end of the intertwining of the lives of the Schlegels and the Wilcoxes. In a superb and tragic subplot, both Margaret and Helen attempt to befriend a poor clerk, Leonard Bast (Samuel West) and, without meaning to, cause him to lose his meager job and leave him with no hope for the future.

The conclusion to this film is surprising and explosive, but the beautiful script by Ruth Prawer Jhabvala is quite understated and the film, like the book, never slips into melodrama.

This is a period piece that is enhanced by flawless and understated acting from all. Emma Thompson as Margaret Schlegel is superb and she certainly deserved her Oscar for Best Actress for this film. Anthony Hopkins is, of course, flawless and Vanessa Redgrave's performance is subtle and beautifully nuanced. Samuel West, as the tragic Leonard Bast is wonderful as is Helena Bonham-Carter, though she is not the equal, at least in this film, of Thompson.

HOWARD'S END isn't a particularly long book, but this is, at two and one-half hours, quite a long film. The pacing is rather slow and deliberate, but I never got the feeling that things should have been moving along any faster and, for me, at least, the two and one-half hours passed by very quickly. The film holds your interest at all times. HOWARD'S END is a film that contains a bit of everything. While it is tragic, there are times when you laugh or smile, there are times of unsurpassed beauty and there is melancholy and regret aplenty.

I would definitely recommend HOWARD'S END to anyone even remotely interested in period pieces and even to those who aren't. Who knows, you just might find a new genre that you love.

Perfection Personified
This story line is good enough to keep you in suspence and entertained at the same time. Anthony is perfect as usual. The greatest part of this story is the first glimpse into the cottage at "Howards End". Upon entering the house, the most glorious piano begins to play in the background music. The music is so hauntingly beautiful, so perfect for the setting that I found myself in tears throughout its playing. I had to have the movie, just for the piano alone.

Adaptation of E.M. Forester's classic novel...
When watching "Remains of the Day," you never really get to see Emma Thompson and Anthony Hopkins show one another any real affection. In this movie, they actually have great chemistry and while Emma takes on the role of a much more subservient woman, she is much more radiant. If you are a fan of her acting, you will definitely want to see this movie.

This is a movie which takes some patience to view and the artistic elements are well worth waiting for. The Schlegel sisters get themselves into a few trying situations and the men they love either fail miserably or protect them from the world.

Margaret (Emma Thompson) is the smarter of the sisters and yet she lacks heart in certain situations. She seems quite happy to let others save her, but is not as willing to sacrifice to save a friend. Her sister falls in love with a young bank clerk and while trying to assist him is seduced and "ruined." She is not following the laws of her society and therefore is rejected at first.

This is a tangled web involving the cultured and underprivileged. Margaret and Helen are independent and well educated and when they meet Leonard Bast (Samuel West) their lives are changed forever.

A somewhat somber ending because we are not sure any of the characters really get what they first wanted. I found this movie to be enjoyable, yet felt tense throughout the movie because there is always the thought that the sisters have ruined an innocent. Leonard is really the tragic hero in this story because he took on a responsibility neglected by Mr. Wilcox who has his eye on Margaret.

All I have to say is..."Don't let anyone steal your umbrella."

If you enjoy movies that make you think about more than what is happening on screen, this is a good movie that will make you contemplate the fate of others around you in your world. You could hold someone's destiny in your hands, even if it is not as dramatic as the story in this movie. ... Read more

Reviews (20)

Chess and Nabokov Make for A Niche Film
Obsession, love, tragedy are the always fertile, though familiar, subtexts of The Luzhin Defense, a Nabokov novel adapted into a visually gorgeous film. Unfortunately, for all Luzhin's passion for chess, for all the beauty of the lakefront location where it takes place, the film itself unfolds almost clinically and predictably. John Turturro looks throughout like an actor playing the part of a driven, socially inept genius. That of course is the problem --for me, at least, he never transcended his actor self to inhabit the part. Some of the plot devices are wooden, particularly one in which Luzhin's Svengali and former master teacher, Valentinov, somehow manages -- we are to believe -- to bribe the post-match limousine driver to lose Luzhin deep in the country, triggering his insanity.

This is not a movie for mass audiences. In fact, it passed virtually unnoticed in theater release. Its best selling point is the pleasure of watching the superb Emily Watson as Natalia Katkov. Leave aside the fact that she looks about as Russian as, say, Derek Jeter. Instead, watch the subtle and many ways she conveys by expression, body movement, and spare words the astonishment and joy of having a simple vacation with her pushy mother turn into a love affair she herself, and all around her, would never in her strangest reveries have considered possible.

One final note: The Luzhin Defense would probably have annoyed me no end if I knew more about chess. Knowing the little I do, two flaws are immediately apparent. First, in the scene when Luzhin's (John Turturro)clock falls, he is allowed to seal his next move, rather than losing, as is the case in chess competitions. Second, in the championship, one game is played for all the marbles (to mix metaphors as well as games). This is of course a huge disadvantage to the person playing black.

Bottom line: it's never going to make your all-time top ten list, but it is worth a watch.

Brilliant but confusing story of a mentally ill chess genius
Adapted from a novella by Vladimir Nabokov, this 2000 film is about the world of chess, genius, mental illness and romance. Set in the early 1920s in Italy, it stars John Turturro, cast as Aleksandr Ivanovich Luzhin, an unkempt, awkward and disturbed chess master who is about to compete in a world chess tournament in a upscale resort. Emily Watson is cast as Natalia, a wealthy socialite who is bored with her mother's matchmaking and is, instead, attracted to the lonely and weird chess genius.

We see flashbacks about Luzhin's life which tries to explain his madness. The relationship between the two lead characters deepen. The tournament begins. We're all rooting for Luzhin. And then, his former chess mentor, played by Stuart Wilson, appears out of the blue. Wilson wants to destroy his former protégé and plots with Luzhin's opponent to do this. I was confused by this character because I didn't think the background had set him up enough.

It all plays out with a sense of drama. The story was intriguing and held my interest. And, at the conclusion, Emily Watson is called upon to do something courageous. But in spite of excellent acting, fine lush settings and good direction by Marleen Gorris, the whole film just didn't jell for me. It was a good try, but there were too many parts that left me confused and it didn't add up to compelling drama. I therefore find it difficult to give this film more than a modest recommendation.

"Loose adaptation" : Nabokov :: Chess : Love
While excellent as a period-piece romance, this movie bears little semblance in substance or form to Nabokov's great novel of the same name. Of all Nabokov's novels, "The Luzhin Defence" is without doubt one of the worst candidates for adaptation to play or screen, because it deals so intimately-and so bravely-with the private obsessions of its protagonist, obsessions that are unconveyable on film by virtue of the medium. Movie characters cannot be seen to think; they may only speak.

The illustration, foremost in my mind, of where the book succeeds and the movie fails, is the penultimate scene, where Luzhin plummets to his death. In the movie, Luzhin's leap is only tenuously accounted for by his actions and thoughts. The idea in the movie is that Luzhin is so distraught that the business of life must supplant the business of chess, because playing chess makes him ill, that he kills himself. He has lost so much of his life to an immersion in chess that at this stage there is no turning back; no readmission into society, no retracing of the lost years into a normal existence is possible. He cannot re-learn his lifestyle and mode of existence, an understanding that rocks him to the very core. He cannot be happy without chess and he cannot be healthy with it, so the only way for him is an end to it all in suicide.

Nabokov's brings his character to somewhat similar conclusions, but in a much more vivid way. Where in the movie Luzhin's silent motives can only be guessed at through inference, in the novel the solipsistic universe of the fat chess genius (yes, he is fat in the novel) is laid bare, with all its crevasses and mountaintops intact. This, in fact, is the virtue and purpose of the novel as a form. It is limited in that it cannot show actual, physical things to the reader, but in exchange the author has supreme control over his characters' actions and thoughts. Nabokov is a novelist, and exploits the novel's virtues and possibilities like a master. His novels are not prose dramas. They are novels, whole novels, and nothing but novels. Because Nabokov is so on the side of the novel, and not the drama (although he wrote a few plays in his life, including a script for "Lolita"), a metamorphosis into spoken lines is very likely to be suspect.

As a result, the movie, in comparison with the book, comes off as shallow and unworthy of its title, especially given the director's own admission in the commentary included on the DVD that the script is a "loose" adaptation of the novel. Absent are the flares of Nabokov's bewildering inspiration and, notably, his consciousness of the kalidescope of hidden combinations, feints, bluffs, and traps that characterize chess and inform the very construction of the novel.

Yet as a "loose" adaptation, "The Luzhin Defence" is better than decent. Though the stock character of the evil former chess teacher is an obvious lowlight, Emily Watson and John Turturro are excellent, as is the cinematography. It just would have made more sense if the movie's title were something other than "The Luzhin Defence," because Nabokov's novel it is not.

Stereotypes, not archetypes
I watched "The Luzhin Defense" last night for the first time. I have a passing familiarity with Nabokov having read the first hundred pages or so of "Lolita." Yet I suppose this is another way of saying that I am not at all familiar with his work (and I abandoned "Lolita" when its style, while impressive, wasn't what I was looking for at the time. The recent film adaptation, however, with Jeremy Irons and Dominique Swain, was stunning.)

I planned to wait until I was older, perhaps having more time, to plumb the depths of Nabokov, particularly his novella "The Defense" upon which director Marlene Gorris's adaptation is based. I like chess, though am terrible at it, know that Nabokov played (it is called the other form of Russian alcoholism), and wanted the time to fully appreciate the writer at the height of his powers.

Considering the state of television in general, getting a chance to watch anything else is opportunity indeed. So I was keen, in this respect, to see the film. Gorris had written and directed "Antonia's Line;" Emily Watson, I admitted later to my girlfriend, I am in love with due either to her immense talent or beauty; and John Turturro continues to add to his important contributions to independent film.

But "The Luzhin Defense" is more disaster than disappointment. It can't seem to decide what it wants to be while falling into the trap, I assume, of attempting to be true to the novel by copying it chapter for chapter. The result is linearity, the chance for real character development and explosive dramatic tension all but squandered.

The actors, scene by scene, seem to know what to do, know their respective characters, and know well the mood or atmosphere of each scene as it relates to the overall story. Thus, this ultimately is a failure of direction.

With such intelligent individual performances to come off as well-worn stereotypes -- eccentric genius; gorgeous debutante quickly entranced by him; dismissive, wealthy mother opposed to the match; arch-chess enemy threatening to beat genius yet again; and jealous former teacher looking to undermine genius -- the film is something on par with an all-star sports team looking silly as it is trounced by a less than spirited pick-up squad.

I searched around for other reviews online and found this by Alan Stone of the Boston Review:

"I can think of none that is more disrespectful to the spirit of its author than The Luzhin Defence. Gorris, who started her career as a fiercely independent feminist, has made a cinematographically beautiful film empty of Nabokov's ecstatic genius, his prescient psychology, and her own original talent."

Love, Life, Chess...and......Obsession!
This review refers to the Columbia/TriStar DVD edition of "The Luzhin Defence"......

I'm not sure how I missed this little gem the last few years, but I'm glad I finally found it. I was browsing through the mark downs at my local video store and this one practically had flashing red lights. It is directed by Marleen Gorris, who I knew had directed another of my favorites("Antonia's Line") and to boot it starred two brillant actors...John Turturro and Emily Watson. It had to be worth a try....and well worth it, it was!

It's a deep and complex story, with characters that will draw you in with their every word and action. John Turturro is Alexander Luzhin. An eccentric but brillant chess player, who life consists of nothing else. He is called "The Maestro", by others in his circle, admired for his genius and expert abilities. He lives, thinks, breathes, even sleeps, nothing else. Basically he has been obsessed, since the age of ten.That is until the wonderful Natalia(Watson), turns his thoughts to love and marriage.In a very short time, she seems to be the one who understands him, and cares deeply and is able to introduce him to the wonders of life outside of the chess world.

They will be married as soon as he wins the most prestigious match in Italy. But life takes another turn for Luzhin, when a mysterious man from his past turns up and is out to destroy him. The storyline becomes one of intrigue as this real life chess match becomes more serious with each move.

Miss Gorris engages us from start to finish.The love scenes are beautiful and touching, the mystery captivating, and the characters are very real. The ending was totally unexpected and took my breath away. Turturro is nothing less than brillant in his portrayal of this eccentirc, complex being. Emily Watson shines as the woman he finds solace with. Together they have a magnificent chemstry.Two others I must mention are Alexander Hunting, who's performance as the young Luzhin was remarkable and Alexandre Desplat who adds beautiful music to go along with this beautiful story.

The DVD is very nice. Excellent pictue in Widescreen(1.85:1), rich colors and fabulous sound in DD5.1(you also have the choice of 2-channel Dolby surround)..follow the chess pieces through the menu to choose. Features include Dircetors commentary, a making of featurette(there wasn't much to this), some theatrical trailers and has subtitles in French, English and Spanish for those needing them.

This is a definate keeper. One I will probably view often, maybe even to the point of obsession!...enjoy....Laurie ... Read more

Amazon.com essential video

Howards End is E.M. Forster's beautifully subtle story of thecrisscrossing paths of the privileged and those they disdain--and of a remarkable pair of women who can see beyond class distinctions. Dramatic and tragic, but also surprisingly funny, this James Ivory film focuses on a pair of unmarried sisters (Emma Thompson, who won an Oscar, and Helena Bonham Carter) who befriend a poor young clerk (Sam West) and, without meaning to, ruin his life. Meanwhile, Thompson also makes the acquaintance of a dying neighbor (Vanessa Redgrave), who leaves her a family home in her will--which her husband (Anthony Hopkins) destroys. But, ironically, he meets and falls in love with Thompson, even as their paths once more intersect with the increasingly miserable young clerk. Nuanced acting, gorgeous but muted cinematography, and a beautifully economical script by Ruth Prawer Jhabvala, which also won an Oscar. --Marshall Fine ... Read more

Reviews (39)

MERCHANT IVORY'S SUBLIME VISUAL BANQUET
Anthony Hopkins stars as Henry Wilcox, a member of England's ruling class who finds himself slipping into a romance with Margaret Schlegle (Emma Thompson) after his wife has passed away. However, before her death, Ruth Wilcox (Vanessa Redgrave) had stipulated that she wished to leave her family home "Howards End" to both Margaret and her sister, Helen (Helena Bonham-Carter). Of course the Wilcox family, being stuck up and spoiled, did not follow through with her wishes and this becomes the focal point of the plot. Along the way there is adultry, corruption, deception, original sins revisited and even murder - in short, everything one could expect from an impeccibly crafted story turned into a poignant and stirring film experience. Producers, James Ivory and Ismal Merchant have given us one of a handful of truly stirring dramatic/epics, filled with the sort of grand illusion and entertainment value that Hollywood used to provide en masse during the 1930's and 40's. This is definitely a worthwhile excursion.
Columbia has done a beautiful job on the transfer. There is absolutely nothing to complain about and I defy anyone to be disappointed with the quality of this mastering effort. My one regret, this disc comes with NO EXTRA FEATURES. Apart from this oversight, you must definitely take a road trip to Howards End.

A strangely fascinating love story between British classes.
I was prepared NOT to like this film, but it drew me in and won me over.If you are a fan of what I call, "People Movies", this is for you. The plot line is fascinating, in that you MUST pay attention to every detail to follow it. Emma Thompson and Anthony Hopkins are at their usual best as the couple from two different social classes in 19th century England. The central character is, though, the country cottage called, "Howard's End." You will either love this film or hate it. For me, it is in my top 20.Credit must be given to the score, which adds much to the film's ability to draw you in from the very beginning.

"A million square miles are almost the same as heaven."
I loved E.M. Forester's book, HOWARD'S END, so I knew I'd love this film as well. Period pieces are my favorites and English period pieces have a special "something" about them. Maybe it's the lush cinematography or the brilliant acting. I suppose it's really a combination of many things.

HOWARD'S END is set, for the most part, in London, and revolves around two families: the Schlegels and the Wilcoxes. The Schlegels and the Wilcoxes are separated by class; the Schlegels are a middle class family, comfortable, but definitely not "old money," while the Wilcoxes are far more "to the manor born." Society, at the time HOWARD'S END takes place, dictated that the Schlegels and the Wilcoxes definitely not mix. However, mix they do, with disastrous results.

In the Schlegel family are two sisters, Margaret (Emma Thompson), the older and plainer, and Helen (Helena Bonham-Carter), the younger and more beautiful. We know trouble is brewing when Helen becomes involved, though briefly, with young Paul Wilcox. Of course, the Wilcoxes consider Helen (or any Schlegel, for that matter) to be beneath them, but the affair also distresses the Schlegels as well.

The lives of the Schlegels and the Wilcoxes are destined to be intertwined, however, and Margaret befriends Ruth Wilcox (beautifully played by the always-ethereal Vanessa Redgrave), the mother of young Paul. The lives of the two families become further entwined when Ruth Wilcox dies and leaves her lovely country home, "Howard's End," to her good friend, Margaret. Of course, this doesn't sit at all well with the Wilcoxes, who are truly shocked, and Henry Wilcox (Anthony Hopkins), Ruth's husband, tries to cover up Ruth's final wishes and keep Margaret away from "Howard's End."

But that is far from the end of the story and far from the end of the intertwining of the lives of the Schlegels and the Wilcoxes. In a superb and tragic subplot, both Margaret and Helen attempt to befriend a poor clerk, Leonard Bast (Samuel West) and, without meaning to, cause him to lose his meager job and leave him with no hope for the future.

The conclusion to this film is surprising and explosive, but the beautiful script by Ruth Prawer Jhabvala is quite understated and the film, like the book, never slips into melodrama.

This is a period piece that is enhanced by flawless and understated acting from all. Emma Thompson as Margaret Schlegel is superb and she certainly deserved her Oscar for Best Actress for this film. Anthony Hopkins is, of course, flawless and Vanessa Redgrave's performance is subtle and beautifully nuanced. Samuel West, as the tragic Leonard Bast is wonderful as is Helena Bonham-Carter, though she is not the equal, at least in this film, of Thompson.

HOWARD'S END isn't a particularly long book, but this is, at two and one-half hours, quite a long film. The pacing is rather slow and deliberate, but I never got the feeling that things should have been moving along any faster and, for me, at least, the two and one-half hours passed by very quickly. The film holds your interest at all times. HOWARD'S END is a film that contains a bit of everything. While it is tragic, there are times when you laugh or smile, there are times of unsurpassed beauty and there is melancholy and regret aplenty.

I would definitely recommend HOWARD'S END to anyone even remotely interested in period pieces and even to those who aren't. Who knows, you just might find a new genre that you love.

Perfection Personified
This story line is good enough to keep you in suspence and entertained at the same time. Anthony is perfect as usual. The greatest part of this story is the first glimpse into the cottage at "Howards End". Upon entering the house, the most glorious piano begins to play in the background music. The music is so hauntingly beautiful, so perfect for the setting that I found myself in tears throughout its playing. I had to have the movie, just for the piano alone.

Adaptation of E.M. Forester's classic novel...
When watching "Remains of the Day," you never really get to see Emma Thompson and Anthony Hopkins show one another any real affection. In this movie, they actually have great chemistry and while Emma takes on the role of a much more subservient woman, she is much more radiant. If you are a fan of her acting, you will definitely want to see this movie.

This is a movie which takes some patience to view and the artistic elements are well worth waiting for. The Schlegel sisters get themselves into a few trying situations and the men they love either fail miserably or protect them from the world.

Margaret (Emma Thompson) is the smarter of the sisters and yet she lacks heart in certain situations. She seems quite happy to let others save her, but is not as willing to sacrifice to save a friend. Her sister falls in love with a young bank clerk and while trying to assist him is seduced and "ruined." She is not following the laws of her society and therefore is rejected at first.

This is a tangled web involving the cultured and underprivileged. Margaret and Helen are independent and well educated and when they meet Leonard Bast (Samuel West) their lives are changed forever.

A somewhat somber ending because we are not sure any of the characters really get what they first wanted. I found this movie to be enjoyable, yet felt tense throughout the movie because there is always the thought that the sisters have ruined an innocent. Leonard is really the tragic hero in this story because he took on a responsibility neglected by Mr. Wilcox who has his eye on Margaret.

All I have to say is..."Don't let anyone steal your umbrella."

If you enjoy movies that make you think about more than what is happening on screen, this is a good movie that will make you contemplate the fate of others around you in your world. You could hold someone's destiny in your hands, even if it is not as dramatic as the story in this movie. ... Read more

Amazon.com

The second of the three Merchant/Ivory films adapting E.M. Forster novels (between A Room with a View andHoward's End), Maurice deals with a theme few period pieces dare mention--a young man's struggle with his homosexuality. It's not just a gay coming-of-age story, however. The hero wrestles with British class society as much as his personal and sexual identity.

The film opens on a stormy, windswept beach, as an older man awkwardly instructs young, fatherless Maurice Hall (James Wilby) in the "sacred mysteries"of sex. The same turbulent, wordless struggle with passion lasts throughout this slowly evolving, beautifully filmed story. Novelist E.M. Forster's brainy, British melodrama hinges onchoice and compulsion, as the pensive hero falls for two completely different men.First comes frail, suppressed Clive (Hugh Grant), who wants nothing more than classical Platonic harmony... and a straight lifestyle. (Grant's performance is so convincing, one wonders how he ever became a heterosexual sex symbol.) After Clive's wedding, Maurice turns to hypnosis to curehis unspeakable longings. Unfortunately, his "cure" is interrupted by Clive's lustful, brooding, barely literate gamekeeper Scudder (Rupert Graves), aworker more at home gutting rabbits than discussing the classics. Maurice's love for a "social inferior" forces him to confront his illicit desire and his ingrained class snobbery. --Grant Balfour ... Read more

Reviews (69)

Haunting, Transcendent
Merchant-Ivory have often been made fun of for being stuffy and repressed. I don't agree but I understand why they've been parodied. In Maurice, however, the team created something very special--an incredibly lyrical, heartfelt love story. This movie haunted me long after I saw it when it was released, and it's just as haunting now. The performances are simply grand. I wish Hugh Grant would do a dramatic role again to get rid of his mannerisms. Wilby is particularly fine, when you consider this was his first film. I've never seen Graves give a bad performance. I'm so glad to see this on DVD. Would this film be a bigger hit in the theaters if it were released now? I think so.

Forster would have approved!
This is the one of the most faithful novel-to-film adaptations that I have seen. American director James Ivory has a wonderfully British sensibility, and the movie vividly recreates late Edwardian England in muted autumnal colours. In particular, it gives the 21st century viewer a very real appreciation of what it must have been like to be gay in such a society.

The cast is uniformly excellent. James Wilby was not Ivory's first choice for the central role of upper-class Maurice (Daniel Day Lewis and Julian Sands were earlier contenders), but he gives an outstanding and totally plausible portrayal. Equally good is Hugh Grant, years before he found fame as the archetypal British twit. Grant's role is a difficult one; he must at first engage our sympathy and fondness, then gradually lose our respect as he seeks to enter "respectable" society. Ultimately, we come to despise his cowardice. Grant achieves all of this without descending into caricature - a considerable feat.

Rupert Graves makes a fine Alex Scudder, the lusty undergamekeeper who seduces and transforms Maurice. Apart from a slightly inconsistent accent, he, too. seems entirely plausible and fans of DH Lawrence's Lady Chatterley's Lover should note that this full-blooded lad pre-dates Lawrence's own gamekeeper by many years!

An outstanding supporting cast of seasoned pros includes the late, great Denholm Elliot and Ben Kingsley in small, but pivotal roles as, respectively, a bullying doctor and a hypnotist, both of whom Maurice unsuccessfully seeks help from.

This movie has a superb period atmosphere, a leisurely but rewarding pace, plenty of understated passion, memorable music and great script-writing. Kudos to the scenarists for being so faithful to the spirit of Forster, while at the same time adding scenes to remind viewers of the real dangers for gay men in Edwardian England.

Outstanding.

Obsessed!
I mean ME - I am truly obsessed with this film! I have fallen in love with beautiful Cambridge (so masculine and steeped in tradition), with the romantic Edwardian era, with the beauty of the story and especially with Maurice, the title character. Beware... if you're "susceptible" to romantic movies and is a highly sensitive person, chances are this movie will "get" to you in ways I can't fully describe. It doesn't matter if you are gay or straight - against your will, scenes and images from the film will replay in you mind, stay in your heart and affect your mood and feelings (for days, in my case - which is not a good thing because I have a major examination coming up and half my mind is still on "Maurice"!). At times, I wished I was born male like the characters, and have the privilege of a Cambridge education... wishful thinking really (though I've a girlfriend who went to Cambridge on a scholarship, to my eternal envy really).

This film is a faithful adaptation of Forster's novel and brilliantly brought to life by the winning team of Merchant Ivory. The stellar cast comprises James Wilby, Hugh Grant and Rupert Graves; all 3 share great screen chemistry and there is no doubt that the actors gave it their "all" for this film.

This is the story about one man's journey of self discovery about his sexuality and having to live with the prejudices of the times including class distinction (which balks at intimacy with a social inferior, in this case Maurice's desire for Alec). Many reviews have already been written about the story so I would just like to share some of my thoughts and observations of the film:

1) the DVD (R1, released Feb 2004) is beautifully packaged and is chockful of special features including more than 10 deleted scenes, one of which is a most sensual scene involving Maurice and Alec (an "extended" scene of their first night together). The production notes/booklet also provides a treasure of information on the film.

2) James Wilby plays "Maurice" most beautifully and sensitively. He is imperfectly handsome but is still very attractive-looking. The thing that strikes me most about Wilby's "Maurice" is that he has the MOST beautiful hair color - it's practically "golden" - not the usual blond. The color contracts nicely with the black suit he usually wears. In the novel, Maurice has dark hair, but I think a golden-haired Maurice is just perfect - a great contrast too to Clive's and Alec's dark locks!!

3) Clive (Hugh Grant) is older than Maurice by a year. When they get together, Maurice is around 21 years of age. By the time they break off, Maurice is nearing 24. Nothing is mentioned in the book/movie about Alec (Rupert Graves)'s age - but I gather he is the youngest of the three (although most certainly the lustiest!!).

4) Maurice's character is passionate, loving, vulnerable and super-loyal. If Clive had not rejected him, Maurice would have been "his for life". What's with Clive anyway? He's got this idea that a relationship between 2 men should be strictly platonic (no kisses or caresses, even). Thank goodness for the appearance of Alec later on, who is Clive's very opposite!

5) In the novel, Maurice is horrified by his lust for and intimacy with Alec, who is only a servant. But one reason they are perfect for each other is because (in Forster's words): "chance had mated it (i.e. Maurice's body) too perfectly". The 2 characters' growing feelings for each other are a joy to watch.

6) For those who question the ending i.e. whether it is even possible for Maurice and Alec to stay together what with all the difficulties surrounding them, well, let me write that Forster intended the ending to be a happy one (and who would know better than the author himself?). In the "Terminal Note" at the end of his novel, Forster wrote: "A happy ending is imperative. I shouldn't have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense Maurice and Alce still roam the greenwood..." Super, isn't it?

7) The final scene ("In the Boathouse") is wonderfully romantic and is alone worth the price of the whole DVD, so to speak.

I don't want to forget this beautiful movie, and I can't forget it anyway. It is quite simply the most touching film I've ever seen. It deserved an armful of Oscar awards (although in reality it didn't do that well, receiving only Art Direction and Best Costume nominations). I've seen most of Merchant Ivory productions and "Maurice" is hands-down, the BEST. Don't miss it!

"May I Ask Your Name?"--An 'Easter Egg' for MAURICE
There is no need to repeat the praise others here have heaped upon MAURICE and the DVD package. This is the way any film of quality should be treated.

For those who will surely find it entertaining, there's a very nice EASTER EGG on this DVD:

Go to Disc Two--select Deleted Scenes, page 2--select "May I ask you name?" and then right-arrow. A small icon will appear in the lower right hand corner of your screen. Click on that and enjoy a hidden deleted scene.

Exquisite Masterpiece
One common complaint of the critics of this film is that the ending is rather unrealistic - that two homosexual men in English Edwardian society wouldn't *in reality* be able to fall in love and continue their romance as depicted in this mesmerizing film because of the unfortunate obstacles of being from different social classes and being completely different in their interests and unbringing. Although I feel that these critics are correct, I overlook that detail because I recognize that this film was obviously made with love by director James Ivory, producer Ismail Merchant and the cast. Another case in point: my favorite film is Alfred Hitchcock's 1958 masterpiece, "Vertigo," which depicts a retired police detective falling in love for the first time in his life and becoming obsessed with a woman whom he only meets only because of a murder plot she had agreed to take part in. Is that plot so realistic? Not particularly, although it *could* happen, just as this romance *could* have happened. Just because the plot does not immediately strike one as "realistic" does not mean that the beauty or the power of a film like "Vertigo" or "Maurice" is diminished. The film is very well cast with the two best performances coming from James Wilby as Maurice Hall and Rupert Graves as Alec Scudder. In reality, as shown on the second disc containing lengthy interviews with the filmmakers and the lead actors of this film, the three lead actors playing the homosexual characters, James Wilby, Rupert Graves and Hugh Grant, are heterosexual. Consequently, it is admirable that they are so convincing and uninhibited in their roles. In addition, the score by Richard Robbins is very memorable: it is indeed one of the two most beautiful I have ever heard, the other score being composer Bernard Herrmann's work of art - his score for "Vertigo." 10/10. A. ... Read more

Reviews (39)

MERCHANT IVORY'S SUBLIME VISUAL BANQUET
Anthony Hopkins stars as Henry Wilcox, a member of England's ruling class who finds himself slipping into a romance with Margaret Schlegle (Emma Thompson) after his wife has passed away. However, before her death, Ruth Wilcox (Vanessa Redgrave) had stipulated that she wished to leave her family home "Howards End" to both Margaret and her sister, Helen (Helena Bonham-Carter). Of course the Wilcox family, being stuck up and spoiled, did not follow through with her wishes and this becomes the focal point of the plot. Along the way there is adultry, corruption, deception, original sins revisited and even murder - in short, everything one could expect from an impeccibly crafted story turned into a poignant and stirring film experience. Producers, James Ivory and Ismal Merchant have given us one of a handful of truly stirring dramatic/epics, filled with the sort of grand illusion and entertainment value that Hollywood used to provide en masse during the 1930's and 40's. This is definitely a worthwhile excursion.
Columbia has done a beautiful job on the transfer. There is absolutely nothing to complain about and I defy anyone to be disappointed with the quality of this mastering effort. My one regret, this disc comes with NO EXTRA FEATURES. Apart from this oversight, you must definitely take a road trip to Howards End.

A strangely fascinating love story between British classes.
I was prepared NOT to like this film, but it drew me in and won me over.If you are a fan of what I call, "People Movies", this is for you. The plot line is fascinating, in that you MUST pay attention to every detail to follow it. Emma Thompson and Anthony Hopkins are at their usual best as the couple from two different social classes in 19th century England. The central character is, though, the country cottage called, "Howard's End." You will either love this film or hate it. For me, it is in my top 20.Credit must be given to the score, which adds much to the film's ability to draw you in from the very beginning.

"A million square miles are almost the same as heaven."
I loved E.M. Forester's book, HOWARD'S END, so I knew I'd love this film as well. Period pieces are my favorites and English period pieces have a special "something" about them. Maybe it's the lush cinematography or the brilliant acting. I suppose it's really a combination of many things.

HOWARD'S END is set, for the most part, in London, and revolves around two families: the Schlegels and the Wilcoxes. The Schlegels and the Wilcoxes are separated by class; the Schlegels are a middle class family, comfortable, but definitely not "old money," while the Wilcoxes are far more "to the manor born." Society, at the time HOWARD'S END takes place, dictated that the Schlegels and the Wilcoxes definitely not mix. However, mix they do, with disastrous results.

In the Schlegel family are two sisters, Margaret (Emma Thompson), the older and plainer, and Helen (Helena Bonham-Carter), the younger and more beautiful. We know trouble is brewing when Helen becomes involved, though briefly, with young Paul Wilcox. Of course, the Wilcoxes consider Helen (or any Schlegel, for that matter) to be beneath them, but the affair also distresses the Schlegels as well.

The lives of the Schlegels and the Wilcoxes are destined to be intertwined, however, and Margaret befriends Ruth Wilcox (beautifully played by the always-ethereal Vanessa Redgrave), the mother of young Paul. The lives of the two families become further entwined when Ruth Wilcox dies and leaves her lovely country home, "Howard's End," to her good friend, Margaret. Of course, this doesn't sit at all well with the Wilcoxes, who are truly shocked, and Henry Wilcox (Anthony Hopkins), Ruth's husband, tries to cover up Ruth's final wishes and keep Margaret away from "Howard's End."

But that is far from the end of the story and far from the end of the intertwining of the lives of the Schlegels and the Wilcoxes. In a superb and tragic subplot, both Margaret and Helen attempt to befriend a poor clerk, Leonard Bast (Samuel West) and, without meaning to, cause him to lose his meager job and leave him with no hope for the future.

The conclusion to this film is surprising and explosive, but the beautiful script by Ruth Prawer Jhabvala is quite understated and the film, like the book, never slips into melodrama.

This is a period piece that is enhanced by flawless and understated acting from all. Emma Thompson as Margaret Schlegel is superb and she certainly deserved her Oscar for Best Actress for this film. Anthony Hopkins is, of course, flawless and Vanessa Redgrave's performance is subtle and beautifully nuanced. Samuel West, as the tragic Leonard Bast is wonderful as is Helena Bonham-Carter, though she is not the equal, at least in this film, of Thompson.

HOWARD'S END isn't a particularly long book, but this is, at two and one-half hours, quite a long film. The pacing is rather slow and deliberate, but I never got the feeling that things should have been moving along any faster and, for me, at least, the two and one-half hours passed by very quickly. The film holds your interest at all times. HOWARD'S END is a film that contains a bit of everything. While it is tragic, there are times when you laugh or smile, there are times of unsurpassed beauty and there is melancholy and regret aplenty.

I would definitely recommend HOWARD'S END to anyone even remotely interested in period pieces and even to those who aren't. Who knows, you just might find a new genre that you love.

Perfection Personified
This story line is good enough to keep you in suspence and entertained at the same time. Anthony is perfect as usual. The greatest part of this story is the first glimpse into the cottage at "Howards End". Upon entering the house, the most glorious piano begins to play in the background music. The music is so hauntingly beautiful, so perfect for the setting that I found myself in tears throughout its playing. I had to have the movie, just for the piano alone.

Adaptation of E.M. Forester's classic novel...
When watching "Remains of the Day," you never really get to see Emma Thompson and Anthony Hopkins show one another any real affection. In this movie, they actually have great chemistry and while Emma takes on the role of a much more subservient woman, she is much more radiant. If you are a fan of her acting, you will definitely want to see this movie.

This is a movie which takes some patience to view and the artistic elements are well worth waiting for. The Schlegel sisters get themselves into a few trying situations and the men they love either fail miserably or protect them from the world.

Margaret (Emma Thompson) is the smarter of the sisters and yet she lacks heart in certain situations. She seems quite happy to let others save her, but is not as willing to sacrifice to save a friend. Her sister falls in love with a young bank clerk and while trying to assist him is seduced and "ruined." She is not following the laws of her society and therefore is rejected at first.

This is a tangled web involving the cultured and underprivileged. Margaret and Helen are independent and well educated and when they meet Leonard Bast (Samuel West) their lives are changed forever.

A somewhat somber ending because we are not sure any of the characters really get what they first wanted. I found this movie to be enjoyable, yet felt tense throughout the movie because there is always the thought that the sisters have ruined an innocent. Leonard is really the tragic hero in this story because he took on a responsibility neglected by Mr. Wilcox who has his eye on Margaret.

All I have to say is..."Don't let anyone steal your umbrella."

If you enjoy movies that make you think about more than what is happening on screen, this is a good movie that will make you contemplate the fate of others around you in your world. You could hold someone's destiny in your hands, even if it is not as dramatic as the story in this movie. ... Read more

Reviews (2)

A superb film, beautifully shot and acted
I saw this film years ago, and bought the soundtrack because I can't get a UK format copy. It is a superb film - subtle, intriguing and beautifully-shot. Oliver Reed gives a controlled performance and the other actors create an air of mystery; the soundtrack balances the imagery beautifully. Don't miss it...a classic.

An explosive film with great music!!!
Captive is arguably one of the greatest foriegn films I have ever seen. The Edge was outstanding in Capitvating the mood of the movie through the strings of his guitar. ... Read more

Reviews (10)

Very strange and interesting premise,well acted.
This movie deals with one of the possibilities of what happens after one dies. Colin Firth and Peter O'Toole, as murderer and famous actor, respectively, are linked forever in the "Hotel of the Rich and Famous". The price one is willing to pay for one's actions, including fame, seems to be the point of this film. I really enjoyed this movie. I thought it was well acted and very funny in parts. It seems on the brink of answering in part the "why are we here" question without giving any answers. I came across this movie via my girlfriend, who is a confirmed "Firth-a-holic". There is a lovely French actress in this movie whose name escapes me...so there.

A comedy about death that works.
Peter O'toole & Colin Firth work wonderfully together as a famous movie star and his murderer who go to a hotel that COULD be the afterlife OR a "waiting room" to above or below. When Firth gets a 2nd chance at life, he reluctantly takes O'toole with him. The ending is surprisingly touching. Each character learns something about himself, and each seems to get exactly what he deserves. Excellent acting -- especially by Colin Firth.

Worth a shrug
WINGS OF FAME is one of those movies that might elicit a shrug and the thought that its creation may have seemed a good idea at the time.

Peter O'Toole stars as Cesar Valentine, a famous actor shot dead at a film festival by an aggrieved fan, Brian Smith (Colin Firth). In the immediate aftermath of the murder, Smith is himself killed by a falling spotlight, so both together enter The Afterlife, which is a grandly huge and somewhat forbidding, old hotel populated by the souls of those who still enjoy some measure of fame or infamy back among the living. Is it Limbo, or Purgatory? In any case, as the occupants' notoriety back in Real Life diminishes, they're shuttled from the grandest to the meanest hotel accommodations available until such time as the Famous become Nobodies, and are unceremoniously bundled out of the place to an unknown fate.

Oddly, there are few recognizable Historical Figures on the hotel's guest list. Most go unnamed, though they look as if we, the viewers, should know them. Only Lassie, Albert Einstein, and the kidnapped and murdered "Linbergh baby" are identified and obvious. Where are Hitler, Lincoln, Shakespeare, Alexander the Great, Mao Tse Tung, and Michaelangelo? Lawn bowling out back, no doubt. Or checking out the well-oiled babes by the pool.

The point director Otaker Votocek is trying to make, I gather, is that fame is ephemeral and fleeting even though it may be the very bread of life to those basking in it. Votocek's cautionary message perhaps stems from too many head-to-head confrontations with difficult stars. In any case, what probably seemed a clever premise, and could have provided sharp dialogue and piquant observations regarding The Limelight, is muted by the inane preoccupations of Valentine and Smith. The former needs to know why he was killed, and the latter wonders if love is possible in The Afterlife after being smitten with the (dead) singer Bianca (Marie Trintignant). O'Toole, one of the world's most colorful and charismatic actors, is always watchable no matter how big the Screen Bomb. Firth, in my opinion one of the industry's least colorful and charismatic actors, proves to me yet again that his taciturn and brooding roles have limited application, PRIDE AND PREJUDICE and the GIRL WITH A PEARL EARRING being prime examples of casting success.

WINGS OF FAME, at 109 minutes, is about 90 minutes too long. I can't recommend it in its entirety for any substantive reason.

A witty, very well-acted movie
Superb acting and an interesting premise make this movie well worth watching, and watching more than once.

Yum!
Ahh, just watched this video. The story was very strange but the performances by the principal players were excellent. I could stare at Colin all day! A must see for any Firthaholic! ... Read more

Description

An Irish widow falls for a man with ties to the IRA. ... Read more

Reviews (1)

A sad Irish story
After a lengthy absence from films, Julie Christie returned to make this adaptation of the book by Jennifer Johnston. Julie plays Helen, picking up the pieces of her life after the death of her husband in an IRA involved shooting. She moves to a small coastal town in Ireland to raise her teenage son away from the battlefields of the North Ireland cities. There she meets a disfigured war veteran who bemuses most of the villagers with his intentions of getting the local railway station back in working order after years out of service. Shaken out of her comfortable shell of isolation she begins to have feelings for this man despite herself, while the political strife that claimed her husband creeps back into her life. Another amazing performance by Christie. She's beautiful and sad, nearly heartbreaking every moment of the film. She is reunited with her 'Don't Look Now' co-star Sutherland and they have much of the same chemistry from that previous pairing. Overall, a very good film, but most highly recommended for fans of Sutherland or Christie(which I certainly am). ... Read more

Amazon.com

This feature-length edition of the TV series popularized on PBSand A&E is the British equivalent of "a very special episode." Theincomparable David Suchet stars as Agatha Christie's impeccable Belgiandetective, Hercule Poirot, whose simple Christmas "repast" is disturbedby an invitation to visit the home of Simeon Lee, a repellentcurmudgeon who makes Mr. Potter look like George Bailey. "My life is indanger," he states. Events snowball as Simeon is indeed killed, and afortune in uncut diamonds stolen. As Poirot observes, a case can bemade against any of the family members Simeon gleefully tormented. Itis "all very clever, no doubt," even though Barney Fife could probablyfigure out who's behind this "intricate web of deception." Still, keepyour eyes and ears open, as Simeon compels Poirot. "Putting two and twotogether" is all the confounding fun in this mystery for all seasons.--Donald Liebenson ... Read more

Reviews (9)

INTELLIGENCE, HORROR, SUSPENSE
It's christmas time and Poirot gets a phonecall from an old man who says that his life is in great danger and he wants Poirot to join him and his relatives in his house, Poirot will get very dissapointed because the old man will not survive the first 20 minutes of his company. There is suspense and horror in the air.

Poirot will need his little grey cells to clear this case.
as well as you...

once again i must tell you that the only way to figure out who the murder in Agatha Christies stories is to not accept your eyes or your ears... because almost everything is a lie or an act.

This is an movie i am very proud of to have in my bookcase i tell you see this movie...

As usual, GREAT
I am a Poirot fan so I may be somewhat bias but this movie was excellent. As usual you never can figure out the end and this movie was no exception. The quality of the movie was great and the sound was suberb. What else can I say.

An excellent Poirot movie
When the boiler in his building breaks down, Monsieur Poirot (played by David Suchet) faces the prospect of a very cold Christmas. So, when he receives a call from the wealthy Simeon Lee (Vernon Dobtcheff) to come and investigate his suspicion that he is the target of a murder plot, Poirot boards the next train. However, Mr. Lee is a spiteful old man who has left behind him a trail of used and angry people, and when he turns up murdered, it is up to Poirot to find out who did it and how. [Color, released in 1994, with a running time of 1 hour, 43 minutes.]

I must admit to having bought this video sight unseen. I am a big fan of David Suchet's Poirot, and had faith that I would like this film as much as the rest. Well, I was not disappointed. Perhaps even more than some, this episode kept me on the edge of my seat, guessing at who did it and what he or she would do next. Plus even though Hastings (Hugh Fraser) wasn't in it, the redoubtable Chief Inspector James Japp (Philip Jackson) was!

So, let me just say that this is a very good Poirot movie, an excellent one in fact. If you are a David Suchet/Poirot fan, then I highly recommend this movie to you.

Poirot's Christmas: A Feast for his Fans
Hercule Poirot's Christmas is an absolute delight. It's the perfect synergy between book and film, writer and director. As a long time reader of Agatha Christie and devotee of her inimitable Hercule Poirot and his little gray cells, I had expected to enjoy this video. But what impressed me was the superb dramatic pacing, the use of music to accent and develop the story, and the characters' living, breathing authenticity. David Suchet is as always the perfect, palpable incarnation of our Belgian detective and as for Philip Jackson, he is Chief Inspector Japp. All the actors, however, clearly seem to thrive under the excellent direction of Edward Bennett. There's just the right balance of humor and suspense, that splash of wit and verve in a serious story of greed and retribution.

Poirot's Christmas isn't just for the holidays, although for me it will become a tradition like viewing the original "Christmas in Connecticut." Poirot's Christmas is the sort of feast that you'll never tire of enjoying and I am sure the little gray cells will agree.

One of the Best
David Suchet does a superlative job with the character of Hercule Poirot in all of the BBC productions of Dame Agatha Christie's short stories and novels, but HERCULE POIROT'S CHRISTMAS, one of the lesser known books, has become one of the best of the video adaptations.

Loaded with appropriate Christmas atmosphere and sly Poirot humor (getting an unwanted Christmas gift, attempting to eat brown Windsor soup), CHRISTMAS finds Poirot investigating the vicious throat slashing of wealthy Simeon Lee in a locked room, a man who had just the day before hired Poirot to visit him as all of his children come home for the holidays. He suspects there is no love lost for him among several of his kin, and he's right. With a local superintendent and the ever-reliable Chief Inspector Japp present to assist, Poirot and his little gray cells have seldom operated so judiciously and adroitly.

Production values are lavish this time around. Period details of the 1930s are accurate, and Lee's manse-like abode offers large, beautifully appointed rooms and lots of shadowy hallways and anterooms for plotting and observing.

As has been the case with the other Acorn releases of these television productions, the video is presented in 4:3 ratio. There is marvelous Dolby surround sound in this one, though, and when those wonderful angelic voices begin singing nostalgic carols that wrap around you, you just want to sit back, close your eyes, and listen. Alas, such a plan will cause you to miss some vital clues to the solution of the mystery. The usual and wanting special features have been brought over from previous releases. One longs for a "making of" documentary on these marvelous transcriptions of Christie's masterworks.

You can't go wrong with this one! ... Read more

Amazon.com

In the politically charged atmosphere of Margaret Thatcher's Britain, newspaper reporters are hungry for the big story that will make them stars and their newspapers famous. Nick Mullen (Gabriel Byrne in his first starring role) is one such reporter for the London Daily Dispatch. A top member of Parliament (Ian Bannen) is the focus of the latest political scandal: he has been photographed with a prostitute who is known to have Russian contacts. Nick barrels into the scandal full-bore, despite warnings from his mentor (a deft Denholm Elliott). Nick receives a tip that makes his story a front-page item and he quickly becomes a celebrity himself. But as he soon discovers, there is much more to the story than he imagined. Director David Drury (Prime Suspect 3) keeps this highly complex, John le Carré-esque story moving swiftly. The clues are hard to find at times, but it is not because the story is told unclearly; rather, the filmmakers have decided that audiences can think for themselves and piece together the information along with Nick. An overlooked and truly entertaining thinking person's film. --Doug Thomas ... Read more

Reviews (4)

One you missed at the theatre.
Saw this little gem when it originally was released theatrically. Needless to say, I was impressed.

Starring a terrific Gabriel Byrne (does this guy ever age?), it is a very tight story of a newspaper reporter (Byrne) who comes across a story of a Member of Parliament having an affair with a prostitute, who is also seeing a KGB agent.

But things are much more complex than they initially appear, and it becomes a much thicker paranoia thiller (one of my favourite themes). If you liked "The Parallax View" (1974) - or favour conspiracy theories - then you'll like this very British effort.

Watch for the gaggle of reporters camped on the Minister's doorstep. Durning the scene, a car backs into one of the reports, knocking him down. It is never explained...

The DVD transfer is exceptional, though in typical MGM fashion, there are no extras except for the original trailer.

A thinking person's movie
Fast moving all too credible movie showing dealing with the issue of press freedom versus what should be considered secrets of the state.
Great casting. This is a gem that is surprisingly little known.

Defense of the Realm
Overlooked. Something of a quiet sensation when it came out in the mid 1980's. Starring Gabriel Byrne(in his first lead role), Greta Scacchi, and Denholm Elliot. The script could have been written by John Le Carre. A complex, claustrophobic, dark, fast-paced film which requires alertness on the part of the audience. Not available on DVD in the U.S.

An absolute cracker
The showbiz adage of 'never work with children or animals' was, within the British film industry, extended to 'never work with children, animals or Denholm Elliot'. He was, rightly, labelled a 'scene stealer' and with his passing, one of the 'true stars' were lost.

Gabrielle Byrne and Greta Scacchi star in this 1984 UK film, but the film, despite featuring a young Robbie Coltrane ( Cracker ), is forever Elliot's. Massively underrated, this film is a powerful indictment of the true 'powers that be'. Governments come and governments go, but the engine room remains in place, along with the stokers.

Is this a political thriller, a journalistic thriller, a shadowy thriller even - scary too, maybe ?. Probably all and more besides. It's very taut, very fast, very complex and, perhaps, very true to life ( the scary bit ). Underhand and double dealing are rife and little mercy is shown to the designated stooges. Elliot, as Vernon Bayliss, suffers no fools here and realising the enormity of the truth and confiding in nobody, pays a heavy price for his refusal to be swept along with the tide of seemingly incontrovertible proofs. Perhaps Fox Mulder saw this film and coined 'trust no-one' from Elliots' performance.

What is sure, though, is that a field day awaits conspiracy theorists who watch this. There is no sex, no violence and no profanity and I defy anyone to watch this film only once. ... Read more

Reviews (20)

Chess and Nabokov Make for A Niche Film
Obsession, love, tragedy are the always fertile, though familiar, subtexts of The Luzhin Defense, a Nabokov novel adapted into a visually gorgeous film. Unfortunately, for all Luzhin's passion for chess, for all the beauty of the lakefront location where it takes place, the film itself unfolds almost clinically and predictably. John Turturro looks throughout like an actor playing the part of a driven, socially inept genius. That of course is the problem --for me, at least, he never transcended his actor self to inhabit the part. Some of the plot devices are wooden, particularly one in which Luzhin's Svengali and former master teacher, Valentinov, somehow manages -- we are to believe -- to bribe the post-match limousine driver to lose Luzhin deep in the country, triggering his insanity.

This is not a movie for mass audiences. In fact, it passed virtually unnoticed in theater release. Its best selling point is the pleasure of watching the superb Emily Watson as Natalia Katkov. Leave aside the fact that she looks about as Russian as, say, Derek Jeter. Instead, watch the subtle and many ways she conveys by expression, body movement, and spare words the astonishment and joy of having a simple vacation with her pushy mother turn into a love affair she herself, and all around her, would never in her strangest reveries have considered possible.

One final note: The Luzhin Defense would probably have annoyed me no end if I knew more about chess. Knowing the little I do, two flaws are immediately apparent. First, in the scene when Luzhin's (John Turturro)clock falls, he is allowed to seal his next move, rather than losing, as is the case in chess competitions. Second, in the championship, one game is played for all the marbles (to mix metaphors as well as games). This is of course a huge disadvantage to the person playing black.

Bottom line: it's never going to make your all-time top ten list, but it is worth a watch.

Brilliant but confusing story of a mentally ill chess genius
Adapted from a novella by Vladimir Nabokov, this 2000 film is about the world of chess, genius, mental illness and romance. Set in the early 1920s in Italy, it stars John Turturro, cast as Aleksandr Ivanovich Luzhin, an unkempt, awkward and disturbed chess master who is about to compete in a world chess tournament in a upscale resort. Emily Watson is cast as Natalia, a wealthy socialite who is bored with her mother's matchmaking and is, instead, attracted to the lonely and weird chess genius.

We see flashbacks about Luzhin's life which tries to explain his madness. The relationship between the two lead characters deepen. The tournament begins. We're all rooting for Luzhin. And then, his former chess mentor, played by Stuart Wilson, appears out of the blue. Wilson wants to destroy his former protégé and plots with Luzhin's opponent to do this. I was confused by this character because I didn't think the background had set him up enough.

It all plays out with a sense of drama. The story was intriguing and held my interest. And, at the conclusion, Emily Watson is called upon to do something courageous. But in spite of excellent acting, fine lush settings and good direction by Marleen Gorris, the whole film just didn't jell for me. It was a good try, but there were too many parts that left me confused and it didn't add up to compelling drama. I therefore find it difficult to give this film more than a modest recommendation.

"Loose adaptation" : Nabokov :: Chess : Love
While excellent as a period-piece romance, this movie bears little semblance in substance or form to Nabokov's great novel of the same name. Of all Nabokov's novels, "The Luzhin Defence" is without doubt one of the worst candidates for adaptation to play or screen, because it deals so intimately-and so bravely-with the private obsessions of its protagonist, obsessions that are unconveyable on film by virtue of the medium. Movie characters cannot be seen to think; they may only speak.

The illustration, foremost in my mind, of where the book succeeds and the movie fails, is the penultimate scene, where Luzhin plummets to his death. In the movie, Luzhin's leap is only tenuously accounted for by his actions and thoughts. The idea in the movie is that Luzhin is so distraught that the business of life must supplant the business of chess, because playing chess makes him ill, that he kills himself. He has lost so much of his life to an immersion in chess that at this stage there is no turning back; no readmission into society, no retracing of the lost years into a normal existence is possible. He cannot re-learn his lifestyle and mode of existence, an understanding that rocks him to the very core. He cannot be happy without chess and he cannot be healthy with it, so the only way for him is an end to it all in suicide.

Nabokov's brings his character to somewhat similar conclusions, but in a much more vivid way. Where in the movie Luzhin's silent motives can only be guessed at through inference, in the novel the solipsistic universe of the fat chess genius (yes, he is fat in the novel) is laid bare, with all its crevasses and mountaintops intact. This, in fact, is the virtue and purpose of the novel as a form. It is limited in that it cannot show actual, physical things to the reader, but in exchange the author has supreme control over his characters' actions and thoughts. Nabokov is a novelist, and exploits the novel's virtues and possibilities like a master. His novels are not prose dramas. They are novels, whole novels, and nothing but novels. Because Nabokov is so on the side of the novel, and not the drama (although he wrote a few plays in his life, including a script for "Lolita"), a metamorphosis into spoken lines is very likely to be suspect.

As a result, the movie, in comparison with the book, comes off as shallow and unworthy of its title, especially given the director's own admission in the commentary included on the DVD that the script is a "loose" adaptation of the novel. Absent are the flares of Nabokov's bewildering inspiration and, notably, his consciousness of the kalidescope of hidden combinations, feints, bluffs, and traps that characterize chess and inform the very construction of the novel.

Yet as a "loose" adaptation, "The Luzhin Defence" is better than decent. Though the stock character of the evil former chess teacher is an obvious lowlight, Emily Watson and John Turturro are excellent, as is the cinematography. It just would have made more sense if the movie's title were something other than "The Luzhin Defence," because Nabokov's novel it is not.

Stereotypes, not archetypes
I watched "The Luzhin Defense" last night for the first time. I have a passing familiarity with Nabokov having read the first hundred pages or so of "Lolita." Yet I suppose this is another way of saying that I am not at all familiar with his work (and I abandoned "Lolita" when its style, while impressive, wasn't what I was looking for at the time. The recent film adaptation, however, with Jeremy Irons and Dominique Swain, was stunning.)

I planned to wait until I was older, perhaps having more time, to plumb the depths of Nabokov, particularly his novella "The Defense" upon which director Marlene Gorris's adaptation is based. I like chess, though am terrible at it, know that Nabokov played (it is called the other form of Russian alcoholism), and wanted the time to fully appreciate the writer at the height of his powers.

Considering the state of television in general, getting a chance to watch anything else is opportunity indeed. So I was keen, in this respect, to see the film. Gorris had written and directed "Antonia's Line;" Emily Watson, I admitted later to my girlfriend, I am in love with due either to her immense talent or beauty; and John Turturro continues to add to his important contributions to independent film.

But "The Luzhin Defense" is more disaster than disappointment. It can't seem to decide what it wants to be while falling into the trap, I assume, of attempting to be true to the novel by copying it chapter for chapter. The result is linearity, the chance for real character development and explosive dramatic tension all but squandered.

The actors, scene by scene, seem to know what to do, know their respective characters, and know well the mood or atmosphere of each scene as it relates to the overall story. Thus, this ultimately is a failure of direction.

With such intelligent individual performances to come off as well-worn stereotypes -- eccentric genius; gorgeous debutante quickly entranced by him; dismissive, wealthy mother opposed to the match; arch-chess enemy threatening to beat genius yet again; and jealous former teacher looking to undermine genius -- the film is something on par with an all-star sports team looking silly as it is trounced by a less than spirited pick-up squad.

I searched around for other reviews online and found this by Alan Stone of the Boston Review:

"I can think of none that is more disrespectful to the spirit of its author than The Luzhin Defence. Gorris, who started her career as a fiercely independent feminist, has made a cinematographically beautiful film empty of Nabokov's ecstatic genius, his prescient psychology, and her own original talent."

Love, Life, Chess...and......Obsession!
This review refers to the Columbia/TriStar DVD edition of "The Luzhin Defence"......

I'm not sure how I missed this little gem the last few years, but I'm glad I finally found it. I was browsing through the mark downs at my local video store and this one practically had flashing red lights. It is directed by Marleen Gorris, who I knew had directed another of my favorites("Antonia's Line") and to boot it starred two brillant actors...John Turturro and Emily Watson. It had to be worth a try....and well worth it, it was!

It's a deep and complex story, with characters that will draw you in with their every word and action. John Turturro is Alexander Luzhin. An eccentric but brillant chess player, who life consists of nothing else. He is called "The Maestro", by others in his circle, admired for his genius and expert abilities. He lives, thinks, breathes, even sleeps, nothing else. Basically he has been obsessed, since the age of ten.That is until the wonderful Natalia(Watson), turns his thoughts to love and marriage.In a very short time, she seems to be the one who understands him, and cares deeply and is able to introduce him to the wonders of life outside of the chess world.

They will be married as soon as he wins the most prestigious match in Italy. But life takes another turn for Luzhin, when a mysterious man from his past turns up and is out to destroy him. The storyline becomes one of intrigue as this real life chess match becomes more serious with each move.

Miss Gorris engages us from start to finish.The love scenes are beautiful and touching, the mystery captivating, and the characters are very real. The ending was totally unexpected and took my breath away. Turturro is nothing less than brillant in his portrayal of this eccentirc, complex being. Emily Watson shines as the woman he finds solace with. Together they have a magnificent chemstry.Two others I must mention are Alexander Hunting, who's performance as the young Luzhin was remarkable and Alexandre Desplat who adds beautiful music to go along with this beautiful story.

The DVD is very nice. Excellent pictue in Widescreen(1.85:1), rich colors and fabulous sound in DD5.1(you also have the choice of 2-channel Dolby surround)..follow the chess pieces through the menu to choose. Features include Dircetors commentary, a making of featurette(there wasn't much to this), some theatrical trailers and has subtitles in French, English and Spanish for those needing them.

This is a definate keeper. One I will probably view often, maybe even to the point of obsession!...enjoy....Laurie ... Read more

Reviews (4)

One you missed at the theatre.
Saw this little gem when it originally was released theatrically. Needless to say, I was impressed.

Starring a terrific Gabriel Byrne (does this guy ever age?), it is a very tight story of a newspaper reporter (Byrne) who comes across a story of a Member of Parliament having an affair with a prostitute, who is also seeing a KGB agent.

But things are much more complex than they initially appear, and it becomes a much thicker paranoia thiller (one of my favourite themes). If you liked "The Parallax View" (1974) - or favour conspiracy theories - then you'll like this very British effort.

Watch for the gaggle of reporters camped on the Minister's doorstep. Durning the scene, a car backs into one of the reports, knocking him down. It is never explained...

The DVD transfer is exceptional, though in typical MGM fashion, there are no extras except for the original trailer.

A thinking person's movie
Fast moving all too credible movie showing dealing with the issue of press freedom versus what should be considered secrets of the state.
Great casting. This is a gem that is surprisingly little known.

Defense of the Realm
Overlooked. Something of a quiet sensation when it came out in the mid 1980's. Starring Gabriel Byrne(in his first lead role), Greta Scacchi, and Denholm Elliot. The script could have been written by John Le Carre. A complex, claustrophobic, dark, fast-paced film which requires alertness on the part of the audience. Not available on DVD in the U.S.

An absolute cracker
The showbiz adage of 'never work with children or animals' was, within the British film industry, extended to 'never work with children, animals or Denholm Elliot'. He was, rightly, labelled a 'scene stealer' and with his passing, one of the 'true stars' were lost.

Gabrielle Byrne and Greta Scacchi star in this 1984 UK film, but the film, despite featuring a young Robbie Coltrane ( Cracker ), is forever Elliot's. Massively underrated, this film is a powerful indictment of the true 'powers that be'. Governments come and governments go, but the engine room remains in place, along with the stokers.

Is this a political thriller, a journalistic thriller, a shadowy thriller even - scary too, maybe ?. Probably all and more besides. It's very taut, very fast, very complex and, perhaps, very true to life ( the scary bit ). Underhand and double dealing are rife and little mercy is shown to the designated stooges. Elliot, as Vernon Bayliss, suffers no fools here and realising the enormity of the truth and confiding in nobody, pays a heavy price for his refusal to be swept along with the tide of seemingly incontrovertible proofs. Perhaps Fox Mulder saw this film and coined 'trust no-one' from Elliots' performance.

What is sure, though, is that a field day awaits conspiracy theorists who watch this. There is no sex, no violence and no profanity and I defy anyone to watch this film only once. ... Read more

Reviews (17)

Makes an incredible story even better
When I first read of the incredible story of Shackleton's Endurance expedition--almost two years stranded in the Antarctic and yet all men lived to tell the tale--I thought it would make a wonderful film but couldn't imagine how a filmed version would live up to what was in my mind's eye.

I was gratified to find "Shackleton" (the movie) to be one of the greatest adventure movies I'd ever seen. Kenneth Branagh is perfectly cast as Sir Ernest Shackleton, the slightly full-of-himself but heroic leader of the expedition. The entire thing was filmed, quite realistically, in Greenland, which looks stunning.

I was particularly impressed at how closely the cinematography matches the well-known photographs taken by the actual expedition photographer, Frank Hurley. Some shots in the film are essentially identical to Hurley's photos, adding to the film's realism. (If you'd like a good look at the original photos, I recommend Caroline Alexander's "Endurance: Shackleton's Legendary Antartic Expedition," which contains great reproductions of them.) It's true that it takes the entire first half of the film for the expedition to get underway and then stranded, but even this lengthy non-Antarctic segment is reasonably well done.

On top of the inherent drama in the story and the excellent production, the DVD carries an entire volume of worthy extras: a 2-hour history of the Antartic, a segment from A&E "biography" on Shackleton, and a "making of" video as well.

Enough to keep exploration fans--or anyone interested in great adventures--happy for hours and hours!

The most amazing Antarctic adventure ever
I saw this film when it was broadcast on UK TV arou