I must admit I don't like Greenaway as a rule, and I find Prospero one of Shakespeare's least appealing characters. But this film is quite extraordinary in all sorts of respects. Nyman's music is fantastic, and used here to good effect (Nyman didn't think so, and broke up with Greenaway as a result, but that's his problem). Ditto Sarah Leonard's singing. An ancient Gielgud is splendid as Prospero. Michael Clark's performance as Caliban has to be seen to be believed. The visuals are unlike anything else you have ever seen. (What sort of casting agency can come up with about 100 people aged from about 5 to about 80, all naked for all of the time? Perhaps they are the members of a naturist club? They play the "spirits" of the island.) The idea ... Read More:
>>More Details
This is a Classic Film make no mistake about it. Yes, it is slow but it is meant to be.
Is it a faithful adaptation of the book? I would say yes considering the source material. The book contains whole sections of intellectual pondering regarding the internal struggle involved in passionate love. These passages are unfilmable.
What we have here is a very European film dripping with cold sexuality and emotional torture. The Actors, the Director and all involved in this production should feel very proud of what they have achieved.
The Direction is confident and fresh. The performances are faultless. Juliette Binoche is truly a remarkable actor. Her desperation is beautifully played. I have to say that this is one ... Read More:
>>More Details
I remember first watching this movie on my parents' telly after they'd gone to bed and being totally blown away by Marianne Faithfull's soundtrack, the Ballad of Lucy Jordan, then by the image of the protagonist looking out over the North Sea in her expensive fur. This has to be the weirdest, wonderfullest film I've seen. Throw in some ABBA music, a sheep in the back of the car and the craziness of the Zanzi Bar and you have the recipe for the perfect movie. I loved it!
>>More Details
Don't get me wrong, I love Tarkovsky's films. He is master of imagery and lets your eye wander over the screen without cutting too soon, but I found this film boring. The basic plot involves a man's bargain with God to put the world back together after a nuclear explosion. Do we see the nuclear explosion? Don't be silly this is Tarkovsky...but I would have expected more than a few camera shakes to denote when the explosion occurs. Does the world change? Not particularly, which makes it harder to see why the protagonist would make such a bargain in the first place. The characters are unlikeable, intentionally I think, which leaves you wondering why they need to be saved in the first place. The fire at the end doesn't really equate with a life sacrifice because ... Read More:
>>More Details
Angelopoulos can be a bit trying for folks who have a hard time with "Art Movies," and sadly this is exactly what this movie is. It shouldn't be, given the epic scope that takes us from Greece, across the Balkans into Sarajevo at the time of the bosnian war, the subject deserves better. There is a little too much self importance in the way in which "Cinema" is revered by the film maker (It's a little too autobiographical, in the narcicistic sense of the word). The photography is fantastic, the performances (In Greek anyway) are good. But the audience is sadly not invited into the world of the movie. Instead we simply watch from a far as Theo shows us his stuff. And the English language dialogue is attrocious, killing the film stone dead. The ... Read More:
>>More Details
Cries and Whispers is a powerful study of three sisters and a faithful maid who share a manse in a remote location. One of the sisters, Agnes (Harriet Andersson), is dying from an indeterminate cancer, and it is her slow journey towards death that is the center of this story.
The other two sisters are variations of monstrous people: Karin (Ingrid Thulin) is what seems to be an icy control freak who can't stand human touch of any kind, and we're privy to her torment in a flashback where she uses a piece of a broken wine glass to literally mutilate her vagina. Maria (Liv Ullmann) is less stern, more casual, but equally manipulative: she not only tries to resume an affair with Agnes' doctor (who points out she her internal ugliness is starting to show through ... Read More:
>>More Details
Like Beethoven in his piano sonatas, the genius of Bergman builds an extremely impressive whole out of many small and seemingly simple elements.
At the surface level, the film is about a marriage between Marianne and Johan (played superbly by Liv Ullmann and Erland Josephson). At a deeper level, the film is an honest insight into the human condition, with all its complexities (physical and metaphysical) including despair, joy, self-deception, self-obsession, cruelty, etc. Bergman's understanding of the human condition is on a par with that of the German-Swiss novelist Hermann Hesse.
The director relies primarily on the rich dialogs between the two main characters, as well as the intimate, emotion-capturing close-ups, to develop and convey his ... Read More:
>>More Details
Like Beethoven in his piano sonatas, the genius of Bergman builds an extremely impressive whole out of many small and seemingly simple elements.
At the surface level, the film is about a marriage between Marianne and Johan (played superbly by Liv Ullmann and Erland Josephson). At a deeper level, the film is an honest insight into the human condition, with all its complexities (physical and metaphysical) including despair, joy, self-deception, self-obsession, cruelty, etc. Bergman's understanding of the human condition is on a par with that of the German-Swiss novelist Hermann Hesse.
The director relies primarily on the rich dialogs between the two main characters, as well as the intimate, emotion-capturing close-ups, to develop and convey his ... Read More:
>>More Details
Like Beethoven in his piano sonatas, the genius of Bergman builds an extremely impressive whole out of many small and seemingly simple elements.
At the surface level, the film is about a marriage between Marianne and Johan (played superbly by Liv Ullmann and Erland Josephson). At a deeper level, the film is an honest insight into the human condition, with all its complexities (physical and metaphysical) including despair, joy, self-deception, self-obsession, cruelty, etc. Bergman's understanding of the human condition is on a par with that of the German-Swiss novelist Hermann Hesse.
The director relies primarily on the rich dialogs between the two main characters, as well as the intimate, emotion-capturing close-ups, to develop and convey his ... Read More:
>>More Details
A glorious and utterly profound experience. Revel in the depth and multi-layered brilliance of the story and sentiment, and exploration of themes such as being human, religious and personal faith, home, and how we face our need for meaning and control in an unknowable universe. As in the earlier 'Mirror', understanding Tarkovsky stirs feelings and intellectual yearning at the deepest levels. I make no apology for making such bold statements - this is truly great art.
But forget that. Whether you follow the the detail and nuances or grapple with Tarkovsky's own intentions(and you will discover more every time you come back to this), ultimately it doesn't matter: there are scenes and images throughout this experience that just simply astonish. Not in a grand, big-screen ... Read More:
>>More Details