March 14th, 2010
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“Brute Force” is one of the most violent film noirs of the classic era, as well as one of the most pessimistic -and this is after some violence was removed to comply with the Production Code. The yarn takes space within the confines of Westgate Penitentiary, an overcrowded prison whose deficient living conditions and sadistic guards do the inmates’ lives nearly unbearable. Prison life is no less than a war between the inmates and guard Captain Munsey (Hume Cronyn), who routinely uses blackmail and torture to control the prisoners. When the warden revokes all the inmates’ privileges in response to the deaths of two men, inmate Joe Collins (Burt Lancaster) hatches a violent and hazardous sprint opinion with his cellmates and a senior, well-respected prisoner named Gallagher (Charles Bickford) .
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Director Jules Dessin doesn’t let a glimmer of hope into this film. The violence is brutal and wholly without sentiment or regret. The bid hopelessness of the spot in the prison is overwhelming. Brute force is the only means in Westgate Penitentiary. The standout performance is by Hume Cronyn as the Nazi-inspired Captain Munsey, an unabashed sadist who uses social Darwinism to rationalize absolute dominance of the prisoners, who are, after all, leisurely bars, not free to challenge him. The prison doctor, a disgraced surgeon named Walters (Art Smith), numbs himself with alcohol and articulates the film’s themes. “Do you know what this prison is? ” he says. “One astronomical human bomb!”
The film is a microscopic too long, and the flashback scenes of wives and girlfriends are superfluous. This is perhaps the most blatantly existential film noir. It takes the place of Sartrean philosophy, articulated by Dr. Walters, which is juxtaposed with Nietzschean philosophy, articulated by Capt. Munsey. I’m not normally captivated by either of these schools of opinion, but “Brute Force” kept me fervent for the duration of the film. It is a brutal, pleasing film with challenging dialogue, solid character writing, and huge attention to detail.
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The DVD (Image Entertainment 1999) : This is a suitable print of the film with no distinct image or sound problems. Bonus features include filmographies of director Jules Dessin, writer Richard Brooks, and 3 of the film’s stars. (Settle “Filmographies”, then “next” to contemplate them.) The “Stills and Pressbook Gallery” (4 minutes) is a slideshow, with accompanying them music by Miklos Rozsa, of production stills, posters, and advertisements for the film.
There’s a feverish undercurrent to this prison film that occasionally erupts into outright delirium ( the prison shatter, the interrogation scene) . As delivered by blacklisted director Jules Dassin and screenwriter Richard Brooks, the film’s anti-fascist message is set in your face, not in your lap. Unexcited it’s fascinating stuff, except for the draggy domestic scenes that are meant to humanize the cons, but instead disrupt the film’s relentless move and super-charged atmosphere. Burt Lancaster gives a career performance, while Hume Cronyn is surprisingly effective as the sly Nazi-like warden. There are many familiar faces in the supporting cast, especially Art Smith as the humane but feckless doctor and Sir Lancelot as his calypso assistant. I suspect there’s a engrossing parable lurking somewhere in the subtext, something about the inability of liberals (the worn warden and the doc) to occupy the brute force it takes to withhold people in prison. This is revealed at film’s demolish when the camera dollys support to command the doc late office bars and speaking toward the camera. Then we know the movie is about more than a bunch of desperate convicts trying to rupture through prison walls. Despite its many flaws, this stark melodrama keeps coming at you with the mesmerizing force of an uplifted hammer and should not be missed.
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March 13th, 2010
Despite this being a seminal moment in DVD history having the dismal and white Mickey Mouse cartoons available in the best possible digital format, this Disney Treasures collection is not a complete plot. As mentioned, this position will fill 34 murky and white MM shorts, but they are only selections out of about 75 made between 1928-1935. Last year’s “Droll Symphonies” collection was attach together in a similar draw with a minute more than half of the 73 or so made. Rumors are that next year’s DT series will include a “Mickey Mouse in Living Color Vol. 2″, which means that host/compiler Leonard Maltin possibly intends to include second volumes of past and future collections in this series that don’t fill everything in one region due to mammoth amounts originally produced. When these MM gloomy and white shorts were available on laserdisc years ago, they were also released in two volumes.
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Here is a complete list of the B&W selections on this collection (year-by-year) straight from the Disney press release:
1928–”Steamboat Willie”, “The Gallopin’ Gaucho”, “Plane Crazy” (actually the first official Mickey Mouse short–originally soundless with sound added later and re-released following the success of “SW”) .
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1929–”The Karnival Kid”, “Mickey’s Follies”
1930–”The Fire Fighters”, “The Chain Gang”, “The Gorilla Mystery”, “The Pioneer Days”
1931–”The Birthday Party”, “Mickey Steps Out”, “Blue Rhythm”, “Mickey Cuts Up”, “Mickey’s Orphans”
1932–”The Duck Hunt”, “Mickey’s Revue”, “Mickey’s Nightmare”, “The Whoopee Party”, “Touchdown Mickey”, “The Klondike Kid”
1933–”Building a Building”, “The Inflamed Doctor”, “Ye Olden Days”, “The Mail Pilot”, “Mickey’s Gala Premiere”, “Puppy Fancy”, “The Pet Store”, “Giantland”
1934–”Camping Out”, “Gulliver Mickey”, “Orphan’s Attend”, “The Dognapper”, “Two-Gun Mickey”
1935–”Mickey’s Service Location” (Curiously, “Mickey’s Kangaroo” is not included here. This was really the last B&W Mickey cartoon done shortly after he premiered in color in “The Band Concert”) .
The press release has stated that, in addition to all the features mentioned above, there will also be rare footage of the only MM B&W pencil test known to exist. This pencil test was done for “The Mail Pilot.” Also, modern interviews were apparently done with the legendary animators Frank Thomas and Ollie Johnston for the documentary. Much-needed audio commentary (presumably by Leonard Maltin) has also been added to the poster gallery on disc 2 that was absent from last year’s “Mickey Mouse in Living Color.”
For those not acquainted with last year’s “Mickey Mouse in Living Color”: that collection collects Mickey’s first three years in color between 1935-1938. Next year’s rumored Vol. 2 will probably complete the color Mickey, going up to his last short under Walt Disney–”The Simple Things” (1953) .
More rumors for next year’s DT series: “Wartime Cartoons” (originally intended for this year) and “The Chronological Donald” (obviously the first phase of the many Donald Duck cartoons produced through the 1930’s-1960’s) .
I’m not going to clarify on the 2 disc residence. As far as I’m concerned, it’s a five star place that apoligizes for not being PC.
On disc one, there is a hidden bonus.
STOP HERE IF YOU WANT TO Earn IT YOURSELF.
The hidden bonus is Malton’s explanation of the 1920’s - 1930’s Mickey Mouse club, the (extremely rare) “Minnie’s YooHoo” cartoon that usually began the Mickey Mouse club meetings, And a news reel on a 2 day festival.
The 2 ways that you can score the hidden bonus:
1. First go to the bonus material menu. Then factual arrow down till you highlight “Register your dvd”. Then press the up arrow.
At this point, Mickey’s cowboy hat should have turned blue. Press play, and it will launch. (Malton intro is chapter 1, Minnie’s YooHoo is chapter 2, 2 day festival is chapter 3) .
2. After going to the bonus menu, press 6 on your remote.
Incidently, to bypass the nonPC apology from Malton that occurs several times, press the forward to next chapter arrow on your remote (ie: those cartoons that fill the Malton speech are broken up into 2 chapters - the speech (ch. 1), and the cartoon (ch. 2) ) .
Enjoy.
Addendum: Incidentally,had Malton not keep the PC clause in the films (this and many other Disney cartoons), they would have never been released. Disney was concerned about releasing it, and some soft hearted (and soft headed) liberals would surely try to sue the pants off them. This contrivance, there is a warning, and the animations don’t have to go through a lot of unnecessary (and unwelcomed) edits. Malton should be thanked, not criticized.
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March 12th, 2010
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Watch Mary Poppins Movie Online.
Product: Mary Poppins
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Mary Poppins may be =the= stand-out live-action movie that Disney has ever produced. Or will ever acquire.
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All the songs are very memorable. Who out there does not regain themselves humming or even singing along with the likes of “Chim-Chim-Cheree” or “Spoonful of Sugar”?
Julie Andrews will always be remembered for her role as Mary Poppins, and Dick Van Dyke absolutely shines as Bert the Chimney Sweep. Van Dyke also plays the senior officer of the bank - and has his very best scene where he realizes that the punchline - “A wooden leg named Smith” - is amusing. Andrews won an Academy Award for Mary Poppins, and the movie also won Best Visual Effects, and Best Music Procure, as well as Best Song (”Chim Chim Cher-ee”) .
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The scene where “I cherish to laugh” is particularly poignant. Ed Wynn died not long after the release of Mary Poppins, and shows some of his best comedy style in this scene. Very droll.
The myth is grand and has a improbable upright without being too “preachy”. It was a very generous adaptation from the new current, and it’s a shame Disney never did any of P L Traver’s beget sequels to Mary Poppins.
The spirited bits are a itsy-bitsy flat by today’s standards, but they add a fabulous whimsey to a stellar production. Highly recommended to any family with children. A must-buy for Disney fans.
This is the far better, two-disc, 40th anniversary edition that not only restores everything to digital quality, but adds a second disc of deleted scenes (and a song!), commentary, and many other icy modern features. Recognize for the original 40th anniversary DVD edition - it’s worth waiting for!
It’s honest supercalifragilisticexpialidocious!
“Mary Poppins” is one of that seize group of films that can truly be called ‘Classic’, a project conceived in worship and filled with so distinguished child-like wonder that it will never grow archaic or ‘out-of-date’. Certainly the crowning achievement of Walt Disney’s worthy career, the “Mary Poppins” 40th Anniversary Special Edition is simply radiant!
Based on P.L. Travers’ tales of a magical nanny who arrives to bring families closer, the rights to the stories had been pursued by Disney since 1938, but Travers had seen what studios had done to other authors’ works, and withheld her approval unless she could believe some creative control. Years of negotiations only whetted Disney’s desire to create a definitive, truly ’special’ film, and by 1960, despite the box office failure of another fantasy-themed ‘pet’ project, “Darby O’Gill and the Runt People”, he was more confident than ever in the story’s potential, bringing together a considerable array of talent, including songwriting brothers Richard and Robert Sherman, production head Bill Walsh, and the intellectual artist Peter Ellenshaw to ‘visualize’ 1910 London through his matte paintings.
With Travers’ grudging approval, casting began. While American stage and TV star Dick Van Dyke was an unique choice to play a Cockney chimneysweep, he was a gifted mime and physical comedian, and had such a wholesome exuberance that Disney knew British audiences would forgive his shaky accent. Approved British actors Glynis Johns and David Tomlinson would play the preoccupied parents, with Karen Dotrice and Matthew Garber (from “The Three Lives of Thomasina”) as the neglected children. Extinct stars Ed Wynn, Elsa Lanchester, Reginald Owen, Arthur Treacher, and Jane Darwell (as the Bird Woman, in her last shroud appearance), headed the strong supporting cast.
But it was the casting of Julie Andrews, in her first film, as Mary Poppins, that truly ‘made’ the film! Passed over by Jack Warner for the movie version of her stage hit, “My Aesthetic Lady” (he opted for Audrey Hepburn), Disney caught her performance in “Camelot” on Broadway, knew, instantly, that she was the accurate ‘Mary’, and approached her for the role. “But I’m pregnant,” she told him. “No plight,” he replied. “I’ll wait!”
And thus a Classic was born!
A multiple 1964 Oscar winner (including ‘Best Actress’ for Andrews, who got to portion the stage with her “Lady” costar, Rex Harrison, who won ‘Best Actor’), the film was a major hit, worldwide, and hastily achieved the legendary situation it holds today.
For it’s 40th Anniversary, Disney’s heirs have do together a spectacular package; along with the digitally-remastered film (it looks and sounds Excellent!), a second disc of additional features includes a joyous reunion of stars Andrews and Van Dyke (who both seem ageless!) ; reminiscences of Robert Sherman, who sings a cute ditty cleave from the final film; a inspiring 50-minute “behind-the-scenes” documentary about the production; featurettes on how the FX were achieved in several key scenes; and distinguished, Grand more! As the owner of several “Special Edition” Disney DVDs, I can honestly say, THIS is the BEST, yet!
With the holidays hasty approaching, I can’t assume of a finer gift to give, or to net!
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March 10th, 2010
Though Scott’s uniquely frenetic editing has been toned down from his previous films, his unmistakable style mild frequents the action and accentuates the tension-filled premise. Denzel Washington’s intellectual and moderately dismal dispatcher plays off of John Travolta’s Wall Street savvy sociopath with plenty of clever exchanges, and the black humor and suspense that gather its procedure into the bloodshed culminates in an keen game of cat and mouse. Not quite as slick as the novel, and perhaps a tiny too conspicuous in its efforts at exuding chilly, this latest recall on the subway heist myth level-headed accomplishes entertainment at break-neck run.
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When a Unusual York City subway affirm is hijacked, Rail Control Center dispatcher Walter Garber (Denzel Washington) becomes an unwitting negotiator for the ruthless criminals aboard. Led by the uncontainable Ryder (John Travolta), the hijackers examine ten million dollars in exchange for the seventeen hostages and offer only one hour to instruct the ransom. As minutes swiftly count down, Garber must expend his cunning and resourcefulness to capture time and derive the mercenary off guard as the place goes from unpleasant to catastrophic.
The original, highly stylized, frenzied editing is assuredly a now permanent technique for Tony Scott films - it’s a signature diagram that he ceaselessly experiments with, frequently going overboard, and only occasionally able to harness. In Pelham it looks familiar but doesn’t detract from the legend, even if some moments of suspense are dulled by the blurred colors of slow-motion and missing frames. The remaining stunt sequences are spellbinding and tense, but hardly well-known. The car chases are never about catching someone, but rather beating the clock. It’s action for action’s sake, and while enjoyably destructive, it’s entirely apparent.
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Most audiences will not know that The Taking of Pelham 123 is based on a John Godey unusual, or that it’s been adapted into a movie twice before with the same name. While Scott’s version stands on its absorb as a big-budget action movie, the purpose of specifically remaking this record is puzzling. Shouldn’t the reasoning unhurried the revisiting of a common position be to improve upon some outstanding aspect? The exhaust of the internet, cell phones, snipers, bloodshed, indecent language and more give this modern vision a sparklingly modernized feel, but when the movie draws to a terminate, it fair can’t compete with the 1974 version. Washington and Travolta have an enchanting chemistry, but even that can’t outdo the cat-and-mouse mindgames between Walter Matthau and Robert Shaw, who played their counterparts in the first feature adaptation. Perhaps a title change could have appropriately distanced Scott’s win from being endlessly compared to an infinitely favorable film.
- The Massie Twins
I’m a enormous fan of the recent version of The Taking of Pelham 1 2 3. It was a snapshot in time of Unusual York City in the seventies; a cynical, bloated, bureaucratic mess that was entirely unprepared for a terrorist attack. In fact, there were actually concerns that the movie would inspire accurate terrorists to seize a subway dispute hostage. The modern featured everything from undercover cops to hippies, a crisp military professional turned terrorist to the random accidents of people in stressful situations. It even invented the “color codenames” later mature in Reservoir Dogs.
The Taking of Pelham 1 2 3 is catnip to movie directors in the same plan that single stage sets are to theatrical directors - be it a subway or a stage with objective two chairs, this is a film about two men facing off in a battle of wits. The majority of the movie takes set over an intercom between a terrorist and a dispatcher, with occasional cuts to the havoc their conversation causes throughout Recent York City. And if the terrorist represents the international Other that is a threat to our national security, the dispatcher represents the everyman of Modern York, our hardworking servicemen and women who lost their lives on September 11. With material like that, it’s no wonder the film has been remade twice.
Director Tony Scott updates the film to new day sensibilities. The villain, Ryder (John Travolta in stout crazy mode), isn’t a mercenary applying crisp military precision to the art of extortion; he’s a (SPOILER ALERT) stale Wall Street tycoon - slightly lower on the villain totem pole than industrialists who pollute the environment. The undercover cop moves into action immediately rather than later in the film, because of course Modern York’s finest would reply quick to a terrorist attack. And the dispatcher, Walter Garber (Denzel Washington, looking appropriately puffy and slouched) has a more complicated past and a bigger role.
Unfortunately, the film suffers as a result. In the unusual, military precision was entirely the point. The trains never ran on time, so tantalizing Original York to meet a deadline was both a luscious irony and a sticking point with a venerable military officer who expects nothing less than perfection from his men and from the negotiators. Here, that point is muddled by a sort of “we’re all into this together” blue collar ethic that Ryder projects into Garber. Their dialogue collected crackles, but this simple change dilutes the force of the film.
The four-man team of awful guys is reduced to two speaking parts, with the other two generic thugs. The emphasis is clearly on Travolta and Washington, and it’s refreshing to have a movie that’s not alarmed to utilize some time letting actors objective act. There’s a lot of talking in this film and that’s not a unpleasant thing.
The movie struggles with the recent updates. A live wireless webcam feed gets broadcast to the Internet without government interference (yeah, proper) . Even though the laptop’s battery dies, it’s mysteriously abet on a moment later. And the two teens on either side of the webcam advance off as self-absorbed morons.
Because this is a grand budget action film, the detached subtlety of the new version is glossed over in favor of an MTA agent handling a hostage negotiation, wielding a gun, and ultimately challenging in a showdown with the awful guy. Since Ryder has no principles to scream of, the conclusion is particularly unsatisfying.
Taking of Pelham 1 2 3 is a serviceable action film but not a particularly friendly update of the unique. The seventies version was more of a drama with an ensemble cast that was comfortable playing second fiddle to the biggest character of all: Modern York City.
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March 10th, 2010
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Download Rabbit-Proof Fence.
Product: Rabbit-Proof Fence
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Between 1905 and 1971, the Australian government had a injurious policy. They forcibly removed all half-caste Aboriginal children to special training schools. The grown daughter of one of these children wrote a book about her mother’s experiences. This film is an adaptation of that book.
The sage takes situation in 1931, when Molly, then 14, her sister Daily, then 8, and her cousin Gracie, then 10, are literally torn from the arms of their mothers, effect in a cage, and taken 1,200 miles away to a school which is actually a sort of prison. Here, they are forbidden to snort their believe language, they have to help a Christian church, and are taught the ways of the white Australian culture around them. Led by Molly, the girls rush away. And most of the film is the odyssey of their slither assist home, following the rabbit-proof fence that bisects Australia, constructed to maintain rabbits out of the pastureland.
The villain is clearly the white director of the school. It is wonderful, but he actually believes in the racial theories that were prevalent at the time. He believes he is helping them and plays his role well, coming across as uninteresting and misguided rather than detestable. The Aboriginal girls are all unknowns, and terrific actresses, as are the women who play Molly and Daisy’s mother and grandmother. The courage and determination of the girls during their three-month wobble, the people they meet along the contrivance, and their efforts to dodge the trackers who have been sent to retrieve them by the school, is truly exciting. This is all residence against the backdrop of the Australian outback; the cinematography certainly captures its beauty.
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The film is 94 minutes long and moves speedily. I immediately identified with the girls and felt their dread as well as their bravery as they made their plan across the Australian continent. In a postscript to the chronicle, we learn more about their lives. It did not turn out to be aesthetic. But two of the girls have survived into their nineties, and we meet them briefly. They are strong women with weathered faces, one of them walking with a cane, but clearly at home in their Outback surroundings.
The film is a lesson in inspiration and courage as well as a geography and history lesson about Australia. I loved it and highly recommend it.
Based on (piece of) a accurate legend, “Rabbit-Proof Fence” details the long lunge that three young aboriginal girls embark on after being forcefully taken from their family in order to learn how to “fit into” a white society.
The account is engrossing, and the execution from director Phillip Noyce is heavenly. This is a perfect film for history teachers to present their students. The performances are very natural and winning. Peter Gabriel’s secure is good - with the music playing over the closing credits being some of his best work ever (and appearing in a slightly different gain as “Sky Blue” on his 2002 album, _UP_) .
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If you have seen this movie and enjoyed it, the DVD is a keeper. The audio commentary from Noyce is superbly done. In addition to giving the viewer background as to how and why he did the movie, he also offers up some spicy tidbits about the disagreement between working on mainstream films (”Definite & Show Anxiety,” “Sliver,” etc.) and smaller films like “Rabbit-Proof Fence” and “The Composed American.” A honorable documentary is included as well.
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March 5th, 2010
Dan Chupong stars as a cop who goes with his sister to a charity event that is supported by Thai Olympic athletes. His sister is a Taekwondo champion and many other exact life Olympic champions are at the charity as well. When an unsuitable army takes over the town where the charity is being held, the athletes must serve the village fight the terrorists.
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The action is mostly stunts. All precise stunts, though they do perambulate in a bit of C.G.I. There is the occasional fight, but it is all about the stunts in this movie. There are scenes where guys go flying through the air doing multiple flips and slay with crashing into a burning frame of a building! Words can’t really portray how wonderful the stunts are, it is honest something you have to ogle for yourself. And don’t contemplate that there are impartial 1 or 2 action stars in the movie. ALL of the actors can do their beget stunts. The people who fight in the movie range anywhere from age 8 to 80. There is even a one-legged guy who gets to reveal off his skills! You also have the scene where they fight with dependable firelogs. Not a firelog hitting someone in the head once and then a cleave, but long, extended takes of actors hitting eachother over and over again with sincere thick firelogs and embers flying in everyone’s eyes. It would buy a review literally 20 times longer than this to go over all the unbelievable things that happen in this movie. It is your average assert to TV action movie, but with some of the greatest stunts ever filmed. If you are a fan of the ultra outrageous budget films that Panna made in the 80’s and 90’s, you will be gay to recognize what he can do with an almost limitless budget.
3.5/5
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Picture quality and sound are perfect. English dub included if you don’t like subtitles.
The only special features are a commentary from Bey Logan, a 5 dinky peruse late the scenes, and a stout 65 limited documentary on the making of the film. Nothing like Dragon Dynasty’s release of The Protector (Two-Disc Collector’s Edition), but quiet very informative.
I will extinguish this review with some of Prachya Pinkaew’s thoughts on Hollywood action cinema compared to Thai.
“I believe if we’re going to employ lots of techniques like Hollywood, or utilize lots of money or lots of C.G., we won’t be able compete with them. The only diagram we could compete with them is in terms of our body, our skills, and our heart. We establish these 3 things together. I obsolete to instruct our crews that we lose the battle before we even launch. The only thing we could exercise to compete with them are our lives, meaning you have to trade your life for the movie. It might sound a bit too remarkable, but it means you have to sell your skills, your confidence. You have to risk your life. What you accumulate in return is a positive uniqueness, which looks most unsafe. We’ll remain fresh for a very long time.”
BORN TO FIGHT (1986)
Panna Rittikrai stars as a cop hired to procure a lawyer who is in peril. The fable is not worth going over. The only reason to stare this movie is for the astonishing stunts and beefy contact fights. Maybe Panna was honest furious at these guys in right life, but he seriously beats them down hard in the movie. And see out for one of the craziest motorcycle stunts you will ever glance.
3/5
Movie is plump hide but recount quality is decent. It is better quality than the Thai VCD.
Special features on this disc include a 15 itsy-bitsy interview with Tony Jaa and Panna. It is basically Jaa’s life anecdote. One heck of a special feature.
My accepted feature is the 35 shrimp documentary on what it takes to be one of Panna’s stuntmen.
The 4 puny interview with a producer of many Panna films could have been longer, but is quiet informative.
The last 2 special features are an Ong-Bak spoof commercial and an weird 13 tiny Saturday Night Live type Ong-Bak skit.
If you rep this movie at a distinct store with the initials BB, it comes with a bonus movie, Thai Police Epic. I don’t know the Thai name, but it is the one where Panna is fighting 4 guys on a sharp truck and one guy gets thrown into a Pepsi billboard. Only 57 minutes long, but I actually liked this movie a miniature bit more then Born to Fight 86. So obviously the irregular 2-disc plot is a MUST have for Panna fans.
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March 3rd, 2010
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Cleopatra Streaming.
Product: Cleopatra
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That a film as obedient as CLEOPATRA is was created at all under the madness and dread of it’s legendary production is indeed an fabulous feat. That CLEOPATRA has been given such loving care in it’s restoration in this DVD of the “Road explain” print and the attendant bonus materials is a wondrous gift to those who admire this film.
The documentary, “Cleopatra: The Film That Changed Hollywood” is in on it’s gain an fascinating and informative two hour movie. For anyone who knows shrimp of the history of CLEOPATRA, or who was not around at the time, this documentary will give them the feeling of what those last days of faded Hollywood were like. And therein one can salvage the reasons why this intimate narrative is indeed the wonder that it is. Considerable thanks must be given to the Mankiewicz family and the producers of the documentary.
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The print and the sound of CLEOPATRA seems now to surpass what I select it to be in its first presentation nearly forty years ago. The depth of the colors and the richness of the shadows are indeed lovely. In it’s exhibit accomplish it is hard to absorb this film is as used as it is. The commentary track is like finding the lost treasures of the long monotonous monarch. For there are astonishing recollections by Martin Landau, Tom and Chris Mankiewicz, and even Jack Brodsky gets to read sections from his book “The Cleopatra Papers”. But I must give special mention to Landau’s section. With his eager peep for the art direction of John DeCur one sees things in the background and along the edges of the scene that one never noticed before. Such lovingly detailed sets and interiors will never be seen again. The costs today are unprejudiced too prohibitive. Also his insights into what was chop from the film, particularly his and Richard Burton’s contributions in the second act give one the plan of what Mankiewicz was intending. Unpleasant Richard suffered the unkindest sever of all. The presentation of the DVD menus are so clever and exotic and are to be commended in their art direction. At last we now know what is gradual the massive 20th Century Fox logo!
The film itself remains what it has always been, a qualified film that might have been vast if only Zanuck had but trusted Joe Mankiewicz’ new vision. In the documentary it is stated that Fox is looking for the missing film, one can only hope that they succeed.
The performances range from first-rate to obedient. Particular praise must go to Rex Harrison, Richard Burton, Martin Landau, Robert Stephens, Andrew Keir, and Roddy McDowall. Lastly in this department there remains Elizabeth Taylor’s performance as Cleopatra. At the films release she got the brickbats and for reasons that had nothing to do with her performance. It is always hard to separate the history of the lady from her film roles. But here in this film is where she became the ELIZABETH TAYLOR she has remained in the mind of the world to this day. In this fact alone she is perfect in the role. She is at once regal and commanding, strong and tender, soft and hard. The contradictions that have always been at the heart of Cleopatra herself, the public enigma wrapped within a mystery. In her performance as written by Mankiewicz she is probably not too far off from the historical Cleopatra.
Ever since Judith Crist gave CLEOPATRA the needle in 1963 and in the act made her name, the public, for the most share, has viewed this film a failure. But today, stripped of the scandal, hype and hysteria of its release in June of ‘63 it is now possible to thought CLEOPARTA as the fantastic film that it is. Historically this is an notable DVD and I recommend it highly. CLEOPATRA remains as seductive, splendid, and colorful as it was in Walter Wanger’s new plan.
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Despite the legendary excesses and scandals that went on during the making of this unjustly maligned movie, it has three of the most necessary foundation stones any work of this scope needs to succeed:
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1) . A unified vision or point of conception, extending from the development of station and characters to the physical contemplate of the production itself.
2) . A literate and compelling script that could play irrespective of the opulence of its surroundings.
3) . Four leading actors who instinctively understand how to work their material, making the seams between performer and character invisbile to the spectator.
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#s 1 & 2 were supplied by director / screenwriter Joseph L. Mankiewicz, #3 by Taylor, Burton, Harrison, and McDowell.
This is a film that easily bears repeated viewings, and, again, thanks to Mankiewicz and his actors, functions simultaneously on a variety of levels. For example, there are the worship stories:
Caesar & Cleopatra / Antony & Cleopatra.
The tender scenes are written and played almost poetically, but there are also political manouverings going on as each uses the other to finish or augment their power. This is made even more intelligent in that these are obviously gleaming, witty, charming, comely, ruthless, and influential people whose calculations shape nations and Empires.
Given all of the above, the movie also looks like the substantial sum it cost, has a lustrous procure by Alex North, an accomplished supporting cast (in particular, Martin Landau, Pamela Brown, Hume Cronan, Cesare Danova), and spectacular “spot pieces” that though fully integrated into the situation, almost play as “movies within the movie” - Cleopatra’s Entry into Rome, Cleopatra’s Barge & Banquet, the Battle of Actium.
In sum, Mankiewicz and cast succeed in bringing off the titanic “world stage” themes necessary to this genre of historical film. Their greatest achievement however lies in making an audience understand that these extinct archetypes were human beings trying to contain the weight of both history and their emotions.
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March 1st, 2010
Buy,Download, Or Stream America’s Castles: The Grand Tour! Click Here
If you’re enthusiastic in a re-fi to remodel or re-decorate, you owe it to yourself to win a bigger perspective of impartial what a graceful home can be. AMERICA’S CASTLES THE Enormous TOUR (A&E/NewVideo) is a ravishing study at a handful of the most fabulous American homes; vast estates that contemplate the life and times of the unique owners.
This two disc position features dozens of novel landmarks that will astonish you with their exuberantly inventive splendor. Experience Rockefeller’s fabled estate in the Hudson Valley, the breezy elegance of the Newport mansions, the wooded seclusion of the titanic Adirondack “camps,” Donald Trumps Mar-A-lago in Palm Beach and many more including the fabled Vanderbilt estate.
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America’s Castles is an initiate door invitation to the strange and spectacular addresses that not only convey the exteriors and interiors but noteworthy lives of the denizens who dwell, and dwelled within.
I was dazzled at the opulance and the indulgent decadence. This is a substantial documentary on the far waste of material success America offers to the lucky and the blessed. And the criminality of the lords of industry.
This entire series is favorable, from the exquisite videography to the ample v/o work and historical bios. I started with this single 2-volume DVD position and was instantly captivated, buying almost all the other DVDs in the series.
If you’re in sales, copywriting, marketing, an entrepreneur of any kind, this series provides stout motivation for becoming successful. Learning the case studies of the successful industrial barons and business leaders, by seeing their private castles and mansions, is a priceless expeerience. Highly recommended for all business people.
In nlp-talk, we’d call these anchors, I’d call them “wealth motivating anchors”, visual cues to relieve one continue one’s path towards achieving success. Plus, they’re terrific for home decorating tips too, if you’re trying to figure out how to do marble baths etc. Any scheme you sever it, this is a astonishing series, and I wish I’d found out about it years ago.
Superb workmanship on this entire series - bravo!
Ken Calhoun
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February 26th, 2010
Battlefield returned with its same favorable presentation of the preparation leading to the campaign, the campaign itself and the raze of the war. The explanations and maps are superior and the commentary presented well. Recommended.
This film is from the revival of the pleasurable series “Battlefield” describing the major engagments of the Second World War. As I station in my review of the film about the Battle of Kursk from the same series, the revived series was generally not as of righteous quality as the new series made 10 years earlier, but this film about the horrific battle of Okinawa is almost up to the level of the novel series.
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The films of the “Battlefield” series describes the engagment within the context of the entire war and describes it from the point of belief of the top decision makers. I would say that these programs are designed for someone with more than objective a cursory interest in the War because much time is extinct in describing the rush up to the battle, the role of the leaders of the nations in its strategy, the commanders, significant weapons frail and, after describing how the engagement played out, its consequences in how the war continued (fortunately, in this case, the Atomic Bombs brought a mercurial extinguish to the War) . There are no interviews with experts or participants and no “intellectual” descriptions of small-scale actions, unbiased the “broad report”.
It was at Okinawa that the Japanese leadership brought their self-destructiveness to its maximum of insanity. It was positive by this point that the Allied onslaught could not be stopped and that Japan would certainly lose the war, yet its leaders collected believed in “the decisive battle”, along the lines of the 1905 Russo-Japanese War”, that would somehow miraculously turn everything around. This would happen, they conception, if they could inflict enough casualties to perform a collapse in morale on the Allied side. To do this, they brought grand numbers of aircraft to be customary in kamikaze suicide raids on the grand Allied speedy. They also designed a diminutive single-seat rocket-powered aircraft that was supposed to be lifted by a mother ship and then released to strike the target in a one-way attack. Another example was the insane mission of the largest battleship in the world, the Yamato, which was supposed to wreak havoc on the landing forces, yet which, as anyone could have predicted, sunk by American aircraft before ever getting a chance carry out it it assigned task, with the meaningless loss of thousands of lives.
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One thing that is truly considerable was how the United States Navy was able, within 3 years, to beget a colossal lickety-split that could do hundreds of thousands of men at sea for long periods of time. Whereas in the decisive Battle of Midway in June 1942, the USN had 3 heavy aircraft carriers to prefer on 4 Japanese, by the time of Okinawa they had several dozen!
The horrific nature of the battle on the ground on the island is described and the fanatical resistance of the Japanese forces is described. However, in this battle critical numbers of Japanese did surrender, unlike previous bloody battles at Iwo Jima, Saipan and others. Perhaps the realization that the war was lost affected many of the soldiers which would mean that those who did die were forced to by the commanding officers and not because of “fanatical devotion to the Emperor”.
There is no doubt that the nature of the battle was a major factor in the decision shortly afterwards to utilize the Atomic bombs. Many armchair historians claim today that there was no need to expend the bombs, Japan would have surrendered anyway, but anyone at the time who saw what happened on Okinawa didn’t need distinguished imagination to reflect that the same thing would occur on an even larger scale should the Americans attempt the landings planned as Operation Olympic on Kyushu and Operation Coronet on Honshu. In the ruin, according to Richard Frank’s book “Downfall”, the Americans gave up the thought of a ground invasion of the Home Islands and would have then settled for a long-term blockade of Japan which would have led to mass starvation, epidemics and civil disorder on a mass scale, while leaving the expansive Japanese forces in the East Indies, China, Manchuria and other places untouched. Thus we glance that Okinawa convinced most decision makers that the war had to be ended as soon as possible.
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February 24th, 2010
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When I watched this as a young man of 20 I fell in esteem with it. It is not an action film. It is a magnificent account of deep characters as they bag themselves having become ragged. It is a sage of reclaiming yourself, even at the destroy of your days.
It is one of the last films of Bette Davis and Vincent Heed. They gave delicate performances that I calm fancy. I have waited a long time for this to approach on DVD!! One of my celebrated quotes is from Bette Davis. She was told by her sister that “Memories disappear with time.” Bette, portraying her blind sister, proudly proclaims in her best Bette Davisness - “That has not been my experience!”
Great transfer and a ample film. Lillian Gish’s performance is a gigantic insight for those who haven’t reached their later years. She is wise and gorgeous, firm yet beautiful in her dealings with those around her and, especially, her difficult sister (Bette Davis) . The narrative is of two sisters who have lived long and paunchy lives now dealing with the realities of their advanced years and the remembrances of their long ago childhood spent in the very house on Cape Cod where Ms. Gish now lives. The dynamics between Gish and Davis reflects very trusty people. It is at times very tender and at times very tense. Yes, sisters yet very different human beings.
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Vincent Ticket plays the older version of the fraction he played in ‘Lauara.’ He plays the exact lady’s man who has fallen on hard times, stale around the edges but one who can unexcited charm the ladies.
The scenery is beautiful. In fact, you can discover it for only the visuals. When this film is over one will not easily forget its impact and beauty. A keeper!
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