Amazon.com

Four extremely beautiful people do extremely horrible things to one another in Closer, Mike Nichols' pungent adaptation of Patrick Marber's play that easily marks the Oscar-winning director's best work in years. Anna (Julia Roberts) is a photographer who specializes in portraits of strangers; Dan (Jude Law) is an obituary writer struggling to become a novelist; Alice (Natalie Portman) is an American stripper freshly arrived in London after a bad relationship; and Larry (Clive Owen) is a dermatologist who finds love under the most unlikely of circumstances. When their paths cross it's a dizzying supernova of emotions, as Nichols and Marber adroitly construct various scenes out of their lives that pair them again and again in various permutations of passion, heartbreak, anger, sadness, vengeance, pleading, deception, and most importantly, brutal honesty. It's only until you're more than halfway through the movie that you'll have to ask yourself exactly why you are watching such a beautifully tragic tale, as Closer is basically the ickiest, grossest, most dysfunctional parts of all your past relationships strung together into one movie. Ultimately, it falls to the four actors to draw you deeper into the story; all succeed relatively, but it's Law and Owen whose characters will cut you to the quick. Law proves that yet again he's most adept at playing charming, amoral bastards with manipulative streaks, and Owen is nothing short of brilliant as the character most turned on by the energy inherent in destructive relationships--whether he's on the giving or receiving end. --Mark Englehart ... Read more

Reviews (260)

Shakespearean Onstage, Mediocre Onscreen
Closer is a convoluted-yet-beautiful love story that is crippled by the impossiblity of the actors living up to the script's demands.Immensely popular with both young and old crowds alike, mainly because it's... well, a convuluted-yet-beautiful love story.One could compare it to Eternal Sunshine of the Spotless Mind with its massive time-bends and jumps, but one would probably do better not to taint a movie with such incredible acting as Eternal Sunshine with the forced rigidity of this film's dialogue.

The writing is, in a word, breathtaking.It is herein that the deficiency lies.While watching scenes with Alice (Natalie Portman) and Dan (Jude Law), one's suspension of disbelief is so broken, it's as if one were watching their children perform in a play.One is almost convinced that Jude Law is gay, as the only person he has perceivable chemistry with in this film is Larry (Clive Owen).The writing is so dramatic and eloquent that it sounds forced coming from people in such situations as the characters, save one notable exception.

The ultimate saving grace of the entire film is the incredible acting range of Clive Owen, and the chemistry he illicits from all the characters, save Jude Law, whose performance, truthfully, left something to be desired in all of his lines that did not involve him yelling for some reason.Owen's Academy Award nomination was certainly warranted.

Natalie Portman delivers an extremely solid performance outside her work with Jude Law(which amounts to about 10 minutes of the movie), while most of her lines delivered at his side sound somewhat coaxed, yet more natural than most actresses her age.I personally thought that while her character is an excellent portrayal of an excentric with a need for stability, the lines were perhaps fed to her a little too much; it's quite obvious she's not reading her own interpretation of what her character should say.Hopefully future directors will give her the freedom to improvise her character's dialogue.

I'm indifferent to Anna (Julia Roberts) in this film.She proves nothing new, and delivers a fairly sturdy performance; her character isn't really a person so much as she is an object throughout the film, but she manages to personify that object very well.

There is a difference between stage acting and film acting.No one really wants to admit it, but the script required a few more adjustments to suit the move from the stage to film.

All in all, I cannot say that I do not adore this movie.With some more realistic adaptations to the script, this film could have been perfect.As it stands, the movie is still beautiful, through all the small imperfections.A beautifully convoluted love story; a convolutedly beautiful love story, a smart, sexy drama; it's all of the above.I have to recommend it to anyone with a heart that's ever been broken.

4 great actors, 4 great stars
This is the story of four people: two men and two women. It souds plain simple, but the story is not so. It is not the typical story of a love quadrangle. It's a story of power, pride, self-confidence and, of course, love.

The greatest and the lowest of human condition. All for love, but all for gaining the higher respect and best appearance in front of the rest of the world.

The story is fantastic but, what to say of the actors? It is not only Portmann to take care. I think Julia Roberts makes her best acting ever. Jude Law is plain correct but Clive Owen is the great discovery for me. It is clear that this is "a film for actors", to show the best of them and they really succeed.

The only problem is that these two facts (story and acting) hide a poor direction and some minor aspects. Personally, I think the producer did the budget and realized he has nothing to spend in such details.

But it is a very recommendable movie to spend the afternoon at home. I saw it in the cinema and I had such a great impression that I hired it to see it again (and I haven't done it in more than ten times).

Shockingly Disappointing
I don't understand how anyone could enjoy this film.It was by far the worst movie I've seen this year.In fact, it was so bad that I doubt I'll be able to enjoy watching the main 4 actors ever again.

Although some people feel that watching 4 people destroy each other is beautiful, I find it to be depressing.This movie is about 4 "lovers" who use each other uncaringly, cry a lot, use the "f" word multiple times in every sentence, and who are completely unlikeable.It's like the director thought that having 4 beautiful people in a film was enough.I love a good drama, but this wasn't even close.

The plot is as shallow as the characters.The ending is very silly; we find out information that the film makers thought would create a "Usual Suspects" type of ending, but it all falls flat and seems contrived.Amazon has many better DVDs for sale than this garbage.

Mike Nichols at his best...
Genre: Dark Romance

Genre Grade: A+

Final Grade: A

This was a great movie - except it's possibly one of the most verbally sexual movies I've ever seen - but I can handle a little sex talk! There were about, I dunno, eight people or so who walked out of the movie because of the offensive language and sex talk. This movie breaks many barriers and talks about problems in relationships and tries to take a closer look at the raw emotions of affairs. The acting was Oscar-worthy from each person, Clive Owen coming out on top in my opinion. Natalie Portman was amazing as well, and Julia Roberts actually gives the audience something new.

This movie is extremely depressing, and is not a date movie unless you want to walk away feeling hopeless. It leaves us with a despairing look at humanity and our own desires, and the film brings to light things that are normally left in the bedroom or simply remain unspoken. Definitely worth seeing just for the performances (especially the amazing encounter between Julia Roberts and Clive Owen, and then later the discussion between Jude Law and Clive Owen), the AMAZING dialogue, and just because of the fact that Mike Nichols directed it.

Great Performances save this film!
This movie is hard to follow.No question about that.Most movies that are adapted from Broadway plays don't fair well on screen unless they're made from the classic playwrights (Tennessee Williams, David Mamet, Eugene O'Neill, etc.).Many of the negative reviews here on Amazon.com expecting more action are justified.However, I found the movie to be better than expected.Mike Nichols is one of Hollywood's finest directors.And with four of the best actors around, he does very will with the challenging subject matter.Natalie Portman has become the "Harrison Ford" of the Star Wars genre by breaking out into a great Oscar nominated role.British TV star Clive Owen also breaks free of his shell with his excellent performance.Juila Roberts & Jude Law round out this excellent cast.If you can stay with it for the performances, you'll be amused. ... Read more

Description

In 1979, Gilda Radner threw a sommerlong party and Broadway's Winter Garden Theatre. Share the fun as Gilda's Saturday Night Live alter-egos take on new comedy material not even the Not Ready for Prime Time Players were quite ready for. Among the many highlights: Emily Litella substituting for a Bedford-Stuyvesant teacher who's been the unfortunate victim of a "stubbing". Lisa Hoopner whining through "The Way We Were". Roseanne Roseannadanna grossing out grads at the Columbia School of Journalism. And joining in for even more hip happiness are several of Gilda's SNL cohorts. Paul Schaffer (Late Night with David Letterman) plays straight man and plays up a musical storm. Father Guido Sarducci, rock critic and gossip columnist for the Vatican's L'Osservatore Romano, reveals the astonishing "Kennedy/Lincoln Coincidenza" and poses a new model for higher education: the five-minute university. ... Read more

Reviews (11)

hilarious as well as touching
This video is great for the SNL fans and will remind you of all of Gilda's wonderful characters from the show, along with special appearances from Paul Shaeffer and Don Novello (Father Guido). The other great thing about this taping is that it also captures all the excitement of the "live" show production itself. The cameras follow Gilda as she runs off for costume changes and often cuts to backstage during segway sketches. As for the material itself, Gilda is a pure student of "Truth in Comedy" (probably from her Second City roots). Much of the humor is in her portrayal of common characters and moments in ones' life. This show brings fond memories and clever comedy writing. Her ending piece of "touch me with our clothes on" and her story of cuddling up to Carl Reiner records always brings a tear to my eye, even though the lyrics are also very funny in itself. Although there is some "dirty words" to animals, the comedy is not really "blue"...the censored version often shown on TV is still just as funny. This show is a great rememberance of the beautiful and funny woman the late Gilda Radner was.

RADNER + NICHOLS = GENIUS
How I remember the summer of 1979... Senior in High School, passing the Winter Garden Theater in NY, wishing I was lucky enough to have tickets to see "Gilda Radner, Live From New York".

Saturday Night Live was a huge hit with a phenomenal blend of innovative talent. One of the best of course, Gilda Radner. Thanks to Mike Nichols, this production was brought to the screen for all to enjoy.

Here, Gilda showcases all of her most famous characters. Everyone from Emily "Nevermind" Litella to Rosanne "It's ALWAYS SOMETHING" Rosannadanna. The film is made up of several skits separated by the craziness of Don "Father Guido Sarducci" Novello. Though all the material is somewhat dated, It comes across well, but may be hard to understand by viewers under 30. Mike Nichols even takes us backstage in "real time" to show us how a Broadway show really works.

Great musical parodies including "Let's Talk Dirty To The Animals" and "Goodbye Saccharine" sung by Gilda as "Rhonda Weiss" complete with 60's like backups "The Rhondettes"(Rouge). Ironic that before Gilda sings, she exclaims (re: the FDA banning saccharine from the market) that, "Statistics prove, that most guys... prefer skinny girls with cancer... over healthy girls with bulging thighs..." Poor Gilda, how I only wish you were the latter...

Legacy Of Gilda
Gilda Radner was hands down the funniest woman in history. From her comedic roles on the big screen, to the timeless characters she portrayed on the small screen. In my mind, Gilda will live forever. From the funny, chubby girl from Detroit, to the skinny, outrageous comedic. Not to be overlooked, this video was made at the height of her popularity on Saturday Night Live. All her classic characters are portrayed, from Emily, to Lisa, to Roseanne! Although Gilda's life was cut short, her spirit and laughter will live forever! LA DOLCE GILDA!!!!

Gone But Not Forgotten
This video is a loving tribute to Gilda. Why is this video not on DVD. Gilda is gone, but not forgotten, at least not by me. It's time to move Gilda out of the video age and into the digital age, before even DVDs are obsolete.
The characters Gilda plays are so funny. Tragic she had to die. She was so full of humor and warmth.
Ohhh!, Well, never mind.

It just doesn't get any better than Gilda Radner.
We all lost a friend in 1989. I know that's how I feel. Gilda was one of those RARE people whose heart and kindness penetrated through to her audience during performances. You felt like you KNEW her.

Fans of Gilda and "Saturday Night Live" will thoroughly enjoy this video. "Gilda Live" includes almost all of the comedienne's most beloved characters. Lisa Loopner, Judy Miller, Roseanne Roseanna-danna, Emily Litella and Candy Slice and the Slicers are all featured. The segment where Roseanne Roseanna-danna is a featured speaker at a college graduation will have you howling with laughter. She's also brilliant here playing Emily Litella as a substitute teacher. You see, Emily has been called in because the regular instructor was involved in a "stubbing." The hilarity ensues after that. Finally, my favorite part of the show is when Lisa Loopner sings "The Way We Were." It's a trifle sad since we know what happens to Gilda and I was moved to tears, but that in itself shows how beautifully the segment is/was done. Powerful. The only main character of Gilda's that I can think of that you WILL NOT see is Baba Wawa.

Father Guido Sarducci does several comedic pieces in this film basically to give Gilda time to take a breath and get into costume for the next skit. I've never found Father Guido very funny and some of his material here drags on. I couldn't wait for Gilda to return to the stage. Guido's last diatribe in the movie about how sinners must pay God (literally with cash) for each of their sins is pretty funny. The rest of his stuff I could have done without.

You'll also see a very young Paul Shaffer. I never knew Paul had hair! *laugh*

If you're a Gilda Radner fan, this is a must for your collection. You'll laugh. You'll cry. Most importantly, you'll remember that Gilda Radner was a great performer and a better person. ... Read more

Reviews (80)

Wit: A Matter of Life and Death
No film as ever had such a profound effect on me as Mike Nichols' "Wit" It takes the viewer on a roller-coaster ride of emotions. One minute you will be laughing, the next sobbing. This is a powerful, poignant film about the ravages of cancer and the nature of life and death. Mike Nichols received well deserved Emmy and Golden Globes for his direction.

Emma Thompson gives what may be the performance of her career as Dr. Vivian Bearing, a strict and brilliant professor of John Donne's metaphysical poetry who is dying from ovarian cancer. She flawlessly and wrenchingly depicts the slow decline of a briliant woman. Vivian is receiving experimental treatment, and is often treated as nothing more than a speciman by her doctors. As she is hospitalized, she observes and analyzes her condition and the effect it is having on her life. Vivian's remarks are often funny, but as the cancer spreads through her body, she realizes that she has to reasses her life. In a heartrending scene, Vivian breaks down and says, "I used to feel safe." She was always a woman in control, and now that control is being savagely ripped from her by an invisible enemy. Eventually Vivian decides that when her heart stops, she does not wish to be revived: "Why make things more complicated?"

As the illness reaches its last stages, we see Vivian moaning and shaking with excrutiating pain. It is nearly unbearable to watch, but we must. The final scene, where Vivian is held like a child and read a children's story by her elderly teacher, is the most heartbreaking image ever put on film. "I feel so bad," Vivian manages to say, and that is all she can say.

"Wit" is a intensely moving and painful film to watch. It shows death by cancer in minute detail, never letting the viewer off easy. And that is how it should be. "Wit" is an educational experience as well as a cinematoc one, and you will leave the film understanding better the hell that cancer patients go through. It will leave you sad and haunted, but also comforted. For even though a woman has suffered and died, she kept her dignity....and her wit, with her until the very end.

Deeply moving.
Emma Thompson's and Mike Nichols's HBO teleplay based on Margaret Edson's stage play was both fascinating and emotional.

Thompson plays Vivian Bearing, an English professor who is diagnosed with terminal ovarian cancer. The film follows her from her diagnosis to her death; during this time she questions life and finds her answers while examining the sonnets of John Donne. The implication that life is simply an observation by the people who live is deeply provocative and moving.

Direction by Nichols is superb, and cinematography by Seamus McGarvey is terribly poignant: the final scene in particular is breathtaking. The cast is first-class, led by an impeccable performances by Emma Thompson and four-time Tony-winner (wow!) Audra McDonald. HBO has once again delivered a winning piece of cinematic art to its audiences.

DEATH be not proud, though some have called thee
Mighty and dreadfull, for, thou art not so,

Doctor Vivian Bearing, a tough, intellectual professor specializing in 17th century literature, takes on the challenge to undergo eight months of experimental chemotherapy and a combination of drugs to battle advanced metastatic ovarian cancer, in which she is in Stage 4, a cancer for which there is no Stage 5. She will also be studied by medical students, her illness being a significant contribution to knowledge. To be something studied, as opposed to a human being, yes, there's the rub, to quote the Bard. But she is a tough woman, never one to shirk a challenge.

For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill me.

Most of the story has Bearing's soliloquys, spoken to the viewer from her hospital bed, bald-headed and wearing a hospital gown, describing what she's thinking and feeling, and she does so with wit. One learns of her fascination with words, her past history as a student and academic, how she has preferred research to humanity, and her tough style of teaching, which she got from her mentor, Professor E.M. Rumford. There's a fascinating discussion between Bearing and Rumford, where the original punctuation at the end of Donne's "Death Be Not Proud" included a comma in the line, "death, thou shalt die." In other words, a comma separates life from life everlasting. Yet when Rumford tells her to go hang out with her students instead of going to the library Bearing goes to the library. Later, when a young doctor, Jason, tells her how he's fascinated by cancer due to its smartness, calling it "immortality in culture," it's ironic that she wishes he would be more interested in humanity rather than research.

From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,

As for flashbacks, there are times when we cut to a scene when she's a five year old reading a Beatrix Potter book, that she alternates between her five-year old self and as she is now, bald and in the hospital gown, symbolizing how fragile she seems despite bearing up.

And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.

She presents her illness in a paradox in the manner of Donne himself, when she says that with her immune system down, everything is a hazard, especially the health care professionals. She isn't in the isolation ward because she has a grapefruit-sized tumor, but because her treatment imperils her health. But she revels in the paradox, seeing it as an intellectual game. But when the cancer spreads elsewhere, she begins to get frightened, realizing her intellectual abilities isn't going to help her, but that she seeks simplicity and kindness, and that makes her regret she had been sympathetic to some of her own students. Fortunately, she finds that in Susie, the nurse, with whom she has a rapport with.

Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,

Juxtaposing this movie with my mother's recent battle with cancer did ring some emotional chords due to similarities. My mother wasn't as open as Dr. Bearing in her feelings when undergoing CT Scans, ultrasounds, colonoscopies, or the IPT chemotherapy. But she too looked for kindness and simplicity, and when a certain hospital worker wheeled her chair to a spot of sunshine on a cold day after a CT scan, my mother realized that maybe she was wrong in being too tough, and that she had hurt some people in her past.

And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then;

This is by far Emma Thompson's best role ever, but Audra McDonald as Susie lends strong support as the very human and compassionate nurse, who sees Bearing as a human being, not a subject for study. Those who have just lost a dear one to cancer may find this painful going, others will find this a study of reflection one experiences when near the portals of mortality.

One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.

don't forget what this movie is really about...
An excellent introduction to the work of the great poet John Donne. Why don't they teach this guy in secondary schools? He rivals Shakespeare's brilliance and genius, and in some ways surpasses it.

Anyways, this movie should basically have the subtitle: who is John Donne, and why should you read him? Emma Thompson, in the role of a dying Donne professor is, of course, superb (even without the hair.)

Wit = 4 stars, John Donne = 5 stars

Just blew me away
Emma Thompson is just unbelievable in this role. There isn't much to look at in this film, just basically a hospital bed and some flashbacks. It's the dialog that was just incredible. How she describes her illness, what she is feeling, her childhood is so incredible. I was glued to the movie, I didn't want to miss a word. I can't say enough about this film, I just wish there were more that relied on good dialog instead of vulgarity, explosions and car chases. This movie will be a classic. What a beautiful film. ... Read more

Amazon.com

Get shot in the head and become a better person. This 1991 Mike Nichols(Wolf) film stars Harrison Ford as a big-shot cold-hearted lawyer who gets a bullet in his brain during a holdup. The film de-emphasizes the traumas of recovery to focus on the title character's personality change after the fact. The canny Ford gets to work from his full, familiar palette of arrogance to boyishness, and even builds Henry from top to bottom after the wounded fellow awakens with no memory. But this is a slow and unremarkable film from Nichols, its sentimentality eclipsing all else, most of all profound insight.--Tom Keogh ... Read more

Reviews (39)

In case you missed this movie...
This isn't one of Harrison Ford's bigger hits, but it should be, at least within the dramatic genre. Sure, he's Indiana Jones, and he's Han Solo, but outside of those series, Ford's movie choices have occasionally left this fan, at least, scratching her head (Sabrina? What were you thinking!?).

"Regarding Henry" is a rare little gem of a story, a simple film about a man whose life changes, believe it or not, for the better when he's shot and nearly killed by dint of being in the wrong place at the wrong time. Ford's Henry Turner takes us through a life he doesn't remember, including a daughter and a wife played by an impossibly young and fresh-faced Annette Bening.

Sure, it's a little sentimental. But it's a pretty simple story with a positive feel. Filmed on location in New York City, the Manhattan scenery is rather delightful as well.

It's not film noir, it's not a tour de force of characterization, and no, it's not Academy Award winning screenwriting. But it is a thoroughly enjoyable movie, one Ford doesn't have any reason to be ashamed of.

Sometimes the worst curse is your truest blessing
Despite being less well known, "Regarding Henry" is one of Harrison Ford's best works. The film demands a wide spectrum from this great actor and he delivers convincingly. For the most part, the other performers take their cue from Ford's "Henry" and render a near perfect glimpse of a life that could have been.

The tile character, Henry Turner, is introduced to us as a top-flight litigator for a large New York legal firm. He is well groomed, dressed in a designer suit and he is seen speaking sincerely to a jury about human desires and justice. Our opinion of him changes as soon as Henry leaves the court. He quickly makes a call to his interior designer to berate her for having the wrong table delivered to his palatial home. He is just another lawyer, after all.

It is hard to watch this movie at the start. Henry is one of those men we all love to hate. He is selfish, self centered, successful and confident. His daughter is frightened of him and his wife is a pale reflection of him. Luckily we are not forced to watch this Henry for very long. He makes the classic movie exit and "goes out for some cigarettes."

What follows is a scene that is perfectly directed. Henry walks into a corner store demanding his brand of cigarettes, unaware that the other patron is robbing the owner. Henry does not become scared but before he can even attempt to control the situation, he is lying on the sidewalk with two bullets inside his body and the wail of approaching sirens in the background. This event is the cusp of Henry's life.

Annette Bening plays Henry's Wife, Sarah. She may not be in love with her husband anymore but she needs him. As her financial position becomes clear, she realizes she needs him very much. But she is not unaffected by it all. This is the man in her life, the father of her child, a good provider and protector. Seeing him lying motionless in a hospital bed, drooling and staring vacantly, is probably the most painful thing she has ever experienced. But there is some hope of recovery.

Henry's long rejuvenation at a specialty medical center is like a rebirth. He remembers nothing, coming into his new world without the power of speech or the ability to walk. His midwife/physiotherapist, Bradley, is wonderful. He is full of life, energy and enthusiasm. As Henry is taught to walk and speak and function, Bradely becomes the mainstay of his life. Sarah keeps her distance and Henry doesn't get to see his daughter, (Rachel), at all until the day he is deemed fit to go home, a scary separation from the only people he trusts.

But the Henry that returns to a home he barely remembers, is not the same man that left for cigarettes. He is a little shy, very calm, forgiving, gentle and above all, nice. His transformation is interpreted in different ways by different groups. The movie serves as an interesting depiction of how society views disabilities. His boss is patronizing, his daughter delighted, his mistress is distraught and for the longest time, Sarah doesn't know what to feel.

The ending may be predictable but in this case, it is the journey that we love. Most of us feel we have lost our innocence and that our honor has been a little tarnished by life's decisions. Henry takes us on a trip to see what might happen if we surrendered all the hard won prizes in our life and instead, chose to embrace life itself. This is a film that will make you feel. Some days, that's just what we need.

RITZ!
a great movie. even if you dont like drama i think you will like this one. its about harrison ford gets shot in the head and has to go to rehad to learn how to speak and work again so he can go home to his wife and kid. its not is most knowen movie but still a great one

Worth Seeing
I know this movie was not a big hit when it came out but it is really a good film. Harrison Ford is great as one of his most likeable characters that I have seen him portray. Henry, a corrupt lawyer who withholds evidence when his client is obviously guilty and a womanizer is seriously injured in a robbery. When he comes to, he has lost his memory and has to be re-taught just about everything. His teacher is a very virtuous man, who teaches Henry to enjoy the good things in life (Henry loves most of all Ritz crackers). Thus the mean, cheating Henry who forced his daughter to remain at a boarding school that she hates, is suddenly transformed into a kind man who cares about everybody's feelings.

Eventually, he figures out that the Henry he once was was a horrible person and he hopes never to go back to that life.

Annette Benning is great and beautiful as the wife that had an uncaring husband who all of a sudden loves her more than anything. She has to decide if she is ready to leave the life they led with other uncaring and obnoxious friends.

Priceless scenes, especially those involving Henry and his secretary!

AT LEAST THE FILM'S HEART IS IN THE RIGHT PLACE..
A hotshot, hyper-workaholic lawyer finds himself in the middle of an accidental shootout, loses his memory, and lo and behold, his world goes topsy turvy. Quite predictably, as is the case with pretty much every scene in this feel-good Oscar bait, the man turns over a new leaf, becomes a good father, a conscientious husband and a decent human being. Yawn.

The movie's slowly unfurling narrative and its high predictability levels could have made it a skippable fare, but Ford's rendition of amnesia is moving, and Annette Bening's performance is very impressive. An occasional saving grace is also the music, if you have an ear for that kind of stuff.

Recommended rental. ... Read more

Reviews (131)

Jennifer's The Graduate Review
The film The Graduate is a classic 1967 release that is directed by Mike Nichols and released by Embassy Pictures. The film earned $50 million in 1968, which is number one money maker in that time.
Director, Nichols, won the Academy Award for Best Director. The film was also nominated for 6 other Awards, Best Picture, Best Actor and Actress, and Best Supporting Actress. The soundtrack featuring songs by Simon and Garfunkel was gold in 1968 and "Mrs. Robinson" was number one on the charts for four weeks.
College grad (Dustin Hoffman) does what his parents and other people tell him to do including family friend Mrs. Robinson (Anne Bancroft) who tells him to have an affair with her. Then he falls in love with her daughter Eliane Robinson (Katherine Ross), and finally finds something he wants to do with his life.
I give this film 4 stars because I thought Dustin Hoffman did a good job. I thought that the music complimented the movie nicely as well. It was a good film.

always relevant no matter what year you graduated!
This movie put Dustin Hoffman on the map -- it is the tale of Ben (Hoffman) and his uncertainty about what to do with his post-collegiate future (despite his neighbor's advice that the future is in plastics.) At his graduation party, he meets up with longtime family friend Mrs. Robinson (Anne Bancroft) who proceeds to seduce him ("I think you're the most attractive of my parents' friends, Mrs. Robinson.") They have a secret affair for quite some time.

Then, Ben's parents think it would be nice if he dates Elaine, that nice Mrs. Robinson's daughter! They set up the date, paying no attention to Ben's wishes against it. He acts like a complete jerk during the date so Elaine won't like him, then ends up falling for her anyway. This ends up with him proposing to her later, even when she has decided to marry someone else. The wedding scene is dramatic, and has been parodied on everything from Wayne's World 2 to The Simpsons.

The writing is hilarious, and Hoffman's delivery is great - upon seeing Elaine's finacee approaching them, he gives the sarcastic praise: "He's a good walker!" I love Ben's mom's over-the-top scream of delight when Ben announces he is getting married -- though he hasn't actually asked Elaine yet. And in the scene at the zoo, when Ben is left alone watching Elaine walk off with her fiancee, the camera cuts from the actors to a pair of monkeys grooming each other, and then to a lonesome gorilla. (I think they were trying to be dramatic but I found it funny.)

The Simon & Garfunkel soundtrack is great, and the acting is superb. Ben's father is played by William Daniels, also known as the voice of KIT on the 80s show "Knight Rider" and Mr. Feeny on "Boy Meets World". Ben's landlord at a boarding house is Norma Fell, Three's Company's 'Mr. Roper' (does he always play a landlord?). A great film!

THE Coming of Age Movie
This one is fantastic and very relevant even now a days. Dustin Huffman's breakout film has wonderful performances by all of the actors, a great story, beautiful filmography and a fantastic sound track by Simon and Garfunkle.

Bad movie, no donut
I was 21 when this came out, it was pointless then and still is.
Hoffman was no actor and still is not.

A Beautifully Crafted Film
This movie is a classic example of how good films were even as recent as the 1960's. The plot itself is not so original (young man has an affair with older married woman), however the movie is done in such an artistic way that the affair itself is put in the backseat for most of the film. If this movie were to be remade today, it would have been very sexualy charged and raunchy will the majority of the content focusing on the actual affair itself. However because this movie was made during a time when true quality and craftsmanship was appreciated, the themes are delicate and subtle. It really makes you use your imagination and look deeper into the storyline, rather than just the obvious. The backdrop (Southern & Northern California), the wonderful musical score (Simon & Garfunkel) and great cast made this movie very worthwhile to see as well. If you enjoy movies made with thought and care behind it, you should definitely check this one out! ... Read more

Reviews (99)

much better than i expected!
A film by Mike Nichols

I wasn't initially excited or interested in seeing this movie, but after being repeatedly told that it is a really good and really funny movie, I rented it. Good decision. I was surprised by just how good this movie really is and even more surprised by how much I ended up liking it.

Armand Goldman (Robin Williams) is the owner of a gay nightclub where his partner, Albert (Nathan Lane) is the star of the show. Armand's son Val (Dan Futterman) comes to town and tells his father that he is getting married. Val is marrying a young woman named Barb Keeley (Calista Flockhart). This would not cause any problems except that her father is the ultra-conservative senator Kevin Keeley (Gene Hackman). Senator Keeley is the co-founder on a group expounding a highly conservative morality and this would present some conflict in the relationship. What really causes conflict is that Barb and her parents are driving down to Florida and will be having a dinner with Val's family. He tells Armand that the entire house must be re-decorated to look less gay and that Albert can't be there because there is no way to hide his gayness (Albert is so overtly gay that there is no possible behavior modification that would work. Albert is who he is). The movie has Val trying to hide who his father is, and we do see Armand uncomfortable with that, but he also loves his son and wants everything to work out for Val. Senator Keeley and family finally does arrive and naturally there is still some evasion until something happens and there is no longer any way to hide the truth.

This movie is funny all the way through. Albert is so incredibly flamboyant, but lovable, and it is a joy to watch him onscreen doing his thing. I can't think of any problems that I had with the cast, everyone was spot on. Obviously this movie is supportive of a homosexual lifestyle, so if that is the sort of thing that bothers you, this movie is not for you. The Birdcage shoots barbs at the conservative moral ideals, but it does so in a very funny manner. It is over the top, flamboyant, and all around funny and it is worth your time to give The Birdcage a chance. It also features a scene stealing Hank Azaria as the housekeeper Agador.

Yet Another Great Gay Comedy
"The Birdcage" is a great comedy release of 1996. It stars Robin Williams, Nathan Lane, Calista Flockhart, Gene Hackman, Dianne Wiest, and others. Before its release, few other movies explores gay issues or themes, having such box-office success (remember, this is before "Will And Grace" started). Therefore, this earns the cast and crew tremendous respect for their daring efforts. The plot writing is brilliant! Its great, unique humor keeps audiences interested from beginning to end. As many surprises arise, the dramatic vibes always arise at the perfect time, namely the scene when one of the fathers, Armand, refuses to speak to his son, Val, for a while because of demands to make him more "straight looking". In the meantime, the story of Val's fiance's family traveling hundreds of miles to meet the future in-laws adds to the humorous and interesting movie experience. However, her father is an ultra-conservative politician. Therefore, to gain his approval, Armand must portray a heterosexual, and his long-time boyfriend and Val's other father, Albert, must pretend to not exist. Throughout this struggle, numerous emotional breakdowns occur that will capture the audience's heart. The drag show performances add to the movie's excitement, offering an artistic and deeper look into the characters. Every characters' personalities add their own certain movie vibe.

Every actor offers their own sense of humor through this movie, which proves that the chemistry between the actors and the movie is perfect. Nathan Lane capitalizes the comedy sense. His flamboyant portrayal of Albert stands out throughout the whole movie. Robin Williams expresses his comedic and his dramatic side perfectly in his role of Armand. His studying of his character's lifestyle is obvious. Gene Hackman, Dianne Wiest, Calista Flockhart, Dan Futterman, and all other actors performed their roles equally wonderfully.

"The Birdcage" is a great movie for those looking for a great comedy and/or a great gay pride theme. This will surely entertain many audiences. Such movie quality is only one characteristic that makes it destined to become a classic in the following years.

Great Film: Fun, Funny and Touching
This is one of my favorites... Nathan Lane is -- pardon the expression -- "screaming-ly" funny as Albert, half of the gay couple whose son returns home from college to announce his engagement to the daughter of ultra-conservative Senator Keeley (fabulously fleshed out by Gene Hackman, whose comedic timing and delivery is superb!). Robin Williams low-key characterization of Armand is the perfect foil for Lane's "to the hilt" performance. Diane Wiest shines as the Senator's dutiful political wife, while Hank Azaria is Armand's and Albert's "hot" Guatemalan house-man/showgirl wanna-be. Nichol's great directing, a fabulous script and the inspired casting make a terrifically entertaining film. It's just so much fun to watch!--- Love it!

Good comedy about "gayety"

Robin Williams and Gene Hackman team up to give us rollicking comedy. Hackman plays a a radical right-wing Republican senator whose daughter is about to marry the son of a homosexual Robin Williams) who has a flaming live in partner. The humor revolves around the gay couple trying to act straight while hosting dinner for the senator and his wife. Williams' gay partner does a female impersonation for the benefit of the dinner.

The press is caught up in the plot when, as the National Inquirer reporter says, "those vultures" of the national media show up with their TV cameras.

The ensuing scenes, when the despicable conservative senator escapes the press in drag, thus justifying the stereotypical right-wing idiot. Hackman plays his part flawlessly, and it is a funny movie.

One unintended Hollywood message is the problems caused by trying to raise normal kids with a same-sex couple as "parents", usually deftly ignored under the present situation, with gays pushing for same-sex marriage on a nationwide campaign.

Joseph (Joe) Pierre

One of my all-time favorites!
Nathan Lane + Hank Azaria + Robin Williams + Gene Hackman + Dianne Wiest = Hilarious Comedy. Nathan Lane and Hank Azaria especially stole the show for me. Lane's screaming and Azaria's accent make this a must see.

Dan Futterman does get on my nerves a bit in this movie. It's his attitude towards Nathan Lane's character. It's a bit demanding and very ungrateful. Other than that, this movie is as good as they come.

I highly recommend this. ... Read more

Amazon.com essential video

Melanie Griffith had a fling with stardom in this Mike Nichols comedy about an executive secretary (Griffith) who can't get her deserved shot at upward mobility in the brokerage industry. Hardly taken seriously by male bosses, things aren't really any better for her once she starts working for a female exec (Sigourney Weaver, never more delightful), a narcissist with a boy-toy banker (Harrison Ford) and a tendency to steal the best ideas from her underlings. When Weaver's character is laid up with a broken leg, Griffith poses as a replacement wheeler-dealer, flirting with Ford and working on a new client who doesn't suspect the deception. Nichols brings a lot of snap and sass to Kevin Wade's smart script about chafing against class restrictions and perceptions. Sundry scenes are played quite charmingly, especially those of Griffith and Ford's mutual pickup in a bar and Joan Cusack's championing of Griffith's crusade. Nominated for Best Picture, Director, Actress (Griffith), and two Supporting Actress awards (Weaver, Cusack); Carly Simon's song "Let the River Run" won the Oscar. --Tom Keogh ... Read more

Reviews (54)

One of the best pictures of 1988; a true feel-good movie.
By now, "Working Girl" is an 80's classic. There was something about the film then, and it remains attractive to this day. Melanie Griffith plays Tess McGill, a hard-working secretary who is full of ideas and suggestions. When she begins work under classy Catherine Parker (Sigourney Weaver), she makes a plan to help a mega-million-dollar company. Parker turns down the idea, and breaks her leg skiing. Tess seizes the opportunity to market her idea (as well as take over Parker's office, wardrobe, and house) and teams up with playboy investment banker Jack Trainer (Harrison Ford). Together, they're gonna go the top ... or else get fired trying. Mike Nichols paints a beautiful portrait of life in the Big Apple. The casting is flawless, and the script is both very entertaining and quite funny. On top of that, Rob Mounsey dishes out a very good score and Carly Simon's music won an Academy Award. Nominated for six Academy Awards, "Working Girl" is one comedy of hope that you won't want to miss.

Who's afraid of Sigourney Weaver?
Working girl Tess McGill (Melanie Griffith, sporting some serious hair) is continuously being mistaken for a "coffee, tea or me?" kind of person when in fact she works hard, reads widely and studies nights to get ahead in the business world. But the sexist, class-conscious business world just won't take her seriously. Finally she hooks up with Katherine Parker (Sigourney Weaver), a successful but vulturous deal-maker with an elevated opinion of herself who knows how to use people. They set up a mentor relationship with Tess getting the coffee and Katherine spouting the words of wisdom. When Tess comes up with a good business idea, Katherine steals it.

Enter soon after Jack Trainer (Harrison Ford) and we have our triangle. Katherine has broken her leg skiing and Tess has to fill in for her. When Tess discovers that Katherine has ripped off her idea, she decides to assume Katherine's accouterments, including her lavish apartment, her wardrobe, her hairstyle, and as it turns out, her boyfriend. Will she succeed, and will she find true love and happiness with the leading man? Inquiring minds want to know.

Director Mike Nichols, auteur of a number of film land successes of more than average sophistication, including Postcards from the Edge (1990), The Graduate (1967), Who's Afraid of Virginia Woolf (1966), etc. with help from screen writer Kevin Wade and Melanie herself, manages to create enough sympathy for Tess that we want her to win. Sigourney Weaver does such a fine job of being a kind of sociopathic villainess that we want her to lose. Guess what happens?

While this is not on the same level as the three Mike Nichols flicks mentioned above, either in terms of cinematic significance or craftsmanship, it is clever and witty at times, and the story is one that most American women will find easy to identify with. And of course the winner gets Harrison Ford, displaying his usual bodice-busting charm. Only problem (aside from some smarmy pandering to a chick flick audience) is that the chemistry between Melanie Griffith and Harrison Ford is lacking.

See this for Mike Nichols whose direction here can be described as just a working guy trying to make a buck and not doing a bad job of it.

Don't miss this one...
In my opinion, the main drawback of the film was that Melanie Griffith gave a performance that was too breathy, and sometimes it was annoying to hear her speak. This is not to say that her acting wasn't good - she was able to bring the right amount of spunk and vulnerability to her role.

Harrison Ford is wonderful here, witty and charming - this is not a role you usually see him in. And Sigourney Weaver is delightfully wicked. There are many moving moments in the film, as well as humorous ones, and you'll quickly be drawn into the story of the hard-working, ambitious secretary who aims for a bigger job, and gets herself a fine man in the process.

For The Working Woman
I remember seeing this movie in bits and pieces when I was in my teens. And now that I'm older and have seen it all of the way through I absolutely love this movie. The cast is incredible: Melanie Griffith working with Harrison Ford is absolutely charming and watching her work with Sigourney Weaver is more than fun. The plot is pretty much believable. Where Tess McGill who is trying to make it big, gets tired of working as a secretary and has an idea that can make her a success except her current boss tries to go and steal her idea. However, on her vacation gets tied up when she breaks her leg skiing. So Tess goes and completely takes over and hooks up with an investment banker for this huge business deal. He ends up being in a broken relationship with her current boss and they end up falling in love through the business deal. There's also tons of great supporting cast members such as Alec Baldwin, Joan Cusack, and a very early acting roles you can pick out David Duchovny and Ricky Lake. So I highly recommend this movie, it's even great for today's standards as well I believe. The DVD doesn't have very many extras to it though it has all of the screen trailers for the theater and TV which are kind of neat and previews for other upcoming films I guess coming to DVD. But that's it. If your a fan of this movie it's worth the buy, but just don't expect much from the DVD.

Wonderful feel good movie
I love this movie!!! It shows the dog eat dog world of business. Melanie Griffith plays a secretary who wants a better position. She gets a new job with a female boss (Sigourney Weaver) and finally thinks things are looking up. Until she realizes her boss stole an idea of hers and is taking the credit. She ends up doing everything possible to secure a big deal and falls in love with Harrison Ford's character. This is such a touching movie. The girl gets the guy, and she gets the great job opportunity she really wants. The ending is what I like the most. When she tells her new secretary, don't get me coffee unless you get some for yourself too. ... Read more

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As its title might suggest, this movie based on Carrie Fisher's Hollywood struggle works better as a snapshot than as a complete film. Meryl Streep plays Suzanne Vale, a successful actress who is lost in her addictions.Her episodes are never as bombastic as Clean and Sober or other antidrug movies of the 1990s, however. Vale's a more lovable person, and as with all lovable people in Hollywood, other Hollywood people care for her: an understanding director (Gene Hackman), a philandering boyfriend (Dennis Quaid), and a bemused doctor (Richard Dreyfuss). But if you are going to talk about Fisher, you are going to mention her mom, Debbie Reynolds. And here Vale's mom is the die-hard Doris Mann, played with appropriate virtuosity by Shirley MacLaine. The love-hate mother-daughter relationship takes over the film in an entertaining way, with Fisher's sharp comic writing coming into play. You nearly forgive Vale's troubles for having to live under a hurricane like Mann (who goes into her nightclub act at the drop of a hat). The film's sweetest pleasure is seeing Streep loose and modern, nary a drab outfit or an accent in sight. Streep and director Mike Nichols make a risky--and rewarding--finale (fueled by the Oscar-nominated "I'm Checking Out" by Shel Silverstein) work effortlessly. --Doug Thomas ... Read more

Reviews (18)

fine comedy-drama
Meryl Streep and Shirley MacLaine star in Carrie Fisher's autobiographical POSTCARDS FROM THE EDGE, a funny and chilling expose on Hollywood and celebrity.

Suzanne Vale (Meryl Streep) is a fading screen queen, determined to jump-start her languishing career. Her mother (Shirley MacLaine) is a wisecracking old barb, and knows just how fast Hollywood can chew you up and spit you out.

With a talented supporting cast including Dennis Quaid and Rob Reiner, POSTCARDS FROM THE EDGE offers a new, warts-and-all perspective on Hollywood and the "dream factory".

The DVD also includes audio commentary by writer Carrie Fisher, talent profiles and original theatrical trailer.

Carrie Fisher's Magnum Opus
What a revelation. I never knew what a movie could be until this film. Sweet, sentimental, dramatic, heart-wrenching and fall-down funny all in one movie. Meryl Streep shines and is more accessible than ever before. Shirley MacLaine is luminous as ever. Mary Wickes (Grandma) is hilarious and ended a wonderful career with this and "Sister Act," forever cementing herself as a 20th century fixture. Robin Bartlett (Aretha) is also a delight. A wonderfully written and awesomely acted story. Highest of recommendations for one and all, especially anyone who's interested in the "behind the scenes" aspect of Hollywood.

Brilliant!
This movie is simply brillant. The acting, writting, casting, everything.

Funny Stuff!
This is one of the funniest and smartest movies I've ever seen. And an absolutely wonderful performance by Shirley MacLaine. Who knew Meryl Streep could sing? Terrific!

What a riot!
Hilarious! Meryl Streep and Shirley MacLaine are right on the mark with this sharp and clever story by Carrie Fisher. Both hand in performances that are close to comic perfection. With a star-studded supporting cast, a story we can somehow all relate too despite its Hollywood overtones and low-key hysterics throughout, this is a DVD you'll want for your collection. ... Read more

Amazon.com

Joseph Heller's novel was one of the seminal literary events of the 1960s, but Mike Nichols's film ultimately proved too literal in its attempt to bring Heller's fragmented fiction to the screen. Still, Nichols, who made this on the heels of The Graduate, seemed the ideal candidate to tackle this Buck Henry adaptation. The story deals with bomber pilot Yossarian (Alan Arkin), who has flown enough missions to get out of World War II but can't because the number of missions needed for discharge keeps getting raised. The satire and absurdity of Heller's book get lost in Nichols's effort to give screen time to the members of his all-star cast, which includes Orson Welles, Jon Voight, Bob Newhart, Anthony Perkins, Richard Benjamin, and Martin Sheen, among others. --Marshall Fine ... Read more

Reviews (35)

For a movie: BEST MOVIE Compared to book: NO CONTEST
I read 'Catch-22' first, and it instantly became my favorite book (as soon as I finally got through it). When I heard of the movied version, I was estatic, but in wonderment. How can such a complex book with no linear structure ever be adapted to movie form? My expectations were high, but weary...

First of all, casting was excellent. Alan Arkin played a perfect Yossarian, as well as Jon Voigt as Milo, and so on. The settings were great, really convincing from what I read from the book.

As far as the comparison to the book. If it stands true for one instance, the book is worlds better than the movie. As a reader, you get so much more out of Joe Heller's sardonic universe. The complex plot, the meticulous descriptions (in which he used words I never knew existed...either have a dictionary with you when you read 'Catch-22', or have a vast vocabulary!), and all the rest...

The movie does attempt to follow Heller's complex plot structure, hopping back and forth to unravel plot points with each pass. The movie does this well with Yossarian's epidemic with Snowden. Most of the ingeniously clever dialogue is brought to the screen, but that's what makes the book/movie so great.

At any rate, I highly recommend this movie, as well as anything from Joe Heller...the best writer of the 20th century.

an excellent dvd
"Catch-22" is a beautifully designed, shot and executed movie that, in the end, doesn't really work. However, it's too elaborately staged and too ambitious to be considered a "bad" movie. And the extra features that accompany the DVD help the film transcend a "thumbs up/thumbs down" rating.

First and foremost, it looks amazing. I loved this film when I initially saw it on tape in 1990, but it was only recently that I was able to see it in a widescreen format -- letterboxing reveals what a brutal disservice pan-and-scan does to the compositions of "Catch's" 2.35:1 aspect ratio. If you've only seen this movie in fullscreen, you haven't really seen this movie.

The transfer is also incredible. I'm so used to seeing the grainy print of my VHS copy that I hadn't realized how great a lot of the cinematography is. The use of front-projection during the air-combat scenes is astonishing and the detail and color really surprised me.

But the main reason to get this DVD is the commentary. Director Mike Nichols is joined by Steven Soderbergh to talk about "Catch-22" and through their discussion, one really gets a sense of how Nichols (who had just directed back-to-back hits with "Who's Afraid of Virginia Woolf" and "The Graduate") took on this project with the best intentions and inspiration... and quickly got swallowed up by the massive project and even bigger budget. Soderbergh is, in my opinion, one of the best directors doing commentary these days (he gives a perfect mix of technical details and storytelling) and he really knows his "Catch-22" ---though I find it a little incredible that he never noticed the changing portraits in Major Major's office, as he claims while watching the scene.

This movie is a great mix of Fellini, Laugh-In, Welles and Salvador Dali. Some may feel there's not enough Joseph Heller here but it would take a mini-series to cover all the bases of such a deep, rich novel. At times, this movie can try your patience (like most Catch-22's often do) but it's definitely worth seeing and hearing in this new format.

A change
I take back most of the things I said. This is a great movie, and Milo is good.

A good film that should have been better
First, I was upset to see that the Hungry Joe's character from the book was all but not used, and that he didn't even die because of the cat, but instead suffered Kid Sampson's death from the book. Now...

I do admit, this movie is better than I thought it would be. I'm especially happy with Bob Newhart's Major Major, the Chaplain, and Major Danby. My only problem is that many of the characters aren't portrayed to the best of their abilities, considering how well the book fleshed them all out. The best example is Balsom's take on Colonel Cathcart. In the book, Colonel Cathcart is prim, proper, and insane. In the movie, he is simply a crude, crusty old soldier, reminicent of Ernest Borgnine in "All Quiet on the Western Front." Though he is good when interacting with Dreedle. Orr is good in this, but maybe just a touch creepier than he should be. Milo is just wasted, and a little bland. Orson Welles is surprisingly good, but that is in direct effect of the good writing of his scenes.
Alan Arkin gets off to a slow start, but becomes very good as the film picks up speed. The Snowden films are great.

My main problem with the film, however, is that two very important characters from the book are completely and utterly not in the movie: Clevinger and Dunbar. Clevinger, while only in the first few chapters of the book, had a lot of very interesting things to say about Yossarian's behavior, and would have just been a good character to have. Dunbar, on the other hand, actually had a very large part in the book, serving as Yossarian's side-kick. He also delivered the classic monologue about boredom being the key to a seemingly-longer life. A great piece of writing that would have worked well with the rest of the film.
All in all, I suppose the main thing that would have made this movie better is an extra half-hour, so that more of the classic scenes could have been used. But still, surprisingly good.

It's not the book - what movie is?
I read Catch-22 many years ago. Loved it. I've seen Catch-22 the movie several times. Loved it. But they are different. You are not going to get every nuance of the complex, convoluted book into the movie, but it is a good approximation. The movie works on its own, mostly due to the collection of oddball characters and circumstances. The long list of big named actors did a good job. However, the cinematography may be the star, here. As an "anti-war" comedy, this ranks near the top.

The reasonably-priced DVD has a so-so commentary by director Mike Nichols with Steven Soderbergh. ... Read more

Amazon.com essential video

A word of advice: If George (Richard Burton) and Martha (Elizabeth Taylor) ever ask you over for late-night cocktails--pass. On the other hand, if you have the opportunity to see Mike Nichols's scorching film version of Edward Albee's sensational play, don't miss it! Elegantly photographed in crisp black and white by the great Haskell Wexler, the play has been "opened up" for the screen by director Nichols (The Graduate, Primary Colors) and producer-writer Ernest Lehman (North by Northwest) without diluting its concentrated, claustrophobic power. Taylor has never been better or brasher as Martha, letting loose with all the fury of a drunken, frustrated academic's wife on one crazy Walpurgisnacht bender. Burton plays her husband, George, the ineffectual history prof married to the college president's daughter. And George Segal and Sandy Dennis are young, callow Nick and Honey, who have no idea what sort of mind-warping psychological games they're being drawn into. Among the most successful theatrical adaptations (artistically and popularly) ever brought to the screen. The entire principal cast was nominated for Oscars--and Taylor, Dennis, and cinematographer Wexler won. --Jim Emerson ... Read more

Reviews (86)

Watch this movie if you want to be an actor...
If there is ever a film acting students must watch, WHO'S AFRAID OF VIRGINIA WOOLF? is it. Personally, I had no problem with the DVD. Burton and Taylor are simply marvelous in their roles as two seriously disturbed people who have been married for...much too long. Taylor won an Academy Award and Burton should have won (no disrespect towards Paul Scofield for A MAN FOR ALL SEASONS). Edward Albee's brilliant characters and writing is simply breath-taking. That is if you can take 2 1/2 hours of absorbing drama about four miserable people (George Segal and Sandy Dennis are also excellent as the guests). It is true that a film like this isn't for everyone. The negative reviewers concern themselves with the mood of the film...why would anyone want to watch 4 people yelling at each for over 2 hours...but that isn't a review, and people expecting a Disney version of Albee's play shouldn't be watching it in the first place. Real life isn't easy to watch. Albee's story about an alcoholic professor and his over-bearing alcoholic wife is not easy to watch. Instead, the viewer must watch the film as life-like art, and an example for all filmmakers to follow. Director Mike Nichols had it filmed in black and white (Haskell Wexler), and most of the original play (screenplay by Ernest Lehman) remained intact. In a day when your average movie-going experience involves empty-headed entertainment (Matrix, X-men, Hulk, American Pie, Dumb and Dumberer, etc. - you know what I mean), WHO'S AFRAID OF VIRGINIA WOOLF?, even if you need to be in the mood to watch it, is far easier to take in the long run.

Quite likely the best acting ever in one film
It's no small praise that Elizabeth Taylor's acting in this one at one time was taught in college acting classes, and she's at her best as Martha, the drunken, bawdy and disillusioned wife to then-husband Richard Burton's professionally and emotionally blunted college professor George. Together, Taylor and Burton subject two young neighbors, played stunningly by George Segal and Sandy Dennis, to a night of hell where the line between reality and vicious fantasy of cruel mind games isn't clearly drawn. Taylor, in a class all her own in this one, earned a second Oscar for her tour de force while looking every bit the deglamorized unfulfilled shell of a beauty goddess Martha undoubtedly was. Burton is as compelling in his viciousness that is George's life blood. He was Oscar-nominated as were Segal and Dennis with the latter winning Best Supporting Actress. Shot in black and white and centered in Martha and George's hell house, the intensity of the sense of being penned and the desire to run are urgent and, in the end, we leave George and Martha with a sigh of relief, hoping neverto return and a sense of pity for these two battered souls who, for whatever reason, gave up on life in favor of mutually assured destruction. Taylor is awesome: her performance her may well be the single best ever in cinematic history.

The Atomic Bomb in Your Living Room
The title of this film is derived from the classic childhood rhyme, "Who's Afraid of the Big Bad Wolf?" and is used to illustrate the immaturity of the characters and the fright of confrontation. The addition of "Virginia Woolf" into the title is not only a play on words, but a reference to the author's suicide - basically, the question asked is: who's afraid of going insane?

Apparently everybody. "Woolf" is an emotional roller-coaster of a film. The premise is simple: Richard Burton and Elizabeth Taylor are husband and wife. Burton is a somewhat washed up University professor, and Taylor is the University president's daughter. They invite the new math professor and his squeaky, drunkard wife over for a few glasses, which quickly turns into a few bottles, which leads to an escalated, violent verbal assault on everything the four characters hold dear.

Egos are shattered. Relationships are ruined. Children are murdered. By the end of the film, the actors sulk away to their dark corners, exhausted and fragile. The same happens to the audience. If there ever was a "draining" film, this one is it. You feel like you just watched your parents fight for a whole evening. You physically feel tired, upset, angry, sad ... just about every emotion exercised in the film is exercised on your well-being.

"Woolf" is based on a play by Edward Albee, which takes place in the living room. Mike Nichols, in his stunning directorial debut, ventures only a few places other than the living room, knowing full-well that the powerhouse performances by Taylor and Burton especially (as well as the most convincing drunk ever played by Sandy Dennis) will keep the audience captivated. All dialogue in this film, save for two or three lines, are directly taken from the play. Albee said the added lines were "all garbage" - but you won't notice.

This is arguably Nichols best film, and yes, I am including "The Graduate." The cinematography (glorious black & white by Haskell Wexler, who provides commentary on the DVD), the performances, the violence, the suspense, the mind-bender at the end ... everything about this film is absolutely perfect.

Note that this isn't just a marriage disaster film, and there's a great deal of intelligent humor involved. This film also broke censorship standards, with the passionate involvement of the then-married Taylor and Burton, and featured the very first "goddamn" every uttered. Without "Woolf," the perfect TV sitcom family would still exist today. Now deviant relationships in shaky households has become the norm for modern films.

Burton was shafted again by the Academy for this film, but Taylor won a much-deserved statuette, in what is called her best performance.

Check it out. You will not forget it.

Mike Nichols made his masterpiece with this one!
I have to make a hazardous statement and I really hope you to think carefully about the fact that somehow, Mike Nichols and Artur Penn were two american film makers powerful influenced by European directors.
If you agree with this , I would say that Mike Nichols has had a clear influence in his first stage of his brilliant career of Ingmar Bergman. Think for instance in three excellent future films of Nichols (Four easy pieces , Carnal knowledge and Black widow)
This long introduction is necessary for understand the weird presence of a dark and even bitter film like Who's afraid...
The film undoubtly has deep roots related with two important films of the swedish director like The silence and The hour of the wolf.
This comment doesn't deserve a bit about the great level of this magnificent picture.
First at all, watch for the resource economy . The film runs at night hours and with two locations .
Two very different couples, one of them extremely young almost teenagers , and in the other side a midle aged marriage. He's a patetic man , extremely weak character (Richard Burton) and she is the unsatisfied woman , and domains the relationship in every little detail.
The meeting with this young couple will allow to Elizabeth Taylor exhibit her monumental skills for acting and give a tour de force performance , that became in her well deserved Second Academy Award.
The script is extraordinary. The dialogues are pregnant of crude realism , the horror, the multiple facets of a woman who has kept in silence so many dissapointments , the countless consequences as result of a poor comunication , the anguish of her about knowing and being the axis of the relationship.
And this is the ocassion for her to eject her most hidden thoughts ; she exploits like a earthquake , literally without a drop of prudence with all the violence that you can imagine and even more , the past phantoms emerge from the deepest dark shadows of her soul .
The hopeless, the loneliness , the sense of going nowhere and however not be able to separate instead the inferno in which she lives.
All this micro universe exploits before us and you feel its impact and the tragedy.
That film is a challenge for any director in any age, but Nichols is a master who besides had the presence of these two giants actors as Taylor and Burton. The house and the garden are the silent background in which this disgraced marriage reveals its intimacies before the young marriage.

You'll be disturbed but plenty of admiration by this splendid work .
A timeless masterpiece .
(With this film Nichols became the first director to reach the one million dollars by this picture.)
Excellent transfer to DVD.

A powerful movie that will grab you!
I saw this movie with my parents and let me tell you...this movie really grabbed me into being part of the story, part of the movie! Elizabeth Taylor and Richard Burton play exceptionally well! I couldn't help but drop my jaw on their powerful performances between eachother. They made me want to further
become a great actor. This a great movie for anyone who wants to be a
successful actor, director, or anything else that goes with movies. Teenagers (like myself) should see this kind of movie that really makes you think about life and just overall observe the movie and be touched. Nowadays, as other reviews here have said which I totally agree is that many people just watch non-thinkable trash movies. This is a masterpeice which everyone should love! When the movie will be over, it will literally take days to talk about the ending...because it is THAT good!! ... Read more

Reviews (12)

Great early Nichols
Another great early Nichols. He was on one mean ... streak I tell ya. Virgina Wolf, the The Graduate, Catch 22, and then this film. Which is: Very well done, Very mature, extremely confident in it's telling, thought provoking, well acted, well written, etc.

Jack Nicholson and Art Garfunkle star as best buds in this story that follows their sexual encounters from college to middle age. That's really it. No other action takes place in this movie that doesn't have something to do with, yup, Carnal Knowledge. Good title too. Don't you think? Just grabs you.

Like Catch 22, which I just saw, this movie is all about great framing and long one takes. Even though this movie takes place almost completely inside and is very much like a play, it is very cinematic. Nichols always has the camera in the right place, or at least an interesting place. The structure of the film is also so interesting. It just pops around from sexaul encounter to sexual encounter. And it addresses the whole spectrum...: first love, to marriage, to adultery, to apathy, to..well, it covers a lot. And though it tends to focus mainly on the negative, which can be a little bleak, it sure is real.

At times it can be a little slow and a little tedious (you sort of feel Nichols getting a little TOO into some of these long takes), but this remains a very good, intelligent, unflinching movie. Check it out.

B, B+

This film tells the truth. Controversial at its time.
This film tells the truth. Not such an old film, the mature adult situations are still happening today even in this decade. Very controversial film of its time. Almost was not released and could not be shown on Network TV at all. Finally in the mid-1980's it was finally allowed to be shown on the then-independent KTLA Channel 5 Los Angeles tv station. Hard-hitting drama about two male roomates. One man (played by Art Gurfunkel as "Sandy") is more sensitive to woman while the other man played by Jack Nicholson feels so macho he must have more than tweleve women a year. When Art falls in love with Candice Bergen (she plays a virgin) it starts as a good friendship until Jack Nicholson buds in. He secretly makes a phone call to her without Art knowing. Jack dates Candice and she loses her virginity by the macho man who can get any woman he wants anywhere, anyway. (So why, Candice?) When Jack talks about his "girlfriend", Art dos not know it's the same woman he loves. When Candice decides to break it off with Jack, Jack becomes a cad and thinks he can break it off first. Well, Jack now has to keep his mouth shut whenever Art and Candice are in the same room together with him. Jack finally comes to the realization that he is getting older and can't get as many woman as he used to. He feels bad when he sees Candice and Art together (metal break-through finally!) Then, the sizzling Ann-Margret enters the picture. Who becomes the more mature man? Who is given LOVE, not just LUST & LEAVE. Some men will find this film a bit hard to swallow. Some women who see this film will say "AMEN!" by the end of it. There is a lesson to be learned here. Get the message of the film. Carol Kane and Rita Moreno are also in the cast. No special features on this DVD. Wide-Screen and Full-Screen available on either side of DVD.

Coming to the screens of film schools everywhere...
What I found so impressive about this in the early 70's is a mystery--unless it's Ann-Margret's statuesque figure. Most of the dialog is better suited for writer Jules Feiffer's stylish cartoon characters. Even Jack Nicholson can't keep this tub afloat, although it's fun to see mannerisms and intonations which were used to perfection only 3 years later in the incomparable "Chinatown."

Hard to believe this film is more than 30 yrs old
Carnal Knowledge spans 30 years in the lives of two college friends, guys played by Jack Nicholson (you won't believe how young he looks) and Art Garfunkel (yes, one and the same). Jack Nicholson plays a tax lawyer with the hots for women who are, shall we say, well-endowed. Garfunkel plays the more temperate guy, a doctor who has quiet affairs. As they go from youth to middle age, the movie, revolutionary at the time and wonderfully directed by Mike Nichols, follows their paths, examining how their attitudes toward women and sex are a reflection of their life values. It's not a pretty picture, and despite the titillation of the title, it's not even particularly sexy. But it's worth seeing, even if only for the way in which it is viewed as a pioneer film of the early 70s, a time in which long-held Hollywood traditions were giving way to more adult-style movies.

Excellent
Mike Nichols was on a roll after "The Graduate" and "Who's Afraid of Virginia Woolf?" "Carnal Knowledge" is his most intimate film, and one of the most daring of the 1970s. Its frankness in dealing with young men's sexual psychology has not lost its edge after thirty years. On top of it all, it gives us Nicholson's first truly great performance. The early scenes between him and Garfunkel are fresh and sincere. Spanning some three decades of their friendship, we see how their attitudes towards sex, and women in general, shape their lives. Both actors do a fine job of communicating the gravity of those years, and the most devastating scene is the one where Jack delivers a long and furious tirade at Ann-Margret. "I don't want a job, I want you," she says, to which he replies, "I'm taken...by me!" Brutally honest, yes, but because we've seen what comes before, it's perfectly logical. These men are still affected by the innocence of their younger years, but that innocence is violently clashing with their adult understanding (or lack thereof)--the understanding that the personality is in perpetual motion, and that it becomes difficult to keep up. The movie is often bleak in its settings and its subject matter, but the characters are very real--they challenge you to challenge them. Their dysfunctions may enlighten you, and there is nothing bleak about being enlightened. Oh, and Ann-Margret achieves bombshell status with this movie, playing a woman who at first seems to be the answer to all of Nicholson's fantasies. "Bye Bye Birdie" it ain't. ... Read more

Reviews (3)

My favorite film for good reason
This is a beautiful movie. Innovative, well-written, well-acted: one of, if not the best, soundtrack of all time. (By the way, this was the first movie to use contemporary music as its score... the first real soundtrack.) It's a great screenplay, I've read it... the actors don't just think of these things off the top of their heads, people! The writer, director and Dustin Hoffman together create one of the best-ever characters of the cinema in Ben: very believable, in my opinion. Great cinematography; let me add again AWESOME SONGS; very funny (but somewhat subtly so); and fantastic ending. This is just a beautiful film. If you haven't seen it, do so immediately... or else.

Dustin Hoffman at his very best. Just wonderful!
Very straight forward at times. Suddle at others. The songs alone make this a simply wonderful picture. The ending was breathtaking!

A most spectacular portrayal of sex and confusion in the 60s
I recently saw the Graduate in my Film class. After picking it apart and examining the details, I realize that this film is one of the best portrayal's of awkward youth in any era. ... Read more