Reviews (20)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (14)

Rethinking what might have been...
This 1997 film stars Vanessa Redgrave as Mrs. Dalloway, the Englishwoman introduced in Virginia Woolf's 1925 novel. The book used stream of consciousness to create an interior monologue for her heroine and the film is true to that, a voice-over narration letting the viewer know her interior thoughts as she goes about preparing for a party in 1923.

Mrs. Dalloway is now in her sixties, but there are flashbacks to an earlier time, when she was a young woman being pursued by beaus. She has made her choices now and has married a cabinet member and leads a comfortable life as his charming wife. In her youth she rejected the suitor who looked for adventure in India as well as the tentative hint of a friendship with a woman, which might have gone further. When both of them show up at her party, her memories surface. There's also a sub-story of a young man who has been shell-shocked from combat in The Great War and the theme of suicide runs strong throughout the plot. Even though he and Mrs. Dalloway never meet, it is clear why this character was introduced. And it is also interesting to note that Virginia Woolf herself committed suicide in 1941 at the age of 59.

Casting is excellent, acting superb. Everything is understated but yet very very clear. I also loved the cinematography and the setting of a very proper London in 1923, especially the costumes. The theme is universal as we all do look back on our lives and wonder what might have been. Also, at only 97 minutes long, the video was exactly the right length. Definitely recommended.

The original version of The Hours
If you are a fan of either the novel or film The Hours, then reading and watching Mrs. Dalloway is a must. The Hours was Virginia Woolf's original title for Mrs. Dalloway. Michael Cunningham cleverly took that title and turned into a novel that matches Mrs. Dalloway for its shear beauty. But this is a movie review and I can tell you that Vanessa Redgrave is brilliant in the title role. She should have been nominated for an Oscar at the very least. A day in the life of Clarissa Dalloway, planning a party, remembering her life and loves. It's a lovely adaptation from Woolf's novel. And of course begins with "Mrs. Dalloway decided she would buy the flowers herself." Buy this yourself. You won't regret it.

Speechless
Having watched Mrs. Dalloway after having looked for it for at least three years, I can only say that I am breathless: True to Virginia Woolf's narrative, attentive to every detail, and with such subtlety is this movie made that I could find no better gift than this movie to a lover of Virginia Woolf's works. Vanessa Redgrave astounds with her incredibly moving performance, with a dignified emotiveness as only she can deliver- true to the bird-like Mrs. Dalloway.

Fans of explosions and other short-attention-grabbers need not apply, this is prime literature jumping onto the movie screen!

A beautiful adaptation of the novel
Vanessa Redgrave gives a fine performance as Clarissa Dalloway in Marleen Gorris' adaptation of the Virginia Woolf novel. It tells the story of one day inthe life of Clarissa Dalloway as she readies her house for a dinner party later in the evening. Throughout the day, she remembers people and events from her past that had a lasting effect on her. But, during her party, the news of a suicide causes Mrs. Dalloway to step aside and to wonder if she's given up anything with her own life's path.

Ms. Redgrave's performance is subtle and really shines during the party sequence. Her facial expressions alone show what a fine actress she is. Other great performances in the film are Rupert Graves as Septimus, a soldier suffering from a late onset of shell shock, and Alan Cox, as the young Peter who was desparately in love with the young Clarissa.

Not many extras on the DVD. But the film is self is definitely one to watch.

A Graceful Adaptation of Virginia Woolf's Mrs. Dalloway
MRS. DALLOWAY, the film, has a jolting beginning: the battlefield of WWI with a scene revealing Septimus Warren-Smith in abject terror that his friend Evans is about to walk into a mine explosion, a recurring memory for this character throughout the film. One wonders how MRS DALLOWAY could start there - until the story gradually unfolds. Then this seeming idiosyncrasy is shown to be just one more bit of evidence that the screenwriter is very in tune with the meadering writing style of Virginia Woolf. What a joy to see a novel of such sophisticated complexity be adapted into a movie that is fluid, rich in characterization, thoroughly grounded in the technique of how Woolf mixed memory with present reality in her telling such an indepth history of a woman a bit out of synch with her world, all in one day in June, 1923, as she prepares one of her beloved parties. Indeed, this film suggests that life is a 'party' where new acquaintances are made, old acquaintances are at times tolerated for social reasons, and the entirety of one's past can be summoned by the surprise appearance of signifcant people. This film is blessed with the presence of Vanessa Redgrave whose Mrs Dalloway is wholly credible. But the integration of Clarissa Dalloway's past with her present is so adroit that all of the characters in the present are greatly enhanced. Her love of Peter Walsh and of Sally say a lot about Virginia Woolf's ability to define the inner aspects of her character. Oh, and by the way, the beginning of the film introduces the thread that runs throughout - Septimus elects suicide as an answer to his life's questions, and we are left wondering if this might not be a viable thought running through the mind of Clarissa Dalloway as she reflects on her life choices at the end. A brilliant cast of characters, in every role, dressed to perfection and photographed in echt, period England further enhance this wonderful film. HIGHLY RECOMMENDED. ... Read more

Reviews (46)

One of the truly special film events.
I remember seeing this movie in the theatre, first run, knowing nothing about what was to come. I remember thinking as I left, how it was movies like this that made the movies so special. How a story could be so simply, and beautifully told.

There is nothing usual in the world of Antonia. A single mother, she leaves the city with her young daughter to return to the small hamlet that was once her home. It is the time of her mother's death, and Antonia will take over the operation of the now-decrepit farm. She is ill equipped to run a farm at face, yet her force of will and purity of spirit make no task impossible. She is a strong woman, a good woman. She does what has to be done, and uses or finds the necessary tools amongst the chaos at hand.

I believe the English title Antonia's Line (rather than Antonia) refers to the line of people she gathers through her life. This extended family grows from the most unlikely sources. They feast together outdoors weekly at one long table, and as the movie progresses, the size of the table grows and grows to accommodate each and every new member in Antonia's Line.

Antonia is a tale of tales, some mysterious and wonderful, some very basic and also wonderful. And throughout the line grows as Antonia's extended family encompasses more and more endearing souls.

I was hardly surprised when Antonia won a well-deserved Oscar for Best Foreign Film.

Every time I see this film I find I do not tire of it, and every time I see it I come away feeling better.

Exasperating
"Antonia's Line" is one of those movies that's in love with its own quirkiness. This isn't always necessarily bad. Quirky films can be quite delightful when done well. However, in this case, the quirkiness comes at the expense of plot and logic.

My sense is that this film's director intended Antonia and her line of female descendants to represent strong, fearless heroines imbued with the fighting feminist spirit. I get this sense because most of the men in this film are brutes, buffoons or a combination of the two, and the women kick butt, make love to each other and tell all of the men off at regular intervals.

This film is insulting to anyone who truly values feminist sensibilities in our movie culture. As so often happens, the makers of this movie equate "strong" with callous and emotionally distant. It's hard to care about Antonia and her relations because they all come across as either vacuous or heinous. Antonia's daughter casually chooses a complete stranger to impregnate her because she wants a child but doesn't want to have to deal with the father. Did she ever think that maybe the child would want a father. Is selfishness like this supposed to impress me with its strength of character?

The script meanders from one incident to the next, characters you barely learn anything about appear and drop out of the movie listlessly, and the pacing of the whole thing is limpid. The film is only about 110 minutes long but feels much longer.

I'm tired of the trend of thinking that propagates the belief that in order to be considered strong, women must prove that they can live entirely without men. That's such a juvenile attitude and serves no purpose. Callousness is callousenss whether displayed by a man or a woman, and there's nothing weak about letting leaving yourself vulnerable to the complex relationships that spring between men and women. Of all the life lessons Antonia supposedly passes down to her ancestors, this is the one she forgot to include.

Grade: D+

Feminist Fantasy
European trash are not interesting enough for a two hour movie. The characters are all cliche's of village life. The bad guy is a blond (facist) rapist. He rapes his sister and a little girl. He comes back to town in a military uniform. The good people in this movie are all Lefty lesbians and tough grandmothers. This movie is a feminist fantasy of the European variety. The men are stupid and the women are brilliant. The only smart man in the film commits suicide.

Race, gender, and the role of motherhood
Antonia's line is an amazing film about four generations of strong, independent women. While most movies about single mothers stereotype them in both positive and negative ways, Antonia's Line is different. Antonia moves back to the dutch countryside after being away for twenty years. She has to face many difficulties in the town, yet through it all she is a pillar of strength. She knows what she wants, and she acts upon it, regardless of what people think of her. She passes on these same views to her daughter. Antonia's line seems to critique the normal stereotypes by portraying Antonia as a foil to them. Her honesty, and disregard for public opinion sets her apart. The film also works to intersect Antonia's race, culture, gender and class in an amazing web that shapes her character. The influence of Antonia's race is clear in the way that she acts around the people of the town. She explains to her daughter who each person is, and why they act the way that they do. She knows how to handle even the most obnoxious of the town memebers. She is every bit a women, yet she exhaults in her femininity rather than hiding behind it. She makes her opinions and ideas well known. She is not afraid of the judgement that may accompany her views. She entertains suitors, while maintaining an honest attitude about exactly what she wants. She is able to accept her family for who they are without exception. Antonia's Line is a wonderful story with fully developed characters. Antonia and her family portray the true essence of femininity better than any other characters I have seen. Do not let the subtitles stop you. This film is a must see.

what is the perfect mother anyways???
Antonia's Line directed by Marleen Gorris depicts the women characters as strong women who do not care about what might be lacking in their lives. Each of the characters is their own person and no one could make them feel any less. This film helps to illustrate to young women that they can reject the silly myth of motherhood and as long as they are their own person, they do not need to be thinking of themselves as what is wrong with them.

Antonia's Line, directed by Marleen Gorris, does not accept the stereotypes of ideal mother. As we all know, mothers are always maternal, wanting to be pregnant, heterosexual and have the need to take care of their children. Yeah right! Antonia's Line does an excellent job of criticizing this stereotype by depicting different types of mother-daughter pairings. Letta was the only woman that would support this stereotype while the other mothers diverge. For example Antonia played by Willeke van Ammelrooy, criticizes the idea that mothers should be married because she refuses to give Farmer Baas her hand. She also works on the farm. Danielle diverges from the simple fact that she is a lesbian. Therese criticizes the idea that all mothers are naturally maternal and always want to have children.

This film also does not completely objectify women to the same effect that most films end up doing. Antonia and the other women really do not 'appear' for the men in their lives. The characters are strong women and they just worry about the many generations of women in their family. Antonia and the other women due to their strong characters, I feel, do not have the need to see themselves through the eyes of their male viewers. Antonia cares a great deal for the well being of her family that she has no need to fix herself up and she does not need a husband around to make her 'whole.' She finds nothing wrong with the way that she is living her life or the way she looks. Another thing that this film does that helps to not objectify the women characters is that the audience is not clued into every aspect and thought of these characters lives. This makes them their own person and not a mere cinematic object that bases their views on the idea of men.

This film is a great movie in making one aware of such women's issues. ... Read more

Reviews (46)

One of the truly special film events.
I remember seeing this movie in the theatre, first run, knowing nothing about what was to come. I remember thinking as I left, how it was movies like this that made the movies so special. How a story could be so simply, and beautifully told.

There is nothing usual in the world of Antonia. A single mother, she leaves the city with her young daughter to return to the small hamlet that was once her home. It is the time of her mother's death, and Antonia will take over the operation of the now-decrepit farm. She is ill equipped to run a farm at face, yet her force of will and purity of spirit make no task impossible. She is a strong woman, a good woman. She does what has to be done, and uses or finds the necessary tools amongst the chaos at hand.

I believe the English title Antonia's Line (rather than Antonia) refers to the line of people she gathers through her life. This extended family grows from the most unlikely sources. They feast together outdoors weekly at one long table, and as the movie progresses, the size of the table grows and grows to accommodate each and every new member in Antonia's Line.

Antonia is a tale of tales, some mysterious and wonderful, some very basic and also wonderful. And throughout the line grows as Antonia's extended family encompasses more and more endearing souls.

I was hardly surprised when Antonia won a well-deserved Oscar for Best Foreign Film.

Every time I see this film I find I do not tire of it, and every time I see it I come away feeling better.

Exasperating
"Antonia's Line" is one of those movies that's in love with its own quirkiness. This isn't always necessarily bad. Quirky films can be quite delightful when done well. However, in this case, the quirkiness comes at the expense of plot and logic.

My sense is that this film's director intended Antonia and her line of female descendants to represent strong, fearless heroines imbued with the fighting feminist spirit. I get this sense because most of the men in this film are brutes, buffoons or a combination of the two, and the women kick butt, make love to each other and tell all of the men off at regular intervals.

This film is insulting to anyone who truly values feminist sensibilities in our movie culture. As so often happens, the makers of this movie equate "strong" with callous and emotionally distant. It's hard to care about Antonia and her relations because they all come across as either vacuous or heinous. Antonia's daughter casually chooses a complete stranger to impregnate her because she wants a child but doesn't want to have to deal with the father. Did she ever think that maybe the child would want a father. Is selfishness like this supposed to impress me with its strength of character?

The script meanders from one incident to the next, characters you barely learn anything about appear and drop out of the movie listlessly, and the pacing of the whole thing is limpid. The film is only about 110 minutes long but feels much longer.

I'm tired of the trend of thinking that propagates the belief that in order to be considered strong, women must prove that they can live entirely without men. That's such a juvenile attitude and serves no purpose. Callousness is callousenss whether displayed by a man or a woman, and there's nothing weak about letting leaving yourself vulnerable to the complex relationships that spring between men and women. Of all the life lessons Antonia supposedly passes down to her ancestors, this is the one she forgot to include.

Grade: D+

Feminist Fantasy
European trash are not interesting enough for a two hour movie. The characters are all cliche's of village life. The bad guy is a blond (facist) rapist. He rapes his sister and a little girl. He comes back to town in a military uniform. The good people in this movie are all Lefty lesbians and tough grandmothers. This movie is a feminist fantasy of the European variety. The men are stupid and the women are brilliant. The only smart man in the film commits suicide.

Race, gender, and the role of motherhood
Antonia's line is an amazing film about four generations of strong, independent women. While most movies about single mothers stereotype them in both positive and negative ways, Antonia's Line is different. Antonia moves back to the dutch countryside after being away for twenty years. She has to face many difficulties in the town, yet through it all she is a pillar of strength. She knows what she wants, and she acts upon it, regardless of what people think of her. She passes on these same views to her daughter. Antonia's line seems to critique the normal stereotypes by portraying Antonia as a foil to them. Her honesty, and disregard for public opinion sets her apart. The film also works to intersect Antonia's race, culture, gender and class in an amazing web that shapes her character. The influence of Antonia's race is clear in the way that she acts around the people of the town. She explains to her daughter who each person is, and why they act the way that they do. She knows how to handle even the most obnoxious of the town memebers. She is every bit a women, yet she exhaults in her femininity rather than hiding behind it. She makes her opinions and ideas well known. She is not afraid of the judgement that may accompany her views. She entertains suitors, while maintaining an honest attitude about exactly what she wants. She is able to accept her family for who they are without exception. Antonia's Line is a wonderful story with fully developed characters. Antonia and her family portray the true essence of femininity better than any other characters I have seen. Do not let the subtitles stop you. This film is a must see.

what is the perfect mother anyways???
Antonia's Line directed by Marleen Gorris depicts the women characters as strong women who do not care about what might be lacking in their lives. Each of the characters is their own person and no one could make them feel any less. This film helps to illustrate to young women that they can reject the silly myth of motherhood and as long as they are their own person, they do not need to be thinking of themselves as what is wrong with them.

Antonia's Line, directed by Marleen Gorris, does not accept the stereotypes of ideal mother. As we all know, mothers are always maternal, wanting to be pregnant, heterosexual and have the need to take care of their children. Yeah right! Antonia's Line does an excellent job of criticizing this stereotype by depicting different types of mother-daughter pairings. Letta was the only woman that would support this stereotype while the other mothers diverge. For example Antonia played by Willeke van Ammelrooy, criticizes the idea that mothers should be married because she refuses to give Farmer Baas her hand. She also works on the farm. Danielle diverges from the simple fact that she is a lesbian. Therese criticizes the idea that all mothers are naturally maternal and always want to have children.

This film also does not completely objectify women to the same effect that most films end up doing. Antonia and the other women really do not 'appear' for the men in their lives. The characters are strong women and they just worry about the many generations of women in their family. Antonia and the other women due to their strong characters, I feel, do not have the need to see themselves through the eyes of their male viewers. Antonia cares a great deal for the well being of her family that she has no need to fix herself up and she does not need a husband around to make her 'whole.' She finds nothing wrong with the way that she is living her life or the way she looks. Another thing that this film does that helps to not objectify the women characters is that the audience is not clued into every aspect and thought of these characters lives. This makes them their own person and not a mere cinematic object that bases their views on the idea of men.

This film is a great movie in making one aware of such women's issues. ... Read more

Amazon.com essential video

Vanessa Redgrave glows from within as the heroine of this superb adaptation of Virginia Woolf's novel. As Clarissa Dalloway prepares to host a sumptuous party, her mind wanders back to a summer in her youth, when she was courted by an eager young man--a young man whose much older self will come to the very party she's preparing. Mrs. Dalloway moves fluidly between the past and the present, exploring the shifts in perspective and understanding with an unsentimental but graceful eye. What's most stunning is the remarkable interplay between the younger and older actors, who truly seem to be different versions of the same character (the young Clarissa is played byNatascha McElhone). Beautifully directed by Marleen Gorris (Antonia's Line), the movie also features Rupert Graves as a shell-shocked soldier who crosses Clarissa's path. --Bret Fetzer ... Read more

Reviews (14)

Rethinking what might have been...
This 1997 film stars Vanessa Redgrave as Mrs. Dalloway, the Englishwoman introduced in Virginia Woolf's 1925 novel. The book used stream of consciousness to create an interior monologue for her heroine and the film is true to that, a voice-over narration letting the viewer know her interior thoughts as she goes about preparing for a party in 1923.

Mrs. Dalloway is now in her sixties, but there are flashbacks to an earlier time, when she was a young woman being pursued by beaus. She has made her choices now and has married a cabinet member and leads a comfortable life as his charming wife. In her youth she rejected the suitor who looked for adventure in India as well as the tentative hint of a friendship with a woman, which might have gone further. When both of them show up at her party, her memories surface. There's also a sub-story of a young man who has been shell-shocked from combat in The Great War and the theme of suicide runs strong throughout the plot. Even though he and Mrs. Dalloway never meet, it is clear why this character was introduced. And it is also interesting to note that Virginia Woolf herself committed suicide in 1941 at the age of 59.

Casting is excellent, acting superb. Everything is understated but yet very very clear. I also loved the cinematography and the setting of a very proper London in 1923, especially the costumes. The theme is universal as we all do look back on our lives and wonder what might have been. Also, at only 97 minutes long, the video was exactly the right length. Definitely recommended.

The original version of The Hours
If you are a fan of either the novel or film The Hours, then reading and watching Mrs. Dalloway is a must. The Hours was Virginia Woolf's original title for Mrs. Dalloway. Michael Cunningham cleverly took that title and turned into a novel that matches Mrs. Dalloway for its shear beauty. But this is a movie review and I can tell you that Vanessa Redgrave is brilliant in the title role. She should have been nominated for an Oscar at the very least. A day in the life of Clarissa Dalloway, planning a party, remembering her life and loves. It's a lovely adaptation from Woolf's novel. And of course begins with "Mrs. Dalloway decided she would buy the flowers herself." Buy this yourself. You won't regret it.

Speechless
Having watched Mrs. Dalloway after having looked for it for at least three years, I can only say that I am breathless: True to Virginia Woolf's narrative, attentive to every detail, and with such subtlety is this movie made that I could find no better gift than this movie to a lover of Virginia Woolf's works. Vanessa Redgrave astounds with her incredibly moving performance, with a dignified emotiveness as only she can deliver- true to the bird-like Mrs. Dalloway.

Fans of explosions and other short-attention-grabbers need not apply, this is prime literature jumping onto the movie screen!

A beautiful adaptation of the novel
Vanessa Redgrave gives a fine performance as Clarissa Dalloway in Marleen Gorris' adaptation of the Virginia Woolf novel. It tells the story of one day inthe life of Clarissa Dalloway as she readies her house for a dinner party later in the evening. Throughout the day, she remembers people and events from her past that had a lasting effect on her. But, during her party, the news of a suicide causes Mrs. Dalloway to step aside and to wonder if she's given up anything with her own life's path.

Ms. Redgrave's performance is subtle and really shines during the party sequence. Her facial expressions alone show what a fine actress she is. Other great performances in the film are Rupert Graves as Septimus, a soldier suffering from a late onset of shell shock, and Alan Cox, as the young Peter who was desparately in love with the young Clarissa.

Not many extras on the DVD. But the film is self is definitely one to watch.

A Graceful Adaptation of Virginia Woolf's Mrs. Dalloway
MRS. DALLOWAY, the film, has a jolting beginning: the battlefield of WWI with a scene revealing Septimus Warren-Smith in abject terror that his friend Evans is about to walk into a mine explosion, a recurring memory for this character throughout the film. One wonders how MRS DALLOWAY could start there - until the story gradually unfolds. Then this seeming idiosyncrasy is shown to be just one more bit of evidence that the screenwriter is very in tune with the meadering writing style of Virginia Woolf. What a joy to see a novel of such sophisticated complexity be adapted into a movie that is fluid, rich in characterization, thoroughly grounded in the technique of how Woolf mixed memory with present reality in her telling such an indepth history of a woman a bit out of synch with her world, all in one day in June, 1923, as she prepares one of her beloved parties. Indeed, this film suggests that life is a 'party' where new acquaintances are made, old acquaintances are at times tolerated for social reasons, and the entirety of one's past can be summoned by the surprise appearance of signifcant people. This film is blessed with the presence of Vanessa Redgrave whose Mrs Dalloway is wholly credible. But the integration of Clarissa Dalloway's past with her present is so adroit that all of the characters in the present are greatly enhanced. Her love of Peter Walsh and of Sally say a lot about Virginia Woolf's ability to define the inner aspects of her character. Oh, and by the way, the beginning of the film introduces the thread that runs throughout - Septimus elects suicide as an answer to his life's questions, and we are left wondering if this might not be a viable thought running through the mind of Clarissa Dalloway as she reflects on her life choices at the end. A brilliant cast of characters, in every role, dressed to perfection and photographed in echt, period England further enhance this wonderful film. HIGHLY RECOMMENDED. ... Read more

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To a small Dutch town filled with characters known by such names as Crooked Finger, Loony Lips, and the Mad Madonna, Antonia returns with her daughter Danielle after 20 years away. Covering the next 40 years, Antonia's Line looks at the matriarch and her offspring, stretching out to her great-granddaughter, Sarah. A whimsical story with fairy-tale conventions, this movie deals with the cyclical nature of time as well as the strength of women. While this is not just a "woman's movie," men are regulated to the background in a story that tells of women breaking free of traditional roles. Surprisingly, this movie achieves a light-hearted tone while tackling serious subjects: small-town prejudices, rape, and suicide. Yet the drama's comedic heart shines through as Antonia collects a rather odd assortment of people, outsiders who become part of her extended family. Winner of the Academy Award for Best Foreign Film, Antonia's Line is moving and beautiful, imparting a sense of hope and joy to the viewer. --Jenny Brown ... Read more

Reviews (46)

One of the truly special film events.
I remember seeing this movie in the theatre, first run, knowing nothing about what was to come. I remember thinking as I left, how it was movies like this that made the movies so special. How a story could be so simply, and beautifully told.

There is nothing usual in the world of Antonia. A single mother, she leaves the city with her young daughter to return to the small hamlet that was once her home. It is the time of her mother's death, and Antonia will take over the operation of the now-decrepit farm. She is ill equipped to run a farm at face, yet her force of will and purity of spirit make no task impossible. She is a strong woman, a good woman. She does what has to be done, and uses or finds the necessary tools amongst the chaos at hand.

I believe the English title Antonia's Line (rather than Antonia) refers to the line of people she gathers through her life. This extended family grows from the most unlikely sources. They feast together outdoors weekly at one long table, and as the movie progresses, the size of the table grows and grows to accommodate each and every new member in Antonia's Line.

Antonia is a tale of tales, some mysterious and wonderful, some very basic and also wonderful. And throughout the line grows as Antonia's extended family encompasses more and more endearing souls.

I was hardly surprised when Antonia won a well-deserved Oscar for Best Foreign Film.

Every time I see this film I find I do not tire of it, and every time I see it I come away feeling better.

Exasperating
"Antonia's Line" is one of those movies that's in love with its own quirkiness. This isn't always necessarily bad. Quirky films can be quite delightful when done well. However, in this case, the quirkiness comes at the expense of plot and logic.

My sense is that this film's director intended Antonia and her line of female descendants to represent strong, fearless heroines imbued with the fighting feminist spirit. I get this sense because most of the men in this film are brutes, buffoons or a combination of the two, and the women kick butt, make love to each other and tell all of the men off at regular intervals.

This film is insulting to anyone who truly values feminist sensibilities in our movie culture. As so often happens, the makers of this movie equate "strong" with callous and emotionally distant. It's hard to care about Antonia and her relations because they all come across as either vacuous or heinous. Antonia's daughter casually chooses a complete stranger to impregnate her because she wants a child but doesn't want to have to deal with the father. Did she ever think that maybe the child would want a father. Is selfishness like this supposed to impress me with its strength of character?

The script meanders from one incident to the next, characters you barely learn anything about appear and drop out of the movie listlessly, and the pacing of the whole thing is limpid. The film is only about 110 minutes long but feels much longer.

I'm tired of the trend of thinking that propagates the belief that in order to be considered strong, women must prove that they can live entirely without men. That's such a juvenile attitude and serves no purpose. Callousness is callousenss whether displayed by a man or a woman, and there's nothing weak about letting leaving yourself vulnerable to the complex relationships that spring between men and women. Of all the life lessons Antonia supposedly passes down to her ancestors, this is the one she forgot to include.

Grade: D+

Feminist Fantasy
European trash are not interesting enough for a two hour movie. The characters are all cliche's of village life. The bad guy is a blond (facist) rapist. He rapes his sister and a little girl. He comes back to town in a military uniform. The good people in this movie are all Lefty lesbians and tough grandmothers. This movie is a feminist fantasy of the European variety. The men are stupid and the women are brilliant. The only smart man in the film commits suicide.

Race, gender, and the role of motherhood
Antonia's line is an amazing film about four generations of strong, independent women. While most movies about single mothers stereotype them in both positive and negative ways, Antonia's Line is different. Antonia moves back to the dutch countryside after being away for twenty years. She has to face many difficulties in the town, yet through it all she is a pillar of strength. She knows what she wants, and she acts upon it, regardless of what people think of her. She passes on these same views to her daughter. Antonia's line seems to critique the normal stereotypes by portraying Antonia as a foil to them. Her honesty, and disregard for public opinion sets her apart. The film also works to intersect Antonia's race, culture, gender and class in an amazing web that shapes her character. The influence of Antonia's race is clear in the way that she acts around the people of the town. She explains to her daughter who each person is, and why they act the way that they do. She knows how to handle even the most obnoxious of the town memebers. She is every bit a women, yet she exhaults in her femininity rather than hiding behind it. She makes her opinions and ideas well known. She is not afraid of the judgement that may accompany her views. She entertains suitors, while maintaining an honest attitude about exactly what she wants. She is able to accept her family for who they are without exception. Antonia's Line is a wonderful story with fully developed characters. Antonia and her family portray the true essence of femininity better than any other characters I have seen. Do not let the subtitles stop you. This film is a must see.

what is the perfect mother anyways???
Antonia's Line directed by Marleen Gorris depicts the women characters as strong women who do not care about what might be lacking in their lives. Each of the characters is their own person and no one could make them feel any less. This film helps to illustrate to young women that they can reject the silly myth of motherhood and as long as they are their own person, they do not need to be thinking of themselves as what is wrong with them.

Antonia's Line, directed by Marleen Gorris, does not accept the stereotypes of ideal mother. As we all know, mothers are always maternal, wanting to be pregnant, heterosexual and have the need to take care of their children. Yeah right! Antonia's Line does an excellent job of criticizing this stereotype by depicting different types of mother-daughter pairings. Letta was the only woman that would support this stereotype while the other mothers diverge. For example Antonia played by Willeke van Ammelrooy, criticizes the idea that mothers should be married because she refuses to give Farmer Baas her hand. She also works on the farm. Danielle diverges from the simple fact that she is a lesbian. Therese criticizes the idea that all mothers are naturally maternal and always want to have children.

This film also does not completely objectify women to the same effect that most films end up doing. Antonia and the other women really do not 'appear' for the men in their lives. The characters are strong women and they just worry about the many generations of women in their family. Antonia and the other women due to their strong characters, I feel, do not have the need to see themselves through the eyes of their male viewers. Antonia cares a great deal for the well being of her family that she has no need to fix herself up and she does not need a husband around to make her 'whole.' She finds nothing wrong with the way that she is living her life or the way she looks. Another thing that this film does that helps to not objectify the women characters is that the audience is not clued into every aspect and thought of these characters lives. This makes them their own person and not a mere cinematic object that bases their views on the idea of men.

This film is a great movie in making one aware of such women's issues. ... Read more

Reviews (46)

One of the truly special film events.
I remember seeing this movie in the theatre, first run, knowing nothing about what was to come. I remember thinking as I left, how it was movies like this that made the movies so special. How a story could be so simply, and beautifully told.

There is nothing usual in the world of Antonia. A single mother, she leaves the city with her young daughter to return to the small hamlet that was once her home. It is the time of her mother's death, and Antonia will take over the operation of the now-decrepit farm. She is ill equipped to run a farm at face, yet her force of will and purity of spirit make no task impossible. She is a strong woman, a good woman. She does what has to be done, and uses or finds the necessary tools amongst the chaos at hand.

I believe the English title Antonia's Line (rather than Antonia) refers to the line of people she gathers through her life. This extended family grows from the most unlikely sources. They feast together outdoors weekly at one long table, and as the movie progresses, the size of the table grows and grows to accommodate each and every new member in Antonia's Line.

Antonia is a tale of tales, some mysterious and wonderful, some very basic and also wonderful. And throughout the line grows as Antonia's extended family encompasses more and more endearing souls.

I was hardly surprised when Antonia won a well-deserved Oscar for Best Foreign Film.

Every time I see this film I find I do not tire of it, and every time I see it I come away feeling better.

Exasperating
"Antonia's Line" is one of those movies that's in love with its own quirkiness. This isn't always necessarily bad. Quirky films can be quite delightful when done well. However, in this case, the quirkiness comes at the expense of plot and logic.

My sense is that this film's director intended Antonia and her line of female descendants to represent strong, fearless heroines imbued with the fighting feminist spirit. I get this sense because most of the men in this film are brutes, buffoons or a combination of the two, and the women kick butt, make love to each other and tell all of the men off at regular intervals.

This film is insulting to anyone who truly values feminist sensibilities in our movie culture. As so often happens, the makers of this movie equate "strong" with callous and emotionally distant. It's hard to care about Antonia and her relations because they all come across as either vacuous or heinous. Antonia's daughter casually chooses a complete stranger to impregnate her because she wants a child but doesn't want to have to deal with the father. Did she ever think that maybe the child would want a father. Is selfishness like this supposed to impress me with its strength of character?

The script meanders from one incident to the next, characters you barely learn anything about appear and drop out of the movie listlessly, and the pacing of the whole thing is limpid. The film is only about 110 minutes long but feels much longer.

I'm tired of the trend of thinking that propagates the belief that in order to be considered strong, women must prove that they can live entirely without men. That's such a juvenile attitude and serves no purpose. Callousness is callousenss whether displayed by a man or a woman, and there's nothing weak about letting leaving yourself vulnerable to the complex relationships that spring between men and women. Of all the life lessons Antonia supposedly passes down to her ancestors, this is the one she forgot to include.

Grade: D+

Feminist Fantasy
European trash are not interesting enough for a two hour movie. The characters are all cliche's of village life. The bad guy is a blond (facist) rapist. He rapes his sister and a little girl. He comes back to town in a military uniform. The good people in this movie are all Lefty lesbians and tough grandmothers. This movie is a feminist fantasy of the European variety. The men are stupid and the women are brilliant. The only smart man in the film commits suicide.

Race, gender, and the role of motherhood
Antonia's line is an amazing film about four generations of strong, independent women. While most movies about single mothers stereotype them in both positive and negative ways, Antonia's Line is different. Antonia moves back to the dutch countryside after being away for twenty years. She has to face many difficulties in the town, yet through it all she is a pillar of strength. She knows what she wants, and she acts upon it, regardless of what people think of her. She passes on these same views to her daughter. Antonia's line seems to critique the normal stereotypes by portraying Antonia as a foil to them. Her honesty, and disregard for public opinion sets her apart. The film also works to intersect Antonia's race, culture, gender and class in an amazing web that shapes her character. The influence of Antonia's race is clear in the way that she acts around the people of the town. She explains to her daughter who each person is, and why they act the way that they do. She knows how to handle even the most obnoxious of the town memebers. She is every bit a women, yet she exhaults in her femininity rather than hiding behind it. She makes her opinions and ideas well known. She is not afraid of the judgement that may accompany her views. She entertains suitors, while maintaining an honest attitude about exactly what she wants. She is able to accept her family for who they are without exception. Antonia's Line is a wonderful story with fully developed characters. Antonia and her family portray the true essence of femininity better than any other characters I have seen. Do not let the subtitles stop you. This film is a must see.

what is the perfect mother anyways???
Antonia's Line directed by Marleen Gorris depicts the women characters as strong women who do not care about what might be lacking in their lives. Each of the characters is their own person and no one could make them feel any less. This film helps to illustrate to young women that they can reject the silly myth of motherhood and as long as they are their own person, they do not need to be thinking of themselves as what is wrong with them.

Antonia's Line, directed by Marleen Gorris, does not accept the stereotypes of ideal mother. As we all know, mothers are always maternal, wanting to be pregnant, heterosexual and have the need to take care of their children. Yeah right! Antonia's Line does an excellent job of criticizing this stereotype by depicting different types of mother-daughter pairings. Letta was the only woman that would support this stereotype while the other mothers diverge. For example Antonia played by Willeke van Ammelrooy, criticizes the idea that mothers should be married because she refuses to give Farmer Baas her hand. She also works on the farm. Danielle diverges from the simple fact that she is a lesbian. Therese criticizes the idea that all mothers are naturally maternal and always want to have children.

This film also does not completely objectify women to the same effect that most films end up doing. Antonia and the other women really do not 'appear' for the men in their lives. The characters are strong women and they just worry about the many generations of women in their family. Antonia and the other women due to their strong characters, I feel, do not have the need to see themselves through the eyes of their male viewers. Antonia cares a great deal for the well being of her family that she has no need to fix herself up and she does not need a husband around to make her 'whole.' She finds nothing wrong with the way that she is living her life or the way she looks. Another thing that this film does that helps to not objectify the women characters is that the audience is not clued into every aspect and thought of these characters lives. This makes them their own person and not a mere cinematic object that bases their views on the idea of men.

This film is a great movie in making one aware of such women's issues. ... Read more

Reviews (20)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (14)

Rethinking what might have been...
This 1997 film stars Vanessa Redgrave as Mrs. Dalloway, the Englishwoman introduced in Virginia Woolf's 1925 novel. The book used stream of consciousness to create an interior monologue for her heroine and the film is true to that, a voice-over narration letting the viewer know her interior thoughts as she goes about preparing for a party in 1923.

Mrs. Dalloway is now in her sixties, but there are flashbacks to an earlier time, when she was a young woman being pursued by beaus. She has made her choices now and has married a cabinet member and leads a comfortable life as his charming wife. In her youth she rejected the suitor who looked for adventure in India as well as the tentative hint of a friendship with a woman, which might have gone further. When both of them show up at her party, her memories surface. There's also a sub-story of a young man who has been shell-shocked from combat in The Great War and the theme of suicide runs strong throughout the plot. Even though he and Mrs. Dalloway never meet, it is clear why this character was introduced. And it is also interesting to note that Virginia Woolf herself committed suicide in 1941 at the age of 59.

Casting is excellent, acting superb. Everything is understated but yet very very clear. I also loved the cinematography and the setting of a very proper London in 1923, especially the costumes. The theme is universal as we all do look back on our lives and wonder what might have been. Also, at only 97 minutes long, the video was exactly the right length. Definitely recommended.

The original version of The Hours
If you are a fan of either the novel or film The Hours, then reading and watching Mrs. Dalloway is a must. The Hours was Virginia Woolf's original title for Mrs. Dalloway. Michael Cunningham cleverly took that title and turned into a novel that matches Mrs. Dalloway for its shear beauty. But this is a movie review and I can tell you that Vanessa Redgrave is brilliant in the title role. She should have been nominated for an Oscar at the very least. A day in the life of Clarissa Dalloway, planning a party, remembering her life and loves. It's a lovely adaptation from Woolf's novel. And of course begins with "Mrs. Dalloway decided she would buy the flowers herself." Buy this yourself. You won't regret it.

Speechless
Having watched Mrs. Dalloway after having looked for it for at least three years, I can only say that I am breathless: True to Virginia Woolf's narrative, attentive to every detail, and with such subtlety is this movie made that I could find no better gift than this movie to a lover of Virginia Woolf's works. Vanessa Redgrave astounds with her incredibly moving performance, with a dignified emotiveness as only she can deliver- true to the bird-like Mrs. Dalloway.

Fans of explosions and other short-attention-grabbers need not apply, this is prime literature jumping onto the movie screen!

A beautiful adaptation of the novel
Vanessa Redgrave gives a fine performance as Clarissa Dalloway in Marleen Gorris' adaptation of the Virginia Woolf novel. It tells the story of one day inthe life of Clarissa Dalloway as she readies her house for a dinner party later in the evening. Throughout the day, she remembers people and events from her past that had a lasting effect on her. But, during her party, the news of a suicide causes Mrs. Dalloway to step aside and to wonder if she's given up anything with her own life's path.

Ms. Redgrave's performance is subtle and really shines during the party sequence. Her facial expressions alone show what a fine actress she is. Other great performances in the film are Rupert Graves as Septimus, a soldier suffering from a late onset of shell shock, and Alan Cox, as the young Peter who was desparately in love with the young Clarissa.

Not many extras on the DVD. But the film is self is definitely one to watch.

A Graceful Adaptation of Virginia Woolf's Mrs. Dalloway
MRS. DALLOWAY, the film, has a jolting beginning: the battlefield of WWI with a scene revealing Septimus Warren-Smith in abject terror that his friend Evans is about to walk into a mine explosion, a recurring memory for this character throughout the film. One wonders how MRS DALLOWAY could start there - until the story gradually unfolds. Then this seeming idiosyncrasy is shown to be just one more bit of evidence that the screenwriter is very in tune with the meadering writing style of Virginia Woolf. What a joy to see a novel of such sophisticated complexity be adapted into a movie that is fluid, rich in characterization, thoroughly grounded in the technique of how Woolf mixed memory with present reality in her telling such an indepth history of a woman a bit out of synch with her world, all in one day in June, 1923, as she prepares one of her beloved parties. Indeed, this film suggests that life is a 'party' where new acquaintances are made, old acquaintances are at times tolerated for social reasons, and the entirety of one's past can be summoned by the surprise appearance of signifcant people. This film is blessed with the presence of Vanessa Redgrave whose Mrs Dalloway is wholly credible. But the integration of Clarissa Dalloway's past with her present is so adroit that all of the characters in the present are greatly enhanced. Her love of Peter Walsh and of Sally say a lot about Virginia Woolf's ability to define the inner aspects of her character. Oh, and by the way, the beginning of the film introduces the thread that runs throughout - Septimus elects suicide as an answer to his life's questions, and we are left wondering if this might not be a viable thought running through the mind of Clarissa Dalloway as she reflects on her life choices at the end. A brilliant cast of characters, in every role, dressed to perfection and photographed in echt, period England further enhance this wonderful film. HIGHLY RECOMMENDED. ... Read more