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One of the key movies of the 1970s, when exciting, groundbreaking, personal films were still being made in Hollywood, Milos Forman's One Flew over the Cuckoo's Nest emphasized the humanistic story at the heart of Ken Kesey's more hallucinogenic novel.Jack Nicholson was born to play the part of Randle Patrick McMurphy, the rebellious inmate of a psychiatric hospital who fights back against the authorities' cold attitudes of institutional superiority, as personified by Nurse Ratched (Louise Fletcher).It's the classic antiestablishment tale of one man asserting his individuality in the face of a repressive, conformist system--and it works on every level. Forman populates his film with memorably eccentric faces, and gets such freshly detailed and spontaneous work from his ensemble that the picture sometimes feels like a documentary.Unlike a lot of films pitched at the "youth culture" of the 1970s, One Flew over the Cuckoo's Nest really hasn't dated a bit, because the qualities of human nature that Forman captures--playfulness, courage, inspiration, pride, stubbornness--are universal and timeless.The film swept the Academy Awards for 1976, winning in all the major categories (picture, director, actor, actress, screenplay) for the first time since Frank Capra's It Happened One Night in 1931. --Jim Emerson ... Read more

Reviews (207)

A Tremendous Film With The Great Nicholson
This is an unforgettable film. Jack Nicholson gives one hell of a classic and memorable performance in this film directed by the great Milos Forman. Nicholson plays Randall McMurphy, a rebel inmate of sorts at a psychiatric hospital who fights the system and refuses to give in the hospital's orders or behavior. It's a real groundbreaking film. Nicholson's main adversary is the cold Nurse Ratchett(great name!), played superbly by Louise Fletcher. A remarkable performance. There are also a number of familiar faces in the film. You will definitley recognize Christopher Lloyd, Danny DeVito, and Brad Douriff, as some of the inmates. Will Sampson also gives a memorable performance. There are scenes here that are truly shocking. Anyone who has seen this probably knows what I mean when I say that. All of our actors are dead on perfect as mentally unstable patients. A remarkable cast. The end scene of the film is shocking and definitley won't be forgotten. Go watch this classic film and see one of our biggest and best legends in an astonishing performance. This is deeply recommended!.

A disturbing movie about the disturbed.
In this multi-Academy award winning flick based on Ken Kesey's novel, actor Jack Nicholson as jail-bird Randle P. McMurphy seeks escape from the prison work farm by feigning madness. He is committed to a psychiatric ward for the mentally disturbed for evaluation while the staff try to determine whether his behaviour is genuine insanity or mere rebellion. But being with the mentally ill isn't as rosy as McMurphy imagined it to be, particularly under the repressive regime operated by Nurse Ratched (Louise Fletcher). In the battle of mind-games with Ratched, McMurphy discovers that even a simple thing as watching the World Series is impossible, because it might disturb the patients' routine.

Only three movies have ever taken out all five major Academy awards (Best Picture, Best Actor, Best Actress, Best Director, and Best Screenplay), and "One Flew Over The Cuckoo's Nest" is one of that elite group. To say that the acting is superb is an understatement. It takes a lot of talent to convincingly portray someone mentally disturbed, but this cast accomplishes it with brilliance. The supporting roles as nearly as terrific as the leading roles: Sydney Lassick as the shaky inarticulate Charlie Cheswick, Brad Dourif as the stuttering virgin Billy Bibbit, Danny DeVito as the infantile Martini, Christopher Lloyd as the wide-eyed trouble-maker Tabor, William Redfield as the eloquent intellectual Dale Harding, and Will Sampson as the mute Indian giant.

But the mentally ill are depicted not merely as objects for examination and pity, but with genuine sympathy as victims under an oppressive regime. Admittedly they're also the source for warm humor; Highlights include McMurphy's commentary of an imaginary baseball game with all the "nuts" cheering, and McMurphy's creative introduction of all patients as "doctors" from the mental institution as they hijack a fishing boat. Those who work with the mentally disturbed in real life will be the first to tell you that you need a sense of humor in dealing with them. But humor doesn't exclude compassion, and this movie raises serious questions about the treatment of the mentally ill.

Everything is geared towards arousing sympathy for the mentally disturbed: minimalist music and silence, dreary colors, bright lighting, and male care-givers who are police-like unnamed uniforms. These factors combine to create an atmosphere that conveys a clinical and sterile environment devoid of compassion for those who need it. Nurse Ratched is depicted as a cold and distant woman without feelings for those in her charge, and her authoritarian role personifies an establishment that cares little for the mentally ill. Rather than show compassion for the weak, she uses therapy sessions to uncover whatever hope and spirit they have and destroy it. McMurphy's embodiment of this human spirit is somewhat exaggerated (the way he initiates interest in basketball games and escapes on a fishing expedition is not entirely plausible), but it makes the point. Interestingly, some have seen the movie as a social criticism on all oppression of the human spirit, with a broad application even to ideologies like communism. As others have said: tyranny has many faces, and the story of freedom from oppression goes beyond the walls of a mental asylum.

The criticism of the handling of the mentally ill is most evident in how the institution handles McMurphy. We identify with McMurphy because we know his insanity is faked, and yet the "treatment" he receives is thoroughly troubling, especially when those in charge resort to electric-shock therapy. Is there a parallel in the way that many social problems (eg depression, ADD) are today diagnosed as mental illnesses and treated with drugs? The tragic way in which McMurphy's "mental illness" is mishandled at the conclusion arouses righteous anger, and is a disturbing indictment on all mistreatment of the mentally ill. There is no crowd-pleasing feel-good ending as his attempt to topple the establishment fails. Yet the lack of a happy ending makes his criticisms of the establishment all the more piercing.

The movie was rated R for frequent profanity/blasphemy, crude sexual talk and one violent scene at the end (there are also scenes involving alcohol, suicide, an incident where sexual promiscuity is applauded, and an implied endorsement of mercy killing). The violence and language is deliberately distasteful and one can hardly feel sympathy for McMurphy as an immoral criminal (he is a convicted rapist, rebels against authority, sets up a gambling casino, and encourages Billy to lose his virginity). Yet one has to feel sympathy for him as he is abused by an inhumane establishment that is equally criminal in its own way by failing to show genuine compassion for those entrusted in its care. If McMurphy's character is distasteful and criminal, so is the character of care given to the mentally ill. Rather than become sidetracked by McMurphy's failings, we need to take a serious look at the failings of the establishment as embodied in Ratched. The tragic consequences (represented by Billy's death & McMurphy's lobotomy) of these failings are just as horrific as the consequences of an immoral life. Understood in this way, this movie is much more than a vindication of the free human spirit and an endorsement of rebellious anti-authoritarianism. More importantly it functions as a biting criticism against the abuse of authority to crush that spirit. This is not a pleasant movie to watch, but it packs a powerful philosophical punch and raises profound questions that are more enduring than mere entertainment.

The conclusion does offer a note of hope, as the silent Indian escapes the cuckoo's nest (perhaps a metaphor of true freedom being found in escaping the establishment and modern institutionalized civilization?). But we are still left with disturbing questions about those who do not escape: Would we really want our family members in a place like this? This is a disturbing movie that raises disturbing questions about the treatment of the disturbed - but questions that need to be asked ... and answered.

a special edition for a very special movie...
Before 1975 we had great violent epics like "The Godfather", "Mean Streets", and "Easy Rider". but later in 1975, director Milos Forman took a challenge on directing the famous novel "One Flew Over the Cuckoo's Nest". hiring top-notch actors, including the up and rising star Jack Nicolsin. With his amazing debut in Easy Rider, Milos Forman thought he would be the perfect person for this role. this incredible movie shocked the world. even better than the novel, "One Flew Over the Cuckoo's Nest" is easily one of the greatest films of all-time.

this movie has the stuff. memorable characters, amazing acting, hilarious jokes, shocking moments, and an ending to always be remembered till the day you die. One Flew Over the Cuckoo's Nest easily has the most memorable ending to a film ever. enough talk of this incredible movie, as for the stuff on the special edition... its also great. with a whole extra disk of extras, deleted scenes, and a whole bunch more. I have tons of DVDs and this is easily one of the best purchases I've bought. No, not just because of the movie but the extra stuff on the DVD.

the Two-disk special edition of One Flew Over the Cuckoo's Nest is a great update to a great movie. by all means, you must have this in your collection.

the best mental patient movie ever
this book was written by ken kesey who used the money to gallavant around the country in the 60s in a school bus and do drugs with a bunch of dirty ol hippies.the story is about a guy who plays crazy to get out of a work farm and into a asylum.jack nicholson is that guy.also included are that crazy dr in back to the future,danny devito,a stuttereererer named billy bibbit,a huge indian whose mute and deaf,some smart ass home boys who help the nurse,a nurse with big boobs etc.children will not be amused by this.it is a tragic story.this movie has adventure,romance,comedy,drama,tragedy and above all is well written.it is very emotional.the nurse is over the top obnoxious and people like her should be put to sleep.amazingly,it is alkmost identical to the book.people say its a classic and well,they are right for once.really its almost entirely funny until the end parts.jack nicholson did his finest work ever in this story.

Jack Nicholson's Crowning Achievement!
What a brilliant actor Jack is. He played four of the most memorable screen characters of all time. Randall McMurphy (this film), Melvin Udall (As Good As It Gets), Jack Torrence (The Shining), and The Joker (Batman). Just saw this film last night for the first time and was blown away. I will be buying this Special Edition real soon. The evil head nurse wasn't as mean as I thought she would be, but man is she well-acted. Everyone should see this film, it's that good! ... Read more

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The satirical sensibilities of writer Peter Shaffer and director Milos Forman (One Flew over the Cuckoo's Nest) were ideally matched in this Oscar-winning movie adaptation of Shaffer's hit play about the rivalry between two composers in the court of Austrian Emperor Joseph II--official royal composer Antonio Salieri (F. Murray Abraham), and the younger but superior prodigy Wolfgang Amadeus Mozart (Tom Hulce). The conceit is absolutely delicious: Salieri secretly loathes Mozart's crude and bratty personality, but is astounded by the beauty of his music. That's the heart of Salieri's torment--although he's in a unique position to recognize and cultivate both Mozart's talent and career, he's also consumed with envy and insecurity in the face of such genius. That such magnificent music should come from such a vulgar little creature strikes Salieri as one of God's cruelest jokes, and it drives him insane. Amadeus creates peculiar and delightful contrasts between the impeccably re-created details of its lavish period setting and the jarring (but humorously refreshing and unstuffy) modern tone of its dialogue and performances--all of which serve to remind us that these were people before they became enshrined in historical and artistic legend. Jeffrey Jones, best-known as Ferris Bueller's principal, is particularly wonderful as the bumbling emperor (with the voice of a modern midlevel businessman). The film's eight Oscars include statuettes for Best Director Forman, Best Actor Abraham (Hulce was also nominated), Best Screenplay, and Best Picture. --Jim Emerson ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

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Talk about too little, too late. A year after Stephen Frears's marvelous Dangerous Liaisons, Milos Forman released this film, based on the same material: the novel Les Liaisons Dangereuses. Shot at the same time but held so as not to compete, it suffered by comparison. The story--about a pair of aristocrats, former lovers, who wager that the man cannot seduce a particularly chaste woman--is still awash in lust and intrigue. But, while Forman's craft was exceptional, his cast couldn't match the power of its predecessor. In particular, Colin Firth, as the game-playing title character, lacked the snaky charm of John Malkovich, and Meg Tilly couldn't compare to the tragic beauty of Michelle Pfeiffer. Annette Bening, though born to play a vixen, seemed callow and insubstantial next to the sinister depths of Glenn Close. --Marshall Fine ... Read more

Reviews (74)

Interesting,but from what I've hear Valmont
besides Colin Firth can't hold a candle to Dangerous Liaisons. I now would like to see this adaption of the book Les liaisons dangereuses. The movie is allright ummm Annette Bennings performance was pretty convincing and Colin Firths performance was pretty sexy...lol But nothing amazing. This movie is okay if you have'nt seen Dangerous Liaisons first and since I haven't I liked this movie quite a bit. The girl that played Cecile was done well she did it very convincingly. Probrably the best performance in the film. Alltough I as well found the ending about Annette Benning glaring at Cecile's ex-lover confusing. Lol I'm not good at remembering characters names so excuse that. But I love historical films and the clothing was beautiful. One thing that... me off is when Valmonts witnesses those bum butts from the bar ran away. And there should have been a MUCH MUCH better sword fight I mean come on a 10second fight? I love swords and anyways. I suggest this movie to people who like historical films,and if you catch it on TV watch it,but if you plan on buying a film based on the book Les Dangereuses Liaisons from what I've heard you're better off purchasing Dangerous Liaisons,but if you want to rent Valmonth go ahead it'll be cheap hehe!!!Anyways enjoy either way you go!!!

God Bless ~Amy

Better casting than Dangerous Liaisons
I bought this tape because I liked the movie Dangerous Liaisons with Glenn Close, John Malkovich et al. Dangerous liaisons had more punch to it, especially the ending. However, the casting in Valmont is far superior (with the exception of Meg Tilly). I found John Malkovich repulsive and reptilian--he didn't convince me that he was a rake who could charm a virtuous woman. Colin Firth, however, was very sexy and suprisingly vulnerable as Valmont. Annette Benning was great--playful, conniving, and beautiful. Glenn Close looks dried up and past her prime in comparison. I was actually most suprised by Fairuza Balk. Her role was meatier than Uma Thurman's. While Uma was stiff and (imo she can't act), Fairuza was fresh, young, and talented. I heard she was only 14 when she filmed this! The only casting I didn't like was Meg Tilly. She was weak and very stilted. It almost seemed like she had a hard time just saying her lines. No chemistry with Colin Firth whatsoever. Michelle Pfieffer was infinitely more tragic and tortured. I wish I could combine Dangerous Liasons' script with the cast of Valmont--that would be my ideal version of this movie.

An outstanding yet neglected film
I happened to watch this movie on TV, quite a while ago. Despite the rather "unastable" ending (towards the book) I found it very good. Colin Firth (apart from being an absolute hunk in period frocks is also fantastic-though he smiles too much for such a tragic character) is much more down-to-earth and handsome than -otherwise great actor- John Malcovitch. Colin is brooding, John is SCARY. Not the person I'd trust my heart or body to. Glenn Glose is a lot more scary - Anette Benning is fantastic because she is bad, she is sexy,and can be even good sometimes. Glose is bad, bad, and scary. Not to mention that ravishing - and too old - Uma Thurman can't possibly persuade anyone for being innocent, pure and well, virgin. Fairuza Balk, is yet a child. Milos Forman gives the characters a depth that we don't see in DL1. The only thing I consider a good choice, was Michelle Pfeifer as the tragig widow. She is brilliant, beautiful (Meg Tilly was pretty but not as ravishing), and most of all, CAN ACT. A few years younger and next to Firth, could produce sparks. I definitely go for the Milos Forman edition. Despite the really bad ending, he gives his characters more dimensions. In DL1, the good are too good, the bad are too bad, and the people between, insignificant. Life isn't just that way.
I hope i will be able to find it in a DVD region 2 someday. Unless I buy an All-regions DVD player. (sigh).

MGM Home Video Does a Hachet Job On This Masterpiece
Please, don't get me wrong--Valmont is one of my favorite films of all time. But I just discovered to my HORROR that it's true--MGM Home Entertainment has edited out a crucial and beautiful scene from this cinema masterpiece. I can't believe I missed it for the past two years, but the other reviewers are right. The lovely scene where Valmont buys a bouquet of flowers and brings them to Madame de Tourvel's apartment, and leaves them on her bed when she is not there, has been hacked out of this DVD! This scene is so beautiful and ingrained on my mind, that I must have mentally inserted it into my viewings for the past two years and consciously overlooked its absence. I can't tell you how betrayed and violated I feel, realizing that I have been watching the movie for two years without this important scene included. The scene is one of the most delicate and mysterious of the whole movie, showing a tender side of Valmont's character in such a subtle way. I am going to send my copy of the DVD to either MGM or Milos Forman and complain about this monstrosity. And I am going to buy a copy of the old VHS version that is intact and complete. If you care anything about the integrity of art and artistic accuracy, don't buy this DVD. You will be missing an imprtant part of the film. This DVD is tantamount to taking Monet's "Coquelicots", taking some shelack, and brushing over the woman's parasol. How does an outfit like MGM have the NERVE to commit such an atrocity on a masterpiece of art? They have no shame. I am totally appalled.

Best version of LIAISONS
Milos Forman was scooped. Stephen Frear's DANGEROUS LIAISONS came out first and had a starrier cast. But it was Forman's film that captured the tragic irony of the original book. Frear's film is pure cornball. Glenn Close and Malkovich ham it up as rich, spoiled, and extremely mean people who go through great lenghts to use and hurt as many people as possible for no apparent reason, until the day that Malkovich falls for the nun-like Pfeiffer and then the plot develops with all of the misunderstandings and forced tears of the old, stage melodramas.
Milos Forman's film, however, is a masterpiece. He did not make the characters so black and white as they are in the other film, and he also gave his characters motivations, which justify all actions and turns of the plot. In fact, the film is a vast improvement on the novel, as Forman adds his great observations of human nature and his own unique brand of irony. In VALMONT, you never assume anything. I recommend seeing both films as a great tool to compare real art with crap. ... Read more

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Fact and fiction intertwine in Milos Forman's colorful kaleidoscope of E.L. Doctorow's sprawling novel of turn-of-the-century America. Anchored in the true story of the murder of architect Stanford White (Norman Mailer) by Harry Thaw (Robert Joy) over the affections of his wife Evelyn Nesbit (Elizabeth McGovern), Forman weaves a portrait of early 1900s America in a tapestry of intertwining fictional tales. The primary thread involves the proud black pianist Coalhouse Walker Jr. (Howard Rollins) and his demand for justice when a racist fireman destroys his automobile, which escalates into a reign of terror by Walker and a band of revolutionaries. A secondary story involves an ambitious immigrant artist (Mandy Patinkin) whose primitive flipbooks send him on the road to creating early cinema. Centering all of these stories in one way or another is an upper-class family known simply as Father (James Olson), Mother (Mary Steenburgen), and Younger Brother (Brad Dourif). James Cagney came out of a twenty-year retirement to play the irascible Irish police commissioner, a character created for the film. Forman's biggest departure from Doctorow's novel, however, is his focus on Walker's story, cutting away the other threads to little more than asides in the final half of the picture, the primary dramatic weakness of an otherwise rich evocation of America's past. Randy Newman's lyrical score and Miroslav Ondricek's understated cinematography earned two of the film's eight Academy Awards nominations --Sean Axmaker ... Read more

Reviews (21)

Underrated Classic
A complex, engaging, colorful, masterpiece. Milos Forman has never disappointed as a director. Typical of him, he captures America better than just about any American director. The cast is superb. Howard Rollins, Jr. is nothing short of amazing as Coalhouse Walker, Jr. Elizabeth McGovern, Mary Steenburgen, James Olson and Brad Dourif also give great performances.

I have admittedly not read the book, nor have I seen the Broadway musical. I don't know what EL Doctorow thinks about the movie of his book (I gather he is not crazy about it). But the film has a wonderful pace and the soundtrack is stunning as well.

I think it is a crime that the soundtrack is not available on cd and the movie not available on DVD!

The ignored classic.
RAGTIME was one of Milos Forman's three great literary adaptations of the 80's, the others being AMADEUS and VALMONT. AMADEUS was a hit, but RAGTIME, which was largely ignored by the public and the critics, who badly wanted to show off the fact that they read the book, was a flop. Too bad. The original novel is like "Forrest Gump" in the early 1900's. A sketchy work in which the members of one upper class family meet with every possible type of person, real or imagined, including every famous person that you can find from that period in the encyclopedia. Forman's film, however, is a genuine masterpiece and one of the very best films ever made about America. He fleshed out the characters, eliminated the unnecessary, and concentrated basically on three main story lines. Unfortunately, the film was deemed too long, and Forman was forced to cut one of the story lines. I hope that when the DVD is released, the missing storyline is put back. Of the film as it stands now, Film Critic David Thomson said " it is a much underrated film. Complex about the time and its ideas." The only possibly distracting thing about the film is the amount of soon to be famous actors appearing in small parts, including Jeff Daniels, Samuel L. Jackson, Fran Drescher, etc.

A Milos Forman Classic
If you missed seeing "Ragtime" back in 1981, it wasn't your fault because you probably didn't even know it existed. Much like Terry Gilliam's "Adventures of Baron Munchausen", this truly great movie was poorly distributed and miserably publicized and advertised when it was released. This is too bad because both films deserved much better. Anyway...

Milos Forman has time and again proven that he is not only one of the world's best directors but also one of the sharpest viewers of American culture and history. "One Flew Over the Cuckoo's Nest", "The People vs. Larry Flint", and, to an extent, "Man on the Moon" have at their core an indictment of American society: its racism, its hypocrisy, its perversity, its corruption, and its insanity. However, Forman is by no means anti-American. In fact, these movies also have at their hearts a deep fascination with America and a yearning to make it better. And like few directors can do, he doesn't create a manifesto disguised as a film. His characters and dialogue are believeable, and his filming is gorgeous to watch.

Of all his films--and that includes "Amadeus"--"Ragtime" is perhaps his best, in my opinion. Its complex narratives are logically, fluidly and masterfully meshed together. But what I find fascinating about the movie is that all the complicated, volatile emotional reactions the characters experience--sometimes ending in violence--all start from simple wants. Coalhouse Walker, Jr. (powerfully played by the late Howard Rollins) wants the racists who vandalized his car to repair it. Harry Thaw (played by the underrated Robert Joy) is an erratic millionaire who simply wants a nude statue of his wife taken out of public view. A father (movingly played James Olson) simply wants to keep his family together. His brother-in-law (Brad Dourif in an extraordinary performance) simply wants the girl he loves to love him back. And a Jewish immigrant (a wonderfully manic Mandy Patinkin) simply wants to make it in America. It's when all these desires collide that the fireworks of "Ragtime" begin. And like the great American tradition of 4th of July fireworks, "Ragtime" is dazzling to watch.

From a boy to a Man
I saw this film for the first time as a junior and have always thought it was a masterpiece. So, I decided to purchase the film on DVD, but to my surprise, it's not available on DVD, VHS it is. I have since watched this film a number of times and my appreciation for this work of art has continued to grow. This film is truly one of the best films ever made and is more than deserving of its place on Digital Versatile Disc b.k.a DVD...

fantastic movie
What a terrific movie. The music is just wonderful and fits the movie to a 'T'. I recently bought the CD at Borders, Books and Music (Dec 21, 03), because years ago I owned the LP!!! I was disappointed to find that the movie is only available on VHS though. Guess I'll reluctantly buy it because I'd love to laugh and cry all over again. Can't even rent this anymore, it's a shame. The good movies go and the junk is always rentable. ... Read more

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The Age of Aquarius is brought to life by the filmmaker who made Amadeus a household word. Milos Forman directed this version of James Rado, Gerome Ragni, and Galt MacDermot's landmark musical in 1979 between his Oscar-winning films One Flew Over the Cuckoo's Nest and Amadeus. With mixed reviews (Gene Siskel named it that year's best film) and lukewarm box-office grosses, the film all but disappeared from the collective consciousness. Yet the film beautifully delivers on its promise to bring the '60s back to life. Hair re-creates a colorful world of counterculture finding an anvil to pound on: the Vietnam War. Forman and his design team allow the film to wash over you, starting at the free-flowing opening in which masses of hippies, police, and even their horses eagerly groove to the familiar beat of "Aquarius." In the best work of his career, Treat Williams makes his leading- man debutas Berger, the leader of the Central Park troop who takes draftee Claude (John Savage) under his wing on his trip through New York City and the apex of what the '60s was. The new recording of the music is quite fine, with Chicago band member Don Dacus's rendition of the title song a highlight. As Berger's pièce de résistance number says, "I've Got Life"; so does the film, right down to its poignant declaration to "let the sunshine in." --Doug Thomas ... Read more

Reviews (65)

Beautiful Score, Amazing Choreography
"Hair" boasts one of the most beautiful scores in Broadway history. While the film changes the plot, it keeps most of the songs and even adds some stunning dance numbers.

Set in the 60's, filmed in the late 70's, the film shows its age. Still the amazing score shines. Some of the best numbers include:

*the still popular "Age of Aquarius" and "Let the Sun Shine" both of which became anthems for an era.
*the haunting "Easy to Be Hard," sung by Cheryl Barnes with cutaways of a little boy that will break your heart
*"Good Morning Starshine" sung primarily by Beverly D'Angelo (the Mom in Chevy Chase's Vacation Movies!)
*"Hair" the title song performed by one of the lead singers of the band Chicago

Twyla Tharp, pre her major fame, choreographed much of the movie. It shows.

As for the plot, well it's thin and it has been changed from the play. An Oklahoma boy wanders into Central Park, a few days before he is to ship off to boot camp for Vietnam. He befriends some "hippies," led by Berger "Treat Williams" and falls in love with Sheila (Beverly D'Angelo), a debutante who ride her horse through Central Park. It's all an excuse for the songs-HOWEVER, the final scenes-including one of hundreds of soldiers marching into a plane heading to Vietanm-turn darker and are far more thought provoking.
I would recommend this movie to those individuals who crave 60's entertainment in any form. Also-if you enjoyed "Moulin Rouge," you probably will like this movie.

Hair: Revisiting the Age of Aquarius...
Ever since it opened off-Broadway in 1967, the Tribal Love Rock Musical "Hair" has been spreading it's message of love, harmony, understanding, and mystisism everywhere. It's catchy and well written music brought musical theatre into the new decades. Still, today, there continues to be a following throughout the world for this musical.

This film was directed by Milos Formann, who is famous for "One Flew Over the Cuckoo's Nest" and "Amadeus." This film was made in 1979, a decade after the musical's debut. The music was influenced greatly by the 1970's pop funk and disco entanglements. (The original musical was a more rock-based sound, which unfortunatly is not captured in this film's revival of the score.) Starring here, is Treat Williams as Berger, John Savage as Claude, and even Nell Carter, who is in the ensemble.

Every time I watch this, I have to cringe at the plot structure of this film. It leaves behind the organized chaos of the original musical, and turns it into something that they thought would be "exceptable" to the movie-going audience. Indeed, the cast getting undressing completly, and showing drug-induced hallucinations, are barely filmable, but the script of this is ridiculous at best. We turn Claude into an Oklahoma enlistee, and Berger into a hippee, who gets sent off to war in his plce. Sheila is no longer a protestor but a rich school girl. What many people have found strange about this film is that the script incorperates touches from the musical, that make no sense on film. As a reason to put nudity into this film, the writers added a skinny dipping scene. An in place f the drug-hallucinations, Claude has a bizarre envisionment of he and Sheila getting married, in a confusing and irevalent dance sequence. (When you see the movie, you will see what I mean.)

The portrayals are excellent, however. John Savage is an interesting Claude, but his singing throughout the film was a bit confused. Treat Williams is literally, a treat (sorry for the pun), when it comes to his amazing voice during the songs "Donna" and his solos in "Let the Sunshine In." His acting was just as good, but one admits to wishing that he had better material to work with. Beverly D'Angelo is a sweet Sheila, and her rendition of "Good Morning Starshine" is very cute. I would have liked to see her perform the part, as it was written in the musical. She would have had a much better chance of getting noticed as a wonderful actress.

The music is, of coarse, excellent. The score is still unmatch when it comes to rock-musicals. The lyrics echo the spirit of the time period, and the music mirrors the rebelious personality of the people of the era. The only qualm I have is that this movie makes Hair seem a bit outdated. The entire score has been redone to fit a disco-flavour mood, that does not capture the poignancy of the original.

Overall, this is a film to be watch on moderation. Watch it on a Friday afternoon before leaving to a night out. It isn't the type of thing you will want to see over and over, but it leaves an impression on you. Most people will enjoy it as a film - not as a valid representation of the musical. I hope that you watch it in that light. Otherwise, you will find yourself a bit disapointed at the end.

hair
the most underrated musical of our time. Anyone who loves great music will love this movie. A powerful score keeps the movies heart thumping throughout, definetly worth the wait to see on dvd.

Ready for another generation
We showed this movie to our young daughters last night. Prompted by a growing sense of anti-war feelings we're experiencing with the daily reports of growing death tolls in Iraq, we felt it was appropriate. They were rapt. I think it was primarily the music and Twyla Tharp's choreography; however, the girls asked a lot of questions, and I think it gave them a little better understanding of what many teenagers felt during the Viet Nam War.

The movie version of this story is a worthy effort, made great by Milos Forman. The quality is not as I remembered it back when I saw it in the movie theater in 1980. And while our expectations of quality may have changed, our expectations of a good, entertaining film have not. Hair has grown into another generation of viewers who can appreciate it on many levels. It's worth another look.

it was a good effort
This is a prime example of a great director, Milos Forman (One Flew Over the Cuckoo's Nest and Amadeus) making a film that doesn't quite pull together. It's a good effort though. Start with one of the great musicals of all time, Hair. It is one of those that needed to be put on film (like the more recent Chicago). But in this case it didn't quite transfer successfully to film. One problem I think was casting Treat Williams as Berger. The acting was a little off. The dialogue was a little off. And the musical numbers didn't quite mesh in with the film (like they do in Grease, Chicago, or Moulin Rouge). I applaud the effort by Forman, if not the finished project. ... Read more

Description

From the Academy Awardtmwinning director of One Flew Over the Cuckoo's Nest, this Czech New Wave classic was nominated for an Oscar® at the height of the Cold War.A piano player from Prague seduces a young, hopelessly lovelorn factory worker.Afterwards she assumes their one-night-stand will blossom into a fairy-tale romance, but learns otherwise when she arrives at his parents' home unannounced.Candidly shot by cinematographer Miroslav Ondricek (Silkwood, A League of Their Own), Loves of a Blonde is a timeless romantic comedy about the liberating and debilitating power of love. ... Read more

Reviews (6)

Did you invite her here?
Milos Forman doesn't get the respect he deserves amongst the ranks of the great foreign directors. This is probably because he has made mostly English language films, but I would still put him up there. Having seen this film though, it makes sense. One has to look no further than Loves of a Blonde to see this man easily had the potential to make great movies...in any language.

Loves of a Blonde focuses on a few days in the life of teenager named Andula. She lives in a town with a female-to-male ratio of sixteen to one. At a singles mixer, while several bumbling military men try to hit on Andula and her two girlfriends, she meets a piano player named Rilda. Things pick up quickly with Rilda and she eventually hitches to Prague to hook up with him. The situation turns out to be a little different than she expected as she finds him still living with his conservative parents.

This film is charming. Forman is on top of his game blending comedy and social comment almost seamlessly. The narrative structure is unique too. At the center of the picture is Andula, she is the antagonist for most of the film's action, but the film allows the supporting players to be the main focus of the scenes they are in. Andula watches, she listens, she reacts, and while the story is ultimately about her coming of age, it is her interaction with the people around her that make this story interesting.

From One Flew Over the Cuckoo's Nest to Amadeus to The People vs. Larry Flynt, Milos Forman always delivers. This film is no exception, and it has stood the test of time. So if you like those films check out Loves of a Blonde.

Irresistable blend of attitude and style and content
The premise of the story is funny-- a village full of women factory workers who live crammed together in dorms needs men so the factory owner charmingly pleads with the military to send an attachment of men to the town to give his girls something to do with their evenings but when the men show up they are all middle aged, the young girls are disappointed. What is even funnier is Formans attitude and style which borrows some tricks in cutting and impromptu time shifts from the French New Wave directors but adds to this famous style a lucid charm that is irresistable. The cutting techniques innovated by the French New Wave directors emphasized the looseness and spontaneity of life but Formans sense of humor is such that he cannot help parodying the techniques he is emulating. For instance in the dance hall sequence the camera slowly pans the feet of the band members which makes for an absurdly enjoyable incidental. French New Wave in technique but the humor is charmingly Czech in tone. The storyline makes some poignant observations about the new social mores of the 1960's--a married soldier trying to meet girls drops his wedding ring and proceeds to watch it roll across the dance floor where it falls to rest beneath a table of single girls. The title character dreams of a young man to take her away from her grim life as factory worker living in a dorm full of girls but since the men she meets do not take her away she decides to take matters into her own hands and follows one to his hometown. But arriving there she is greeted only with more grim reality. She returns home to her factory job and dorm and finds solace in make-believe as she tells her girlfriends a version of the events which conforms to her dreams. Very touching, wise, and satisfying film from a filmmaker who exhibits a fondness for all his characters. No one escapes Formans lighthearted satire nor his empathy which embraces all forms of life, young and old. Remarkably light and poignant at the same time. Czech and Polish films of this period strike an irresistable chord and are some of the most irresistable films ever made. Also recommended: Closely Watched Trains.

SLY CZECH NEW WAVE STILL WORKS
Milos Forman made a name for himself with Czech new wave films that challenged the old order with slyly defiant themes of freedom in all its personal and political manifestations. Two of his landmark early films have been restored in image and sound and digitally transferred in clean, crisp-looking prints with improved English subtitles.

Forman earned his first Academy Award © nomination with "LOVES OF A BLOND". In 1966, when it premiered in America at the New York Film Festival, it was an immediate sensation. Even Bosley Crowther, the notoriously tight-laced chief critic for the pompous New York Times could hardly contain himself when he experienced this efficacious, subtle social satire disguised as an exploration of adolescent romantic desire. The story is set in the rural Czech town of Zruc. With a ratio of sixteen women to every man, the chances of factory worker Andula finding love are indeed slim. That is until her giggling girl friends talk her into going to a mixer where she meets Rilda, a devil-may-care piano player from Prague. As the three acts unfold, there's a feeling of real time as issues of intimacy, confinement, dreams, delusions, reality and freedom are explored in the context of their relationship And there's nothing preachy or heavy-handed like some other films of the era that are infected with a deadly hidden political agenda that numbs any entertainment value. This one is pure. Universal in its humanity, the romance of Andula and Milda mirrors all our hopes and fears. Extras include a new video interview with Forman, a deleted scenes and new English subtitles.

In many ways, this film is linked to another that is worth noting.

"THE FIREMAN'S BALL" takes place in tiny Czech village of the 60s. Every year the firmen put on a ball and this is a look at the whacky goings. Real townspeople mostly play themselves in this dark comic satire of life under Soviet style communism. Funny, scary and meaningful. The tone is not unlike "American Beauty" in that the naked truth is sharply revealed.

High praise to Criterion for continuing the tradition of gathering the greatest films from the finest filmmakers around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements.

One of Milos Forman's Best
Don't get me wrong. I love AMADEUS and CUCKOO's NEST etc. But this was just such a quietly funny and enjoyable film, I have to say it may almost be my favorite from Milos Forman. I think I first heard it spoken of by James Mangold(in the commentary for his film HEAVY). Mangold was in awe of Milos Forman and also enjoyed Ozu's films. That being said, I was quite excited for the dvd to be released, and was not at all dissapointed in the film. It's really funny and heartbreaking-I loved it.

CITY OF WOMEN
Ivan Passer and Milos Forman, who wrote the screenplay of LOVES OF A BLONDE in 1965, left Czechoslovakia for Hollywood 30 years ago. While Milos Forman directed some hits like ONE FLEW OVER A CUCKOO'S NEST or AMADEUS, Ivan Passer had a less successful career, in terms of boxoffice, even if one can consider his movie CUTTER'S WAY (1981) as one of the most important american films of the eighties. So no wonder if Criterion has chosen to present this winter the two movies they wrote together back in the 60's : LOVES OF A BLONDE and FIREMEN'S BALL.

LOVES OF A BLONDE is a bittersweet comedy, in fact less sweet than bitter, relating the anxieties of the young women of an industrial small town. These girls are desperately looking for the man of their dreams while the male population of the town doesn't exceed the tenth of the female number. So when Andula is seduced by the pianist of a Praguan band and is invited to come to his place if she ever comes to the Czechoslovakian capital, she doesn't hesitate. Needless to say that the pianist will be a little annoyed when Andula knocks at his parents's door in the middle of the night.

So one smiles a lot during LOVES OF A BLONDE, particularly at the ball scene involving middle-aged reservists soldiers who can't believe their eyes in front of the numerous women available for dancing. One smiles a little less as an almost documentary camera lingers on the girl's faces waiting to be invited for a dance. Tragedy is never far away in this movie you can not disregard if you're interested in the revival of european cinema during the 60's.

The bonus features include a deleted scene and a recent video interview of Milos Forman. Sound and images superb even if a vertical black line is visible during the first minutes of the film.

A DVD zone Adam and Evas. ... Read more

Amazon.com essential video

Leave it to Czech director Milos Forman (One Flew Over to Cuckoo's Nest) to make the most entertaining and offbeat celebration of the American Constitution that the movies have ever given us. You think the First Amendment was designed to protect you from offensive speech? Think again. The real glory of the Constitution and the Bill of Rights--as brought to life in this splendidly quirky and alternately reverent and irreverent comedy--is that it ensures everyone's freedom by protecting a whole range of expression, from the banal to the outrageous. Scripted by the writers of Ed Wood (another affectionately twisted biography of a disreputably eccentric entertainment figure), The People vs. Larry Flynt applies a similar sort of exaggerated and telescoped editorial-cartoon sensibility to the wild life and times of Hustler skin-magazine publisher Larry Flynt. It's the great (and fictionalized-but-true) American story of how smut-peddler Flynt--the poor man's redneck Hugh Hefner--ended up appealing a libel case (brought by televangelist Jerry Falwell) to the Supreme Court and winning a major legal victory that affects us all. Terrific performances by Woody Harrelson as Flynt, grunge-star-turned-glamour-puss Courtney Love as his wife Althea, and Edward Norton as their lawyer (a composite character). --Jim Emerson ... Read more

Reviews (45)

Great movie, definitely worth seeing
I can understand that a lot of people on this board don't like the topic of this movie, but that shouldn't keep them from enjoying a fantastic movie. I personally found this movie absolutely hilarious--Larry Flynt is definitely a colorful character, as is Althea. Woody Harrelson, Courtney Love, and Edward Norton give outstanding performances. It's really amazing to see how a dirt poor red neck kid can end up being a millionaire. You'll be left wondering what stunt is Larry Flynt going to pull next. So what if Hustler is disgusting to you? As Edward Norton said, you have the right to not buy it. A brilliant, brilliant film. I would definitely recommend picking this one up.

Superb biography with an edge to it
Telling the story of Larry Flynt, the unsympathetic character behind Hustler magazine, was always going to be a hard job. However, Foreman's movie manages to pull it off thanks to great jobs from all round. It starts with a brief clip of Flynt's early life as a boy, peddling booze to redneck farmers and throwing a jug at his father, who's drunk all his wares. Fastforward to his strip joints where he meets feisty, unpredictable but undeniably sexy Althea (Love). Before long they've set up Hustler magazine and not long after that they find themselves in a series of court cases concerning the decency of Flynt's publication. The story really switches gears though when Flynt is gunned down by a sniper's bullet, leading to his Althea's drug addiction and Flynt's increasing eccentricity.

The fact that not only is the direction good, but the acting and script are also brilliant. Woody Harrellson gives the best performance of his career as Flynt, evoking sympathy in a character that's bravely rarely played for the sympathy vote. Courtney Love was born to play the role of grungy white trash glamourous drug addict Althea and pulls it off so convincing that it's surprising that she was nominated for an Oscar as well as a Golden Globe. Edward Norton turns in another great performance in the supporting role of Flynt's lawyer and anyone who's seen his performances in American History X or Primal Fear won't need to hear any more convincing about his abilities as an actor.

The best part of the story is the pathetic nature that it draws out in its protagonists. Love in particular enters her character so much that when she wraps her arms around her husband after just using his drugs it's close to heartbreaking. Whilst the argument for Flynt as a liberator of free speech may seem a bit over the top (despite some very funny scenes in the courtroom), the film gently suggests the intense melancholy behind the larger than life character. The last scene especially evokes this superbly, with Larry watching videos of his wife telling him that he'll grow old and ugly as she's playfully dancing naked for him. As the camera shows us Larry's face we know that he realises this to be true as he's sat alone in his luxurious bedroom despite his greatest victory against the Supreme Court.

LARRY FLYNT: DEMOCRAT
When Ronald Reagan became the President, a shift to conservatism occurred in Hollywood and the media. Hustler founder Larry Flynt flirted with Christianity, but it did not take. When his editors suggested that the Reagan mood should portend more "family friendly" fare, Flynt fired that messenger and went from sick and disgusting to really hardcore porn (which is better than sick and disgusting). He aligned himself against the Republicans, who were asking 7-11s to keep their porn mags away from minors (a move since described by liberals as tantamount to Stalinist censorship). In 1998, Flynt became the mouthpiece of the Democrat party, a de facto Clinton spokesman and unofficial public relations firm for the DNC. In 2003 he decided to run for Governor of California as a Democrat. While his intentions may be to benefit the Democrats, he could not have harmed them more. Republicans need say nothing about this fact. It exists for what it is, on it face. Republicans just smile and say, "Hey, you Democrats, you can have Larry Flynt." They have him and he has them. A mariage made in...?

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM

Controversy At Its Finest
"The People Vs. Larry Flint" is one of the most controversial releases of 1996, starring Woody Harrelson, Edward Norton, and Courtney Love. It earned two Oscar nominations and two Golden Globe wins. This real-life film wonderfully desplicts Larry Flint's struggle to publish "Hustler", a sexually explicit magazine. He risks his freedom to prove that the bans violate the First Amendment on the US Bill of Rights, which is freedom of speech. Through every step, he causes tremendous controversy throughout the country. Some love him, some hate him. Either way, nobody can get enough of him. The plot is brilliant. The daring material expressed deserves tremendous respect for doing what few writers have dared. The climatic story keeps audiences interested in every scene, always wondering what Flint will say or do next. The unexpected events keep the energy intact. His eccentric behavior adds a more interesting flavor to the film.

Woody Harrelson and Courtney Love prove that they were made for their roles. Harrelson's Oscar nominated performance as Larry Flint is the best in his career. Nobody else could have played Flint better. Love makes a triumphant film debut in her Golden Globe nominated role as Athena, Flint's wife. Her erratic behavior is wonderfully displayed through every scene. Athena's life struggles are beautifully expressed. Edward Norton's role as Flint's lawyer is beautifully performed. All other performers also acted their roles wonderfully.

"The People Vs. Larry Flint" is a great film for those looking for something risque. This is sure to please audiences of all kinds.

Ha, this film just rules!
Larry Flynt is a sleaze, and he's not afraid to exlpoit that fact. The People Vs. Larry Flynt doesn't make him look like a saint, as some have said. Milos Forman is a great director, and he takes this material and turns it into a very compelling look at a man, (who is very sleazy, mind you), that cared immensely about the First Amendment and turned the judicial system upside down. (And made and spent lots of money!) Like it or not, Flynt is a crusader for free speech in the annals of American history. Great film, and FINALLY a great DVD. However, where's the Forman commentary? ... Read more

Amazon.com essential video

A note-perfect cinematic event whose immortality was assured from itsopening night, Amadeus is an unlikely candidate for the director's-cuttreatment. Like one of Mozart's operas, the multiple Oscar-winning theatricalversion seemed perfectly formed from the outset--ideal casting, costumes, sets,cinematography, lighting, screenplay, music, music, music--so the reinstatementof an extra 20 minutes simply risks adding "too many notes." Yet though thisextended cut can hardly be said to improve a picture that needed no improvement,it does at least flesh out a couple of small subplots and shed new light oncertain key scenes. Here we learn why Constanze Mozart bears such ill willtowards Salieri when she discovers him at her husband's deathbed, and we seedeeper into the reasons why Mozart has no students. The structure of the pictureis otherwise unaltered. --Mark Walker ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

Reviews (65)

Beautiful Score, Amazing Choreography
"Hair" boasts one of the most beautiful scores in Broadway history. While the film changes the plot, it keeps most of the songs and even adds some stunning dance numbers.

Set in the 60's, filmed in the late 70's, the film shows its age. Still the amazing score shines. Some of the best numbers include:

*the still popular "Age of Aquarius" and "Let the Sun Shine" both of which became anthems for an era.
*the haunting "Easy to Be Hard," sung by Cheryl Barnes with cutaways of a little boy that will break your heart
*"Good Morning Starshine" sung primarily by Beverly D'Angelo (the Mom in Chevy Chase's Vacation Movies!)
*"Hair" the title song performed by one of the lead singers of the band Chicago

Twyla Tharp, pre her major fame, choreographed much of the movie. It shows.

As for the plot, well it's thin and it has been changed from the play. An Oklahoma boy wanders into Central Park, a few days before he is to ship off to boot camp for Vietnam. He befriends some "hippies," led by Berger "Treat Williams" and falls in love with Sheila (Beverly D'Angelo), a debutante who ride her horse through Central Park. It's all an excuse for the songs-HOWEVER, the final scenes-including one of hundreds of soldiers marching into a plane heading to Vietanm-turn darker and are far more thought provoking.
I would recommend this movie to those individuals who crave 60's entertainment in any form. Also-if you enjoyed "Moulin Rouge," you probably will like this movie.

Hair: Revisiting the Age of Aquarius...
Ever since it opened off-Broadway in 1967, the Tribal Love Rock Musical "Hair" has been spreading it's message of love, harmony, understanding, and mystisism everywhere. It's catchy and well written music brought musical theatre into the new decades. Still, today, there continues to be a following throughout the world for this musical.

This film was directed by Milos Formann, who is famous for "One Flew Over the Cuckoo's Nest" and "Amadeus." This film was made in 1979, a decade after the musical's debut. The music was influenced greatly by the 1970's pop funk and disco entanglements. (The original musical was a more rock-based sound, which unfortunatly is not captured in this film's revival of the score.) Starring here, is Treat Williams as Berger, John Savage as Claude, and even Nell Carter, who is in the ensemble.

Every time I watch this, I have to cringe at the plot structure of this film. It leaves behind the organized chaos of the original musical, and turns it into something that they thought would be "exceptable" to the movie-going audience. Indeed, the cast getting undressing completly, and showing drug-induced hallucinations, are barely filmable, but the script of this is ridiculous at best. We turn Claude into an Oklahoma enlistee, and Berger into a hippee, who gets sent off to war in his plce. Sheila is no longer a protestor but a rich school girl. What many people have found strange about this film is that the script incorperates touches from the musical, that make no sense on film. As a reason to put nudity into this film, the writers added a skinny dipping scene. An in place f the drug-hallucinations, Claude has a bizarre envisionment of he and Sheila getting married, in a confusing and irevalent dance sequence. (When you see the movie, you will see what I mean.)

The portrayals are excellent, however. John Savage is an interesting Claude, but his singing throughout the film was a bit confused. Treat Williams is literally, a treat (sorry for the pun), when it comes to his amazing voice during the songs "Donna" and his solos in "Let the Sunshine In." His acting was just as good, but one admits to wishing that he had better material to work with. Beverly D'Angelo is a sweet Sheila, and her rendition of "Good Morning Starshine" is very cute. I would have liked to see her perform the part, as it was written in the musical. She would have had a much better chance of getting noticed as a wonderful actress.

The music is, of coarse, excellent. The score is still unmatch when it comes to rock-musicals. The lyrics echo the spirit of the time period, and the music mirrors the rebelious personality of the people of the era. The only qualm I have is that this movie makes Hair seem a bit outdated. The entire score has been redone to fit a disco-flavour mood, that does not capture the poignancy of the original.

Overall, this is a film to be watch on moderation. Watch it on a Friday afternoon before leaving to a night out. It isn't the type of thing you will want to see over and over, but it leaves an impression on you. Most people will enjoy it as a film - not as a valid representation of the musical. I hope that you watch it in that light. Otherwise, you will find yourself a bit disapointed at the end.

hair
the most underrated musical of our time. Anyone who loves great music will love this movie. A powerful score keeps the movies heart thumping throughout, definetly worth the wait to see on dvd.

Ready for another generation
We showed this movie to our young daughters last night. Prompted by a growing sense of anti-war feelings we're experiencing with the daily reports of growing death tolls in Iraq, we felt it was appropriate. They were rapt. I think it was primarily the music and Twyla Tharp's choreography; however, the girls asked a lot of questions, and I think it gave them a little better understanding of what many teenagers felt during the Viet Nam War.

The movie version of this story is a worthy effort, made great by Milos Forman. The quality is not as I remembered it back when I saw it in the movie theater in 1980. And while our expectations of quality may have changed, our expectations of a good, entertaining film have not. Hair has grown into another generation of viewers who can appreciate it on many levels. It's worth another look.

it was a good effort
This is a prime example of a great director, Milos Forman (One Flew Over the Cuckoo's Nest and Amadeus) making a film that doesn't quite pull together. It's a good effort though. Start with one of the great musicals of all time, Hair. It is one of those that needed to be put on film (like the more recent Chicago). But in this case it didn't quite transfer successfully to film. One problem I think was casting Treat Williams as Berger. The acting was a little off. The dialogue was a little off. And the musical numbers didn't quite mesh in with the film (like they do in Grease, Chicago, or Moulin Rouge). I applaud the effort by Forman, if not the finished project. ... Read more

Description

From director Milos Forman (Man on the Moon, Amadeus) comes this Academy Award(tm)- nominated comedy depicting the outrageous descent of a firemen's ball into total chaos.Wonderfully photographed by cinematographer Miroslav Ondricek (Silkwood, A League of Their Own), this early Forman classic is hilarious, dark, and truly insightful.A beauty pageant, booze, and a burning building...find out why The Firemen's Ball forced some 40 thousand Czech Firemen to resign in protest. ... Read more

Reviews (5)

COULD BE FORMAN'S GREATEST EVER (& THAT SAYS A WHOLE LOT!)
He may be bathing in millions on account of his big Oscar wins for "Amadeus" & "One Flew Over The Cuckoo's Nest"--but director Milos Forman perfected his basic style with films like this, one of the most cherishable little comedies ever made. Indeed, its hour-and-fifteen-minute length makes one crave reliving this warm and extremely human story again and again.

Made while Forman was still living under Communist rule in Czecholslovakia, "Fireman's Ball" was meant as a satire of government bureaucracy, though the story can be enjoyed purely at face value. The firemen are pathetic pillars of the community who engage in endless and logic-bending arguments over ridiculous little points, desperately nabbing any reluctant teenage girls for the beauty pageant; while the people outside are enjoying and upsetting the ball (even stealing all of the edible raffle prizes) to their hearts' content. Everybody's concerned only with himself or herself......until an outside siren leads everybody to a fire destroying an old man's house. Finally, everyone seems united in a common cause. The tragedy of the story--as well as the Czech people--is driven home.

Absolutely wonderful transfer--those of us who've caught it in infrequent TV broadcasts (notably on the USA network) have had to endure white subtitles obscured in decrepit-quality prints, or lost in the screen detail. Here they are completely readable. The interviews with Forman & his erstwhile photographer Miroslav Ondricek are enlightening. My one complaint is that this Criterion Collection edition doesn't give us Forman's original English-language introduction, appended to original American & British prints of the film (he looked quite stylish in a beard).

Amazing, too, that this film uses no professionals among its actors--simply friends and even schoolboy pals of Forman's.

Wow.
How to get busted in a totalitarian regime: make a film like Firemen's Ball. Just watched that last night. Amazed. Brilliant transfer. May not be as poignant as Loves of a Blonde or his later works, but a rousing critique of the regime with some really funny scenes. But, again, that transfer amazed me. Hard to believe it's a 35 year old czech film. Highly recommended. Enjoyed Forman's comments on the film and the debacle that ensued. He was almost locked up for 10 years and was luckily helped out by none other than Francois Truffaut! Beautiful.

A real treat of a movie, and an important one, as well.
The Firemen's Ball is one of a handful of Czech films that defined the "New Wave" era, and had a profound influence on filmmakers and critics around the world. Other important films of this period include Forman's "Loves of a Blonde," Jiri Menzel's "Closely Watched Trains," and "Larks on a String" (a Menzel film that hasn't been released on DVD, to my knowledge). But Firemen's Ball is a personal favorite, probably due to the fact that I lived in the Czech Republic for five years, and attended similar village balls. The characters in this wicked satire are portrayed with humor, affection and above all a level of realism that remains unsurpassed. In the end, Forman does what he does best -- he leaves you torn between laughter and tears. This film is a must-see, especially for those who are interested in understanding how filmmaking evolved in the 60s.

The Personal is Political
This delightful film of Milos Forman (Amadeus, One Flew Over the Cuckoo's Nest) tells the story of a dance sponsored by local firemen in a small Czech village. In it, Forman sets the stage for a subtle critique of society under Soviet-style Communism. The dance itself is held to honor the retiring fire chief who is dying of cancer but of course, will not be told of this. The firemen hilariously set out to haphazardly pick girls out of the crowd for a Beauty Contest to be held during the dance (the list is constantly bickered about back and forth between the fireman and eventually lost in the confusion). Also, there is a table of assorted prizes for a raffle which is guarded over by one of the fireman and his hilariously bitchy and not too observant wife. The raffle prizes gradually start to disappear, but who is to blame? Add to this the wonderfully wacky free-for-all of a beauty pageant and a real fire and you have one of Forman's best early films. Many of the "actors" are actual local villagers and this is all for the best as human failings and character are highlighted to underscore how people living under an authoritarian society begin to think only of themselves and what they can get and also the issue of who is guilty and who is innocent in this society. Highly recommended!!

Fireman's Ball
This movie will take us to a little village in 1960's in the Czechoslovakia. It is a story about ordinary people living very ordinary lives. Every year they go to the Firaman's Ball organized by local fire department, but this year things get little out of control. This movie is very unique for few reasons. There are not too many real actors. The people are actually locals from the village, where the movie was filmed. They act themselves, which gives the movie great authenticity. The story is wonderfull,exposing not too good side of human nature, yet it's very entertaining.I would compare it to the movie American Beauty, taking place fourty years ago. You maight not like everything you see, but at the same time you realize how much naked true the movie is. ... Read more