Reviews (34)

The Bumbling Inspector Clouseau's Best Movie
This is the Pink Panther I remembered as a kid. Peter Sellers as the bumbling inspector Jacques Clouseau. Herbert Lom as Dreyfus, the former chief inspector that's been committed to a mental institute due to Clouseau's ineptitude. While there's no stolen diamond (as the previous "Pink Panther" movies usually had), this movie centers around the two main characters. A simple plot... Dreyfus wants to stop at nothing to rid the world of Clouseau. Memorable scenes: the opening scene at the mental institute with Dreyfus falling into the lake time and time again; Clouseau trying on his new hunchback disguise followed by an explosion; Clouseau disguised as a dentist working on Dreyfus' tooth; many failed attempts to get into Dreyfus' castle by Clouseau; and the apartment entry fight scene between Clouseau and his trusted Asian servant Cato. Memorable lines: "What kind of Bomb was it? ("The exploding kind"); "Does your dog bite? ("No") -the dog bites Clouseau- "I thought you said your dog doesn't bite?" ("That's not my dog"). Director Blake Edwards did a wonderful job guiding Sellers and then letting him go off on his own when needed while the camera was rolling. I can see where this movie was inspired by the James Bond series. As well as this movie proved to be a big inspiration to anything Austin Powers ever did. This movie has very few extras... a trailer, an 8-page booklet with some insight from the director, and your choice of full/wide screens. Picture is clear and sound is (only) average. Good movie overall and still fun to watch after all these years.

The funniest "Panther"
The inimitable Peter Sellers strikes again as Chief Inspector Jacques Clouseau, in this fourth installment of the classic "Pink Panther" series, "The Pink Panther Strikes Again," directed by Blake Edwards. Given the fact that the assessment of comedy is intrinsically subjective, this film is arguably laugh for laugh and sight gag for sight gag the funniest of the five (followed closely by the second of the series, the hilarious farce, "A Shot In The Dark). In this one, former Chief Inspector Dreyfus (Herbert Lom) is about to be released from the mental hospital-- in which he has resided since being driven crazy by Clouseau-- when on the very afternoon of his hearing he is visited by none other than Clouseau himself, who has come to speak on behalf of his former boss. Suffice to say that by the time Clouseau is through "helping," he is driven from the premises by the relapsed, raving madman, Dreyfus. And it's only the beginning of the inept French Inspector's antics that, before it is over, will include a trip to the Ocktoberfest, encounters with a dozen hit-men from around the world, a beautiful Russian spy named Olga (Lesley-Anne Down), a surprise Egyptian spy (who will remain nameless) and a one-man assault on a castle. As Laurel and Hardy proved so many times before, for every action there is a reaction; a theorem of which proof is unequivocally provided here by the relationship between Sellers and Lom. This was the film in which Edwards and his stars not only further devised, but honed to perfection, their foolproof formula for laughs: After the "first wave" of hilarity provided by Sellers, it is followed up-- in just enough instances to be totally effective-- by Lom's reaction to 1.) Sellers directly (as in the first, classic scene at the mental hospital), or 2.) Lom's reaction to Seller's antics as they are related to him by a third party. It's a one-two punch that never fails and which, in effect, derives twice the fun from a single gag. And it's brilliant. But at the end of the day, it must be noted that there is one element above all else that accounts for the success of this film, and that, of course, is the Man himself, Peter Sellers. Sellers must be regarded as-- if not "the," then at least one of the-- funniest actors ever to grace the silver screen. There was no end to the ways he could make you laugh; from the subtlest expression-- an eye averted or perhaps the slight raising of an eyebrow-- to the broadest slapstick, it was all within his personal domain, and he was the Master. Physically, practically all he had to do to get a laugh was show up; consider the scene in which he arrives at the hospital to visit Dreyfus: As he saunters across the lawn of the vast grounds surrounding the buildings, a croquet mallet and ball lying to one side catches his eye; there is just the slightest hesitation in his step, the subtlest change of expression in his eyes and the merest inclination of the head. And there, in that briefest of moments upon the screen, you know-- beyond the shadow of a doubt-- what is about to transpire. And you're right; a moment later Clouseau has the mallet in his hand and his foot on the ball, and even as it's happening-- just as you knew it would in that split second before it did-- he has you on the floor laughing. That was the gift-- and the genius-- of Peter Sellers. Was every film he made a classic? A great film? Of course not; but you would be hard put to find a single performance of his, even in a bad film (Like 1970's "There's A Girl In My Soup"), that did not embody that unique spark that defined him. It was certainly alive in his portrayal of Clouseau (possibly the definitive Seller's character), and in retrospect, what a shame it seems that there were only five "Panther" movies ever made. But so it is, and shall ever be. The supporting cast includes Burt Kwouk (as the ever faithful and attacking manservant, Cato), Andre Maranne (Francois), Colin Blakely (Alec Drummond), Leonard Rossiter (Inspector Quinlan), Richard Vernon (Dr. Fassbender), Briony McRoberts (Margo) and Michael Robbins (Jarvis). A funny movie that showcases one of Cinema's truly unique and funny actors, "The Pink Panther Strikes Again" is a side-splitting, fun movie you can watch over and over and never grow tired of. The best of the series, it stands as a glowing tribute to the comedic genius of Peter Sellers.

"The Phone Is Ringing....Relax, I'll Get It."
This is my all time favorite Pink Panther film. I think that I like it the best of the series as is dwells so totally on Herbert Lom's madness, which is, of course, entirely caused by Clouseau. The opening scene of the film sets the pace, with the brilliant slapstick 'Dreyfus in the lake' segment (I am particularly fond of the role of the rake in that scene.)

The characterizations of Dreyfus and Clouseau are totally wonderful in this film. Watching Dreyfus descend into total madness is one of the all time greatest comic performances. Sellers as Clouseau is wonderful playing off of Lom, in such great segments as the 'hallucinatory dentist' and the 'hunchback and the bomber' scenes. This film is much less subtle than my other favorite from the series "A Shot in the Dark", but what it loses in subtlety, it gains in situational humor unrivalled in any other comedy ("Does your dog bite?"..."No."..."I thought you said your dog did not bite."..."That is not my dog.") Only Sellers could make these scenes work, and work they do, brilliantly so.

There are so many great scenes and lines that I couldn't possibly list them. Some of the best lines ever written for a comedy are in this film. To go with the brilliance of the script, the excellent direction from Blake Edwards, the always entertaining animated credits, the beautiful sets, the acting from everyone, led, of course, by Sellers and Lom, is letter perfect.

The DVD is an excellent transfer, and very pleasant to watch. The only real options are language and subtitle related, though there is an original trailer. I would have loved to have seen some outtakes as extras. Reportedly the cast frequently broke up laughing during the filming of this movie, and there is no wonder, given how funny the material is.

I first saw this in the theater when I was a kid. I loved it so much then that I went back several more times, and never tired of it. Now, almost thirty years later, I still never tire of this film. If you haven't seen "The Pink Panther Strikes Again", by all means do so at once. If you have, it's time to get reacquainted with a brilliant old friend!

Classic Clouseau
Unlike the other Panther films, which still mix in some of director Blake Edwards' skillful subtle comedy ala "Breakfast at Tiffany's," this Panther outing is strictly high caliber slapstick. The plot, which is far-fetched, exists simply as a framework to get star Peter Sellers out of one comic situation and into another. This is not a bad thing - some of the funniest comedies are the ones that have the skimpiest storytelling. I've seen all the Panther films many times, and this is the one that I always laugh the loudest at. It's hard not to enjoy Peter Sellers as Inspector Clouseau and how he unintentionally outwits his former superior Dreyfus (Herbert Lom). The DVD release contains both the widescreen and fullscreen versions of the film (though no real extras)and is a step up from the old VHS release. It's always nice to have this choice on a single disc. I honestly don't know what extras could be included as most of the outtakes were unfortunately recycled in the inferior "Trail of the Pink Panther." I recommend this DVD to anyone who enjoys a slapstick approach to comedy.

By Far the Best in the Series
Since there have been other reviewers here who have taken the time to write in detail why this movie was so good, I will just agree in saying that it is indeed an excellent film! It is by far the best in the entire Pink Panther series and will have you laughing the entire time. If you enjoy this film, be sure to check out the rest of the series. ... Read more

Reviews (5)

Soundtrack
This is my second issue of the movie. I have the 3 hour tape, the 3 hour DVD, and this 4 hour spectacular. It is by far superior to the others for content that had been edited to make it shorter. Also the sound is much better even than the DVD version. John Barry outdid himself with this score and this issue shows its superiority over the others. Another plus were a booklet about this special issue and some gorgeous photos to go along with it. Extras include how the killing of the buffalo was faked, but looked very real. It should be rereleased.

"the 4-hour version is THE definitive version"
"Undoubtedly, this 4-hour version of 1990's "Dances With Wolves"
is ten-and-a-half times better than the 3-hour version. Reason
being is because this is not only the ONLY version of this movie
that I have ever seen; but, also because this one is definitive, due to the fact that the extra footage actually makes this film
even better than its 3-hour predecessor. There are several more
characters, plus a few extra scenes that actually enhance and
improve the remainder of the movie. Altogether, this becomes an
essential viewing experience that no fan of this movie should ever miss or be without. It would be a great idea for MGM Home Entertainment to reissue the 4-hour movie onto the home video market, on both VHS and on DVD. What do you think?

I loved this movie, but...
This is such a great movie. I have been looking for the long four hour version for some time. I recently purchased what I thought was just that, from this web-page (although the seller was someone who is no longer listed), but when it came in the mail, I was a little disappointed to find out I had only gotten the regular three hour version. I was impressed with how quickly my order was processed and delivered, but I found the description of the merchandise to be a little misleading. It had been described as the 1994 edition with two casettes. It also had reviews that talked about the four hour version and how much better it was. By ordering from that page, I guess I assumed I would be getting the video that was described. Oh well,... I know this is supposed to be for reviewing the movie itself and let me say again that it is one of the best movies I've ever seen; but maybe this can help people who are thinking of ordering--so they'll be really careful to check out all the details. And for those posting movies they want to sell, this can be a reminder for them to make sure to describe all of the necessary information so that customers can see exactly what they are getting.

Long version is really the best version.
The original release version was great, but this one fills in a lot of details left out the first time. With roughly an extra hour, that is a bit of an understatement. All in all, this truly is a phenomenal experience and well worth the investment of time to watch it.

The Best of Costner
Costner's acting abilitites are highlighted and extremely broadened in this emotional and action type movie. It is amazing what one can learn from a movie, especially of right and wrong, the weak vs strong. and the mysteries and love of an animal. ... Read more

Reviews (78)

Both Sub and Dub Are Awesome: a Must for Tenchi Lovers
I saw both the subtitled and dubbed version of this movie, and they were both VERY good. The story is about a girl, Mayuka, who comes from the future claiming to be Tenchi's daughter. Of course the whole household is upset by this, Ryoko especially. The main villian was Yuzuha, a demon from Grandfather's past on Jurrai. If you enjoy Tenchi, you have to get this. The animation is top quality. The dubbing is good, although a few voices were recast. And the subtitled version gives you the original feeling of the movie, with easy reading. (And only one mistake through the whole hour!) This was a truly great movie, and a must for anime lovers! Also, if you've seen the movie and enjoyed it, you might be interested in getting the soundtrack for it, which is also available and is very good too.

Tenchi Muyo the movie 2: Daughter of Darkness
This tenchi movie is probably as good as the first movie. There is a lot of comic relief in the beginning and more serious issues toward the end. The music and effects are very good, though i think that the first movie had more fighting and action than this does.The movie takes place at Tenchi's house and it is beautiful summer day. As tenchi and the rest of the gang rest peacefully in the sun, a mysterious person (you really couldn't consider her a person) watches over them. This woman of darkness creates a girl a little younger than tenchi by a strand of her hair and a strand of tenchi's hair. As tenchi is talking a walk, she appears before his eyes. Washew is very suspicious the way she appeared and royko is VERY suspicious of her. For some odd reason, she calls tenchi daddy which makes everyone sort of crazy. If your a royoko fan, you'll like this movie. In many parts, many of the issues deal with royoko both in good ways and bad ways. Anyway this movie is excellent and I would rate it 4 out of 5 stars maybe because of personal interest of more battling between vilians and good guys and the length. It should have been longer like the first movie, this was too short for me especially at the very ending Other than that, it is a great movie

A girl walks out of the forest...
and claims to be Tenchi's daughter. Mayuka not only looks kind of like him, but she can even call up Jurai power in the form of a Light Hawk Wing, just like Tenchi! As Ryoko and Ayeka become jealous and see the young girl as a new rival, will Washu and the others find out what's going on?
In the end it turns out of be a grudge over 700 years old! And it happens to be against Yosho!
How will Tenchi save his friends against the Demon of Darkness and will he also feel the need to save Mayuka, daughter or not?
Talking toys, adult scenes and a mature plot makes this movie something the kids might NOT wish to watch.

A cool movie.
It was true to the original TV series, Tenchi universe, and was fun to watch.

Yay!
This movie is amazing! I love the animation. The storyline does move a little fast, but thats ok! I really love it and would watch it anytime. ... Read more

Amazon.com

Quite possibly better known for a notorious Playboy magazine spread than for its own cinematic merits, The Sailor Who Fell From Grace With the Sea is one of the weirder artifacts of the wide-open American cinema of the 1970s. The Japanese setting of Yukio Mishima's novel is transplanted to the English seaside, where an adolescent boy has fallen in with a group of pint-sized fascists (they call each other by numbers, not names). The gang's idea of exploring "the center of reality" is vivisecting a cat, a ritual rendered in dreamlike, repellent detail. Meanwhile, the boy's mother (Sarah Miles) takes up with an ocean-wandering American seaman (Kris Kristofferson), their gauzy nude scenes providing voyeuristic titillation for the peeping son and audience alike (hence Playboy's interest). The combination of Lord of the Flies with the soft-core stuff makes a very awkward match, and the insistent touch of director Lewis John Carlino, who went on to make The Great Santini,does not help. Carlino's montage of shipboard pistons and pumps churning as the sailor arrives in town is a particularly unfortunate foreshadowing of the sexual gymnastics to come. Kristofferson, looking somewhat zonked as he often did in the '70s, is nevertheless effectively cast, and Miles, after Ryan's Daughter and Lady Caroline Lamb, practically had a patent on the sexed-up English (or Irish) rose in movies. Their efforts can't disguise the silliness of the execution. Still, those kids are truly scary. --Robert Horton ... Read more

Reviews (11)

Has some merits but the book is certainly better
This movie takes the liberty of transplanting the Yukio Mishima novel's setting from Yokohama, Japan to a sleepy English port town. Inevitably, it changes the nationalities of the protagonists (Japanese widow and sailor to English and American, respectively). These modifications are not what detracts from the movie's impact, but instead the plotline and the character development (or rather, the lack of).
Regarding plot, the filmmakers took an oversimplified approach on Mishima's rich examination into the characters' psyches. This successively leads to the poor character development in the film. The actors sincerely try to display intensity in their characters' roles, but without any understanding of their derivations, they muddle the story. A good example involves the "chief" of the boys' gang. We are given an expose his controlling, fascist behavior: one memorable scene involves him angrily kicking out all the members of the gang from his house due to them not grasping his level of consciousness (the twisted, hateful look on this young boy's face shows his ferocity). But without further details on his motives or personality, it's difficult to surmise his attitude. We only see that he is an angry, manipulative, nihilistic monster.
The love affair between the sailor and the mother of one of the gangmembers actully compounds the film's problems. Although their sex scenes are erotic and very explicit (they were considered quite shocking for that time; today they might qualify as soft-core pornography, albeit many will disagree with this), one is left to wonder what attracts these two who have such disparity between them? The director places great emphasis on this physical attraction and spends much time detailing this. Again, a lot of effort being placed into one facet of these people without knowing the fundamentals of them.
This film does have its positive qualities: the English setting is wonderfully photographed and the filmmakers show an earnest effort in conveying Mishima's story onto film.

Beware! This Is a Ripoff!
I was in San Diego several years back and happened into a downtown video store. I was pleased to find a VHS copy of "Sailor" and couldn't wait to get home so I could watch Kris and Sarah make hot sexy love all over the place. But what I got instead was a G-rated movie suitable for the kids, Grandma, Fido, etc. All the Good Parts of this movie have been deleted...without any sort of "altered version" designation on the package!

Honestly, I wasn't aware that movies were sanitized for home-video release; I thought it was the other way around (i.e. really racy, scandalous stuff unsuitable for theatrical viewing was included on the video). So, what is the name of the genius who deleted this footage, and when will a *complete* version be available?

This is cut!
All the scenes containing adult material are edited and cut.I reccomend you to protest this and wait for an uncensoured version.

I have to see it again!
This film was great it stuck in my head for years, I seen it on playboy magazine in 1977 and WOW!I could not believe the sex . It blew me away I neve seen anything like it ever. Then two years later I saw it in a second run theater the film story was something different at the time I was about 17 and I never seen a film like this before. So all these years I have been looking for this film.And now I could go back to that place in the darken theater an watch sarah & kris do what I rememberd the most about this film and the boy who played the son.I'll enjoy keeping this vhs but I hope it will be on dvd. It's a great film to thoughs who have seen it know what I am talking about I got my copy.

Fabulous!
I couldn't disagree more with the editorial review published here.

I thought this was a fascinating film in a lot of ways. A bit rough in the structure, at times, but overall a very good effort. Some wonderful performances, interesting plot, beautiful scenery. ... Read more

Reviews (25)

Antonio Banderas Was Better When Euro Film Star
I watched Banderas in his European movies before he became an American movie star. I really liked all of his work then whereas now his work is very uneven in quality. "Evita" is the only work of his I've admired since his "conversion." This film was his very best prior to his coming to America. I'll confess that director Pedro Aldomovar's 2 most commerical films, of which this is one, appeal to me more than his other films. The other is "Woman On The Verge of A Nervous Breakdown." Perhaps this is because these two works involve heterosexual love affairs and are also comedic and satiric. They're broadly played but enjoyable for a bigger audience than Aldomovar's work normally gets. Banderas is incredibly sexy in this film as the patient fresh from a mental hospital who wants a regular married life and seeks to find it with a porno star woman. Bringing these two together for a black comedy was a stroke of genius. The Tie Me Up, Tie Me Down in the title refers to the woman's liking kinky stuff and Banderas's literally tying her up and down to the bed. This is a very sexy, romantic even, film and for those who feel Aldomovar's films typically are aimed to please only gays and not straights, this film should convert them to becoming fans of his considerable talent. It will also make them sad that Banderas decided to become an American movie star.

Tie Me Up! Tie Me Down!
Tie Me Up! Tie Me Down! (¡Átame!) is one of the two movies by renown director Pedro Almodóvar (the other being Women on the Verge of a Nervous Breakdown) that got wide attention in the US, albeit in the art house scene. Nothing since Tie Me Up! Tie Me Down! (made in 1990) has gotten nearly as much attention, despite several efforts since than by Almodóvar. Both movies have a similar style, but Tie Me Up! Tie Me Down! is a bit more disturbing as it revolves around a kidnapping.

Marina Osorio (Victoria Abril) is a former porn actor and junkie trying to make a more respectable living as a B movie actor. Ricky (Antonio Banderas), is a troubled youth who has just been released from a mental institution where he had spent the last several years due to his constant running away from orphanages and reform schools. Somehow Ricky has decided that Marina is his future wife and after some very lame attempts to get her attention on the set of her new movie, decides to break into her apartment and "kidnap" her until she is convinced to love him as he does her.

This seems somewhat straightforward, but most would assume that this would be a terror-filled, disturbing film about stalkers and people who's reality is warped. It is disturbing, but not for those reasons, but rather for its very light-hearted atmosphere and slapstick comedy in the face of this rather serious situation. One might call it a black comedy, but the mood is generally so light, that a better term might be "gray comedy." Marina, though occasionally showing some terror, seems more angry and annoyed at being tied up and kept captive than in fear for her life. One thing ran through my mind when watching this - that quote from Die Hard with the expert commentator on the news talking about how kidnapped victims sometimes go through the "Helsinki Syndrom" and start empathizing with their captors. Well, it does not take all that long for Ricky to actually convince Marina to love him. This again, leads to the very light-hearted and surreal nature of the film, and everything in the film seems to have this quality, almost as if what is happening is not real, but being acted on stage. This relates to the film that Marina is acting in at the beginning of this movie, where likewise, everything is pretty fantastic and unreal.

Other than the shear oddity of this film, the main other noteworthy quality seems to be in its steamy sex scenes with Abril and Bandaras. The film actually got an NC-17 rating due to this, which shows the hypocrisy of the MPAA which gives incredibly violent films like Saving Private Ryan an R, but because of a little sexual content will brand a film with NC-17 and make it hard to sell at the box office in most communities.

The DVD is lackluster, containing no special features except for a Trailer. The anamorphic transfer is a good one, very clear with vibrant colors. The audio is the original mono Spanish and is very clear for a mono soundtrack.

If you are a fan of the offbeat, you may enjoy this film for the shear "different" quality it has compared to most mainstream movies, but its light treatment of very disturbing theme may be too much for others.

"You can't be that kinky."
Pedro Almodovar's film "Tie Me Up, Tie Me Down" stars one of the director's favourite leading ladies--Victoria Abril as Marina--a former adult film star with a nasty narcotic habit. Marina is trying to stay clean with the help of her protective, responsible and non-stop talking sister, Lola. Marina has almost finished making a second rate horror film, "the Midnight Phantom." The film's wheelchair bound director, Maximo is obsessed with Marina. There's something about Marina's fragile sensuality that makes men want to protect and possess her. Ricky (Antonio Banderas)--just released from a mental hospital--is also obsessed with Marina. Ricky decides that he will kidnap Marina and keep her tied up until she falls in love with him.

Of course, there's a fundamental flaw in Ricky's plan, but Almodovar's playful script shows how the obstacles to Ricky and Marina's relationship are overcome. Victoria Abril is--as always--splendid, and Banderas is at his best. As with all Almodovar films, "Tie Me Up, Tie Me Down" is full of great, eccentric characters (the pistol-packing pharmacist, for example), and Almodovar's humour, acceptance and generosity towards human flaws always ensures some sort of good outcome.

"Tie Me Up, Tie Me Down" contains a controversial scuba-diving gadget scene, and many Almodovar fans will note a very similar scene in "Talk to Her." (...). I loved the scenes when Maximo's frustration is shown by his endless circling in the wheelchair, and when he dances in his chair with Lola. The film also includes some amazing Spanish music. Almodovar and Abril fans will not be disappointed in this film--displacedhuman

A loving kidnapping drama...
Ricky (Antonio Banderas), a newly released mental patient, enters society with hope of building a family after have convinced the woman in his life that she loves him. This woman is Marina (Victoria Abril), a former heroin addict and porn star, that is filming a horror film with a director who has recently suffered a severe stroke. Ricky enters the film studio and retrieves Marina's keys, which he uses when he breaks into Marina's apartment and kidnaps her. In doing so Ricky wants Marina to get to know him and fall in love with him as they have had a brief affair once before, which changed Ricky's life.

Pedro Almodóvar knows how to make the absurd feel authentic and in this story he does it well as Marina and Ricky get to know each other. The story is planned down to every last detail as both characters have some heavy luggage from their pasts, which serves as a solid foundation for them to relate and understand one another. Almodóvar uses vibrant colors that improves visual representation of the likes and dislikes between Ricky and Marina as it expands on the audience's understanding of what is going on. There are also several interesting shots that are out of the ordinary as they draw attention to the characters and develop the persona around the characters. Tie Me Up! Tie Me Down! fades away from the silver screen with a good cinematic experience, which can be pondered over a glass of sangria.

Subverting types!
When originally writing this film, Pedro Almodovar asked himself the question "Can love be calculated or sketched the same way one could study for an exam?" This is certainly the conviction of the Antonio Banderas character who seeks to capture his former lover and eventually convince her of her love for him. Although one could initially interpret the theme of the film as overtly misogynist - man tries to physically force woman to love him - gender stereotypes are typically subverted in true Almodovarian fashion.

It would seem that the women are the figures of power in this film and both Ricky and wheelchair-bound film director Maximo are at a loss in trying to seduce the object of their desire in any conventional sense. They are both addicted to Marina, but the only thing she's ever been addicted to is heroin. By the end of the film the Antonio Banderas character is almost totally domesticated, making food, cleaning the appartment, making sure Marina has enough drugs etc.

There's also the reference to the Sacred Heart at the beginning of the film and masochism has often been perceived in some of the more archaic rituals of our Roman church.

None of these subtleties were apparantly noticed by the American classification board who initially wanted to give this film an 'X' rating because of playing with toys in the bath! (?) ... Read more

Reviews (79)

a real class act
DANGEROUS LIAISONS is a fantastic character study of the twisted and obsessed. The classic novel translates perfectly to the screen in this adaptation by Christopher Hampton which was taken from his acclaimed stage play.

Glenn Close is mesmerising as the seductive and manipulative woman who challenges the cruel Valmont (John Malkovich) to seduce her naive niece (Uma Thurman). However, Valmont also wishes to seduce and disgrace a remote beauty (Michelle Pfeiffer), totally uncaring and unaware of the tragic outcome that will envelope them both.

The stellar cast also includes Keanu Reeves (THE MATRIX, PARENTHOOD), Swoosie Kurtz (LITTLE GIRLS IN PRETTY BOXES, REALITY BITES) and veteran Mildred Natwick (THE TROUBLE WITH HARRY).

The DVD transfer is gorgeous and has a dynamic 5.1 sound mix that shows off the beautifully dramatic score by George Fenton.

Remade as VALMONT (starring Colin Firth and Fairuza Balk) and CRUEL INTENTIONS (starring Ryan Phillippe).

The Game as You have never seen it....
You wouldn't necessarily think that an adaptation of an albeit famous 17th century French novel would make a relevant and fascinating piece of cinema... but it does.

The first thing that strikes you is how well the film is lit and shot. The period locations and costumes are visually sumptuous and perfect. Better yet, the acting entirely matches the skill of the direction that takes its method from the theatre - emotions are conveyed by expression and not dialogue. Glenn Close gives her best performance on celluloid as the scheming Madame de Merteuil, amorally hellbent on bending everyone to her will, no matter the method or the cost, and John Malkovitch is her perfect foil as the cynical hedonistic but world-weary Valmont. Michelle Pfeiffer engages our empathy as the tortured and manipulated target of Malkovitch's desire and Close's plotting.

The film is basically a morality tale, but one that fascinates in its exposure of ego, vanity, intrigue and the war between the genders, subjects that are timeless in their relevance, despite the period setting. The storyline, which sticks faithfully to the original novel, remains compelling throughout as we watch deceits within deceits take their tragic course. Whole-heartedly recommended - take your time over it, and enjoy.

A wonderful film
Dangerous Liaisons is a lush and lavish glimpse into the lives of the 18th century French aristocracy. The Marquise de Merteuil and the Vicomte de Valmont used to be lovers and are now close friends, a powerful but restrained attraction still simmering between them. They are both twisted people who enjoy manipulating everyone around them, but the foundation of their demise is laid when they make a bet - if Valmont can seduce the virtuous Madame de Tourvel, a married woman of unimpeachable morals, the Marquise will give herself to him for one whole night of romance. What neither anticipates is that Valmont will fall in love with Tourvel, and that the Marquise will become victim to a destructive jealousy.

Glenn Close is marvelous as the depraved Marquise, and ever so subtly reveals to us the insecurities behind the noblewoman's coldly smiling facade. Malkovich proves that a man does not need to be conventionally handsome in order to be seductive; he exudes serpentine charm and masterfully acts out the Vicomte's slow and astonishing change of heart. The dialogue is witty and stirring, and the costumes are candy for the eyes. This was a thoroughly enjoyable film.

Dangerous Liaisons
Some reviewers spoke of the poor dvd quality. I was too young to see this film in the theaters when it came out, but is it possible that it could have been made to look like that? Sometimes a special filter is used on the camera to give the picture a specific look. I thought the haziness and soft, pastel colors presented in the movie mirrored the rococo style of the period perfectly.

This is my favorite John Malkovich movie. His looks are irrelevent to his portrayal of the Viccomte. Malkovich completely embodied the sinister and seductive Valmont, and every time I watch this film, I fall under his spell, too.

Fabulous
From an earlier review...

"Great Potential Ruined By Mediocre Actors"

Oh, now THIS is rich...

THREE Oscar-nominated performances, and one of those is an example of "mediocre" acting? Gimme a break.

This is without doubt a fine film... Wicked, delightful, and delicious even for this guy's guy (forget that "chick flick" nonsense, any man who doesn't wish to take Malkovich's place in "educating" a very young Ms. Thurman is delusional). Five stars, a modern classic.

Superb cinematography, acting, costumes, dialogue, etc. Highly recommended. ... Read more

Amazon.com

One of the loopiest kung-fu movies ever made, a garish masterpiece of martial kitsch by the hard-boiled master of the genre, Chang Cheh. The five muscle-bound paragons of the title have fighting skills so hyperdeveloped that they border upon the occult, each modeled on the behavior of a different venomous beast: centipede, snake, lizard, toad, and scorpion. This "poison clan" is embroiled in a complex plot to lay claim to an ill-gotten fortune, but the story line feels like an afterthought. The nonstop wall-crawling action sequences, which match up the cast members in every conceivable combination, are the be all and end all here. This is late, decadent Chang Cheh, without the poise and sweep of earlier epics like Blood Brothers and Vengeance (the noble David Chiang-Ti Lung team ups that inspired John Woo), but it's great fun on its own terms. The painted masks worn by the Venoms, which make them look like berserk extras in a wrestling film, are based upon the belligerent warrior face paint of Chinese opera. --David Chute ... Read more

Reviews (83)

4 Stars for the Movie 2 for the DVD!
First of all let me tell you how good is this Kung Fu classic. The story is good, about 5 Venoms who live a secret life and are trying to be found by the Poison Clan's master. I think we should all have this fun kung fu flick in our collection but! They have to come out with a better DVD. This DVD has no special features, no original language track, and the image quality has not been restored at all, they didn't even try! So unless you must have it, wait for a better print.

One of my favourites
While I can't comment on the quality of these prints, this movie has been one of my all-time favorites. I used the Scorpion style on a bully during a middle school basketball game. While I didn't hit him, the fact that I could do the rapid palm smashes near his face spooked him so he stopped bothering me. Funny but true story. Thank you Scorpion !

Absolute Greatness.
I went to Blockbuster last week, looking for a Kung Fu film. I rented 2, "Iron Monkey 2" (AKA Duel at Tiger Village) and of course "Five Deadly Venoms" I decided to watch Venoms first. Boy, the movie was downright awesome. I was engaged in the storyline, and the fighting. I don't have to explain what happened because all the other reviewers basically already did.

There wasn't much fighting in the movie, but just enough to keep you satisfied. I describe the fighting in this movie, a desert. Why? Because the fighting was a nice treat added to the story no matter how you cut it.

There was some torture/unusual styles of murders, but they were also like desert in this platter called "5 Deadly Venoms" They were sick, but also awesome in my opinion. I personally like the paper suffication, but that's just me.

Ok, when it comes down to it, this movie owns all.

The "classic"
If you haven't seen this, go and buy it. Case closed.

The gresatest 5 person group
I can't believe some of the idiots talking trash about the movie, it's a classic. Like most people who look for these Venom movies I've watched hundreds of Chinese & Japanese action movies. And yes, todays movies are more elaborate and much faster (due to speeding the film). But the purity of the Venom movies are timeless, the styles, the combat, the characters. All great. How can you not be amazed at the talent of these individuals way back then. By far the group in Chinese action. ... Read more

Amazon.com

Even more than most of David Lynch's deliberately bizarre and idiosyncratic movies, Dune is a "love-it-or-hate-it" affair. An ambitious, epic, utterly mind-boggling--and, let's admit it, all-out weird--adaptation of Frank Herbert's classic science fiction novel, Dune remains one of the most controversial films in the director's exceedingly provocative career. The story (if Dune can be said to have just one story) is complex and convoluted in the epic tradition; it has something to do with political intrigue and a planet that is home to a precious spice and gigantic sand worms. Think Shakespeare's Henry IV with a dash of Tremors, and set in another galaxy. But despite plenty of strangely whispered voice-overs that explain the characters' thoughts (and endlessly detailed exposition), storytelling is not really among the film's strong points. There are, however, a lot of memorably fantastic/grotesque images, an extraordinary cast, and a soundtrack featuring Toto. I told you it was weird. Among the stars are Kyle MacLachlan, José Ferrer, Dean Stockwell, Brad Dourif, Sting, Kenneth McMillan, Patrick Stewart, Sean Young, and Linda Hunt. --Jim Emerson ... Read more

Reviews (435)

Dune: the sleeper has awaken.
David Lynch's (Eraserhead, Twin Peaks) adaptation of Frank Herbert's defining saga 'DUNE' may very well be, if truth be told, the most epic enterprise, and in many ways the most rewarding, of Lynch's work thus far.

Dune is a difficult movie to review, if only because there is no easy (or maybe I should say simple) way to look at it. At its core though DUNE tells the story of Paul Atreides, a young man whose destiny as a Messiah of worlds echoes that of such classics like Brazil or Spartacus, where seemingly ordinary men become extraordinary beings. This however is an over-simplification, DUNE is built from a collection of stories and legends that form a unique whole -perfectly captured by Lynch.

Make no mistake, this movies begs to be seen in its original 2,35:1 widescreen format. Freddie Francis' photography of the barren Dune world is simply amazing, and even though some of the special effects may seem old when compared to today's standards, the amazing designs by Anthony Masters will simply take your breath away. The DVD edition, while not anamorphic, is very well presented, sporting a very high quality video transfer and excellent sound. A brief, if yet interesting, collection of production notes are also included, as well as cast and crew bios and the original theatrical trailer in widescreen format.

DUNE seems slow at times and it may not be for everyone -but then that's always been the trademark of Lynch's work, I think. Still, DUNE is an excellent example of how a complex story can make a Sci-Fi movie be truly epic. Couple that with the amazing designs and the beautiful photography and you got a winner here. Highly recommended.

Lynch's Dune leaves lasting impressions
Oil planets, rubber suits, flying Buicks and lots of industrial images and soot...
Who else could come up with a vision like this for the Frank Herbert novel other than David Lynch?
This so-called box office disaster has to be one of the most controversial sci-fi films to ever grace the silver screen, and though it has been repeatedly bashed by sci-fi buffs and Dune purists, the two-hour-plus feature always manages to surface either on television (in a hastily- and carelessly-edited extended cut), in conversations among admirers of sci-fi or cinema, as well as in personal movie collections worldwide.
So why was it scorned during its initial release?
Expectations of the film adaptation were high. The film hardly captured every facet of the novel. But how could it?
Also, many theatergoers and sci-fi fans were expecting, well, more of a futuristic approach to Dune as opposed to Lynch's industrial vision. A spaceship with plush leather interior lacking any flashy computers just didn't do it for the Star Trek/Star Wars crowd.
However, Lynch's script remains faithful to the story and its characters. The first-rate casting, combined with (undeniably) Lynch direction, pack enough flair to make the film more than worthwhile viewing and certainly worthy to own on DVD.
The entire cast give first-rate performances, most notably Kenneth McMillan, Jose Ferrer, Sian Phillips, Francessca Annis and, of course, Patrick Stewart.
Toto, the 80s rock band that proved to everyone that musicianship isn't everything, contribute a worthy score, though it steers toward a Flash Gordon-esque style in the film's finale.
In sum, Lynch - like a true visionary - leaves us with more fantastic impressions of the enigmatic Dune world than he does comprehensive storytelling. The impressions, however, are lasting. They are the key to why this sci-fi flop survived the relentless criticism and has proved, repeatedly, to be in demand among consumers.
Note: Lynch withdrew his screenwriting and director's credit from the extended TV version of the film, and for good reason.

Duned
Woh! I didn't know what to expect when I first sat down to watch 'Dune'. Not having read the novel, the first hour of the movie made me think I had Attention Deficit Disorder, I didn't know what was going on. After that first hour, I gradually left my efforts at understanding behind and just revelled in its sheer spectacle.

Poor David Lynch was driven to the brink of suicide while making this picture. The success of 'The Elephant Man' must have made him believe that adapting other people's work would be a much more successful venture than trying to develop anything on his own at this stage of his career. 'Dune' is full of Lynchian touches even if his commanding vision is sadly missing. The Emperor's court looks like something out of pre-industrial Europe in contrast to the Harkonnen culture of brutal industry and festering disease (Lynch would have been in his element here). Indeed the Baron Harkonnen's face bears some resemblance to John Merrick's in 'The Elephant Man', biological explosions bursting through the skin.

'Dune' would have made a pretty good T.V. series if it had been directed by Lynch, there certainly would have been wider scope for plot and character development. As it was left in it's 137 minute version Lynch had to cut entire scenes and have them explained in one line of voice-over dialogue instead. This makes much more of the profound elements of the film seem like excerpts from a daytime soap opera, the slow zoom into the static face as the voice-over speaks the thoughts of the actor.

Locked into producer Dino De Laurentiis's and writer Frank Herbert's vision, it's not surprising that Lynch returned to small-time film making as a way of retaining artistic control.

Generally, I liked it
Yes, the movie is weird; yes, they changed a lot from the book, like another movie which shall remain nameless (*cough*"Harry Potter and the Prisoner of Azkaban"*coughcough*), and yes, it borders on the incomprehensible at times. Still, IMHO, it beats the hell out of the later remake, which is twice as long and half as interesting. The actors in this movie have great charisma, and besides, who can beat Patrick Stewart as Gurney Halleck? I ask you!

The main flaw (again, IMHO) is that the "long version" has yet to be released on video or DVD, although it can be seen about once a year on the Sci-Fi Channel. The shorter version is just not enough; write your congressman and DEMAND the full-length extended cut of "Dune". 'Nuff said.

Oh Lordy
Well. Time to write a review of this on Amazon. So many things to say. A beginning is a delicate time. Well, lets state the obvious first and foremost.

This movie was a flop. A bomb. A disaster. It cost a great deal of money to make and it made almost nothing at the box office. This was due to a number of reasons. One, in the early eighties, science fiction was considered very uncool. So that any young dude in the early eighties worth his salt wouldn't be caught dead going to this movie. The other matter is that any of those young dudes who DID happen to wander into this movie probably had to wonder just what the hell was going on.

Dune is very challenging science fiction that almost might be considered the work of a genius. It is far more complex and interweaving than the plot for something like "Star Wars" for example. By that, I'm not saying that Star Wars was a bad movie, indeed, it was a very profitable one (unlike Dune). It is just that from my viewpoint, it is incredible that this movie was even created at all, considering the usual attitude of movie studios toward complex plots of any kind whatsoever. In fact, I would go so far as to venture the guess that this movie being a flop set a standard for one dimensional movie plot lines for years to come. A movie must make a profit, the dumber the movie, the bigger the profit.

Anyway, the point is this movie somehow, against all odds, WAS made. And the director, to add to the weirdness, was that master of weirdness (the weirding way?) himself, David Lynch. Lordy, this movie is a miracle against all odds.

The thing to keep in mind is that this movie didn't have an immediate impact when it was first released. However, slowly, over the years, it gained a massive cult following. It has become known as that "other" sci fi movie, alongside Star Wars and Star Trek. And indeed, I believe Frank Herbert wouldn't have had it any other way. On the video shelf, Dune has become the "underground" sci fi epic loved by a select few - who rent it very often.

The movie has had a sweeping impact upon culture, regardless of who hates it or loves it. If you have seen it, you will never forget it. Some scenes remain breathtakingly modern with incredible special effects, others are rough edged with some editing that could use something to be desired. Yet despite it all, it remains powerful today (especially when compared to the awful tv miniseries version). ... Read more

Reviews (177)

"The Wizard of Oz it is not--should not be!
For those expecting this movie to be a sequel to MGM's 1939 Wizard of Oz are in for a disappointment, but such expectations are unfair. Judy Garland's "Wizard of Oz" is grand, glorious, and gets better every time I watch it (can you catch all the rainbow images in the film) but it is a plush MGM musical-comedy, beautifully adapted from the book, with "adapted" the operative term here. "Return to Oz" is in many ways actually closer to the Baum books, particularly in its common-sense, fairly young heroine who does not DREAM her way to Oz, but actually journeys to this "cut off" part of the world. The music-less adaptation is also more in keeping with the original, which are so plainly stated that critics have claimed the works are not really that good. The "Baum Oz" is a surprisingly dark and weird place at times, and the more horrific aspects of "Return to Oz" are in keeping with its folktale qualities. Plus the work has a real feeling of time; that is, turn of century of America--with its fascination and trust of machinery (Dorothy is being given electrical treatments for her depression), the Gilded Age (Mombi's palace is momument to conspicuous consumption including changeable heads; it even has a cluttered attic which, before charitable organizations began accepting donations, is where old, outmoded stuff used to be stored). Live settings increase the reality of this Oz, replacing the deliberately artificial qualities of the 1939 Oz land. The special effects make the fantastic elements in this film "realistic," down to the talking chicken and the Nome King gradually assuming humna life. And then there is the rag-time music . . . If you are willing to accept "Return to Oz" on its own terms, you will find it a wonderful, eye-filling film with a treat--some rather strange!--around every corner.

Perfectly enchanting.
'Return to Oz' is a masterpiece. It has been my favourite movie since the first time I saw it. I recomend it to people of all ages. If you are a young child it takes you to a magical place deep within your imagination and if you are an adult it allows you to travel back in time and visit your childhood becoming open to the idea of magic and fantasy, even though you think that it does'nt exist. 'Return to Oz' is the enchanting story of a young girl who strives to make the fantasy world she is living in become reality. It includes many loveable characters such as the Scarecrow, Tin man and Cowardly Lion from the original movie, 'The Wizard of Oz' as well as many new ones, such as Jack Pumpkinhead, a stick man with a pumpkin for a head and Gump a flying sofa and Tic Toc a wind up mechanical man. However no story is complete without the villains and in this movie there are plenty. The Wheelers are men who have wheels for hands and feet and they work for Princess Mombi an evil woman who has over 30 different heads and last but not least the Nome King, a man made of rock. And who tries to stop these evil beings, Dorothy. In this movie Dorothy is played by Fairuza Balk. (The Craft, The Waterboy) But in this movie Dorothy trades in her much loved Toto for her talking chicken, Billina. Return to Oz is a magical film for the child in everyone and if you loved 'The Wizzard of Oz' or even if you did'nt you WILL love 'Return to Oz'. So buy the video it will be money well spent. Who said money could'nt buy happiness.

Scary . . . careful with kids
I haven't seen this DVD edition yet so I can't really comment on it, but I just wanted to put in one word about the movie. I saw it at age 5 or so when it was in the theaters, and it scared the stuffing out of me. There were a few parts that gave me nightmares and still make me shiver. It's probably not as bad as I've made it out to be, but do use caution letting younger kids watch this.

My Favorite Childhood Film!
"Return to Oz" is one of those rare movies that captures your heart and truly makes you believe in magic. To this day, it still hasn't let my heart go! This amazing, underrated film is a real Hollywood gem. Buy it, and you will surely treasure it forever.

Of course, that depends on your expectations of this trip to Oz. Although there are no sugary sweet characters bouncing about singing and dancing, there is an abundance of subtle beauty in the ways of costume and set design. Instead of the cutesy munchkins and radiant Glinda, there are the horrible Wheelers and the pretty-yet-terrifying Princess Mombi. Additionally, there are some scenes (i.e. the Hall of Heads, the Deadly Desert, the Nome King Showdown, etc.) that may frighten young children (it scared me, but I love the movie nonetheless). The point is, like many movies, you'll enjoy "Return to Oz" if you go in open-minded and ready for anything. :)

This movie and the 1939 musical classic were produced by two different companies, with different budgets, different set managers, different actors, different screenwriters, and different directors. It just so happens that "The Wizard of Oz" was an enormous hit during the "Golden Age" of movies (esp. musicals) and has remained a family favorite ever since. Any follow up to such a successful movie is going to be criticized unless it is even better than the "original." A large number of fans enjoy "Return to Oz" so much because it parallels L. Frank Baum's original stories closer than the Judy Garland adaptation.

Please don't get me wrong--I adore each and every aspect of "The Wizard." I just like "Return to Oz" as well and feel it is worthy of a second glance/chance. Try it and see for yourself. I'm sure there will be something about it that you will never forget! :)

As if you can really attempt a sequal to a classic
When young Dorothy starts having trouble sleeping and raving about how she knows her friends in oz are in trouble, Aunt Em takes her to a hospital for shock therapy.

Anyway, fast forward to Oz. The yellow brick road is crumbled, the Emerald city has been turned to stone and Oz has a modern day Wicked Witch (sort of).

The characters were nothing like the originals, Dorothy seemed to grow younger, and chickens can talk. Some good new characters, like Tick Tock the wind up loyal soldier and Jack, the scarecrow with a pumpkin for a head. But overall, not that terribly great IMO. ... Read more

Reviews (7)

Good film, rubbish dvd
Scott Richardson (above) writes that this is one of Waterbearer's better quality DVDs. In which case I certainly won't be buying any of their others!
It is a shame such a low quality product should represent the work of such a great director. Let's hope somebody brings out a remastered version, restored to full length, with chapter stops (how much effort would it take to put them in!) and removable digital subtitles. And it would be nice to hear that Morricone soundtrack clearly.
Come on Waterbearer, try a bit harder.

Intriguing but flawed; definitely worth seeing
Although I find Pasolini a brilliant, provocative, and at times sublime filmmaker, I have a hard time connecting with The Hawks and the Sparrows. Of course, some viewers are passionately devoted to it and, like all of Pasolini's films, it is definitely worth seeing. It's an episodic tale of a dotty father (legendary Italian comedian Totò), his rambunctious teenage son (Ninetto Davoli, who appeared in 11 of Pasolini's films and was his lover), and a talking crow (with a passion for alluding to Marx, Brecht, and Mao) who become involved in a series of comic misadventures. Some of the film is very funny, and it works well visually and musically (score by the great Ennio Morricone), but overall it feels at once ponderous yet underdeveloped. Pasolini had set out to make an ideological comedy but, as he remarked in a 1968 interview, "perhaps it came out too 'ideo-' and not 'comic' enough." Exactly!

Some of the most effective elements derive from Pasolini's love of early comedy. The first shot, with Totò and son walking along an endless dusty road, seems to pick up where Chaplin's Modern Times (1936) left off. Totò's stony yet expressive, and hilarious, face brings to mind both Buster Keaton and, surreally, a bird (with a title like this, that means something). Ninetto Davoli is a perfect foil. He is all laughter and devil-may-care hijinks, injecting the film - often set in one form of wasteland or another - with the spirit of youth although, significantly, it is not a spirit of rebellion but more a last burst of steam being let off before following, literally and otherwise, in his father's footsteps. One of the most energetic scenes comes at the beginning, when Ninetto joins a group of teenage boys practicing a line dance to a sassy pop tune. Despite the vitality of this musical number, it shows that he is all too eager to conform his own energy to the group. In Pasolini, as in life, almost everything has multiple, and sometimes paradoxical, meanings.

The film provides ample, if often contrived, opportunities for comedy, but it is often of a violent kind, both emotionally and physically, and reminds us of Theatre of the Absurd. Playwrights like Beckett, Ionesco, and Genet clearly provided Pasolini with a philosophical blueprint for this picture, with their Existential vision of the harsh ridiculousness of life, as well as their subversive style (including illogical, even fantastical plots) that undercuts both dramatic form and the assumptions of their audience. Absurdly, the form of Totò and son's journey - like the structure of the film itself - is a giant loop, as they travel around and around Rome's periphery; always moving but never really getting anywhere. The symbolism is both obvious yet vague.

With Pasolini's encyclopedic knowledge of history and all the arts, the film could also be seen as his unique take on a favorite poet (Pasolini was himself called the greatest postwar Italian poet). Note the central episode at the grotesque, and Felliniesque, Conference of Dentists for Dante. The misadventures of Totò and son could be Pasolini's update of sections from the Divine Comedy's Inferno and especially Purgatorio sections. The omnipresent road in this film lies between two areas, Rome and the countryside, as Purgatory lies between hell and heaven. Like the damned souls in hell, and some of the luckier ones in Purgatory (where so many of the world's great, but not purely-Christian-enough, artists hang out, including Giotto - whom Pasolini played in his film of The Decameron), father and son walk in circles. If they never learn from their mistakes, they'll remain in a Hell of repetitive alienation; but if they do, and can "Purge" themselves of their ignorant and sinful ways (Pasolini's conception of "sin" is more sociopolitical than spiritual), then maybe they can finally catch one of those buses which they're always missing and get out of wherever they are.

The central symbol is, of course, the one in the title, which Pasolini dramatizes in a lengthy film-within-the-film set in the middle ages. But what are we to make of the hawks and the sparrows? The title suggests a kind of symbiotic relationship between predator and prey, even as it symbolizes the two great tendencies within Italian culture and, to a lesser degree, within Pasolini himself: Catholicism and Marxism, and the violence which can result when they clash. But which group do the hawks represent, and which the sparrows? Pasolini keeps the ambiguity coming, as he shows how each group contains elements of both victimizer and victim. Paralleling that, we see father and son in a similarly fraught dual role: They victimize the poor woman when trying to collect her rent, and are in turn victimized by their boss, the landlord. That vicious circle connects not only with all of the circular/repetitive elements in this film, but with most of Pasolini's works, beginning with the beguiling victimizer/victim Accattone in his first film.

But Pasolini needed to flesh out his ideas, to embody them in living, breathing people. Then the comedy might have been funnier, the film might have had a more visceral impact, making its intriguing political and philosophical points more meaningful. Despite my personal reservations (which are certainly not shared by all of Pasolini's admirers), I hope that you will watch this picture and see what you think.

[3-1/2 stars rounded up to 4]

Mediocre DVD, decent film
"The Hawks and the Sparrows" is one of Pasolini's more overtly political films. It revolves (more or less) around the conflict between Marxism and Catholicism.

Not one of Pasolini's better films (although not a bad film by any means), this is, ironically, one of Waterbearer's better DVD's. Although it still suffers from no chapter stops and burned-in subtitles (some of which are missing), the print is fairly crisp and is very watchable. It is unfortunate, however, that this is the original theatrical version of the film, and not the reconstructed version, which contains an additional 11 minutes. Even if these 11 minutes had been available as a special feature, it would have been nice. The audio on the disc is mostly acceptable, although there is a fair amount of noise during the "Dante's Dentist" sequence.

While this disc has some flaws, it is certainly a step up from most of the rest of the Waterbearer Pasolini DVD's...

Uccellace Uccellini
Pasolini's most concise film, perfectly blended humour, religiosity, scandal, and philosophy. enumerates the director's problems with contemporary life in a nutshell; ninetto davoli is adorable!

An Unusual Film From Pasolini.
I picked up this Pasolini film a few days back, and I must say it was something a bit incongruous for Pasolini to make. The film takes place in a barren farmland, where a boy and his father meet a talking crow. Thereupon, the film shifts to a local monastery where we see the boy and father as monks. Inch by inch, they have the ability to talk to birds (i.e. chirping and whistling) as well as communicating with them. However, these birds (sparrows) are suddenly being killed off by the Hawks, and the rest is history. Although appearing dull at first, the movie soon gathers interest after the interaction with the crow, but abruptly finishes on a demented yet humorous note. Not as graphic as his later film would be, even so there's a sick sense of style idiosyncratic to Pasolini; although "The Hawks and the sparrows" still seems a bit weird, as if part of the school of Surrealism. I've heard Pasolini made this film as an allegory for his personal eroticism, or an across-the-board motif for homosexuality. If that were the case, it's a very imperceptible one that is obscured by the film's visual aesthetics altogether. Nevertheless, it's worth a look, and most hardcore Pasolini fans would understand it for its existence and beauty. ... Read more

Amazon.com

Lina Wertmüller (Seven Beauties) made this pointed, 1975 comedy-drama about class and sex conflicts. Mariangela Melato plays a rich woman marooned on an island with a crude sailor (Giancarlo Giannini). The two initially assume their accustomed class relationship with one another--she expects service, he grumbles about it--but then a revolution takes place and the subjugation is reversed. The film comes down on you like a hammer, but Wertmüller adroitly traces the shifting nuances of the relationship, and the two stars are excellent. Numerous scenes stick in the memory many years after one viewing. The DVD release has a widescreen presentation, production notes, biographies of cast and crew, and English subtitles. --Tom Keogh ... Read more

Reviews (26)

Interesting Island Love Story
"Swept Away" is an interesting italian 1974 release about a greedy woman who expects her male servent to accommodate her with anything she pleases in all costs. Her cruelty takes an unexpected turn once they become trapped on an island together. Then the job roles turn around, and her trials return to haunt her. The war that erupts between each other takes an unusual turn.

This creative plot was written wonderfully. They combine drama, comedy, romance, and slight erotica to make this unforgettable movie. Its conflicts and its trials keep audiences watching closely at what will happen next. The love story theme is one of the most unique in cinema history, though cruel. Twists and turns arise in various scenes giving it the added edge, leading to a surprise and powerful conclusion. Though there are some flaws not relating to the writing, namely the woman managing to keep her make-up on throught the entire island stay without reapplying, the interesting storyline greatly makes up for it. The acting is interesting, especially the two lead actors: Giancarlo Giannini and Mariangela Melato. Though Melato occasionally overreacts some words, she keeps her character interesting with her unique charisma. Giannini keeps his aggressive edge intact in every moment. All other actors also perform their roles wonderfully.

"Swept Away" is a great film for those looking for something unforgettably unique. This will surely keep audiences entertained. Those who like this film should stay away from the 2002 American remake, starring Madonna. It's not nearly as good.

Madonna remake rumor hopefully unfounded
For those of you who loath foreign films, put that prejudice aside and check out this sensational movie. Giannini and Melato make the best screen couple I've seen since Bogart and Bergman. "Swept Away's" filled with witty, intelligent dialogue, hilarious banter and breath-taking scenes of the Mediteranean. Moreover it's fairly politically literate, which is a rarity in Hollywood these days (and in most other movie making outlets).
The plot sounds as formulaic as humanly possible, but wait! This one's different. It's got a style and panache that barely any other films can match. Sure it was controversial (the misogynistic violence is quite disturbing) but Lina Wertmuller offers up a masterpeice that should not be ignored. It's easily her best (some would argue "Seven Beauties" but I disagree) and most enjoyable movie. They just don't make movies like this anymore, and especially not in Hollywood. When recommending foreign films to your friends you can't go wrong by pushing this video into their hands.
To see this one on a large screen would be quite an experience, just looking at it on my regular television made it seem as if I was cruising the Medeteranean right along with them.
Wertmuller rightly deserves to be considered one of the world's finest directors (a label that often eludes her, as I feel she's somewhat underrated) with this and other fine productions under her belt.

Wertmuller is amazing
Director Lina Wertmuller's provocative film takes the class struggle to a desert island where only the man and the woman exist. Wertmuller's scenario is that of the man assuming the role of ruler and the woman one of worker-slave, and this becomes a love relationship. Naturally, the man is the one most reluctant to go back to the society where he is worker-slave and the woman is ruler over him! The black humor is wonderful because it is visual, via the camera angles and shots, and it is beautifully filmed. I'm afraid the new version, from what I've heard,(and I will not pay to see it)meddles with the ending and hence changes the meaning of the film. With a world-class filmmaker like Lina Wertmuller, why fix what isn't broke and do a remake of a perfectly fine work of art?

Better than the new version with Madonna
The new version with Madonna is very good, the production is better because was made 30 years later. But this original version is so much funny, the actors are amazing.
The story is about a woman who is having vacations with her husband and friends in her yacht and one day she and a sailor take a boat to go to a beach so she could swim. When she suggests this to the sailor he says that it was late and dangerous but she didn't care and as result they got lost and ended in a deserted island. So in the island the sailor who wasn't well treated in the yacht because of the master's wife, now decides that it's time to be the master so the rich woman has to do everthing that he wanted if she wanted to eat or be in the cottage that he found. As a result of all this they fall in love.
I'd really like to tell more beyond that point but you'll really have to see the movie.
This edition is in italian with subtitles in english, but it's better that the movie is in italian because the voices are really funny.
Between the original version and the new one there are some changes but not very big because basiclly the story is the same. But if you're choosing between one and the other, I'll strongly recommend this one, the first one. It's much more funnier.

Very Good
TAMING OF THE SHREW set on a desert island, and very good with great acting. Didn't like the woman-hitting scenes, but over all a well done, intelligent film. Very very well written. ... Read more

Description

Master storyteller Orson Welles weaves a wry, often whimsical, documentary about the nature of art to bedazzle and fool us all.With mock intensity, Welles investigates the charming Elmyr de Hory, who makes a lavish living painting fake Picassos and Matisses.Equally captivating is Welles' own trickery and a glimpse behind his public facade. ... Read more

Reviews (10)

Fitfully entertaining essay film about art forgery
Long after Orson Welles lost the clout to produce Hollywood feature films, he managed to cobble together this idiosyncratic essay film from documentary footage shot by French filmmaker Francois Reichenbach. Initially, the subjects are master art forger Elmyr de Hory and his would-be biographer Clifford Irving, also author of the infamous Howard Hughes biography. Welles eventually transforms the film into an analysis of the question of authorship: who is truly the "author" of a work of art?

Welles packs the film with guest stars, anecdotes, and witticisms... even a magic trick! It's not perfect: the film changes gears perhaps one too many times, and Welles can't resist including gratuitous shots of his mistress, Oja Kodar. But Welles aficionados will delight in the director's foray into deconstructionist cinema. "F for Fake" lies somewhere between the realms of fact and fiction. Welles the magician conjures up an altogether new form of movie, one that can't be easily classified.

F For Fantastic!
Wow, what a treat for Welles fans. This is a fascinating piece of work. So interesting and the editing is excellent. Wonderful appearances by Orson to tantalise the viewer (love the trick he plays on us at the end). It's a must see. A unique type of documentary film, solely concentrating on two outrageous fakers. From the feel & look of the movie, you can tell that Welles is having the time of his life, and that's good enough for me.

It should get 6 stars, if that were possible
There is no Orson Welles movie, no matter how influential and well regarded, that I love more than this master piece. This is Orson Welles at his best: just chating along in an entertaining, funny, witty, profound way, teaching you so much about himself, about humanity and about Life, as if it was just a walk in the park - he makes it look so easy to be a genius.

If I had to choose the proverbial film I would take with me to a deserted island, this would be the one. This is the guy I want to talk to forever if I'm ever allowed in whatever Paradise he's in now.

This is all anyone needs to love the movies and Orson Welles. It is the one that will convert you into thinking you can't really have one without the other.

A Really Fake Review
Master filmmaker and artist, Orson Welles, takes you on an intriguing trip into the world of the Fake and the Real. Do you really know the difference between what people tell you and what you know to be real? Perhaps enough people have told you the "truth" where it seems there is no doubt as to what is really real, when all along you were given an pseudo-truth when in fact the truth turned out to be comepletely fake and no one knew about it. This idea, essentially is what this film is about. Filmed in a documentary style, mainly focusing on the life of Elmyr de Hory, one of his many "fake" names. Elmyr is a famous artist, except no one knows who he is because he has "faked" other famous artist masterpieces. In which case the "experts" cannot tell one from the other. So much, in fact, that the "experts" have argued emphatically that Elmyr's version is the "real" one. The well known biographer Clifford Irving wrote about Elmyr's life and his "fake" masterpieces. Irving known especially for the biography of the late Howard Hughes. Except one "fact remained in suspicion of Irving's book is how this man comes along and is granted an interview with Mr. Hughes who has been in hiding for the past 20 years. So the argument remained that Irving's biography of Hughes was indeed "faked." Mr. Orson Welles, who appears from time to time is credited as the director did indeed direct some of the film, while he "faked" it other times. Welles known for his "fake" news bulletin of the War of the Worlds also lets the view see one hour of totally "true" documentary of Elmyr, Hughes and Irving. This is nice of Mr. Welles, and if anyone knows about time, they will bear in mind the film runs longer than one hour.

Its not a casual film of entertainment like Welles' other works, some deemed the best in film history by some "experts." No, this film takes some turns of the usual Hollywood style narrative and makes an almost chaotic feast of editing where time seems to have slowed down. The only draw back to the film is the one just mentioned, that it seems entirely too long when in fact its quite shorter than one expects. Another leg Mr. Welles pulls on the viewers to have them presume as much as they want and get something entirely different.

Not for everyone's taste, but certainly for either the Orson Welles fanatic, and for the person who likes to have thier reality challenged. Cutting edge by means of style and presentation of the film, Mr. Welles has certainly done it again. Unfortunately this has dropped into the back shelf of "important" films.

PHEW! TALK ABOUT A MASTERPIECE!
Orson Welles' only color film is THE ULTIMATE PROOF OF 'MISE EN SCENE' HAPPENING AT THE EDITING STAGE. Most of this film was shot by Francois Reichenbach before Welles got involved with it. Reichenbach didn't know what to do with his footage--how to best put it all together--so he asked Welles, whom he greatly admired, to see what he could do. Welles shot some scenes featuring himself to go around the documentary footage, came up with a narrative concept and EDITED everthing. The result? WELLES' PERSONALITY TOOK OVER. This is unmistakably a film that only Orson Welles could make. Welles uses his ingenious narration and every trick known to film editing to weave a philosophical meditation on the nature of truth and lies that has DEEP universal significance, but also particularly applies to the nature of all 'ART-ifice.' It's a very intellectual as well as supremely entertaining film which requires at least 5 viewings to even begin to be appreciated. ... Read more