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Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister. Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar, and 1995 was a fine year for Jane Austen all around: Persuasion was made into an excellent picture, and Emma became the spritzy high school comedy Clueless. --Robert Horton ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Reviews (28)

Wonderfully comical
I just spent a hilarious three hours (well, the film is only 105 minutes, but I kept hitting the reverse button on the remote) watching Bedrooms & Hallways. This film is clever and funny.

Leo and Darren, both gay, search for romance in their own individual ways. Leo is attracted to someone whom he thinks is straight. Darren just has one hell of a good time, often. And life falls apart from there.

The film begins with a surprise party for Leo, at which we meet all the principal characters of the film. Then by means of one long flashback we enjoy what led up to the current state of affairs (of which there are many). The ending is hair-brained and implausible but many of these films usually end absurdly. So, not an issue.

What makes this film so lovably wonderful are the characters. As for Leo, take him or leave him. He is one of those tiresome individuals who obsesses his way out of what could have been a meaningful relationship by insisting on 100% commitment. Oh, yawn. We've seen it a million times, so ignore him. Tom Hollander plays Darren to delicious excess. You may remember him from the "Absolutely Fabulous" episodes, "The Last Shout," in which he almost marries Saffron. Hugo Weaving (Priscilla: Queen of the Desert) plays Jeremy, Darren's love interest. Jeremy is a real estate agent, which gives him access to empty houses in which he and Darren meet to fulfill some eccentric fantasies. But Jeremy has to have the right decor. These two are the joy of this film. Simon Callow, as Keith, oversees a New Age men's therapy group that is hysterical. And James Purefoy is gorgeous as Brendan.

Finally, a gay film in which there is lots of kissing! And it's the good old fashioned open mouth, "I think you're so hot!" variety. The DVD lacks features, but it has a short and enlightening interview with the director, Rose Troche. One point - ignore the cover. It shows Weaving looking lasciviously at Purefoy. Those two have nothing to do with each other in the film. They never even meet. Just another example of marketing ineptitude. But the disk inside is wonderful! Now go buy it, Honey.

Fluffy but funny
Charming little film about a gay man and the crazy world that surrounds him, the film is delightful but doesn't stand too far above the many charming and delightful gay-themed British films that we've seen in the last little while (Get Real, Like It Is), but is probably most notable for being the one that really makes a concerted effort to stretch people's guidelines of what constitutes sexual orientation: the main character finds himself attracted to a straight man in his all-male therapy group, and the straight man actually goes out with him and ends becoming quite enamored in their relationship. The latter guy's girlfriend turns out to be our hero's ex-girlfriend from college, and they in turn find a possible reignition of their young puppy love. While not anything worth writing home about, the film is bright and lively and features a great Jane Austen-themed sadism dream sequence, complete with one of the film's stars Harriet Walker, who you might remember as the evil Fanny in Sense and Sensibility. Her scenes with Simon Callow are among the film's best ("I love being a woman," she says, "Not because of you but because of me.")

Amazing, funny, open minded...
A very original and satiric comedy ! A great pleasure: very nice story, good study of human behaviours, very well played by many talented actors and actress, never coarse and first and foremost it makes us learn being more tolerant and open minded towards other people. It doesn't matter if people are gay or hetero or anything else ; there only one thing interesting : they are all simply only human with qualities and fairlties.
A very good time in forecast...

Unexpected Twists and strange effections
Bedrooms and Hallways is an enjoyable and at times witty film that follows the lead ( Leo ) on his quest to find romance, love or a husband of sorts. It has the feel of a sit-com with undertones that hit on issues most of us can understand. It's more like light entertainment with a few fairly heavy moments. The production quality is good and the acting was right on. As a note, the actor that plays a kinky real estate salesman is the same actor that plays Mr. Smith in the Matrix movies and it was fun to see him in the truely twisted roll as a Gay sex monger with strange kinks. He hates cheep house wares. Maybe you have to see it to understand. The movie was good and worth picking up and adding to your collection. Its suggestive but tastefully done and would be OK for mixed crowds.

Cliched, but still entertaining due to unexpected situations
First fifteen minutes: the sledgehammer was out and the condescension began. Film was saying "all you people out there who have stereotypical notions about gay people...you're WRONG!".

Next half an hour: sledgehammer goes away, but a dreadfully rehashed plotline comes out. Gay man falls for straight guy who -- shut my mouth! -- may be interested in our hero after all. Agenda is out on the table. Can a moratorium be declared on this plotline?

Next 15 minutes: Straight girl (aka "former girlfriend) appears and wants our gay hero. Because straight girls are ALWAYS in love with their gay male friends, didn't you know.

Last half hour: This is where the story took a turn I had not seen before. People who believe a person is either gay or straight may be dissatisfied with the outcome, but I found it to be very true to life (including, but not limited to, mine). Love and friendship can be confusing enough as they are; throw sex into the mix and one inevitably starts questioning one's own assumptions.

Plot machinations aside, the perfomers are genial and it is nice to see films about modern Britain. There are some truly funny moments and everyone feels like a friend. I wound up enjoying this film a lot. ... Read more

Reviews (2)

My Favorite Movie to Recommend
Possibly the most miserable waste of time to come by the screen. I hated Turtle Diary and recommend it as often as possible to friends (non of whom have ever heard of it) in hopes that I may be the cause of their misery in watching it. Really it's pointless and tasteless, except that the producer seems so having something for flares of red in an otherwise bland set--this having no connection to the story, but seems as though it should in some twisted way. This movie is always near my top 10 picks in hopes that someone will chance to watch it on my account--a delight of which I have not yet enjoyed--but when said event occurs, I will cackle with glee. Seeing as I anticipate this future merth I easily rate Turtle Diary at 5 stars. I might buy this movie someday when feeling wealthy and unsatisfied with people in general.

Beautiful wry, touching romance--extraordinary acting.
Turtle Diary is one of those little gems of a film that sometimes come out of Britain to great critical acclaim and little American distribution. Starring Glenda Jackson and Ben Kingsley, it tells the tale of two older, very lonely London residents who are fascinated with the great sea turtles in the aquarium at the London Zoo. Jackson is a successful writer of children's book suffering though a major writers block. Kingsley is a dron at a local book store.

The meet by chance at the zoo and concoct a plan to liberate the sea turtles and return them to the sea. The bulk of the movie deals with the planning and execution of this plan.

This is an exercise in character study. There isn't a lot of action, but there is a lot of dialog. However, both Jackson and Kingsley are at the very top of their form in the film and the rest of the cast-a collection of well known and accomplished English character actors-provide awesome background and support for the story. There is a surprise ending of sorts, which I didn't anticipate when I first saw the film.

This is a quirky little movie that would be perfect for a romantic afternoon with your significant other.

An absolute gem of a film. ... Read more

Amazon.com

Minnie Driver stars as an impoverished Jewish woman, Mary,living in an emphatically anti-Semitic England in the mid-19th century. Followingthe murder of her beloved father--who leaves his survivors strapped withhis debts--she camouflages her identity as a Protestant of Italian descentand takes a job as governess to an unorthodox Scottish family. In this filmby Sandra Goldbacher, sundry conventions from Victorian novels mix with a contemporary, feminist take on Mary's subsequent adventures. Maryasserts, with some effort, her authority over her willful charge (FlorenceHoath); she dodges the insults of a vaguely ghoulish matriarch (Harriet Walter);and she becomes an aide, confidante, and lover to the man of the house (Tom Wilkinson), a naturalist dabbling with early experiments inphotography. Goldbacher fails to make it all feel as fully realized as it could be(much of the detail and soul of Mary's life in London is too telescoped and impressionistic to sink in). But the film's middle section, in whichthe heroine's complicity with Wilkinson's married character engages herkeen intelligence as well as her untapped sensuality, is deeply felt. It'snice to see Driver prove she can carry a film, though the dreamy, exotic photography by Ashley Rowe certainly pulls a viewer along as well.--Tom Keogh ... Read more

Reviews (43)

A Beautiful Piece of Art that Will Touch Your Heart!!!!
The governess is a beautiful film that lets you inside the secret parts of the human soul as it struggled to exist during a time so unlike our own. Every character allows you to feel the pain of the lack of freedom of expression and exploration of the 1800's. Mary Black-Church will make you long to be a Jewess, while the pitiful Mrs. Cavendish will make you realize how blessed you are to be a woman of the 90's. You'll fall in love with Charles Cavendish even with all his weaknesses and although it wasn't altogether clear how old Henry was supposed to be, his heart rending performance will bring back memories of that first love and the pains of growing up. This isn't the type of film you'll want to watch on a Saturday night when your looking for light entertainment. But if you love books, art, or history and like a movie that makes you think , you'll enjoy The governess. "The Chinese Box" is another film that explores the phenomanon of why we always love what we cannot have. Also heavy on the history it will make you "feel" the way The governess did.

Beautifully shot, the story of a pre-Victorian feminist
Set in 1840, England, between the times of King George and Queen Victoria, this is the story of a Jewish woman, Rosina Da Silva (Minnie Driver), who after the death of her beloved father, is asked to marry quickly and marry "well" so that the debt-ridden family can maintain its standards of living. Rosina is headstrong, and rejects a marriage proposal from an older, boring man. She would rather be an actress. She takes a job as a nanny for the Cavendish family on the uninviting, desolate, Isle of Skye. She changes her name to Mary BlackChurch to mask her Jewish identity, and is accepted as one of the family. Like Queen Esther of the Purim holiday, she masks her identity and takes up residence in a palace-like household. And then Mr. Cavendish (Tom Wilkinson), an inventor who is focusing his scientific work on photography, takes an interest in Mary/Rosina, as does the Cavendish's teenage son, Henry (Jonathan Rhys Meyers). Beautifully shot, like the photos Cavendish is trying to develop and stabilize. A tad cliché with the pre-Victorian romantic lines. Contains nudity. First 10 minutes contain shots of "recreated" London (actually Venetian style) synagogue and "Sephardic" Jewish life. By the way, the writer / director Goldbach is the progeny of an Italian-Jewish father and Scottish mother. Contains music by the late Israeli singer, Ofra Haza, and Edward Shearmur.

Loved it!
Sensual, sensuous, beautifully filmed, some nudity (which was delightful, although no sex, unfortunately), and a wonderful story of a woman's first love and love affair and blossoming into her power. The soundtrack was stunning. I recommend it highly!

lotta plot(s), but lovely picture(s)
The plots: sexual tension between a governess and her employer, tension of a woman in a foreign place, and all along the struggle to make pictures....

Mary, to the world, is a governess working in a Protestant house in Scotland. But Jane Eyre she isn't-she puts away her dreams of acting after the death of her father forces her to bring in a family income-all in the while she conceals that she is Rosina, a Jewess pretending to be of Italian descent. It is no lie when she reassures the lady of the house she isn't Catholic.

Her new surroundings are more than dyfunctional. The character of the bored mother is unoccupied and perched in a gilded but bland cage, propped up and seated in nearly every scene like she's dead and posed "in state." Her husband, Cavendish, hides away with his mysterious science studies and the daughter(Rosina/"Mary's" charge) whose responds to boredom (and a lack of attention) differently than her mother by playing pranks on her new governess. The son, a decade older and recently expelled from school, is a product of this same boredom, grown but immature as his sister and decidedly perverse.

After a prank by the daughter, the governess quickly lets her student know who's boss, and the student becomes more submissive. But their bonding lessens as Rosina's becomes curious about the father, who becomes equally curious about her. She pays less attention to her student and more to her employer, who, impressed with her knowledge and curiosty (he has no anger after she sneaks into his archaic photo laboratory) she eventually becomes his assistant. All in the while Rosina's dead father visits her in her dreams and memories-until Cavendish replaces her father in dreams and the two have an inevitable affair.

Then there is second plot is Rosina, a Jew of Spanish/Portuguese decent, who feels akward in a gentile setting. She isn't used to the foreign food (she and her sister once believed semolina to be semen) and artifacts. While it's funny to watch her pick up a crucifix for the first time, look at it, then toss it to the side, it's sad to watch her eat passover alone, in secret. She remembers her father and passover as a child as she eats an egg in salt water-which spills on a nearby photo. This is the breakthrough to getting a picture developed, literally, the third plot, Rosina and Cavendish learning the process of photogaphy,outside the sexual tension.

Though both are student to discovering the scientific process, it is only Rosina who is willing to take it a step further, photography as an art. The art/science photography is the undoing of their little situation, the business and pleasure. The final straw is Cavendish revealing his new process and not sharing the credit for it-he was still bitter about her secret pictures of him, nude, as he forbade.

So, Rosina, endowed with a new ability to make an income, decides it's unnecessary to hide her true identity or stay in the employ of a man who betrayed her. She leaves the family in style: on the way out the door she hands bored Mrs. Cavendish what the housewife always sat yearning for, a piece of "culture"-her husband's nude portrait.

That's just a few plot circles and it does feel like a long film at times. Rosina and Cavendish have a strange sexual tension, an attraction to each other (if not a lack of screen chemistry) that both characters seem almost surpised at. The younger Cavendish is an imp, hardly in the film (it's like he's purpose is to barely pop out from the background), and I wish he and Rosina had more screen time. Overall, it's a gorgous period film and the colorful setting of the Sephardic Jewish London is so welcome after a string of movies set in what feels like the same 19th century, Pre-Dickinson-Pre-Industrial rural 'scape. The Austin/Eliot/Brontes have their merits, and I am a fan of Sense and Sensibilty (Emma Thompson's), but I think Hollywood should keep taking us to new places, like in this lovely film.

Okay, Could've been better
Rosalina's family is wealthy and Jewish. When her father dies, she is forced to enter the workforce disguised as a Christian governess "Mary Blackchurch." While she is employed on a remote island of Skye, she falls in love wither her employer AND his son and has affairs with both.

I enjoyed the first half of the movie. But I'm not a big fan of movies where the hero/ine commit adultery. The first affair, in my opinion was rather skanky. The affair with the son, a rebound romance, was worse, because he looked WAY too young, and almost girlish with those HUGE pouting lips. Plus Rosalina seemed oodles more mature than he was portrayed.

Feh... I thought this film was okay, but nothing really special. I'd like to see the heroine in a decent relationship with a decent guy, instead of having a torrid affair with every man in sight... Is this too much to ask for? ... Read more

Reviews (225)

English Romance At Its Finest
Jane Austen is a fine writer, but her wordiness tends to drain the life from many of her characters. Thankfully, Emma Thompson recognized the limitations of the novel and adapted her screenplay accordingly, enhancing the humor of the original story and adding more drama to make the film more enchanting. A cast was then chosen, made up of very talented thespians, including Miss Thompson herself. Add to that splendid English landscapes, excellent directing, and superb cinematography, and what emerges is a modern masterpiece.

This is not a movie for action fans; it is far too cerebral and requires a serious attention span. For those who enjoy a good love story well told, this is it. The characters are three-dimensional and their dilemmas full of human drama, bound as they are by the morals and manners of the times. Three sisters and their mother are left virtually penniless by the stricture against females inheriting property then in place in English law. The half-brother to the Dashwood women receives it all, but his selfish wife talks him out of helping his stepmother and half-sisters. It is up to the two older girls---sensible Eleanor and passionate Marianne---to seek their fortunes in romance while lacking a dowry to help them.

Eleanor finds her soulmate in shy, retiring Edward Ferrars, brother of the selfish sister-in-law. Her budding romance is shelved when his sister makes it clear that Eleanor is "unsuitable" for Edward. The sisters and their mother then go to stay in a cottage owned by a kindly relative, Sir John, and his mother-in-law, the irrepressible Mrs. Jennings. The old woman is a confirmed gossip and matchmaker, bound to see one of the two sisters hitched up to Colonel Brandon, the most eligible bachelor in the area.

Brandon first sees Marianne singing a melancholy song and is incurably smitten. She in turn loses her heart to a dashing young man named Willoughby, who is her ideal of a Victorian-era gentleman, complete with a pocket book of sonnets. Brandon, who loves her more than his own happiness, steps aside and even encourages their relationship, despite his dislike for the handsome rogue.

Things take an unexpected turn for the worse for both sisters---Willoughby drops Marianne and flees to London with no explanation and Eleanor discovers that Edward is engaged to a shallow young woman named Lucy Steele. The ensuing twists and turns in the plot make this film both agonizing and entertaining to watch. Mercifully, everyone winds up happy at the end with the right person as a spouse.

The whole film is solidly done, but it is the acting that really shines. Thompson is perfect for the role of the calmer sister, while Winslett is brilliant as the mercurial Marianne. Grant is endearing as the gentle Edward; Rickman finally gets to display his considerable ability to act the part of a very good and unselfish man. The rest of the cast keeps pace with the leads, and Hugh Laurie is indescribably funny as the sarcastic Mr. Palmer. One very beautiful aspect of this movie, along with the tendency to get drawn into the story, is the haunting and evocative musical score.

All in all, this is a wonderful example of a film genre that is so often overlooked in today's world---period romance. More movies like this one desperately need to be produced. Buy this one today because it's a gem.

JANE AUSTEN'S TIMELESS CLASSIC COMES TO LIFE
This film is so beautifully realized, in its scope and execution, that I have nothing but praise for both screenwriter/actress - Emma Thompson and director Ang Lee. Based on the novel by Jane Austen, the film follows the exploits of Mary-Anne (Kate Winslet) and Eleanor (Thompson) Dashwood; two angelic sisters determined to find romance amidst the sublime grandeur of the English countryside. Also stars Hugh Grant and Alan Rickman.
Columbia's transfer is, on the whole, gorgeous. Colors are well represented and fine detail is rendered accurately. Contrast levels are subtle, as they should be and dark scenes are accurately represented with only a slight loss of fine detail to speak of. Unfortunately, there are several scenes that exhibit pixelization that breaks apart background information. There is also the inclusion of some minor edge enhancement that, while not terribly obtrusive, is nevertheless present. This special edition includes a wonderful featurette and Emma Thompson's witty acceptance speech at the Golden Globes - a real treat. FINAL WORD: There's no costume drama of the 90's more poignantly captured. A British legend becomes an American Movie Classic. Get this one!

A classic based on a classic
It seems that for a few years, Hollywood couldn't turn out Austen movies fast enough. This is the only English production of the bunch, and it is wonderful.

The casting is perfect. I thought it very silly that Emma Thompson was going to be the 19 year old Eleanor, and since she produced the movie I thought that was just silly vanity. But she is actually perfect as the too-sensible-for-her-own-good Eleanor. Kate Winslet is great as flaky Marianne. Even little Margaret (Austen's only fully-realized child character) is great as the spunky pre-teen. I remember when the movie came out one reviewer said that Hugh Grant's character "looks like he's forgotten to take the coat hanger out of his clothing" and that is so true... but he's so good as the clueless cad.

The film is beautifully shot, with great sets and scenery. It's a little hard for a modern person to understand why the Dashwoods were so upset to have to move to such a charming cottage! Historical perspective is maintained in the movie, though.

It is also very well written, with my very favourite line in any movie appearing (though I've read the book twice looking for it). Truly words to live by, Mrs. Dashwood tells blabbermouth Margaret that if she can't think of anything appropriate to say, "please keep your conversation to the roads and the weather!" Advice that has never failed me yet :-)

Great commentaries (contains spoilers)
When I first heard this film was being made and that Emma Thompson and Hugh Grant were going to be in it, I thought, "Yes! Hugh Grant as Willoughby and Emma Thompson as the unpleasant sister-in-law!" But no. However, the commentaries explain the casting and then it made more sense. By the way, Kate Winslet is perfect and Alan Rickman gets the girl.

Very Good Indeed!
This is a wonderful movie with a wonderful cast and beautiful script. I don't really know what else to say except that I absolutely adore this film. Alan Rickman is superb as Colonel Brandon, I fall in love with him over and over again each time I watch this movie. He's wonderful, as is Hugh Grant as Edward Ferrars. Both characters are so likeable and real, they fit perfectly with their characters and make each viewing as enjoyable as the last. Kate Winslet, as well, is one of my favorite actresses. She fits so well in period pieces like this one.

This film is great whether or not you've read the book. It's good all on it's own. My only complaint is that I cannot picture Eleanor as only 19. While I've always pictured her well above her years, I have a difficult time accepting her age in the film. This is overlooked by Emma Thompson's brilliant portrayal of her. ... Read more

Reviews (1)

Family commitments
Hopkins says in his biography that he can act very well Bill Hooper (a middle-aged bike boy) because he was this character, a divorced father (allowed only limited access to his little son)who takes revenge of women by the story of an other separated father. It's not my favorite movie, Hopkins is very good as usual, he is spectaculer, brilliant, terrific, a smouldering fury. But the story is not very thrilling. It's like a social case. I didn't like the heavy atmosphere, neither the long scenes on bike. ... Read more

Reviews (25)

Romantic thriller with good acting and unexpected twists.
Even if you are not a fan of Jon Bon Jovi this film is very good. It centers around an American movie star, played by Bon Jovi who wants to get artistic recognition by starring in a London play. Thandie Newton plays the playwrights mistress and Anna Galiena his unhappy wife. The playwright is played by Lambert Wilson as Felix Web. The desperate playwrite asks the American star, Robin Grange to seduce his wife so she can leave the marriage with her self-esteem intact. The plot thickens from there with a surprise ending. Well worth taking a look at the slick European film.

Pleasantly Surprised
I have seen Jon Bon Jovi in a few movies before and he has always impressed. However this movie is at the start of his acting career and he is "The leading man".

So it was lucky that he had a smart script, excellent support actors and talent to burn.

The story revolves around an american actor who is to star in a play in London and his relationship with the writer, his mistress and his wife.

Take it seriously, its a good movie.

interesting...not much more to say
okay, i've read most of the other reviews for this movie and had high expectations for it. i mainly wanted to see it for jon bon jovi, maybe because he is really HOT. anyway, i was a little disappointed, but it was an overall job well done. i'm just going to state the fact that i'm only a teenager, which explains why i found a couple of scenes awkward. to make it short and simple, i would recommend that you only watch this movie before you turn out the lights to make it more interesting. in my opinion of course, you may have your own

BEST JOVI MOVIE EVER!!!!
if you are looking at this movie for the same reason i did (bon jovi) then you are looking at the right movie!
i've seen pretty much EVERY movie he's ever been in and this by far is the best. some of the other reviews said the same thing,that if you think bon jovi is the greatest you won't be disappointed!
here are a couple of reasons why this movie should be at the top of your bon jovi list:
*scenes with his shirt off
*he is the leading man
*seduces the leading ladies
*twisted ending
if you need more reasons than those you'll just have to check it out for yourself.

regrettable
the mystery of why anyone would cast jovi
in the lead cannot be answered by watching
this movie. just being a celeb doesn't give
you the acting chops necessary to hold up your
end in the company of established performers.
the faltering screenplay didn't help matters
either. altogether regrettable ... Read more

Reviews (6)

"Except that the girl's innocent."
Things are not going well at Harriet Vane's trial for the murder of her former lover, Philip Boyd - hearing the judge's summation, only the most unrealistic of minds could conclude that she is not guilty as charged.

One such mind, however, is that of Lord Peter Wimsey - the same Lord Peter who, normally a beacon of logic, unfailingly unspins the web of every criminal intrigue to which he brings to bear his intellectual powers, but who now, epitome of a bachelor that he has heretofore been, without so much as ever having personally met Harriet, is dead-set on marrying her. So when he tells his old friend (and as readers of Dorothy Sayers's books know, soon-to-be brother in law) Chief Inspector Parker, who was in charge of the investigation, that Parker has made a mistake, the policeman is unsettled; despite the water-tight case he feels he has put together. "Where is the flaw?" he inquires gingerly. "There isn't one," Wimsey retorts. "Except that the girl's innocent."

Thus, the scene is set for the first entry in Sayers's Wimsey-Vane canon, whose first three installments are brought to the small screen in this delightful miniseries. (The other two installments, "Have His Carcase" and "Gaudy Night," have the sleuthing pair investigate a mysterious knife-inflicted death in a seaside resort, where Harriet has gone to regain her peace of mind after her acquittal; and a serious of poison-pen letters and vandalism directed at independent women, and particularly women in academia, at Harriet's Oxford college. As the movie rights to the fourth and last episode completed by Sayers herself, "Busman's Honeymoon," were sold by the author, the BBC was unable to also include that particular installment; unfortunately so, as their version would undoubtedly have been more faithful than 1940's "Haunted Honeymoon" starring Robert Montgomery and Constance Cummings).

So, while Harriet is pining away in prison, dreading a jury verdict which, she feels, can only be delayed, not avoided entirely, and not knowing how to deal with the sudden attentions of a well-known member of the nobility, Wimsey busies himself with the search for Boyd's true murderer; whom he eventually finds with the help of his confidante Miss Climpson (whose presence in the jury box, unbeknownst to Harriet, has already proved instrumental in producing a hung jury despite the judge's damning summation) and her assistant, Miss Murchison; both of which ladies, while perfectly honorable, do not shrink from unconvential methods when called for in the pursuit of justice.

What most distinguishes this miniseries is its faithfulness to Dorothy Sayers's books, as well as its superb cinematography, marvelously capturing the settings; from Old Bailey and pre-WWII London to sleepy and somewhat seedy seaside resorts and the timeless grace and high spirits of Oxford University. Unfortunately (particularly so in "Gaudy Night") a number of subplots were dropped, but the essence of Sayers's novels is maintained; and much of the dialogue is taken literally from those. Edward Petherbridge nails Lord Peter's tone and exalted mannerisms, as well as his hidden vulnerabilities, to a tee - fans of Ian Carmichael's more physical, over-the-top interpretation be reminded that Sayers herself, in "Strong Poison," describes Wimsey as of "slight" build, while giving a rather unexpected impression of "controlled power." (Granted, though, that, conceivably having endowed Lord Peter with much of her own preferences in men, Sayers would not have Harriet comment, as she does in the BBC's version of "Gaudy Night," that he is "not much to look at;" in fact, she has her heroine veritably pining over a sleeping Lord Peter's physiognomy during that very novel's famous punting trip.) - Harriet Walter, similarly, shares more than her first name with the stories' female protagonist; she is exactly the Harriet Vane one might image when reading the books (I certainly did). Richard Morant as Lord Peter's faithful manservant Bunter is about a knife's tip too much of a jack-of-all-trades for my tastes - I can well see him "insinuating" himself into a suspect's household at his master's behest or (as in "Have His Carcase") shadowing another suspect all across London, but not necessarily fretting, as he does in "Busman's Honeymoon," over the sake of a case of vintage port, packed in eiderdowns in the back of a car and in danger of being rattled (and rendered undrinkable for months, if not years to come) by Lord Peter's brisk driving habits. Still, overall this is an outstanding production; undoubtedly one of the BBC's finest ever, and long overdue to be revived in this format.

One of THE BEST TV series ever made!!
Edward Petherbridge is brilliant!!

I recently acquired these DVD's (Strong Poison/Have His Carcass/Gaudy Night) and they are now my most treasured set. The performances by Edward Petherbridge and Harriet Walter are flawless!

This series is a MUST HAVE for all mystery buffs (especially Dorothy Sayer's fans!) For those who were disappointed in the Ian Carmichael series produced 10 years earlier, take heart--you have now found the answer to your prayers!

My only criticism is that there were no more titles produced in this series. I can't understand why they did not continue to make more of these wonderful productions. And furthermore, I can't understand why the BBC took so long to release this series onto Video/DVD. If I had known of the existance of this series sooner, I would have launched a campaign to demand that they make more episodes. Oh well...I guess we will just have to make do with the three gems that were made. (In fact you should probably buy two sets of these, as you may wear out your original DVD's from watching them over and over and over and ...ahem...oh yes back to the review...)

The first two films, Strong Poison and Have His Carcass, are faithful to the books and each is truly a pleasure to watch. The third, Gaudy Night (or "Gaudy Lite" as I have seen it referred to) skimps a bit in comparison to the novel. However, the extraordinary acting on the part of Edward Petherbridge and Harriet Walter more than makes up for this, ensuring that this version of Gaudy Night is a highly entertaining one. This series should have segued into "Busman's Honeymoon." However BBC dropped the ball on obtaining the rites and left us all hanging.

Perhaps it isn't too late for a continuation of this series after all. It has ONLY been 16 years since the last episode. Surely if Ian Carmichael could have the audacity to play Lord Peter Wimsey at his age, Edward Petherbridge could pull it off for at least another 20 years or so (and do it brilliantly I might add!)

Needless to say, I have become an instant fan of Mr. Petherbridge and can only hope I may find more of his work on film. (This is a daunting task since this distinguished stage performer seems to shy away from the camera. Something about acting for the love of the thing and not the money. Oh these serious actors!! By the way, isn't he WAY OVERDUE for some sort of Knighthood or something ...hmm??!!)

WARNING: Ordinary television will seem even more unsatisfactory after viewing these DVD's.

As I said before, you'd better get at least two copies of each of these DVD's (or to be on the safe side, you'd better make it three!!)

(NOTE: It seems that the UK version of the DVD's contain an interview with Edward Petherbridge as a bonus feature. Unfortunately for me, the American version does not. You lucky Brits!!)

Enjoy!

"Oh that was strong poison, Lord Rendal, my son"
I have been rereading Dorothy Sayer's Lord Peter Wimsey novels of late. A friend drew my attention to the availability of the Edward Petherbridge BBC performances of three of the novels that turn on Lord Peter's relationship with Harriet Vane, and I decided to purchase them. I never quite liked Ian Carmichael's styling of Wimsey on Masterpiece Theater, which always felt a bit out of character to me. Thus, I thought this would be an interesting change.

And a good change it is. Petherbridge's Wimsey is much more like Sayer's character, right down to the irritating bits as well as the admirable one's. And Harriet Walters playing of Harriet Vane is spot on. She is exactly as I imagined her. As we watch the tale of Wimsey's intense efforts to save Harriet from being found guilty of poisoning her ex-lover unfold, it is easy to imagine them eventual lovers. Despite shortness of the screenplay some of the brittle, the bits of sparkling dialogue which makes them a success on paper come through.

I am less comfortable with Richard Morant's version of Bunter, Wimsey's man. He acts well, but is too young by a decade or so. As the result, some of the books camaraderie between the two feels more like borderline insolence, which the real Bunter would never have done. Shirley Cain's Miss Climpson is spectacular, however, the perfect agent for Lord Peter's schemes. In addition, the comic relief scene at Blindfold Bill Rumm's is done to perfection. The old safecracker reborn as a hymn singing lay minister is another of Sayer's tiny masterpieces of caricature.

It is unfortunate that the screenwriters, having managed to navigate the plot until almost the very end with nothing to quibble about, should suddenly decide to deviate entirely from Sayer's own ending. And, in doing so, made Wimsey look sappy and Harriet rather cruel. Whether out of bad romantic taste or a criminal need to shave thirty seconds off the length of the screenplay, it will provide some distress to those of us who have read the book. Hence, a four star rating where I would normally have given a five.

As My Whimsy Takes Me
I never thought I'd see this series again, but miracle of miracles, The Powers That Be have released it and on DVD, no less! I first saw these episodes on PBS in the late eighties when I was entering junior high school. I've been watching those Friday night mystery programs on PBS for as long as I can remember, and no one can top these three adaptations of Dorothy L. Sayer's three most popular Wimsey novels: Strong Poison, Have His Carcass, and Gaudy Night. Absolutely brilliant performances by Edward Petherbridge as my quintessential Lord Peter and Harriet Walter as Harriet Vane. I hope that now this much-loved series will receive the long-awaited praise and recognition it richly deserves.

The REAL Lord Peter Wimsey
While a few of those who first encountered LPW on-screen through the characterization of Ian Carmichael still prefer his earlier series, lovers of DLS's detective will recognise Edward Petherbridge as the true embodiment of the noble sleuth. Petherbridge brings the grace, intelligence, courtesy & thinly veiled emotional vulnerability of Lord Peter to real-life. While both series show their flaws when deviating from the brilliant writing of DLS, the Petherbridge series stays mostly faithful to the books & even truer to the spirit of the characters (particularly LPW & his faithful, YOUNG & charming Bunter). Strong Poison is the first story featuring Harriet Vane, the detective-novel writer who wins Lord Peter's heart & help as she stands trial for her life, accused of murdering her former lover. Not only a top-notch who-dunnit, this is also the beginning of one of the greatest, most uncertain & most delicate literary courtships ever written. Will Harriet gain her freedom, only to lose her heart to Lord Peter? The outcome is less certain than you think.... ... Read more

Reviews (4)

One of THE BEST TV Series Ever Made!!
Edward Petherbridge is brilliant!!

I recently acquired these DVD's (Strong Poison/Have His Carcass/Gaudy Night) and they are now my most treasured set. The performances by Edward Petherbridge and Harriet Walter are flawless!

This series is a MUST HAVE for all mystery buffs (especially Dorothy Sayer's fans!) For those who were disappointed in the Ian Carmichael series produced 10 years earlier, take heart--you have now found the answer to your prayers!

My only criticism is that there were no more titles produced in this series. I can't understand why they did not continue to make more of these wonderful productions. And furthermore, I can't understand why the BBC took so long to release this series onto Video/DVD. If I had known of the existance of this series sooner, I would have launched a campaign to demand that they make more episodes. Oh well...I guess we will just have to make do with the three gems that were made. (In fact you should probably buy two sets of these, as you may wear out your original DVD's from watching them over and over and over and ...ahem...oh yes back to the review...)

The first two films, Strong Poison and Have His Carcass, are faithful to the books and each is truly a pleasure to watch. The third, Gaudy Night (or "Gaudy Lite" as I have seen it referred to) skimps a bit in comparison to the novel. However, the extraordinary acting on the part of Edward Petherbridge and Harriet Walter more than makes up for this, ensuring that this version of Gaudy Night is a highly entertaining one. This series should have segued into "Busman's Honeymoon." However BBC dropped the ball on obtaining the rites and left us all hanging.

Perhaps it isn't too late for a continuation of this series after all. It has ONLY been 16 years since the last episode. Surely if Ian Carmichael could have the audacity to play Lord Peter Wimsey at his age, Edward Petherbridge could pull it off for at least another 20 years or so (and do it brilliantly I might add!)

Needless to say, I have become an instant fan of Mr. Petherbridge and can only hope I may find more of his work on film. (This is a daunting task since this distinguished stage performer seems to shy away from the camera. Something about acting for the love of the thing and not the money. Oh these serious actors!! By the way, isn't he WAY OVERDUE for some sort of Knighthood or something ...hmm??!!)

WARNING: Ordinary television will seem even more unsatisfactory after viewing these DVD's.

As I said before, you'd better get at least two copies of each of these DVD's (or to be on the safe side, you'd better make it three!!)

(NOTE: It seems that the UK version of the DVD's contain an interview with Edward Petherbridge as a bonus feature. Unfortunately for me, the American version does not. You lucky Brits!!)

Enjoy!

Codes and Alibis
Having had her life saved by Lord Peter Wimsey has been a mixed blessing for Harriet Vane. Not eager to cope with his obvious affection for her, she opts for a walking tour of England. On her way to Wilvercombe, a vacation spot for the slightly doddering, Harriet stops on the beach for a picnic lunch and a quick nap. She wakens to discover the tide coming in and a recently dead body with its throat cut on the nearby rocks. Fortunately, Miss Vane, like all good tourists, has brought her camera, and so is able to take pictures of the scene before the tide washes everything away.

Once Harriet has reported to the police, she succumbs to a writer's need for publicity, and leaks an exclusive to the London press. The resulting todo brings Lord Peter to the scene, prepared, with his usual combination of good manners and light-hearted banter to save the day if it needs saving. The police believe the death (of a local dancer) is suicide, but Lord Peter suspects murder. Various plot twists ensue and before long Vane and Wimsey have teamed up to solve what is a particularly devious and repellent crime.

As books, I prefer 'Have His Carcase' to 'Strong Poison,' and the same thing is true to of the BBC productions. This, the second novel in the developing romance between Harriet and Peter, is a much livelier story, from both a plot and a character standpoint. Sayers goes to a great deal of trouble to invent an archetypical British coastal town and people it with an entire cast of remarkable characters. The video manages to bring much of this to life without large quantities of ornate scenery or excess production. This is in contrast to 'Strong Poison' where we are constantly distracted by a historically correct 1930's London. This is a much cleaner performance.

In addition, both Edward Petherbridge and Harriet Walter have settled into their parts and deliver smoothly over a range of contexts. I still do not feel that Richard Morant's Bunter is quite right, but at least I have grown used to it. Good work comes from all, especially the actors who play the Weldon's, Jeremy Sindon and Rowena Cooper. Once again, however, director Christopher Hodson has given in to the need to muck with the ending to provide a romantic segue into the next in the series, 'Gaudy Night.' Sayers developed the Wimsey/Vane relationship in a very controlled fashion and I greatly dislike Hodson's unnecessary tinkering for little purpose. So this video also receives four stars where it should have risen to five.

As My Whimsy Takes Me
I never thought I'd see this series again, but miracle of miracles, The Powers That Be have released it and on DVD, no less! I first saw these episodes on PBS in the late eighties when I was entering junior high school. I've been watching those Friday night mystery programs on PBS for as long as I can remember, and no one can top these three adaptations of Dorothy L. Sayer's three most popular Wimsey novels: Strong Poison, Have His Carcass, and Gaudy Night. Absolutely brilliant performances by Edward Petherbridge as my quintessential Lord Peter and Harriet Walter as Harriet Vane. I hope that now this much-loved series will receive the long-awaited praise and recognition it richly deserves.

Well done
This is the second in a series of television movies based on Dorothy L. Sayers's famous mystery series featuring Harriet vein and amateur sleuth Lord Peter Wimsey.

The characters are now smoother and fuller than they were in "Strong Poison" Which was the first in the series and had no guide to go by.

One of the strengths of the BBC production is that they do not try to dramatize so much that the story does not match the book. One of the advantages of this series is that it is long enough that most of the pertinent information is shown. They made an excellent choice when deciding to use Edward Petherbridge as Lord Peter Wimsey and Harriet Walter as Harriet Vane. They match the book character descriptions perfectly. In fact if you see this program before you read the book their images will be in your mind.

You may recognize Edward Petherbridge as France King Lear (1984). And many of the other character actors from The BBC Agatha Christie "Miss Marple" series.

In the opening scenes we notice that Harriet on holiday, recovering from being on trial for murder. She is on the beach and hears something that startles her. Realizing it is getting late she tarts down the beach and finds (you guessed it) a body. Naturally there are only two sets of footprints hers and the deceased. Once again she is mixed up in a mystery and reluctantly with the help of Lord Peter Wimsey attempts to find out if it was murder, suicide or a Bolshevik plot.

Watch every scene and listen to every word from the beginning as this movie is peppered with clues. You will have to see the second time to recognize the clues that you missed. ... Read more

Reviews (2)

midsummer nights social comedy
With a hint of Renoir's Rules of the Game as well as Chekov's Cherry Orchard, and everything in between this town and country comedy begins with the tragedy of the family matriarchs death. The extended family gathers for a weekend funeral but the ceremony is delayed because of a workers strike which has brought life to a standstill. In the stillness of the country the weekend turns into an extended retreat that becomes more and more bohemian and brazen as the country air and contact with the soil has put each character in contact with their true desires and it seems everyone is with the wrong person. An all day picnic in the sun turns into a partner swapping party but is interrupted at the last minute when rumours of government collapse reach the isolated country estate. Fearing that an all out revolution has begun the family packs up and hikes into the woods until they finally end up in a cave in an ultimate act of cultural regression. Great cast of characters make up the family members and their spouses and lovers(including hippie, lesbian, revolutionary student, resentful daughter, unsupecting heiress maid, ....). The odd assortment makes for a volatile social mix leading to all kinds of destabilising conversations and confrontations which threaten to undermine the family structure from within. Malle cleverly has the family itself come unhinged as they attempt to act out in the personal sphere those revolutionary philosophies being put forth in the public. Everyone has different notions so the result is chaos, unrestrained anarchy, but it remains funny and entertaining all the way through. As well Malle provides wise and pointed observations with a surprising amount of social insight along the way. In short you get a lot more than you might have bargained for but you're glad to get it.

Connected to Place
Urban, suburban, rootless, nomadic: if these words describe your experience, this film will leave you cold. Agrarian, transplanted, uprooted, trying to re-connect to a rich family tradition? This film is for you. The plight of a man who is part of the land, and whose land is part of him, really moved me. This film asks, "What do you value, and why?" It affirms the worth of connectedness, continuity, and deep roots, while challenging our cultural idols of speed, change, and the new. ... Read more

Reviews (37)

FABULOUS PERIOD PIECE ABOUT UNREQUITED LOVE, BUT..
Captivating visuals, a very elegant Liv Tyler, a somewhat baffled Ralph Fiennes with round-the-clock disheveled hair, and some excellent costumes. What a brilliant piece of period drama.

However, marred a bit by a very simplistic, unpredictable story. Based on Pushkin's poem of the same name set in 19th century Russia. Isn't there a thing these days of taking some creative liberty with the original work ala "Romeo And Juliet"? Also, in the face of an obvious bent towards cinematographic appeal, the movie's pace suffers and the DEPTH of either the 19th century or Russia is largely amiss.

That said, the acting and sets are very convincing and although you know what's going to happen next, the interest somehow lingers. Until the denouement in fact, when Tyler turns in a marvellously touching performance that more than makes up for her wooden countenance throughout the film, as well as mildly successful attempts at a British accent. Or so I thought.

If you are in for a beautifully shot movie of melancholy romance, this may be your thing. Otherwise, a mild recommendation.

'Love heightens our senses but lowers our perceptions.'
Having never read the novel in verse on which this is based, I regard the story by its own merit. 'Onegin' is a haunting, passionate, beautiful, and unforgettable tale of unrequited love. The film follows the tragic story of Evgene Onegin (Ralph Fiennes), a Russian playboy who catches the eye of innocent Tatyana (Liv Tyler). Rejecting her confession of love, Onegin is lead to commit a spontanious action which leads to eventual tragedy, his seperation from Tatyana, and their reunion years later after her marriage to his cousin, a czar. The film ends with a powerful climax very different from most productions of this nature.

With lush costuming, beautiful cinematography, and rock-solid performances from a fantastic cast, 'Onegin' is an unusual kind of film. Moving along at a measured pace, it demands patience but also evokes obsession. We cringe at the inevitable, shed a few tears, and cheer at the final conflict. It's a story of love, tragedy, circumstance, and choices. I came into it with sincere doubt, certain my hopes would be dashed. For once I was pleasantly surprised at the restraint and dignity shown in the production and its conclusion. When all other aspects are stripped away, it becomes a tale of a woman's honor. It's not a subject often breached, and for this element alone hold my admiration and praise.

It also has one of the most stunningly picturesque and yet chillingly horrific dueling scenes I've ever witnessed on film. The emotion and intensity of the tragic cold winter morning on the docks builds to an inevitable climax and shows the profound sorrow that follows in the wake of a terrible mistake. I much appreciated witnessing the victor's anger, frustration, and sorrow over what he was forced to do in order to defend his good name. Was the outcome by chance or intention? Perhaps we'll never know.

Fiennes' sister directed the film and his claims that she has a "sensual power" over the camera are true. Every frame is full of romantic intensity. I do question her reasoning for moments of complete silence and the soundtrack at times is grating on the nerves, but overall I was very impressed.

excellent translation
There are two theories of translation -- one that you should stick as literally to the original as possible, the other that you should take certain liberties to get a good end result. I adhere to the views of the latter school.

Pushkin has managed to move one of the greatest nations on the earth to the core, to unify them for 200 years. Many Russians would say Evgenii Onegin is Russia's greatest literary work. But the original is in rhyme, a rhyme that feels sort of baroque and fairy-tale-ish to me, and that part of it doesn't translate well to the modern English-speaking range of sentiment.

A Russian sculptor friend of mine once asked me what the difference was between art and decoration, and when I had no answer, he said, "Decoration is about many things. Art is about one Thing."

Onegin is about one thing, and that one thing is faithfully preserved in this film. The film leaves out lots of lesser things, which point to this one thing, but you have to make choices to fit the world into two hours. That one thing is heart and mind of Evgenii -- what makes a man say no to that which he loves and wants above everything else? What makes a man deceive himself into believing he (and even she) don't want it? What becomes of such a man?

God is great.

Tatyana sees right through him even in her moment of greatest agony and she never wavers. It makes me dizzy to think how much pain I might have been spared had I had such insight at 17. And that aspect of Pushkin's story strikes me as beautifully unrealistic. As Pushkin said, "A great story must be a little... hmmm... 'glupovat'..." Perhaps 'dorky' would serve as a translation?

Ralph and Liv act beautifully. (I hadn't given Liv Tyler sufficient benefit of the doubt -- she understands her role and conveys such depth to it.) But I think first prize must go to the director for seeing this one clearly.

Master work of Pushkin
This movie pictured Pushkin's poem in the best possible way. This movie takes you down to the 19th century Russia.
As tailored as Liv Tylor was for this role, I had hard time believing that she is not originally russian! And ofcourse my all time favorite actor, Ralph Fiennes, did his best performance as usual .

A Fienne Film
A lush, truly "artistic" film - dark, subtle yet complex, haunting.
The acting is subtle, and much of the emotion is expressed in looks. Liv Tyler does a more than decent job in her role as an innocent, naive Tatyana. She conquers her British accent well, and her final scene makes up for any lack (of feeling, acting, emotion) one might have felt during the rest of the movie. Ralph Fiennes is in his element as brooding, aloof, bored rich aristocrat. The musical score is hauntingly beautiful and original, yet strange and foreign, and proves that the Fiennes family is talented through and through.
But, don't expect a happy ending - this IS a Russian work, after all!
Having only seen the Tchaikovsky opera, and only having read snippets of the novel, I was more than pleased with this treatment, and feel that this film is a worthy adaptation of Pushkin's work.
I want more films like these, if Martha Fiennes is willing to make them.
A worthy viewing. Very rich. ... Read more

Amazon.com

The Advocate is an intriguing medieval court drama set in thedays whenhumans and animals were both known to contain the devil. Courtois, aneducated lawyer (Colin Firth), leaves the big city to find peace in thecountryside but finds murderous acts holding the small hamlet in fear. Tothe town folk, Courtois's intelligence is nearly as mysterious aswitchcraft, which is all the talk of the day. Since we rarely see a movie set in this timeperiod, it intrigues but doesn't teach beyond its initial premise:animals can go on trial. The film is supported by some wonderful character actors,including Ian Holm as a priest with very liberal views and NicolWilliamson as the unofficial king. Lots of naughtiness mostly playedfor laughs makes this the first thinking person's ribald classic. --Doug Thomas ... Read more

Reviews (14)

A real B movie, raised up by great acting
If I could, I'd give this 3-1/2 stars, not just 3. Colin Firth, Ian Holm, Nicol Williamson, and Donald Pleasance, among others, make this film worth watching. History fans might enjoy the before and after synopses of the characters and the historical figures on whom they were based. Colin Firth fans will definitely appreciate his bed and bath scenes, although his acting abilities take everything up a notch. Still, with the gratuitous nudity, modern feel, and slim production values, this film can't aspire above B-movie status.

The plot's a bit convoluted. The story is minimally narrated by Matthieu, the law clerk, yet he figures very little in it. Is the story about his boss--the advocate--or about the town? Maybe it's too ambitious in scope, what with its contrasting of country life and city life, interjections of witches, superstition, racism against Jews and gypsies, fornicating by the local clergy, secret societies of merchants, the Black Plague, unusual hunting prey, and sodomy. Oh, yes, then there's the trying of animals in court, a central theme that adds both humor and pathos to the proceedings and proves to be the unraveling of a dark and dirty secret hidden within the town walls. The ending's twist on the knight in shining armor is a good one.

The film's worth a viewing for some fine performances and relatively interesting Medieval subject matter. Just don't expect it to be high brow.

A brilliantly insane and entirely overlooked film
"The Advocate", written and directed by Leslie Megahey, is an underrated and overlooked film, masterful in its subtle insanity and brutally honest in its depiction of its characters and setting.

The time is 15th-century France, a time when animals were subject to the same civil laws and penalties as humans and could be tried in a court of law. Parisian lawyer Richard Courtois (Colin Firth) and his clerk Mathieu (Jim Carter) arrive in a small rural province. Courtois intends to enlighten the suprstitious and backwards populous, run by an unofficial leader (Nicol Williamson). Courtois' skills are put to the test when he must defend a pig accused of murder. That the pig belongs to a roving band of gypsies only complicates matters. Mixed into the conflict is racism, accusations of witchcraft, political and religious corruption, and whispers of the Cathar heresy.

The movie is wonderfully acted, and the director is sure not to glorify or soften any of the characters. Courtois may be intelligent, but he is also arrogant. The priest (Ian Holm) may be enlightened, but he is also a womanizer. The music and costumes are more period appropriate than most medeival fair, and many themes and signs of the times are apparent: the street preacher that accosts Courtois, the secrets of the Cathar heresy, and a particularly vivid Hieronymus Bosch-inspired nightmare. While the film is ostensibly a drama, their is much bawdy, Canterbury Tales-style humor, enough to keep the film from collapsing under its own weight.

The film is finally available on DVD, and this may bring a new round of fans to it. For myself, who had only ever seen it on video, seeing it in widescreen was a wonderful thing. Be warned, however, the film has a very twisted plot, and multiple viewings may be required to sort it all out. That's not even mentioning the twist ending, a moment of deliciously black irony. Definitely a must for period film fans and certainly for anyone who loves quirky, slightly off-key dramas.

Serendipity Cinema #8
A film you may never have heard of, but really should see. Trust me. (AKA "The Hour of the Pig") A good guy lawyer? A medieval good guy lawyer? A medieval good guy lawyer defending a pig who is charged with murder? And is isn't a slapstick comedy? This you got to see. The Advocate is an delicious medieval court drama that takes placein the days when humans and animals were both known to be hosts for the devil. Courtois, an educated lawyer (Colin Firth), runs from the big city to find peace in the countryside but, instead finds murderous acts holding the a village in fear. I won't give you more for fear of ruining the surprises, but the cast is peopled with dynamite performers like; Ian Holm , Donald Pleasence, Nicol Williamson & Michael Gough. Although there is a common inclination to sell this as a comedy,don't be fooled, there is dark moody drama here also.This is fun, thoughtful, intriguing drama and just one of the best films you are likely to ever see that contains the word "Pig" in the title.

Different take on Medieval stories
This movie is definitely a different take on the usual Medieval movie because it's about a lawyer instead of knights on horseback and battles. The battles in it take place in a courtroom, and give the viewer a slight taste of how bizarre Medieval "justice" seems compared to modern justice.

Handsome, talented Colin Firth does a good job playing a lawyer from the city in search of a simpler life in a small provincial town. He's in for some major surprises. The rest of the cast is good also, full of British character actors.

Watch and listen VERY carefully or you will miss subtle details throughout the film.

Nice movie
When I read about the plot on the tape I imagined it to be more dynamic, so I was a little disappointed by the slow pace. Nevertheless, there are some interesting points that kept me watching. I didn't know some of the historic details, so it was good to learn something new. Colin Firth's performance is very good - he almost carries the whole performance himself. ... Read more

Description

A brash young American comes to London to star in a major new production-and becomes the central character in a mystery fueled by intrigue and passion. ... Read more

Reviews (25)

Romantic thriller with good acting and unexpected twists.
Even if you are not a fan of Jon Bon Jovi this film is very good. It centers around an American movie star, played by Bon Jovi who wants to get artistic recognition by starring in a London play. Thandie Newton plays the playwrights mistress and Anna Galiena his unhappy wife. The playwright is played by Lambert Wilson as Felix Web. The desperate playwrite asks the American star, Robin Grange to seduce his wife so she can leave the marriage with her self-esteem intact. The plot thickens from there with a surprise ending. Well worth taking a look at the slick European film.

Pleasantly Surprised
I have seen Jon Bon Jovi in a few movies before and he has always impressed. However this movie is at the start of his acting career and he is "The leading man".

So it was lucky that he had a smart script, excellent support actors and talent to burn.

The story revolves around an american actor who is to star in a play in London and his relationship with the writer, his mistress and his wife.

Take it seriously, its a good movie.

interesting...not much more to say
okay, i've read most of the other reviews for this movie and had high expectations for it. i mainly wanted to see it for jon bon jovi, maybe because he is really HOT. anyway, i was a little disappointed, but it was an overall job well done. i'm just going to state the fact that i'm only a teenager, which explains why i found a couple of scenes awkward. to make it short and simple, i would recommend that you only watch this movie before you turn out the lights to make it more interesting. in my opinion of course, you may have your own

BEST JOVI MOVIE EVER!!!!
if you are looking at this movie for the same reason i did (bon jovi) then you are looking at the right movie!
i've seen pretty much EVERY movie he's ever been in and this by far is the best. some of the other reviews said the same thing,that if you think bon jovi is the greatest you won't be disappointed!
here are a couple of reasons why this movie should be at the top of your bon jovi list:
*scenes with his shirt off
*he is the leading man
*seduces the leading ladies
*twisted ending
if you need more reasons than those you'll just have to check it out for yourself.

regrettable
the mystery of why anyone would cast jovi
in the lead cannot be answered by watching
this movie. just being a celeb doesn't give
you the acting chops necessary to hold up your
end in the company of established performers.
the faltering screenplay didn't help matters
either. altogether regrettable ... Read more

Reviews (14)

"You promised me a Thursday afternoon of prolonged ecstasy"
In London in the 1930s, Gordon Comstock (Richard Grant) is a copywriter for the New Albion advertising company, but he's also a poet with one book of published poetry. Comstock would much rather be a poet than a copywriter, so when he's offered a pay increase, he hands in his notice on the spot and announces that he's "leaving to write poetry." He plans to devote himself to his poetry now that he's a "free man." Fiancee and co-worker Rosemary (Helena Bonham Carter) sticks by Comstock through adversity, but there are some painful lessons in store for the poet.

The film "A Merry War" is a faithful and delightful adaptation of George Orwell's autobiographical book "Keep the Aspidistras Flying." Orwell's socialist beliefs are never far from this film. Comstock--who lacks a university education--longs for the privilege and leisure of the upper classes while he also envies and despises them. The Aspidistra is, Comstock comes to realise, a sign of middle class conformity and respectability. Being a member of the middle classes is a precarious and precious thing, and Comstock achieves it solely by his labor at the advertising company. Once he gives up his job, he also gives up his foothold into the middle class. This action sends Comstock on a downward spiral into society. When Comstock lives among the poverty of Lambeth where "even the tomcats walk in twos" he experiences freedom from the moral expectations of the middle class. Unfortunately, this has unexpected consequences.

The success of this film is due to the clever s