Reviews (322)

It's been a long time...
This is truly a lovely movie, and it has been a long time since a romantic comedy has been this enjoyable. This movie may remind you of "When Harry Met Sally" or "Sleepless in Seattle", where the couples are clearly meant for each other, yet have obstacles they must overcome. The acting and dialogue are superb! Hugh Grant, a world-famous actor, is completely convincing as an average bloke, while Julia Roberts goes by Anna Scott and plays herself, a "heavenly" movie star.

One review of this movie called it "pure fairy tale." As long as you can believe that it is possible for an actress to truly be a "good person," that she may actually want to live a relatively "normal" life outside of her acting career and may want to start a family of her own, then this statement is false. One specific scene mentioned as difficult to believe was the initial kiss that takes place quite soon after they meet. However, there are two reasons why this scene is believable. First, it is quite obvious that she is impressed from the start with his wit, sensitivity, and honesty, especially compared to the other men who are falling over themselves when they meet her. Secondly, this kiss may be a sort of test. In a city filled with reporters trying to get a story and her pictures plastered everywhere, her life has to be secretive as much as possible. Perhaps she wanted to see if she would be reading about the incident in the next day's paper before she allowed herself to get too close. She gave him quite the opportunity to brag to his friends or family, but he does not.

This movie is quite entertaining to watch the first, second and even fifth time.

Quirky, funny and totally sentimental...what more is there?
This is a feel good movie for everyone who has ever loved or been loved. Hugh Grant and Julia Roberts are great as the mismatched couple who meet one day and strike up the most unlikeliest of friendships. Julia Roberts plays "the most famous film star in the world", whilst Hugh Grant is a bumbling bookstore owner with a failing business. Their love affair is a fairy tale come true, but like most fairy tales there are a few hurdles to overcome before true love and happiness can finally be theirs. Grant and Roberts are ably supported by an excellent cast, including the Emma Chambers better known as Alice Tinker from "The Vicar of Dibley", and Rhys Ifans who brilliantly portrays Grant's nutty Welsh flatmate. Notting Hill doesn't tax the brain cells. There are many hilarious moments, one of the funniest being the car scene when Grant tries to get to Robert's press evening, it's a laugh a minute and the same can be said for the rest of the film. So if you want a gentle love story, a surprisingly good comedy combined with witty dialogue and a cast of great actors then rent or buy this movie. You won't regret it.

zzzzzzzz Oh Okay I'm awake.......zzzzzzzzzzz Yeah Ok...zzz
I would like to say that I agree with some of the previous reviewers on this forum that Julia Roberts is not much of an actress. Just a pretty face. I rented this and went into it with a open mind. I haven't seen Julia Roberts in any other movies. This is the first. Julia Roberts did not add anything to the part. Hugh Grant was okay. I haven't seen him in any other movies either. So this was a first for me to see him. Now, as for the film. The story was pretty much bland and it was difficult to hold my interest. The film is very much a boy meets girl/ boy loses girl etc.... and you're basic light, fluff love story. The only humorous portion was Hugh Grant's slob/eccentric roommate and even that was only mildly funny. From what I understand, this is the formula film that Roberts generally is in and she does not change much from that formula. There is not any pretty scenery, vistas or even witty/clever dialogue. I think women would enjoy this film more than men. After watching it, you come away from it feeling like you haven't watched anything of substance. The film does touch on the difficulties that Roberts (who plays a famous movie star) has being famous and contending with the press and gossip in the London newspapers. I think most people would be satisfied to watch this film once and leave it at that. Others might really find it a waste of their time, while I know some people will turn it off after 15 minutes. It's not the worst film I have seen, but it is far, far below the standards of a really good film. I wouldn't recommend this as a film to keep in your DVD library. It is a toss away film. Not bad, just sub-standard all the way around. (I don't see what all the fuss is about regarding Julia Roberts as an actress. I see just a pretty face. There's a lot of prettier women out there in the real world). Two stars folks.

dissapointed
The movie is ok for watching once.. so rent if you want to see it first.. but not one i'd watch again. nothing really captivating in this movie. why julia in this movie was interested in grants character is beyond me... she barely knew the guy except for a few things... his apartment is a mess and he has some freaky roomate that would have scared me off.. i can sympathize with her situation and sort of see movie stars life in a new light.. but then again being rich and famous has a lot of other pleasures i'm sure! and this movie makes it seem like shes plain miserable. anyway, this movie was slightly boring. i like roberts and grant as actors.. i just didnt see the real attraction between them no matter how hard they tried... there was no moments in this movie that would have made them very close therefore not moving to me.. this one isnt a keeper in my opinion.

Well- at least this time she's in the right role
I've been waiting forever for a critic or reviewer to expose Julia Roberts for what she is- a talentless, over-estimated, freak of nature--- but the culture is so heady with celebrity buzz that it will never happen. So I'll have to take matters into my own hands:

Roberts has been getting away with simply playing variations of herself since the days of Mystic Pizza. Her same shrill laugh (it's actually a barking shout- look for it) can be heard in any one of those forgettable roles from Flatliners to the Pelican Brief, and the academy-award-winning Brokovich character was Roberts again, only this time dressed like a trailer park refugee and spouting a little more anger and sarcasm than she normally does. God help us- Pretty Woman was such a smash that we'll never be rid of her. Unfortunately, when not playing one of those personal variations, she's lost because she honestly can't act. Take a look at her poor attempt in Michael Collins and there you'll find someone out of their depth. The role was not difficult, just not a variation of herself (am I getting redundant?)

Now for the review of Nottinghill: The script is witty at points, and the story is at times charming with some entertaining moments. According to a professional reviewer, "True, Roberts doesn't really have to stretch very far to play a big-time actress who makes $15 million per movie . . ." Well, that nails it, doesn't it? For once, Roberts can be forgiven for being herself, because that's what the role calls for: a famous, over-paid, self-consumed, Hollywood celebrity. But as well-cast as Julia is here, even she can't resist going over the top on occasion, as in the scene where one of Grant's friends, who meets her for the first time, discovers she's an actress and comments that it's a tough occupation in which to make a living. Our girl enjoys her response entirely too much when he asks what she got paid for her last work. Then again--- I guess I can see her gloating in the same self-satisfied manner in real life, so it's probably appropriate. In contrast to this kind of affirmation, however, notice how Alec Baldwin's cameo portrayl of the male star counterpart later in the film is more tongue in cheek; Julia, on the other hand, is far too relaxed (and serious) playing the pompous, condescending star. Gee, by Jove, it's her!

As enjoyable as this film can be at times despite the romantic comedy formula which has been so overdone, the real killer is the fairy tale ending. It just wouldn't have happened this way, no matter what we want to believe. If by some strange quirk of fate, Roberts' character was somehow faintly drawn to this guy and married him, it would have been only as a passing diversion, and annulled 2 weeks later (any real life analogies?). Good performances by Grant and most of the supporting cast, and Roberts doing herself (there it is again), but it's not enough. Even though the film is not a disaster, it just doesn't work. Spend your money on the popcorn for another video.

By the way, will someone also please finally admit that Julia Roberts is not attractive? With that mouth, she looks like she could consume a '56 Buick whole in one bite. ... Read more

Amazon.com essential video

Jeremy Irons gives another superb and underrated performance in M Butterfly, an elegant adaptation of the Broadway hit by playwrightDavid Henry Hwang. Irons plays a French diplomat in China in 1964 whofalls in love with a star of the Beijing Opera, not realizing that theentrancing performer holds secrets that will ruin his life--that thesinger is a spy for the Communist government is only the beginning of thediplomat's troubles. Though M Butterfly may seem like a departurefor director David Cronenberg (best known for horror and science fictionflicks like The Fly and Scanners), the themes of desireand self-deception fit comfortably into his oeuvre, alongside hisadaptations of difficult novels like Naked Lunch and Crash.M Butterfly, like the more popular movie The Crying Game, isa cunning examination of love and denial. Also featuring John Lone (TheLast Emperor). --Bret Fetzer ... Read more

Reviews (16)

Tragic and sympathetic characters caught up in history
This 1993 film is based on the true story of French diplomat, Rene Gallimard, who carried on an affair for 18 years with Chinese opera singer Song Liling. Later, he was arrested when it was discovered he was passing diplomatic secrets to the Chinese government through his lover. However, there is a twist. Song Liling was actually a man, not a woman, and supposedly kept this fact from Gallimard through all this time.

Jeremy Irons is cast as Rene Gallimard. John Lone, who was actually trained in the Beijing opera and who played the title role in The Last Emperor, is cast as Song Liling. He is not a convincing female but I feel this was the director's intent. The story is, after all, about Gallimard's blind obsession in his desire for the perfect woman. Both Irons' and Lone's performances are magnificent. Both are tragic and sympathetic characters caught up in history.

The theme is also about the role of men and women as well as Communist China and the cultural revolution. Great cinematography and setting brings us to the heart of China which is going through its growing pains. Deception and betrayal are everywhere, not just between the two leading characters involved in the romance.

I was unprepared to like the video as much as I did. It did not do well at the box office, I knew the theme in advance and felt it would strain my belief system. However, I was swept away in the story and the excellent performances and had no trouble overlooking its flaws. Of course the author took dramatic license and created a ending that played like an opera, but who is to blame him; the story itself just cried out for theatrics.

Recommended as an interesting departure from the ordinary.

Cronenberg and Irons: Masterful
A bit of a departure for horror/sci-fi director David Cronenberg, but nonetheless one of his best films. Jeremy Irons plays Rene Gallimard, an accountant for the French Embassy in Beijing, who becomes infatuated with a Chinese diva (Song Liling), played by John Lone. After a passionate and scandalous affair, Song leaves Beijing, supposedly pregnant with Gallimard's child. Years later when he is arrested for espionage, Gallimard is forced to confront the fact that not only was his lover a spy for the Chinese ministry, but a man. Some people find John Lone's inability to completely pass as a woman problematic, but as Cronenberg explains: "I didn't want an unknown who was incredibly female and almost undetectable. I wanted a man. When Gallimard and Song are kissing I wanted it to be two men. I wanted the audience to feel that... M. Butterfly for me is about transformation.." For me, it's a brilliant exploration of the nature of curiousity and desire that necessarily ends tragically. The devastating notion that you can give up your entire life for something that is not true, that it's possible to fall in love with an idea, an image, a masquerade. Cronenberg abounds in his insights to imperialism, gender performance and the human capcity for transformation. Still, above all is the emotional intensity of this film, his best (in that regard) to date. Beautiful cinematography and exquisite acting, earns five stars for the closing scene alone. Highly recommended.

Breathtaking
I don't think anyone could have done justice to writing the screenplay to M Butterfly (based on David Henry Hwang's stage play) than Hwang himself. While it is a bit of a departure from the 1988 play based on the true story of a French diplomat who falls in love with a Chinese opera singer and the disastrous outcome of their affair, as a film it could not have been done otherwise.

Jeremy Irons, a wonderful actor no matter what role he plays, makes for an astounding Rene Gallimard. Less sarcastic than John Lithgow, who created the role on Broadway, Irons gives new depth and intensity to the frustrated, naive accountant. The dramatic depth to John Lone's Song Liling is equal to Irons and equal in departure from BD Wong's somewhat giggly Broadway portrayal of the Chinese diva.

A great deal of "s" words can be used to describe David Cronenberg's film, the top of that list including subtle and sexy. The tone is set, mostly, by the score--which includes traditional-sounding Chinese music and variations of Puccini's Madame Butterfly (especially the recurring theme of "Un Bel Di")--and the scenery (shot in the Far East and Budapest). The ubiquitous soft red and gold tones add to the seductive, nearly erotic edge of the film, all of which culminate at the end.

I don't want to give any of it away, mainly because when I saw the movie I had already read and seen the play, and there is so much more meaning to realize the end with Rene, but I will say that it is moving to the point of tears. Not necessarily because of the outcome, but more in how the actors play it and how the director has realized it. If you have ANY interest in purchasing this film (especially if you have any experience with Hwang's stage play), by all means buy it. It won't disappoint.

Who's French??
Yet another spectacular tale of love and maddness with a Freudian twist by the great David Cronenberg. There are some slight flaws with the film such as a cast portraying French people, none of which sporting French accents. But I suppose thats better than trying to do a French accent and it being inconsistant. All-in-all though, a really great, really strange (though not as strange as some of his other work) surprisingly poetic movie. Definately a must see for fans of Cronenberg and Jeremy Irons alike.

Moving
Considering that it was a Cronenberg movie, I found it surprisingly normal and accessible. I also found it thoroughly engrossing and much more emotionally satisfying than I's expected, given some of the reviews. Jeremy Irons gave his usual pitch-perfect performance; perhaps this film was something of a warm-up for his playing Humbert Humbert in the similarly themed Lolita. However, I was blown away even more by John Lone. He wasn't as convincing as a woman as he might have been, but that really wasn't the point, and when you see his transformation to his true persona at the end of the film, the sheer contrast, and the conviction to both the performances, should prove just how talented he is.
Overall, I found an unexpected treasure here; what from the box could have been a overwraught weepy sex-drama was actually intelligent, emotionally truthful, and well made. ... Read more

Reviews (12)

Not the fun kind of chicken ranch...
Ok, to start with, yes, this movie was so funny I choked. Like the other reviewers, I only bought it for my precious Bob. To answer some questions you may have, no, the main character and Bob do not get it on in the hay, because she's not that smart. No, the main character does not die a fiery death, because the producers aren't that kind.
Bob Dylan goes through the entire movie with an "I hope you all die" expression on his face, which is perfectly suitable considering the lines he's being forced to say.
Rupert Everett is all broody and sensitive and painfully boring in this movie and he made me want to hang myself. The only problem is, you can only hang yourself once.
Any music in this film that doesn't come from the mouth of Bob is painfully bad, so have that remote control handy.
Would I buy it again, you ask? Sure, if only to see Bob screw with his image yet again.

Soooo bad - it's good!
If you're a Dylan fan, you should see this just to watch Dylan humbled. Dylan plays an retired rock legend (Billy Parker), who gets friendly (no, nothing happens) with a young female musician...takes her to England with him to play a gig, where they meet a rock star/Parker fan (Rupert Everet). She falls for Everet, blah, blah, blah. The film is cheesy. If you can imagine a circle, with good on one point and bad at the opposite end, picture this film at the bad end...but it is so far into the bad side of the sphere it ends up on the good side. Yeah! It's really that bad. The female singer - Molly (played by Fiona) starts out with some musical integrity (she at least plays guitar) but by the end looks and sounds like Tiffany (who I vaguely remember...but I could be wrong what with being a small child in the late 80s). The Everet character (Colt) plays the classic cliche of what a male musician is - sensitive, moody, drinks to excess (I can't belive they didn't address his alcoholism), and likes to wear more make up than your average model. Oh, and the Dylan character is slightly pedophilic. Molly says she's 18 (which I don't think Fiona was) and Dylan is quite a bit older - he wants her but tries to stay away...tries to protect her but in the end I think he decides he'd like to hook up with her anyway (despite what he says to her in begining of the film). Oh, and before I forget, check out Molly's drummer...the hulking blonde...esp the scene where they get to America and he kisses the floor and shoves a groupie. I chalk this film up to Dylan messing with his image and screwing with the public...at least this funny...the victoria's secret thing just makes me sad.

Make Sure You Get The Right Video
I thought I was getting Bob Dylan, but Clevon Little's Movie instead; if you're buying used make sure you're getting the right one. I wasn't one of the lucky one's and would like to spare someone else the same (Jack) Fate :O)

Almost pure camp fun for Dylan fans...
...except you will need to use the fast-forward button on your remote when Bobby isn't onscreen. He performs a song called "The Usual" that's still in my head after only seeing it once! I heard it wasn't written by him, but I'm sure he does it justice like noone else can in this film.

Oh, and I love the little serenade in the barn at the end.=)

Another thing is I really like Fiona Flanagan's music, which of course helps when you're watching this..a cool chick.

Peace out,
R&C

Don't Shoot Me-I'm Only a Chicken Farmer!!!!
The Late Victor Mature once said he'd been barred from a certain club on the grounds he was an actor. Vic asked the club if they'd ever seen him act! Sadly, Bob can't (act that is) though he remains the enigmatic (musical) genius he's always been. Only highlight is a non-Dylan song-John Hiatt's "The Usual" which sounds like it was written for Bob!
Apart from that, the thing tanks bigtime! ... Read more

Amazon.com

A project developed by the late François Truffaut but leftunrealized by him after his death, The Little Thief was completed by French filmmaker Claude Miller (The Accompanist) and partially revised in script form by several writers. The result is a slight hodgepodge of story ideas about an adolescent girl (a strong performance by Charlotte Gainsbourg) intrigued by adult mysteries, anxious to lose her virginity, and dabbling in petty crimes until she is caught by the law. After a somewhat rocky first act, the film settles into a strong groove and begins to feel very much like Truffaut in his prime. The poignant and witty (if somewhat abrupt) introduction of the idea of the heroine rediscovering the world through a camera lens--and being saved from her wayward existence by the discovery--can't help but make fans of the New Wave pioneer misty-eyed. A good movie, full of ghosts and sweet memories. --Tom Keogh ... Read more

Reviews (3)

Truffaut's "Unfinished Symphony" Beautifully Realized
More so than most directors, Francois Truffaut drew on his personal experiences (e.g., "400 Blows") in crafting cinematic tales of the pain and pleasure of growing up. "The Little Thief" began as a script idea of Truffaut's in the 1950s, but had never been realized at the time of his untimely death, in 1984. Janine (Charlotte Gainsbourg) is a 15-year-old girl, growing up poor in postwar France. Janine is in a hurry to grow up. But to Janine, who survived as a street urchin during the Nazi occupation, growing up means stealing and getting away with other such petty crimes and losing her virginity ASAP. After being run out of town by the local gendarmes, Janine goes to work as a maid in a rich couple's house and eventually falls in love with an older, married choirmaster (Didier Bezace), who tries to steer Janine away from crime and towards a productive life. Although she finds sex with him exciting, he is much older and their difference in maturity eventually drives the couple apart. Janine then falls in love with a young man, Raoul (Simon de la Brosse), who is from the lower classes, and influences her to drop out of school in order to pull off a heist during a dinner party held by her employers. After getting arrested and landing in reform school, Janine comes to realize that growing up is not all it is cut out to be. She begins turning her life around when she meets a fellow inmate, who teaches her about photography and darkroom printing. After escaping from the reform school, Janine finds that she is pregnant with Raoul's baby. Again, she wants to run away from her problems, and returns to her hometown to visit a back-alley abortionist. But Janine has no money, so the abortionist demands Janine's twin-reflex camera as payment. Assessing the situation, Janine realizes that she's been handed a sucker's deal; She will only end up without a camera and without her baby. So, Janine commits one last crime: She steals back her camera, decides to have her baby and straightens out her life, accepting responsibility for her actions.

The feel of the movie is dead-on for capturing postwar France in 1950: The costumes, the sets, the automobiles, the Pathé newsreels and the period music all conjure a bygone era with style. Alain Jomy's impressionistic soundtrack recalls the best scores of Georges Delarue.

"The Little Thief" is a poetic, beautiful, moral tale, but never moralizing. It's easy to relate to Janine's predicament, the urge of the adolescent to break the chains of society. Director Claude Miller uses this fable to teach the important lesson that one can only learn from life by having lived it.

It has its moments...
Charlotte Gainsbourg is excellent as the "little thief". However, I found the movie a little boring. Till the end I waited for something to happen... and nothing did... It's somewhat interesting as a character study though, and the film has its moments. Francois Truffaut wrote the screenplay (original).

Not the Best Truffaut
I kept waiting for something to happen in this movie. But it's just the story of a girl, who likes to steal small stuff. I really expected more from Truffaut, who wrote the screenplay. Although I am not familiar with her work, Charlotte Gainsbourg, who plays the lead character, is fun to see. Not enough though, to recommend this movie to anybody. ... Read more

Amazon.com

Alexandre Dumas's classic tale of fraternal squabbling makes a more than satisfactory transition to celluloid with this 1976 made-for-television swashbuckler. Viewers familiar with the more recent Leonardo DiCaprio version may be stymied at first by the non-MTV pace and the rather unhip presence of Richard Chamberlain in the lead role(s). This well-lensed actioner overcomes a somewhat pokey first half to emerge as a terrific adventure, complete with plenty of derring-do, some sharply pointed dialogue, and a wonderful performance by the incomparably malevolent Patrick McGoohan. Rousing fun for burgeoning rapscallions of all ages. Director Mike Newell would later find success in a different genre with Four Weddings and a Funeral. Ian Holm, Louis Jordan, and Ralph Richardson round out the embarrassingly rich supporting cast. --Andrew Wright ... Read more

Reviews (9)

ONE IS CRUEL - THE OTHER IS A JEWEL -WHO WILL RULE?
THE MAN IN THE IRON MASK, is the most exciting of the Alexander Dumas classics. The multi-talented Richard Chamberlain, gave one of his finest performances playing dual roles - King Louis XIV and Philippe, twin brothers with totally different identities and destinies. Chamberlain showed his dazzling acting range, portraying the evil, mean-spirited, cruel Louis, who is absorbed by his own pleasures; while simultaneously portraying his kind and generous twin brother, Philippe, who has been hidden away in prison, encased in a miserable iron mask. The tall, lean, actor is ideally suited to play royalty, with his regal bearing, commanding voice, and ability to wear with dignity, the lavish royal period costumes, with their ruffles, wigs, capes, and plumes. The actor's tour de force comes in the movies climactic scenes, when Philippe must pretend to be Louis. He was brilliant, playing a character who must act like another character, when he himself has created both characters. The actor's beautiful face, should never be hidden behind a mask of any kind, for Chamberlain makes full use of his facial expressions to grip our emotions, when he first meets his Queen Mother. The face bespeaks the tragedy he has suffered; in his eyes, we see the loss, regret, and deep despair. This emotionally charged scene is delivered powerfully by the savvy and classy actor, bringing his audience to tears as they behold his deep sorrow. This great story held me captive and spellbound as the cast of fine actors, led by the ever-inspiring, incomparable, Richard Chamberlain worked their magic. As this classic thriller reaches its climax, one brother will ascend to the throne, the other will be imprisoned for life. One is calculating and cruel, the other a gentle and generous jewel ......which one will rule?

Good, Sober Realization
I just like the story line. The ending emphasizes the "what goes around comes around" idea.

Excellent scripting, acting, and dialogue
In an age where action is becoming more important than story, this version of The Man in the Iron Mask has refreshingly excellent acting and dialogue.

Chamberlain did well in this movie in his dual role, and equally well the other TV movie he made at nearly the same time, The Count of Monte Cristo. Patrick McGoohan and Ralph Richardson could not have been more perfectly cast as the dishonest Fouquet and the scheming Colbert, respectively, and the acting all-around was superb.

The score was decent, but entirely forgettable. The action scenes will excite no one, as all fighting is done with obviously plastic swords, and very little dramatic dying goes on. Most of the action and fencing goes on in court, which the ensemble cast (thank God) proved fully capable of doing.

And that, of course, is where this film really shines: at the court of Louis XIV. The pomp and cruel subtleties are conveyed very well, and the unattentive viewer will probably miss a lot. The royal 'we' is employed unselfconsciously by Newell, whereas the latest adaption seems hesitant to use such a little-known speech mannerism with the "uneducated" public. In one particularly well-done scene, Fouquet reveals to Louis that his brother, Philippe, is still alive. While initially respectful to the King, Fouquet asserts his power over Philippe, and thus over Louis, culminating in sitting down while Louis remains standing, normally something that Louis might be fickle enough to execute someone for.

If you want great acting and story rather than great action, this movie comes highly recommended.

Great Story, Scenery And Acting,
I didn't read the book yet. So I can't say how this movie compares to the book. I felt the Dicaprio version was fairly good. But I honestly prefer this version. This movie is not exactly Mel Gibson's "Hamlet" or Peter O Toole's "The Lion In the Winter." But it is a wonderful classic to be enjoyed and treasured. The scenery and outfits are both beautiful; but the images in this movie are fairly nice. The actors carry out their roles with great life and dignity. Chamberlain does well at portraying both the tyrant and suffering innocent. McGoohan is excellent as the king's effective servant. (Despite his evil nature, he does carry a charm, and at times it is easy to like him.) The humiliated wife of Louis XIV portrays her sorrow and frustrations well. In Mel Gibson's "Hamlet," Ian Holm portrayed the bumbling not so intelligent Polonius. But in this movie, he shows that he can also portray a shrewd, capable, and intelligent plotter. This movie is proof that action has it's place, but it is the script writing and acting that make the movie. Although there is not much action, the story is never boring. Even comical moments are well placed here and there. For those of you reading this, it may interest you to know that in reality, the mask was soft velvet; he lived in lush accomodations; he was very well treated and given anything he asked for; his guards were even known for being very respectful to him. To top it off, scholars are undecided as to whether the velvet masked man was of royal blood. Some actually think he was a playright! But if we are willing to forget historical reality, this movie is a timeless classic. ...

A really good movie
I've never read the book, so this movie seemed really good to me. I don't know if it's accurate to the book or not, but I liked what I saw. Richard Chamberlain did a wonderful job, along with Patrick McGoohan as the evil Rouquet. It's very exciting and at the climax of the movie when the true king must be chosen, it's very nerve-racking. I recommend this movie to anyone who likes historical fiction and excitement. This was a great movie. ... Read more

Amazon.com essential video

The prestigious filmmaking trio of producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala had made other critically acclaimed films before A Room with a View was released in 1985, but it was this popular film that made them art-house superstars. Splendidly adapted from the novel by E.M. Forster, it's a comedy of the heart, a passionate romance and a study of repression within the British class system of manners and mores. It's that system of rigid behavior that prevents young Lucy Honeychurch (Helena Bonham Carter) from accepting the loving advances of a free-spirited suitor (Julian Sands), who fears that she will follow through with her engagement to a priggish intellectual (Daniel Day-Lewis) whose capacity for passion is virtually nonexistent. During and after a trip to Italy with her protective companion (Maggie Smith), Lucy gradually gets in touch with her true emotions. The fun of watching A Room with a View comes from seeing how Lucy's thoughts and feelings finally arrive at the same romantic conclusion. Through an abundance of humor both subtle and overt, this crowd-pleasing "art movie" rose to an unexpected level of popular appeal. The Merchant-Ivory team received eight Academy Award nominations for their efforts, and won the Oscar for Best Adapted Screenplay, Art Direction, and Costume Design. --Jeff Shannon ... Read more

Reviews (114)

Merchant/Ivory bursts onto the scene
One of the most charming films of the last century was this chamber love story. Extremely literate and intelligent, this Victorian story is easily accessible as an extremely well versed John Hughes could easily write the simple boy-meets-girl storyline. Fortunately for us, he was unavailable and the resulting film, made outside the Hollywood Studio system, avoids many current clichés and uses smart character to propel the story. Well, this is a Merchant Ivory film so propel might be too big a word. There films are usually soft character driven stories with a lack of speeding cars, ricocheting bullets or clever profanity. If you can tolerate small, romantic character pieces, this is one of the best. Great performances by Denholm Elliot, Maggie Smith and Judy Dench sturdily support the love triangle of Daniel Day Lewis, Julian Sands and the phenomenal Helena Bonham Carter. With beautiful classical music and nice cinematography, this view is a pleasant one. The DVD has a shaky video transfer and sufficient audio. It offers no extra material.

ELEGANT, THOUGHTFUL, FUNNY...A MASTERPIECE YOU NEED TO OWN!
This exquisite classic of Merchant-Ivory is sensually explores the struggle between the tight exterior of the British upper crust and the seething passion that lurks just beneath in the increasingly powerful middle class. You've seen a movie or two for sure that veer around such themes, but very few films have captured this combination of class struggle and personal liberation any more evocatively!

Our protagonist is a young, passionate and repressed Miss Lucy Honeychurch (Helena Bonham Carter in possibly her best role ever) who exemplifies this unspoken inner-outer conflict. As she struggles between what is expected of her, to marry the effete and obnoxious Cecil Vyse (Daniel Day Lewis in a richly textured performance), and what she really wants, to be with the yearning, romantic George Emerson (a soft and unfocused Julian Sands) Miss Honeychurch must juggle class concerns and personal desires.

As with any Merchant Ivory product, the all-round cast is vivid and intriguing. Maggie Smith never leaves a dull moment in any of her movies, a credo she maintains here as well as Lucy's nervous and confused escort -- for which she received a well deserved Oscar. As George's bewildered and sweet father, the marvellous Denholm Elliot steals every scene in which he appears. Lastly, Simon Callow as the ebullient, robust Reverend Beebe captures all that is good and true about humanity.

A word for the DVD. The cinematography in this movie sparkles, and the DVD does complete justice to Ivory's camera skills -- the shots are so pure you will want to taste the dew resting atop the grass in the sumptuous English gardens.

What a complete movie, full of life, love and hope! Highly recommended for your collections, you'll watch this more than once.

They do not come better than this
James Ivory's "Room With a View" is a tour de force. Adapted by Ruth Prawer Jhabvala from the novel by E.M. Forster, "A Room with a View" is a shining example of Merchant-Ivory's ability to achieve maximum quality and opulence at minimum cost. It shows the life of Lucy Honeychurch starting from Italy, going through England and ending in Italy. This is a thoughtful movie that requires one to understand the standards of England then to realize that it is fighting against the set rigid style of life. This style of life is eternal and can be seen in movies like "Guess who is coming to dinner". Denholm Elliot raises his son to not care about anything but truth and beauty. The acting and screenplay is wonderful. Daniel Day Lewis does a superb job as Cecil. Judy Davis is superb as the novelist, Eleanor Lavish as is Maggie Smith.

Even the humor in the movie is unusual. When the English chaplain in Florence, Mr Eager shows a chapel and mentions, "Remember that this was built by faith in the full fervor of medievalism", it prompts, Mr Emerson to say, "Faith indeed. It simply means that the workers were not paid well." The movie has understated humor that is refreshing compared to the usual slapstick. Scenes were the brother and sister are together are especially funny.

A lot of people found the movie too slow. Well, this is not a cop movie, it requires one to think about what goes underneath each person. The movie is based on one of the special books that breaks down class distinctions, though it is subtle and dignified. I personally felt that this was the best movie of the year and easily bet "Platoon" in its class. A winner of three Academy Awards, "A Room with a View" is not what one could call fast-moving, but fans of the Merchant-Ivory team will enjoy luxuriating in the film's leisurely pace and stimulating cast of characters.

One of my favorite films!
I saw this film when it first came out, in the theater, and it has remained one of my favorite films. It was the first film I bought when I got a VCR. This is one of those elegant Merchant-Ivory productions (which also include Maurice and A Passage to India, other E.M. Forster adaptations to film) that sets the late Victorian/early twentieth century world in upper- to upper-middle class England in such gracious light.

The stars of this film include Helena Bonham Carter as Lucy, the heroine, and Julian Sands as George Emerson, her free-spirited suitor, who shocks everyone by doing such risque things as running around without a jacket, or kissing someone (willing) in a field of poppies. The official suitor of Lucy is the stuffed-shirt Cecil Vyse, whose personality seems like it is jammed in a vise. There are great performances by Judi Dench (as a conventional free-spirit, one who likes to be freespirited but not at the expense of reputation), Rupert Graves, Simon Callow, Denhom Elliot, and an outstanding performance (as always, she just has to walk on the set and the film gets an extra star) by Maggie Smith, as the gossipy and fretting aunt and chaperone to Lucy, who eventually comes round to recognizing and rejoicing in the true love of Lucy and George.

The sets are beautiful, the costumes all very much a part of the period, as are the small touches that make up the style of English society that Forster was trying to expose and celebrate in different ways both at the same time. The music is enchanting, with the glorious opera piece "O Mio Bambino Caro" sung by Kiri te Kanawa.

Are you serious?
I heard such wonderful things about this movie and was really looking forward to seeing it. I had a couple friends over to watch it and out of the four of us I was the only one left awake to see the end. I was so disappointed. The movie was too long and left me feeling cheated at the end. So gald I didnt buy it. Rent it first before buying... ... Read more

Album Description

Exclusive 2 DVD Canadian version features, Q & A with Roman Polanski, Production Diary, The Warsaw Ghetto - Historical Background, Wladyslaw Szpilman Biography, Filmographies, Bonus Audio Tracks from the Sony Classical CD Soundtrack, Soundtrack spot, 'Story of Survival' Featurette, Theatrical Trailers, Television Spots including Adrien Brody Interview Segments, Poster Gallery, Photo Gallery & Director's Note. Widescreen Version. Aspect Ratio 1.85 1. Dolby Digital 5.1, DTS 5.1. Region 1/NTSC. ... Read more

Reviews (281)

Intense Life Story During the Holocaust
"The Pianist" is one of the top 10 best films of 2002. It was rightfully nominated for seven Oscars, including Best Picture, going on to win three: Best Director, Best Actor, and Best Adapted Screenplay. Its true story of world-famous pianist, Wladyslaw Szpilman, who struggles for his life during the Holocaust is very powerful, yet brilliant. The hardcore drama begins the moment his passionate music career becomes threatened by Hitler. Its material is close to as graphic as the actual conditions, which is how it should be displayed. Such intensity, which is never lost for a second, guarantees an emotional reaction. All the emotions in the scenery and through the characters are heartpounding through Szpilman's entire unfortunate journey. The immense research of these events is present. The writer's own heart and soul was written in every word. This project was wonderfully led by Roman Polanski's brilliant vision. His directing talents answer why he deserves his legendary status.

The set scenery is as accurate to the actual buildings and living conditions of Europe in 1939-1945. The hard work through the construction paid off, adding extra living intensity. The clothing worn in the movie adds the necessary emotional value that keeps audiences watching. All other physical details in this film are also flawless, namely the make-up and the dirty scenery (dirt, burns, blood, etc.). The musical score was composed beautifully, blending perfectly with every scenes' particular mood.

The performances from all the actors are beyond words. Adrien Brody beautifully portrays Szpilman in his career-launching role. His every drop of heart and soul are obviously presented through his character. This is one of the best Holocaust movie roles in cinema history. His talents prove that he'll be around for many more years. A few other actors could have received Oscar nominations for their supporting roles without critic complaints.

"The Pianist" is a great movie for entertainment and education. This future classic is sure to please many audiences. Those looking for more perspectives on the Holocaust should also watch "Schindler's List", which offers a more graphic look.

One of the best films ever about the Holocaust.
In an earlier review, I proclaimed "Chicago" the best film of 2002. Now I realize my judgment was hasty: "The Pianist" is really the year's best film. Roman Polanski has fashioned a horrifying, deeply moving film based on the life of Wladyslaw Szpilman, a Jewish pianist who manages through the kindness of friends and strangers and the sheerest strokes of luck to survive in Warsaw during the six years of World War II. Polanski's understated style makes the horrors he records all the more powerful, as Nazis matter-of-factly murder Jews in the street for no other reason than that they can. Polanski actually lived through these atrocities, and makes them absolutely real on the screen. Polanski also had the enormous luck to find the perfect actor to play Szpilman, the young American actor Adrien Brody. With his soulful eyes and aquiline, otherworldly face, Brody was born to play Szpilman; in a performance that is nearly wordless through long stretches of the film, he moves us to tears. Brody brings Szpilman to breathtaking life, a decent, reasonable, exceptionally talented man in a world where decency, reason and talent count for less than nothing. In the early portions of the film, Brody bears more than a passing resemblance to portraits of Chopin; toward the end, long-haired and scraggly-bearded after years of hiding in bombed-out buildings, he looks like Jesus on the road to Calvary. There is one scene in which, ordered by a German officer to play, Szpiilman plays a Chopin ballade--the first time he has touched a piano in years. The performance, technically choppy but impassioned, reaches heights of emotion the cinema rarely achieves. This moment, and many others in the film, are magnificent testaments to the artistry of Polanski and Brody. At the end, it's not that you shouldn't leave before the credits are finished rolling, as Szpilman returns to his old life at the end of the war, playing Chopin's Grande Polonaise with the Warsaw Philharmonic, the beauty of the performance and the human triumph it represents leave you transfixed in your seat. No other non-documentary film about the Holocaust--not even "Schindler's List"--has moved me as deeply as "The Pianist."

For shame
Even though barely deserving a rebuttal, some of the reviews here are so beyond asinine that I cannot restrain myself, particularly with regard to those reviewers who had the gall to call Mr. Szpilman a coward. Mr. Szpilman risked immediate death every time he helped to smuggle a weapon or ammunition into the ghetto. The ghetto uprising itself was essentially a suicide mission, and everyone involved probably knew that. So Mr. Szpilman was a coward because he wanted to live, then? How dare you. While I don't believe that any work of art should be above criticism no matter what its subject matter, I have not read a single negative review here that has any remotely intelligent criticism of this film whatsoever. They pretty much describe it as "boring" or "another Holocaust movie." Schmucks. One reviewer couldn't even remember the protagonist's name, yet had no shortage of would-be scathing things to say about the movie. Almost as absurd are the unfavorable comparisons to "Schindler's List." Yes, Oskar Schindler was a great man, but the very straightforward good vs. evil nature of the subject matter must have appealed to Steven Spielberg's very American sensibilities. "The Pianist," on the other hand, boldly treads a ground that is decidedly messier, morally less clear-cut, and I think that only a man like Roman Polanski, who understands the particular time and place where these events transpired, could have made this film. And Adrien Brody fully deserved the Academy Award for this performance. And, yes, he does spend a good deal of time searching like a "rat" for food. What do these buffoons think it means to survive in such an environment? Idiots. Anyhow, this film is a masterpiece, an artistic triumph of the highest rank. The naysayers have not been able to level a single legitimate criticism against it.

Some lied when they vowed "Never Again"
For the record, let me comment on Dennis Littrell on his same review of this film. I find his opening statement repulsive, as he used the persecution of Jews during WW II as an excuse to justify Zionist persecution against the Palestinians here. Littrell is solely wrong if he thinks The Pianist is a film of Jewish supremacy overcoming all odds. Adrian Brody commented that in Szpilman's book (which this film is based), he narrates his experiences in an objective view. There were not just evil Nazis running around persecuting Poles and Jews, but there good Poles and bad Poles, good Jews and bad Jews and even good Germans among Nazi ranks. Even Polanski allows this in his film, where poor and suffering Jews complain of rich and influential Jews doing nothing to allevate their suffering. You can see the extreme contrast of rich and poor gap where you see the Jews in the restaurant where Szpilman plays the piano and the streets where you can see corpses lying on street, victims of starvation.

In the beginning of the film, the Germans have invaded Poland and the Szpilman family are adjusting their lives to the new ruling of the Nazi Germans. They find their living conditions deteriorate as they are hustled away from their comfortable home to Ghetto and finally to the "melting pot". We see two brothers conflicting with each other as Hendrik, Szpilman's brother did not like the way he supposedly grovel to the authorities and using his privilage as a famous pianist which many Jews may envy. Even Hendrik was ungrateful when his brother freed him from prison. "Are you mad?" Szpilman asked. Hendrik's reply was "That is also my business."

Szpilman's influence was so great that he was spared when his family was sent off to the gas chambers. He lost every one of his family and when he goes back to the Ghetto where virtually all Jews were wiped out, here is a man completely devastated. We see the second half of the movie being akin to The Fugitive where he wriggles away from the claws of ever-suspecting Nazis.

When caught by Captain Wilm Hosenfeld and asked to play the piano, he plays the piano for the first time in a few years he had to be in silence for fear of alerting those around him (in apartment where he lives, he cannot play the piano as to alert everybody around him that there is a hiding Jew). This is one of the most redemptive scenes in the history of film, Szpilman plays the Chopin's Ballade reflecting the ordeal he went through. It is akin to Furtwangler conducting the great Beethoven Ninth in 1942 with battlefield sounds heard from distant.

At this age, where we cannot foretell the conclusion to the Middle East conflict and Americans squandering up their operation in Iraq, the pathetic music of MTV is contrary to music in Szpilman's time. Great music can only be created with great suffering. Gustav Mahler said that if his life flows like a calm meadow, he would not have the ability to compose anything. The classical music age has lost it's Szpilmans, Furtwanglers, Menuhins and the like. When another horrific World War comes, will there be another artist like Szpilman? Time can only tell.

A Stunning Achievement
The depiction of the brutality of the Nazis toward the Jewish population of Poland is heartbreaking and unforgettable. This film captures the range of emotions that a family experience as they subjected to the gradual increase in persecution that ultimately leads to Treblinka.
Adrien Brody is a marvelous actor and is perfectly cast as Spilmann the famous pianist who is the only member of his family to survive. Spilmann's Survival depends on the kindnes of others who take great risks to protect him. Thes heroic acts are contrasted with the forementioned brutality of Germans to great effect in the film. A final act of redemptive kindness by a german officer near the end of the war brings the absurdity of the circumstances we have just witnessed into full relief.

Based on Spillman's memoirs , the film is very accurate relative to the book. The cinematography is astounding, particularly the transformation of Warsaw to a spectoral ruin where Spillman struggles to survive. The movie is well acted, well written and shocking in it's realism.

IT will leave you numb if you haven't seen it yet. ... Read more

Reviews (17)

Most exiciting charge ever filmed
"The Lighthorsemen" was an exciting action romp when I was a little kid, and owning a rare video copy of it and watching it as an older lad it still excites me. I also get a better appreciation for the humor and war drama this film presents.

The storyline focuses mainly on a small group of soldiers in the Australian mounted infantry of World War I and their commanders. One new lad straight from Melbourne has a problem: he can't find himself able to shoot the enemy. This climaxes in a scene where a wounded Turk nearly kills him with a sword. Eventually his friends encourage him to join the medical detachment of the unit.

Meanwhile, General Allenby is placed in charge of British forces in Palestine after Sir Archibald Murray's latest blundered attempt to take Gaza. Realizing his troops are low on water and the German officers are expecting another attack on Gaza, he chooses instead to strike at the other end of the line to take the wells of Bersheeba. It is here that the Lighthorsemen will make their fated charge against the Turkish trenches.

The film has a strong sense of historical accuracy. An earlier film of the same charge had the Lighthorsemen riding on their horses holding their rifles held up. In actuality, they attacked with bayonets as they had no swords - this was correctly portrayed in this movie. They also show the Turkish infantry forgetting to check their sights - a very important aspect because it caused them to shoot above the Australians' heads and miss them completely! They also give a great depiction of Meinertzhagen's brilliant ploy of placing a fake letter from a soldier's wife in a folder with fake plans to attack Gaza. The Central Powers fell for it and thought the main thrust would come at Gaza again.

The climactic charge is obviously the highlight of the movie. It is furious, with many close-ups of the riders and the horses' galloping legs. I wish this video copy was widescreen, because they really do give some great wide shots of the entire line of charging horsemen. The intercut scenes of Turkish artillery men rapidly lowering their artillery guns give a heightened sense of anxiety. There are also, for what it's worth, some nice point-of-view shots, which include what it's like to fall forward off a horse and what it was like to watch the Lighthorsemen leap right over you.

Oh yes, I almost forgot: the music in this is beautiful. It's a very good theme and I'm surprised it's not more famous. I've heard the theme for "Gallipoli" played more times, but that isn't even an original theme.

This is indeed an underrated war film classic. If you like war films, or you're looking for World War I films, check this out. I'm hoping some day the Australian company will be nice and give us Americans a DVD release in our region. Please? We love you!

Fine Film -- But Let's See All of it When it Comes to DVD
This is a fine film about Australian participation in World War I in the Middle East. I find it preferable to the better-known Aussie military releases "Gallipoli" and "Breaker Morant," and would certainly have given it five stars if the editors hadn't cut so much of it back for the US release on video. Please, Hallmark Home Entertainment, when you make this film available on DVD (which I hope you do soon), use the full-length version -- either the original 144-minute release or at least the 131-minute release available on the Australian DVD (Region 4 encoded, so it won't work on many US or US/UK players). This US-release video is only a skimpy 116 minutes! If you absolutely must cut to a shorter length because you think US attention spans are incredibly short, at least make the excised scenes available elsewhere on the DVD and easy to insert where they belong in sequence. That said, however, this is a fine, spectacular rendition of an exciting episode in the history of WWI that is a joy to watch. Just show us ALL of it next time!

One of the greatest cavalry charges ever
As many other reviewers have pointed out this is a fantastic film and one that should be seen by anyone interested in horses in wartime. The real issue is how to see it at it's best. If you want to see all of it the only choice is the American release on laser disc. This is in the full original widescreen of 2.35:1, but of course has analogue video and on the big screen it is quite grainy. The recent Australian release on DVD is a disgrace. It has good digital video but is cut to 1.78:1 and critical parts of the film are of course cut off. They have minimised this slightly by opening up the top and bottom a little so I suppose the actual cut may be nearer 1.85:1 but the grand vistas REQUIRE the full 2.35:1. The famous charge looks ridiculous at the cut back ratio. One can only hope that whoever has the rights to this film in the US will do the right thing and give us a deluxe full size release as soon as possible. I am sticking to my LD despite it's shortcomings. The Australian DVD will be better than tape but whoever decided to issue it in such a truncated version should be ashamed of himself.

The Lighthorseman
This movie is based on an ealier 1940 made movie by Charles Chauvel called "40000 Horseman". This has THE classic charge on Beerasheeba, the last great cavalary charge in history when the Lighthorse rode over the trenches and moved on to Damascus putting TE Lawrence out of joint. Damn Colonials!! 40 Thousand is probably hard to get now but copies are still around. It was Chips Rafferty's first movie and bits are corny but the B&W scenes of the desert column moving across the sands to the tune of Waltzing Matilda bring tears to your eyes.

More on "The Lighthorsemen"
Some US viewers have wondered exactly what was cut from this epic movie in the truncated US version, minus 15 minutes! Well one immediate clue was the inclusion of the lady's name on the complete film credits found on who played Dave's Mother. After the scene of Dave at the station talking to the sgt on the trainload of horses & then unsaddling, jumping the gate & riding home, we lose the entire scene at the supper table when his mother, mute, worries about his joining up & his father says "If he wants to join, we can't stop him". A photo of his dead brother already kiled in action is in the backgound, but we don't know of this until later when the group are talking after tucker & Taz upsets Dave not knowing the brother is dead. Another important spot is just as the regiment is moving out, prior to the patrol when Frank gets shot, a Bedouin spy watches them ride off! Later still before the big push, Taz is writing a belated letter home to his wife & Chiller comes over to ask what his mate is doing? Taz is short with him & he backs off. This is perhaps our first intimation that Taz is at risk? The scene that follows when the postal orderly refuses to take Taz's letter & Chiller obliges, thus getting back in his good books I think WAS included in the US cut, now not too well understood due to the early part being missing. I need to run both versions side by side & compare them to be sure that the ultimate charge was not emasculated perhaps for US viewers as being too graphic??? There are some great horse falls & stunt riders' "deaths" falling out of the saddle at full gallop! One man has his bandolier of ammunition across his chest explode when hit by a Turkish machine gun bullet. In the fierce hand to hand trench fighting there's a Turk getting his throat cut by bayonet, others on both sides being bayoneted in the belly, the one horse seen being blown up in mid air was a rubber dummy. Suntmen even rode this for some shots I understand. When Simon Wincer reused the climactic charge in the "Young Indiana Jones" tv episode "Daredevils of the Desert", in the end credits poor Jon Blake was given a stunt credit for the fall he seemed to make when the nearby well blew up in Beersheba just before he found the wiring. It wasn't him! It was the lead stunter on the film. Of interest was the late eldest daughter of General Sir Harry Chauvel, who was both a well-known Australian writer of childrens' books & a wonderful rancher up into her eighties, loaned a copy of her fine book on the Light Horse to Wincer when he was preparing the film. The opening sequence of the horse round-up was shot on her family property with its magnificent scenery. In fact Wincer's much earlier film "PHAR LAP" was filmed on a race track adjacent to that property! I'm hoping he may be able to engineer a new DVD release of that classic racing film at least Down Under, as he has recently done with a much improved new DVD version there of "The Man from Snowy River", which he produced. Both his "The Lighthorsemen" & "Quigley Down Under" starring Tom Selleck seem currently to be undergoing a huge renewal of interest on the part of viewers in North America. Nobody can overlook his immense success either with the "Lonesome Dove" Us mini=-series or the two Selleck westerns. sincerely, John. ... Read more

Amazon.com

French documentarian Pierre Schoendorffer served as a combat soldier in Vietnam in the 1950s during France's quagmire. In the fall of 1966, he returned with a cameraman and spent six weeks with an American infantry platoon. This film, which won a 1968 Best Foreign Documentary Oscar, is stark and riveting. Commanded by a West Point graduate, Lieutenant Joseph Anderson, the 33-man platoon Schoendorffer traveled with was a cross-section of America. Perhaps as the film was shot relatively early in the war, the soldiers still seem motivated and even naive, though it seems to be dawning on everyone that their task may well be hopeless. Exhausting patrols to hunt the Viet Cong turn up nothing but deserted camps, and at one point when the platoon is taking heavy gunfire, you can hear an American yelling that he can't tell where the shooting is coming from. Schoendorffer refrains from making any political statements and offers only the most minimal narration to the black-and-white footage, none of which appears to have been staged for the camera. When the body of a young soldier killed in an ambush is loaded aboard a helicopter, the pain of the scene is palpable. At one point the platoon is shown getting a detailed briefing on a mission, only to have the plans abruptly change and the helicopters drop them into a battle where they have virtually no idea what their role is supposed to be. The Anderson Platoon doesn't tell you, it shows you, and this remarkable film resonates deeply. --Robert J. McNamara ... Read more

Reviews (9)

Not a Hollywood production...
Going through some reviews, I understand what their disappointment might be. This is not a documentary produced by Hollywood or by a major movie Cy. This is the result of 6 weeks shooting, on the field, with the troop, in the very conditions the soldiers lived then and there, a completely accurate picture of what their lifes really were. Some point out the low camera angle in some parts, but I guess the cameraman couldn't simply stand up and record whereas the Vietcong were shooting at them ! Risk was there and the movie team (three people) could be killed every moment...Just to show what the soldier's life is. Not more, not less. The american awards it received are simply telling how people liked it then, in 1966. This documentary is simply human. A must see.

Not Exactly a Documentary
Indeed, as a "This is what the entire Vietnam Intervention was like in its entirety" documentary, this falls far short. However, remove the "entirety" part, (which was probably never the goal, anyway) and "The Anderson Platoon" is revealed to be a brilliantly straightforward and nonjudgemental microscopic view of "a pawn in a much larger game." If one is beginning a collection of Vietnam Intervention nonfiction, don't start here; still, make sure to include this before the finish.

Six weeks with an infrantry platoon in Vietnam circa 1967
This documentary from 1967 won the Academy Award for Best Documentary Feature. Director Pierre Schoendoerffer focuses on an integrated American combat platoon of African-American and Hispanic troops in Vietnam commanded by Lt. Joseph B. Anderson, an African-American graduate of West Point. Schoendoerffer had served his own time in Vietnam, having been a veteran of France's Indochina war against the guerrillas of Ho Chi Mihn. Schoendoerffer spent six weeks with the platoon filming their search and destroy combat missions, interrogations of prisoners, life at the front, and visits to a local city on R&R. Narrated by actor Stuart Whitman, "The Anderson Platoon" provides a first hand record of what the war was like for the grunts, where nothing is more important that survival, not even friendship or completing your mission. What it shows us is often more mundane than profound, but the goal here is clearly to preserve a documentary record of what it was like in that time and place. The best thing I can say about "The Anderson Platoon" is that it provided a much better sense of Vietnam than "Platoon," or any other dramatic film I have seen. This may have to do with the shortcomings of Hollywood, which always seemed to be recycling World War II films to set in Vietnam, but I think it has more to do with the cinema verite of the documentary. No, it is not a great documentary, but it is a compelling record of simply what it was "really" like, more than most of us ever got to understand from the evening news or million dollar movies.

Highly Dissapointed
Although it was somewhat interesting seeing actual footage of an infantry platoon, I was very dissapointed with this film. It was far to short, however it seemed to drag on endlessly. There is only one action scene in the documentary at the very end, which is it's highpoint...as low as it was. I found it quite pointless to film a platoon in vietnam and then say, this person died two weeks from now...this person died four days from now..." I know that people died in vietnam, unfortunately, I still don't know how they fought.

Disappointing
I ordered this video based on the overwhelmingly high marks other viewers gave, but I cannot concur. Although some of the action scenes were enough to evoke strong emotion, overall the video is replete with irrelevant scenes like the ankle-level footage of the soldier's footsteps; bad music and nearly indecipherable narration. English subtitles would be a plus. I can't decide whether the high point was the soldier buying his "girlfriend" a guitar while on R&R, or the urination scene. ... Read more

Reviews (312)

See this movie after you have read the book
If you are interested in the turning point of the Eastern Front in World War II, I would encourage you to see this movie after reading "Enemy at the Gates" by William Craig.

It would be very difficult to capture the full essence of the Battle of Stalingrad as detailed in the historic masterpiece by William Craig. Film director Arnaud did a great job of creating atmosphere with special effects in the introductory scenes.

Why the writers created a fictitious story about a love triangle is not quite clear. It really does not add to the story line and discredits the film by needlessly altering historical fact. The ending of the sniper duel is pure Hollywood fantasy and a bit stupid. The German Master Sniper Konig strolls out into the middle of the street, in the light of day and Vassili puts a bullet through his brain.

Hollywood Bolshevism rears its ugly head here and there in the film by downplaying the brutality of the NKVD Commissars to Soviet men, women, children and German prisoners. All one has to do is read the Gulag Archipelago by Solzhenitsyn to get the real story of the brutality of the Communists.

The bloodthirsty hero of Stalingrad, Nikita Khrushchev, later nearly plunged the world into a nuclear World War III.

Great War Film
Based on a true story, this movie attempts to bring the climatic battle of WWII to life--Stalingrad. 1942 was the make or break year for Russian resistance to Hitler. Defeatism was abundant in the Red Army, they felt they couldn't win. Being a maniac also, Stalin needed the enemy to be halted at the city bearing his name.

Jude Law plays Vassili, the Russian supersniper who claimed 242 kills at Stalingrad. Joseph Fiennes is Danilov, the political officer who makes him a star--it seems in real life Danilov really was not terribly involved. Rachel Weisz is Tani Chernova, another sharpshooter and Vassili's love. Like many other people, I too had a problem with these British Russians, particularly Weisz--I kept waiting for Brendan Fraser and a mummy to show up.

The love story between Tani and Vassili is out of place in this film. Perhaps we were shown to understand that even love can flourish in the worst of conditions. The sex scene does seem terribly out of place.

Ed Harris is Major Koning, sent from Berlin to hunt Vassili down. In many books I have never found a Major Koning, but rather an SS Colonel Heinz Thorwald who hunted him down. Take it for what it is, there was a German sniper hunting him so let's not worry about the name.

The cat and mouse game which many seem to dislike is the best part. It's a struggle between two men, told through their eyes. The backdrop is impressive, fighting among the ruins of a once great city. This was some of the most savage fighting of the war and it is accurately depicted.

Some complain about historical inaccuracies---movies will always have them. The Russians may have been outproducing the Germans, but the supplies weren't reaching the troops. Guns and ammunition were in short supply at the beginning of the battle, which in when the movie takes place.

The Russians suffered casulties of 750,000 at Stalingrad, the Germans were defeated soundly for the first time and began their march backwards. Excellent film---pick up a book on Stalingrad and get the full story.

ETMR - Enemy at the Gates
1. Humanity: Stalingrad, with its torn buildings, dismal skyscapes, and eternal battles of gunfire, is almost more important than the sniper Vassily, the main protagonist. What does the landscape of the city tell you about the passions of men?

2. Implications: This film tries to pay credence to both the Russians and the Germans, while trying to play at their faults as well. It appears, however, that the film is still in favor of the Allies, from the distasteful humor in Major Konig toward his work, the ominous rows of sleek black German battle tanks, and the hopeful dancing of the Russian soldiers who knew they were to die. How does this movie paint the German personality? Do you think it is a valid statement?

3. Evolution: Cinema has seen many, many WWII films. From the blood and dust of Saving Private Ryan, to the practical jokes and youthfulness of The Great Escape, WWII films showcase a museum of human feelings regarding the Second Great War. Where does Enemy at the Gates fit into this grand tradition? How does it compare?

4. Realism: It's obvious the film tries to be realistic. The bloody battles and lost friends and gloomy atmosphere only emphasize and accent this theme. Yet there is a certain glee in the gun-battles, as if it were a video-game being played out. This is perceived in the cycling of snarpshooters beside Vassily the inevitable conflict between Vassily and Konig, the kill count papers, and the soap-opera love triangle between Danilov, Vassily, and Tanya. Do these elements become shortcomings, or do they flourish the film in its cinematic quest?

5. Stageplay: One of the first surprises of the film is that the Russian actors have British accents, while the Germans have German accents and speak English. How does this affect the atmosphere of the film?

visuals are fine - dialogue a crime
This film should have been great. Its clear that the director has a great eye for detail such as the the realistic Children's Fountain which matches the real life documentary footage of the battle. I can even overlook the fake CGI stukas which don't look quite real as well as the soldiers standing alongside the Panzerkampfwagen IV shooting their guns in a completely un-realistic fashion. At least the tank is not a Sherman with German markings which you so often see, so I was kind of impressed with that.

In fact I was pretty well captivated with this film ... until things started to descend into Buddy-Buddy-Movie hell where I was half expecting Zaitsev the sniper & his new chum the Political Commisar to start exchanging 'High Fives' & 'Home Alone' 'YES's. And add in a Hollywoodesque ubiquitous love triangle and I found the whole concept barely tolerable.

The dialogue is not the best I have heard, but the irritation factor is magnified by the Cockney accents which halted my suspension of disbelief.

The actors certainly try their best & if this film was the 'Rats of Tobruk' I'd be pretty pleased with their performance, but hampered by an appalling script & a clueless yet earnest director, they fall way short of expectations.

Its still worth checking out but to have repeated viewings is a asking a bit too much.

Love and Bullets
Wow! Who could have guessed that plucky little Vassili would get the drop on Hitler's top gun, spork the local hottie, make headlines, win medals, and even get a hug from Kruschev? Oh yeah, all the shots and explosions are because it happened during the Battle of Stalingrad. I give it three because there is a great deal of fabulous eye candy. ... Read more

Reviews (7)

MUST SEE
The subtle passion of this film is remarkable. It is a Martinez tour de force - every movement on screen is full and rich. There are few films that are as romantic as this one. For any one who is a fan of Olivier Martinez this is a MUST SEE movie; For anyone new to Martinez, THIS is the one that shows you he is a true icon of sensuality and the ultimate in French film today.

C'EST tres bon!

"It would be wonderful to die of love."
In the film, "The Chambermaid on the Titanic" French factory worker Horty (Oliver Martinez) wins the company's annual contest of strength (once again), but this year, the prize is a bit different. Horty is sent to Southampton, England to watch the launching of the Titanic. At first, Horty's wife, Zoe (Romane Bohringer) is thrilled because she thinks she will go too, but the prize is for Horty alone, so he leaves for Southampton, and Zoe stays at home.

Horty goes to the Southampton hotel where he is supposed to spend the night, and once inside his room, a beautiful young woman knocks on the door and asks if she can spend the night. Horty, at first refuses, but the young French woman appeals to his chivalrous side. The woman, Marie (Aitana Sanchez-Gijon), says she is a chambermaid on the Titanic. Since she's due to sail tomorrow and just needs a place to sleep for the night, Horty lets her stay....

Upon returning to France, Horty is greatly changed. His wife notices his altered demeanor, and soon a sulkily distracted Horty is down at the pub with his fellow workers. Someone notices that he has a photograph of Marie, and soon everyone wants to know who she is and exactly what Horty's relationship is with this beautiful mystery woman. When news that the Titanic has sunk reaches the factory workers, they frenziedly request Horty's story about Marie over and over again--and the situation becomes intolerable for Zoe.

The story is really about the blending of fantasy and truth. Horty and his fellow workers have no glamour or fantasy in their bleak lives until Horty begins entertaining everyone with his stories. Soon it isn't even important if the stories are true or blatant lies. What's important is the ability to weave fantasy. But there is danger in fantasy--as Horty discovers--fantasy has a way of getting completely out-of-control, and when fantasy take over your life, does fantasy then become reality?

This is a very clever and unusual film from Spanish director Bigas Luna. It is perhaps one of the most unusual foreign films I've ever seen--a very unconventional romance--packed with good, solid acting, a script loaded with surprises, and splendid cinematography--displacedhuman

Wonderfull movie.
A movie that you will no soon forget........extremelly romantic and sensual.

Fascinating and well played
I really recommend you this movie. It is refreshing, and fascinating. It transports you constantly between reality and fantasy. A beautiful story. To be recommended!

The authentic gem of cinematic Titanics
French films often depict life in far more realistic ways than Hollywood. This gem, which only incidentally deals with the Titanic tragedy, is an artistic and sensual protrayal of how the mind is even stronger than the bodily appetites when it comes to romance, passion, and perception. The film cleverly depicts how human emotions and behaviors are more influenced by imagination than by immediate physical action. Martinez has a gritty, sexuality that is rare in films today. He suggests that men might woo their women more successfully with words rather than more traditional machismo. The photography, screen play, direction, and acting are all first rate. This is one of the finest films to come out of France since Truffaut and Renoir. ... Read more

Reviews (40)

A World Turned Upside Down and Inside Out: Could You Survive
This is one of the best films in the genre--historial film from autobiography. Marco Hofschneider brings to brilliant life the story of Salamon Perel, a German Jew. From the days of Kristallnacht--the Night of Broken Glass, when Jewish businesses were trashed and vandalized throughout Germany, to his final reunification with his brother--to poignant to say more about this here...this is a cinematic masterpiece.

I've seen few films that capture the turmoil of adolescent identity and identification so well. True, the Nazi era is the backdrop, but the themes couldn't be more universal. In that respect, it is also more relevant today, in 2004, than during the 1980s, when it was filmed--especially in America, where the American identity has been deconstructed so as to be hardly palpable. Also, it is equally relevant in Europe, where national distinctions could meld into a Confederacy if not a Union of some power.

Politics aside, this is an intensely personal film, one where the unquestioned identity of youth (German) falls victim to oncoming War and cruel happenstance. Perel must continually revise his vision OF himself and FOR himself, and at one point wishes for nothing more than to be an Nazi, for a beautiful young German girl becomes enfatuated with him. How did he end up in this position, wearing the uniform of the Hitler Youth at an Elite boarding school in Berlin? Or lose his virginity to a high-ranking female Party member while he is escorted by train from the Eastern Front to Berlin, as a Folk Hero (Volksdeutscher Held). Perhaps you think it unimaginable. I do not.

I've seen places in German where the remnants of Jewish culture and tradition are clear as day--such as a former High School for Jews in Berlin--with Hebrew and German inscribed clearly in the stones.

No, though Germany seems to some a heartless pillar of unemotionality, efficiency, heartlessness, the German characters in Europa, Europa are as human as those found anywhere. They fall victim to their personal aspirations, desire to please, deceitfulness, betrayal...simply put, human.

Although current fashion is to think of the period as one of the "banality of evil" (attributed to Hannah Arendt, Holocaust scholar), this film exposes the period as one more of human trium